#the adults dynamic is so special to me i just think its neat :)

[aphroditeygirl]

so glad im not the only one who saw that it was 7am on a friday and thought. I will watch yellowjackets now

[troutfur]

Are you reading the Feline Wizards books? I’m thinking of getting the bundle but I’m not certain. Would you be open to sharing your thoughts on them?

Yes! I'm part of a book club with a few friends from WC Tumblr and they came up as a recommendation. Currently we are finishing To Visit the Queen and we were discussing diving right into The Big Meow instead of taking a pause as we usually do. (As an aside we don't only read cat books, our first book was in fact This is How You Lose the Time War but you can probably see how the kitty wizard books came up as something we'd all want to read.)

Feline Wizards is fantastic. I was afraid that it wouldn't be an accessible read standalone as it's a spinoff of Diane Duane's long-running Young Wizard series but The Book of Night With Moon perfectly sets up the world all its own in a very impressive and compact way. My biggest compliment is just how tightly paced the whole work is. Absolutely no word is wasted by the end.

I also found it very interesting how, despite being a book with a child as part of the protagonist ensamble and that it is clearly aimed at that sort of demographic at least to an extent, the adult characters are the focus. The kid more often than not seems more of a supporting role or even plot device. That's an unusual dynamic I appreciate and found very compelling.

I also enjoy how the worldbuilding of the wizards and the fact wizards of all species exist makes the world feel so vast. To Visit the Queen makes particular good of use with the introduction of the ravens of the Tower of London who although not full wizards still have some magic capabilities. It's neat and contributes to this overarching theme about how all life forms are valuable and special in their own way.

Also I'll say that if Warriors and its anti-domesticity messaging feels tiring you will definitely appreciate this one. Our primary PoV character is a pet cat and she loves her humans so much. Many a chapter have gotten me soft and wanting to hug my own kitties.

I will append though. This series can get rather silly. Not enough to undercut the seriousness of the plot but the animal wizards and time travel and dinosaurs and all the rest are there. Definitely be prepared for a story that really utilizes both the urban AND the fantasy of urban fantasy.

[randomvarious]

Today's compilation:

Can't Beat the Music Vol. 2 1992 Pop / Adult Contemporary / Pop-Rock / Techno

This is such an incisive window into just how utterly strange the early 90s were in multiple parts of the world when it came to popular music writ large. Like, this is a very Australian comp here, but it deals with the same exact dynamic that was present throughout the US at the same time too, which was this very apparent, herky-jerky push-and-pull between soft and anodyne adult contemporary traditions of pop and rock, and brasher, newfangled, upstart sounds that were appreciated by and targeted more directly at the youth. Last year, when I wrote about Technotronic's pretty goofy, yet deeply important dance classic, "Pump Up the Jam," which managed to hit #2 on the Billboard Hot 100 chart in January of 1990, I mentioned that the only song that had kept it from the top back then was Michael Bolton's "How Am I Supposed to Live Without You," which meant that all throughout America, nearly thirty-five years ago, people were getting bludgeoned by this literal one-two punch in the dead of winter on their local contemporary hit radio stations—a slow and sappy, mom-aimed pop ballad, followed by the first house tune to ever break big in the country's history. Pretty fucking absurd if you think about it.

And it appears that the *same exact* thing was happening in Australia at the same time too, as the sequencing on this album ends up yielding such strange and sudden vibe-shifts that rock from an entirely instrumental version of 2 Unlimited's silly arena Eurodance-techno-raver, "Get Ready for This," to a special 1992 duetted edition of Tina Turner's "The Best" that features Aussie adult rocker Jimmy Barnes, in order to promote the then-latest season of the New South Wales Rugby League 😵‍💫.

And there are two other songs that I think are worth highlighting here as well—one that I think is remarkably terrible and cringe and another that I think is pretty neat for what it is if you can appreciate early 90s radio pop.

So today I discovered one of the single-worst songs that I think I may have heard in my entire life: "Kickin' to the Undersound" by the Sound Unlimited Posse, which if you couldn't tell by that awful title, is a hip hop tune by Australia's first ever rap act to get signed to a major label. Feast your eyes and ears upon this early 90s monstrosity that does its very best to outdo all the embarrassment that was brought upon by people and acts like Marky Mark, Vanilla Ice, and C&C Music Factory:

Good grief; I would gladly take every single weirdly aggro Eurodance rap verse that was about sweat over 96% of whatever this was. The only thing worth saving about this song is its breaks-infused, instrumental bridge. Everything else, including the super tacky and very unsubtle sampling of Aussie new wave heroes' Men At Work's "Down Under" on the chorus, can be hauled off the side of an ocean liner for all I care 🤮.

But OK, let's now wash that down with something far less grating, with a song from Australian pop group Indecent Obsession called "Kiss Me." If you like legendary Swedish synthpop duo Roxette, then I think you'll like this tune too, because this has the same softcore, heavy breath throbbiness of Roxette's sound, a surging and extended contemporaneous radio ad-jingle-type chorus like lots of Roxette singles do, and a bridge that sounds a whole lot like the catchy 'na-na-na' part of Roxette's own "The Look" as well. Cross all that with someone who sounds a little like George Michael and you've got this pretty well-made pop tune that is very much of its early 90s time, with a hollow and compressed sound to it that makes it feel like it was solely made to be played on FM radio back then, which I don't really think is a bad thing!

So sometime in the latter part of the 90s, the adult contemporary wing of the pop music landscape began to get relegated off of contemporary hit radio stations and onto its own specific adult-oriented formats. And in AC's absence then came much more youth-oriented music, but before that gradual and significant shift ended up occurring, the top commercial pop stations appeared to have been suffering through an identity crisis; one that forsook any sense of fluidity in their playlists for trying to simultaneously appeal to both oil-and-water youth and adult demos alike. I'm not sure which thing happened first between AC not selling as much as it once did and then that causing it to get less rotation overall on top-40 radio, or if a decision was made by top-40 radio programmers to cut back on the AC, which then caused AC sales to sag; but what I do know is this: contemporary hit radio and popular music were insane in the early 90s, and it wasn't just in America, as this very strange Aussie comp so clearly proves. Maybe it felt more banal and normal while it was happening, but looking back on it now, the idea of hearing some maximally cheesy, high-powered commercial techno-rave tune lined up back-to-back with, like, a heart-poured Bette Midler ballad, is a very ridiculous and surreal thing to have ever happened, and yet it did, on both radio and comps like this one, without any discernible hint of irony.

Highlights:

2 Unlimited - "Get Ready for This" Tina Turner & Jimmy Barnes - "The Best" Baby Animals - "Ain't Gonna Get" Indecent Obsession - "Kiss Me" The KLF - "What Time Is Love" R. Kelly feat. Public Announcement - "She's Got That Vibe"

[clambuoyance]

If you don’t mind answering, can you share a bit about ninjago and why you like it? I see a lot of your posts but I’ve never heard of it before you.

Yeah sure!

Ninjago is a lego show that aired way back in January 2011 (I was 9!) about these lil dudes that get recruited to become ninja. Its writing is obviously a little juvenile as it is aimed for younger audiences, but despite that it has a fairly big following? I grew up watching the show and I ended up rewatching/catching up in january of this year, and i did not expect to become obsessed 😭

I personally think the characters and dynamics are enjoyable, and the show makes me laugh. But also, while not having the most insane complicated plots, it just feels fun, and the stories are reminiscent of what a kid playing with their lego toys would make and enjoy. Plots change, lore gets retcon, there’s a general feeling of “okay but is it cool??” that rules over the story if that makes sense. Like as a kid, I was obsessed with this show and I can see why.

But as an adult, I think a big thing for me is again the character dynamics though. They’re always great in every season and I love watching them do silly little things in the episodes, like Zane trying to catch museum items as Jay carelessly throws things around , or Kai showing off his action figure of himself to Cole and Zane in the background , or the cute banter😭🙏 it just adds something special. i literally cant pick a fave bc they are allll soooo good. they all feel like tangible friendships to me idk. (altho im very biased towards the relationship between kai, nya, and lloyd. im a sucker for sibligism)

And this mostly happened from joining the fandom on social media but i like Rotating them in my mind, putting them in scenarios and taking what the show offers and coming up with something new whether it be a Worldbuilding headcanons or fancomic or just a random blurb of text analyzing a scene, which i think is half the fun in a fandom lol. Honestly the show even does this itself bc it plays around with its own worldbuilding like playdough and adds some new lore esch season but i kinda like it 😭 kind of a neat contrast to other shows where all the lore and worldbuilding has been mostly figured out from the start, where here you’re watching it happen in real time

So yeah i could probably say more but i think that gets the point 🧐 i unironically like this show a lot🤒

[colorseeingchick]

Oh Baby! A series (Sugawara x Fem!Reader)

Summary: Sugawara loves to play-hide-and-seek with your nieces and nephews, almost as much as he loves them. But this usually light game has real stakes when you, your brother, and your sister-in-law decide to get involved. What does Suga win in this special game? 

Warnings: Fluffy fluff, mentions of pregnancy 

Word Count: 4k

A/N: I have severe baby fever and time is a construct. This is on the longer end but I think its worth it :) Hope y’all enjoy! <3

Tired. That was the only possible way you could describe the way your husband looked as he stepped through the door of your brother’s home. His tie loose and shirt half untucked- he radiated exhaustion. But right here and right now, there’s something important that’s about to occur. And Sugawara Koushi would be at its forefront. 

“This is for you, Koushi-ojisan.” Your eldest niece, Tsubaki, bowed as she offered a folded piece of paper to your husband, who froze in the process of sluggishly sliding on his house slippers.

Suga shot you and your sister-in-law a questioning glance as he hesitantly received the piece of paper. Your sister-in-law feigned an innocent look, and you just shrugged your shoulders, pushing yourself to hold back your mischievous smirk. 

“Ne, what is this Tsubaki-chan?” The initial tiredness that had weighed down on his face had receded, being replaced with a burning curiosity and loving smile. 

“It’s to make our game of hide-and-seek more fun. You’ll play with us today, right Ojisan?” Tsubaki shyly smiled at her uncle, a plea subtly being communicated through her gaze. 

Of course he would play with his nieces and nephews. Even if he wanted to say no (which, obviously, he would never do), how could he ever reject those eyes? 

You and Suga had been married for quite a few years now, but you had been together for a long time before that. Soon after you two started dating, Suga had become best friends with your older brother. Moreover, you were very close with your brother’s girlfriend as well. So the four of you were inseparable. 

That continued into your married lives. You and Suga would invite over your brother and his wife once a week on Friday, spending the time to go out to restaurants, do game nights, or just watch movies. However, as time went on, the family dynamic shifted as your brother had his first child. And then the next one. They were now up to 4 kids, the oldest being 7 years old, the youngest at 2. Double dates became Ghibli Studio binges and babysitting time. 

Not that either of you minded, though. Your nieces and nephews were all angels, and you and Suga both loved caring for children. You and Suga had been trying for kids of your own for a while, but for the longest time, things didn’t seem to be in your favor. Suga knew that you felt responsible and that it weighed down on you, so he always kept his spirits high for you both. But you knew your beloved husband too well- he wanted a baby as badly as you, if not more. 

“Of course I’ll play with you guys,” Suga ruffled her hair, tightly holding the paper in his other hand. 

“I’m assuming Sumire-chan, Fumio-chan, and Mizu-chan are already hiding then?” He asked, glancing around the room to see if he could see any poorly hidden heads or tiny movements. 

“Y-yes...When you find them make sure you ask them for their papers, okay?” Before Suga could answer, she quickly turned around and scurried to the kitchen and grabbed her father’s leg, tugging on the fabric. “Did I do okay Otou-san?” She whispers quietly. 

Her father gives her a big smile and nods, patting her head. A hint of a smile pulls up at your lips as well. Tsubaki was the oldest of the group, and such a good older sister to her siblings, but she was yours and Suga’s lil princess. When you asked the kids to help you out when you arrived at the house that day, she was the most enthusiastic about making her Ojisan happy. 

Suga opened the folded piece of paper in his hands, very curious as to what this was all about. On the white piece of paper, in his niece’s bubbly and straight handwriting, was written:

 “for giving us another.”

His eyebrows scrunched up in confusion, and his head instinctively tilted. That told him absolutely nothing. But he could conclude that there was some bigger message. They were all too small to come up with something like a scavenger hunt/hide-and-seek game, so he knew it was the doing of the three suspicious-looking adults watching him intently. 

What are you all planning? Suga asked with his eyes, eye contact jumping between all three of you. Hide and seek was the kids’ tradition with Suga. Without fail, they would beg him to play EVERY Friday when you guys came over. And without fail, he would always agree. It was his game with the kids. But it seems like the adults had a hand in the game this time around. It was a competition with them, too. Alright then, game on.

Now, there are some things you have to know about this household’s version of hide and seek. The kids have numbered them as rules and made a nice little poster to go along with them, that way everyone would know them. 

Rule 1! Suga Oji-san will always be the first one to seek. 

Because, for some reason, Suga Oji-san was also a master hide-and-seeker, there was an extra rule when he was seeking. 

Rule 2! When Suga Oji-san is seeking, he has to do it in 15 minutes, or else we win!!

“Tsubaki-chan!~ when does my time start?” He calls out to the little girl, but his eyes are trained on you. 

Tsubaki looks up to her father because she forgot to keep track (oops). 

“You’re down a minute, Koushi,” your brother responds, leaning against the table in the kitchen. 

“You know, if you don’t find all the kids in that time, you may not get all the pieces of paper,” your sister-in-law chimed in, teasingly, at which you chuckled. 

Suga quirked an eyebrow, his competitive spirit really getting riled up now. “Tsubaki-chan, are you gonna come help me find the others?” He put his bag down by the door itself and started to quickly move towards the stairs. 

Rule 3! Once found, you have to help the seeker find the other hiders. 

Tsubaki scurried back to her Oji-san, happily (but quietly) saying, “Let’s go find Sumire-chan and Fumio-chan,” as she pulled his hand, leading him up the stairs. 

Suga knew that he genuinely couldn’t lose this time around. Sure, he could usually find the kids easily because they rotated through the same spots, but he always made a spectacle of trying to find them, loudly expressing how lost he was. Sometimes he would even lose on purpose. But not today, knowing that the adults would hold to their word of not letting him see the last piece of paper if he wasn’t in time. Sumire, first on the list of kids to find, had also gotten better at hiding now that she was older, and Suga wouldn’t be surprised if her father helped her find a new hiding space.

“Ne, Tsubaki-chan, do you know if Sumire-chan is hiding in the spare guest bedroom?” 

“Oh uh, I-I don’t know…” she pushed up her glasses and tugged on her sweater. 

He’s taking that as a yes. “Let’s go check.” 

Usually, she hid under the bed or burrowed beneath a pile of pillows that sat by the headboard, but she was in neither location. Suga pursed his lips, hands falling to his hips. “Sumire-chan is almost always in this room! But I can’t find her anywhere. She must be a master hider, I swear,” he proclaims, leaning against the wall. The closet door that was mostly closed didn’t mask the muffled giggle that carried in the air. 

“Tsubaki-chan, is that a… monster in the closet?” He gasps dramatically, as he pushes the door open slightly, just in case Sumire was behind the door. The giggling from the closet mixed with Tsubaki’s as they found Suga Oji-chan’s commentary hilarious. 

There, hiding in the corner of the closet with spare pillows and stuffed animals covering everything but her face, Sumire was now giggling uncontrollably. 

“I’m not a monster, Oji-san~~~!” 

“You’re right,” Suga responds as he pulls the pillows and stuffed toys off her body, pulling her arms lightly to help her stand up, “you’re Sumire-chan!” he cheers, pulling her into a hug, which she joyously returns. 

“Sumire!” Tsubaki whisper shouts. “The paper!” 

“Oh! Oji-san take this~!” she pulls the piece of paper out from her overall’s front pocket and holds it up to him. 

Suga takes the paper and opens it to read- 

“Thank you” 

-written in neat cursive, resembling his sister-in-law’s writing. 

“For giving us another” and “thank you.” Yeah, I still have no idea what this means. He just has to find the other two pieces, then. No point in overthinking. 

“Tsubaki-chan, did Otou-san give you the timer to carry?” 

Yes, there is an official stopwatch they carry for this game. That’s how seriously they take hide and seek. 

“Mmhm! You have 8 minutes left, Oji-san.” 

“No time to waste, huh? Ok, let’s go find Fumio-chan then.” He slides the pieces of paper into his pocket and offered his hands for the little girls to hold, although Sumire opted to just hold his two fingers instead- it was easier for her smol hands (I love when children do that 🥺💖). 

As you put your mug into the sink while carrying out conversations with your brother, you watch Suga and the two little girls descend from the stairs, their tiny hands gently clasped in Suga’s. As they reach the bottom they dash to your brother, leaning against his legs. Suga makes eye contact with you and smirks lightly, his competitive spirit shining through. 

“Found Sumire, hmm?” You taunt, knowing that he took a little longer than usual. This game that usually had no stakes had insanely high stakes, which Suga had no cognizance of, so you try to be as unassuming as possible. 

“I did!” He taunts back, but his eyes drop to her and his voice softens. “She did a good job hiding, though.” You turn just in time to see her whole face light up. Your heart bursts at the sight. You both would die for these kids. From when Tsubaki was born to Mizu’s first steps, you and Suga had been there to see a lot of it and raise them in part.

“The next target is Fumio. But I have no idea where he is!!” Raising his voice at the last part, he looks around dramatically, eliciting a giggle from the two little girls. 

Fumio is almost always in the kitchen- during hide and seek and even outside the bounds of the game (baby loves food). Suga monologues, opening the pantry and turning on the lights. 

Would he go somewhere entirely different to throw me off? 

Well, no. The point of the game IS for Suga to win (this time around). 

So where is he? 

The girls let out another round of giggles when Suga opens the fridge to look for Fumio, and you and your brother can’t help but chuckle as well. 

“Ne, Ni-san,” Suga calls to your brother. “Can you give me a hint to where Fumio-chan might be?” 

“I don’t know,” he pulls his mug away from his face. “Do you think I should help Oji-san?” He looks down at his girls.

Little Sumire nods her head aggressively and Tsubaki quietly responds, “Yes!” 

“Koushi-kun. You remember when Fumio was like, 2 and would crawl everywhere?” your brother starts.

How could any of you forget? The kid ended up hiding unintentionally in all the worst places. Underneath desks, behind the couch, inside the dishwasher- it was endless. But there was one place above all he loved to hide…

Suga’s eyes met your brother’s, lighting up with understanding. 

“Fumio loves helping put away the dishes, right Tsubaki-chan?” Suga walks around to the other side of the kitchen, where you were now standing next to all the cupboards filled with cooking pots. 

“But sometimes he puts himself away, with the pots, too.” He was right. Fumio would put a pot away and push it all the way to the back of the cabinet, only to crawl in after it. How he found the spot comfy, none of you understood. But it made for some very cute photos. 

“Fumio thinks he’s a pot!” Sumire chimes in. 

“So I should check where all the pots are, shouldn’t I?” With that, Suga opens the (already slightly open) cabinet, to reveal a little boy with his hands over his mouth (concealing giggles) and a pot on his head. Suga smiles and lifts the 3-year-old out of the cabinet, pot sliding down and covering the child’s eyes. 

“Look! Fumio-chan is a pothead!!” Sumire cries out. 

All three of you burst out laughing, your brother almost spitting out his hot chocolate. 

“Su-Sumire-chan don’t say that okay? It means something different,” you try and talk without dissolving into giggles again.

“Hmm? But he has a pot on his head. What else could it mean?” She looked extremely confused and you couldn’t even fault her for it. 

“You’ll find out when you’re older,” your brother’s classic way of shutting down unwanted topics (for now). 

Fumio, on the other hand, was just glad to be in his uncle’s arms, surrounded by his favorite pots. 

“Oji-san, here!” Fumio giggled as he held the piece of paper up above his head with both hands. Suga pulled the boy against his body, opting to hold him with his left arm, while receiving and reading the piece of paper with his right. 

“To play with”

-was all that was written on the small piece, this time clearly in your brother’s handwriting. 

“Thank you for giving us another… to play with.” Suga’s hand goes slack as his eyebrows furrow in thought. What did I give them to play with? Did I buy them a toy recently? Was I supposed to buy them something!? 

The little boy in Suga’s hand notes the pensive look his Oji-san had-- leading to the boy’s decision to poke his Oji-san’s face, right on his beauty mark. “You have to find Mizu-chan!!” He cries, his smol finger gently pressing into Suga’s cheek. 

Your brother gently tilts the watch in Tsubaki’s hands. “2 minutes, Koushi.” 

“2 minutes!” A lot more time actually elapsed than he expected. “Let’s go find Mizu-chan then! Come on, Tsubaki-chan, Sumire-chan!” 

Suga hands Fumio over to you, taking the pot off his head and placing it on the table. He reaches his hands out to the girls again, both of whom accept gladly. And with that, he bounds back into the living room where your sister-in-law still waits. 

“One minute, Oji-san!” Sumire calls out this time, genuinely concerned her uncle won’t make it in time. 

But there’s another unspoken rule that’s been accepted by all the participants that ensures Suga’s success. 

Rule 4! The baby gets to be found last. 

Mizu was just 2 years old. He didn’t understand the concept of winning or losing. He just liked it when other people played with him. But the older kids did understand winning. And just like Suga, they were quite competitive. This rule was made to teach them that being nice to those who can’t play as much (like a baby) is more important than winning. 

With this stipulation, Mizu consistently hid in the same spot for every single game. Without fail, in the small woven basket used to house all the family blankets, the baby boy would sit in silence, his mom right next to him on the couch it lays adjacent to. 

Suga was gonna draw it out, though. If it's not a show for the kids, then was there really a point? 

You and your brother (who now had his turn at holding Fumio) watched as Suga ran behind the TV, searched beneath the table, and moved pillows on the couch searching for the baby of the family. 

“30 seconds!” 

“I have no idea where Mizu is! What should I do?” 

Sumire’s face is flushed with worry and excitement as she runs up to him and grabs his hand with both of her own, pulling him towards the blankie basket. “Oji-san! He hides here usually! Hurry before time runs out!” 

You sit down onto the arm of the couch as Suga stares at the woven basket. 

“10, 9, 8, 7, 6, 5, 4, 3, 2…” 

“Found you!!!” Suga pulls the cover of the basket away, triggering an endless stream of baby giggles from little 2-year-old Mizu. Suga picks up Mizu and his stuffed bear that he had been clinging onto. 

“Oji-san wins!!” Sumire jumps up and down, hopping onto her mother’s lap. Tsubaki opts to sit on the floor, ready to watch what was to come. At this point, you and your brother are also sitting on the couch, your anxiousness raising in your belly. 

“So where’s that last piece of paper….” Suga scans the baby for any pockets when he realizes it's tucked into the ribbon around the neck of the bear in his hands. 

“I’ll take him,” your sister in law says as she gently puts Sumire on the side, grabbing Mizu from Suga before sitting down again. 

Suga slides the slip of paper out from the bear’s ribbon and sits onto his knees, retrieving the other pieces of paper from his pockets. 

“Ready for the big reveal?” He asked the kids in tone of voice, but the adults through eye contact. Although he had no doubts all the adults already knew the message. 

Tsubaki nodded in agreement while Fumio’s eyes were trained on his Oji-san. Sumire was fidgety. 

“Alright! So it says, ‘Thank you...’ ‘for giving us…’” he places the little slips onto the floor, leaving a gap for the 3rd piece. “...Something ‘to play with.’ Let’s see what I gave you guys to play with.” The final piece was now being flipped over in his fingers. He was killing himself with the suspense. “Thank you for giving us another-” he drops the last piece into line with the others, “-FRIEND… to play with…”  

Though the words came out of Suga’s mouth, he didn’t process what they had meant right away. For once, the fun and playful Koushi oji-san had dropped his usual playful demeanor for one of complete shock. 

A...a friend? 

Your nerves were now skyrocketing as you felt your brother squeeze your arm in a calm and reassuring manner. You get up, arms hugging yourself as you slowly approach Suga, who was dumb struck on the floor. 

But before you could speak, Tsubaki spoke up, scooching towards Suga, tugging on his arm sleeve.

“Oji-san, remember when I asked you if you and Y/N Oba-san had any babies I could be friends with, and you told me we would have to wait a while?” Suga’s eyes moved to the little girl, wide in surprise. In honesty, her words caught you and your brother off guard as well. 

She remembered that? It was a conversation from around when Fumio was a few months old, and you and Suga had been trying so hard for a child then. She asked Suga if she could play with your kids, somehow convinced that you guys were hiding your own children from meeting her. It crushed you both internally, but you had smiled as Suga told her “Oba-san and I don’t have any friends for you now. But I promise we will give you another friend to play with as soon as we can! You might have to wait for a while though.” He had ruffled her hair and smiled, but it was pained. Though she was young and didn’t understand why, she knew that what she had said had hurt Koushi oji-san, one of her favorite people. You assumed your sister-in-law had told her to just not ask you or Suga about it again, but you never assumed she actually held onto the memory. 

Suga just looked at Tsubaki, waiting for her to continue. 

“... well… Oba-san said that she has a baby in her tummy… and that when it comes out we can be friends… so we wanted to say thank you for keeping your promise, Oji-san.” 

Everything goes still. Even the small children sitting in the room, Mizu now sleeping on his mother’s shoulder while Fumio and Sumire hugged each other, aware of the frozen air... 

...until Suga lets out a shuttered breath. You look at him, watching tears stream down his eyes, and you exhale a breath you didn’t know you had been holding. 

“Yes, Tsubaki-chan, I told you we would keep our promise,” he jumps up, pulling her into a hug and spinning her around. She starts laughing and he laughs too. Before you know it your body starts shaking from giggles and tears that can’t help but escape you. You can hear your sister-in-law crying as well, and feel your brother’s arm pull you into a hug, a bright smile plastered across his face. 

Your sister-in-law had come with you to your doctor’s appointment 3 weeks prior to confirm the pregnancy. However, you wanted to hold off on telling Suga just to increase the chances of the pregnancy carrying through. You couldn’t bear the thought of telling him only to lose the baby mid pregnancy- that would absolutely crush him. So while waiting, you decided to come up with a fun way to tell him, getting your nieces and nephews in on the plan in the process. Although your brother and sister had known, neither had really processed the information. And neither had you. Not until this moment. 

Suga put Tsubaki down and approached you, face completely tear-stained and smile bright as the sun. You always somehow got lost in his beautiful features, and now you felt lost in the happiness radiating off of him. You let him engulf you in his arms, kissing your forehead while his tears rolled onto your face. 

“We finally did it, love.” He whispers. 

You push your face into his button-up shirt, inhaling his cologne and the reminiscent smell of detergent.

“We did,” you murmur against him. 

“Wait, Oji-san and Oba-san are gonna have a baby?!” You hear a surprised Sumire ask loudly. Evidently, she had been a bit out of the loop and Tsubaki one-san had to fill her in a bit. 

“Yes, Sumi, we are having a baby,” you respond, turning your head to look at her but not letting go of Suga. 

You watch the realization dawn on her, turning to Fumio. “Fumio there’s another baby coming!” She jumps up and down once more, spreading her excitement to the little boy who starts clapping and jumping with her. 

“Ba-by! Ba-by! Ba-by!” the two cheer while Tsubaki tries to shush them, Mizu still fast asleep. 

“Alright you two, shhh! Time for dinner. You can cheer more after dinner,” your sister-in-law chides as she heads to the kitchen. 

“Who’s ready for some ramen?” 

“Ra-men! Ra-men!”

--------------------------------------------------------------------------------

Once dinner was over, a movie was watched, the children were put to bed, and dishes put away, you and Suga say bye to your brother and sister-in-law. 

“Goodnight Ni-chan!” you say as you watch him close the door. 

“Night Y/N-chan, Koushi-kun.” He waves a final goodbye. 

As you approach the passenger side of the car, you feel a hand lightly tug your wrist. You turn around to have Suga wrap his one arm around you while guiding your face to his as he gives you a slow and loving kiss. As you pull away, Suga buries his face into the crook of your neck, his smile pressed against your skin. 

“We’ve waited for so long, Y/N… and now it’s finally happened.” 

You pet his hair and snuggle against his head. “I know, Koushi. And it will be wonderful. You’re going to be the best dad out there.” 

“And you’re gonna be a wonderful mom.”

You both stand there for a minute, bodies warm in each other’s embrace and hearts warm in the realization of your shared dream. 

“But you know, our baby’s gonna be really lucky,” you giggle. 

Suga pulls away to look at your face. “Why is that?” 

You put a hand on your stomach.

 “Baby is going to have a lot of wonderful friends to play with, always.”

[the-last-cuddlebender]

So you just refuse canon and bumi and Kya were lying or were just dumb not to realize what was really happening and perfect dad aang didn’t favor tenzin so much and he wasn’t the special one who got all the trips and time with him and was the favorite and every air nation person didn’t revere him and his mother didn’t adore the baby of the family who gave her grandkids and youre right I had to look it up but pema was o n l y 16 years younger and a man doesn’t leave a long term partner to hook up right away with a girl if there wasn’t something going on before even if maybe they didn’t get close to f#cking or maybe it was the worshiping from her that he liked and it was enough even if he really didn’t have anything going on with her but for you tenzin is this perfect victim who never done anything wrong like aang and who only suffered by everyone else being mean and wasn’t loved enough for your liking but this is your hc and to be fair you can have any you want. Bumi was the oldest and he was a non bender that must have been crushing but he kept being a good person and loving his family. Kya was the middle child who was gay and who probably was a bit confused and a bit lost and still was the most caring person ever to anyone and was always willing to help and who even went to stay with her elderly mother. tenzin was the miracle child who got all his parents attention, an island and grow up to expect to be special and a leader who was rigid on his teaching and rules and was also sort of a shitty teacher who also treated a girlfriend/oldest friend like crap not because of the break up but how he did it. That’s all tenzin not just poor baby defenseless never done anything wrong tenzin but if that’s what you want I’m glad he isn’t as loved as you think he should be because with the bits we got his siblings are much more interesting and even better people

(I assume you’re referring to this post about a previous ask, and I’m happy to discuss)

Hi, anon! There’s considerably more for me to unpack here, so bear with me. I’ll try to keep my response contained to a few points:

some child (< age 12) psychology

Katara and Hakoda’s relationship

some pretty dang neat-o history facts that explain more than you think (because my diploma has to be worth something lmao)

(I’m trying to be concise, so if I sound short, please know that’s not my intention. I just wanna save this from becoming a novel. I also just burnt myself with NaNoWriMo, so it may kindof ramble idk)

To start, I don’t refuse the “canon” of the Kataang family, so take that as you will. I gave my argument completely within the lines of TLOK canon because I figured that was what you were after. And I can make an argument for something while not arguing against the opposition. A good argument should be able to validate itself. I never went after Bumi or Kya, and I never would. I love their characters to bits. I was focusing on Tenzin.

Nowhere in my previous post did I say that Tenzin is a ‘perfect victim’ who never did anything wrong. I’m discussing the reasons why I think his character should be explored and appreciated more. He is an extremely complex character just like the rest of the cast. To box him in as “the favored one” is narrow-sighted at best. He’s human. There’s more to him. He didn’t ask for his lot, but he makes of himself what he can with it, just like Bumi and Kya. He by no means had a cozy time (and he has the stress-lines to show it).  

You say that Tenzin was “expect to be special and a leader.” That alone makes me want to know more about him and how he grew up with that weight on his shoulders. That kind of expectation can destroy a person. It’s very a-la the pressures of the first-born in a monarchy crumbling under the stresses of learning to rule. Tbh, I think that’s why Tenzin was written as the youngest, so that the cliché wouldn’t be as obvious.

I have NEVER said that Bumi and Kya were lying or were dumb. I was discussing kid-Tenzin and how/why kid-Bumi and kid-Kya perceived favoritism (all while remaining within the lines of TLOK canon, too). Perception isn’t a bad thing. It’s just someone’s interpretation of the world. Idk if you think there’s a negative connotation to the word, but there’s not. Person A can look at the sky and see the moon and Person B can look at the sky and see a void that makes them feel small and insignificant. It’s just a difference of perception. Just because they’re different doesn’t make one or the other inherently wrong. Different truths are more than capable of co-existing.

FIRSTLY, about Aang passing:

Kya wasn’t the only one to help Katara after Aang passed. Aang left a void in MANY ways, both as a family man and the Avatar. Bumi, being in the military, guarded the world in his stead. Tenzin took up the mantle in the City and on the island. Kya took on the emotional safety-net.

Katara was Aang’s best friend, partner, and second-in-command. She was just as renowned as him. I can imagine the world expecting her to shoulder his burdens in the wake of his passing. She was the Mighty Katara, after all.

ALL of her kids helped her through his passing, in their own way. Being a shoulder to cry on is just one facet, and all three kids helped her beautifully.

Some psychology:

I’ll explain why I think Bumi and Kya perceived favoritism (which every kid does, myself included. It’s natural and somewhat instinctive for siblings) as best as I can. I’m not a psych major by any means, but I can lay down what I know and remember from my classes.

I’m not saying favoritism doesn’t exist in families. I’m talking about family dynamics in situations where favoritism is subjective because it objectively isn’t there. (Others might define favoritism differently, I suppose. But these are my thoughts)

Children (again, I’m talking <12 here) perceive the world differently than adults. They have incredible imaginations and a pretty tame survival instinct. Give a kid one of those mind-bender jigsaw puzzles, and they’ll have a higher chance of success solving it because their minds haven’t grown enough to be constrained by reality. They’re mad geniuses who haven’t been developed enough to be closed off from the possibilities. That’s what makes childhood so precious. 

That’s why even Gyatso wanted to wait until Aang was older to learn he was the Avatar. You have to let the mind grow and fall and dust itself off before you fence it in. This doesn’t discredit or underestimate kids, either. They are extremely capable. I’m just talking about their lesser known psychology.

“Developed” is also a word that doesn’t have negative connotation here. I’m speaking clinically. Some cognitive and executive brain functions aren’t developed until 25. It doesn’t devalue ability or understanding. It’s just a word.

Kids internalize things differently than adults, especially when it comes to interpersonal relationships. Perceived favoritism among siblings (in situations where there objectively isn’t favoritism, of course) is a classic example. Kids need only be a few years apart for this to be seen. If a two-year-old gets a younger sibling, they can regress to breastfeeding because of the perceived favoritism they see being given to the youngest. Mom isn’t going to let the other kid starve, but the kid doesn’t know that. 

This isn’t just in infants, though. And as it can be seen with the Kataang kids (they were all kids when Tenzin went on the trips with Aang, and kid-Tenzin is my focus here): Bumi and Kya don’t ‘know’ that Aang is saving time for them, too, when he isn’t there. All they see is Dad gone with Tenzin and leaving them behind. And by ‘know’, I don’t mean to insult their intelligence. They comprehend why, but their instincts don’t. Siblings have a lot of strange instincts, not just Cain Instinct. Object permanence is critical until critical and abstract thinking are properly developed. Before then, it’s a “I believe what I can see” mindset (in the simplest terms...I don’t wanna wax eloquent about the nuances of it rn. I can see people taking this as me discrediting kids, but I’m not. I’m just trying to explain the Point B missing between Points A and C presented in the show).

Katara:

Children don’t start developing abstract thinking until about age 12. It’s part of their cognitive development. That’s when they start developing critical thinking (and scientific method and etc.) and the understanding of relationships between verbal and nonverbal ideas. Before then, seeing dad take their youngest sibling on field trips would 100% feel unfair, no matter how the situation would be explained to them. They literally can’t understand it.

***Katara: If you want an example, look no further than when Katara confronts Hakoda in The Awakening. Katara knew Hakoda had to go when he did (2 years before the show, by the way, making her 12). She really, really does understand, even when she’s older. But it still hurts, and she doesn’t know why. That’s because the damage has been done. She perceived his leaving differently when she was younger and it internalized differently as a result. She feels a little abandoned even though she knows Hakoda didn’t and why he had to go. Its affects don’t go away, though (as seen in the invasion). 

I never said that Kya’s and Bumi’s feelings would go away or were untrue to begin with. It was real to them, and that’s all that matters, just like Katara’s feelings being real to her is all that matters. Hakoda understands that. Aang would, too.

Is that Aang’s fault? It depends on what your definition of a good dad is and whether or not you give him room to make mistakes. Personally, I think he’s a great dad to all three of his children, even in the canon of TLOK. He just isn’t given a proper analysis in the show. 

Time spent together does not equal time spent loved. Otherwise, school teachers would be more of a parent(s) to a kid than their actual parents.

The acolytes:

The acolytes of The Southern Air Temple being all “Avatar Aang had more kids?” and completely side-lining Kya and Bumi is not in any way a testament of Aang’s or Katara’s characters. That’s the acolytes’ characters. Aang and Katara have no control over what the acolytes do/do not want to believe or think, no matter how many times they would have corrected them. They fangirl over the airbenders in the scene you’re referring to. Even the fangirls in the comics completely side-lined Katara as Aang’s “first girlfriend.” Their behavior in TLOK never surprised me.

Teacher!Tenzin:

Tenzin being a poor teacher was a good thing. It meant he could grow with his equally-poor student so they would become something better together, as mentor and pupil. I found that idea for growth to be pretty darn cool.

Devaluing the opposition:

“The bits that we got his siblings are much more interesting and even better people” objectively, sure, I could agree, but if I met an interesting and awesome person for a short window of time, I wouldn’t believe they were interesting and awesome 100% of the time. Bits of a person do not define their character. Every person has a capacity for just as much good as evil—it’s a variable that stretches equally in either direction.

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History-fun-time with the-last-cuddlebender woohoooooo

(a.k.a. I’ll address my thoughts on the “Tenzin being given the temple” and Tenzin-Pema situations, as you’ve presented them, as delicately and concisely as I can)

Importance of different generations:

If we go on the theory that TLOK mirrors more than just the industrial shifts of the real-world at the turn of the 20th c., then the age difference between Tenzin and Pema isn’t abnormal. (It wouldn’t be abnormal until even the early 1990s.) I have to use some anecdote to explain this, so bear with me:

Their age gap is strange to us because we’re used to things progressing so quickly. History as it’ll be written about the generations from the mid-90s onward will be very, very tricky. Generations now-a-days aren’t as easily defined because of the colossal leaps in technology from the past twenty or so years. 

Loosely, a generation is a group of people defined by relatively the same “changes” that happened in their lifetime (or whose effects affected their early development). There have been way too many changes in technology (which we know has a much stronger effect on a person’s early development now than ever before) in recent decades for that formula to hold up anymore, otherwise there would be a new generation every 4 years. 

An age gap like Tenzin’s and Pema’s feels so much stranger to us because our generations are so tightly layered. 4 years could mean a world’s difference when, back then (and I explain what I mean by “back then” further down), it didn’t change much on the dating scene. Life was more or less the same as they both grew up. It was far slower to change. And everyone in TLOK was growing up in the void of post-war for several decades. The technology jump didn’t (arguably) happen until just before Asami (if still holding up the comparison to modern day), so an age gap even in-universe wouldn’t be abnormal at the time they were dating.

(Even my parents got married at almost the exact same ages as Tenzin and Pema, the only difference being that my mom was 26 not 25. Most people I know are in the same boat. It’s just a generational disconnect)

Kya, Bumi, and Katara weren’t kicked out so Tenzin could be “given” the island (needs time period explanation):

I know TLOK says it got its inspiration from the 1920′s (the inspirations are there), but, if I were to date it, I would say that it’s moreso set in the mid 40′s-ish. (Kuvira ESPECIALLY reminds me of a not-as-known-as-they-should-be person from that time).

Among others, the size of the radios and Tenzin/Pema sleeping in one bed are some easy hints to me about TLOK being set in the mid-40s (if we’re using New York City as the template for Republic City). 

Even in the time of FDR’s earliest Fireside Chats, the radios were monsters that had to be kept in the corner of the living room. Towards the mid-40′s, commercial radios were becoming compact, and the radios in TLOK are pretty darn small. 

The Cathedral Radio used in TLOK wasn’t created in mass in the real world until 1933, and people didn’t have the means or money to replace their massive radios with smaller ones until (arguably) after the New Deal (1933-1939). Thus, I say the 40s.

Tenzin/Pema sleeping in the same bed also supports this time period because it wasn’t uncommon for couples to sleep in separate beds leading up into the “I Love Lucy” era of the 50s (the separate beds were for too many reasons to talk about here because they were a fad--for even medical reasons--for about a century). 

^^^setting the time period is needed to prove why I think Kya and Bumi left of their own volition, why they would do it, and why it was actually quite normal

Kya and Bumi weren’t kicked out of the temple. In real life, it was a trend up until the mid-40s for families to stay in the familial home, some even long after marriage. After that, however, multiple factors encouraged the want and fostered the need for young adults to leave their home as soon as 18. Kya and Bumi would be influenced just the same given the parallels with the time period.

Not all families did. The big (mostly industrial) cities were the first to do this. TLOK mirrors this with Bolin and Mako’s family staying together. 

Republic City, like New York City, was years ahead of these kinds of changes, so they started the one-bed shift and kids leaving the home just before the 50s. (This isn’t to disregard the cultural influences bellying the four nations. I know that familial homes are a characteristic common to Asian cultures since the US is more oft to sending elderly into nursing homes and such--and I’m having a blast learning about Asian culture since my specialty in college was medicine in Europe and the West--, but, here, I’m working on the assumption that the world in TLOK is migrating towards a Republic City standard, and the comics seemed to be hinting at that from as soon as just after the war, not to mention in TLOK.)

Again, kids leaving the home at the age of 18 is a very new thing that’s pretty specific to the US (in the time the trend first started) because of the new opportunities that were so suddenly afforded to younger people post-war. These opportunities were in all areas of life, not just economic (economic arguably being the least contributing factor imo), but that’s a historical essay for another time. 

My point is, kids leaving the familial home began as a choice in a post-war (100-year war, in TLOK’s case) world that encouraged them to do so.

Bumi and Kya were not kicked out so Tenzin could be “given” Air Temple Island. Bumi joined the military, and Kya traveled the world. They CHOSE to leave because there was opportunity to do so (that hadn’t been there for 100 years). They wanted to find their own destinies (and be the nomads they were born as...I always found it to be a great irony that Tenzin, being the poster-child to carry the legacy of the Air Nomads, never really got the chance to be a nomad. It’s sad, really, and potentially another reason why Aang took him on one-on-one trips since he knew Tenzin would be stuck with his legacy?).

Katara (again): As for Katara leaving the island, I believe that, among other reasons, Katara left Republic City because the light pollution made it difficult to see the stars she had grown up with. In real life, the Milky Way used to be visible to the naked eye everywhere in the world, and I think that change would be reflected in TLOK by default. Katara would probably find comfort in something as consistent as the stars and the Aurora lights in her old age. Plus, the city was probably too loud for her, and snow muffles sound pretty darn well.

TO BE CLEAR: This is not a justification. This is an explanation. I’m taking no “side”, here, because I’m not invalidating the opposition to validate my own. These are just my thoughts for how I see Point A becoming Point C in a way that keeps in line with TLOK canon.

*********************************************************************

Final thoughts:

You and I “perceive” Tenzin and his family differently, anon, and that’s okay. That’s just our interpretations of the show. I’m not calling for Bumi and Kya to be torn down so Tenzin can be uplifted. I’m talking about Tenzin (kid-Tenzin) in particular. His character is his character, and his value shouldn’t have to proven by devaluing Kya and Bumi. Likewise, Kya’s and Bumi’s value shouldn’t have to be proven by devaluing Tenzin. Just because they’re “more interesting” than Tenzin doesn’t make them interesting people (meaning that line of logic is flawed. i.e. lesser evil isn’t good because it’s lesser; it’s still evil. They should be interesting if the comparison is taken away, and they absolutely are and for their own reasons). Their characters should able to stand in an isolated argument, and they absolutely do, make no mistake. I love them to pieces, and nothing I’ve said about Bumi and Kya has made them inferior. I love them to death and have written more about them than Tenzin. It wasn’t until I started thinking about Tenzin that I realized his potential.

Tenzin, Kya, and Bumi were never “given” anything, and I doubt they would ever want it to be. They all had it rough, and they all deserve love. Bumi fought for a name in the military. Kya carved out her place in the world. Tenzin dug in his roots and planted the seeds for a garden he thought he wouldn’t be alive to see grow.

Me believing Tenzin should be appreciated more does not mean I believe Kya and Bumi should be appreciated less.

...just like Aang giving Tenzin one-on-one attention does not mean he didn’t give Kya and Bumi one-on-one attention, too:)

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Again, this isn’t an attack on any character, person, or fandom! I’m not a psych expert, either, and I apologize if it sounds like I’m delegitimizing kids and their experiences. I’m trying to do the opposite. I can go more into detail about Kya and Bumi, but this post is a novel already and I'm too burnt out to add more.

I’m just trying to give Tenzin as much love as Kya and Bumi🥰 I love all the cloud babies equally (as I should😤), and I wanted to toss out my two cents for discussion because I don’t see the cloud babies being loved equally in fandom (kindof ironic)

If there is some hidden childhood!tenzin content please hmu I beg🥺

[ramofolympus]

Would you consider writing Ash/Nokk?

Heck yeah I’ll write Ash/Nokk! Also I kinda wanted to do a Soulmate AU with them, with some modern thrown in. I hope this is okay uwu Thank you for the request!

Ash x Nokk (Soulmate AU)

When a person turns eighteen, a tattoo appears on any part of their body, a collection of words that could mean anything. The words were always different, but they were always the key to finding your soulmate; whatever their first words are to you are the same ones that will appear on your skin. Some people have it easy, their soulmate’s first words being a very unique sentence, while others have a harder time figuring whose “hello” meant the most. It didn’t help that the words would normally appear in your soulmate’s handwriting, which also made it difficult to determine chicken scratch, and what it said.

Then there was Nokk, a young Danish woman born into a family of royals, yet she wanted nothing to do with the high life full of riches and balls, those frilly dresses they put her in for special occasions. It wasn’t what she wanted, and anytime she tried to tell her parents that, her father would just wave her off and carry on with his duties. Her mother would try to tell her that there were reasons for all the dresses and meetings with the townspeople, but Nokk never wanted any of it.

As soon as she turned eighteen, she hid away in her bathroom, stripping herself bare just to look for her tattoo. It was weird seeing the ink appear on her ribcage, the words fading onto the left side of her body, just under her breast. She squinted to read the neat cursive, thank god for that, and scrunched her nose when she read the words. My buddy over there thinks you’re cute, and said I should try my luck. The name’s Eliza.

Nokk had brushed her fingers over each word, running the sentence through her mind a few more times before she shook her head and quickly put her tank top and sweats back on. That was the same day her parents gave her the choice to live her own life out in North America, or she could stay with them in Denmark and start her journey to becoming queen. Of course the young woman chose to carve out her path in life, and ended up where she is today: New York City, New York.

Nokk sighed as she put on her usual attire of a black t-shirt, blue jeans, and black boots. It was her first weekend off in a while and she wanted to do nothing but spend her Friday night at a local bar, sitting at a corner table, and watching drunk people attempt to dance with one another. It always made her laugh seeing flushed face men approach equally wasted women, both trying to dance to a nonexistent beat in their heads, yet it was always something she wanted to experience, just not in such a public setting.

The young woman ran a hand through short, fiery orange locks, grabbing her wallet and the keys to her bike. She walked towards the front door of her studio apartment and grabbed her leather jacket and her bike helmet, exiting her living space moments after. As she walked down the complex stairs, she thought of the tattoo on her skin. Every night she went out, she always hoped to meet her lifetime partner, yet she had no luck thus far. Twenty-six years old and still looking. Though, it wasn’t her age that bothered her, no. She was just very impatient.

The sounds of the busy city reached her ears as she found her bike parked on the side, cars and taxi cabs passing by like they did everyday, during the day. It was something she’d never get tired of. It was such a polar opposite dynamic to her town in Denmark, with many people driving limos and fancy cars to events catered to other rich folk. She wasn’t a big fan of it, which is why New York became her favorite place. The city life, full of activity, no matter the time of day.

Nokk shook her head with a chuckle and put on her helmet before turning on her bike and revving the engine a few times just because she enjoyed the roar of it. She carefully maneuvered the vehicle out of its parking space, raising her hand to thank the person behind her for stopping and waiting instead of running her over. It’s almost happened a few times, and she’s grateful that there were still decent people in the world.

There wasn’t much traffic, thankfully, allowing Nokk to arrive at her favorite bar in no time. She took off her helmet and stored it in the compartment under the seat, locking it as soon as she closed it. She stuck her hands in her pockets and made her way inside, quickly finding her usual table. Unfortunately, there was a group of people sitting at the table right beside hers, and damn were they being loud.

She took her seat and waved over the closest waiter. Her order was simple: a glass of whiskey on the rocks and an order of tater  tots, lightly salted. The waiter smiled and walked off to gather more orders. Meanwhile, Nokk ate a few of the salted peanuts the waiter left for her and looked around the bar. The group to her left were still laughing aloud and yelling about god knows what, which eventually caught the Danish woman’s attention. It just so happened that a red haired woman sitting at the table was looking at her in return, for their gazes met, neither looking away until one of the men started saying something to take her attention away.

Nokk glanced back down at the table and continued eating the peanuts until her drink and food arrived. She took her time consuming everything, relishing in the slight burn of the whiskey followed by the crunch and salt of her tots. She was about to call over the waiter for another drink before someone slid into the booth in front of her. She furrowed her brow at them. “Can I help you?”

The man was one of the ones from the table over. He looked to be a little older than her with salt and pepper stubble and a decent amount of hair on top of his. He wasn’t bad looking, but his first words weren’t the ones she was looking for, which she was grateful for since she wasn’t particularly into men as much.

“What’s a pretty lady like you doing over here? And before you say anything, your words weren’t mine, so we’re good on that. See, my lady friend over there was wondering if she could buy you another glass of whatever you’re drinking? How about it?”

Nokk hesitated on answering, but when she looked back at the green eyed beauty she noticed the soft smile on the other woman’s face. How could she say no to that. “Sure, whiskey, light ice this time. Tell her I said thank you.”

The man winked at Nokk as a friendly gesture and slid out of the booth to return to his friends, who started whispering excitedly to the woman with them.

Americans. So forward.

Her thoughts were interrupted by the waiter who brought another glass to her table, setting it down gently with a smile. Now she could go back to enjoying herself with another drink and the rest of her food.

Almost half an hour passed before Nokk was approached once more, but this time by the woman she’s been eyeing all night. Nokk gave her a raised eyebrow in question and couldn’t believe her ears when the woman spoke.

“My buddy over there thinks you’re cute, and said I should try my luck. The name’s Eliza.”

For a good five seconds, Nokk had trouble downing her drink, resulting in her choking on the liquor and coughing as it stung her throat. “Fucking shit, I thought I was going to die by whiskey…”

The woman named Eliza gasped and quickly pulled up her shirt and pulled the waistband of her jeans down enough to see her words fading away. There was no way those were the words tattooed on the redhead’s skin. Nokk felt quite embarrassed after she composed herself.

“Sorry that you had my name on your skin for awhile. Nice to finally meet you…?”

“Just Nokk is fine.”

“Nokk. That’s really nice. I like it. Say, why don’t you let me accompany you for the rest of the night? That way she can get a headstart on knowing one another.” Eliza gave Nokk that dashing smile once more, gesturing to the waiter to bring them more drinks, one each.

Nokk was at a loss for words. Never once did she actually expect to find her soulmate in a local bar in NYC. She couldn’t help but laugh to herself in disbelief. “I’m sorry, but I cannot believe we met in a bar of all places, and that you had the most embarrassing words on your hip. I am so sorry about that. If it helps your handwriting is gorgeous, I mean…oh my god…” She pressed her hands to her face in an attempt to hide her quickly reddening cheeks. This was so unlike her and she was hating it already, but the sound she heard from the woman before her was so worth it.

Eliza laughed softly and shook her head. “It’s okay. Thank you, I enjoyed seeing yours as well. Not the neatest, but it’s legible. Though, when I first saw the words, I was so confused. I was also convinced I would end up with someone so much older than me since I was only a young adult at the time. Glad to know it’s not like that.” She couldn’t help but smile when Nokk looked at her again. Even though the lighting in the bar was low, she could still make out the bright blue eyes and the few freckles on her skin, something Eliza found absolutely adorable.

“So, Nokk, what’s your favorite color?”

Nokk snorted before apologizing. “That’s the first question you ask me?”

“I have to start somewhere, beautiful. Mine is yellow.”

“ That is an interesting choice. Mine is grey.”

Eliza nodded and took a sip of her drink. “That’s unique. Don’t hear that one often?”

The Danish woman leaned forward and smirked. “Do you always ask women what their favorite color is when you first meet them?”

“Not really, since I try not to get involved with anyone I’m not going to be with for the rest of my life. Waste of time.”

At least Eliza was honest, Nokk thought to herself, which was an attribute she was grateful for. They spent the last few hours of the night asking one another simple questions to try and break the ice, but after going on a few dates, the questions became more personal, and Nokk had no trouble telling Eliza about her heritage. How she decided to leave it all behind in favor of finding not only herself, but her partner.

Nokk eventually learned that Eliza was a detective for the NYPD. It was learned the hard way when Eliza took on a case and didn’t respond to any of Nokk’s messages for a whole day. To say the younger woman was upset was an understatement. Eliza had to apologize and make up for it in the best way possible: spending a whole day cuddling with her girlfriend. She didn’t mind it one bit, even as they spent their honeymoon in Europe. She still had no problems cuddling the smaller woman.

And to think it all started because Eliza joined her friends for a night out at a bar, in which she will always be grateful for.

Always.

[televinita]

Books Read in 2019: The Why

In a tradition I accidentally started for myself and now quite enjoy, at the end of the year I look back at my reading list and answer the question, why did you read this particular book? 

Below, the books are split into groups by target readership age, plus nonfiction at the end. This year I have added the category “how I heard of it” as well, because I just think that info is neat.

FICTION

The Visitor - K.L. Slater. 2018. Read because: Ten episodes of The Good Cop weren't enough, so I tried to find something w/ similar characters, and this looked kinda like "TJ as a slightly more withdrawn weirdo." By the time I realized it wouldn't work due to being British, I was too excited by the prospect of a thriller to stop.

How I heard of it: Googling keywords

Like the Red Panda - Andrea Seigel. 2004. The back cover and first few pages reminded me of a friend I had once.

How I heard of it: Library

The Lost Vintage - Ann Mah. 2018. What's that? You've got some secret family history/a mystery from the past to be solved using old personal papers, including a diary? My jams.

How I heard of it: Goodreads

The Asylum for Wayward Victorian Girls (4th ed.) - Emilie Autumn. 2017. I googled for books that promised unique formatting/art design, and Emilie Autumn has always been an intriguing enigma to me.

I Heard the Owl Call My Name - Margaret Craven. 1967. I know this title, but not why -- when I tripped over it in the teen* section and saw how tiny it was, I decided to find out what it was about. (*it's there because it's often taught in schools. It's here because its intended audience is adult.)

Escape - Barbara Delinsky. 2011. Went looking for an audiobook -- the cover with a woman standing on a small bridge amidst the woods drew me in (I can't find that cover on the internet though), and the idea of abandoning responsibility and driving off to a small town sounded like my dream.

How I heard of it: Library

Saul and Patsy - Charles Baxter. 2003. Another search result from my attempt to cast Josh Groban in a novel -- Midwestern-set and a man very much in love with his wife, no worries about the relationship being wrecked? Sweet! (though ultimately, I had to mentally recast)

How I heard of it: Googling

California - Edan Lepucki. 2014. Needed an audiobook. The title and green forest cover caught my eye, and the off-the-grid life + promise of a mysterious and possibly suspicious settler community described in the plot appealed to me.

How I heard of it: Library

The Lost Queen of Crocker County - Elizabeth Leiknes. 2018. Woman moves back home to rural Iowa in a book described as a "love letter to the Midwest"? Look at all these good choices.

How I heard of it: Library

All The Things You Are - Declan Hughs. 2014. Was looking for a different book w/ this title, but saw Spooky Dark House cover + wild summary and wanted to know how that could possibly happen / what the explanation was.

How I heard of it: Library catalog

Tumbledown Manor - Helen Brown. 2016. Cover love. A book about restoring a historic family manor?? BRING ME THERE.

How I heard of it: Library

The War Bride's Scrapbook - Caroline Preston. 2017. IT'S LITERALLY A SCRAPBOOK. I loved her other one like this.

How I heard of it: Goodreads

Miss Pettigrew Lives For A Day - Winifred Watson. 1938. Rewatched the movie and needed to relive an alternate take immediately (especially for more Michael).

How I heard of it: special features on the DVD

April & Oliver - Tess Callahan. 2009. This just screamed "(slightly less storybook) Ned/Chuck AU!!" [Pushing Daisies] at me. There was semi-platonic comfort-spooning in the second chapter, COME ON.

How I heard of it: Half Price Books

A Short Walk to the Bookshop - Aleksandra Drake. 2019. This looked like an even more solid Ned/Chuck AU, missing only the childhood connection/age similarity, with bonus fave keywords anxiety, widower, bookshop and dog.

How I heard of it: Googling

Girl Last Seen - Nina Laurin. 2017. Recently watched "Captive" and wanted a story of the aftermath from the captive's perspective.

How I heard of it: Goodreads (specifically, I looked up an older book by this title intending to check out related recs, but this came up first)

The Road to Enchantment - Kaya McLaren. 2017. Gorgeous cover/title + "single [pregnant] woman inherits late mother's ranch" = an alternate life I want to try on.

How I heard of it: Library

From Sand and Ash - Amy Harmon. 2016. Love between childhood best friends who can’t (well, aren’t supposed to) touch? Sounds like a Ned/Chuck AU to me!

How I heard of it: a book blog post

My Oxford Year - Julia Whelan. 2018. Always here for age-appropriate student/teacher romances -- I had this one saved for a while -- but read now specifically to cast David Tennant.

How I heard of it: Goodreads

The Reckoning at Gossamer Pond - Jaime Jo Wright. 2018. There's a mystery from the past being solved in the present. Also, "inherited hoarder's trailer" made me v. curious about what was inside.

How I heard of it: a book blog post

My Husband the Stranger - Rebecca Done. 2017. It's Find Books That Remind Me Of David Tennant's Roles Month, and this was my crack at "Recovery."

How I heard of it: Googling

The House on Foster Hill - Jaime Jo Wright. 2017. Fixing up a spooky abandoned historic house + solving a mystery from the past in the present!

How I heard of it: a book blog post

Broadchurch - Erin Kelly. 2014. Fell in love with the show, had to immediately relive it in text form.

How I heard of it: Goodreads

The Vanishing - Wendy Webb. 2014. Spooky historic mansion from a reliable author for the spookening season.

How I heard of it: looking up the author’s back catalog

The Scholar - Dervla McTiernan. 2019. The Ruin - Dervla McTiernan. 2018. "Hmmm looks kind of like (Irish) Broadchurch but where the detective character has a girlfriend to fuss over and worry about. Nice." Read out of order because the second one had more girlfriend content, and enjoyed it enough to go back for book 1.

How I heard of it: Googling

The Day She Died - Catriona McPherson. 2014. The cover looked perfect for the Spook Season/gloomy weather. Sign me up for insta-families and murder mysteries w/ MCs in possible danger any day.

How I heard of it: library (literally because it was right next to McTiernan)

Still Missing - Chevy Stevens. 2010. Collecting base material for when I play this scenario (abduction/prolonged captivity and its aftermath) out w/ TV characters I like.

How I heard of it: Goodreads

This Is How You Lose The Time War - Amal El-Mohtar & Max Gladstone. 2019. It sounded EXACTLY like a (genderbent) Doctor/Master or Crowley/Aziraphale relationship.

How I heard of it: a book blog post

The Tale of Halcyon Crane - Wendy Webb. 2010. Wanted an audiobook and I like this author (esp. for spook season).

How I heard of it: author’s back catalog

The Child Garden - Catriona McPherson. 2015. I liked her previous book and this setting looked even spookier and more atmospheric.

How I heard of it: author’s back catalog

Quiet Neighbors - Catriona McPherson. 2016. One last dip into this author...because what part of "woman gets a job organizing the books in 'the oldest bookshop in a town full of bookshops' + an old cottage to stay in" does not sound like my dream life?

How I heard of it: author’s back catalog

Doctor Who: The Nightmare of Black Island - Mike Tucker. 2006. After 2.5 months in a Ten/Rose spiral, the time was nigh to pluck one of their novels I didn’t get around to reading back in my original fandom heyday.

How I heard of it: can't remember

Misery - Stephen King. 1987. I just woke up one day and decided I was in the mood to try this infamous mother of all literary whumps.

How I heard of it: can’t remember

The Whisper Man - Alex North. 2019. Went looking for books that would remind me of the father/son dynamic in "The Escape Artist."

How I heard of it: Googling

Open Your Eyes - Paula Daly. 2018. Second crack at a "Recovery"-shaped novel (it failed instantly because I didn’t take the possibility of diversity into account, but suspense is still a good genre regardless).

How I heard of it: Googling

The Last - Hanna Jameson. 2019. "Dystopian psychological thriller" + the gorgeous hotel on the cover.

How I heard of it: Goodreads

------------------

YOUNG ADULT

Blood Wounds - Susan Beth Pfeffer. 2011. Established quality author + (what I thought was a) thriller premise.

How I heard of it: author’s back catalog

Beware That Girl - Teresa Totten. 2016. I wanted an audiobook, and contemporary YA options are limited at the library. The mystery/thriller aspect sounded good enough to spend 8+ hours with.

How I heard of it: library

Trafficked - Kim Purcell. 2012. I am mystified/intrigued by domestic/non-sexual slavery, and have not seen the topic covered in YA.

How I heard of it: Goodreads

Wild Bird - Wendelin Van Draanen. 2017. I have long been fascinated by teen reform camps for girls in the wilderness.

How I heard of it: library

The Year of Luminous Love - Lurlene McDaniel. 2013. The Year of Chasing Dreams - Lurlene McDaniel. 2014.

The library didn't have Girl With the Broken Heart, but it did have a fat duology featuring similar elements of horses + tragic illness, and a trio of friends that called to mind Sisterhood of the Traveling Pants.

The Pull of Gravity - Gae Polisner. 2011. I was looking for quality male friendships, but the male/female friendship + road trip in this search result sounded like I could cast them as teen versions of Survivor contestants. I forget which ones.

How I heard of it: Googling

The Summer of Jordi Perez (and the Best Burger in Los Angeles) - Amy Spalding. 2018. Established quality author + bright cover, cool title, burger quest, MC's love of fashion and job in a clothing store, and summer in L.A. setting

How I heard of it: Goodreads

Tiger Eyes - Judy Blume. 1981. Found out Amy Jo Johnson was the mom in the movie version, decided to read the book as prep since once again, I knew the title, but not why I knew it.

Darius the Great Is Not Okay - Adib Khorram. 2018. I turned the internet upside down in search of books with quality male friendships, and was pointed here.

How I heard of it: Googling

Big Doc's Girl - Mary Medearis. 1941. Went looking for vintage stories of simple country girls who reminded me of Katharine McPhee's character in The House Bunny. (spoiler alert: this was not it even a little bit, why did I think it was)

How I heard of it: Googling

With Malice - Eileen Cook. 2016. Always here for random teen thrillers, including a fictionalized version of Amanda Knox.

How I heard of it: library

The Girls of No Return - Erin Saldin. 2012. Like I said, I'm big on girls reform camps in the wilderness.

How I heard of it: Goodreads

Hope Was Here - Joan Bauer. 2000. Needed an audiobook. This one was short and by a proven quality author.

How I heard of it: library

Rules of the Road - Joan Bauer. 1998. Best Foot Forward - Joan Bauer. 2006. Bought the first super-cheap a while ago because of the cover/road trip aspect/fascinating first few pages; read NOW to keep the Bauer train rolling, followed immediately by its sequel.

How I heard of it: Goodwill/Goodreads

Now Is Everything - Amy Giles. 2017. Interesting format, sympathetic-sounding main character (edit: What Makes You Beautiful - Ha Ha Ha version.mp3), potential for a sweet and protective romance.

How I heard of it: library

Radical - E.M. Kokie. 2016. Survivalist/prepper teen?  Intriguing and underrepresented concept in YA.

How I heard of it: library

Hit the Road - Caroline B. Cooney. 2006. “It's spring, which means it's time to think about road trips.” Plus I just read a fun teen + old lady on the road book (Rules of the Road). It's thematic.

How I heard of it: library

I Am Still Alive - Kate Alice Marshall. 2018. I dig survival stories, especially in the wilderness, and this one was well recced.

How I heard of it: Goodreads

The Caged Graves - Dianne K. Salerni. 2013. Spook cover!! I MUST KNOW WHY THERE ARE CAGES OVER THESE GRAVES.

How I heard of it: library

Fancy Free - Betty Cavanna. 1961. Found cheap and will read this author always.

How I heard of it: antique store

Once And For All - Sarah Dessen. 2017. Stubborn determination to complete this author's canon and literally no other reasons.

How I heard of it: Goodreads

Wired Man and Other Freaks of Nature - Sashi Kaufman. 2016. People in the Goodreads reviews were mad that the guys were so close yet not gay for each other. That's the very specific male friendship wheelhouse I've been looking for! Plus I know this author can write teen boys in a way I can tolerate.

How I heard of it: Goodreads

Field Notes on Love - Jennifer E. Smith. 2019. Needed an audiobook and this was on display at the library; it looked cute and fluffy and I was ready for an antidote to the Dessen book.

How I heard of it: library

Midnight Sun - Trish Cook. 2017. Needed an audiobook and sick!lit seemed the most reliable of my options, given that previews for the movie had looked okay and it was real short.

How I heard of it: library

9 Days and 9 Nights - Katie Cotugno. 2018. Sequel to a book that drove me insane, but where I loved the writing style and was frustratingly fond of the characters so I Had 2 Know what happened next.

How I heard of it: Goodreads

Your Destination Is On The Left - Lauren Spieller. 2018. Attractive cover + keywords like "nomadic RV lifestyle," Santa Fe, post-high-school YA, and internship

How I heard of it: library

Weird Girl and What's His Name - Meagan Brothers. 2015. X-Philes?? In MY modern-day YA fiction?? (with a side of inappropriate age-mismatched relationship?)  My interest is more likely than you'd think!

How I heard of it: library

All Out of Pretty - Ingrid Palmer. 2018. Attractive design + arresting first page piqued my curiosity

How I heard of it: library

Hitchhike - Isabelle Holland. 1977. Vintage book w/ a puppy on the cover, by an author I like.

How I heard of it: Goodreads

Send No Blessings - Phyllis Reynolds Naylor. 1990. Reread from high school after it came up on the What's The Name of That Book? discussion group; felt a strong pull of positive feelings but couldn't remember much.

How I heard of it: Goodreads

The Year of the Gopher - Phyllis Reynolds Naylor. 1987 Wanted better understanding of the source material before reading an essay about this book and the above in Lost Masterworks of Young Adult Literature.

How I heard of it: another book

Up In Seth's Room - Norma Fox Mazer. 1979 There was an essay about this in Lost Masterworks too. I had read it a long time ago and remembered NOT liking it, but figured I might as well revisit it to review on Goodreads.

How I heard of it: library

Blizzard's Wake - Phyllis Reynolds Naylor. 2002. Happened to be on the shelf when I checked to see what non-Alice books of hers the library had in stock, and figured as long I'm on a Naylor kick, this might as well happen. Mainly ‘cause I saw "deadly blizzard" on the back and was like "WOW this seems useful for my hurt/comfort scenario stockpile."

How I heard of it: library

A Whole New World - Liz Braswell. 2015. Seeing the new Aladdin trailer blew up my heart with FEELINGS for the original, so I went looking for a YA retelling. Can't believe I found an actual Disney-based retelling.

How I heard of it: Library catalog

After the Dancing Days - Margaret I. Rostkowski. 1986. The connection between Roy and the little girl in The Fall reminded me of this book, so I reread it specifically to visualize Andrew as Lee Pace.

How I heard of it: Library

There's Someone Inside Your House - Stephanie Perkins. 2017. I'll read most any teen thriller you throw at me. The more murders the better.

How I heard of it: Library

All the Forever Things - Jolene Perry. 2017. Loved the author's writing style on a previous book, but couldn't stomach the love triangle. Wanted to give her another chance.

How I heard of it: Library

Aristotle and Dante Discover The Secrets of the Universe - Benjamin Alire Saenz. 2012. Been on my TBR for a while because quality male friendship; read it now to see if I should keep or get rid of the dollar store copy I bought. (answer: get rid of. it's good but not amazing to me personally)

How I heard of it: Goodreads

The Hollow Girl - Hillary Monahan. 2017. Violent revenge fantasy against rapists? Especially to save the life of a guy you like who was brutally beaten during your assault? Heck yeah.

How I heard of it: Library

The Opposite of Love - Sarah Lynn Scheerger. 2014. The hurt/comfort potential was off the charts and it vaguely reminded me of Ryan/Marissa (the O.C.).

How I heard of it: Library

Sophomore Year is Greek to Me - Meredith Zeitlin. 2015. It just looked light and cute, like summer.

How I heard of it: Library

Girl Online On Tour - Zoe Sugg. 2015. Girl Online Going Solo - Zoe Sugg. 2016. Two sequels to a book I enjoyed.

How I heard of it: Goodreads

Plague Land - Alex Scarrow. 2017. Plague Land Reborn - Alex Scarrow. 2018. Always here for illness-based apocalypse/dystopia. Would have finished the trilogy but library doesn’t have book 3 yet.

How I heard of it: Library

Pretty Fierce - Kieran Scott. 2017. Spy daughter of spies running for her life along w/ doting boyfriend (named Oliver, a name that has never let me down in fiction)? The ship radar is sounding OFF.

How I heard of it: Library

The Leaving - Lynn Hall. 1980. Will read any LH book, but this one was small and easy to take on an overnight trip plus everything about the summary and first couple of pages drew me in.

How I heard of it: author’s back catalog

Speed of Life - J.M. Kelly. 2016. Beautiful cover, blue collar family, unusual premise (twin sisters co-parenting the baby one of them had, no dad in sight), and I love stories where teens are (essentially) head of household.

How I heard of it: Thrift Books

Freshman Year and Other Unnatural Disasters - Meredith Zeitlin. 2012. Looked light and cute, because it's back-to-school time and lately I've been enjoying study blogs from people just starting high school.

How I heard of it: Library

The Land of 10,000 Madonnas - Kate Hattemer. 2016. Unsupervised teens a-wanderin' through Europe? Sign me up for that vicarious wanderlust.

How I heard of it: Goodreads

A Thousand Boy Kisses - Tillie Cole. 2016. A romance w/ astronomical hurt/comfort potential. (spoiler alert it’s too sickly saccharine even for me)

How I heard of it: Goodreads

Hooked - Catherine Greenman. 2011. Random reread of a book I had come to believe should have been 4 stars rather than 3, but couldn’t remember well enough to feel confident in changing the rating without checking first.

How I heard of it: Library

Appaloosa Summer - Tudor Robins. 2014. Horsey YA + after years of it being on my TBR, the author saw me post about this fact and offered to send me a free paperback copy for review.

How I heard of it: Goodreads

I Stop Somewhere - T.E. Carter. 2018. I too identified as a girl my classmates would never notice was missing (moreso in college, but still). Plus it's getting close to Halloween, so time for spooky/true-crime-esque reads.

How I heard of it: library

What Waits in the Woods - Kieran Scott. 2015. An ideal spook setting for the spook season!

How I heard of it: Library

Illuminae - Amie Kaufman & Jay Kristoff. 2015. The formatting/art design just sounded cool and unique.

How I heard of it: a book blog post

Boot Camp - Todd Strasser. 2006. I went to the library to check out a different book of his, but this caught my eye because WHUMPITY WHUMP (with a side of pining for the teacher he had previously been in a relationship with).

The Last Trip of the Magi - Michael Lorinser. 2012. Picked up cheap at a book sale for the struggling-to-survive-a-winter-night-outside aspect.

A List of Cages - Robin Roe. 2017. Male friendship loaded with hurt/comfort.

How I heard of it: Goodreads

-------

MIDDLE GRADE

Sparrow Road - Sheila O'Connor. 2011. The setting -- an artist's retreat at an old mansion on sprawling estate grounds formerly used as an orphanage -- captivated me.

How I heard of it: a Little Free Library (outside of a mansion repurposed as an art council's center, actually)

Annie's Life in Lists - Kristin Mahoney. 2018. I LOVE LISTS.

How I heard of it: library

Hope is a Ferris Wheel - Robin Herrera. 2014. Still grinding my teeth over Dessen's Once and For All, I was desperate for a sweet middle grade story to refresh my palate. Gimme that bright cover. Ooh, and a trailer park kid?

How I heard of it: Library

The Education of Ivy Blake - Ellen Airgood. 2015. Prairie Evers - Ellen Airgood. 2012. Also intended as a Dessen antidote, I picked up the sequel first due to the incredibly charming excerpt on the back, and then fell so in love with the character and writing style I needed more of her world.

How I heard of it: Library

When You Reach Me - Rebecca Stead. 2009. Rave reviews from friends; mystery aspect sounded intriguing.

How I heard of it: Goodreads

Counting By 7s - Holly Goldberg Sloan. 2013. Picked up cheap at a fundraiser garage sale I wanted to support; seemed easily readable.

Summerlost - Ally Condie. 2016. Young!Ned/Chuck AU?? (spoiler alert: maybe if it wasn't so boring)

How I heard of it: Googling

Where The Heart Is - Jo Knowles. 2019. "Country girl taking care of the animals at a hobby farm across the road" = the childhood dream and also I wanted to ignore the summary and hope I could still get a Young!Ned/Chuck AU. How I heard of it: Library

The Wizards of Once - Cressida Cowell. 2017. Twice Magic - Cressida Cowell. 2018. First one: David Tennant reads the audiobook, and literally no other reasons.

Second one: Ah heck turns out I kind of loved how David Tennant read that audiobook and want more.

How I heard of it: Library catalog

My Sister Lives on the Mantelpiece - Annabel Pitcher. 2011. David Tennant reads the audiobook, and literally no other reasons.

How I heard of it: Library catalog

----------

NONFICTION

Seinology: The Sociology of Seinfeld - Tim Delaney. 2006. It's sociology, it's Seinfeld, what's not to love?

How I heard of it: Goodreads

Survivor: The Ultimate Game - Mark Burnett. 2000. At the beginning of the year I was obsessed w/ this show like never before, so a detailed recap of one of its seasons seemed like the ticket to complement that.

How I heard of it: Googling

Jungle: A Harrowing True Story of Survival - Yossi Ghinsberg. 1985. Loved the movie, wanted to relive it in text form.

How I heard of it: special features on the DVD

Lost Masterworks of Young Adult Literature - ed. Connie Zitlow. 2002. There was an essay about Send No Blessings in here. If that's the kind of book this book is about, I wanna hear all about it.

How I heard of it: Library catalog

Animals in Young Adult Fiction - Walter Hogan. 2009. From the same publishing line as the above, which I loved, I figured this was even MORE my specialized reading niche.

How I heard of it: Goodreads

Phantoms of the Hudson Valley - Monica Randall. 1996. When I have I ever NOT wanted to read about grand mansions of yesteryear -- especially if some are abandoned ruins?

How I heard of it: Goodreads

Seven Cats and the Art of Living - Jo Coudert. 1996. Picked up cheap at a library sale because cats (and the cute author-illustrated cover painting).

Psychic Pets and Spirit Animals: True Stories From The Files of Fate Magazine. 1996. Random reread of a childhood favorite.

How I heard of it: B. Dalton's (THAT’S how long I’ve had this book, y’all).

Extreme Couponing - Joni Meyer-Crothers with Beth Adelman. 2013. Who doesn't love saving money? But I am not very coupon-savvy and wanted to learn.

How I heard of it: Library

Cabin Lessons: A Tale of 2x4s, Blisters and Love - Spike Carlsen. 2015. Having the money/skill to build my own cabin on MN's north shore is a fun daydream.

How I heard of it: Library

The Little Bookstore of Big Stone Gap: A Memoir of Friendship, Community, and the Uncommon Pleasure of a Good Book  - Wendy Welch. 2012. Opening a used bookstore is my impractical dream too.

How I heard of it: Library

Belonging: A German Reckons With History and Home - Nora Krug.  2018. Illustrated memoirs are always awesome.

How I heard of it: Library

The Astor Orphan: A Memoir - Alexandra Aldrich. 2013.

Rokeby was one of the estates that fascinated me in Phantoms of the Hudson Valley, and the content of this one took place around the same era that book was written.

How I heard of it: Goodreads

I'll Be There For You: The One About Friends - Kelsey Miller. 2018. Am I going to turn down "a retrospective" about one of my favorite shows?? I am not.

How I heard of it: Goodreads

Season Finale: The Unexpected Rise and Fall of the WB & UPN. 2007. Recommended after the above because I love hearing how network TV stations are built in terms of programming decisions.

How I heard of it: Goodreads

Paperback Crush: The Totally Radical History of 80s and 90s Teen Fiction - Gabrielle Moss. 2018. Take how I reacted to Lost Masterworks of Young Adult Literature, and multiply it by "fully illustrated with brightly colored pages." These are the kind of books I’m familiar with and always down to talk/hear about, but hardly anyone else is.

How I heard of it: Goodreads

[gretagerwigarchive]

Here's How 'Lady Bird' Created an Iconic Teenage Bedroom From Scratch

by Laura Schocker, Mar 4, 2018. source: https://www.apartmenttherapy.com/lady-bird-set-design-bedroom-meaning-256361

The coming of age movie is a Hollywood staple, which often depicts a young woman whose story is defined by a romantic relationship. Part of what made this past year's Lady Bird so special is that its subtle telling of a teenage female experience—from tenuous mother/daughter relationships to shifting friendship dynamics—relied on Lady Bird's personal growth as the main storytelling device. Its actors have received plenty of accolades ahead of Sunday night's Oscars. But one supporting role we think deserves mentioning is Lady Bird's wonderfully-nostalgic, turn of the millennium bedroom.

The teenage bedroom is also often integral to the coming of age story (think: Frenchy's bedroom in Grease or Dawson's movie-poster plastered room in Dawson's Creek). And Lady Bird is no different — the room is both the site of and the refuge from parental fights, as well as an expression of her personality. "We really wanted to show that she was somebody who cared about things as much as she's going through these pains, and trying to fit in," production designer Chris Jones told Apartment Therapy. We spoke to Jones about how he, along with writer and director Greta Gerwig, set decorator Traci Spadorcia, and the rest of the team built those feelings from scratch in a real home in Van Nuys, California.

I read that Greta Gerwig said she wanted Lady Bird to "look like a memory." I think a lot of us have these very real memories about our teenage bedrooms—whether it's the posters that hung on the walls, or the books on the shelves, what we stashed in the desk drawers. How did you go about creating those memories from scratch for Lady Bird? What feelings were you trying to convey with the objects?

 We wanted the bedroom, most importantly, to show the layers of history that Lady Bird already had. The movie is about what happens to her throughout the film, but also what happened to her and what could happen to her in the future, that whole transitional period. We wanted the bedroom to feel like it was also in that transition and growing from something younger to something older.

We went looking for furniture that could be little girl furniture, but that she had kept. The desk in the corner was really an old white desk from, say the 80s and the 90s. Then the bed, it's missing a spindle here and missing a piece there, because it's been around for a long time. We wanted that to be the basic structure of the room. Then we built on top of that with the items that would be more teenage and more adult.

Why did you choose pink for the walls?

Greta and I had spoken about colors, and we wanted the entire film to have a pastel color palette, based on paintings by Wayne Thiebaud, a painter in Sacramento. When it came to her room, we talked about pink or purple. But purple is kind of a royal color, and pink is a bit more playful, and we felt that the character was more playful and strong.

The paint was something that we also thought might harken back to being a little girl, but it's a hip cool color. And it blended with her hair color that we had in the film. It was also very different, shockingly different, from the rest of the house. We did a lot of camera tests with the pink to make sure it was going to work, and to make sure it wasn't going to be too different from the rest of the house so it felt separate.

And how did you build on top of that?

When you work on a film with the budget that Lady Bird had, you can't always get everything you want. And one of the things that's hard to do in a room that's covered with all kinds of imagery like that, for a film or any kind of media, is getting the clearance on items you're showing. One of the things that was relatively inexpensive was album covers. We decided to pick music from the time to show bands she'd be interested in. There was a Bikini Kill cover, a Pixies cover—albums we thought would be cool in that time period and that Greta listened too as well.

We loved making it look like she was always working on something. Besides the art we found and made ourselves, one of the things that really added to the room and that she was proud of were those "Lady Bird for President" posters, and we ended up putting those on the walls too, and it just added to the mix. What was really cool was that we were designing those posters and doing samples for Greta early on, and we used construction papers and feathers and bird heads, until we decided to get kind of weird with it, which were the ones we ended up using in the film. But some of those early prototypes ended up being on the wall, and it was really a beautiful little addition because we tried to use birds throughout the film without being too heavy handed.

The messiness of the room felt very real. It reminded me of actually walking into a teenage bedroom. How did you create those layers?

We were working with April Napier, the costume designer, so we had the actual costumes she was wearing in the film in her closet. As we were doing that, we would find ourselves bringing the clothes in that wardrobe had on their racks, and we would lay them on the bed and start hanging them on the closet or getting them ready for the shot. We realized it was great that she hadn't put her clothes away. There's that whole scene where her mom comes in and is unhappy with the fact she's not taking care of her things.

Because the room has a very busy, jewel-like quality, we wanted to keep it messy. The clothing was a big part of it and the rest of it really came from the way the way the room is dressed. We wanted to get it chock full. We started sticking stickers and little plastic spiders, and hanging Mardi Gras beads from a lamp or whatever. Once that layering started to happen, it really began to give a cluttered, yet not-difficult-to-look-at feel.

Where did you source everything from?

All of the furniture actually came from two big prop houses at the studios. They have furniture that is not in the best shape, which we wanted and the nice thing is that you can rent it. But all the ephemera, all the little pieces, the stuff that filled the room—the day before we were supposed to shoot the first scene in that room, we all agreed that we didn't really have enough stuff. So I went to a store in Downtown LA called Moskatels. Moskatels had all the stickers, all the hearts, all the spiders, all the snakes, all the bird feathers, all the green, all the dead roses. Everything you see in that whole room, a lot of those little pieces came from Moskatels in one big shopping trip I took the morning of the shoot. Then all of us worked together to get it up on the walls.

 Any computers, phones, lights, clocks—any technology needed to feel just right. It's amazing to think that even in 2003, we barely had the phone technology we have now. Only 15 years ago, we were really lacking all the cords, cables, USBs, and chargers we have now.

What about the rest of her house? How did you design her room to be different in mood?

 There's this line about the house being from the other side of the tracks, which can be a negative reference. But for us, wherever they lived, we knew that Marion and the husband loved this house, and it had been their house for a long time. We wanted the house to feel well loved, not sad or disgusting. It was always neat, it was always clean, but it was a muted tone. It showed there was a bit of sadness in the house.

So Lady Bird grows up with that, and starts her life with that as a kid. I felt with all of the items on the walls in her room, and everything that filled the space, it really felt loved. The house also had that, but it wasn't so blatant. It was more about the care and the placement of items.

It seems like bedrooms always play such an important role in classic movies and TV shows. Why do you think they're such a storytelling staple?

It's a person's private zone. It's important to show the character's personality in the bedroom, because that is where they will spend a good portion of their young life. It is almost like your psyche; your bedroom becomes a place where you lie and look at the ceiling—it's the place where you look at your world and experience your world.

It's also the place you go to escape. When you want to go someplace to get away from it all, you tend to go to your bedroom and lock the door.

Do you have a favorite pop culture teenage bedroom?

Maybe Ferris Bueller's bedroom. I was really into music so the fact that John Hughes used music so effectively in his films and that Ferris Bueller had posters for Morrissey and all the bands that I was into, struck a chord with me.

What's funny is that as old as it is, The Brady Bunch boys' bedroom is very similar to the way I grew up with a brother. We had bunk beds and you spend a lot of time connecting and communicating with your siblings on those bunk beds. Even though it's a bit generic and less naturalistic, I still feel that—I can picture The Brady Bunch bedroom in my head to this day, which is odd, but good.

We talked a bit about Greta's influence on Lady Bird's bedroom. Were there any of your own childhood bedroom influences, or anyone else involved in making the film?

Traci Spadorcia, the set decorator—she did little things that were personal touches, like tying up a ribbon that didn't make sense why it was there, putting a picture at a certain angle, or layering one picture over another because that's what she had in her bedroom.

At the end of the movie, when she's moving out, Lady Bird paints over the walls. Can you talk a bit about what that literal fresh start symbolized for you?

That wasn't in the script. But when we talked about how we had to put the room back for the homeowner, Greta and I talked about how long it was going to take to get all of these little items off of the wall. And she said, "Why don't we all help?" And I said, "Yeah," laughingly, and I included Saoirse [Ronan, who played the title character]. And then we all started thinking about it, and we thought, well what if Saoirse and the mom were taking the items off the wall?

We decided the art department would take down quite a bit of it, but we would have them take over. It happened organically. Yes it's symbolizing the end of something, but also the beginning of something else, which Greta has talked a lot about in interviews. They did it together for a while, but then Saoirse just kept going, she just kept wanting to do it. It was really nice to get a lot of footage of her really making the room fresh and clean. It's almost like she cares now. Before it didn't seem like she cared, but she's leaving something for her mom, who she hasn't spoken to much for the summer.

It's not just change, it's a clean slate. It means she's going to go on to something new. And in the next few scenes, you see she starts using her real name. She starts using Christine instead of Lady Bird after she does that change for herself.

[sealedbeastnue]

ayyy im watching like , a shitload, of anime this season. so im doing like 1-2 sentence Initial Reviews to show my contempt for anime (its because I dont have time haha)

get ready for Jokes.gif

symphogear S4: everyone is hot. lesbians are buff and have terrifyingly arousing voices and everything is off the fucking rails already at episode 4 watch this show

isekai restauraunt: earth gentrifier scams medieval AU out of hard earned silver coins because theyve never had grilled cheese or fried chicken

youkai apartment: touhou except its not, this actually ended up good despite being really plain and i’m kind of digging the sincerity and weight of it

skirt no naka: trap moar

knight’s & magic: trap moar also this is kind of cool and has subtle humor

fate apocrypha: TRAP MOAR and this is of course one of the top shows this season who didnt see that coming? classic fate PLOT TWISTS

princess principal: steampunk except not obnoxious and with, again, scary girls who are tough and get shit done. I keep rewatching scenes because its so good

centaur no nayami: if youre going to adapt strong source material you have to either 1) dynamic animation 2) interesting art style 3) good music 4) strong body posing instead of Standing and Sitting, pick 2-3 and not 0 instead

action heroine cheer fruits: budget sakura quest with actually some cool fight animation? I’m into this its just silly enough without being irritating or dumb

the reflection: old man fails to make superhero anime

kakegurui: SHALL WE GAMBLE? (fapping furiously against a gun)

ballroom e youkoso: this show was written by a aliems. I dont understand a goddamn thing thats going on or any of the style choices. (close to dropped)

shoukoku no altair: sleeper hit, its about “Turkey” and “European Politics” pre “World War 1″ this show is fucking hype and doesnt pull punches. and has the best ED illustrations of the season

vatican miracle examiners: CHRIST MEMES I dunno boyz im just here to have some fun with this silly shit (though I think its actually getting good now)

classroom of the elite: kind of a budget kakegurui but its neat, I like just how fucked everyone is and how nobody realizes theyre a bunch of assholes. cant wait 4 these kids to be completely ruined forever.

hajimete no gal: I still havent determined whether this show is misogynist trash or whether it’s chugging respect women juice but im leanin towards the latter

hina logi: its not gripping me for some reason because it’s very, extremely fluffy, but this show is sorta gay and has an AWESOME OP animation/song full package. its not bad I probably need to give it more attention and respect to enjoy it more

netsuzou trap: sexual violence has never made me feel this filthy and wrong! hooray! (close to dropped)

nana maru san batsu: were you in quiz bowl in school? (TUCKS HAIR BEHIND EAR) ITS TIME TO D_D_D_D_D_-dd-d--d-d-D_D DUEL

made in abyss: another sleeper hit, this is top 5 of the season for sure. the worldbuilding and subtlety is top tier and the animation outshines most animated films you need to watch this

gamers!: came for the Possible Memeworthyness, staying for the I Dont Know If This Is Good Yet but it might actually be good. we are all gamers though I dont really know whats up with main girl she spent episode 2 drooling and starin idfk whats going on my dudes

tenshi no 3P!: die (dropped)

touken ranbu: its about boys and it has weird kind of awkward animation. I was hoping for a 4th TRAP MOAR this season but it looks like this one’s not for me also shakycam does NOT belong in animation. (dropped)

aho girl: not my type of comedy but I guess not bad (dropped)

clione no akari: I have no idea if this is good but based on the simplicity I’m guessing no, its not very interesting. (close to dropped)

smartphone: fuck you (dropped)

keppeki danshi: this might be ok for people who like Boys and Comedy Sort Of. watch if you like those things I think this could be a good show but I aint about that life. (dropped)

18if: No.    (dropped)

battle girl high school: Stop making shows now (dropped)

yami shibai S5:  ?????? ???????reality is breaking down around me (dropped)

-----

holdovers and other stuff:

castlevania netflix anime: dude this was really fucking cool I was amazed. so much viscera and awesome animation I highly enjoyed and lookin forward to S2

sin nanatsu no taizai: please come back... why did your studio shut down please I just want closure... , _____ , bub...

maid dragon specials: WHY ARE THESE BACK? PLEASE PUT THEM AWAY

sakura quest: best, best best tier. best fucking tier you need to watch this show about young adults finding their place in the world right now.

granblue fantasy: “eh” (dropped)

re:creators: noooooooooooo idea

stella jogakuin koutou-ka c3-bu: more girls with guns and fucking weirdos? I’m all over it.

seikon no kwaser: I, too, like breast milk.

[its-just-like-the-movies]

May Viewing List

Given that I now have two jobs that occupy a good amount of my week I’m so genuinely amazed I was able to get this close to last month’s number.

Casting JonBenet (17, B+/A-): As intimate with the actors as they are with their parts. Life experience as credibility in interpretation. - May 1, 2017 (review)

The Fighter (10, A-): O’Russell realizes the best possible version of this script to create a stunning, spiky showcase for everyone involved. - May 2, 2017

4 Months, 3 Weeks, 2 Days (07, A-): An incredibly tense, textured portrait of two women in a time and place that’s slowly creeping back. - May 4, 2017

The Butler (13, C-): Gumpy, conventional plotting, odd casting & makeup undermines everything neat about Daniels. Amazingly broad. - May 4, 2017

Props to David Oyelowo for being the stillest thing in that movie, enhancing everyone else while giving a great, quiet performance.

Pitch perfect supporting acting. Great work, improves the lot, and you wonder why this isn’t a movie about him and the Black Panthers.

Don’t Think Twice (16, B): Spry cast, easy chemistry, remixed script beats elevate this tale of relocated dreams and success. Jacobs! - May 5, 2017

Nebraska (13, C-): Dern gets his Crazy Heart but instead fights flat, mean direction & plotting, false emotions & atmosphere, shitty musak - May 6, 2017

Face/Off (97, B+/A-): So deliciously, entertainingly Extra, finding the perfect tone to pull off this astounding nonsense. Cage! Allen! Woo! - May 7, 2017

Aladdin (92, B-): Feels like a different Disney musical than the 10′s movies. Lovely songs. Williams more magical than the Genie. - May 7, 2017

Guardians of the Galaxy Vol. 2 (17, B): Such a wide color palette! Shaky til “Come a Little Bit Closer”, then becomes the space opera it dreamed of. - May 7, 2017 (review)

Who else thinks Guardians of the Galaxy 2 should’ve been a musical, and that the next one should just go for it?

Florence Foster Jenkins (16, B-): Great fun, especially the leads. Generous, but overly so? Seems to resist a deeper dive into her rise. - May 8, 2017

And with that, I’ve seen all the 2014, 2015, and 2016 acting nominees!

Nightcrawler (14, B-): Provocative, in distinct and generic ways, but strained. Wonderfully lit, creepy, and blunter than Snowpiercer. - May 8, 2017

The Innocents (15, B): Textured like a Gothic horror story. Milieu I’ve rarely seen in this genre. Intertwined, parallel narratives hit hard. - May 9, 2017

Autumn Sonata (78, B+): Bergman, Bergman, Ullmann, and Nyqvist just beat the shit out of me for ninety minutes and it was an incredible experience. - May 9, 2017

Dheepan (16, A-): I noticed so much more in practically every aspect the second time around. Camera, Srinivasan my favorite elements. - May 9, 2017 (rewatch)

Blue Jay (16, B+): Another one that spiked up for me. Dynamics even richer the second time around. Paulson and Duplass are so lovely! - May 10, 2017 (rewatch)

Blue Caprice (13, B+): Hard, risky, genuinely nightmarish. Symbiosis, paranoia as real bonding. Finds so many questions in its own answers. - May 11, 2017 (rewatch)

The Immigrant (14, A-): An operatic marvel, moving freely through every period of cinema. And so gorgeous! God rewatching things is great. - May 11, 2017 (rewatch)

The House of Mirth (00, B+): A warmer, more conventional, but just as impassioned cousin to Portrait of a Lady. Great look. Gillian shines. - May 11, 2017

The Lady Eve (41, A+): Lord why don’t they make them like this anymore? Quick, witty, lovely, silly, paced like a dream. Superb. Stanwyck!!! - May 13, 2017

I get how problematic the setup could be if made today, but it’s hard to image a modern comedy with this much genuine craft at all levels.

The Stanford Prison Experiment (15, B): Every element builds & improves as it goes. Not sure how much to credit any one part over source material. - May 16, 2017

Maybe because the real thing is so pervasive in the culture already but I’m not sure what I got out of this. Already thinking about B-.

Cool Hand Luke (67, B+): Lots to say about people, about one among many, and how we treat them. Newman makes it about a man. - May 16, 2017

We Own the Night (07, A-): Technical prowess and directorial strength ably fight off genre cliche. Tense, captivating, and very much Gray’s - May 16, 2017

Network (76, B+): THIS was the film so many adults have said I’d be inundated to because of the world now? Friend, that makes it stronger. - May 18, 2017

Malcolm X (92, B-): Artistically and politically valuable even in the sequences Lee is less interested in. Not always both at the same time. - May 19, 2017

That being said, Denzel is incredible, giving a massive performance in an epic that’s sporadically as alive as he is.

The cinematography, especially the lighting, is also really spectacular. It’s artistically strong across the board, just conventionally told.

Secret Sunshine (10, B+/A-): Grabs you by the gut with bracing handlings of trauma and religion, albeit with small hiccups. Jeon’s a marvel - May 19, 2017

The Wolf of Wall Street (13, D+): Is there anything to even say about it? No new ideas from scene one. Boring depravity. So visually dull. - May 20, 2017

Melina, after making a joke about snorting coke out of a stripper’s ass: ”Can women really have it all?”

Alien: Covenant (17, B-): The case against humanity, by David. Human stupidity as real plot logic. Sets, VFX even better than Fassbender. - May 21, 2017

After the movie I realized I almost have the same haircut that Katherine Waterston has. So that’s neat.

August: Osage County (13, C): Not all the pieces fit, especially with so many sharp edges shorn. But Streep’s incredible, Roberts gets it. - May 21, 2017

Passion (13, C): Weirdly uninspired style for such a pulpy tale. Awful sets balanced by great clothes. Score works. McAdams on point. - May 21, 2017

Love & Mercy (15, B): Limited in scope but what textures it finds. Separates art and madness even as they feed each other. Great leads. - May 22, 2017

All three really blew me away, and between this and the Manson You Must Remember This episode, hot damn are The Beach Boys interesting.

And on a totally unrelated note, Paul Dano can fucking get it. Oh yes. Yes he can. Young Brian did have a sweet bed. I’ll stop now.

The Final Girls (15, B+): There’s an even more inventive script in here, but so much more going on visually than I realized. Åkerman! - May 22, 2017 (rewatch) (review)

The Iron Lady (11, C): Damp rag baby of La Vie en Rose and The Whisperers. Messy camera and direction. How much really happened here? - May 24, 2017 (review)

Sweet Bird of Youth (62, B): Scrumptious. Not quite the play but expands nicely. Page a delectably seasoned ham, Newman a sweet hunk of meat. - May 25, 2017

Stage Door (37, A-): Is it a bird? A plane? No! It’s the inner lives of over a dozen artistic, intelligent women, right there on the screen! - May 25, 2017

Is there any point in film history where this project isn’t a miracle? Why hasn’t this been remade every ten years? God, was I in heaven?

Caterpilar (11, B): So confrontationally severe in content and style, even as it dilutes itself in the final third. Iffy taste, but it hits. - May 26, 2017

Harry Potter and the Goblet of Fire (05, C+): No tweet (rewatch) - May 26, 2017

Me, watching Goblet of Fire: “Why couldn’t Ron have dated Hermione AND Krum?”

My mom, every time we watch a Harry Potter movie: “It shoulda been Harry and Hermione.”

Not to read too deeply into things but Ron being Harry’s person he has to save is Really Gay

Easy A (10, C+): Kinda spotty outside Stone, but boy does it care about her. And lord does she make it something special. - May 27, 2017

It’s abominable that with a filmography seemingly built on delightfully supporting women Stanley Tucci’s sole Oscar nomination is for Lovely Bones

The Banishment (07, B): Pace and length made me sleepy but Zvyaginstev’s formal control more than kept me awake. Oddly compelling. - May 29, 2017

The Miracle Worker (62, B+): Beats Arrival for conveying the power of language and understanding. Bancroft’s great, and Duke’s even better. - May 29, 2017

The Man With The Golden Arm (55, B): Sinatra does great work to elevate this semi-cliched tragedy, but Parker and the score hit a home run. - May 30, 2017

Paranoid Park (08, C+/B-): Never not overworked, especially sonically, but unbearable first half hour turns into a compelling yarn. - May 30, 2017

National Velvet (44, B): So kind to its characters, mature about their wants and ideas. Gorgeous, infectious, and well-acted to boot. - May 31, 2017

[numberonerandomblogger]

The Meg movie review (no big spoilers)

One of my friends (again) made me watch a movie at the theater. Oh well. Lowering my expectations, I decided to have fun watching this movie. Did I like it? More or less. The story of this movie is quite complex, surprisingly. Jonas, a rescue diver, ends up abandoning some of his teammates in one of the submarines he was supposed to rescue since he heard a gigantic shark attacking it. He then gets fired from his job since nobody believes such a shark exists. Too bad one of the only exploration teams gets attacked by what seems to be a giant shark and Jonas has to rescue them. One thing I really liked about the plot is how it builds tension by not showing the shark right away in order for the audience to understand the uncertainty of Jonas’ situation. Is there a real shark or not? It's a nice premise that I found executed decently despite it being predictable...for the first third of the movie. Then, there is a terrible plot twist that further extends the movie. Despite the twist making the movie so much worse, it's still an alright experience. Too bad there is another unbelievably bad plot twist that happens, making the end of the movie the most infuriating I have seen in years. I'd consider the movie's third part to be "filler". There are also multiple sub-plots thrown out there that are quickly forgotten as the movie goes on. In other words, the story is average. As for the characters, the cast was mostly bad, aside from a few exceptions. Here's the thing: you won't care about most characters on screen. Each can basically be described as an accessory that is used in order to progress the story. For example, you can easily spot the damsel-in-distress that isn’t friendly with our protagonist, the love interest, the comic relief duo, the greedy businessman, etc. There are even some characters that don’t get fully developed despite having an interesting backstory, which is really sad because this movie lasts two hours. The Meg should have been able to flesh out its characters in 2 hours. I still really liked a few characters and found the dynamics between some of them interesting. My favorite moments are the ones developing a mother-daughter relationship between Suyin and Meiying. It certainly helps that Meiying, a child that can’t really do anything compared to the adults, has a different point of view on the situation. She then ends up helping out later in her own way, so she is a bit developed as a character.  The characters are very predictable, despite a few good aspects surrounding it.

 So what about the presentation? The music is a bit on the generic side. Sure, it does its job well, but it’s nothing special. The special effects are really outstanding and aren’t too “over-the-top”. The editing is pretty well done, too. The camera angles are good enough for what they convey. I found the acting once again neat, despite some lines sounding a bit too forced for my tastes. So yeah, I liked the presentation more than the rest of the movie.

 So did I find the movie decent? While I have seen much better shark movies, I have seen much worse, so I personally thought this movie was decent enough. I just wish it had more dep—Wait, the movie is based on a 1997 book franchise? I’ll try reading the books to see if they have more fleshed-out ideas. Untill I read it, I think The Meg is...decent.

[mononohke-archive]

Anime Roundup - Winter 2017 [Spoilers]

As always, this season flew by despite how disappointing it was (for anime that started airing during it, not leftovers from Fall 2016). Well, maybe it was also because near the end I started playing video games and fell behind on my normal watching schedule. Either way, it didn’t feel like a whole 3 months. I’m a little late, as usual, and I didn’t write as much this time around. (Chalk it up to laziness and distraction by the aforementioned video games.)

Overall: I think this season qualifies as the worst I’ve seen yet. So many disappointments but only one or two highs.

Featured Anime: Ao no Exorcist S2, Gintama., Rakugo Shinjuu S2, 3-gatsu no Lion, ACCA, All Out!!, ClassicaLoid, Nanbaka + S2, Onihei, Trickster

Total: 10 | Average Score: 6.8 | Word Count: 4,581

~ (DIRECT) SEQUELS ~

Ao No Exorcist: Kyoto Impure King Arc [5/10]

Let me be blunt, the only thing I actually give a crap about in Ao no Exorcist is Yukio. Specifically, Yukio as a character and his brother complex for Rin. That is really what carried me through the first season of AnE and made me feel like it deserved more than a 5. In season one, the whole dynamic between them, Yukio’s complicated feelings for Rin, and their rivalry was the main theme of a significant part of the show. But in this season and arc, Yukio is barely there at all. The shift focuses more to Suguro, his family, and the Impure King. While I don’t dislike Suguro (Nakai Kazuya being his voice helps), I really don’t care enough to watch a whole cour about him and his family. There’s a lot of Rin too, of course, but he’s the main character and that’s obviously unavoidable. 

Well, at least there a little bit of Yukio, however. He’s there for a few episodes and there’s like half an episode dedicated to his and Rin’s relationship, but that’s a pittance compared to the last season. For those reasons, AnE has dropped one point and just went into boring/average territory. If Yukio is a major part of next season or some future season, the score will go up to 6 again, but this one will stay at 5.

To give some credit though, I’m really grateful that they brought back all the original cast for this long awaited sequel. Unlike D.Gray-man last year, I never felt like something was wrong because all the voice actors and art style were different. It is unfortunate that they couldn’t get Keiji Fujiwara to reprise his role as Rin and Yukio’s father, but still 99% of the cast is the same.

Gintama. [8/10]

It is with a heavy heart that I have to give a title in the Gintama series less than a 10 (only applies to the main show and not movies/specials/OVAs). Unfortunately, the recent change in Gintama’s pace is tiring and got boring rather quickly. This problem was beginning to show in the previous season, but at least that had enough episodes and arcs to have more change. 

This season honestly didn’t have a bad start... it was really great seeing the Joui4 together again especially Sakamoto (since he appearances are normally so limited) but then it went into Kamui and Umibozu’s backstory arc. To be clear, I like Umibozu, don’t care about Kamui, and love Kagura, but this whole arc was mostly about Kamui, Umibozu, and Kouka (Kagura and Kamui’s dead mother). Kagura herself felt like an afterthought in this arc. This was more about explaining Kamui’s issues with his dad and how Umibozu met Kouka. 

Now, aside from my general disinterest in Kamui, the problem is not really with the backstory itself. It’s the fact that Gintama had turned into a battle shounen. I really dislike the pacing in battle shounens, especially if they are done badly *coughsNanbakacoughs*, and the worst part is that Gintama normally does these bits right in previous drama arcs. In this one though, it was boring... maybe not unbearable, but I found myself tuning out a lot more than I would watching Gintama - y’know, one of my all time favorite anime. 

Personally, I think the comedy in Gintama has always been stronger than the drama. The drama, when done in arcs between a lot of comedy, is really when it’s at its best because that is when the show brings a necessary change of pace and adds more depth to the characters. When it’s just one drama arc after the other, the battle shounen portions tend to take over. Plus, I just really miss the humor. It always gelled with me and that’s why I loved the show so much from the beginning. I miss laughing my ass off every episode, but in season I only chuckled a few times.

There is one silver lining though and that is Utsuro, who is becoming more and more interesting. While it is kind of cliche that he came back from the dead and turned out to be immortal, I think the way it’s presented is really good, and I can’t wait to see more of him. The last episode giving his backstory definitely pulled me in for the next season. I just hope it lightens up a little more because the comedy is where Gintama always shined the best.

Shouwa Genroku Rakugo Shinjuu: Descending Stories [9/10]

This show... how am I supposed to talk about it? I want to do a proper review that does it justice, but obviously that review would be spoiler free. In this post though, I think I’ll just quickly summarize my overall feelings.

First, let me say that Rakugo has totally met my expectations in S2. It expanded on the story pretty much just as perfectly as it needed to. There was one little thing that ruined it just a teeny bit near the end, but honestly it was otherwise masterful. For me to articulate exactly how I feel, I really need to rewatch both seasons. Sorry, I’m gonna skip actually putting effort into this lol, but I will try my best to get out a proper review on MAL later. Maybe one day I’ll even attempt an analysis, but that’s far off.

~ INDIRECT SEQUELS  & NON-SEQUELS~

3-gatsu no Lion [9/10]

3-gatsu no Lion is easily one of the best and most emotional anime that I’ve seen recently. I’m actually surprised that it is a Shaft production (most famous for the Monogatari series and Madoka Magica), but it has Shaft all over it with Akiyuki Shinbo at the helm. I know some people have mixed or negative feelings on his style of direction, but I like it in all the other Shaft shows I watched and I especially like it here. It’s the first time I’ve seen Shaft do an anime like 3-gatsu, which has no fanservice, no harem (elements), no strong humor, nor any fantasy or supernatural elements.

In my opinion, they did an excellent job. If 3-gatsu was not presented in the way it is, it might not have been as interesting as it is. It would’ve been so easy to make this a dry and boring adaptation, but Shaft brings it to life with such incredible bold, imagery. And it pulls off mood whiplash (sudden mood changes) a lot better than most anime I’ve seen. Normally, I think they clash with the overall tone, but when 3-gatsu does it, it feels like an exaggerated version of what happens in real life, where tone does not stay consistent between moments.

Then there’s Rei, the main character. He really skirts the line between being relatable or not. On the one hand, he is a Shogi genius and makes his own living at age 17. On the other hand, he has a complicated past, depression, and is a very down to earth and nice person. The whole series really rests on Rei’s shoulders, as he is the narrator and everything revolves around him. But I think he’s excellent written and relatable despite being essentially a child prodigy. 

Speaking of the shogi, I was also worried that it would be hard to understand the series because I don’t know shogi very well. Thankfully, that’s not the case. While there is a significant amount of focus on the shogi, the real focus on the characters. I’m sure for people who are familiar with shogi, it gives an extra layer to the narrative, but even for those who aren’t, it’s not so focused on the games that there’s nothing left. At least shogi has similarities to chess, which most westerners have a passing knowledge of. Still, even if you know fuck all about shogi and chess, I think the great depth of characters and the wonderful visuals carry the show and make it incredibly watchable.

ACCA: 13-ku Kansatsu-ka [7/10]

I... liked ACCA. Don’t love it, but liked it well enough. It has a uniqueness to it that you don’t see often in anime. For example the cast are all adults and most of them are government bureaucrats, the plot revolves around a conspiracy, and the anime is fairly slow paced and is very light on action. More than half the series is spent on world-building, with very little romance or other cliches. I could probably go on.

The color palette and art style is also a highlight with lots of bright, pastel colors. ACCA is just a neat little package of an anime that I appreciated watching for being something a little different. Have to say though, I’m not sure how much this will stick to me in the long run. Some of the world, maybe, and definitely the art style/colors, but not really the characters or plot.

All Out!! [6/10]

What initially drew me to All Out!! is a) rugby, never seen that sport before in an anime and b) incredible diversity in body types with a very wide variation in height, muscularity (although most are muscular guys), and weight (never seen so many chubby guys in an anime). So, while All Out!! does have some things that set it apart, unfortunately in literally every other way, it’s pretty much exactly the same as other sports anime. The protagonist is, OF COURSE, a newbie who joins the sport for the first time as a high school freshman. He’s overly energetic and most of the rest of the team thinks he’s annoying, but he’s super motivated and improves at an incredible rate. And he has another freshman friend who is a lot more experienced and naturally talented at the sport who serves a foil (especially since they have opposite personalities). The captain is an extremely motivated guy who’s tough on his team, but he’s also incredibly protective of them ie. team dad, and so on. The cliches just don’t stop...

That doesn’t mean AO is unenjoyable, just that the unique elements in the beginning wore off rather quickly and I was left with another run-of-the-mill sports anime (especially since this show is 25 episodes and not 12). My ratings for sports anime thus far have worked on a different scale than most other anime simply because sports is such an unusual genre with its own strict conventions that I have no choice but to rate them compared only to others in the genre. That means if sports anime were judged relative to the rest of anime I’ve seen, they would be rated lower (by between .5-1 points) because 95% of them have the exact same plot and many of the exact same characters. 

I mention this because as I’ve watched more and more sports anime, my standards have steadily been getting higher and are finally starting to match the rest of my rating scale. If this was one of the first sports anime I ever watched, it would easily be an 8/10. Now, as the dozenth sports anime I’ve seen, it’s only a 6/10. I am finally getting really tired of the old sports anime cliches and want more unique experiences. That’s why I praised Baby Steps so much for being different when I recently saw it. Looking back, I may have to re-rate some of the other sports anime I’ve seen, especially more recently like Days of the Summer/Fall seasons last year.

So, do I regret watching All Out!!? No, it has some good and fun stuff in there. Will I watch if there’s another season of it? Probably (even though I don’t necessarily want to) because I only avoid sequels if I give the first series a 5/10 or less... even then sometimes I’ll keep watching for the sake of keeping up (fcking K). Would I recommend AO in the end? Nah, unless you’re really interested in rugby.

ClassicaLoid [8/10]

I... feel almost ashamed to give this show such a high rating. Looking at MAL, my score is a whole 1.53 points higher than the standard deviation, and one of the most incongruous scores I’ve ever given - in the positive direction. In the negative direction, I happen to have some highly unpopular opinions on anime like Erased, Sword Art Online, and Mirai Nikki. 

For a long while, I just couldn’t decide on a score. Normally, I know pretty early on what score I’m going to give an anime, give or take a point in either direction (or two if the anime pulls something towards the end). By the end of a show’s airing, I usually pretty much know exactly what I want to give it. (This doesn’t apply so much to my precise ratings, but rather the broad score I give on MAL.)

For ClassicaLoid, I didn’t know whether I wanted to give this show a “guilty pleasure, I know this show is bad but I enjoyed it a lot” 6/10 rating, a “fuck it, because I loved this show that much 8/10 rating”, or a 7/10 as the balanced alternative. As you can see, I ultimately decided on an 8 (more specifically a low 8, but an 8 nonetheless) in the end. Yes, I really do love this show, and I did find it just that enjoyable and hilarious. It’s one of the funniest comedies I’ve seen recently and definitely my favorite comedy of 2016 (over the likes of Sakamoto Desu Ga? and Handa-kun).

The thing about ClassicaLoid is that if I didn’t love the characters so much and find it funny, it would be a pretty bad show. It seems pretty polarizing because a lot of people think this show is stupid and hate it for that reason. In my opinion, it is stupid, but it has some self-awareness and never takes itself seriously. The other thing is the humor. If the humor does not gel with you, you will hate this show, and that’s also highly subjective and polarizing. I think the humor is spot on most of the time, with great comedic timing and gags. There’s also, I guess, the “gimmick” of the show which is arguably the whole point - the remixes of classical music in the vocaloid style. 

Tbh, I’m not at all familiar with vocaloids and even so, I found the remixes to be mostly average or even a bit cringeworthy. They were the weakest part for me, but that only applies to the songs themselves. The actual visuals that accompanied the almost once-an-episode sequences? They were not bad. Sometimes they were even funny or resulted in hilarious things (Schubert’s fish adventure comes to mind), but most of the time they were a pretty mindless distraction. 

One of the real strengths is the characters. I seriously either love the characters* or I like them. They bring life to the show with their varied personalities. It’s kind of amazing because many of them skirt the line between being one-note quirky archetypes and actually being kind of deep. My favorites include (in no particular order):

- Kanae, who is mostly the straight man character, but plays beautifully off the rest of the cast because she has to put up with so much shit, but has her own silly and selfish sides. (Also, she’s one terrible idol.)

- Schubert, definitely my favorite classicaloid of the bunch. I was kind of surprised because he was introduced a little later than the rest, but Schu is so genuine... so weird, yet so underappreciated in-universe that I think is the opposite irl. His unpopularity is what makes him popular in the first place because aside from being a catty bitch to Mozart (who deserves it, btw), he tries really hard to be a good person.

- Liszt, who is amazing, I love that she’s badass and reliable (the only one who pays rent) but also a sucker for love. And she’s basically a trans women, isn’t she? She’s not the only originally-male-irl classicaloid to be given a female body, but she’s the only one who completely embraces it. 

- Chopin, who in my opinion is a little underused, although that’s partially justified because he’s always hiding. He’s definitely the most relateable, being a shut-in who just on the computer all day playing games or watching stuff (sounds familiar), but he’s also blunt af and has such witty lines. 

- Beethoven, I initially had mixed feelings on him, but came to love him over time. See, he may be voiced by my favorite voice actor (Tomokazu Sugita), but at first all his jokes revolved around GYOZA!!! and being a gigantic fucking ham. It got old kind of fast, but thankfully he gets more jokes and depth over time. I especially love his dynamic with Kanae and Schubert.

*The sole exception is Mozart. Here is where I rant about Mozart because thaT FUCKING PUNK BITCH IS THE WORST, AND IT SUCKS THAT HE’S A MAIN CHARACTER WHO GETS SO MUCH SCREEN TIME AND EPISODES DEDICATED TO HIM. ... Okay, I’m gonna calm down. I’ll stop shouting now and explain why I hate this pos. Here we go: He. Is. Not. Funny. Or. Likable. In fact, the only one who is not funny or likable. He’s always annoying, unhelpful, sexually harassing Kanae, and genuinely a terrible person except when it benefits him. Actually, the problem is not even that he’s terrible, but rather that he’s terrible and gets away with it. 

Compare him to someone like Sousuke, who’s a little similar in some ways, except... hey, get this, there are consequences (funny consequences) when he’s being a douche. Sousuke, along with Schubert, are the butt monkeys of the ensemble. Sousuke is even referred to as “tool” by Liszt and mostly everyone else. If Mozart was also a butt monkey, he would be a lot more tolerable, except he’s not. Mozart behaves like an annoying dick 98% of the time and the anime has the fucking audacity to try and make him sympathetic. 

I also have to bring up his voice actor, Yuki Kaji, who is easily my least favorite voice actor, so maybe I do have some inherent bias against him. See, if Mozart were played by someone who’s not annoying as shit, then maybe he would’ve been more likable, but Yuki Kaji has the range of a triangle (he’s one-note). Compare him to Beethoven, who could easily be so fucking obnoxious, except he’s played by the exceptionally talented and charismatic Tomokazu Sugita. /sighs. Well, I think I’m done ranting now.

Finally, I want to cover the jokes. It’s true, at first they appear to be of the very “lol random xD” type humor, but I think they are deceptively well constructed. There were many episodes where I was laughing out loud and some episodes where I spent the entire time laughing my ass off (again, I bring up the Schubert fish incident). With a few exceptions, I don’t think the humor or gags ever got old because the anime keeps doing more and more with the characters, throwing them into crazy situations. The absurdity of it all is hilarious and the likableness of most of the characters supports it. 

I’m probably one of 10 people in the west who is very excited and happy that there’s a season 2. Only two more seasons left until it’s back :D.

Nanbaka [6/10] / Season 2 [4/10]

I’m put in kind of an awkward position by this show... At first, it was going to be published with the Fall 2016 Roundup until I realized that there was going to be a second season. So then I delayed it for Winter 2017 except the quality of the show has gone down significantly between the first and second season. I wrote most of my thoughts for the first season already, so I’m just gonna talk about season one first by itself and then compare it to season two. Here are my thoughts on S1:

At first glance, yes, the character designs are incredibly silly… an anime podcast I listen to described them as “deviantart ocs”, (which is not too inaccurate), and everything sparkles like a shoujo manga for some mysterious reason. But aside from the strange design choices, the humor was pretty solid and characters are pretty likable. Not just the main 4 characters, but Hajime (my favorite) and the other prison wardens, and their fellow prisoners all have a charm to them.

The first half of the show is pretty damn funny, definitely a solid 7/10, but then the New Years competition arc starts and the pacing screeches to a halt. There are four whole episodes dedicated to this arc and they actually introduce a plot, drama, and some intense action near the end. It comes out of nowhere. The problems don’t stop there, unfortunately. I can forgive the terrible pacing somewhat if they kept up the laughs, but that’s not what happened. Instead, the genre switches and suddenly becomes a drama with a whole conspiracy plot about some of the main characters. Insofar, the only comedy anime I’ve seen pull off dramatic arcs is Gintama (but as I’ve said even that gets tiring after a while). Nanbaka is simply not as well-written as Gintama in either way, and the actual “plot” was a total let down compared to the humor which I genuinely liked.

This plot continues for another few episodes and it takes a little while to get back to the laughs. Humor and characters are the only thing this anime kind of nails. When the author attempts drama, it turns into another generic shounen anime. What a shame. If this anime stuck to being a pure comedy, I definitely would’ve rated it higher.

Ohhhhh boy, now onto season two. My worst fears for the anime basically happened. Imagine the New Years Competition arc I just complained about. Now, slow down the pacing another 500%, take out all the humor from the first season, and chuck in some boring ass cliche shounen crap. That is what S2 is in its entirety. It’s like they sucked out all the fun and hilarity of the first season just to “advance” the plot. I put advance in quotes because the pacing is seriously glacial. It rotates between plot exposition/backstory and “action” comparable to a Naruto filler arc for the entire run time. 

For example, my favorite character Hajime gets locked in a jail cell early on. Then some of the jail mates (including Jyugo, the main character) decide to break him out a little while later in the show. Guess when they reach Hajime? If you guessed the very last episode, you’d be correct! Inbetween is just pointless, boring fight after pointless, boring fight and fucking endless exposition! Either the character talks for minutes on end about their powers or the strategy of their enemies or about some thing in the past or there’s a flashback/backstory explaining the characters (by the way, a whole bunch of new characters are introduced except without the humor, they’re all shit) or the plot, it’s just UGH. 

Halfway through, I came to dread Nanbaka. Most of the time, I would put on the show and zone out as much as possible, although in reality, I spent a lot of time bitterly remembering how funny the first season is and how it actually had characters I liked in them doing funny shit and being likable. If the first season was a lot of fun but was bogged down by the action/drama, then the second season is the bog. Watching it is liking wading through a swamp about waist high. It won’t kill you and it’s doable, but it’s unpleasant, tedious, and you rather wished you just walked around it. 

If you really want to enjoy the show, just watch season one. Even then I only recommend the first half and the last couple of episodes. AVOID SEASON TWO AT ALL COSTS. I am certain there’s going to be a season three later this year or next year, but hopefully I’ll resist the temptation to watch it just because I watched the first two seasons.

God, it makes so angry how this show could’ve been a fairly pleasant humorous affair but ruins it completely and chucks it in the fucking garbage disposal. Way to waste your potential, Nanbaka.

Onihei [6/10]

Onihei is... unremarkable, but not a hard watch either. It’s just... alright? Very very middle of the road, but I can kind of appreciate that because it didn’t require much effort on me to watch, and I could just enjoy it without thinking too much about it. It helps that I’m already into samurai, but I admit I was hoping for more initially. Once I accepted that it was just going to be a simple collection of samurai/pre-modern japanese stories, then I began to enjoy it more. 

My biggest complaint is that there were too many episodes not focused on Heizo (aka Onihei, the main character). Heizo really was the best part of the show, and I liked it most when they focused on him and his backstory, but about a quarter of the show is about other characters that I just didn’t really care for aside from two or three of them. It’s fine that this show is mostly episodic, but because it frequently shifts focus, it is quite inconsistent because some episodes are better than others.

There’s also the fact the show looks very cheaply made, especially in those creepy ass CGI people in background shots. It has almost a B-movie feel, but not as much of the B-movie charm as I’d like. Still, it’s not really bad at all. It’s a good thing I like historical anime and that the main character is great because that is what pushes it up from a 5 to a solid 6. 

Trickster [5/10]

First, let me just say that Trickster baited me - and baited me successfully with the promise of attractive boys and homoerotic subtext. At least it delivered and pretty much met my expectations 100%, but unfortunately, it did not surprise me by being better than I thought it would be. It’s kind of a pity because Trickster actually has pretty good production values, but it falters in more important places: the characters and plot. Both of those elements are pretty clumsily handled. If not that, then they feel cliche, like I’ve already seen [x type] character and [y] trope countless times.

The characters in particular I feel like could’ve made up for the plot, but the anime chooses to focus on the least interesting ones (yes, I know this is a book adaptation). The main character, Kobayashi, is unlikable from the start and even when you unlock his tragic backstory late in the anime, it feels too little too late and it’s another overused trope. Hanasaki, the character who probably gets the most screen time is... actually alright. He’s annoying at first too, but his character development is not handled that badly either. The best characters are probably Inoue and Akechi; the former barely gets any attention at all, and the latter’s subplot is so fragmented by the rest of the characters and their own plots that it gets lost.

In fact, what I just said may just sum up the biggest problem I have with this anime. The whole thing feels fractured, like the writer wanted to give all the main characters (except poor Inoue) their dues, but didn’t know how to tie their separate plots together elegantly or didn’t know how to give all of them development/depth in one flowing plot. With tighter focus, I’m sure it would’ve turned out better, but the cliches and their rather bland execution still drag it all down.

The production values do deserve some praise though. The voice acting is great as always and the animation is overall good, but the music and direction had some standout moments that really elevated certain parts of the show. Unfortunately, the overall mediocreness of Trickster put it at a 5/10.