#the differences had been noted for years and built up as a longtime coming

[ellewritesalright]

Where the Roses Grow

Tamar Kir-Bataar x reader

A/N: This is a request from an anon! I hope you like it you darling anon and all other readers!! It's set in a weird canon-adjacent moment during Siege and Storm but honestly the actual canon is irrelevant for this.

Request: "maybe reader could realize her feelings for the heartrender? all the fluff in the world is heavily needed right now"

Synopsis: You slowly come to realize your feelings for one of the sun summoner's personal guards.

Warnings: A short fall from a ladder, but otherwise nothing!

Word Count: 2235

..........

You saw the flash of golden hair as you passed down a hallway in the Grand Palace. You took a step back and stopped in the doorway to the drawing room, staring at a figure you hadn’t seen in years as he spoke to a woman you didn't recognize.

"Nikolai?" You called.

The blond haired prince whipped his head in your direction. He grinned, "Saints, is that really you?"

You nodded and bounded over to his side. Your old friend hugged you readily. "How long have you been back now?"

"Just since yesterday--I was going to come see you soon as I could, I promise, but I got caught up with some princely duties."

"You are forgiven," you smiled. His companion caught your eye and Nikolai followed your stare.

"Oh, right! Tamar, this is my longtime friend," Nikolai said, introducing you to the woman flanking him. "She’s a gardener and groundskeeper here at the palace."

"Head gardener now, actually," you corrected.

He beamed at you. "Well, my parents would be foolish not to promote you. Congratulations!" Nikolai gestured to Tamar, saying, "Tamar is a good friend and valued member of my crew."

"I see," you said. You politely smiled at her, asking, "And how do you like it in the palace?"

"It's growing on me," she replied, a twinkle in her eye. "Now that I know you're responsible for them, I should commend you for the gardens. I've travelled the world, but the gardens here are the most beautiful sight I've ever encountered."

You let out a light chuckle, trying to distract yourself from the heat in your face. "Thank you for the compliment. I will struggle not to let it get to my head."

"I especially love the area of the gardens with all the different coloured roses--they're all spectacular." She smiled at you. Saints, she had a pretty smile.

"Thank you,” you grinned, “that's my favourite area too.”

Then, a lumbering figure appeared at the doorway.

“Tamar, you’re needed at the Little Palace,” this tall man said. You looked between him and Tamar, noting the familial resemblance.

“Surely your sister's not needed right this second, Tolya,” Nikolai smirked, an impish glint in his eye as he looked at Tamar.

“That’s alright, your highness,” Tamar said, a playful edge to her words, though you didn’t understand the glare she sent to Nikolai. She looked at you with a charming smile. “It was good to meet you.”

“Good to meet you too,” you beamed.

Nikolai snickered from beside you after she and her brother were gone.

“What’s so funny?” You questioned him.

“Nothing,” he said, straightening out. “Nothing at all.”

……….

You stood in the gardens, trying to puzzle out how to shape a new topiary. You could always make it match the Lantsov crest, though you'd already done one near the garden entrance off of the ballroom. Maybe you could make it an animal, but you had no idea what to choose or where to start.

You climbed up your rickety ladder; it was the least of your worries right now, but the old ladder looked like it had been around when the palace was first built. Still, your boots reached the third wrung as you examined the tall tree.

From your new vantage point, you watched the topiary leaves catch in the light breeze. This topiary was near the passage to the Little Palace, so perhaps you should cater it to the Grisha passing through. Something for the new leader of the second army could work. A sunburst for the sun summoner, or maybe a stag?

In all your wondering, you didn't notice anyone approaching.

"Working on something new?"

The voice startled you so badly that you lost your balance on the ladder. It wobbled to the right, then to the left, and you tried to grab hold, but as soon as it dipped to the left you were wheeling backwards to the ground. You scrunched your eyes shut and readied yourself to strike the hard pathway stones. But they never came.

You made your impact against a set of strong, leather-clad arms. Your eyes blinked open at your rescuer. 

"Tamar," you breathed, looking at the woman holding you. She smelled sweet, like vanilla.  "Thank the saints for you.

She set you down, a slight worry in her brow. "I’m sorry I frightened you. I thought you saw me."

"I would have, but I was too focused on this stupid topiary," you said, righting your soil-covered apron.

She glanced up at the tree. "Do you know how you'll shape it?"

"That's what I've been trying to figure out."

"Well, I'm certain that whatever you make will be gorgeous."

"I'm glad you think so. I don't have much confidence in this topiary, I'm afraid."

"You'll find a way, I know it."

Her eyes fell on your fidgeting hands and you tried your hardest to keep them still. Saints, there was no reason she should make your heart race like this.

"Are you going to Nikolai's dinner tonight?"

"If I can get my work done before then, yes. But I've still got three whole garden beds to weed before I'm done for the day."

"Do you need any help? I would be happy to pitch in," she said, smiling brightly with interest.

You felt your heartbeat pulsing in your fingertips. "Do you have experience gardening?" 

"Well… no," she said with a tilt of her head, "but I'm a fast learner."

"I'll believe it when I see it." You handed her a trowel from your kit. "Follow me."

Tamar took to the work with ease. Granted, it wasn't the most challenging task, but it was a big help to have her there. 

You watched her closely at first to make sure she wasn't digging out the plants that were there on purpose. But even once you trusted her to do the job, you found your eyes straying to her. There was something about the way her mouth pursed with focus and her hands moved so swiftly--so precisely--that split your attention as you worked in the next garden bed over.

A couple times she caught you looking, and you had the embarrassing task of glancing away as quickly as humanly possible. Saints, you felt warm under the collar when she looked at you. It was her eyes and their mesmerizing dark brown that made you so nervous. But, even with the nerves, something in you grew so excited whenever her stare was on you. Whatever it was, you couldn't tame it; though you didn't think you wanted to.

The two of you finished in record time despite your distractedness, and you thanked her.

“I’ll definitely see you later then?” she asked, wiping her hands off on a cloth you’d given her. She stepped closer as she handed it back to you. As she got closer you noticed the lovely combination of leather and vanilla floating towards you.

“I don’t see why not,” you said, taking a breath to slow your heart.

“Good,” she smiled. Then she was off.

……….

It wasn’t often you were invited to these sorts of events. Though your work had garnered much praise from the royal family and everyone who visited the palace, only twice did the Lantsovs let you attend a dinner with their fancy guests. The first time they sat you near the very end beside a religious lord who kept going on and on about the saints. The second time you were stuck once again at the end of the table in the midst of a group of bankers from Kerch; they were polite when they spoke to you, though you could tell they weren't overly excited to speak to a gardener.

Tonight, however, was very different. Nikolai had gathered a whole group of his friends from his days in the army, from his time at sea, and a bunch of assorted friends he'd met along the years. And best of all, his family and all the stuffiness hanging around them wasn't there. 

You were sitting near to the middle of the table, caught in many interesting conversations and entertaining anecdotes. To your left was a squaller who had sailed with Nikolai, and to your right sat Tamar.

The room was loud and exciting, with laughter abounding, but the brightest laugh came from right beside you. Every time Tamar laughed you instinctively looked at her, eager to catch her smile and see the way her chest buckled. 

Nikolai began a long story of one of his trips at sea, and Tamar interrupted him halfway.

"The whale was four times the size of the Volkvolny, mind you–"

"Four times?" Tamar had an incredulous tilt to her head. Her arm touched yours as she leaned into the table and your heart sped up. "It was barely the same size as the ship, Nikolai!"

"Well, either way, the whale was huge," he said, a not-so-sheepish smile on his face.

He continued, but you were so attuned to the warmth of Tamar's arm touching yours that you could hardly keep up with his story. Only when she leaned back in her seat and her arm fell to her lap did you start listening again. But by that point you were a little lost, and not just because of the odd twists and turns in the prince's story, but because of the way your eyes trailed to Tamar whenever she wasn't looking in your direction. There was no use even pretending to pay attention to Nikolai as you watched Tamar. She seemed to enjoy the story, though, and you relished in her smile and laughter, breathing it all in like incense.

And then, with widened eyes, you watched her reaching behind you, as though she was ready to rest her arm around you. Embarassment flooded your veins as you realized she was only settling her hand on the back of your chair. She looked at you and you frantically schooled your features to be calm and collected. A small smirk played on her lips before she returned her attention to Nikolai's stories.

You needed to control yourself.

Gazing at your hands in your lap, you took a breath, and closed your eyes for a moment. You glanced up when you heard your name being uttered across the table.

"Am I boring you?" Nikolai teased. "I really thought my stories were more entertaining than that."

"Not boring me at all," you replied, your face heating up. You didn't like having everyone's eyes on you suddenly. "Though I think I just need to get some fresh air. If you'll excuse me."

Receiving a polite nod from your host, you stood from the table. You made your way to the hall, calculating the nearest door to the terrace, which happened to be through the drawing room. Once you were outside breathing the fresh air you felt a bit better. You slouched against the wall of the palace, letting yourself slide to the ground. The stone below you was cool. Crickets hummed faintly.

There was no use in stopping your mind as it wandered back to the dining room, back to Tamar. Her smile, her smirk, her laughter, her warmth… it wasn’t just that you couldn’t think about anything else, you didn’t want to think about anything else.

Vaguely, you heard footsteps prodding closer on the stone floor, so you started to stand. Tamar stepped onto the terrace as you dusted yourself off. There was tension in her brows as she approached you.

"Are you alright?" She asked.

You nodded, watching as her expression eased up. "Yes, why wouldn't I be?"

"Your heart is racing faster than I’ve ever heard it–I thought something might be wrong,” she said, unknowingly careless as she revealed herself to you.

"You knew my heart was racing?" You watched her head duck a little, as though guiltily. "Oh. You're a heartrender, aren't you?"

She nodded, the line of her mouth twisting in apology. "I probably should have told you sooner."

"Wouldn't have hurt to mention it," you replied, feeling very warm all of the sudden.

"I'm sorry," she said. "Sometimes when I tell people it makes them act differently around me, and I didn't want to risk that with you."

You felt your heart speed up a little at those words of hers, something you realized she would also notice. But the thought was almost comforting, as you didn't have to explain that intricate, intimate part of yourself to her. 

"Why's that?" You asked her. 

She gave you a small smile. "Because I like you, and I didn't want you to be anything besides yourself with me."

"Thank the saints," you muttered to yourself. Tamar's brows knit, but you grinned. "I'm sure you can tell already since my heart is pounding… but I like you too."

She seemed pleasantly surprised. "You do?"

“Very much so."

A bright smile spread across her face, and you didn't need to be a heartrender to know her heart was also leaping with joy.

“Would you like to go for a walk in the gardens?" She asked, still grinning at you. "Where those lovely roses of yours grow?"

“Isn’t it a bit cold out now that the sun’s gone down?” You grinned, at her, a teasing edge to your words.

She stepped closer to you and grabbed your hand, lacing her fingers with yours. “You'll always be warm with me.”

..........

A/N: Thanks for reading! Feel free to like, reblog, and comment if you want to read more, I really appreciate the feedback! Otherwise, I hope you have a great day/night :)

Masterlist

[practically-an-x-man]

Ask game!

🌻🌈✨️💎💖💌

(Those might be a little out of order, I just remembered the emojis, not what order they were listed in lol)

thank you!! And don't worry about it being out of order, it's not a problem

(also apologies in advance because this turned into some MAJOR rambling)

🌻what makes you want to give up on writing? what makes you keep going?

I thrive off of feedback, and so I tend to get discouraged when I write something I'm proud of and it gets little/no response. It starts to feel like I'm putting a lot of effort into something that's just going to float aimlessly through the void, and I have other hobbies that I could spend my time on.

And admittedly, this happens sometimes when I swap read with a friend too - I put a lot of effort into commenting, marking lines and making note of all the little things I liked, since I always love getting those sorts of comments on my own writing, and then my writer friend either won't read my writing in exchange, or won't comment on it so I don't even know what they thought. That's not meant to be a callout and I'm not upset with anyone in particular, it's just a fairly consistent thing I've noticed and it makes sustaining motivation difficult.

Generally this is resolved by either receiving a surprise comment or two (I literally got a two-line comment on A Love Once New and it pulled me out of 2 months of uninspired dormancy), or simply pressing myself through the hard parts because I know there's a scene I've been dying to write coming up.

🌈is there a fic that you worked *really fucking hard on* that no one would ever know? maybe a scene/theme you struggled with?

Okay, so I have a bad habit of starting fics in the most underused fandoms or with the most underappreciated characters, so it's kind of a tossup. But I'm actually gonna go with A Love Once New for this one, for one particular reason.

That fic is LONG. Over 200k words at this point. And given I started it over two years ago at this point, my writing's a lot better now than it was when I began. I worry that people will click onto it, but the old writing style will chase them away (it's not bad, but certainly not great) and they won't bother sifting through 60-something chapters to get to the new, well-written stuff.

I've put so much love and thought into that fic, but I feel like it just doesn't get appreciated the way I want it to.

(but also I work really fucking hard on everything I write so they all kinda fall into that category)

✨What's a fic you've posted you wish you could breathe life into again and have people talking about it? (or simply a fic you wish got more credit)

I used to have a longtime consistent reader on Smoke and Mirrors, who left these really great, multi-paragraph comments on every chapter, and it gave me so much joy to write that one. And then I had a second reader who came in after a while, and left slightly shorter but still really wonderful comments. But they disappeared, and the only comment I got on the most recent chapter was along the lines of "I don't really like being left in suspense, I hope Madison's okay. Nice update though." I'm grateful for the comment, but... not the most inspiring, y'know? It reads to me almost like a warning, like "you're losing my attention, please resolve this plot before I leave too"

I really wish I could get a few of those readers back, honestly. Smoke and Mirrors has some of my most dynamic characterization, a great slowburn, and I feel like I've struck a really good blend of angst and softness. I'm genuinely very proud of what I've built with that one and my writing keeps improving each chapter, but it feels like my readers have just been trickling away despite that.

💎why is writing important to you?

In a general sense, I feel like writing is an incredibly good way to showcase different perspectives and generate compassion and understanding in a way that other forms of media can't. Writing helps showcase not only a character's actions but their thoughts and worldview, which is an excellent tool for representation.

In a personal sense, writing is important to me because I feel more understood myself. I can incorporate my thoughts and perspectives or even rant about some of my personal pains through the lens of the story, and usually turn it into something compelling and interesting to the reader. I can channel my emotions into the words, and actually make something positive and creative out of them. It helps me keep the rampant ideas from piling up on me, helps me focus my thoughts, and makes me more articulate when I need to express something in the real world.

💝what is a fic that got a different response than you were expecting?

I wasn't expecting Who Waits Forever Anyway? to get so much attention! I knew there was a standing Night at the Museum fandom since everyone loves Jed and Octavius, but I was surprised that so many people actually engaged with my Ahkmenrah-centered fic too! I've had three or four consistent readers (non-writer friends, people who genuinely just stumbled into the story and decided to stick with it) since the beginning, and that fic probably gets as many comments as the others combined. Catch and Release has more hits and bookmarks, but doesn't seem to have as many consistently engaged readers.

And on the opposite side of things, I'm surprised Secret Worlds and (Farewell) Wanderlust got so little attention. The Sandman is popular, the fandom appears to be pretty active, and the Corinthian is a well-liked character as a whole. Plus, I feel like those two pieces are some of my better bits of writing. Logically, I'd have thought it would get more attention.

💌share something with us about an up-and-coming work (WIP) that has you excited!

Okay, so recently my motivation has been almost entirely devoted to this new fic called Taking Flight (thank you ADHD, I literally can't focus on any of my other WIPs right now), but I've been trying to work on the next chapter of Desert Song! I don't want to spoil too much, but I'll give you two things: it starts and ends with flashbacks, and the focus song for this chapter is The History of Wrong Guys from Kinky Boots.

The history of wrong guys:

Chapter one, he’s a bum. 

Two, he’s not into you.

Three, he’s a sleaze.

Four, loves the girl next door.

[the-nysh]

BONES poked the bear/pulled the lion's tail too much this time. Bakugou's fans have been the most tolerant (at least compared to Deku's subset of vocal JP Mom fans) considering what they have had to put up with from the adaptation, Movies and OVAs, and its interesting how the mischaracterization started from day 1, died down a bit in S2+3, then has flaired up again to get steadily worse since. Its probably more intolerable for JP fans considering what Kacchan is going through in the manga too.

Early departures in characterization could be dismissed/ignored as typical 'anime adaptation weirdness,' but then those occurrences kept adding up, to the point how back in s5 (during the peak of the World Heroes Mission movie weirdness affecting production) the inclusion of him saying 'ore-sama' there was immediately jarring like he was an imposter even then. And NOW the way BONES chooses to reintroduce watchers to the core 'essence' and 'appeal' of his character in the first two eps of s6 is thru that very same, most shallow, disrespectful way possible (by insisting on giving him a worse narcissistic trait than what his middle school self never used even at his nastiest, while trying to sell that as something 'good'/cute/funny his fans will even like), DURING the very season he's supposed to display his biggest sacrifice and selfless growth as a hero, concurrently while he's fighting on his deathbed in the current manga - OH YES even his Japanese fans lost their tolerance in confusion/anger at BONES continuing to mishandle his character this carelessly & late in the game for no reason - because that ooc distortion's now unacceptable. You'll see how even his most avid manga lovers will admit they hate his anime counterpart, because who tf is that; the difference in personality at this stage, in the opposite direction of who he's supposed to be, feels like a rancid mockery of everything positive Hori's labored to show he represents.

The characterization of Bakugou is the number 1 reason I don't support the anime (and most of the merch) unless I know Horikoshi has been involved (aka Heroes Rising). It feels so arrogant and disrespectful of the writers to actively undermine the managka's carefully crafted characters so crudely especially as Horikoshi has made it clear Bakugou and Deku's relationship is the important core of the story with Bakugou's character on his own being a huge part of that.

It really does, that his character's handling, which is a fine line to accurately portray already, feels like a litmus test to gauge the overall quality, and you can immediately tell the difference in 'official' content where Hori's involved or not, as he conveys his heart & soul (including the projects he shows his passion & support for) vs shallow imitations that lack that which endears fans to his work in the first place. Anyway, only Hori can be trusted to 'handle his own characters with care,' because we see the glaring result of what happens when BONES doesn't - when they're given free rein to write flanderized derivations without his input...but this has been the case we've known since forever. :') It's just unfortunate they have to repeatedly cut corners double down on tired stereotypes and additions for the worse that no longer fit or work in favor of the story he's trying to tell, rather than improve or meet Hori with the same level of care/respect his work deserves.

[kpopxx]

Spy Games [Chapter 1] : More Than It Seems

Characters: Twice Momo, Male Reader

4579 words

Authors Note: This is literally the first fiction writing I have done since I was a little kid writing stories about a town full of hamburgers. I was inspired to try my hand at writing by the plethora of amazing kpop smut writers out there right now, but by @lockefanfic​, @nsfwtwicecatcher​, @nsfwflint​, and @ggidolsmuts​ in particular. If there are any similarities between my writing and theirs, please forgive me as I’ve spent more hours than I’d care to admit “researching” their work. 

One thing that amazes me is how the hell everyone cranks out thousands of words with such frequency, as this post isn’t even 5k and it took forever to write. I can’t begin to explain how much respect I have for all the authors out there who can write so much and maintain such high levels of quality.

As a new writer, I welcome any and all feedback! Feel free to drop me a line if you have any critiques, or if you just want to chat!

***

“Coming up on the target now.” 

“Roger that, remember the office is on the top floor. Let us know when you’re inside. And remember, no elevators...” teases your handler, Choa.

“Thanks for the reminder,” you reply sarcastically.

You survey the skyscraper against the night sky--it would be impressive if it weren’t one of a hundred just like it downtown Seoul--and wonder what you had done to deserve getting the short end of the stick. Of course, you knew there was a reason to avoid the elevators: they sat directly in front of the building’s concierge and the cameras in the lobby, while the stairwell lay in a remote part of the first floor. The logic behind your impending hike didn’t make the reality any less abhorrent.

“Meanwhile, Seolhyun gets to infiltrate an organization in the Caymans. Just my fucking luck.” you grumble to yourself.

“Oh, stop whining, you big baby,” says Choa, reminding you to keep your thoughts to yourself.

You sneak past the lobby and towards the back of the floor you find the entrance to the stairwell in a poorly lit area.

“Beginning my climb.” you report, shaking out your legs as you prepare to go up.

“Sir, I-I’m getting some interference over comms,” chimes in the timid voice of the girl you knew to be your newest team member, Yoo Jeongyeon. “It could just be local chatter, but I want to make sure it’s not someone trying to listen in.”

“Probably nothing to worry about, but we’ll let you know if there’s anything you need to worry about.” Choa assures you. 

As you climb up the stairs, you wonder why anyone would want to listen in on this particular mission. This was a run-of-the-mill operation to investigate money laundering at an accounting firm. You’d infiltrated foreign governments, broken into and bugged the offices of billionaire CEOs, and tailed enemy agents. You could understand people wanting to hear those comms, but this? Either someone wanted something to listen to as a sleep aid, or this mission was more interesting than it looked.

A tip had come in through one of the new girls at the Intel Desk reporting that there was some fishy activity related to organized crime going on at the accounting firm. This was routine and you’d gone on dozens of similar recon missions before: break in, find suspicious intel, get out. But if someone wanted so badly to hear what was going on, the new girl may have stumbled onto something worthy of a promotion. Hayoung, you think her name was. Her chestnut, shoulder-length hair along with her well-endowed physique reminded you of a young mother, but her mature beauty belied her young age. You had caught yourself more than a few times fantasizing about her in your off hours…

You stop mid-way in the stairwell, scolding yourself for losing focus. Too often over the course of the last year you found yourself fantasizing about the women in your life. Sure, before the incident with Eunha you had sexual thoughts about your coworkers--you were surrounded by beautiful women, after all. But recently you noticed that your life was increasingly preoccupied with sex: both in your thoughts and the real-life exploits you carried out. 

Much longer than a few minutes later, you reach the 63rd floor out of breath and sweating, wishing more than ever that it was you and not Seolhyun lounging on the beach. You take a moment to compose yourself before peeking out into the office floor to see if the coast is clear.

“We may have a problem, boss. Jeongyeon looked into the comms disturbance and someone much more sophisticated than the average joe is definitely trying to tap in,” Choa says. “Jeongyeon’s kicking their ass right now blocking their access, but there’s only so much she can do alone. Eventually we’re going to lose control of this channel.”

“Dammit. I knew something was off with this op,” you grumble. “If they want to listen in to whatever I find, it must be important. We’ll go dark. Recon says this should be a quick in and out anyways. I’ll tag you once I’m out.”

“Be careful. Signal us if anything goes wrong. Just don’t do anything stupid.” replies Choa. 

“What do you think they pay me all this money for?” you tease, wanting to put her nerves at ease. “See you on the other side. Over and out.”

You could hear the concern in her voice. Even though keeping you safe was part of her job, you knew she cared about you. You also knew as well as she did that anything could go wrong even in the five minutes it would take you to break in, especially when it appeared that someone knew exactly what you were doing.

You switch off your comms link and head out the door and into the office.

It looked exactly as you expected--rows and rows of non-descript cubicles, with a princely office lined with glass walls occupying the far corner. Jeongyeon had retrieved the floor plan by hacking into the building’s security database earlier in the week, and you knew after her effort tonight in detecting and fending off the comms interference that Choa would want you to acknowledge the work the new girl had been putting in. She certainly was more skilled than the five previous team members you’d fired after Eunha, but you found it difficult to bring yourself to praise her. The Ops Officer position she occupied was a sore point for you, after all.

You deftly pick the lock on the corner office door and immediately sit down in front of the terminal on the desk, logging in with the security bypass Jeongyeon drew up. 

Again your thoughts drift to Eunha. Eunha was your longtime Ops Officer--highly skilled, you trusted her more than anyone. It also helped that she was your fiance. It made you sad to think about her; about what could have been, what should have been. Over the past year, you were constantly reminded of her absence by the utter incompetence of her replacements. You suppose it was nice that at the very least, Jeongyeon didn’t give you many opportunities to bemoan her performance in the same way--to remind you of Eunha.

You shake your head, compelling yourself to rise out of your funk and get on with the mission.

As you scroll through files, you stop on one with a familiar signature. Reading its contents, your eyes open wider--suddenly you understand why someone would be interested to listen in to your communications. You quickly save the file to your flash drive and stand up to leave, only to be startled by a figure in the doorway.

“Care to tell me what’s on that?” comes a familiar voice from the darkness that you knew to be Hirai Momo’s. Momo was an agent for a foreign espionage agency--you had as friendly a rivalry as you could have when working for different governments. 

“What was the point of trying to hack our comms if you were just going to show up and ask me that?”

“I had no intention of coming until you decided to ghost your girlfriends,” teases Momo. “Besides, I like showing you how much better I am at sneaking around.”

Momo flicks on the light and she comes into focus. The Japanese government made a good decision when they hired her, you think. She was built for the job of a seductive spy. Her perfectly toned legs had a lovely sheen all the way up to her short skirt, while her cleavage suggested that her tits were ready to burst out of her tight, patterned blouse. Where most of your attention was drawn, however, was her lustrous blue hair, which fell to her shoulders.

“I may actually need your help with this, once you see what’s on it,” you say, nodding your head at the flash drive.

“Oh, so you’re willing to give it to me? I thought I was going to have to fuck you for it,” she says sarcastically. You knew behind the humor was more than a nugget of truth, though. Sex had been the primary vehicle for information trading with Momo over the years. You decide to test your reading of the situation.

“Just because I need your help doesn’t mean I’m giving it for free…”

Momo brings her thumb to her mouth and bites gently as she ponders your not-so-subtle proposition. She takes her turn to look you up and down, making you feel more than a little self conscious in her gaze of judgment. After so many years in the dangerous world of espionage, there were only a handful women who could make you feel so small. Then again, Momo was no regular girl. 

Once she’s satisfied she has properly appraised your worth, Momo lets go of her thumb and straightens her blouse.

“Fine,” she says matter-of-factly, “let’s get to it,” unbuttoning her blouse as she walks towards you.

You are surprised by the lack of fight she put up, but you thought it best to keep that to yourself. Her tone reminds you of a business meeting--that is, if you hadn’t seen her pull her top off as she approached you. She sits in your lap on the chair, wrapping her arms around your neck as you meet her lips for a kiss. Momo’s mouth was familiar to you, introduced to you many times throughout your career. It seemed like every time you ran across her you had sex. One thing you adored about your relationship with her was that it was absolutely without strings attached. You fucked for work, but just because it was part of the job didn’t mean you both didn’t enjoy it. 

Momo, however, was loath to admit the pleasure she got out of her liaisons with you. Call it pride, call it being professional, whatever--Momo refused to act like sex with you was anything other than work, no different than working in a spreadsheet.

You feel her reach down to your pants, quickly unbuttoning them as she sinks to her knees in front of you. You smirk--her eagerness to please you betrayed her air of ambivalence.

Momo wastes no time getting down to business. You are certain the Japanese trained her very well in tender foreplay, but it seems she doesn’t care much for subtlety at the moment. Instead, she utilizes a more direct method to extract your pleasure--one that must have required its own fair share of training--as she spits on your cock before immediately forcing it as deeply in her mouth as she can take it. One, two, three bobs is all it takes for her to reach the base of your cock, her nose buried in your pelvis.

“Fuuuck me, that’s good,” you groan as you hold her head in place for several seconds, and Momo replies in turn with a cough that spits a healthy serving of saliva on to your cock. You release your grip on the back of her head to give her a chance to breathe, but she surprises you when she simply continues to work her mouth on your increasingly saliva-drenched cock, swirling her tongue around your base. Most of the other women you had slept with in recent months would be gasping for air by now, but Momo’s demeanor was cool, calm, and collected. Almost as if she was reading your mind, Momo paused her slurping and pulled her mouth off your shaft--but not forgetting to continue stroking it with achingly deft corkscrew motions.

“What’s the matter? Girls in your department not able to take care of your cock like a real woman?” Momo clicks her tongue and grins. “I’ve told you for years, you’d never be treated so poorly if you came to work for a professional outfit like ours.”

“Shut up and suck my cock.”

Momo shrugs, and gets back to the task at hand. Slobbering even more as she takes you into your mouth again, you pause to thank your lucky stars that you had a job that paid you in part to fuck women like Momo. You gaze upon her face, which has become just as messy as your cock. Momo’s sloppy blowjob has not only left liberal amounts of spit on your cock, but on her face as well--with strands of her blue hair plastered to her cheeks. Even though you thought it impossible, you feel your cock get harder at the sight of Momo’s messy face.

For several minutes, Momo continues inhaling your cock as you find yourself nearing the point of no return, you yank Momo’s head off your throbbing cock in order to prolong your session. A bit too forcefully, it seems, as Momo falls over onto her side.

“What the fuck!” yelps Momo as she picks herself back up, glaring at you. “I suck your cock and you thank me by throwing me on the ground?

“I didn’t mean to, I’m just not ready to cum yet. We both know you would’ve ignored me if I had asked you to stop.”

“I guess you’re right about that,” Momo replies sheepishly. You knew from previous run-ins with her that she loved nothing more than swallowing cum. Even though you had just denied her that favor, you were already thinking about how to make it up to her in a few minutes.

“How about I repay your kindness? Get up on the table and let me eat you.”

“Let’s skip the pleasantries. I’ll get up on the table, but you’re going to fuck me.”

“Someone’s eager to see what’s in this thumb drive,” you tease, inadvertently reminding yourself that this was a transactional liaison. You suspected that Momo’s interest in you extended beyond her desire for the information at hand, and part of you yearned to take her outside of the confines of work. You’re skeptical such a day would ever come, however, given how ambitious Momo was. 

You knew her story--she applied for a job in the Japanese spy agency several years ago, making it all the way through the process before being cut at the very end. She ended up receiving an offer shortly after one of the other finalists died in a ‘training accident’, but Momo lived with a chip on her shoulder ever since. She lived and worked with a pathological drive to prove the agency wrong in their original decision to cut her. Already the youngest lead operative in her country’s history, she had an eye on the directorship and seemed destined for it. So, you supposed, it was nice to be able to fuck her before she became famous.

Momo hops on up on the desk, hiking up her skirt to reveal a delicious-looking blue thong that matches her hair. She looks behind towards you with lust heavy in her eyes as she pulls her thong to the side, revealing her glistening pussy--already dripping, you noted.

“I don’t have all night.”

More than happy to oblige, you line your painfully throbbing cock up with her pussy and you can feel the warmth radiating from it. You take a second to appreciate Momo’s incredible physique as your hands graze downward from her upper back, to her hips, and finally to her ass. As you rub it, you cannot help but appreciate how sublimely taut it is. 

“Jeeze, you act like this is the first time you’ve seen a woman naked,” Momo jabs, interrupting your reverie.

You are starting to get annoyed with Momo’s demeanor. It was nothing new, really--she always carried an air of superiority--but it nonetheless grates on your nerves to see her be so dismissive. You are mature enough to understand that at least a part of this aggravation had to do with the fact that you knew Momo slept with plenty of men for work. Not so mature, however, to be able to stifle the primal urge deep inside of you that wanted Momo to see you as the best of all her lovers. More than ever, it seemed that sexual vanity mattered a great deal to your self-confidence.

With a renewed sense of purpose and your cock in hand, you enter Momo slowly with a long stroke until you fill her to the hilt. In unison with your initial insertion, Momo lets out a whine that crescendos as you bottom out.

As you begin to thrust in and out Momo settles in and widens her stance ever so little, which has the added benefit of allowing you to go even deeper into her warm, wet pussy. Momo was not a girl of surprises. Her face was gorgeous, capable of angelic beauty and fiery lust. Her body reflected the many hours she spent in the gym with ample breasts, insanely tight abs, and a toned ass to match. Her pussy feels exactly as sublime as her beautiful face and incredible body suggested. The perfect combination for a woman who used her body to seduce and take advantage of brainless men. You decide to push out your mind the realization that at this very moment, you are in fact one of those men.

You wanted to make sure Momo felt each and every drive into her hot flesh. Momo continued to moan quietly, each breath punctuated with a new thrust and the sound of your skin meeting hers.

“Looks like someone’s gotten real quiet all of a sudden,” you say, noticing her haughty attitude had subsided as pleasure took you both over.

“Oh, get over yourself,” Momo says, looking back at you with rekindled determination in her eyes, “you’re no better than half the guys I’ve been with. I’m here for the file, not for whatever you call this.” She cooly turns her head to face front again, leaving you seething.

Your twinge of annoyance was now a bubbling boil.

You slow down before withdrawing your cock from her warmth--Momo lets out the faintest whine of disappointment, betraying her dissatisfied front.

Just as Momo turns her head again to complain, you quickly slam your cock deep inside her. Momo yelps, and you notice her eyes bulge as you move your hips in a circular motion with your cock filled to the hilt, scraping deep inside her pussy. After several seconds of this you grab a makeshift ponytail out of her hair and yank backwards, causing her to gasp and arch her back instinctively. As much as she bothered you with her air of indifference, you had to admit that the image in front of you was the stuff of dreams.

Taking advantage of the highly erotic sight before you and the increased leverage offered by your grasp of her hair, you began to truly fuck her with quick and powerful strokes.

“Take it, Momo,” you grunted, beads of sweat beginning to form on your forehead.

Momo said nothing, emitting only breathless gasps from her open mouth. You noticed that their intensity was gradually increasing, so you increased the speed of your shaft penetrating her young, sinful body. You knew she was enjoying this, but you wouldn’t be satisfied until you broke her facade. You wanted her to lose herself to you.

You speed up even more, and the volume of your skin slapping together increases as her pussy drips wetter and wetter, mixing with your leaking precum. You are slamming your cock into her now, and Momo has to grab on to the table to steady herself. Slowly but surely her pretense was crumbling.

“You want it, don’t you Momo? You want more?”

“Fuck yeah,” Momo gasps hoarsely, struggling to speak with her hair being pulled, “Give it to me...o-oh...fuck, give it to me!”

Satisfied that she had succumbed to her pleasure, you relax your grip on her hair slightly and lean over to growl in her ear.

“I’ll give it to you. I’m gonna make sure you remember this, make sure every time you’re with another man you wish it was me.”

Momo acknowledges your promise with a deep groan, giving you great pleasure as you resumed fucking her gorgeous body.

Your eyes drift downward to her glorious ass, now shining with sweat and jiggling violently with each crash of your cock inside her. Inspired by the sight, you release her hair and put one hand on her hip and begin striking her ass with your other. Momo shrieks in surprise, but quickly looks back at you with lidded eyes while biting her lip to tell you she wanted more.

Again you oblige, and it was quickly becoming clear that lust and pleasure were staging a coup of Momo’s senses. She’s making lots of noise, but nothing intelligible. Nothing but guttural moans interspersed with high-pitched squeals. You continue spanking her ass, alternating cheeks--noticing a deep pink beginning to form on both. She’d most likely be dealing with soreness for several days after this, you think.

“You wanna cum, Momo? Cum for me, I know you want to.”

“Mmmmm...Ah, ah, AH! Unggghh,” comes Momo’s response.

“Come on Momo, fucking cum baby...cum all over this cock,” you shout, sincerely hoping there was no one working in an adjacent floor to hear.

“FUUUUCK!” Momo screams eloquently, suddenly dropping her head as her body begins convulsing. You knew what to expect having slept with her before, but you are nonetheless surprised to see how completely overtaken her body was by pleasure. Her upper body jerks spastically as her legs tremble with your cock plunged deep inside her pussy, all the while letting out a high-pitched whine that turns into a soft whimper. Just a few minutes before she was defiant and happy to throw insults at you...now she was a mewling, writhing mess incapable of speaking. The dark, primal part of you is satisfied by her tacit recognition of your talent.

After a short while, Momo begins to compose herself and lifts her upper body from the table. You take it as a sign to slowly resume taking your cock in and out of her. You decide to give her now glowing pink ass a rest and caress her back, tracing long lines with your nails.

“Mmmmm, that feels good,” Momo says, her eyes still closed, “you fuck me so good.”

You slowly begin ramping up the pace, rolling your hips with each stroke. You want to make sure your cock pleases every inch of Momo’s pussy, and make sure it craves you when she’s alone at night. 

After several minutes of this tender, softer version of lovemaking, Momo comes back to her senses. She arches her back again and turns her head to gaze in your eyes as you continue to take her. She begins to move her ass back and forth on your cock in unison with your own strokes.

“Oh my god, you feel so good in my fucking pussy! Every...fucking...stroke!” Momo gasps, the final words punctuated by the force of her majestic ass crashing against your cock.

“You’re a bad girl, Momo,” you tease, “you like being taken and shown who’s boss, don’t you? You like me grabbing your hair and slapping your ass?”

“Yes!” she gasps, “Yes I love it! Mmmmm...I want you to fuck me until you cum. Fuck me until you cum!”

There was no command in the world easier to follow.

Satisfied that you had fulfilled your vain, immature desire to see her acknowledge your skill as a lover, you now focus yourself on extracting pleasure from the young woman beneath you. You settle into a pace with rough strokes, fiercely pounding her over and over. Your pleasure rises with each thrust, aided not only by the mindblowing caress of her pussy, but by the incredible sight of Momo on all fours before you moaning with each strike of your cock inside her.

“Fuck Momo...I don’t think I have much longer, I’m gonna fucking cum so hard!”

“Yes,” comes the response from Momo, “Yes, yes! Fucking cum baby, I want your cum so bad!”

A few more thrusts and you can feel the point of no return coming. For a brief moment you contemplate cumming inside Momo, to truly claim her. You quickly reconsider, wanting to give her what she truly wanted--to swallow your load.

And so, you quickly withdraw your cock from Momo’s now sopping wet pussy and she instinctively turns around and drops to her knees on the floor. Stroking your cock with great fervor, her mouth wide open begging for what was to come.

“Please give me your cum, please, please! I want it...I need it! Cum for me!”

Your head tilts backward as a long groan escapes your lips. Your cum explodes from your shaft, shooting long, thick ropes of semen into her mouth and onto her cheeks and nose. Over and over, your cum splashes on her beautiful face until you finally reach the end of your orgasm, panting and exhausted. Momo’s face is a pornographic picture of lust, her eyes rolled back in pleasure as she swallows the mass of cum you deposited in her mouth.

“I fucking love your cum,” Momo says as she wipes the remaining cum off her face with her finger and promptly brings it to her tongue before swallowing it down as well.

“I’m glad we were both able to get what we wanted,” you say, struggling to catch your breath.

“Speaking of getting what I wanted…” Momo says, nodding her head to the part of the floor where the USB drive now sits, evidently thrown from the table during the session that had just taken place.

“Right,” you say, suddenly remembering you’re here for work, “make a copy and let’s get out of here.”

“Great,” says Momo, still on the floor with a satisfied smile of content on her face, “Hey, I meant what I said about having you join our team. As much shit as I give you, we could really use someone with your talent.”

“Thanks, but I think I’m better off staying put. Don’t think the Korean government would let me live if I tried defecting.”

“Probably true,” says Momo as she begins picking up her clothes, “Never hurts to ask, though.”

***

A few minutes later, you and Momo had both gotten dressed and copied the file onto a drive for her. Momo disappeared into an adjoining hallway and you set off to traverse the stairwell again. As you prepare yourself for the descent, you also steel yourself for the repercussions of giving the intel to a foreign spy agency. With the information you saw in the file, you knew the Japanese would have to be looped in sooner or later. If it was going to happen eventually, you thought it made the most sense to entrust that intel to the agent on the other side you knew would make sure things got done correctly. As logical as it seemed to you, however, you knew it wouldn’t be taken well back at the office.

You click on your comms link, now knowing there’s nothing to fear. 

“Hey Choa, I’m on my way back to the rendezvous.”

“Oh thank god! That took forever, I was about to call for a tac team!” Choa sighs with audible relief, “I take it you got everything you needed?”

“Got more than I needed, actually,” you say, nervous about Choa’s reaction to what you say next, “Listen, there’s one small thing you should know...”

“You did WHAT?!”

[ellgrimm]

Sweets (OHSHC bakery AU)

He lightly dusted the rectangle of dough with fine, white flour and ran it through the sheeter one last time. Mori peeled the slightly bouncy dough off the machine bed and placed it on a tray lined with a piece of plastic film. Wrapping the film snuggly around the croissant dough, he smoothed out the indents impressed by his fingertips. He scooped the tray off the maple wood table and spun around gracefully, with habitual movement, to slip it into the fridge along with the other identical trays of dough.

With that done, he slid out of the floury work apron and traded it for a fresh one he kept tidy for sales at the front register. He washed his hands and checked for any errant streaks of flour on his face. Satisfied, Mori walked out from the fairly austere kitchen and into the world of rich woods and shining glass cases that was the customer-service side of the French patisserie shop and cafe.

Haruhi was in the middle of preparing a cup of drip coffee for a patron. Another customer just arrived at the pastry counter and stood politely, waiting to place his order. “Why don’t you see to our guest, Mori?” she asked cheerfully, as she held a gooseneck kettle and slowly circled hot water over the fresh coffee grounds, keeping an eye on the weight of water being poured. A rich, gold-black coffee dripped out the bottom of the cone filter into a ribbed glass pitcher.

Mori turned to face the pastry case and reflexively picked up a set of tongs. He performed a test click: *click*. Then he looked out over the top of the case and said in a deep and calm voice a phrase he had said at least 500 times before: “Good afternoon, what would you like today?”

But there wasn’t anyone there?

He scanned left and right.

Then he directed his gaze down and his heart skipped. A pair of enormous, caramel eyes were looking up at him from underneath a glorious mop of flaxen hair. The boy spoke, blushing a bit, in a voice that rang out clear and light, “Good afternoon! I would like one tartelettes aux fraises, please.” His French was pretty good, or at least it sounded good, Mori thought. “For here,” the boy added.

“Of course,” Mori replied, as he carefully lifted the mini tart off the ceramic tray. A glazed strawberry, sliced and fanned out over piped pastry cream, sat like a glistening red jewel. He placed it on a round plate and brought it over to the register counter. “Anything else today?” Mori asked.

“Can I… get a caffe mocha?” the charming and petite lad said reluctantly after reading through the coffee menu.

Mori caught the hesitation. “Yes, sir. How many shots of espresso?” he asked attentively.

The caramel eyes wibbled a little, damply, and he burst out suddenly “um? No shots? Please?”

Mori was relieved. Now he understood what the problem was: the menu did not list “hot chocolate.” He made a mental note that he should suggest a menu update to the manager. Making cute boys cry was already not his preference; and this boy in particular deserved the world, he immediately and definitively decided.

Mori nodded and completed the cash part of the transaction. “I will bring your strawberry mini tart and no-shots ‘caffe mocha’ to you in a minute, sir. There is a table with a nice view by that window, if you like.” He gestured to a small, round table that offered a glimpse across the street of a park with a duck pond. A coveted sight in urban Tokyo.

The boy smiled and practically floated over to the promised seat. He caught sight of a mama with her raft of ducklings zooming past and gasped with delight. Mori had to work incredibly hard to suppress a grin. It was everything he had hoped for.

Haruhi noticed. She noticed a lot of things, to be clear. Here, she was shocked and intrigued that Mori had said the longest continuous string of words than she had heard at any point over the past two years since he had started working here.

To be honest, she had been surprised when Kyoya had hired him on, considering how much talking is often involved in customer service. Kyoya, in an uncommonly forthcoming reveal into the inner workings of his mind, succinctly told Haruhi once that “diversity is a strength.”And that meant, in stark contrast to longtime coworker Tamaki’s effervescent and somewhat scattered personality, a staunchly grounded giant who is almost religious in keeping up on the daily labors of a bakery is certainly an asset.

Haruhi grabbed a silver dessert spoon and placed it and a napkin on the wooden serving tray, next to the strawberry mini tart. She winked at Mori as he finished making what was honestly a hot chocolate. He grunted softly, as if to say “hush, you.”

---

He came in every day that week. And every day he tried a different sweet pastry. As far as Mori could tell, he loved them all equally.

And Kyoya saw no objection to adding Hot Chocolate to the official cafe menu. “It’s not seasonally appropriate, but there has been an anti-caffiene health trend picking up lately,” he said decisively.

On the last day of his work week, Mori once again watched the boy leave the shop for the day. This time, the boy, busy looking at his phone, bumped into a trio of well-built, strong young men. He started to apologize for running into them, and Mori panicked a little, instinctively leaping over the counter and dashing past the other customers sitting at their tables. A blur of hyperactivity in an otherwise amazingly calm and inviting space.

And then Mori stopped, his heart beating hard.

“Haninozuka-sensei! We are so very sorry for getting in your way!” the trio barked, stiffly and respectfully bowing. Honey smiled kindly and waved them off.

“Oh, no, it was my fault entirely! I must have been busy with my own thoughts,” Haninozuka offered brightly. And after a quick exchange of pleasantries, he turned and walked up the street.

The trio lingered and talked amongst themselves. Mori tried not to listen, sort of. But he desperately needed to know more about this Haninozuka person. Their… sensei?

“Sensei was so...” Said the first one.

“I know! He’s been such a goddamn hardass at the dojo lately. I wasn’t expecting it.” The second offered.

“I was ready for him to beat us up right here on the sidewalk.” The third expressed, now relieved.

Mori was dumbfounded. This bubbly slip of a lad who giggled at baby ducks and was afraid to ask for a coffee without coffee... was apparently also a brutal martial arts teacher? He couldn’t possibly... and the name was familiar, but he couldn’t finish the thought.

Mori swam in his thoughts for a minute, completely adrift in the dissonance, before Tamaki finally caught his attention and brought him back to earth. “Mori-senpai!” he practically sang, “you left this winsome young lady before giving back her change~”

Mori’s eyes flashed and he looked back, embarrassed. “Very sorry, miss.”

“Um, well, I don’t mind!” she chirped. And she honestly hadn’t minded. He had been athletic and lithe --like an action hero-- when he vaulted himself over the counter, and it had made her think spicy thoughts she would never say aloud. Not something she had expected to experience during her trip to the nicest pastry shop in the ward, but it was a surprise she would treasure for years.

---

It was an agonizing week before Haninozuka came back into the patisserie.

Mori spent every shift that week dutifully doing his work, to the best of his ability. But his ability had degraded because a solid half of his brain was fixated on this mystery. Cute? Cruel? Sweets? Sensei? It consumed him, and he was beginning to hate himself for it. It had been much easier to do this job before he had someone he so looked forward to being around.

Then Mori caught himself. Sure, the work was easier before, when he had been habitually focused entirely on the tasks. Separating eggs. Measuring flour. Shaping butter into thick slabs. Pouring coffee and picking croissants out of the case. Even washing dishes. It had become a somewhat mindless rhythm.

But Haninozuka had made him want to come to work. It made the work feel more purposeful, somehow. It was like Mori had a specific audience in mind when he wiped tables. An audience he wanted to feel safe and comfortable and happy in his domain.

But what if Haninozuka was a bad person? Those three guys had been so sure that this was an unusual side to him. He wasn’t sure if he was ready for their comments to color his idea of this boy. But he also was afraid it would be foolish to not heed their words. Surely they knew their sensei better than Mori could possibly have gotten to in a handful of hours over a few days?

But eventually, he did come back.

This time, he was escorted by the trio from before, as well as a new face. The fourth person, who had similar facial features to Haninozuka, but was a bit taller than him, also had a permanent scowl topped with a grown out bowl cut and glasses, and he was nervously eyeing Haninozuka, watching to see what he would order.

Mori was ready to push the register icon for in the hot chocolate part of the order, and jumped ahead to asking “What pastry would you like today, sir?”

Haninozuka, looking resolute, jaw clenched and without the usual gleam in his warm eyes, stated plainly “I’ll take a plain croissant and black coffee today. Thank you.” The bowl cut kid visibly relaxed a little.

Mori felt the pain in his unusually flat voice, but only nodded. “Excellent choice. Is this together or separate?”

Once he finished taking the group order, they paid and left to go sit down at a pair of tables outside on the sidewalk, well away from the previously frequented pond-viewing seat.

Mori turned to the task at hand. He brought out a set of wooden half-trays, one for each order, and selected pastries for each guest while Haruhi got to work on the drinks. Mori used the tongs to pick up the plain croissant and paused. He couldn’t bring himself to do it. It felt so wrong.

He put it back and selected a hazelnut and chocolate ganache filled croissant instead. It looked nearly identical on the outside, especially if you weren’t paying close attention. Only a small seam with chocolate peeking through could be noticed, and even then, that was on the bottom side of the pastry.

He then turned to Haruhi and said, without room for question, “make the black coffee a hot chocolate. And put all the drinks in to-go cups.”

Haruhi smiled, and used a marker to write “black” on the paper cup that would be destined to not, in fact, have any coffee in it whatsoever. She was already thinking similarly, but had been waiting for Mori to declare it officially.

Haruhi helped Mori carry the trays of drinks and pastries out to the sidewalk tables. He carefully placed the correct one in front of Haninozuka and gave a half smile. Haninozuka barely noticed, staring dead ahead, bracing himself for what would be an absolute trial of bitter drink and plain food. She distributed napkins and utensils appropriately. They both chimed “Thank you, please enjoy,” and turned to head back inside.

“Why don’t you wipe down table 3?” prompted Haruhi, who magically produced a clean damp rag and offered it to Mori. Table 3 was inside the shop, but aside from the large pane of clear glass, was right next to the sidewalk tables. The audio was barely muffled. Mori took the cloth and singlemindedly started wiping at a table that was cerftifiably already clean.

Haninozuka tremulously started with the pastry. He nibbled cautiously at one corner. He sighed.

Mori cursed silently. “You have to take a bigger bite to get to the filling!” he thought.

Haninozuka couldn’t bring himself to try a sip of black coffee yet. He went back to the croissant. This time a luscious double whammy of chocolate and hazelnut hit his tongue. His eyes widened, but he didn’t say anything.

Haninozuka Yasuchika, his brother, was taking a bite of his own pastry and found the kouign-amann satisfactorily salty as well as only lightly sweet. He grabbed his latte and brought it to his lips, then paused. He couldn’t help himself. Squinting suspiciously through his glasses, which light glinted off of even though they were all fully sitting in the shade, he prodded verbally “what about your black coffee, Mitsukuni-san?”

Mori kept pushing the cleaning rag over a now polished strip of an already spotless table and watched intently. “Mitsukuni” he thought to himself. “A nice name. And… I feel like I know it?”

Mitsukuni tried to not lament the inevitable ruination of his surprisingly edible, nay delicious, croissant. He reached for his cup and brought it closer. Holding his breath, so as not to overpower his sense of taste, he sipped delicately. Yasuchika grinned.

“Why it is perfectly tasty, brother! As usual, I mean.” Mitsukuni smiled, practically florid.

Yasuchika was caught between doubt and relief. His alien brother had so obviously hated giving up sweet things this past month. How could anyone go from entire cakes to once piece of (albeit very nice) plain bread? And from the most syrupy, whipped cream-bedecked drinks to black coffee? It was an unprecendented transformation. But on the other hand, Yasuchika felt accomplished. He had singlehandedly pressured his older brother to reform his ways. It was for the best, obviously. What sort of dojo is led by someone who would do anything for a chocolate bar? The lack of self control was shameful.

The other three guys were completely oblivious to the intimate details of sugary drama. They had simply thought it would be a good idea to bring their sensei to the only place they had seen him happy in recent memory, as part of a quiet campaign to improve the captain’s mood. Practice had gotten shockingly intense this past week, and, if they were to survive next week they needed their sensei to ease off a touch. Not that they could EVER say so to his face.

Mori checked that Mitsukuni was happily enjoying his hot chocolate and pastry, and that Yasuchika remained none the wiser. Satisfied, he decided the table’s newly worn hole was deep enough and turned back to his work behind the service counter. Haruhi winked and said nothing.

---

It was almost another week before Mitsukuni came back to the patisserie. Mori had been more patient this time. He felt firmly confident that Mitsukuni would find his way back when he was ready.

And his patience was rewarded, in a way.

Mitsukuni staggered in, after dark and only twenty minutes before closing. His eyes were bleary and his countenance groggy and listless. Mitsukuni, usually so sprightly and upright, dragged his bookbag on the ground and pulled up to the duck-watching table. Mori wasn’t sure what to do. Hand the man a hot chocolate as usual? Or… ask how he was doing???

Mori decided to walk over and offer some direct, compassionate human interaction. “Good evening,” he said, simply.

Mitsukuni looked up, with dark circles under his eyes.

He slammed his hand on the table, which startled Mori for but a moment, and said “I wanna shot!”

“...” said Mori.

“Of chocolate syrup, I mean. Like, a couple pumps in an espresso glass.”

Mori left and came back in an inhumanly fast turnaround with exactly that, and offered the teeny glass full of viscous sugary syrup to Mitsukuni, who promptly sucked it down and smacked the glass upside down on the table. “Another!” he garbled.

Mori didn’t remember grabbing the entire syrup bottle, but it was in his hand already. He decided not to think too hard about that and just left the entire thing on the table and walked away, back to cleaning up behind the counter for the night.

Well after the shop closed, with most of the lights off, save for the one over the register, Mori was done closing with one exception. Mitsukuni was finishing the last of the chocolate syrup. He had perked up considerably, and was now waving his arms animatedly, talking fast about his troubles.

“And Chika-chan comes up to me, and says, you know what he says?” Mori did not know. “He says that real men don’t like sweet things! He tells me I won’t be able to get any respect from my men if I keep eating midnight cakes and carrying candies in my pockets!”

Mori assumed Chika-chan must be the grumpy boy in glasses from the other day. He couldn’t say he liked him, particularly. Or, to be more precise, he didn’t like anyone who dared tell Mitsukuni that his respectability was dependent on having “appropriate” and “masculine” interests.

Mitsukuni blurted out a final exclamation of “Chika doesn’t have the balls to talk shit about Usa-chan, though!” and he… passed out.

Mori didn’t know who this Usa-chan was, but he did know that the shop was closed and that Mitsukuni needed to go home. But where was home?

He decided to try something. He looked up the name “Mitsukuni” along with the words “Bunkyo ward” and “dojo.” The search results were conveniently helpful, offering a website that encouraged serious karate students to sign up under the tutelage of Haninozuka Mitskuni.

“Oh. He is really that Haninozuka,” Mori thought to himself. Ages ago, there had been a falling out between their families. Once a close bond through fealty and eventually marriage and bloodline between the Haninozuka and the Morinozuka families, had been broken a couple generations back. The stories we still told, the wounds still fresh. Mori hadn’t even thought about them as “real” since they had become more of a background radiation to his life than a pressing influence. Until today, that is.

He grabbed the leather book bag and slung it over his shoulder, and then picked Mitsukuni up gingerly. Mitsukuni remained unconscious, a few smears of chocolate around his mouth. A legendary sugar crash.

Mori locked up the shop, without even having to put the boy down. He walked towards the Haninozuka family dojo, which was close by.

The lights were on. It was fairly quiet on the grounds. Only once voice was shouting from inside the dojo training hall as they practiced the forms.

Mori called out. “Excuse me. I have your sensei.”

A surprised face poked out. It was Yasuchika. “My… sensei? Oh, you mean my brother, Mitsukuni.” He looked suspiciously at Mori. “Who are you? What did you do to him?”

“I work at the French pastry shop up the street. I didn’t do anything, he was just very very tired.”

Mori purposefully “forgot” to mention his name. And he didn’t want to stick around to find out what Yasuchika really thought of him, especially with their families at odds.

Instead, he gently deposited Mitsukuni’s slumbering form on a training mat and put the book bag down next to him. Mori looked into his calm, round face and committed it to memory. Then he issued a quick departing bow and turned away, leaving the compound. He didn’t look back with his eyes, but a small part of him looked forward with his heart, in a complicated way.

He couldn’t shake that, despite it all, he still wanted to see this Haninozuka back at his patisserie and cafe. He walked home, tired.

[hlupdate]

Variety’s Grammy-nominated Hitmaker of the Year goes deep on the music industry, the great pause and finding his own muses.

“We’ll dance again,” Harry Styles coos, the Los Angeles sunshine peeking through his pandemic-shaggy hair just so. The singer, songwriter and actor — beloved and critically acclaimed thanks to his life-affirming year-old album, “Fine Line” — is lamenting that his Variety Hitmaker of the Year cover conversation has to be conducted over Zoom rather than in person. Even via videoconference, the Brit is effortlessly charming, as anyone who’s come within earshot of him would attest, but it quickly becomes clear that beneath that genial smile is a well-honed media strategy.

To wit: In an interview that appears a few days later announcing his investment in a new arena in his native Manchester (more on that in a bit), he repeats the refrain — “There will be a time we dance again”— referencing a much-needed return to live music and the promise of some 4,000 jobs for residents.

None of which is to suggest that Styles, 26, phones it in for interviews. Quite the opposite: He does very few, conceivably to give more of himself and not cheapen what is out there and also to use the publicity opportunity to indulge his other interests, like fashion. (Last month Styles became the first male to grace the cover of Vogue solo.) Still, it stings a little that a waltz with the former One Direction member may not come to pass on this album cycle — curse you, coronavirus.

Styles’ isolation has coincided with his maturation as an artist, a thespian and a person. With “Fine Line,” he’s proved himself a skilled lyricist with a tremendous ear for harmony and melody. In preparing for his role in Olivia Wilde’s period thriller “Don’t Worry Darling,” which is shooting outside Palm Springs, he found an outlet for expression in interpreting words on a page. And for the first time, he’s using his megaphone to speak out about social justice — inspired by the outpouring of support for Black people around the world following the death of George Floyd at the hands of Minneapolis police in May.

Styles has spent much of the past nine months at home in London, where life has slowed considerably. The time has allowed him to ponder such heady issues as his purpose on the earth. “It’s been a pause that I don’t know if I would have otherwise taken,” says Styles. “I think it’s been pretty good for me to have a kind of stop, to look and think about what it actually means to be an artist, what it means to do what we do and why we do it. I lean into moments like this — moments of uncertainty.”

In truth, while Styles has largely been keeping a low profile — his Love On Tour, due to kick off on April 15, was postponed in late March and is now scheduled to launch in February 2021 (whether it actually will remains to be seen) — his music has not. This is especially true in the U.S., where he’s notched two hit singles, “Adore You,” the second-most-played song at radio in 2020, and “Watermelon Sugar” (No. 22 on Variety’s year-end Hitmakers chart), with a third, “Golden,” already cresting the top 20 on the pop format. The massive cross-platform success of these songs means Styles has finally and decisively broken into the American market, maneuvering its web of gatekeepers to accumulate 6.2 million consumption units and rising.

Why do these particular songs resonate in 2020? Styles doesn’t have the faintest idea. While he acknowledges a “nursery rhyme” feel to “Watermelon Sugar” with its earwormy loop of a chorus, that’s about as much insight as he can offer. His longtime collaborator and friend Tom Hull, also known as the producer Kid Harpoon, offers this take: “There’s a lot of amazing things about that song, but what really stands out is the lyric. It’s not trying to hide or be clever. The simplicity of watermelon … there’s such a joy in it, [which] is a massive part of that song’s success.” Also, his kids love it. “I’ve never had a song connect with children in this way,” says Hull, whose credits include tunes by Shawn Mendes, Florence and the Machine and Calvin Harris. “I get sent videos all the time from friends of their kids singing. I have a 3-year-old and an 8-year-old, and they listen to it.”

Styles is quick to note that he doesn’t chase pop appeal when crafting songs. In fact, the times when he pondered or approved a purposeful tweak, like on his self-titled 2017 debut, still gnaw at him. “I love that album so much because it represents such a time in my life, but when I listen to it — sonically and lyrically, especially — I can hear places where I was playing it safe,” he says. “I was scared to get it wrong.”

Contemporary effects and on-trend beats hardly factor into Styles’ decision-making. He likes to focus on feelings — his own and his followers’ — and see himself on the other side of the velvet rope, an important distinction in his view. “People within [the industry] feel like they operate on a higher level of listening, and I like to make music from the point of being a fan of music,” Styles says. “Fans are the best A&R.”

This from someone who’s had free rein to pursue every musical whim, and hand in the album of his dreams in the form of “Fine Line.” Chart success makes it all the sweeter, but Styles insists that writing “for the right reasons” supersedes any commercial considerations. “There’s no part that feels, eh, icky — like it was made in the lab,” he says.

Styles has experience in this realm. As a graduate of the U.K. competition series “The X Factor,” where he and four other auditionees — Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson — were singled out by show creator and star judge Simon Cowell to conjoin as One Direction, he’s seen how the prefab pop machine works up close. The One Direction oeuvre, which counts some 42 million albums sold worldwide, includes songs written with such established hitmakers as Ryan Tedder, Savan Kotecha and Teddy Geiger. Being a studious, insatiable observer, Styles took it all in.

“I learned so much,” he says of the experience. “When we were in the band, I used to try and write with as many different people as I could. I wanted to practice — and I wrote a lot of bad shit.”

His bandmates also benefited from the pop star boot camp. The proof is in the relatively seamless solo transitions of at least three of its members — Payne, Malik and Horan in addition to Styles — each of whom has landed hit singles on charts in the U.K., the U.S. and beyond.

This departs from the typical trajectories of boy bands including New Kids on the Block and ’N Sync, which have all pro ered a star frontman. The thinking for decades was that a record company would be lucky to have one breakout solo career among the bunch.

Styles has plainly thought about this.

“When you look at the history of people coming out of bands and starting solo careers, they feel this need to apologize for being in the band. ‘Don’t worry, everyone, that wasn’t me! Now I get to do what I really want to do.’ But we loved being in the band,” he says. “I think there’s a wont to pit people against each other. And I think it’s never been about that for us. It’s about a next step in evolution. The fact that we’ve all achieved different things outside of the band says a lot about how hard we worked in it.”

Indeed, during the five-ish years that One Direction existed, Styles’ schedule involved the sort of nonstop international jet-setting that few get to see in a lifetime, never mind their teenage years. Between 2011 and 2015, One Direction’s tours pulled in north of $631 million in gross ticket sales, according to concert trade Pollstar, and the band was selling out stadiums worldwide by the time it entered its extended hiatus. Styles, too, had built up to playing arenas as a solo artist, engaging audiences with his colorful stage wear and banter and left-of-center choices for opening acts (a pre-Grammy-haul Kacey Musgraves in 2018; indie darlings King Princess and Jenny Lewis for his rescheduled 2021 run).

Stages of all sizes feel like home to Styles. He grew up in a suburb of Manchester, ground zero for some of the biggest British acts of the 1980s and ’90s, including Joy Division, New Order, the Smiths and Oasis, the latter of which broke the same year Styles was born. His parents were also music lovers. Styles’ father fed him a balanced diet of the Beatles, Fleetwood Mac, the Rolling Stones and Queen, while Mum was a fan of Shania Twain, Norah Jones and Savage Garden. “They’re all great melody writers,” says Styles of the acts’ musical throughline.

Stevie Nicks, who in the past has described “Fine Line” as Styles’ “Rumours,” referencing the Fleetwood Mac 1977 classic, sees him as a kindred spirit. “Harry writes and sings his songs about real experiences that seemingly happened yesterday,” she tells Variety. “He taps into real life. He doesn’t make up stories. He tells the truth, and that is what I do. ‘Fine Line’ has been my favorite record since it came out. It is his ‘Rumours.’ I told him that in a note on December 13, 2019 before he went on stage to play the ‘Fine Line’ album at the Forum. We cried. He sang those songs like he had sung them a thousand times. That’s a great songwriter and a great performer.”

“Harry’s playing and writing is instinctual,” adds Jonathan Wilson, a friend and peer who’s advised Styles on backing and session musicians. “He understands history and where to take the torch. You can see the thread of great British performers — from Bolan to Bowie — in his music.”

Also shaping his musical DNA was Manchester itself, the site of a 23,500-seat arena, dubbed Co-op Live, for which Styles is an investor and adviser. Oak View Group, a company specializing in live entertainment and global sports that was founded by Tim Leiweke and Irving Azoff in 2015 (Jeffrey Azoff, Irving’s son, represents Styles at Full Stop Management), is leading the effort to construct the venue. The project gained planning approval in September and is set to open in 2023, with its arrival representing a £350 million ($455 million) investment in the city. (Worth noting: Manchester is already home to an arena — the site of a 2017 bombing outside an Ariana Grande concert — and a football stadium, where One Love Manchester, an all-star benefit show to raise money for victims of the terrorist attack, took place.)

“I went to my first shows in Manchester,” Styles says of concerts paid for with money earned delivering newspapers for a supermarket called the Co-op. “My friends and I would go in on weekends. There’s so many amazing small venues, and music is such a massive part of the city. I think Manchester deserves it. It feels like a full-circle, coming-home thing to be doing this and to be able to give any kind of input. I’m incredibly proud. Hopefully they’ll let me play there at some point.”

Though Styles has owned properties in Los Angeles, his base for the foreseeable future is London. “I feel like my relationship with L.A. has changed a lot,” he explains. “I’ve kind of accepted that I don’t have to live here anymore; for a while I felt like I was supposed to. Like it meant things were going well. This happened, then you move to L.A.! But I don’t really want to.”

Is it any wonder? Between COVID and the turmoil in the U.S. spurred by the presidential election, Styles, like some 79 million American voters, is recovering from sticker shock over the bill of goods sold to them by the concept of democracy. “In general, as people, there’s a lack of empathy,” he observes. “We found this place that’s so divisive. We just don’t listen to each other anymore. And that’s quite scary.”

That belief prompted Styles to speak out publicly in the wake of George Floyd’s death. As protests in support of Black Lives Matter took to streets all over the world, for Styles, it triggered a period of introspection, as marked by an Instagram message (liked by 2.7 million users and counting) in which he declared: “I do things every day without fear, because I am privileged, and I am privileged every day because I am white. … Being not racist is not enough, we must be anti racist. Social change is enacted when a society mobilizes. I stand in solidarity with all of those protesting. I’m donating to help post bail for arrested organizers. Look inwards, educate yourself and others. LISTEN, READ, SHARE, DONATE and VOTE. ENOUGH IS ENOUGH. BLACK LIVES MATTER.”

“Talking about race can be really uncomfortable for everyone,” Styles elaborates. “I had a realization that my own comfort in the conversation has nothing to do with the problem — like that’s not enough of a reason to not have a conversation. Looking back, I don’t think I’ve been outspoken enough in the past. Using that feeling has pushed me forward to being open and ready to learn. … How can I ensure from my side that in 20 years, the right things are still being done and the right people are getting the right opportunities? That it’s not a passing thing?”

His own record company — and corporate parent Sony Music Group, whose chairman, Rob Stringer, signed Styles in 2016 — has been grappling with these same questions as the industry has faced its own reckoning with race. At issue: inequality among the upper ranks (an oft-cited statistic: popular music is 80% Black, but the music business is 80% white); contracts rooted in a decades-old system that many say is set up to take advantage of artists, Black artists more unfairly than white; and the call for a return of master rights, an ownership model that is at the core of the business.

Styles acknowledges the fundamental imbalance in how a major label deal is structured — the record company takes on the financial risk while the artist is made to recoup money spent on the project before the act is considered profitable and earning royalties (typically at a 15% to 18% rate for the artist, while the label keeps and disburses the rest). “Historically, I can’t think of any industry that’s benefited more off of Black culture than music,” he says. “There are discussions that need to happen about this long history of not being paid fairly. It’s a time for listening, and hopefully, people will come out humbled, educated and willing to learn and change.”

By all accounts, Styles is a voracious reader, a movie lover and an aesthete. He stays in shape by adhering to a strict daily exercise routine. “I tried to keep up but didn’t last more than two weeks,” says Hull, Styles’ producer, with a laugh. “The discipline is terrifying.”

Of course, with the fashion world beckoning — Styles recently appeared in a film series for Gucci’s new collection that was co-directed by the fashion house’s creative director, Alessandro Michele, and Oscar winner Gus Van Sant — and a movie that’s set in the 1950s, maintaining that physique is part of the job. And he’s no stranger to visual continuity after appearing in Christopher Nolan’s epic “Dunkirk” and having to return to set for reshoots; his hair, which needed to be cut back to its circa 1940 form, is a constant topic of conversation among fans. This time, it’s the ink that poses a challenge. By Styles’ tally, he’s up to 60 tattoos, which require an hour in the makeup chair to cover up. “It’s the only time I really regret getting tattooed,” he says.

He shows no regret, however, when it comes to stylistic choices overall, and takes pride in his gender-agnostic portfolio, which includes wearing a Gucci dress on that Vogue cover— an image that incited conservative pundit Candace Owens to plead publicly to “bring back manly men.” In Styles’ view: “To not wear [something] because it’s females’ clothing, you shut out a whole world of great clothes. And I think what’s exciting about right now is you can wear what you like. It doesn’t have to be X or Y. Those lines are becoming more and more blurred.”

But acclaim, if you can believe it, is not top of mind for Styles. As far as the Grammys are concerned, Styles shrugs, “It’s never why I do anything.” His team and longtime label, however, had their hearts set on a showing at the Jan. 31 ceremony. Their investment in Styles has been substantial — not just monetarily but in carefully crafting his career in the wake of such icons as David Bowie, who released his final albums with the label. Hope at the company and in many fans’ hearts that Styles would receive an album of the year nomination did not come to pass. However, he was recognized in three categories, including best pop vocal album.

“It’s always nice to know that people like what you’re doing, but ultimately — and especially working in a subjective field — I don’t put too much weight on that stuff,” Styles says. “I think it’s important when making any kind of art to remove the ego from it.” Citing the painter Matisse, he adds: “It’s about the work that you do when you’re not expecting any applause.”

[hldailyupdate]

This Charming Man: Why We’re Wild About Harry Styles

Variety’s Grammy-nominated Hitmaker of the Year goes deep on the music industry, the great pause and finding his own muses.

“We’ll dance again,” Harry Styles coos, the Los Angeles sunshine peeking through his pandemic-shaggy hair just so. The singer, songwriter and actor — beloved and critically acclaimed thanks to his life-affirming year-old album, “Fine Line” — is lamenting that his Variety Hitmaker of the Year cover conversation has to be conducted over Zoom rather than in person. Even via videoconference, the Brit is effortlessly charming, as anyone who’s come within earshot of him would attest, but it quickly becomes clear that beneath that genial smile is a well-honed media strategy.

To wit: In an interview that appears a few days later announcing his investment in a new arena in his native Manchester (more on that in a bit), he repeats the refrain — “There will be a time we dance again”— referencing a much-needed return to live music and the promise of some 4,000 jobs for residents.

None of which is to suggest that Styles, 26, phones it in for interviews. Quite the opposite: He does very few, conceivably to give more of himself and not cheapen what is out there and also to use the publicity opportunity to indulge his other interests, like fashion. (Last month Styles became the first male to grace the cover of Vogue solo.) Still, it stings a little that a waltz with the former One Direction member may not come to pass on this album cycle — curse you, coronavirus.

Styles’ isolation has coincided with his maturation as an artist, a thespian and a person. With “Fine Line,” he’s proved himself a skilled lyricist with a tremendous ear for harmony and melody. In preparing for his role in Olivia Wilde’s period thriller “Don’t Worry Darling,” which is shooting outside Palm Springs, he found an outlet for expression in interpreting words on a page. And for the first time, he’s using his megaphone to speak out about social justice — inspired by the outpouring of support for Black people around the world following the death of George Floyd at the hands of Minneapolis police in May.

Styles has spent much of the past nine months at home in London, where life has slowed considerably. The time has allowed him to ponder such heady issues as his purpose on the earth. “It’s been a pause that I don’t know if I would have otherwise taken,” says Styles. “I think it’s been pretty good for me to have a kind of stop, to look and think about what it actually means to be an artist, what it means to do what we do and why we do it. I lean into moments like this — moments of uncertainty.”

In truth, while Styles has largely been keeping a low profile — his Love On Tour, due to kick off on April 15, was postponed in late March and is now scheduled to launch in February 2021 (whether it actually will remains to be seen) — his music has not. This is especially true in the U.S., where he’s notched two hit singles, “Adore You,” the second-most-played song at radio in 2020, and “Watermelon Sugar” (No. 22 on Variety’s year-end Hitmakers chart), with a third, “Golden,” already cresting the top 20 on the pop format. The massive cross-platform success of these songs means Styles has finally and decisively broken into the American market, maneuvering its web of gatekeepers to accumulate 6.2 million consumption units and rising.

Why do these particular songs resonate in 2020? Styles doesn’t have the faintest idea. While he acknowledges a “nursery rhyme” feel to “Watermelon Sugar” with its earwormy loop of a chorus, that’s about as much insight as he can offer. His longtime collaborator and friend Tom Hull, also known as the producer Kid Harpoon, offers this take: “There’s a lot of amazing things about that song, but what really stands out is the lyric. It’s not trying to hide or be clever. The simplicity of watermelon … there’s such a joy in it, [which] is a massive part of that song’s success.” Also, his kids love it. “I’ve never had a song connect with children in this way,” says Hull, whose credits include tunes by Shawn Mendes, Florence and the Machine and Calvin Harris. “I get sent videos all the time from friends of their kids singing. I have a 3-year-old and an 8-year-old, and they listen to it.”

Styles is quick to note that he doesn’t chase pop appeal when crafting songs. In fact, the times when he pondered or approved a purposeful tweak, like on his self-titled 2017 debut, still gnaw at him. “I love that album so much because it represents such a time in my life, but when I listen to it — sonically and lyrically, especially — I can hear places where I was playing it safe,” he says. “I was scared to get it wrong.”

Contemporary effects and on-trend beats hardly factor into Styles’ decision-making. He likes to focus on feelings — his own and his followers’ — and see himself on the other side of the velvet rope, an important distinction in his view. “People within [the industry] feel like they operate on a higher level of listening, and I like to make music from the point of being a fan of music,” Styles says. “Fans are the best A&R.”

This from someone who’s had free rein to pursue every musical whim, and hand in the album of his dreams in the form of “Fine Line.” Chart success makes it all the sweeter, but Styles insists that writing “for the right reasons” supersedes any commercial considerations. “There’s no part that feels, eh, icky — like it was made in the lab,” he says.

Styles has experience in this realm. As a graduate of the U.K. competition series “The X Factor,” where he and four other auditionees — Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson — were singled out by show creator and star judge Simon Cowell to conjoin as One Direction, he’s seen how the prefab pop machine works up close. The One Direction oeuvre, which counts some 42 million albums sold worldwide, includes songs written with such established hitmakers as Ryan Tedder, Savan Kotecha and Teddy Geiger. Being a studious, insatiable observer, Styles took it all in.

“I learned so much,” he says of the experience. “When we were in the band, I used to try and write with as many different people as I could. I wanted to practice — and I wrote a lot of bad shit.”

His bandmates also benefited from the pop star boot camp. The proof is in the relatively seamless solo transitions of at least three of its members — Payne, Malik and Horan in addition to Styles — each of whom has landed hit singles on charts in the U.K., the U.S. and beyond.

This departs from the typical trajectories of boy bands including New Kids on the Block and ’N Sync, which have all pro ered a star frontman. The thinking for decades was that a record company would be lucky to have one breakout solo career among the bunch.

Styles has plainly thought about this.

“When you look at the history of people coming out of bands and starting solo careers, they feel this need to apologize for being in the band. ‘Don’t worry, everyone, that wasn’t me! Now I get to do what I really want to do.’ But we loved being in the band,” he says. “I think there’s a wont to pit people against each other. And I think it’s never been about that for us. It’s about a next step in evolution. The fact that we’ve all achieved different things outside of the band says a lot about how hard we worked in it.”

Indeed, during the five-ish years that One Direction existed, Styles’ schedule involved the sort of nonstop international jet-setting that few get to see in a lifetime, never mind their teenage years. Between 2011 and 2015, One Direction’s tours pulled in north of $631 million in gross ticket sales, according to concert trade Pollstar, and the band was selling out stadiums worldwide by the time it entered its extended hiatus. Styles, too, had built up to playing arenas as a solo artist, engaging audiences with his colorful stage wear and banter and left-of-center choices for opening acts (a pre-Grammy-haul Kacey Musgraves in 2018; indie darlings King Princess and Jenny Lewis for his rescheduled 2021 run).

Stages of all sizes feel like home to Styles. He grew up in a suburb of Manchester, ground zero for some of the biggest British acts of the 1980s and ’90s, including Joy Division, New Order, the Smiths and Oasis, the latter of which broke the same year Styles was born. His parents were also music lovers. Styles’ father fed him a balanced diet of the Beatles, Fleetwood Mac, the Rolling Stones and Queen, while Mum was a fan of Shania Twain, Norah Jones and Savage Garden. “They’re all great melody writers,” says Styles of the acts’ musical throughline.

Stevie Nicks, who in the past has described “Fine Line” as Styles’ “Rumours,” referencing the Fleetwood Mac 1977 classic, sees him as a kindred spirit. “Harry writes and sings his songs about real experiences that seemingly happened yesterday,” she tells Variety. “He taps into real life. He doesn’t make up stories. He tells the truth, and that is what I do. ‘Fine Line’ has been my favorite record since it came out. It is his ‘Rumours.’ I told him that in a note on December 13, 2019 before he went on stage to play the ‘Fine Line’ album at the Forum. We cried. He sang those songs like he had sung them a thousand times. That’s a great songwriter and a great performer.”

“Harry’s playing and writing is instinctual,” adds Jonathan Wilson, a friend and peer who’s advised Styles on backing and session musicians. “He understands history and where to take the torch. You can see the thread of great British performers — from Bolan to Bowie — in his music.”

Also shaping his musical DNA was Manchester itself, the site of a 23,500-seat arena, dubbed Co-op Live, for which Styles is an investor and adviser. Oak View Group, a company specializing in live entertainment and global sports that was founded by Tim Leiweke and Irving Azoff in 2015 (Jeffrey Azoff, Irving’s son, represents Styles at Full Stop Management), is leading the effort to construct the venue. The project gained planning approval in September and is set to open in 2023, with its arrival representing a £350 million ($455 million) investment in the city. (Worth noting: Manchester is already home to an arena — the site of a 2017 bombing outside an Ariana Grande concert — and a football stadium, where One Love Manchester, an all-star benefit show to raise money for victims of the terrorist attack, took place.)

“I went to my first shows in Manchester,” Styles says of concerts paid for with money earned delivering newspapers for a supermarket called the Co-op. “My friends and I would go in on weekends. There’s so many amazing small venues, and music is such a massive part of the city. I think Manchester deserves it. It feels like a full-circle, coming-home thing to be doing this and to be able to give any kind of input. I’m incredibly proud. Hopefully they’ll let me play there at some point.”

Though Styles has owned properties in Los Angeles, his base for the foreseeable future is London. “I feel like my relationship with L.A. has changed a lot,” he explains. “I’ve kind of accepted that I don’t have to live here anymore; for a while I felt like I was supposed to. Like it meant things were going well. This happened, then you move to L.A.! But I don’t really want to.”

Is it any wonder? Between COVID and the turmoil in the U.S. spurred by the presidential election, Styles, like some 79 million American voters, is recovering from sticker shock over the bill of goods sold to them by the concept of democracy. “In general, as people, there’s a lack of empathy,” he observes. “We found this place that’s so divisive. We just don’t listen to each other anymore. And that’s quite scary.”

That belief prompted Styles to speak out publicly in the wake of George Floyd’s death. As protests in support of Black Lives Matter took to streets all over the world, for Styles, it triggered a period of introspection, as marked by an Instagram message (liked by 2.7 million users and counting) in which he declared: “I do things every day without fear, because I am privileged, and I am privileged every day because I am white. … Being not racist is not enough, we must be anti racist. Social change is enacted when a society mobilizes. I stand in solidarity with all of those protesting. I’m donating to help post bail for arrested organizers. Look inwards, educate yourself and others. LISTEN, READ, SHARE, DONATE and VOTE. ENOUGH IS ENOUGH. BLACK LIVES MATTER.”

“Talking about race can be really uncomfortable for everyone,” Styles elaborates. “I had a realization that my own comfort in the conversation has nothing to do with the problem — like that’s not enough of a reason to not have a conversation. Looking back, I don’t think I’ve been outspoken enough in the past. Using that feeling has pushed me forward to being open and ready to learn. … How can I ensure from my side that in 20 years, the right things are still being done and the right people are getting the right opportunities? That it’s not a passing thing?”

His own record company — and corporate parent Sony Music Group, whose chairman, Rob Stringer, signed Styles in 2016 — has been grappling with these same questions as the industry has faced its own reckoning with race. At issue: inequality among the upper ranks (an oft-cited statistic: popular music is 80% Black, but the music business is 80% white); contracts rooted in a decades-old system that many say is set up to take advantage of artists, Black artists more unfairly than white; and the call for a return of master rights, an ownership model that is at the core of the business.

Styles acknowledges the fundamental imbalance in how a major label deal is structured — the record company takes on the financial risk while the artist is made to recoup money spent on the project before the act is considered profitable and earning royalties (typically at a 15% to 18% rate for the artist, while the label keeps and disburses the rest). “Historically, I can’t think of any industry that’s benefited more off of Black culture than music,” he says. “There are discussions that need to happen about this long history of not being paid fairly. It’s a time for listening, and hopefully, people will come out humbled, educated and willing to learn and change.”

By all accounts, Styles is a voracious reader, a movie lover and an aesthete. He stays in shape by adhering to a strict daily exercise routine. “I tried to keep up but didn’t last more than two weeks,” says Hull, Styles’ producer, with a laugh. “The discipline is terrifying.”

Of course, with the fashion world beckoning — Styles recently appeared in a film series for Gucci’s new collection that was co-directed by the fashion house’s creative director, Alessandro Michele, and Oscar winner Gus Van Sant — and a movie that’s set in the 1950s, maintaining that physique is part of the job. And he’s no stranger to visual continuity after appearing in Christopher Nolan’s epic “Dunkirk” and having to return to set for reshoots; his hair, which needed to be cut back to its circa 1940 form, is a constant topic of conversation among fans. This time, it’s the ink that poses a challenge. By Styles’ tally, he’s up to 60 tattoos, which require an hour in the makeup chair to cover up. “It’s the only time I really regret getting tattooed,” he says.

He shows no regret, however, when it comes to stylistic choices overall, and takes pride in his gender-agnostic portfolio, which includes wearing a Gucci dress on that Vogue cover— an image that incited conservative pundit Candace Owens to plead publicly to “bring back manly men.” In Styles’ view: “To not wear [something] because it’s females’ clothing, you shut out a whole world of great clothes. And I think what’s exciting about right now is you can wear what you like. It doesn’t have to be X or Y. Those lines are becoming more and more blurred.”

But acclaim, if you can believe it, is not top of mind for Styles. As far as the Grammys are concerned, Styles shrugs, “It’s never why I do anything.” His team and longtime label, however, had their hearts set on a showing at the Jan. 31 ceremony. Their investment in Styles has been substantial — not just monetarily but in carefully crafting his career in the wake of such icons as David Bowie, who released his final albums with the label. Hope at the company and in many fans’ hearts that Styles would receive an album of the year nomination did not come to pass. However, he was recognized in three categories, including best pop vocal album.

“It’s always nice to know that people like what you’re doing, but ultimately — and especially working in a subjective field — I don’t put too much weight on that stuff,” Styles says. “I think it’s important when making any kind of art to remove the ego from it.” Citing the painter Matisse, he adds: “It’s about the work that you do when you’re not expecting any applause.”

Harry for Variety. (2 December 2020)

[popculturebuffet]

Darkwing Double Feature: The Quiverwing Quack and Paint Misbehavin (Paint Misbehavin Comissoned by WeirdKev27)

Greetings darkwings of the night! It’s time to return to our daring duck of mystery for a third double feature! This one’s been a longtime coming.. as in since around black friday when I did a comissions sale. As usual Kev was my only customer and he bought both Splatter Phoenix episodes... and I shamefully admit this one has sat in my queue for a while as I wanted to finish the justice ducks retrospective first, as I also wanted to cover Quiverwing Quack’s first appearance, on my own time, and I wanted to save doing any Negaduck till I got done with Justice Ducks.  And that’s where errors were made, as I PAUSED said retrospective forgetting I both had this review sitting in my queue, and that I really didnt have that much left to go on it. SO yeah this took WAY longer than I usually do for a commission, and I apologize for that and i’m happy to correct it, with this, along with the freebie I gave him at the time, coming out tommorow i’ll finally be caught up and promise this won’t happen again.  So with my needed apologizes out of the way, let’s talk about why this is a double feature. Simple: Paint Misbehavin is Quiverwing Quack, Gosalyn’s superhero alter ego’s, only other appearance on the show. It would appear in the comics.. in a fashion.. but we’ll get to that. So it dind’t feel quite right covering one without the other, especially since this version of gos is a fan faviorite of many. So does our  archer live up to the hype? Let’s get dangerous under the cut and find out. 

The Quiverwing Quack:

This.. may be the best Darkwing i’ve seen so far. There is some competition of course, but this one is easily the frontrunner. It’s hilarious, has a really great and intresting plot, few faults, and is just.. about as good as this show can get. I could end that here but I wouldn’t be doing my job if I didn’t, so let’s get into why. 

The episode starts with a fairly typical day for Darkwing: Fighting Negaduck, hilariously as always, and mocking his arch enemy for only being Public Enemy #2 behind Dr. Slug, an oft mentioned but never seen in an actual episode villian that’s apparently one of DW’s deadliest foes. So already we have a great motive for Negaduck, who usually just has the motive of “destroy darkwing’ or do evil, though to the show’s credit, just looking at the summaries for his other eps alone, they NEVER ran out of ideas for the guy or forgot he was as clever as he was ax crazy. 

But just as he’s about to beat darkwing, Gosalyn arrives with an archery set Launchpad purchased for her and easily holds him down. And rather than be greatful Drake is mad at her and feels the arrows are too dangerous which.. fair those look to be real arrows but not the time or place.  Gosalyn however is angry her dad stopped her and is chafing both under his overprotectivness and feeling this is about ego, creates her own crime fighting alter ego Quiverwing Quack, dragging Honker along as her sidekick Arrow Boy. He dosen’t WANT to get into hero work, but he’s afraid she’ll pulverize him if he dosen’t. HA HA.. GET IT.. BECAUSE SHE’S A GIRL AND IT’S NOT LIKE GIRLS CAN ABUSE BOYS HAHAHAHAHAHAAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHHHHHHHHHHHHHHHAAAAAAAAAAHHHHHHHHHHHHHAAAAAA

Yeah as you can tell that bit hasn’t aged well and is the one down note in an otherwise great episode. And I do mean great. Because this essential conflict works perfectly and is expertly built on what we’ve already seen of the characters. 

For starters Gosalyn forming her own hero identity feels like a natural evolution of her character. It genuinely feels that, given her love for adventure and of her dad being a superhero, that she’d take the next step in wanting to follow in her footsteps and put on her own costume eventually. Her making her OWN rather than something derivitative of darkwing also perfectly fits both her anger at her dad’s overprotectivness and her own individual nature. The costume itself is.. okay pretty simplistic, with an early green arrow style hat and some gloves and boots.. but while I didn’t like it at first It’s grown on me a bit, as I realized it feels like the kind of a costume a kid would throw together and given Gosalyn dosne’t have her dad’s backing, it makes sense the costume would be slapped together. Grante dit dosen’t explain her trick arrows, but given we’ve seen gosalyn is pretty talented and that she can easily acess Darkwing’s lair, it’s not a huge stretch to say she went into her dad’s lair while he was gone, took some suplies and made the arrows herself. 

And i’ll freely admit i’m a sucker for a good archer hero as Hawkeye is easily one of my faviroite superheroes. Which granted is a sentence I know will probably baffle anyone who hasn’t picked up a comic with clint, or has but it was written by brianmicheal bendis, as in the movies up to Endgame you could easily replace him with a block of wood with a purple h painted on it and no one would notice the difference. And other archer heroes like Arowette, Speedy, Kate Bishop, Arsenal and Green Arrow are also on the whole pretty fucking awesome, as is the Young Justice Cartoon version of Artemis and the JLU version of Green Arrow. So this was kind of a slam dunk for me and the fact Gos’ costume comes off as a combination of Hawkeye and Green Arrow, having Ollie’s hat but Clint’s purple color scheme and gloves with no sleeves aesthetic, just makes me all the more on board for this. 

What truly makes the episode though is Darkwing, whose internal conflict is masterful to watch. While his being overproective isn’t anything new to the show, this episode takes it in a more dramatic directon: While there’s still a few jokes the episode gives some very painful reasons why he’s like this: He dosen’t want to loose his baby girl, both figuratively in her growing up and becoming more self sufficent.. and literally in her dying. It’s a terror any parent faces and it makes him sympathetic: While he IS overreacting at times and would be better off training her and helping nurture her while still keeping her safe, so when she DOES run off to do her own thing she’ll be ready, you can’t blame him for not wanting that, for wanting her to just stay home, stay safe and stay ALIVE.  The comics, which i’ve read some of and will cover here at some point, make this hit HARDER as during the second arc, where we meet a bunch of Darkwing Ducks from other dimenisons.. and one of them is Quiverwing Duck. You can probably guess just by the name what happened to his Gosalyn after years and years of working together. 

So the risk .. is very real. Loosing her is VERY possible. Being a kid to teen superhero is a VERY dangerous line of work as with less experince and being a possible target if you have any mentors, and sometimes you genuinely DON’T make it. Cypher, Jason Todd Robin, Ultimate Peter Parker, Synch, Danny Chase, Kid Devil, Skin, Wallflower, Icarus, Genisis.. the list goes on, and on, and while MOST of them came back even then the ones that did didnt exactly lack in scars: Jason was never the same after the joker’s beating and Doug, Cypher, had severe trauma he never adressed. The danger Darkwing fears is VERY real.. but is a danger she faces ANYWAY by rushing in and acompanying him. The tragedy is traning her would at least give her a fighting chance as it’s clear from the above that Quiverwing Duck’s Gos died not because she wasn’t ready or because her dad din’t train her.. but because , like MOST of the heroes above.. she died a hero saving the world.  And the show recognizes this even if it doen’t mention the death because the show has to have limits and it was the early 90′s, wiht Darkwing’s fears also being that she’s growing up. He knows sh’es capable of this.. he’s just tearful she’s growing up.. and that she could be gone. It puts his overprotectiveness from other episodes in a much more understandable light, and makes it clear that while it comes from a good place it’s not really healthy: As the episode shows, Gosalyn thinks ALL he sees of her is a baby to be coddled and protected and not as her own person, and while he’s right to protect her.. he’s gone so far in it and in dismisisng her again, and again AND AGAIN, that he’s given the poor girl a complex. Leaping into danger alone isn’t the answer.. but when we get to the climax of the episode you can see why it’s gotten this bad. It’s suprisingly layred for what’s normally a pretty simple character conlficts. Here there’s no easy answer and even while by the end Darkwing’s accepted she’ll be a hero someday and both earnestly apologize, ther’es no real resolution. And sometimes.. that’s okay. It’s something they could’ve revisited had the series gone on and we did get at least one sequel episode at least and the comics do explore the issue of gosalyn being a kid hero and drake’s overprotectiness, with his issues there being why he retired and ended up badly straining his relationhip with gosalyn and ending , for a while, his friendship with launchpad and relationsihp with morgan as well as his costumed career. But obviously as I said we’ll get to that another day. But as an episode.. this one is truly excellent and one of the best the series put out, with plenty of humor but the more complicated dynamics at play BUILT on what we’ve seen before, including Gos rightfuly supsecting dakwing’s against her due to his own ego at points, are what elevate it to the series best. So how’d they follow it up?

Paint Misbehavin:

This one’s in an awkard middle place, where it’s FAR better than the previous splatter Phoenix Episode but not as good as “The Quiverwing Quack”. Still it’s a pretty fun episode all together.  So the main plot is that Darkwing and Gosalyn are at cross purposes because Darkwing is overshadowed by Gosalyn, in this case at the local comic con where Gosalyn, returning to her Quiverwing Quack guise, is the big new thing while Darkwing’s practically ignored. 

Yeah no way around it this is a rehash of “Whiffle While You Work”, same basic conflict, just with suprheroing instead of a video game. So naturally at first it annoyed me especially since they had a debate over who was better, Darkwing’s old traditional hero or Gosalyn’s new very 90′s hero. This.. goes about nowhere and is just cringe inducing for me as a comics fan, whose not against 90′s characters but acknolsges the vast majority got better LATER under new writers, with the exception of some such as superboy, steel, kyle rayner and impulse, who were fresh out of the package.  Thankfully.. the episode pushes past this and it ends up being a better version of Whiffle While You Work, as Drake isn’t as overbearingly obnoxious as he was there: Here Gosalyn is just as egotsitical, at one point trying to lead him away from a crime scene, and it’s only when they finally work as a team that they become unstoppable. It does say something though that Darkwing has genuinely grown as his objection is pure ego instead of overprotectivness like last time and he willingly lets her tag along even if he’s trying to show her up. It’s not the BEST conflict, and it ends with egos clashing, but while this part of the episode is recycled.. at least it’s recycling an episode that genuinely wasted the idea and using it better. Darkwing being jealous here is FAR more understandable as he’s been a hero far longer and while his ego is way too big for his head, it’s understandble to be a big pissy, and agian he dosen’t go nearly as far in how he treats gosalyn. He just wants to show up his own daughter and he’s shown as fully wrong for this. Not great but far better than before.  What IS great and what makes this episode fun, is Splatter Phoenix, whose even better than last time. I attribute this to the change in voice actors. While Dani Staahl was excellent.. her replacment is far better and far more notable. It’s SCTV’s andrea martin... who i’m realizing most of you have probably never heard of. 

Or know what  SCTV is. It was before both our times trust me: it was an early 80′s sketch comedy show that had a unique premise as the sketches were all programs for a fictional tv station, and there’d often be wraparounds about what was going on at the station that oftne led to sketches or impacted them: From dealing with sponser issues brought on by the Moral Majority, aliens, the russians hyjacking their signal, and forging checks from Fred Willard’s account, yes that was a plot and yes he was indeed a guest star, there was no end to the number of shenanigans in and out of program. IT was really good stuff with an all star cast: John Candy, Rick Moranis, Dave Thomas, Cathrine O’Hara, Eugene Levy, Joe Flarhety, Martin Short, and of course Martin. Even Harold Ramis was on the show for it’s first season. It was just a damn good time and if you can find the dvd’s or clips on youtube I recommend it.  My point is Martin is vastly underated and really deserves better than she’s gotten, and this eps proves it as her energy really adds to Splatter’s astetic and really fits the show like a glove and it’s a shame the show ended shortly after this episode, as it would’ve been nice to see her return in the role. But for a one shot she’s UTTERLY awesome, and Splatter gets to do far more this time as her brush has now expanded to be able to create, so we get helicopter cats, pumpkin dogs, a pink gorilla with a toaster for a head and when told superheroes always win she creates her own, absract man, with a hand for a head and a weird body and I just want to see more of him. He even skips off with Launchpad’s faivorie hero, bascally mr rodgers as a weasel, after launchpad draws the guy in. I want to see this gay couple fight crime with love and existetaalism dammit!

But yeah she’s just fun, as is her vandalism of various art works including making the dogs playing poker into skeletons.. which I now want a picture of for my room because that is nice. SHe also brings back the art shitfts from before in little ways, transforming darkwing into abstract art and to blocky art at diffrent points with her brush. And that’s what puts this episode over the other: The creativity is still there but without the whole “Honker being gaslighted” plot that I still hate to this very second, it’s allowed to be fun and fancy free and with Splatter out in the open she’s allowed to get a LOT more ambitious and thus the writers and martin get to have a LOT more fun with the gimmick. 

So while I do feel the episode’s a bit crowded, as they try to cram in both splatter phoenix and this super feud between family into the same space and both episodes would’ve been better served seperatley, i’ts so fun with clever use of the magic brush by our heroes and what not I can’t help but love it. I don’t love the climax though as splatter gets turpentine spilled on her by gosalyny and .. melts for some reason. Because she’s made of paint now even though that was never a thing before? Not to mention the fact our heroes just killed a person...

So yeah the ending’s a bit wonky but it’s a fun episode with the return of a great villian, a decent of played out main conflict and some great gags and fights in it. All in all i’m glad I got comissioned for this one and finally tackled it. Good stuff.  So that does it for this. We’ll be back to darkwing next week just in time for valentine’s day.. and back with Negaduck too. Until then it’s been a pleasure. 

[bobbystompy]

91 Quotes I Enjoyed From 2020

Below are my favorite quotes from 2020. Though most occurred throughout the year, some took place before but were encountered during.

1) “You don’t have to be new to make new.” - Rick Rubin

2) “He put the beat on and go to sleep then wake up with a verse.” - The Lox

3) “Every opinion is bad.” - Blink-155

4)

(via Twitter)

5) “At the start of every disaster movie, there’s a scientist being ignored.”

6) “Be brave enough to suck at something new.”

7) “Comedy is the only job you can have where you can use everything you know” - Robin Williams via Dave Chappelle

8) “What’s the worst swear word where you live?” - Josiah Hughes

9) “Cookies are a really great way to get everybody to like you for a short period of time” - YSAC

10) “The worst dancer at a wedding is the one who’s not dancing.” - John Mulaney

11) “I never saw the end of the tunnel. I only saw myself running out of one." - Kobe Bryant

12) "A good movie begins as you're walking out of the theater" - Ethan Hawke

13) “When I was young and starting in cinema, there was a saying that I carved deep into my heart which is, 'The most personal is the most creative.’ That quote was from our great Martin Scorsese.” - Bong Joon-ho

14) “Run to the rescue with love, and peace will follow” - River Phoenix via Joaquin Phoenix

15) “Thank you -- I will drink until next morning.” - Bong Joon-ho

16) “Men will bury their emotions for decades and then take it all out on children tubing while they drive the boat.” - @krauter_

17) “They help you with the dumb face stuff, but they don’t tell you how to fix it” - Adam (Nate’s friend), on having older sisters

18) “We all had our connections, but it’s not the details themselves that matter, it’s the feeling behind them. There are a million coming-of-age tales. Lady Bird’s secret sauce is how deeply its creator gave a shit. The older I get, the less I care about anything but the sense of a filmmaker’s personal connection to the material. It doesn’t matter what it’s about, what genre it is, or whether it’s genre at all. I only really care that it feels like something the filmmaker had to tell me, and that it was that filmmaker in particular who had to tell it. It has to answer the ‘why are you telling me this’ question, and not just why are you telling me, but why are you telling me.

Lady Bird is a movie that feels like only Greta Gerwig could’ve made. And it’s only because it’s so specific to her that it can be so meaningful to so many people.” - Vince Mancini

19) "I have cast some lonely votes, fought some lonely fights, mounted some lonely campaigns. But I do not feel lonely now.” - Bernie Sanders

20) “Ever hear a Beatles song you haven’t heard before?”

21) “Drinking is an emotional thing. It joggles you out of the standardism of everyday life, out of everything being the same. It yanks you out of your body and your mind and throws you against the wall. I have the feeling that drinking is a form of suicide where you're allowed to return to life and begin all over the next day. It's like killing yourself, and then you're reborn. I guess I've lived about ten or fifteen thousand lives now.” - Charles Bukowski

22) “You shouldn’t have to hear a band to know if they’re good or not” - Josiah Hughes

23) “I was raised by OGs.  Some of you were raised by IG.  I understand.” - Ice-T

* * *

[Here is where I note the line of demarcation that was the COVID-19 pandemic hitting the US, pushed forward by Tom Hanks’ announcement, the NBA and NCAA shutting down, and, then, the nation itself.]

* * *

24) “There are decades where nothing happens, and there are weeks where decades happen.” - Vladimir Lenin

25) "Taken together, this is a massive failure in leadership that stems from a massive defect in character. Trump is such a habitual liar that he is incapable of being honest, even when being honest would serve his interests. He is so impulsive, shortsighted, and undisciplined that he is unable to plan or even think beyond the moment. He is such a divisive and polarizing figure that he long ago lost the ability to unite the nation under any circumstances and for any cause. And he is so narcissistic and unreflective that he is completely incapable of learning from his mistakes. The president’s disordered personality makes him as ill-equipped to deal with a crisis as any president has ever been. With few exceptions, what Trump has said is not just useless; it is downright injurious." - Peter Wehner

26) "Epidemics have a way of revealing underlying truths about the societies they impact." - Anne Applebaum

27) “A funny thing about quarantining is hearing your partner in full work mode for the first time. Like, I’m married to a ‘let’s circle back’ guy — who knew?” - Laura Norkin

28) 

(Jojo Rabbit)

29) “The world ends when you're dead. Until then, you got more punishment in store. - Deadwood: The Movie

30) “All bleeding stops eventually.” - Deadwood: The Movie

31) “Our Father, which art in heaven… / Let him fucking stay there” - Deadwood: The Movie

32) “It’s like a power outage, but we still have power” - Ryen Russillo, on the pandemic

33) “Whenever Sox baseball returns, it’ll be weird to not have Farmer on the call any more. The relationship between a fan and longtime announcer is always built in the little moments. One afternoon, he’s the soundtrack as you clean the garage. On another night, he’s your bookmark for the game as you stand in line for churros or walk down the ramps at Sox Park to try for better seats in the 100 level. A voice like Farmer’s becomes so familiar that you only really notice when it’s no longer there.” - Kevin Kaduk, on the passing of Ed Farmer

34) 

(via Twitter)

35) “In my songs, I try to look through someone else’s eyes, and I want to give the audience a feeling more than a message” - John Prine

36) “Observe everything. Admire nothing.” - Generation Kill

37) “Trump, by that definition, has always been a wartime president -- always willing to sacrifice people he doesn’t know to things he only sort of cares about” - David Roth

38) "Whenever they speak Michael Jordan, they should speak Scottie Pippen." - Michael Jordan

39) "Fiction is a bridge to the truth that journalism can't reach." - Hunter S. Thompson

40) “Airlines sending me “we’re in this together” emails. When my suitcase was 52 pounds I was on my own.” - Mike Dentale

41) “Sometimes you can be the worst source of your own story” - Ryen Russillo

42) “Family is not necessarily blood, but instead who you would bleed for.”

43)

(via Twitter)

44) "This is the deal that Jordan made, knowingly or unknowingly — that he would trade everything he had for everything he wanted. And then, when he won all those things, he found that he had nothing but that.” - David Roth

45) “I’m brand loyal, but the brand doesn’t matter” - Caitie Miller, on why she doesn’t like generic peanut butter

46) “NOBODY shitposts Gene Hackman!!” - Mark Dehlinger

47) “When a man concludes that any stick is good enough to beat his foe with—that is when he picks up a boomerang.” - G.K. Chesterton

48) “You can be appalled forever, but shocked only once.” - Jeff Weiss, on early Eminem

49) “Whether I’m pessimistic or optimistic, the fight’s the same” - David Simon

50) “Freedom can never be completely won, but it can be lost.” - Bernard Simon

51) “Racism in America is like dust in the air. It seems invisible — even if you’re choking on it — until you let the sun in. Then you see it’s everywhere. As long as we keep shining that light, we have a chance of cleaning it wherever it lands.” -Kareem Abdul Jabbar

52) “In a racist society, it is not enough to be non-racist -- we must be anti-racist.” - Angela Davis

53) “Start as close to the end as possible” - Kurt Vonnegut, on creative writing

54) “You can’t stay woke all the time — that’s insomnia.” - Dr. Cornel West

55) “No, I get it. I’ve dated a lot of Geminis.”

56) “The joy of life comes from our encounters with new experiences, and hence there is no greater joy than to have an endlessly changing horizon, for each day to have a new and different sun.” - John Krakauer, Into The Wild (via Tyler Keller)

57) "I couldn't show them my For You because it's pretty much just lesbian stuff and depression memes" - Maggie Loesch, on showing TikTok to her coworkers

58) "It's 1 a.m. in Slovakia and I've already had one bottle of wine and I don't know how long this press conference will go, so good luck to me." - Marian Hossa, following his NHL Hall of Fame announcement

59) “All I want in life is to go on an Anguilla group trip” - Mandy Gilkes

60) “You miss old friends when you don’t see them, but you miss them more when you do.” - Chuck Klosterman

61) “The only way to appreciate the present is to pretend it’s already the past.” - Chuck Klosterman

62) Enjoy the power and beauty of your youth, oh, never mind You will not understand the power and beauty of your youth Until they've faded, but trust me, in 20 years, you'll look back At photos of yourself and recall in a way you can't grasp now How much possibility lay before you and how fabulous you really looked

(”Everybody's Free [To Wear Sunscreen]”)

Second time that essay’s been quoted on this list.

64) "I mean, it's just human nature to suck up to the people above you, crap on those beneath you, and undercut your equals” - Brian, Family Guy

65) “You never quit a job. You quit a manager.” - Brian Bedford

66) “All the pictures in my house are of people I’m not friends with” - Tracy Cunningham

67) “In order to leave something behind, you have to leave.” - Dr. Herman, Grey’s Anatomy

68) 

(via Twitter)

69) “You can obsess about death if you don’t have to obsess about dying.” - Brendan Kelly via “White Noise”

70) “If it’s right to do, it’s wrong to wait.” - Andy, doorman 

71)

72) “When I'm sometimes asked when will there be enough [women on the Supreme Court] and I say, 'When there are nine,' people are shocked. But there'd been nine men, and nobody's ever raised a question about that.” - Ruth Bader Ginsburg

73) "America is mostly people who’ve never left their state saying we have the best country in the world." - Billy Wayne Davis

74) “A writer is someone who knows at least 80% of their writing sucks.” - Gabe Hudson

75) 

(via Twitter)

76) “You’re dead twice” - Brendan Kelly

77) “Perfect is the enemy of good” - Voltaire (via Zach Lowe)

78) “I don’t want to be a savior, I want to be a mirror.” - Alexandria Ocasio-Cortez

79) “I get bad Twitter FOMO but not real life FOMO. That just goes to show I need to get off the Internet.” - Josh Thomas

80) “Is there anything you love in life that you engage with seriously that you don't also engage with humor?" - Sam Sutherland, on his relationship with Blink-182

81) “My favorite genre of music is my friends' bands" - Josiah Hughes

82) “Let’s fall in love like both our parents aren’t divorced.”

83) “Seabiscuit may be the only earthling that was on both sides of the stamp.” - Brendan Kelly

84) “There’s no shame in coming in second, except in, like, wars.” - Family Guy

85) “I feel like I experience writer’s block 100% of the time, and when I do write, I have impostor syndrome.” - Phoebe Bridgers

86) “We teach based on what we most need to learn.” - psychologist on Grey’s Anatomy

87) “Having too many choices is the leading cause of stress” - Grey’s Anatomy

88) “I think we've all gravely underestimated the extent to which this year has changed all of us, permanently” - Kelli Maria Korducki

89) 

(via Twitter)

90) “I wonder if people understand why they don’t have polio” - Sandra E. Garcia

91) “Ending songs is terrible, so let’s keep singing” - Dave Hernandez

[paralleljulieverse]

“We’ll be educating Archie, so we’ll be busy for a while...”

We are a little late with this commemorative post, but last month -- 6 June, to be precise -- marked the 70th anniversary of the debut of Educating Archie (1950-59), the legendary BBC radio series starring ventriloquist Peter Brough and his dummy, Archie Andrews. Fourteen-year-old Julie Andrews was part of the original line-up for the 1950 premiere season of Educating Archie and she would remain with the show for two full seasons till late-1951/early-1952. 

It would be difficult to exaggerate the significance of Educating Archie during the ‘Golden Age' of BBC Radio in the 1950s. Across the ten years it was on the air, it grew from a popular series on the Light Programme into a “national institution” (Donovan, 74). At its peak, the series averaged a weekly audience of over 15 million Britons, almost a third of the national population (Elmes, 208). Even the Royals were apparently fans, with Brough and Archie invited to perform several times at Windsor Castle (Brough, 162ff). The show found equal success abroad, notably in Australia, where a special season of the series was recorded in 1957 (Foster and First, 133). 

Audiences couldn’t get enough of the smooth-talking Brough and his smart-lipped wooden sidekick, and the show soon spawned a flood of cross-promotional spin-offs and marketing ventures. There were Educating Archie  books, comics, records, toys, games, and clothing. An Archie Andrews keyring sold half a million units in six months and the Archie Andrews iced lolly was one of the biggest selling confectionary items of the decade (Dibbs 201). More than a mere radio programme, Educating Archie became a cultural phenomenon that “captured the heart and mood of a nation” (Merriman, 53). 

On paper, the extraordinary success of Educating Archie can be hard to fathom. After all, what is the point of a ventriloquist act on the radio where you can’t see the artist’s mouth or, for that matter, the dummy? Ventriloquism is, however, more than just the simple party trick of “voice-throwing”. A good “vent” is at heart a skilled actor who can use his or her voice to turn a wooden doll into a believable character with a distinct personality and dynamic emotional life. It is why many ventriloquists have found equal success as voice actors in animation and advertising (Lawson and Persons, 2004). 

Long before Educating Archie, several other ventriloquist acts showed it was possible to make a successful transition to the audio-only medium of radio. Most famous of these was the American Edgar Bergen who, with his dummy Charlie McCarthy, had a top-rating radio show which ran in the US for almost two decades from 1937-1956 (Dunning, 226). Other local British precedents were provided by vents such as Albert Saveen, Douglas Craggs and, a little later, Arthur Worsley, all of whom had been making regular appearances on radio variety programmes for some time (Catling, 81ff; Street, 245).

By his own admission, Peter Brough was not the most technically proficient of ventriloquists. A longstanding joke -- possibly apocryphal but now the stuff of showbiz lore -- runs that he once asked co-star Beryl Reid if she could ever see his lips move. “Only when Archie’s talking,” was her deadpan response (Barfe, 46). But Brough -- described by one critic as “debonair, fresh-faced and pleasantly toothy” (Wilson “Dummy”, 4) -- had an engaging performance style and he cultivated a “charismatic relationship with his doll as the enduring and seductive Archie Andrews” (Catling, 83). Touring the variety circuit throughout the war years, he worked hard to perfect his one-man comedy act with him as the sober straight man and Archie the wise-cracking cut-up. 

Inspired by the success of the aforementioned Edgar Bergen -- whose NBC radio shows had been brought over to the UK to entertain US servicemen during the war -- Brough applied to audition his act for the BBC (Brough, 43ff). It clearly worked because the young vent soon found himself performing on several of the national broadcaster’s variety shows. His turn on one of these, Navy Mixture, proved so popular that he secured a regular weekly segment, “Archie Takes the Helm” which ran for forty-six weeks (ibid, 49). While appearing on Navy Mixture, Brough worked alongside a wide range of other variety artists, including, as it happens, a husband and wife performing team by the name of Ted and Barbara Andrews. 

Fast forward several years to 1950 and, in response to his surging popularity, Brough was invited by the BBC to mount a fully-fledged radio series built around the mischievous Archie (Brough, 77ff). A semi-sitcom style narrative was devised -- written by Brough’s longtime writing partner, Sid Colin and talented newcomer, Eric Sykes  -- in which Archie was cast as “a boy in his middle teens, naughty but lovable, rather too grown up for his years-- especially where the ladies are concerned -- and distinctly cheeky” (Broadcasters, 5). Brough was written in as Archie’s guardian who, sensing the impish lad needed to be “taken strictly in hand before he becomes a juvenile delinquent,” engages the services of a private tutor to “educate Archie” (ibid.). Filling out the weekly tales of comic misadventure was a roster of both regular and one-off characters. In the first season, the Australian comedian, Robert Moreton, was Archie's pompous but slightly bumbling tutor, Max Bygraves played a likeable odd-job man, and the multi-talented Hattie Jacques voiced the part of Agatha Dinglebody, a dotty neighbourhood matron who was keen on the tutor, along with several other comic characters (Brough, 78-81).

In keeping with the variety format popular at the time, it was decided the series would also feature weekly musical interludes. “Our first choice” in this regard, recalls Peter Brough (1955), “was little Julie Andrews”:

“A brief two years before [Julie] had begun her professional career as a frail, pig-tailed, eleven-year-old singing sensation, startling the critics in Vic Oliver’s ‘Starlight Roof’ at the London Hippodrome by her astonishingly mature coloratura voice. Many people of the theatrical world were ready to scoff, declaring the child’s voice was a freak, that it could not last or that such singing night after night would injure her throat. They did not reckon with Julie’s mother, Barbara, and father, Ted: nor with her singing teacher, Madame Stiles-Allen. In their care, the little girl, who had sung ‘for the fun of it’ since she was seven, continued a meteoric career that has few, if any rivals” (81).

As further context for Julie’s casting in Educating Archie, the fourteen-year-old prodigy had already appeared on several earlier BBC broadcasts and was thus well known to network management. In fact, Julie had already worked with the show’s producer, Roy Speers, on his BBC variety show, Starlight Hour in 1948 (Julie Andrews Radio Artists File I).

Julie’s role in Educating Archie was essentially that of the show’s resident singer who would come out and perform a different song each week. In the first volume of her memoirs, Julie recalls:

“If I was lucky, I got a few lines with the dummy; if not, I just sang. Working closely with Mum and [singing teacher] Madame [Stiles-Allen], I learned many new songs and arias, like ‘The Shadow Waltz’ from Dinorah; ‘The Wren’; the waltz songs from Romeo and Juliet and Tom Jones; ‘Invitation to the Dance’; ‘The Blue Danube’; ‘Caro Nome’ from Rigoletto; and ‘Lo, Hear the Gentle Lark’” (Andrews 2008, 126)

Other numbers performed by Julie during her appearances on Educating Archie include: “The Pipes of Pan”, “My Heart and I”, “Count Your Blessings”, “I Heard a Robin”, and “The Song of the Tritsch-Tratsch” (”Song Notes”, 11; Julie Andrews Radio Artists File I). Additional musical interludes were provided by other regulars on the show such as Max Bygraves, the Hedley Ward Trio and the Tanner Sisters. 

Alongside her weekly showcase song, Julie’s role was progressively built into a character of sorts as the eponymously named ‘Julie’, a neighbourhood friend of Archie’s. In a later BBC retrospective, Brough recalled that it was actually Julie’s idea to flesh out her part:

“We were thinking of Educating Archie and dreaming up the idea...and we wanted something fresh in the musical spot. We had just heard Julie Andrews with Vic Oliver in Starlight Roof...and we thought, why not Julie with that lovely fresh voice, this youngster with a tremendous range? So we asked her to come and take part in the trial recording and she came up with her mother and her music teacher, Madame Stiles-Allen...and Julie was a tremendous hit, absolutely right from the start. She used to sing those lovely Strauss waltzes...and all those lovely songs and hit the high notes clear as a bell. And then she came to me and said, ‘Look...I’m just doing the song spot, do you think I could just do a line or two with Archie and develop a little talking, a little character work?’ So, I said, ‘I don’t see why not’, So we talked to Eric Sykes and Roy Speer and, suddenly, we started with Julie talking lines back-and-forth with Archie, and Eric developed the character for her of the girl-next-door for Archie, very sweet, quite different from the sophisticated young lady she is today, but a lovely sweet character” (cited in Benson 1985)

As intimated here, an initial trial recording of Educating Archie was commissioned by the BBC, ostensibly to gauge if the format would work or not. This recording was made with the full cast on 15 January 1950 and was sufficiently well received for the broadcaster to green-light a six-episode pilot series to start in June as a fill-in for the popular comedy programme, Take It From Here during that series’ summer hiatus (Pearce, 4). The first episode of Educating Archie was scheduled for Tuesday 6 June in the prime 8:00pm evening slot, with a repeat broadcast the following Sunday afternoon at 1:45pm (Brough, 88ff). 

All of the shows for Educating Archie were pre-recorded at the BBC’s Paris Cinema in Lower Regent Street. Typically, each week’s episode would be rehearsed in the afternoon and then performed and recorded later that evening in front of a live audience. Julie’s fee for the show was set at fifteen guineas (£15.15s.0d) for the recording, with an additional seven-and-a-half guineas (£7.17s.6d) per UK broadcast, 3 guineas (£3.3s.0d) for the first five overseas broadcasts, and one-and-a-half guineas for all other broadcasts (£1.11s.6d) (Julie Andrews Radio Artists File I).

The initial six-episodes of Educating Archie proved so popular that the BBC quickly extended the series for another six episodes from 18 July to 22 August (“So Archie,” 5). Of these Julie appeared in four -- 25 July, 1, 8, 14 August -- missing the fist and last episode due to prior performance commitments with Harold Fielding. Subsequently, the show -- and, with it, Julie’s contract -- was extended for a further eight episodes (29 August-17 October), then again for another eight (23 October-18 December). These later extensions were accompanied by a scheduling shift from Tuesday to Monday evening, with the Sunday afternoon repeat broadcast remaining unchanged (Julie Andrews Radio Artists File I). All up, the first season of Educating Archie ran for thirty weeks, five times its original scheduled length. During that time, the show’s audience jumped from an initial 4 million listeners to over 12 million (Dibbs, 200-201). It was also voted the top Variety Show of the year in the annual National Radio and Television Awards, a mere four-and-a-half months after its debut (Brough, 98; Wilson “Archie”, 3). 

Given the meteoric success of the show, the cast of Educating Archie found themselves in hot demand. Peter Brough (1955) relates that there was a growing clamour from theatre producers for stage presentations of Educating Archie, including an offer from Val Parnell for a full-scale show at the Prince of Wales in the heart of the West End (101). He demurred, feeling the timing wasn’t yet right and that it was too soon for the show “to sustain a box office attraction in London” -- though he left the door open for future stage shows (102).  

One venture Brough did green-light was a novelty recording of Jack and the Beanstalk with select stars of Educating Archie, including Julie. Spread over two sides of a single 78rpm, the recording was a kind of abridged fantasy episode of the show cum potted pantomime with Brough/Archie as Jack, Hattie Jacques as Mother, and Peter Madden as the Giant. Julie comes in at the very end of the tale to close proceedings with a short coloratura showcase, “When We Grow Up” which was written specially for the recording by Gene Crowley. Released by HMV in December 1950, the recording was pitched to the profitable Christmas market and, backed by a substantial marketing campaign, it realised brisk sales (“Jack,” 12). It was also warmly reviewed in the press as “a very well presented and most enjoyable disc” (“Disc,” 3) and “something to which children will listen again and again” (Tredinnick, 628).

In light of its astonishing success, there was  little question that Educating Archie would be renewed for another season in 1951. In fact, it occasioned something of a bidding war with Radio Luxembourg, a competitor commercial network, courting Brough with a lucrative deal to bring the show over to them (Brough, 103-4). Out of a sense of professional loyalty to the BBC -- and, no doubt, sweetened by a counter-offer described by the Daily Express as “one of the biggest single programme deals in the history of radio variety in Britain” (cited in Brough, 104) -- Brough re-signed with the national broadcaster for a further three year contract. 

For their part, the BBC was keen to get the new season up on the air as early as possible with an April start-date mooted. Brough, however, wanted to give the production team an extended break and, more importantly, secure enough time to develop new material with his writing team. Rising star scriptwriter, Eric Sykes was already overstretched with a competing assignment for Frankie Howerd so a later start for August was eventually confirmed (Brough, 105ff). The Educating Archie crew did, however, re-form for a one-off early preview special in March, Archie Andrew’s Easter Party, which reunited much of the original cast, including Julie (Gander, 6). 

The second 1951 season started in earnest in late-July with pre-recordings and rehearsals, followed by the first episode which was broadcast on 3 August. This time round, the programme would air on Friday evenings at 8:45pm with a repeat broadcast two days later on Sunday at 6:00pm. The cast remained more-or-less the same with the exception of Robert Moreton who had, in the interim, secured his own radio show. Replacing him as Archie’s tutor was another up-and-coming comedy talent by the name of Tony Hancock (Brough, 111). It was the start of what would prove a star-making cycle of substitute tutors over the years which would come to include  Harry Secombe, Benny Hill, Bruce Forsyth, and Sid James (Gifford 1985, 76). A further cast change would occur midway through Season 2 with the departure of Max Bygraves who left in October to pursue a touring opportunity as support act for Judy Garland in the United States (Brough, 113-14).

The second season of Educating Archie ran for 26 weeks from 3 August 1951 till 25 January 1952. Of these, Julie performed in 18 weekly episodes. She missed two episodes in late September due to other commitments and was absent from later episodes after 14 December due to her starring role in the Christmas panto, Aladdin at the London Casino. She was originally scheduled to return to Educating Archie for the final remaining shows of the season in January and her name appears in newspaper listings for these episodes. However, correspondence on file at the BBC Archives suggests she had to pull out due to ongoing contractual obligations with Aladdin which had extended its run due to popular demand (Julie Andrews Radio Artists File I).

Season 2 would mark the end of Julie’s association with Educating Archie. When the show resumed for Season 3 in September 1952, there would be no resident singer. Instead, the producers adopted “a policy of inviting a different guest artiste each week” (Brough 118). They also pushed the show more fully into the realm of character-based comedy with the inclusion of Beryl Reid who played a more subversive form of juvenile girl with her character of Monica, the unruly schoolgirl (Reid, 60ff). Moreover, by late 1952, Julie was herself “sixteen going on seventeen” and fast moving beyond the sweet little girl-next-door kind of role she had played on the show.

Still, there can be no doubt that the two years Julie spent with Educating Archie provided a major boost to her young career. Broadcast weekly into millions of homes around the nation, the programme afforded Julie a massive regular audience beyond anything she had yet experienced and helped consolidate her growing celebrity as a “household name”. Because Archie only recorded one day a week, Julie was still able to continue a fairly busy schedule of concerts and live performances, often travelling back to London for the broadcast before returning to various venues around the country (Andrews, 127). As a sign of her evolving star status, promotion for many of these appearances billed her as “Julie Andrews, 15 year old star of radio and television” (”Big Welcome,” 7) or even “Julie Andrews the outstanding radio and stage singing star from Educating Archie” (”Stage Attractions,” 4). In fact, Julie made at least two live appearances in this era alongside Brough and other members of the Educating Archie crew with a week at the Belfast Opera House in October 1951 and another week in November at the Gaumont Theatre Southampton (Programme, 1951).

Additionally, the fact that the episodes of Educating Archie were all pre-recorded means that the show provides a rare documentary record of Julie’s childhood performances. To date, several episodes with Julie have been publicly released. These include recordings of her singing “The Blue Danube” from 30 October 1950 and the popular Kathryn Grayson hit, “Love Is Where You Find It” from 19 October 1951. Given recordings of the series were issued to networks around Britain and even sent abroad suggests there must be others in existence and, so, we can only hope that more episodes with Julie will surface in time.

Reflecting on the cultural significance of Educating Archie, Barrie Took observes that, “Over the years [the] programme became a barometer of success; more than any other radio comedy it was the showcase of the emerging top-liner” (104). Indeed, the show’s alumni roll reads like a veritable “who’s who” of post-war British talent: Peter Brough, Eric Sykes, Hattie Jacques, Max Bygraves, Tony Hancock, Alfred Marks, Beryl Reid, Harry Secombe, Bruce Forsyth, Benny Hill, Warren Mitchell, Sid James, Marty Feldman, Dick Emery (Foster and Furst, 128-32). All big talents and even bigger names. However, it is perhaps fitting that, in a show built around a pint-sized dummy, the biggest name of all to come out of Educating Archie -- and, sadly, the only cast-member still with us today -- should be “little Julie Andrews”.

Sources:

Andrews, Julie. Home: A Memoir of My Early Years. London: Weidenfeld & Nicolson, 2008. 

Baker, Richard A. Old Time Variety: An Illustrated History. Barnsley: Remember When, 2010.

Barfe, Louis. Turned Out Nice Again: The Story of British Light Entertainment. London: Atlantic Books, 2008.

Benson, John (Pres.). “Julie Andrews, A Celebration, Part 2.” Star Sound Special. Luke, Tony (Prod.), radio programme, BBC 2, 7 October 1985.

“Big Welcome for Julie Andrews.” Staines and Ashford News. 17 November 1950: 7.

Broadcasters, The. “Both Sides of the Microphone.” Radio Times. 4 June 1950: 5.

Brough, Peter. Educating Archie. London: Stanely Paul & Co., 1955.

Catling, Brian. “Arthur Worsley and the Uncanny Valley.” Articulate Objects: Voice, Sculpture and Performance. Satz, A. and Wood, J. eds. Bern: Peter Lang, 2009: 81-94.

Dibbs, Martin. Radio Fun and the BBC Variety Department, 1922—67. Chams: Palgrave MacMillan, 2018.

“Disc Dissertation.” Lincolnshire Echo. 11 December 1950: 3.

Donovan, Paul. “A Voice from the Past.” The Sunday Times. 17 December 1995: 74.

Dunning, John. On the Air: The Encyclopedia of Old-Time Radio. New York: Oxford University Press, 1998.

Elmes, Simon. Hello Again: Nine Decades of Radio Voices. London: Random House, 2012.

Fisher, John. Funny Way to Be a Hero. London: Frederick Muller, 1973.

Foster, Andy and Furst, Steve. Radio Comedy, 1938-1968: A Guide to 30 Years of Wonderful Wireless. London: Virgin Books, 1996.

Gander, L Marsland. “Radio Topics.” Daily Telegraph. 13 March 1951: 6.

Gifford, Denis. The Golden Age of Radio: An Illustrated Companion. London: Batsford, 1985.

____________. “Obituary: Peter Brough.” The Independent. 7 June 1999: 11.

“Jack and the Beanstalk.” His Masters Voice Record Review. Vol. 8, no. 4, December 1950: 12.

Julie Andrews Radio Artists File I, 1945-61. Papers. BBC Written Archives Centre, Caversham.

Lawson, Tim and Persons, Alissa. The Magic Behind the Voices: A Who's Who of Cartoon Voice Actors. Jackson: University Press of Mississippi Press, 2004.

Merriman, Andy. Hattie: The Authorised Biography of Hattie Jacques. London: Aurum Press, 2008.

Pearce, Emery. “Dummy is Radio Star No. 1.” Daily Herald. 6 April 1950: 4.

Programme for Peter Brough and All-Star Variety at the Belfast Opera House, 22 October 1951, Belfast.

Programme for Peter Brough and All-Star Variety at the Gaumont Theatre Southampton, 12 November 1951, Southampton.

Reid, Beryl. So Much Love: An Autobiography. London: Hutchinson, 1984

“So Archie Stays on.” Daily Mail. 1 July 1950: 5.

“Song Notes.” The Stage. 28 September 1950: 11.

“Stage Attractions: Arcadia.” Lincolnshire Standard. 18 August 1951: 4

Street, Seán. The A to Z of British Radio. Lanham, MD: Scarecrow Press, 2009.

Took, Barry. Laughter in the Air: An Informal History of British Radio Comedy. London: Robson Books, 1976.

Tredinnick, Robert. “Gramophone Notes.” The Tatler and Bystander. 13 December 1950: 628.

Wilson, Cecil. “Dummy Steals the Spotlight.” Daily Mail. 27 May 1950: 4.

____________. “Archie, Petula Soar to the Top.” Daily Mail. 20 October 1950: 3.

Copyright © Brett Farmer 2020

[aboutcaseyaffleck]

Actor Casey Affleck Reflects On The Past And 'The World To Come'

The last time I saw Casey Affleck was after an 8:30 a.m. Sundance Film Festival screening of “Manchester by the Sea,” which left my colleagues and I so emotionally drained we were pretty much useless for the rest of the day. Affleck finds this very funny. “Oh man, that’s awesome,” he laughs. “That was a tough screening. At Sundance I’m usually just going to sleep at 8 a.m.” We’re talking on the phone a few days after the festival’s virtual premiere of his latest movie, “The World to Come,” which made its Sundance debut last month under very different circumstances. “It’s so strange doing these things sitting in front of your computer,” he sighs.

Directed by Mona Fastvold, “The World to Come” is a powerful period piece about a forbidden love affair between pioneer women played by Katherine Waterston and Vanessa Kirby, set in upstate New York during the early months of 1856. Affleck produced the picture, in which he plays a supporting role as Waterston’s uncomprehending husband, and he did his best to soldier through a crowded Zoom Q&A after the Sundance screening, with results pleasant enough, but nonetheless missing that in-person festival magic. “I used to love going to film festivals and talking to journalists and seeing all the movies and talking to other filmmakers,” he laments. “Sitting here alone in a little office in my house is such a drag. But it was nice to know that the movie was getting seen, at least.”

While big brother Ben plays Batman in studio pictures, Casey has exhibited a restless independent streak ever since he was a student at Cambridge Rindge and Latin School. (Our ninth-grade classes competed against each other in the Mass. High School Drama Guild Competition. His won, perhaps unsurprisingly.) A longtime friend of the Brattle Theatre and former creative advisor for the Independent Film Festival Boston, the younger Affleck has always seemed more at home in indies. Not a lot of actors would follow an Oscar-winning role in “Manchester by the Sea” with a microbudget art film like “A Ghost Story.” But then his internalized, minimalist acting style is often at odds with the concerns of contemporary blockbusters. There’s a weird dissonance watching something like Disney’s hokey Chatham sea adventure “The Finest Hours,” with Affleck going full Montgomery Clift while surrounded by CGI silliness.

“The World to Come” is the most ambitious project yet from Affleck’s Sea Change Media, which partnered with Pamela Koffler and Christine Vachon’s legendary NYC indie institution Killer Films for the arduous production that began with a conversation between Affleck and novelist Ron Hansen nearly a decade ago. “When I did ‘The Assassination of Jesse James by the Coward Robert Ford’ I got to know Ron Hansen, just because I loved the book so much. Ron has a very unique talent for writing 19th century language. He’s just from another era. I asked him if he had something he wanted to work on together, and I thought he would send me one of his things. Instead, he sent me this story by Jim Shepard. It was beautiful. I said, why don’t you and Jim write the script? And they took about six years, but it came together beautifully. Good things come to those who wait, I guess.”

The film eventually shot in Romania with a break built into the schedule to accommodate the changing seasons that are so crucial to the movie’s rugged, outdoor textures. “We were way out in Transylvania, out in the mountains,” Affleck explains. “We were just in some valley and they built a couple of farmhouses. I like being far away in a new place. It makes you feel outside of your life. And I love working in weather. There are so many aspects of moviemaking that are artificial, but when there’s extreme weather, it’s real. I did this Disney movie about a boat rescue, and it was, like, December in friggin’ Quincy and they were just soaking us with water every single take. There’s not a lot that you have to quote-unquote act. You’re just standing there, teeth-chattering, shivering, just being.” This reminds me of the scene in “Manchester” when he and Lucas Hedges have an argument walking in the blistering cold and can’t remember where they parked. “I forgot about that one,” he laughs.

I’d never say so on the phone, but I consider Affleck’s performance as Lee Chandler in “Manchester by the Sea” among the finest I’ve seen in my 22 years of reviewing films, worthy of discussion alongside Brando’s Terry Malloy in “On the Waterfront” in its aching, inchoate longing. Lee holds his grief somewhere very private and dear, as if to begin to forgive himself would be an act of betrayal. The movie nails a gruff, emotional constipation popular among men of a certain stripe, especially in New England. (My mother offered my favorite review of the film: “Why don’t they just talk to each other? Jesus, this is like watching you and your father.”) Words don’t come easily to most of Affleck’s movie characters, but he chafes at the description of them as inarticulate. “It’s funny, I find the characters in ‘Manchester’ to be sometimes very articulate,” he argues. “There’s misunderstandings, but they end up communicating what’s inside.”

“The World to Come” is rife with such mixed signals and miscommunications, about which co-star Katherine Waterston raved during the Zoom Q&A after the Sundance screening. “It was so much fun to play the scenes with Casey,” she said. “A lot of these scenes are written as dances, where somebody tries to reach out and engage and they’re misunderstood. Inarticulacy is a very interesting thing to see in film. The failed attempts. Failed communications. It’s actually fun to play those things. You don’t know what the other person’s going to throw at you. It keeps it really alive on set. Mona and I felt if we had the money we could have kept shooting this thing for months, because the scenes were so much fun to explore.”

Affleck agrees. “When Katherine’s character writes in her journal or she starts talking to Vanessa, they have this beautiful, expressive way of speaking to each other,” he enthuses, whereas his character “says what he’s gotta say in as few words as possible. He’s very brusque and curt, which I enjoyed. The way that he talks is the communication equivalent when he gives her a birthday gift of sardines and a tin of raisins.”

Indeed, her increasingly florid diary entries — originally intended as a ledger to keep track of the farm’s monthly expenses — become the heartbeat of the film, providing an emotional release otherwise suppressed by the rigid formality of the era and the ugly drudgery of day-to-day farm life. “The World to Come” is ultimately a movie about the need to share our stories, and how through telling them we make sense of ourselves. As producer Koffler explains in the press notes, “Part of the film’s vision is to dramatize a very basic human impulse: to create, to connect, to say ‘I was here, and I mattered.’”

This has become a recurring theme in Affleck’s recent work. In 2019, he wrote, directed and starred in “Light of My Life,” a little-seen but strikingly tense post-apocalyptic road movie about a father and daughter hiding out in the wilderness after a pandemic has wiped out most of the women in the world. The film begins with Affleck telling the little girl a bedtime story that runs almost 13 minutes and sneakily sets up the movie’s major themes. Then in last month’s well-acted but regrettably soggy “Our Friend,” he starred as real-life journalist Matthew Teague, whose soul-baring Esquire story about his wife’s struggle with cancer became a national phenomenon.

“Matt Teague wrote that article and then wanted it made into a movie as his way of processing everything that had happened,” the actor elaborates. “You transform pain into other things as you go through life. That was all him working through it. I like stories about storytellers and I like stories within stories. Obviously, I wrote and directed a movie that starts with a 12-minute bedtime story. I love that. I know that other people don’t love it as much as I do, so I have to be careful about it.”

That kind of love led to last summer’s “Stories From Tomorrow,” a project initiated during lockdown by Affleck and his schoolteacher mom Christine, encouraging children to send in poems and short stories to be read on social media by celebrities like Matt Damon and Jon Hamm, as well as his “The World to Come” co-stars Waterston and Kirby. “That was something I started out at the very beginning of the quarantine as a small project to encourage kids to write creatively, because I know it can be a great way of processing anxiety and working through feelings that you aren’t really talking about or aren’t aware that you’re having. It wasn’t something I thought would go on forever; once the kids are back in school that ought to be where they should be doing all that kind of work. But while they were sitting at home, I thought it would be a good way to get their attention off the awful news and into something more imaginative. And I also got a chance to read all these super-cool stories! Really creative stuff that kids sent from all around the world.”

Finally, as a Boston publication it would be dereliction of duty not to mention the hysterical Dunkin Donuts commercial parody from when Affleck hosted “Saturday Night Live” in 2016, so dead-on in its depiction of a local 'regulah customah' that on one of my critics’ poll ballots that year I tried to nominate the sketch for Best Documentary. Alas, the performer shoots down a pet theory I’ve been hanging onto ever since, that the dirtbag Boston guy in the Bruins hat is secretly a grown-up version of Affleck’s scene stealing, bug-swallowing Morgan from “Good Will Hunting.”

“I hadn’t thought about that, dude. That’s really funny. It never crossed my mind." He pauses before confiding, "I wasn’t that great on SNL… I just wasn’t all that funny on the skits, because it’s live and you’re reading the cue cards and it was my first time. But when we went to make that little pre-recorded short film of the Dunkin’ Donuts ad, I really felt like that was my wheelhouse there. I could’ve played that character in a movie. I could have gone to work and played him every single day, and I would have had a blast. That was really fun to do. I would love to do another one of those. That would be funny to see that character again.”

I bet that guy’s got some stories.

“The World To Come” is now in theaters and will be available via video on demand Tuesday, March 2.

[source]

[fyexo]

191016 Breaking Down the SuperM Phenomenon: The K-Pop Debut Group With the No. 1 Album in America

When K-pop super label SM Entertainment was deciding where to launch its new all-star boy band, it settled on an emerging growth market for the genre: the U.S. Now at the top of the Billboard charts, the group may have revealed a path for other Korean acts to follow.

K-pop fandom in America is an increasingly accessible way of life, but never has the industry catered to U.S. fans as directly as it did in Hollywood this month. In early October, new seven-member boy group SuperM made their official international debut at Capitol Records, notably choosing to focus on the American market from day one. Compiled from several established SM Entertainment acts—SHINee, EXO, NCT 127, and WayV—and created in partnership with Capitol, the all-star supergroup took over Los Angeles, shutting down Hollywood streets for their first showcase and popping up everywhere from billboards and posters to an appearance on The Ellen DeGeneres Show.

SuperM’s self-titled EP dropped on October 4, and the group promptly made history as the first debut Korean act to hit no. 1 on the Billboard 200 Albums Chart—they are the only K-pop group other than BTS to reach the top spot. To those unfamiliar with the industry, it may seem like SuperM came out of nowhere, but the group was constructed from some of SM’s most popular boy groups for a reason—they brought with them a dedicated legion of fans. SuperM’s immediate sales success could reveal a path to follow for other K-pop groups hoping to make it in America.

SuperM’s first week of U.S. promotion was designed with their established fans in mind, and there were plenty to be found in L.A. alone. The weekend began with a live Q&A broadcast from Capitol Records, during which the group answered Twitter questions, interacted with fans, and watched their new music video from casual seats in the audience. Then they closed down Hollywood for a live performance on the following Saturday, performing three of their new songs for a crowd of thousands on a giant stage built outside Capitol Tower. And on Sunday—once they’d been deposited practically on my doorstep—it was time to get to know the boys in real time.

When I walked into the interview room at Capitol Records, I was greeted by raucous hellos and bursts of recognition from the seven members of SuperM: SHINee’s Taemin, EXO’s Baekhyun and Kai, NCT 127’s Taeyong and Mark, and WayV’s Ten and Lucas. No, we’re not longtime BFFs, nor had I interviewed them before; the group had been inexplicably seated directly behind me in the press section for the first viewing of their “Jopping” music video a few days before. After offering to move several times, dodging photographers, and enduring a series of increasingly ridiculous interactions, I finally gave up and appreciated my literal front-row seat for SuperM’s video premiere. Despite my best efforts to make sure they could actually see their hard work play on the big screen, several members—Baekhyun especially—became extremely well acquainted with the back of my head.

On Sunday, it was clear that they were slightly less familiar with the front of it. As I got set up, the guys chatted among themselves in Korean, laughing quietly. It was only when I heard Mark (born in Canada, and the group’s most fluent English speaker) ask, “Wait, should I translate?” that I looked up and realized I was on the receiving end of a table full of amused gazes. “Are you talking about me?” I asked. Group leader, eldest member, and unofficial comic relief Baekhyun nodded mischievously and gestured to Mark—no matter that there were several professional translators in the room—who said, “They’re asking whether you were at the afterparty yesterday.” I replied that I hadn’t known there was one—“Sick invite, though!” I added. When Mark sheepishly relayed my answer, Baekhyun erupted out of his seat with a shout of indignation, which quickly turned into an embarrassed bow.

I tried to start the official interview, but Baekhyun refused to move on until he figured out how he knew me, if not from the afterparty. Mark helped me explain, and when Baekhyun realized I was the one awkwardly slouching in front of him so that he could see his own music video, he decided there was no recovering from our rough start. “Sorry, I’ll go!” he said in English, dramatically shoving away from the table and pretending to walk out with a flippant wave. The exchange was scored by giggles from the rest of the group—a constant soundtrack to just about everything Baekhyun does.

He returned with a grin, and Mark got things back on track—already a familiar scenario from the first month of promotion, as the youngest member of SuperM stepped up into his role as the unofficial English voice of the group. The 20-year-old’s original awe of his older, more experienced groupmates has been an ongoing narrative during the first few weeks of their debut, but it’s hard to imagine him as shy or intimidated now. Many fans may still think of Mark as the endearingly goofy NCT youngster of years past, but SuperM has brought out a new side of him—confident, eloquent, and thoughtful. As their primary English speaker, he was under a lot of pressure during the group’s first week in the U.S., but he said he left the anxiety in Korea.

“You always worry the most before the actual thing happens, so I guess I was worried before we came to America,” Mark said. “But once I was here, I realized that we’ve all worked so hard. To see everyone learn even the shortest English lines took my worries away.”

The members of SuperM said they’re invested in learning English because they want to communicate with American fans, but fans aren’t the only ones appreciative of their hard work. SM Entertainment founder Lee Soo Man attended Thursday’s Q&A, serving as SuperM’s biggest hype man. Every time a non-fluent member attempted a sentence in English—which was impressively often, for their first U.S. appearance—Lee erupted in whoops from the audience. That energy extended through the first live “Jopping” viewing, as Lee sat with and practically tackled the boys during standout moments in the video. It’s no surprise that Lee has made his support painfully obvious—they’re his golden boys, and he has a lot riding on this venture. Providing a little hype is perhaps the least he can do.

Despite the fact that many of SuperM’s members have never worked together in a group setting, most of them have known each other for years. Longtime best friends Taemin and Kai are the main dancers of their respective groups, and widely considered two of the best dancers active in the industry; it’s not the first time they’ve collaborated, but it’s their first time working together as fellow group members, which inevitably ups the stakes. In the room, I asked both of them, sitting side-by-side like two perfectly coiffed peas in a pod, whether they’ve learned anything new about each other now that they’re groupmates. They turned to each other simultaneously and seemed to be at an utter loss. “We know everything, right?” Kai asked. Taemin agreed; both were smiling, but clearly serious. “They’re so close,” Mark told me. Everyone nodded.

“We’ve known each other for such a long time, there’s nothing new to learn,” Kai said in Korean. “But if I had to add something … we’ve been friends for such a long time, but we’ve never worked together as artists. We’ve had separate groups and careers, so coming together on the same team like this has changed the way we communicate, because we’re teammates now. We’re not just friends, and we’re not just giving each other advice, but we share the same goal and create team synergy. So that’s something that’s changed with our dynamic.”

Before SuperM officially debuted, theories abounded that Taemin would be named the group leader—a designated role in nearly every K-pop group that amounts to an official team captain of sorts. At 27, Baekhyun is one year older than Taemin, but the latter has been active in the industry longer and has an impressive solo career to boot. In fact, early teasers seemed to paint Taemin as the architect of SuperM. But Taemin appeared to have no interest in the role, and when Baekhyun was officially announced as the leader, it became clear that Baekhyun’s primary focus would be on keeping everyone happy and relaxed at all times.

Thus far, I’d been addressing different members at random, trying to follow the natural flow of conversation, and I’d unintentionally ignored the leader’s corner of the table after our initial chaotic beginning. As I swiveled toward Baekhyun, he made an exaggerated “Finally!” expression, rolling his shoulders, leaning forward, and sucking in a deep breath as if he was about to hit one of those iconic high notes. But no, this time it was just a steadfast commitment to the bit. The other members craned their heads, already grinning, as he pretended to psych himself up for my incoming question. I asked Baekhyun whether he had any newfound empathy for Suho, the leader of his other group, EXO, now that he is a leader himself.

“I can’t really relate, because I feel like I don’t actually do much,” Baekhyun said in Korean. “My biggest role here within this team is to keep the spirits high, and that’s easy for me—because I’m usually in high spirits myself, and it’s really easy for me to do that with these guys.”

Fellow EXO member Kai laughed at Baekhyun’s over-the-top delivery, but piped up in disagreement. “I’ve been in EXO with Baekhyun for a long time, but before he was just a member. Now, with him as a leader, I definitely see the difference. I can see that he has more sense of responsibility for what he does, and he really goes out of his way to care for each of the members. When it’s hard for us to voice our opinions or complaints, Baekhyun makes sure that everyone’s opinions are relayed, and that everything is communicated. He doesn’t realize he’s good, but I’m 100 percent satisfied with his leadership.”

Language barriers aside, Kai was feeling talkative—our Korean translator was forced to scribble intricate outlines to keep up with several of his elaborate answers. At one point, Kai told a story about shooting the “Jopping” music video, complete with dramatic gestures and poses.

“It was my first time in a helicopter,” he said. “They told me it was going to fly really low, and I thought I could handle it. But all of a sudden, they put me up in the helicopter, and it flew around the area four times. The director and cameraman yelled, ‘Keep your eyes open! Have good facial expressions! Fight the wind!’” Kai imitated the shouting crew members, then leveled his signature intense gaze at me in a re-creation of the action-star pose he was going for.

It was a lot.

“I tried my best, and kept my eyes open for as long as possible, and when I came back down, there was sand in my eyes and I couldn’t open them. I thought, ‘OK, I did a good job,’ but when I saw the final cut, none of the footage was used! Nothing at all!” He burst out laughing as Lucas clapped him on the back. Ever the optimist, Kai continued. “It was still a good experience. It’s motivated me to work harder until I can ride a helicopter again—maybe from Korea to America.”

The younger boys seemed impressed by his goal, but Taemin was skeptical. “Wouldn’t it take too long?” he asked. Baekhyun had other concerns: “From Korea to America? You’d get shot down with a missile.”

Ten and Lucas had their own iffy encounters with heavy machinery on the “Jopping” set. There were no helicopter rides for them, but they posed on a giant tank in Dubai in the summer. Lucas summed it up nicely. “So hot!”

Ten elaborated: “We couldn’t really touch the tanks, but we needed to pretend that we were cool on top of the tank.” He struck a pose as if he was leaning against the combat vehicle, then flipped back one stylish sleeve to gesture at his elbow. “I got burned a little,” he said. “But it was pretty cool. It’s not every day you get to sit on top of a tank and like, take a selfie.”

Ten, born in Thailand, collects languages like he collects earrings, and they were all on full display during our chat. In a light, lilting accent, Ten said that his (near-perfect) English hadn’t gotten much practice during the past few years in Korea and China, as he and Lucas promoted with NCT and WayV in quick succession, and he’s still self-conscious about using it around native speakers in the U.S.

That said, Ten loves getting the opportunity to learn about new cultures and languages. “If you know multiple cultures, it’s easier for you to express yourself in performance. You learn more about dancing, singing, and expressing. It makes you grow and mature, I think. You don’t need to care about people’s race. No matter what, you can empathize with them. That’s the most important thing.”

It’s not immediately obvious from his answer, but Ten was demonstrating his aptitude for learning in real time. According to fellow reporter Elizabeth de Luna, who was helping record the interview from the other side of the room, Ten had leaned over to Mark earlier as I asked Baekhyun about having newfound empathy for his EXO group leader. “What does ‘empathy’ mean?” Ten asked Mark. After a whispered discussion, Ten nodded and returned to attention. Then, just a few minutes later, he inserted the word perfectly into his own sentence. So goes the quadrilingual life–and, to a certain extent, the future of K-pop as an ever-evolving, increasingly global industry.

To wit, Ten and Mark aren’t the only SuperM members juggling several languages. WayV’s Lucas is Chinese, born in Hong Kong, and he’s actively working on his English and Korean. Still, he doesn’t have any trouble communicating with his groupmates, four of whom are native Koreans. “Anything can be overcome by music,” Lucas told me in Chinese. “Cultural differences do exist, but music gets rid of all that. I just use music to simplify everything, and I don’t think too much about the differences.”

It’s a sweet sentiment, but music can’t do it all—Lucas and the rest of the boys devote immense effort and concentration to even simple interviews like this one. When I first posed a question to Lucas via the Korean translator, there was a flurry of activity and laughter as the game plan was decided upon: First, Kai suggested in Korean that Lucas answer in Chinese, and Lucas turned with his ever-present smile to address a Chinese translator who was seated against the wall. Ten was then recruited to help from the other side of the room (“I will try, but my Chinese is not that great!” he chirped) and Lucas just leaned back in his rolling chair, swiveling his head around, and looking massively entertained by the commotion. In the end, Lucas gave his answer—with various interjections from Ten—to the Chinese translator, who relayed it to the Korean translator, who then gave it to me in English. It was like a game of multilingual hot potato. Lucas was rewarded for his efforts with scattered applause and high fives from Kai and Baekhyun. The group effort, energetic as it was, is painfully representative of the extra effort K-pop groups have to expend in order to break out in the U.S. market.

NCT 127 leader Taeyong is no stranger to the multilingual interview scene. As the face of the NCT megaunit, he’s worked with group members from China, Thailand, Canada, the U.S., and just about everywhere in between. He’s also unique in that he’s the only SuperM member with a producing credit on the EP. When I asked Taeyong to talk about his work on “No Manners,” which is basically a song about savagely dumping someone, I received a brief panicked look. “Speak from your heart,” Baekhyun suggested. Taeyong did his best. “At first, it was difficult to understand what the song was trying to say, so I tried to make my rap into a story to help listeners understand. I’m not saying that breaking up is always the answer, but a bad breakup is … ” he trailed off, and looked around for an assist. Baekhyun stepped in, saying that the song is about how sometimes it’s best to cut a relationship off before it hits rock bottom.

In our current context, it was hard to imagine Taeyong as an expert on breakups of any kind. He’d been engaged and friendly, but very quiet—mostly just watching the other members speak with wide-eyed attention. As he sat tiny in his seat, in an oversized T-shirt and fluffy purple hair, it was difficult to reconcile him with the fierce, steely-eyed Taeyong of the stage. Next to him, Taemin was quiet and serene as well, but no less attentive—just beaming cherubically as he sipped on his Starbucks. Such is the duality of some of K-pop’s most arresting performers.

After all, no matter how transcendent they can seem on stage—they’re called “idols” for a reason—at the end of the day, they’re just guys. It’s something they reminded us of during their showcase stage for “Super Car,” when it was revealed that the official choreography is centered around hitting the woah.

As soon as I brought up the viral dance move, I was faced with an entire room of boys hitting the woah, like it was impossible for them to talk about it without doing it. Lucas jumped out of his seat to put his whole body into it. “It’s just a feeling!” he exclaimed in English. The guys persuaded me to try hitting the woah a few times myself—unfortunately, it appeared to be a feeling I couldn’t quite grasp, but they very sweetly pretended I nailed it.

Always ready with the polished take, Mark weighed in. “We feel like ‘Super Car’ has a really trendy vibe to it. We wanted to include a movement that the American audience would find familiar. The woah has been popular for awhile now, but it’s all a cycle–it started in America and took a while to make its way over to us, so we brought it back. It just made sense for us to perform it in America.”

American music fans may think it would have made more sense for a group to incorporate the woah a few years ago when it first became popular here, but Mark is self-aware enough to know that it takes time for things like this to make the rounds in Korea. Besides, we all have a teenage cousin who refuses to stop dabbing—viral dances don’t come with expiration dates. Incorporating the woah into “Super Car” seems less like an attempt to cater to American audiences, and more a statement that this is what K-pop looks like in its current state—even if SuperM knows that the woah is passé in American culture, K-pop groups still love it. So, by god, they’re going to hit it as hard as they can.

“Super Car” was one of the three songs the group performed at their debut performance on a massive stage outside Capitol Records. It was a highly anticipated moment—for a group made nearly entirely of idols known for their dance skills, the first live show felt like a make-or-break moment for SuperM.

No one should have worried. SuperM’s first performance proved that they know how to play to each member’s specific strengths, numerous as they are. Need a standout high note? Baekhyun and Taemin are on it. Time for a rapid-fire dance solo? Ten is your man. What about a blue-steel gaze directly into the camera? Well, options vary, but Kai and Taeyong have turned it into an art form. Mark and Lucas have thrived both onstage and off, as the official crowd-pleasing charmers. It’s an all-star formula, and it’s no surprise that it has been a success. But the extent of that success in the U.S.—the blanket press coverage, the Billboard chart record—has exceeded expectations. SuperM’s immediate impact, both on the charts and in the history books, raises the question: If SM can beat the odds by debuting a new group in the U.S. market, who will follow? Other K-pop labels may now focus on America from the get-go, or create their own collaborative groups, following SuperM’s lead.

That, of course, is not SuperM’s concern. As we wrapped up the interview and said our goodbyes, Baekhyun dragged Mark over to apologize for him once more, and dramatically resolved our short-lived beef—as any good leader would. I told them I’d see them again on their upcoming U.S. tour, which kicks off in Fort Worth, Texas, in November.

To the person who will be sitting behind me at said concert, apologies in advance. You’ve got a tough act to follow.

source: Kate Halliwell @ The Ringer

[newstfionline]

Headlines

Western wildfires (NYT) Across a hellish landscape of smoke and ash, authorities in Oregon, California and Washington State battled to contain mega-wildfires on Sunday as shifting winds threatened to accelerate blazes that have burned an unimaginable swath of land across the West. The arrival of the stronger winds on Sunday tested the resolve of fire crews already exhausted by weeks of combating blazes that have consumed around 5 million acres of desiccated forests, incinerated numerous communities and created what in many places was measured as the worst air quality on the planet. “There’s just so much fire,” said Ryan Walbrun, a fire weather meteorologist with the National Weather Service. “And so much smoke.” The fires, which have killed at least 24 people in the last week alone, have engulfed the region in anguish and fear, as fairgrounds have turned into refugee camps for many who have been forced from their homes.

The Maitre d’ Will Take Your Temperature Now (NYT) In recent weeks, a new cadre of gatekeepers armed with thermometer guns has appeared at the entrances of hospitals, office buildings and manufacturing plants to screen out feverish individuals who may carry the coronavirus. Employees at some companies must report their temperature on apps to get clearance to come in. And when indoor dining resumes at restaurants in New York City later this month, temperature checks will be done at the door. Since the beginning of the pandemic, the practice of checking for fever has become more and more commonplace, causing a surge in sales of infrared contact-free thermometers and body temperature scanners even as the scientific evidence indicating they are of little value has solidified. Gov. Andrew M. Cuomo of New York last week called for checking patrons’ temperatures as one of several ground rules for resuming indoor dining in restaurants, along with strict limits on the number of tables and a mask mandate for diners when they are not seated. Restaurants also will be required to obtain contact information from one guest at each table.

Voting by mail (California Sunday Magazine) Voting by mail is an increasingly attractive and necessary option for voters, but it requires actual infrastructure to accomplish, large machines to be built and acquired, and a significant effort to get the ballots where they need to be. In 2016, 20 percent of Americans voted by mail, but this year it could be as high as 50 percent. A commercial grade printer can make 50,000 ballots in an hour, but it takes an enormous $500,000 device called an inserter to get the envelopes—linked by barcode to a specific voter—appropriately stuffed at the clip of 14,000 ballots per hour. The process is meticulous: when in 2014, an inserter misfired for 35 seconds in Phoenix, 232 voters in California and 1,000 in Colorado and Arizona got misprinted ballots, and when they caught the error they were able to fix that. The other 3.8 million ballots handled at the facility were fine.

As Sally chugs to coast, Gulf residents get ready (AP) Hurricane Sally, a plodding but powerful storm with winds of 90 mph, crept toward the northern Gulf Coast early Tuesday, with forecasters warning of potentially deadly storm surges, flash floods spurred by up to 2 feet (.61 meters) of rain and the possibility of tornadoes. Hurricane warnings stretched from Grand Isle, Louisiana, to Navarre, Florida, but forecasters — while stressing “significant” uncertainty — kept nudging the predicted track to the east. That eased fears in New Orleans, which once was in the storm’s crosshairs. But it prompted Florida Gov. Ron DeSantis to declare an emergency in the Panhandle’s westernmost counties, which were being pummeled by rain from Sally’s outer bands early Tuesday.

Russian opposition leader Navalny able to leave hospital bed (AP) Russian opposition leader Alexei Navalny is off a ventilator and is able to leave his hospital bed briefly, his doctors said Monday, while Germany announced that French and Swedish labs have confirmed its findings that he was poisoned with the Soviet-era nerve agent Novichok. Navalny, 44, was flown to Berlin for treatment at the Charite hospital two days after falling ill on a domestic flight in Russia on Aug. 20. Germany has demanded that Russia investigate the case. Although noting the improvement in Navalny’s health, the statement didn’t address the long-term outlook for the anti-corruption campaigner. Doctors have previously cautioned that even though Navalny is recovering, long-term health problems from the poisoning cannot be ruled out.

Lukashenko meets with Putin (Foreign Policy) More than 100,000 protesters flooded the streets of the Belarusian capital of Minsk on Sunday in one of the largest demonstrations against the rule of longtime President Aleksandr Lukashenko since his disputed victory in last month’s presidential elections. Police said they detained 400 people during the protests. The demonstrations came before a meeting between Lukashenko and Russian President Vladimir Putin scheduled for today, during which they will reportedly discuss deeper integration of their two countries. Lukashenko’s relations with Moscow had deteriorated in the months leading up to the election, but he has since warmed to Moscow again as the threat to his reign has grown more acute. Putin recently confirmed that he would send a reserve police force to Belarus if Lukashenko requested it.

US issues sweeping new travel warning for China, Hong Kong (AP) The U.S. on Tuesday issued a sweeping new advisory warning against travel to mainland China and Hong Kong, citing the risk of “arbitrary detention” and “arbitrary enforcement of local laws.” The new advisory warned U.S. citizens that China imposes “arbitrary detention and exit bans” to compel cooperation with investigations, pressure family members to return to China from abroad, influence civil disputes and “gain bargaining leverage over foreign governments.” “U.S. citizens traveling or residing in China or Hong Kong, may be detained without access to U.S. consular services or information about their alleged crime. U.S. citizens may be subjected to prolonged interrogations and extended detention without due process of law,” the advisory said.

In Japan, coronavirus discrimination proves almost as hard to eradicate as the disease (Washington Post) When a cluster of coronavirus infections broke out in Kyoto’s Horikawa Hospital, medical staff were not only battling a potentially deadly disease at work. They came home to fight an even more unsettling disease—fear and discrimination. Their children were turned away from nursery schools and after-school clubs, their spouses were told not to come to work, three were fired from their second jobs and one was told point-blank to stay away from a favorite diner. “Our staff were really shocked, severely shocked,” said Masaaki Yamada, the hospital’s administration chief, explaining that the affected workers had not necessarily been in close contact with infected patients. “Some even said they were afraid to go home, and afraid of being seen by their neighbors,” he said. “They got family members to put the garbage out for them. Some said they would go to work when it was dark and come home when it was dark again.” The hospital received anonymous phone calls telling employees to die or threatening to burn the place down. Nearly nine months after the coronavirus first arrived in Japan, “korona sabetsu” (coronavirus discrimination) is proving almost as hard to eradicate as the virus itself.

Mideast deals tout ‘peace’ where there was never war (AP) For the first time in more than a quarter-century, a U.S. president will host a signing ceremony between Israelis and Arabs at the White House, billing it as an “historic breakthrough” in a region long known for its stubborn conflicts. But while the optics of Tuesday’s event will evoke the groundbreaking agreements that ended decades of war between Israel and neighboring Egypt and Jordan, and that launched the peace process with the Palestinians, the reality is quite different. The United Arab Emirates will establish diplomatic relations with Israel, a fellow U.S. ally it has never gone to war with, formalizing ties that go back several years. The agreement cements an informal alliance against Iran and could pave the way for the UAE to acquire advanced U.S. weapons, while leaving the far more contentious Israeli-Palestinian conflict as intractable as ever. A similar agreement announced Friday with Bahrain, which welcomed a visiting Israeli Cabinet minister as early as 1994, also formalizes longstanding ties. But it’s debatable whether agreements like these, among already friendly countries, do much to advance regional peace. “Normalization of states in the region with Israel will not change the essence of this conflict, which is the systemic denial of the Palestinian people’s inalienable right to freedom and sovereignty,” said Hanan Ashrawi, a senior Palestinian official.

Nigeria reels from twin crises that threaten food availability (Reuters) Mal Shehu Ladan took a boat across what was, until this month, a growing rice paddy. Now, like thousands of hectares of rice in Nigeria’s Kebbi state, it is under water. Floods early this month across northwest Nigeria destroyed 90% of the 2 million tons that Kebbi state officials expected to harvest this autumn, the head of the state branch of the Rice Farmers Association of Nigeria told Reuters. The loss amounts to some 20% of the rice Nigeria grew last year, and the waters are still rising. Farther south, outside Nigeria’s capital, Abuja, chicken farmer Hippolite Adigwe is also worried. A shortage of maize forced him to sell most of his flock of more than 1,000 birds, and the 300 left are hungry. Chicken feed prices have more than doubled, and he isn’t sure how long he can cope. Twin crises, floods and maize shortages, come just after movement restrictions and financing difficulties caused by COVID-19 containment measures complicated spring planting. Some farmers and economists say it could push Nigeria, Africa’s most populous nation, into a food crisis. Rice is the country’s staple grain, and chicken is a core protein. “There is a real fear of having food shortages,” Arc Kabir Ibrahim, president of the All Farmers Association of Nigeria told Reuters. “The effect on the food system is going to be colossal.”

After Two Decades of Rot, Zimbabwe Is Coming Apart at the Seams (Bloomberg) In Zimbabwe, pregnant women are left alone in hospitals to give birth, taps have run dry in major urban centers, infrastructure has all but collapsed and more than half the population needs food aid. This is the toll that two decades of economic mismanagement have taken on a nation once considered one of Africa’s shining stars. Promises of an economic revival and more political freedom made by President Emmerson Mnangagwa, now in his third year of rule, have rung hollow and public anger over intolerable living conditions has spurred protest action that’s been brutally quashed by the military. Western governments that berated long-time ruler Robert Mugabe for violating civil rights are leveling similar criticism against his successor. And even South Africa, a regional power broker and long-time Zimbabwe ally, has now entered the fray, dispatching envoys and ruling party officials to Harare, Zimbabwe’s capital, to try and help its neighbor resolve the deepening crisis. No headway was made in initial talks and more are planned in coming days.

[aion-rsa]

Best Horror TV Shows on Hulu

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You thought movies were the only place to get your daily dose of horror? Oh you fool! You absolute FOOL! There are plenty of bingeworthy and scary horror TV shows out there and Hulu just happens to be a great place to find them. 

Hulu is home to recent hits like The Terror and Castle Rock but there are still more scares to be found for the horror enthusiast willing to dig deep. Gathered here are some of the best and scariest horror TV shows that Hulu has to offer.

Editor’s Note: This post is updated monthly. Bookmark this page and come back every month to see the additions to the best horror TV shows on Hulu.

Updated for October 2020

The Terror

Based on a 2007 book of the same name by Dan Simmons, The Terror season 1 tells a fictionalized account of Captain Sir John Franklin’s expedition to the arctic in 1845. In real life, the doomed men likely got lost and succumbed to the cold but the show asks “what if there was something more sinister than low temperatures lurking about?”

The Terror features a cast impressively full of “hey it’s that guy” guys like Jared Harris, Ciarán Hindis, and Tobias Menzes. It deftly turned itself into an anthology with the second season The Terror: Infamy that tells a ghost story within the setting of a Japanese interment camp in World War II.

American Horror Story

Ryan Murphy’s American Horror Story is revolutionary in quite a few ways. Not only did it help usher in a renewed era of anthology storytelling on television, it also was arguably the first successful network television horror show since The X-Files.

Like all anthologies, American Horror Story has its better seasons (season 1 a.k.a. Murder House, season 2 a.k.a. Asylum, season 6 a.k.a. Roanoke) and its worse (season 3 a.k.a. Coven and season 8 a.k.a. Apocalypse). Still, for nine years and counting, American Horror Story has been one of the go-to options for TV horror fans.

Castle Rock

Stephen King properties have made their way to television before. There have been miniseries for classic King texts like The Stand and ‘Salem’s Lot and even full series for works like Rose Red and Under the Dome. Still, none of those series has had the audacity to adapt multiple aspects of the Stephen King universe itself…until Castle Rock.

Castle Rock takes multiple characters, storylines, and concepts from the vast works of Stephen King and puts them all in King’s own Castle Rock, Maine. The first season featured inmates from Shawshank prison, extended family of Jack Torrance, and maybe even a touch of the shine. The show opened itself up for more storytelling possibilities in season 2, adopting an anthology format and bringing Annie Wilkes into the fold.

The Twilight Zone

The Twilight Zone is an all-time television classic for good reason. Join Rod Serling each episode for a new tale of mystery, horror and woe.

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Culture

The Words of Rod Serling’s The Twilight Zone Are More Relevant Than Ever

By Chris Longo

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The Twilight Zone Marathon: A History of a Holiday Tradition

By Arlen Schumer

Whatever you do, however, do NOT drop your glasses.

The Strain

The most novel thing about FX’s vampire horror thriller The Strain is how it equates the ancient fear of vampirism with the more modern, global fear of pandemic. The Strain, produced by Guillermo del Toro Chuck Hogan and based on their novel series opens with a flight landing with all of its passengers mysteriously dead.

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Bram Stoker’s Dracula and the Seduction of Old School Movie Magic

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Lake Mungo: the Lingering Mystery Behind One of Australia’s Scariest Horror Films

By Rosie Fletcher

As CDC director Ephraim Goodweather (Corey Stoll) steps in to investigate, he discovers that there might be something more sinister…and ancient afoot than a simple virus. The Strain lasted for four mostly decent seasons on FX and if nothing else helped re-embrace the vampire as a monster and not some sort of noble antihero.

Stan Against Evil

To parody horror, one needs to love horror. And Stan Against Evil creator Dana Gould really, really, really loves horror. The longtime standup comedian and comedy writer brings his unique humor sensibilities and lifelong appreciation of horror to tell the story of a quaint New Hampshire town that just happens to be built on the cursed site of a massive witch burning.

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Movies

Dana Gould Picks His 5 Favorite Monster Movies

By Dana Gould

TV

Talalay’s Terrors! The Director Breaks Down Her 5 Scariest Scenes

By Kayti Burt

John C. McGinley stars as the titular Stan, a disgraced former sheriff who opts to pick up the battle against evil after a close call. He teams up with new sheriff Evie Barret (Janet Varney) to defend the town (and sometimes world) from supernatural threats.

The X-Files

The X-Files is quite simply the gold standard for horror on television. Chris Carter’s conspiracy-tinged supernatural masterpiece not only inspired every horror TV show that came after it, but just about every other TV show in general.

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TV

I Still Want to Believe: Revisiting The X-Files Pilot

By Chris Longo

TV

The X-Files Revealed: The Paranormal Roots of the Pentagon’s UFO Program

By Alejandro Rojas

The X-Files follows FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) as they investigate the unusual cases that traditional law enforcement won’t touch. For 11 seasons (and a handful of movies), the show expertly balanced a massive series-long story along with what came to be called “monster of the week” self-contained tales.

Buzzfeed Unsolved: Supernatural

When it first premiered on YouTube back in 2016, Buzzfeed Unsolved became a huge hit by appealing to one of the Internet’s favorite subjects: true crime. Still Buzzfeed saw all of that success and realzied there was still another audience to serve. Thus Buzzfeed Unsolved: Supernatural was born.

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Games

20 Scariest Horror Games Ever Made

By Matthew Byrd

TV

Helstrom Review (Spoiler-Free)

By Rosie Knight

In this spinoff hosts Ryan Bergara and Shane Madej examine some of the supernatural world’s biggest mysteries. With the right balance of skepticism and belief, Buzzfeed Unsolved: Supernatural is a welcome entry into the paranormal investigation TV canon.

The Outer Limits

When The Twilight Zone premiered in 1959, it set off a brief little renaissance of anthology horror storytelling on television. The best of these contenders to the Zone‘s throne was probably the sci-fi centric The Outer Limits.

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Movies

How Arachnophobia Became the Perfect Creepy Crawly Horror Comedy

By Jack Beresford

Movies

Disney+ Halloween Movies for Kids: The Best Family Films to Watch This Spooky Season

By Alana Joli Abbott

Outer Limits aired from 1963 to 1965 on ABC. In that span it generated 49 spooky episodes, several of which made an impact on pop culture. Alan Moore infamously borrowed the plot of the episode “The Architects of Fear” for the ending of Watchmen. The Outer Limits received a Sci-Fi Channel revival in the ’90s and is currently poised for another bite at the apple.

Freakish

Freakish stars several high profile (at the time at least) social media stars as students at Kent High School. The kids are gathered together at school on Saturday for detention, Breakfast Club-style, when a nearby chemical plant explodes, turning the local population into mutated zombies. The group must band together to survive.

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Movies

Best Horror Movies on Netflix: Scariest Films to Stream

By David Crow and 2 others

Movies

Best Horror Movies on Amazon Prime Right Now

By Alec Bojalad and 3 others

Debuting in 2016, Freakish ran for two seasons on Hulu. The show embraces its teenage soapiness and isn’t necessarily the most heavyweight horror option. But it’s a quick, fun watch for any zombie horror fan nonetheless.

The Exorcist

The Exorcist is one of the greatest horror films ever made. The Fox series that bears its name and premise isn’t quite as good (few things could ever be) but it’s still an excellent horror story in its own right.

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Movies

A24 Horror Movies Ranked From Worst to Best

By David Crow and 3 others

TV

How Helstrom Became One of Marvel Television’s Last Shows Standing

By Alec Bojalad

The Exorcist is a two-season long anthology series that follows two different cases of demonic possession. In the first installment, two Catholic priests assist a woman with a possession in her home. In the second, two new priests help a young girl battle evil.

Ghost Adventures

Since the turn of the millennium, television has not been lacking for shows involving paranormal investigations. But even within the crowded spooky market, Travel Channel’s Ghost Adventures stands out.

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TV

Ghost Adventures: Horror at Joe Exotic Zoo Two-Hour Special Premieres Oct. 29

By Tony Sokol

Culture

How Ghost Adventures: Quarantine Came Together

By Aaron Sagers

First premiering in 2008, Ghost Adventures follows paranormal researchers Zak Bagans, Nick Groff, Aaron Goodwin, Billy Tolley, and Jay Wasley as they travel the world looking for ghoulish occurrences to investigate. Over its 200-some episodes (not including specials), Ghost Adventures has proven itself to be the gold standard for people who just want to watch some dudes stumble around old properties in night vision.

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Monsterland

Since Netflix acquired the rights to Black Mirror back in 2015, the streaming world has been a veritable arms race of sci-fi and horror anthology series. Hulu has already tried its hand at horror anthology with the Blumhouse-produced Into the Dark, and Monsterland represents the latest effort.

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Movies

The WNUF Halloween Special: The Making of the Most Fun Found Footage Horror Movie Ever

By Gavin Jasper

Games

How Scorn Turned the Art of H.R. Giger into a Nightmarish Horror Game World

By John Saavedra

Monsterland is based on the short story collection North American Lake Monsters: Stories by Nathan Ballingrud. It consists of eight spooky, unconnected tales and features the acting talents of Kaitlyn Dever, Bill Camp, Kelly Marie Tran, and more. The twist here is that each episode focuses on an urban legend from a different city within the United States. And given how weird this country is, the series won’t be running out of of stories anytime soon.

The post Best Horror TV Shows on Hulu appeared first on Den of Geek.

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[hannyablair]

This year was the hardest most challenging year I've had all my life and I have had many hardships side note not bragging or trying to get sympathy.. my pride wouldn't let me and even then I'm not one to talk about this without it having a reason for what I have to say so bare with me.

I learned many things about myself some of which stayed with me a longtime if not most likely for the rest of my life. And that would be don't disregard your own self worth. People will always take advantage of someone who hasn't built themselves up enough to really appreciate themselves. And I know it's hard and I know it's alot more work than just saying that and going through with it no problem. It took me years to really understand and to be able to say that I'm not a perfect person but I appreciate myself enough to not let anyone else make me feel worthless let alone tell me what I can or cannot be.

I've always been a stubborn ass bitch about things. But I'm also finally learning how to do that with things I think are interesting too, whether someone thinks it's childish or dumb means nothing to me now because frankly nobody's outside of my friends opinions matter to me anymore.

Frankly I'm to old jaded and tired to give a shit anymore. I'm really weird when it comes to my interests (but also not weird to me because everyones 'weird' in there own way and frankly there is nothing wrong with not having similar opinions feelings etc about anything with anyone else so long as your not being a jerk about it) I am also really alternative when it comes to my style as well. Some days I look like a tomboy some days I look like a punk some days I'm goth other days I'm a mish mash of whatever I feel like that day or whatever video game or anything my obssesion is at the time that had inspired my outfit that day.

It's hard to be different it's even harder to be honest with people around you but frankly you'll thank yourself later for standing up for yourself and what you really want and believe in whether that's in your relationships or within yourself.

I just felt like sharing that into the abyss because if I'm honest I like talking about things most people would be to nervous or scared to talk about. Things that feel to personal yet are made not so personal are the best conversations I've had and ones that have really stayed with me all these years.

[wordcubed-writes]

My villain OCs: The Problem-Solvers

Fandom: My Hero Academia

Fanfic: untitled AFO!Izuku AU

Context: As promised at the end of my AFO!Izuku AU timeline, here is the first of several posts about my fic's villain OCs.

Today's bunch are minor characters I created because I needed to solve a problem. They don't get much, or any, development. They exist simply to enable the plot to happen, and most only appear in one or two scenes. They’re so unimportant, I only have placeholder names for them at this point.

While their Quirks are all incredibly useful, many also have side affects that make them impossible to use without hurting people. 

____________________

The Universal Translator

One of the goals of my AFO!Izuku AU is making the world feel bigger. I can't have Japan be the heart of hero society if we never see anything outside Japan, can I? But that raises another problem: how the heck can I have people from different sides of the planet casually talk to each other? Easy! A universal translator Quirk.

Babel works for the Consortium. With a touch, he can make a person fluent in every language (that has living fluent speakers on Earth). Obviously, this is so incredibly valuable that it needs one hell of a downside to explain why he can only find work as a villain. (Not that he's reluctant. Babel is totally okay with his Quirk's cost; it's not like he's the one paying it.)

For every person Babel "gifts" this way, he has to assign another person to lose the ability to speak, write, and understand language—any and all language. This victim is left unable to understand or communicate with any person or media around them, for the rest of their life. (Babel's villain name makes sense now, doesn’t it?) And that "rest of their life" is usually short, because no victim of this has ever lasted more than a couple years before killing themselves—being that isolated, that alienated, is unbearable for a human being.

But it gets worse! Victims and recipients are paired. Within several hours of choosing and touching a recipient, he needs to choose and touch a victim, or else suffer the downsides of his Quirk himself. When a victim dies, their paired recipient loses their universal fluency (and vice versa if a recipient dies before the victim, though this rarely happens). Thanks to the high suicide rate of his victims, Babel needs to constantly create more of them.

Obviously, the only people who'd be okay with this cost are pretty awful. The Consortium is canny enough that they help Babel choose victims who either won't be missed or that the Consortium needs silenced (which they can literally, thanks to Babel).

Random bit of backstory for Babel: his personal paired victim is the only one he's forcibly kept alive. He hasn't lost his universal fluency for almost twenty years now.

The Medic

Hurtswap exists because I felt that Inko's faction needed a healer on their side. Hurtswap's Quirk allows them to swap an injured body part with someone else's healthy body part. This has obvious downsides: they need access to uninjured people to heal any injuries. And unlike Babel, they can't delay the exchange for very long; if Hurtswap heals someone, they need to assign the injury to someone else within a few minutes, or else suffer the injury with their own body.

Inko takes Hurtswap in when they're still a kid, but by time Izuku starts at UA, they're in their twenties, and they're pretty skilled. They've gotten creative, and can swap injuries onto animals, provided the animal has the right anatomy. For example, Hurtswap can give a human's broken femur to any animal with a femur (and the human's femur will be healed), but they couldn't do this with, say, an insect, because insects don't have that kind of skeleton.

I've been going back and forth on how to write them. Sometimes I think it'd be interesting to make them a Mad Doctor(tm) who enjoys using their Quirk, mostly because I like the idea of giving Himiko an adult in her life who sympathizes with, or even adores, how creepy and stabby she is.

Other times, I lean towards making Hurtswap a woobie who hates hurting people or animals, but still feels obligated to save other people. Someone who reluctantly swaps your broken arm onto a rat, then completely ignores you and cries and dotes over the now-injured rat. This version obviously allows for more angst, and possibly more character development, but I don't want to write Inko pressuring a kid into using a Quirk they hate.

We'll have to see which direction I take them.

The Wealthy Sponsor

So like, where is homeless single mom Inko getting the money to establish a found family villainous empire? Answer: somebody rich is using her shelter to launder money.

I also wanted to address an issue that canon BNHA doesn't really touch: class. In-canon, Shinsou has a "villainous" Quirk, and needs to follow the straight-and-narrow rules just to get a fair shake. In this AU, Inko's sponsor also has villainous Quirk, but he’s rich and powerful. The law protects him, but it does not bind him—the inverse of Shinsou.

Secret Thief's Quirk lets him know the secrets of the people around him. Its strength is based on distance. Across the street from you? He can learn secrets that would be mildly embarrassing to you if the wrong person learned them. Shaking your hand? He knows the secrets that could destroy your life if they got out.

Secret Thief got booted out of UA for being a real mean son of a bitch. (Not by Aizawa; Secret Thief is actually slightly older than him. Also he was, naturally, in the management course.) But Secret Thief's family was also rich, so he had options; he ~redeemed~ himself by going on an apology tour, donating money and even personally volunteering at various charities. At one of them, he meets Inko, and immediately picks up on all the secrets she's keeping.

Secret Thief sees Inko as easy prey. She works in a sketchy part of town with sketchy people (her shelter is one of the few with a "no questions asked" policy, so a lot of people with "bad" Quirks, or who're skirting the edge of the law, end up there), and she treasures her son, Izuku.

As far as Secret is concerned, he's being very nice: Inko gets legitimacy, money and aid she needs to continue her work, a contact among rich and influential people, and a more robust cover for her illegal activities.

All he gets out of it is a pet project to build his reputation and skills with, a legally-separate organization to funnel and hide resources in, easy access to desperate people willing to work under the table, and plausible deniability if anyone finds out. Oh, and Secret makes it very clear that if the public ever learns what Inko has done, she manipulated him, and she will take the fall.

Secret Thief comes the closest to getting a character arc. He's obviously in a position of power over Inko, capable of destroying her life. But later, after Inko's gang has built ties to powerful groups like the Consortium (and even dangerous people like All For One), Secret Thief realizes she's outgrown him—he's just one of many influential contacts she has, and the rest have power he can't touch.

The Secret Keeper

So with all sorts of secrets to be kept, and especially with Secret Thief and other mind-readers prowling around, how do villains keep the wrong information from getting out to the wrong people?

Censor is a freelancer for other villains. Her Quirk, Classified, makes it so that if you learn any new information when it's activated, you become unable to share that information with anyone else—unless the other person themselves already knows it. This applies to everything, not just important secrets.

For example, if you learn a new fact about octopuses, you won't be able to talk, write, or otherwise signal it to another person unless that other person already knows that same fact. Now replace "octopuses" with any information you don't want people finding out.

Her Quirk is one of the few counters to psychic Quirks, outright blocking information from them. Censor's character debut is when the Consortium reaches out to Inko, and they want to share information with her despite the possibility that she may refuse to join them.

Random bit of backstory for Censor: she's from a big family, all with similar Quirks. They have close ties to the Consortium, and were some of the few "civil servants" of the supervillain dictator era to side with that group instead of All For One's League of Villains.

The Teleporter

It gives me a lot more options in the story if characters can just sometimes appear where they need to be.

Tesseract can shift the space within a thirty-meter-across cube around himself into a higher dimension, both surveying and quickly relocating to any other spot of his choosing. He is very busy, since teleportation Quirks are rare and obviously valuable, so it's not like he hangs around the Important Characters moving them whenever. There are plenty of times when someone has to shrug and take a 12-hour plane flight.

Tesseract's Quirk has no major downsides, aside from the fact that he doesn't look human—just a vaguely-humanoid shattered pane of multi-colored glass. He's relatively young (late teens), but he's been groomed since he was a kid by CORE's own longtime (and elderly) teleporter to be her successor.

____________________

Notes: I’ve put way too much thought into these, despite how unimportant they are.

Tomorrow: Two other OCs. Both close to Inko, and they actually get character development!