#the attention to detail and subtleties in the acting and the filming angles and the pacing!!!!!

[depresseddepot]

holy SHIT the scene with the hijra fighting in the lobby is SO cool

[shinsousbedroom]

Plus Ultra! Go Beyond the Screen!

celebrity AU drabble series, 3K~, quirkless actor Midoriya Izuku gets interviewed

[Read on AO3.]

GO BEYOND!

A conversation with Japan’s rising star Midoriya Izuku on standing up on set and off as the next symbol for peace. A GQ Japan exclusive.

By Taneo Tokuda | Correspondent

[Image of Midoriya Izuku, leaning next to a window, his body arched off the wall. His head is tilted up and over towards the camera, the left side of his body illuminated from the light coming in, the right side fading into the shadows. He’s wearing a sheepish grin, tugging at the tie around his neck with a single hooked finger, jacket sliding off his shoulders. He’s wearing Best Jeanist’s exclusive non-denim line, and the monocolor layering of velvets in the lighting make his green hair, red shoes, and tie pop in rich color even more.]

I’d been warned that Midoriya Izuku has no regard for outdated formality. He’s far from callous or jaded — sweet and optimistic are two words often used to describe him — but propriety is something he has never been concerned with.

I’d been warned, but I didn’t understand.

Any journalist who’s worked the entertainment beat for a while knows there’s a cadence every interview follows. The details may change, but there are conventional practices that help an interview go smoothly for both the interviewer and subject, to make the most of a complicated relationship between celebrities and the media.

This interview starts behind the scenes, as most do, with the e-mail I send out to Midoriya’s manager, laying out a request to speak with his charge. The enthusiastic response comes just an hour later and references details from a number of stories I’d written across the entire span of my career.

It isn’t his manager’s response. It’s Midoriya’s.

That was my second warning to assume nothing, but I still stumble into Midoriya’s apartment expecting a clean, contemporary, moderately-sized apartment. It’s rare to host interviews in celebrity homes, and when it happens, it’s meant to be a statement — power, wealth, pride, affected sincerity.

Instead, Midoriya opens the door halfway and apologizes because he moved in recently and there’s still a stack of boxes blocking him from opening it any further. The door handle nearly catches between the buttons of my shirt as I squeeze through the crack. Once inside, I trip over his trademark red shoes and nearly take him down in the process.

He catches me in his arms and says with a wry grin, “Don’t worry, I am here!”

That, of course, is a classic reference to his latest role: All Might. All for One will be a Netflix reboot of the old '80s superhero film franchise that turned Toshinori Yagi into a household name. In a casting coup that stunned fans and industry insiders alike, Midoriya fell into the role shortly after making headlines for saving a life during a villain attack on the set of long-running soap opera The Quirked and the Quirkless. The villain had been looking for Toshinori, and in his absence, grabbed a crewmember hostage. Midoriya attacked the villain despite having no quirk.

Soon after, Toshinori reversed his longstanding refusal to produce an All Might reboot and gave the studio a green light — with a stipulation. Just as the franchise had brought him up from obscurity, so must the franchise fill its ranks with youths aiming to catch their big breaks. Enter: Midoriya Izuku.

Midoriya sets me back down gently — yes, he picked me up when I fell, even though I’m a full half meter taller than him — and I’m more inclined to see his suitability as Toshinori’s successor.

Physically, he still looks nothing like his mentor. Where Toshinori is buff, Midoriya is lean, tall to his short, loud to his soft. Toshinori held his strength in the brash, nigh-cocky attitude that got him into as much trouble as himself as it did in the show as All Might. Midoriya carries strength like woven spider silk; it’s graceful and dangerous, but all too easy to overlook for those unused to subtlety. But he carries the same bright aura of unwavering love and determination.

More to the point, I also felt his arms and abs in the fall, and he may not look like he has the muscles of All Might, but they are definitely there.

“You can take a seat anywhere in the living room if you’d like,” Midoriya says, ushering me down the hall with a light hand on my back. “Breakfast will be ready in just a few minutes, but I haven’t put together the kitchen table yet, so living room it is.”

“Breakfast? Did we decide on a working breakfast?” I replied.

“I couldn’t invite a guest into my home without offering snacks! Since this interview coincides with breakfast, I made breakfast.” He pushes me towards the sofa and wags a finger at me when I try to follow him to the kitchen anyway. “No guests allowed to hover or help in the kitchen. It’s too small!”

The rest of the apartment is half unpacked, and haphazardly at that. Boxes are open, dumped out into piles on the floor where they will likely be permanently placed. I perch on the arm of a ratty sofa by the only portion of the room that’s been set up. It’s a veritable shrine to pro heros, fictional and real alike. Two of the five shelves are devoted solely to All Might merchandise.

Midoriya appears behind me, as if by quirk. “Ah, do you collect hero memorabilia? I’ve been a big fan of All Might since I was little, and then I started following hero society in general when I got into middle school, so I’ve built up a lot over the years especially rare items like if you look at the back corner there’s a particularly cool figure of All Might from the emerald era which if you remember was received so poorly that most of the merch was shelved in one location and subsequently destroyed during a villain attack…” He goes on without end or pause, taking me through the history of each item on the third shelf. At minute six, he abruptly tenses mid-sentence. I can almost feel the heat from his red face as he starts stammering apologies for wasting my time and gingerly puts his collection away again.

“You've got a lot of stuff I haven’t seen. It’s interesting.” It makes me uncomfortable how much he clearly doesn’t believe me. “It’ll be good content, that you have such a long history being an All Might fan.” He shrugs my words aside, and gestures behind me to a giant spread he’d laid out on the coffee table before seeing my interest in his collection.

We sit. For a moment, the only sound in the apartment is the clatter of silverware, the muffled bustle of Tokyo’s streets at midmorning a soothing counterpoint. I’m considering how to break the lingering tension I caused. But then —

“I’m a quirkless soap opera actor who seemingly got the biggest role of the decade for doing something completely unrelated to acting. I’m optimistic, not an idiot.” There’s a taut line to his shoulders again, at odds with the quiet, delicate way he drinks his miso soup.

His eyes trail back to the curio shelf of hero merchandise. A heaviness builds between us in the seconds it takes him to think. “I grew up in a neighborhood hostile to me and my mother. I mumble my thoughts out loud and have an obsession for heroes that edges past societally acceptable as an adult. I have no quirk, she had no husband, we had no money. Any insult you could say about us, I’ve heard it.”

He looks me dead in the eyes and leans forward. I can’t help but mirror him. “It would be disrespectful to everyone who supported me to get here if I let the back talk get to me. I worked hard for this role, and I earn it with every new day of effort I put into it. All Might is the symbol for peace, and I intend to embody that legacy. No one will be able to doubt me when I’m done.”

Anyone who’s familiar with Midoriya’s reputation knows not to be surprised by his humility, but it’s a revelation to see this drive, his earnest focus pinning down my full attention. The last bit of the puzzle that was his casting choice is answered in one overwhelming look. If All for One does it right, his magnetism is going to Detroit Smash every heart in Japan.

“The waffles!” He springs up and mutters his way back to the kitchen, cutting past the moment. “I forgot the waffles, Kirishima gave me a waffle maker the shape of All Might’s crest as a housewarming gift, they’re so cute and surprisingly detailed…” In just a few seconds he plops the plate down amid the overfull table and settles back into his seat with a smile. “So? Should we get started?”

Interview has been edited for length and clarity. For the full article, visit us online. Catch the first season of All for One on Netflix, streaming xx xxx.

[Image of Midoriya Izuku sitting outdoors on some sidewalk steps in workout gear, leaning back on one arm, the other hand raised to cover his face from the sun. He’s wearing bright green short shorts and a very loose tank top, the arm holes cut out so deep that the angle lets the photographer capture the sheen of oil and sweat across his ribs and back as light filters through the shirt. One sock is pulled up taut, the other scrunched down, same classic red shoes still on his feet. His legs and arms and hands are haphazardly wrapped in carefully grimed bandages, as is his makeup, smudges of dirt across his cheeks along with make up to bruise his lips a deep, pouty red. Boxing gloves hang over his shoulders, and a bandana mimicking the famed mouth guard from All Might’s most iconic outfit hangs around his neck.]

TT: Congratulations on your first starring role! How does the move from semi-recurring character to protagonist feel?

MI: It’s a huge challenge, one I’m incredibly excited for! My character in Quirkless wasn’t supposed to be mine. I’d already been involved with the show as a quirkless consultant but one day on set, they’d had a huge scheduling conflict, and Director Ryuko remembered I’d originally auditioned for the show for a character that was ultimately cut. She brought me in as a literal last minute replacement, and soon enough a three-episode run expanded into a semi-regular spot next season. At least with All for One I’ve had tons of time to prepare.

TT: Take us through what it was like getting the role of All Might.

MI: I think the media explained the villain attack that brought me to the studio’s attention plenty. What's more important is when after I recovered, Toshinori-san contacted me and connected me to his talent agency, and my new manager was the one that successfully nabbed me an audition for the new show. They had us go through a few standard readings and chemistry checks, and then I got the part.

TT: You auditioned?

MI: I did! That’s what makes the rumors of favoritism even more frustrating. I promise I didn’t get the role because I stopped a villain attack on set! Well, I hope I didn’t.

[File photograph of Toshinori Yagi and Midoriya Izuku post-hostage situation. The stage is in disarray, black goop covering the furniture and floor of a fake hospital waiting room in a thick layer of sticky slime. They stand off-center in the foreground, Midoriya rubbing a fist over his eye, exhausted, possibly crying, as Toshinori pulls him into his side for a hug. Both have shock blankets draped across their shoulders. Emergency respondents case and clean the scene in the background.]

TT: How does it feel to take up the mantle of one of the most iconic comic book characters of all time?

MI: I’d be lying if I didn’t say nerve-wracking, but I’m more excited than anything. I’ve dreamed about this since I was 5, when the doctors first told me I’d never have a quirk and never be a licensed hero. All that love was redirected toward All Might. Some people might say being too big a fanboy will make playing him hard, but I’ve been preparing for this my entire life, and that’s what I’m trying to hold on to instead of anxiety. Toshinori-san has also been a spectacular mentor to me through this whole process.

TT: It's been said that Toshinori-san implemented a rigorous vetting process to work in any position on the crew. Recommendations, mentorship networks — because everyone is new to film.

MI: That’s only true to a certain extent. I wouldn’t say most of us are complete newcomers; we’ve all been around the industry for a fair number of years making our careers off it one way or another. We definitely wouldn’t have gotten hired to such prominent roles without Toshinori’s interference, yes. Because of his stipulation, the studio wanted to minimize as much of the havoc inexperience might cause such a beloved, big budget reboot by offering us close, mandatory support networks featuring industry professionals who’ve been working in their field for decades.

So far, the idea has really worked out well. We get to implement fun new ideas we don’t realize are impossible yet, and the mentors temper our more […] impractical ideas with logic and experience. The cast also has gotten a lot of support from the old cast of the '80s run!

TT: You’re known for being an advocate for quirkless rights in the entertainment industry. Has that impacted the way you approach your career and what opportunities you take?

MI: It isn’t just the entertainment industry I’m interested in for my advocacy work. Society’s rabid obsession with quirks is a problem across all of Japan, for both the quirkless and those with quirks. But as an actor, I happen to have personal insight with the roadblocks that prevent quirkless individuals from succeeding in film. We make up a fourth of the Japanese population, but less than 1% of the Japanese Film Union, in the mere century from when quirks first showed up across the globe. There’s no other explanation for such a miserly diversity rate than discrimination.

Studios have gotten so used to using quirks to sift through application stacks, looking for who can offer the most with just a quirk name and description. Toshinori-san has easily admitted that the electricity he emits when engaging his strength quirk was one of the reasons he won the role of All Might over better known actor Todoroki Enji. It was one less special effect the studio would have to spend money and time on. Viewing accommodation as a costly complication is historically dangerous to all types of minorities across the globe. How am I supposed to compete when people think I can’t offer anything unique compared to the host of wild quirks out there?

TT: Wow, that’s quite the speech.

MI: I’ve practiced a few times.

TT: Really?

MI: Quirk discrimination was my thesis topic at UA.

TT: You went to UA? That didn't show up in my research.

MI: Oh, I […] was in their support program for a while.

TT: Why did you decide to pursue acting instead? They don’t have a fine arts program, do they?

MI: As much as I love support work, it’s a stressful field. [Laughs] I started looking for an outlet that had nothing to do with hero work when an old friend dragged me onto a set. I’d completely forgotten how much I loved acting, and it wasn’t long before I decided to pursue that over support work, for however long it would have me.

TT: Would you ever consider returning to support work?

MI: Yes, but it gets harder the longer you’ve been away. I still keep up my qualifications, and keep up with my old classmates. Some consulting here and there. But for now, I’m happy using my background to help me act a better All Might.

[Photograph of Midoriya Izuku sitting in an office chair, facing three-quarters towards the camera even as he lays half across a desk. The decor is rich: old, dark wooden furniture, ornate work across the frame of the chair and desk, half-filled bookshelves in the background. His cheek rests against his arm stretched along the edge of the deck; one leg is tucked under the seat and the other is extended out. His outfit is artfully ripped name brand jeans and a tight shirt, color blocked in All Might’s classic red, white, and blue. Tiny figurines of All Might in his various costumes across all his comic book and screen appearances dot across his body as if they’ve climbed across his body, and Midoriya is an Atlas holding the weight of these ideals across his shoulders and arms and legs, a Gulliver tied down and overwhelmed. But his expression is vibrant, determined. Not quite a smile, but nowhere near defeated.]

TT: Does it bother you, having your quirklessness constantly be the focus of your career and identity?

MI: Of course! I’m a lot more than the superpower I don’t have. I’m a pretty private person, but I want to do great things. I want to inspire people, to make everyone feel safe and like they belong. If that means I have to feel some discomfort, it’s more than worth it. I’m a big kid with a therapist, so I’m prepared to balance my needs with those of my career.

TT: I’m not helping, am I?

MI: Like I said, I’ve deliberately opened myself up to that focus when I’ve put myself out there as someone willing to talk about these important issues publicly. You’re not asking anything I wouldn’t expect of any good interviewer.

TT: Speaking of privacy, your co-worker Todoroki Shouto is infamous for his taciturn personality and complete seclusion from the public eye, even during personal interviews. What is it like working with him on set?

MI: I have a bone to pick with you journalists about that! Remember what I was saying about how quirk reputations hurt those with strong quirks as much as those without? Todoroki Shouto is a wonderful person, and I’m so glad we get to work together. But boy, that reputation of his does him a disservice. He’s more than just Endeavor’s son and a powerful quirk. […] He’s his own man with a lot to say — it’s just no one’s asked him the right questions, yet. Once you do, you’ll find he shines brighter than any of the characters he’s played. It’s frustrating to see a good man overlooked again and again in favor of easier topics like a flashy quirk and flashy father.

TT: One last question. Isn’t it a hassle to squeeze past those boxes each day to use the front door?

MI: I don’t use the front door.

TT: Then…?

MI: Wouldn’t you like to know? ■

[spideyxchelle]

hi friends! i am back and ready to roll. here is some hollywood au nsfw.

“So,” the reporter taps her pen against the fullness of her manufactured bottom lip, “Righteous Minds is being called one of the sexiest movies of the year.” Peter works to keep his expression neutral as she plows forward with the question he can see coming a mile away, “Where did you draw inspiration for your latest flick?”

“Well, uh, my writing partner, Ned Leeds, penned an excellent script. I was interested in the story he was telling, not necessarily the sexiness of it.”

“But it is sexy,” she jumps in.

His eyebrow twitches. “Yes,” he concedes, “Its a love story. And I didn’t want to disservice the reality of love, which has a physical side. Always.”

The reporter chews on his words in delight. Without any subtlety, she asks boldly, “What does your wife think of this movie?”

Peter recites the same line he has fed everyone since he started his press tour, “She supports all of my work. I’m very lucky.”

He can tell she is unsatisfied with his answers, so she breezily switches tactics, “And the content doesn’t bother her?”

The director forces an Oscar-worthy smile on his tense features, “We won’t be showing it to our three year old son, that’s for sure.”

He dislikes the energy of this woman, the entitled air she has about his private life, and he desperately wants the interview to end, but the press junket has only begun.

He slams the hotel door closed when he enters the solace of his personal suite at the end of the day. Michelle barely looks up from the script she is studying and yet she still manages to read his body language, “What’s wrong?

Peter crawls into bed beside his wife and grumbles loudly into the pressed linens, “I knew I shouldn’t have made the film so explicit.”

Michelle begins to casually scratch the back of his head, a calming gesture she adopted early in their relationship, which lightens his stormy mood. She makes him feel in touch with his body immediately. Michelle Jones-Parker is his balm from the shocking celebrity of his life. Without her, this life would be infinitely harder. “It was in Ned’s script,” she says.

“I know,” he shifts his body so his nose is squished against her shoulder. Her warmth radiates bone deep. “I just wish people would stop trying to get details about our sex life under the blanket of the movie. Ned wrote the bulk of it. I just contributed to the final draft.”

His wife shuts her script and puts it away on the bedside table. Her body twists so she can hold him tightly and soothe him all at once. “They know we have sex, Peter. We gave them proof three years ago.”

The oblique mention of his son softens Peter considerably. “Is Ben awake?”

She shakes her head, “He went down about an hour ago.” Michelle presses a patient kiss against his forehead. “Talk to me, what set this off?”

“One of the reporter’s asked if I drew from real life during that closet sex scene.”

His wife’s smile turns feral and he feels his blood heat up at once. He can see the memory— her hot, wanting hands that ripped his slacks open just enough to get at him with her back pressed against a thin closet door— forming in the pools of her eyes. He remembers the same memory, too; the way she had sobbed in his ear when he swiped her skirt up and pushed her underwear aside that night. He recalls the way she had clawed at his suit jacket and ordered him to go harder and faster to get them both there as quickly as possible. After all, she had reasoned, people were bound to notice that they were missing at the Golden Globes.

And when he had shot his new film with a deliriously sexy closet sex scene, he had known his wife would see the similarities to their own closet escapade. But the public was not entitled to those memories. Not that snooty reporter, or the kids that bomb-rushed him at every coffee house in America. What happened between he and his wife was precious and private and wholly theirs.

In their quiet hotel room, she looks at him like she could devour him whole. Michelle places her two flat palms on his shoulders and guides him on his back. Her thin leg falls over his waist and she is suddenly straddling him while her curly hair falls in wild waves around her face. He is forced to look up at her and drink in her deity-like beauty. “Michelle,” he chokes on the English language.

“Ben’s asleep.” Michelle says. “You’re here.” She observes. “And you’ve spent all day talking about your sexy movie.” He gulps as his wife drags her body across his crotch, as if to search for an erection she is now causing. “Don’t tell me you haven’t thought about this, hoped for it.”

Peter shakes his head, “No, I haven’t.” But his hands betray him as they tighten around the dips at her waist. He holds her firmly as if he is afraid she might float away and never return.

“Mm,” Michelle coos, rolling her hips down against his stiffening hardness, “I don’t believe you.” Peter groans and she preens, “I don’t believe you, Mr. Director. You wanna know why?”

His wife drops her mouth open slightly, the picture of delight, and he roughs out, “Why?”

“Because your dick is already hard.” She grinds her hips against his erection to serve her point.

It has been over a decade since he first touched his wife during the whirlwind of his first film, but every time is still as wondrous and dizzying as the first time. He is not sure how he became the lucky bastard that got to worship Michelle Jones-Parker’s bed, but he is eternally grateful. She makes his world technicolor. He flew over the rainbow and there she was waiting to welcome him to a high-definition world.

“I love you,” he praises.

Something behind her eyes shines with affection, “I love you, too.” And then, the temptress is back and rubbing at his erection over his jeans with her weaponized body. “Now, remind me again, Peter,” she says, sounding suspiciously the part of a reporter, “your main character in this new film loves to really give it to his girlfriend....why?”

Something primal and possessive prowls just beneath the surface of Peter’s civilized nature. He lowers the gates of his self control and flips his wife on her back, effectively pinning her to the pressed sheets of the hotel linens. She blinks up at him and then hooks her leg around his backside and presses. He does not growl, though the temptation strikes him. “She’s chatty,” he offers.

“He fucks her wild because she’s chatty?” she challenges him.

“No,” Peter hisses as he dips his head to whisper in Michelle’s ear. “He fucks her wild so the only talking she’ll be able to do is shouting his name.”

Her little body shivers under his weight, “Oh? She’s going to shout his name?”

“Yes,” he nips her earlobe. “And beg. And cry out for more.”

Michelle arches her back off the bed in an attempt to be closer to him. Her eyes flutter shut, “How do you know she’s going to do that?”

“Easy,” he replies. “It’s in the script.” His mouth crashes against her parted, demanding lips. Their kiss is not new or exploratory. It is filthy and knowledgeable. It is the servant of years and years of practice. It knows how to make his wife tremble and make his own body boil.

He does not need an hour of fumbling foreplay at their age. And neither does she. He knows how to get her wet and desperate for him. So, he rips open her blouse with his demanding hands and does not stop to apologize for the shredded fabric. She is a movie star. She can buy another fucking shirt.

Her breasts are bare and her nipples have pebbled over so he licks them into his mouth. Michelle grips the back of his shirt with one hand and cradles his head to her chest with the other. He sucks and bites at her flesh. When he bites her sensitive skin, she whimpers and urges him to bite her again. So, he does.

He remembers when she was twenty-six and shooting a film in Atlanta, a producer had called him about the bite marks. The shy man had tripped his way through a gentle request not to mark up the talent a day before she shot a nude scene.

She is not filming anything now.

Peter finds a rhythm to his attentions on her chest and it could be four minutes, an hour, or several weeks later when his wife yanks his head up and slams their mouths together. Her needy hands fly down to his zipper and begin to yank him loose.

He sits up enough to pull his own shirt over his head, but he struggles with her pajama pants. Michelle’s breathing is erratic and labored when she kicks him aside and shimmies out of them herself. He makes himself busy with his own jeans and underthings.

When they fall back together, he pins her wrists to the bed. There is a beat, a profound moment, before their coupling, when he looks down at her with her hair spilled across the white sheets and his heart thunders. Her eyes are dark but they are also deeply loving. He gazes down at his wife and inches forward to slant his mouth over hers in a chaste kiss.

Then, he sheathes himself inside of her. The warmth and tightness is all consuming. She pulses around his dick and the pair of them pause to relish the moment, the intensity, the serenity of their bodies. Michelle lifts her head to kiss him lightly and lovingly. It is almost the polar opposite of the nature of this act as he cages her to the bed.

When she drops her head back against her pillow, her eyes are lidded from the stretch of his thickness. “Fuck me, Peter,” she demands. Michelle does not ask. She takes. And takes. And takes. And her husband does his best to grant her wishes.

He lifts her backside off the bed to deepen the angle of his thrusts and begins to hammer away deep inside of her. Her sweaty, reactive body slaps against his skin. The rhythm is furious and punishing. He does not relent and she does not ask him to slow.

Instead, she cries, “Harder, Peter. Baby, harder.” Her requests trigger a base part of his brain that make him angle his body over hers and dig her wrists into the bed. She is at his mercy, she is weighing beneath his thrusting figure and her mouth is open as if every part of her was capable of taking him all at once.

“You like that?” he grunts. She nods uselessly. “Tell me you like that,” he repeats.

“I do,” she mumbles with her eyes closed tightly, as if she could hold the moment between her fingertips if she pretended it was a dream. A wonderful dream.

“Tell me why,” he groans, grinding his member deeper into her.

She sobs his name and arches upwards to search for more of him. There is nothing else to be found. He is buried inside her to the hilt. “Because,” she wanders off the road of coherence.

“Because why?”

He has to ask again before she finds her voice, “Because you’re mine. And I’m yours.”

And that is the whole of it. The sticky sweet ownership of the other’s heart. He knows if someone were to cut his chest open and peak at his heart there would be a singed brand of her name there. It is impossible to explain the relief and love of belonging to another. Peter never tries. Instead, he attempts to show her through actions. He makes her favorite tea in the morning, puts their son down to bed every other night, buys her little gifts whenever he is thinking of her as proof of his devotion. And when all else fails to express the magnitude of his love, he makes passionate love to her.

Or, he fucks her.

Her wrists wiggle under his palms. He feels her body beginning to shiver and shake under his ministrations. “Peter,” she uselessly pleads, “Peter, please.”

All at once, he lifts his body off of her and the pressure of his dick is gone. She is left empty and wanting and he watches her eyes snap open in fury, “What the he—“ But she falls hopelessly silent when he grabs her ankles and loops them up on each of his shoulders. He presses back down on her body and her knees fit snugly against her chest.

Peter reaches down between their bodies and guides himself back inside of his wife. Her head flies backward on the bed and it leaves her long neck exposed. He sucks hot kisses on her neck, greedy and wet.

His pace is growingly frantic as the peak of pleasure licks up his spine. “Peter,” she cries out. He grabs her wrists and pins them back to the bed. He knows the trust she grants him in these moments. It is like a faint whisper— I know you would never hurt me. And he never does.

His hips snap with vigor and she moans with each attack on her senses. Her hands make motions to claw at him, but she cannot reach him pinned to the bed.

There are a few high-pitched pants and begging requests. He lets those words act as kindling to his raging fire. They are dangerous words. “Harder, Peter,” she cries. “Fuck me, baby. Fuck me.”

And when she starts to lose language for some baser, like groans and whimpers, Peter’s own rhythm begins to falter. He bites her neck and she sobs from pleasure. Against that skin, he husks, “Cum for me, Em. Let me feel it.”

She nods, beyond the point of comprehension, and nods more. She keeps nodding and nodding and whining until her body snaps. Her body tightens and pulses around him and her fingers and toes curl. Michelle’s mouth opens in a soundless cry and pleasure slackens her features. She shakes. She trembles and then she relaxes into the sheet.

It nearly topples him over, too.

But he holds onto his restraint just barely and when she recovers from her orgasm, when her sparkly eyes lazily open to gaze up at him, he begins again.

She is sensitive now. He knows. And she lifts her head to fit their foreheads together. Their breathing is heavy. “Peter,” she strains.

He tightens his hold on her wrists, “Em, I’m almost there. Let me take you, again. Please.”

His wife does not have the energy to kiss him, so she brushes her mouth against his words. And nods.

There is nothing leashed about how he fucks her now. He is not the man she married at the end of the alter with tears welling in his eyes. He is not the man that stared at her dallies during their first and only film together all those years ago. He is the man she welcomed into her home and fucked on the couch like she owned him. He is the man she pinned down to her bed in her old, lofty Hollywood Hills home and rode for hours, stealing orgasms as they came and went. He is the man that he can only ever be with her permission.

And this man is desperate one.

She grunts. And groans. And, finally, with one perfectly found thrust, he topples over into a blinding orgasm. In his delirium, he hears her cry his name and feels her clench around him once more. He feels the shocking pleasure of a joint rush. He hears her little moans as her body holds his member for ransom and milks what she can from him.

He feels his own hips shudder into her a few more times, holding onto sensation. He feels how rough those last are.

And then, there is peace.

Deep and meaningful silence as their breathing slows.

Peter releases his wife’s wrists and they immediately fly to his hair to card through his floppy locks. He hides his face in her neck and she presses a smile against his brow.

“Michelle,” he manages after several moments of relishing in her body as he softens inside of her.

“Mm, yes?” she practically glows.

“I was thinking about this all day,” he admits.

She snorts, “Yeah, loser, I know.”

He smiles. The audience can think what they want about his new film. He knows what actually lies between them. And it is perfect. They are perfect.

[bransles]

octavo’s natal chart dropped.

sun : virgo. those with sun in virgo are constantly on the move, always trying to fine-tune their lives and relationships. they are filled with nervous energy, and a desire to make improvements, so they’re serene when fulfilling the steps toward a well-thought out goal. virgos are often compelled to serve others, and can find respect in fields where attention to detail and a responsible attitude are rewarded. they are natural healers, and are gifted at bringing an unhealthy situation back into balance. but they have to watch out for those that would take advantage of their natures and put them in subservient roles. finding the courage to place the highest value on what they offer can take a lifetime for some virgos. there’s an emphasis on habit, and a virgo that has established a wholesome daily routine is far easier to live with than one that hasn’t. there’s a physical sensitivity with virgos that could be called high maintenance, and they need a lot of space to “purify” themselves in mind, body and spirit. they are known as loners, and even if established in coupledom, will need plenty of “me” time to maintain their sense of self.

moon : aries. the moon rules the emotional self, so when the moon is in aries, watch out! aries moon is not known for restraint. they are impulsive and enthusiastic. if an idea strikes them, they are the first on the bandwagon to make it reality, without stopping to think about any obstacles that may be in the way. spontaneous and determined, they let their heart rule their head. moon sign aries is happy, optimistic, and impatient. they live for the moment, forgetting all else. instant gratification is their middle name. they are passionate and have no qualms about sharing how they feel. at the same time, they can be very independent. they don’t like to take no for an answer. they have the self-confidence to put themselves out there and they want to make a strong impression. subtle does not describe this sign. they are well-suited to meeting challenges that may destroy lesser people. they are clever and often approach their situations with a novel angle. occasionally there are the few who may blame everything on other people.

mercury : leo. mercury in leo speaks with style and authority. some may come across as know-it-alls, but they really just want to share their knowledge with everyone else. they have a talent for seeing the big picture; but may miss the details. they are very persuasive, using warmth and goodwill. they know how to promote their ideas and get their message to the masses. they hold their opinions very dear and take pride in their beliefs. they tend to be idealistic. mercury in leo has a good intellect, and they love to express themselves. in fact, creativity is very important to them. they excel in presenting themselves with drama and style. passionate and enthusiastic when speaking, mercury leo is usually successful in getting their point across.

venus : aries. aries venus is a daring flirt. subtlety is not for them. instead of shyly hoping you’ll notice them, they will try to impress you by letting you know about their accomplishments. they are a bit self-centered, but the right person will find this endearing. their innocent charm comes through even though they may be acting like a spoiled child. they are impulsive, impatient and passionate in all areas the word for aries venus is "intense". those born with venus in aries can bring a childlike wonder to romance. they love to be active and energetic. they don’t appreciate a "mature", vague or coy relationship. they love the chase and initial conquest. in order to keep their attention, you need to step it up to keep it new and fresh. they prefer their partner to be open and honest with them.

mars : virgo. mars in virgo has their eye on the goal. they are practical, if a bit scattered at times. this is only because they are doing so many things at once. even so, they manage to get everything done. they may take on more than they can handle sometimes. they are usually logical and disciplined. mars in virgo can be a bit critical and stubborn at times, but they are not usually aggressive. be wary of pushing them too far, however, as they can be very difficult when annoyed. they can get nervous easily. they like to do things their way. they are usually very organized and they are not afraid to work hard. they have a nervous kind of energy, and they get restless easily. they don’t like to stick to one project for too long.

jupiter : cancer. jupiter in cancer attracts good luck when they are charitable, sympathetic and comforting. when they use their energy to save and accumulate, more comes to them. they are intuitive, and if they let these feelings guide them they will attract much good fortune. they should always use their imagination; it will help them succeed. when they are compassionate to others, it comes back to them. jupiter in cancer has a gift at making people feel cared for. they can create a homelike environment anywhere. whatever they turn their hand to grows or turns out well. they really know how to make the most of what they have. they have a talent for sensing the emotional currents around them and sensing when others feel vulnerable.

saturn : scorpio. saturn in scorpio is impatient. they demand a lot from themselves and from those around them. they can be so intense that it can be overwhelming to those who are not as directed as they are. full of willpower and energy, they are so determined to meet their goals it is hard for them to remain calm. they are not the type to stop and smell the roses. instead of going gung ho for their goals, however, they are usually more subtle and calculating. saturn in scorpio can be secretive. when hurt, they can be unforgiving. they don’t like to be treated unfairly. they may be cunning, resentful, jealous, or possessive. they are shrewd and like to come out on top of any type of deal. scorpio saturn fears emotional rejection and being inadequate. this fear may cause them to overcompensate in other areas. this fear may also be self-fulfilling.

uranus : aries uranus in aries is original and independent. full of ambition and energy, they are very resourceful. challenges that would send most people running are handled easily by those with uranus in aries. they may come across as impulsive or abrupt, which can make them a bit hard to get along with, even though they didn’t mean to upset anyone. they like to have a change of scenery, so may move frequently. they may be forced to change jobs or cities due to their rude manner. aries uranus may feel that there is nothing left for them to learn; they know everything that is necessary. they may be impatient with the ideas of others. they may lose friends over this because they easily get into arguments over unimportant details.

neptune : leo neptune in leo is creative and has a natural flair for entertainment, film, theatre and fashion. they have such magnetism that others are easily influenced by them. they are flamboyant and extravagantly idealistic. leo neptune is generous, sociable and warm-hearted. they are fond of pleasurable pursuits. they have artistic abilities and are successful in their educational careers. they are conscientious with others and usually have successful relationships. alternatively, they can be disappointed in love. they can act by impulse rather than intellect. they may lack the wherewithal to face up to challenges or be fickle.

pluto : aries those born with pluto in aries want to do whatever it takes to get what they desire. they can assess a situation immediately and see what they can get out of it for themselves. if they can’t turn something to their advantage, they are quick to look for another opportunity elsewhere. they are not known for patience. they need to learn not to act rashly and keep some of their energy in reserve. aries pluto tends to take extreme action. they can be very optimistic and accomplish quite a lot through their own power. individuals born with pluto in aries do not hesitate to take things in new directions. these attempts may or may not leave lasting impressions. they may be impulsive, willful, and rebellious. they can become obsessed with freedom and power unless they are careful.

rising : aries aries rising is quick and to the point. they act before they think, charging into the fray without a plan. while they are active, they are not aggressive. they just see what they want and go get it. while some may be competitive, most are putting all the pressure to get what they want on themselves. everything is done quickly. those born with an aries ascendant are quick to anger and quick to let it pass. they don’t hold grudges. as a rule, they prefer to be straightforward and direct. they can’t stand to sit still. they prefer to be active, and will not hesitate to stir something up to keep things interesting. the aries ascendant is oriented on success. they are ambitious and can be single-minded towards their own achievements to the point of selfishness at times. this usually stems from the fact they are so focused on their own goals that they forget that others may be involved or affected. they have a strong need to accomplish their goals, no matter how foolish, dangerous or far-reaching they may seem.

[wittypenguin]

Twelve Monkeys (1995)

This is not a film to watch if you want to see something ‘light and fluffy.’ The pace and tempo of the thing is akin to that scene in Goodfellas where Ray Liotta is trying to prepare dinner, sell some hand guns, and avoid being arrested by the approaching authorities, but played at double speed for over-two hours, and he’s probably had a triple cappuccino.

The problem with (or genius of) any film by Terry Gilliam is that it is so full of stuff — both visual and in the details of the story itself — that you cannot take your attention away from it for a second, even to make quick notes to oneself for a post about the film. This is one of several reasons I watched this film for a second (with the directorial commentary audio) and third time (to put all the bits together in my mind) before writing this. There are so many layers of reality to this story’s world; so many time-frames which all contribute to one non-linear narrative, which we do not experience as such. This is what makes Mr Gilliam’s films so wonderful, they are not simply ones in which a goal is plainly set and we doggedly pursue it in the footsteps of the protagonists. Far from it! The protagonists and antagonists can change places, if need be, or simply reveal that we initially misjudged them. Good noire does this often (typically by revealing that there is no protagonist, never mind any virtuous individuals), but there’s no limitation on that device being exclusive to the noire style. The ‘man with no name’ (or even samurai) films play with it often, with the principle character changing their nature so often one ends up merely trying to recall what face they have presented to whom for which reason. Certainly, there’s a place for the more straight-forward fare, but after awhile one looks for some more exotic taste to a meal, because it simply is a change. A film from which one can get a new perspective, or a recognition of a detail previously missed, all by viewing it an additional time, is always attractive to me. It’s like a puzzle which can never quite be solved; it’s the intellectual stimulation which attracts one’s attention, not the solution per se. Mr Gilliam’s masterpiece Brazil is another such experience. In the commentary track, Mr Gilliam states that he doesn’t like films you just watch the one time and that’s it; why not make something you can watch a bunch of times and really enjoy? That’s much more interesting a film to him and, obviously, to me.

Everyone does such an incredible job. Brad Pitt does go a bit too far a couple of times, but he’s having such a blast being weird that you have to love him. He’s so very gleeful and wacky, but it’s all in the cause of the story, which makes all the difference.

Bruce Willis (whose character at one point is thought to escape through a ceiling duct, if you limit your intake of his films to those in which he is found in that location) is an amazing actor who doesn’t get enough credit for his use of subtlety. If all you’ve seen him do in films is fire guns, ride motorcycles, and trade quips about pancakes with girlfriends, then this is probably as good a place as any to appreciate the complexities he can bring to a character. Here are moments where he brings all sorts of colours and brush-strokes, simply with the way he looks at someone or gives one particular word an inflection. Mr Gilliam specifically praises Mr Willis’ bravery to remain still and not do anything in a moment, all while Mr Pitt bounces around him in a state of mania; or when Mr Willis truly lets himself enjoy an un-restrained, child-like freedom, leaning out of a car window while revelling in the purity of the air which is unlike that in his world of the future. Despite the foregoing rave, I wouldn’t call myself a fan of Mr Willis, but I am a fan of good acting, and there’s oodles on display here.

Madeline Stowe, additionally, is fantastic. There are several really complicated transitions for her character within scenes that she nails without seemingly breaking a sweat. On the commentary track, Mr Gilliam notes a moment where Ms Stowe’s character has to choose whether or not to escape when left in a car unattended, as well as another where it is clear she has joined the quest to discover the root cause of the perceived danger (both of these scenes I have ridiculously simplified the details of in order to avoid ‘spoilers,’ as well as to save time typing). Somehow, her ability as an actor makes both of these moments especially work so smoothly, yet also include with clarity the complexity of the situation to the viewer. It’s the most gifted of actor who can make moments like these look ‘easy.’ I would like to see more of her with intelligent roles such as this.

The set / costume / overall design and camera work of any film by Mr Gilliam is something people either love or don’t. I happen to be a lover of it (have a look at well over 50% of my photos to see an 18mm flat-field lens used for just about anything) and this film doesn’t disappoint at all. The team of gifted artists working on this film created several realities in ways which perfectly both reflect and affect the story’s action and plot. The clothes, the rooms, the objects involved, all perfectly suit the story, as well as propel it forward toward the conclusion. Every odd camera-angle moves us towards an understanding of the anarchic future, or to an appreciation of the haphazard mind of Mr Pitt’s character. The costumes’ unconventional use of materials tell us not only more about the characters wearing them, but about the world in which they operate. Everything fits into a whole in a way which piques the interest and achieves peak interest simultaneously.

From the outset, with its enigmatic epigram, this film demands your undivided attention throughout the length and, even with that, do not expect to get everything the first time.

But trust me, it is worth it.

★★★★★

[movieswithkevin27]

Suddenly, Last Summer

It is shocking to think that Tennessee Williams' Suddenly, Last Summer received a film adaptation in 1959. Expressly covering themes of homosexuality and including a shadowy image of Elizabeth Taylor's nipple while also heavily hinting at cannibalism, child molestation, and incest, this film is quite nefarious for 1950s America and unabashed in showcasing these themes. Whereas many other films of the era may hint at them or suggest the existence of these ideas, director Joseph L. Mankiewicz's adaptation practically goes as far as coming right out and saying it with dialogue stopping right before idea is communicated, guiding the audience's hand right to the only logical conclusion. This is rather bold and one can only imagine the scandal created by this film, even if its overt homosexuality was allowed by censors due to the negative portrayal of gays in the film. Smart, mesmerizing, and terrifying, Suddenly, Last Summer is imperfect, but compelling nonetheless.

Set in New Orleans, the film is deeply Southern gothic and tells the story of Sebastian Venable's death last summer while on vacation. Though we only see Sebastian's back, his death has a clear impact on everyone around him. His mother, Violet (Katharine Hepburn) is now childless and widowed. His cousin, Catherine (Elizabeth Taylor), has been committed with Violet angling for her to be lobotomized by Dr. John Cukrowicz (Montgomery Cliff). Promising to donate to his hospital if the procedure can be done as soon as possible, the film has a spellbinding sense of mystery with the audience immediately wondering why Violet so desperately wants to shut up Catherine. While introducing us to Violet, the film hardly makes us any less suspicious with her home being a virtual mad house. With a statue of the angel of death looming over Sebastian's still lively backyard garden that includes a venus fly trap, Violet explains to John the facts of life. Namely, she expresses her belief that dinosaurs died off because too many were vegetarians and that it was carnivores who wound up taking control of the Earth. Those that sink their teeth into a previously living entity are the strongest among us and, as such, were able to assert that dominance in taking control of the Earth. It is a chilling line of thinking that certainly foreshadows greatly to the ending, while also showcasing how tightly written the script is. With her obsession with carnivorous beings, it is only natural that she would gravitate to liking venus fly traps for how they eat flies. While a small detail, it shows an attention to detail that many scripts do not possess.

That said, aside from its obvious focus on the central mystery as to Violet's desire to keep Catherine quiet, the film's most compelling element has to be its religious themes. With Sebastian claiming to have seen God in the Galapagos while watching baby sea turtles get devoured by birds, allusions to the garden in the backyard being the "dawn of creation", Catherine calling herself a good lamb, images of the grim reaper and an angel of death, and regrets that Sebastian never got to see the "northern lights", the film is loaded with religious references. Perhaps it is because it is deeply Southern mystery film, but Suddenly, Last Summer uses this religion in such a sinister fashion that it hardly ever feels good or just. This perversion of religion is ever further underscored by Violet's aforementioned belief that was the carnivores that inherited the Earth, though the Bible claims the meek will inherit the Earth. While the angel of death and grim reaper are obvious allusions to Sebastian's death and to the death of Violet's spirit after losing her son and husband, the film's religious elements truly become rather compelling when viewed in conjunction with the finale. By the end, we learn Sebastian's fate, which was far too much for Violet to bear with the homosexuality and possible molestation on full display. Instead of a pure, angelic, and chaste son, she has a sexual deviant who was rightfully punished by the locals on his vacation trip. Unable to deal with this, she sacrifices Catherine (as she is a lamb) to protect her own ignorance and sanity. Should she admit that Sebastian was not the man she thought he was, then she will lose herself and have to admit that his vision of the world was greatly disturbed and not drive by a love of God.

This perverted version of religion demonstrated by Sebastian hints at the film's conclusion greatly when he explains that God has abandoned Earth and allows things such as baby sea turtles to be eaten mercilessly as they scramble to find the ocean. It is a violent, destructive, and truly Old Testament version of God that Sebastian preaches about and it is what has prevented him from being able to see the "northern lights" at the end of his life. He has been submerged into absolute darkness, torn limb from limb, and forced to be a sacrifice himself to save his victims from his malicious touch. By the end, he was a man who saw others as meat that needed to be suckered in before he could sink his teeth into his new victim. Suddenly, Last Summer is certainly not a film that pulls any punches and these dark themes may be bubbling under the surface, but its strong writing and acting allows them to come to the surface with Sebastian's intimidating presence and demeanor never being shown to us, instead being turned into mere myth and legend. As a result, the film allows us to envision this monstrous man and imagine the nefarious deeds he committed on unsuspecting people wherever he found himself while his doting and lonely mother turned a blind eye to her son's perversion and mentally deranged mentality when it came to humanity and to God. He is a man who used God and his belief that God has abandoned the meek and the weak to be consumed by the strong to exact pain on others, while also tearing away at his mother's last grips on sanity and forcing his cousin Catherine to suffer from the trauma of learning his secrets. He is a horribly terrifying figure and one that instills fear in the place of absolute mystery.

The film, however, is certainly plagued by a slow build-up and quick third act. Its slow first and second acts may communicate its themes terrifically and allow the beautifully composed script to take flight, but is simply not paced swiftly enough to be fully satisfying. This is countered by the ending that is exclusively told through a monologue by Elizabeth Taylor. Terrifically delivered, it would have been nice for the film to keep the same subtlety from the opening into the third and final act, instead of casting it aside in favor of revealing its visual motifs to the audience and by confronting its dark themes in a very visceral manner. Leaving them bubbling under the surface was a rather mesmerizing idea and, though its final reveal and confirmation is quite chilling, too much is just handed to the audience via this monologue that would have been better off done through a flashback. The prime example of this over-simplification is when Elizabeth Taylor explains that she screamed only for her to then scream in the pseudo-flashback utilized by Mankiewicz. While its method of presenting it with the pseudo-flashback playing in the background with Taylor's face overlaying it, it is just too on-the-nose to lend itself to being a satisfactory reveal. Fortunately, the end is mostly saved by Violet's chilling final scenes that are convincingly and brilliantly delivered by Katharine Hepburn with the solemn resignation that her life is over washing over the film.

Chilling, mesmerizing, and far ahead of its time, Joseph L. Mankiewicz's adaptation of Tennessee Williams' Suddenly, Last Summer may be a bit too slow to truly work, but it does an excellent job confronting the source material's dark and typically censored themes in a rather progressive fashion. It is in these themes that the film's mystery and thrills are forged, leading to a truly unconventional 1950s mystery film. Pairing together Elizabeth Taylor and Katharine Hepburn in typically terrific performances, it is hard to knock Suddenly, Last Summer too much due to that duo, the film's well-written and tight script, and Mankiewicz's great sense of atmosphere. In spite of its flaws, this is a deep fried Southern chiller.