#the parallel between drugs and having a bit of the person you want but can't have?? the recognition of the self in the other???

[daeluin]

I still think "my mind is a safe and if I keep it, then we all get rich. my body is an orphanage we take everyone in" is one of the rawest most fucked up lyrics pete has ever written that then got put into a song.

like srsly 27 is such a fucked up song, specially if you put it in the context of when folie came out

[appendectomy]

the house/cuddy relationship is also so interesting because a big part of the essence of 'doom' that the writers give their relationship is also based in direct comparison to the not-doomed-ness of house/wilson. there are so many moments where it feels to me that the writers are grabbing me by the shoulders, shaking me and going 'look!!! look at them and compare them look at how different these two dynamics are'.

one of the most obvious examples of this is in 7x09 when house is trying to get out of hanging out with wilson and going to cuddy's birthday dinner at the same time. cuddy outright asks 'you have to choose one of us,' and house replies 'i choose wilson'. apart from making me giggle, these lines also serve the very obvious purpose of not just being about where house would prefer to spend a thursday evening. it's quite blatant foreshadowing about the fact that, at the end of everything, house always prefers to choose wilson and is more capable of being there for him than he is for anyone else, including romantic partners and especially including cuddy.

the next big example of this that struck me is in 7x15 when cuddy is in surgery. this is an almost word-for-word recreation of the scenario in 6x10 where wilson went into surgery. they both want house to be there, and house struggles to show up both times. we even get this wonderful visual parallel between the two, which is something i've noticed has been talked about a little by other people on here, and so is definitely something I imagine the writers thought about too. with 6x10:

and 7x15:

the key difference between these two situations is house being sober in one, and on drugs in the other. house can be there for wilson and emotionally support him while also being sober, but he cannot do the same for cuddy. this comparison i think is such a clear communication that not only is house's relationship with wilson easier for house to maintain than his relationship with cuddy, but that it is also better for him mentally. with wilson, there isn't an anxiety that he isn't good enough for him the way there is with cuddy, and this just fundamentally fosters a better environment for him as an addict.

this says a lot about house/wilson, but it also says a lot about house's approach to romance versus friendship in general. he places so much more importance on the emotional challenges of a romantic relationship than he does platonic. he spends the whole episode of 7x15 practically agonising over wether cuddy will be ok or not, whereas he spends most of 6x10 telling wilson he's an idiot. he seems to doom himself in romantic relationships by creating so much of his own anxiety: he worries about getting it right, being the man cuddy needs him to be, doing what a good partner should, and it causes him to be unable to actually perform any of these actions without the crutch of being high. this in turn underminines the genuineness of any attempt to be better that he makes in cuddy's eyes. i don't think any of the emotional demands cuddy makes of house are unreasonable at all, but because house is such an emotionally stunted and volatile person he can't approach the very normal expectations of a romantic relationship in any sort of healthy way. the only relationships he can maintain are unconventional ones that don't have these expectations, like his friendship with wilson.

the next example, and the one that is most likely a little bit of a reach, is also in 7x15, specifically in the few dream sequences cuddy has that feature wilson. in the first, she imagines house and wilson as rachel's adoptive fathers (which i've already written a little bit about here if you're interested). then she has another dream set in a black-and-white 50s sitcom where she is the breadwinner, house is the housewife, and wilson is the mailman/milkman (not completely sure which of these he is, but he's definitely one of them). in both of these situations, wilson is the proverbial 'other woman': he takes the place of house's domestic partner in one of the dreams, and in the other he's the mailman/milkman to house's housewife, which traditionally in media is a comedic character pairing that involves the housewife cheating on her working husband with the mailman/milkman. i doubt this symbolism is really that intentional, and i don't think that it's meant to imply any sort of genuine romantic coding between house and wilson, it's probably just a couple of early 2000s gay jokes. but if you critically look at these instances, you can begin to extrapolate a sense that in house's romantic relationships, wilson is always hovering in the background. wilson is always the proverbial 'other woman', someone who's relationship with house is just as important and very likely also easier to maintain for house, just as the inverse is true for wilson as established by testimony from his ex-wife bonnie. i mainly think this inclusion of wilson in these dreams and the deliberate role he plays just serves to remind the viewer that while house and cuddy's relationship is rocky and uncertain, house and wilson's is pretty much constant and inevitable.

the last comment i have on this is about the scene in 7x23 where house crashes his car into cuddy's home. i think you can pretty easily compare wilson and cuddy situationally in this scene: house is putting cuddy in immense danger (though not actually intending on hurting her), whereas in comparison he yells at wilson to get out of the car before he does it. to me, there's an obvious difference there - a deliberate effort to endanger a person vs a deliberate effort to remove a person from danger. and in both instances, house is intentionally causing the danger. it very strikingly reminded me of the scene in 3x07 where house tells wilson to get out of their hotel room before he does something that could incriminate wilson. he specifically tells wilson 'maybe i don't wanna push this til it breaks' in regard to their friendship. house is very cognizant of not pushing wilson away completey, not squandering their relationship once and for all with his dangerous behaviour. but with cuddy, he gets to a point where he actively burns the bridge. the difference to me is sad and clear: house is willing and able to maintain his relationship with wilson. he is not willing and able to maintain his relationship with cuddy. and by comparing the two, each dynamic becomes clearer.

[wily-one24]

It was intresting to read your opinions about ouat, soo can u maybe do Regina Mills also? 🫶🏻 (+ I gotta say that I agree what you said about hook)

I am glad you asked, Nonny, because I felt sliughtly guilty. I answered the "choose between Emma and Regina" ask and chose Emma, BEFORE I answered the "choose from these three SVU" characters and in that one I did all three.

I was like "Man, I should have done Regina as well". So, Nonny,. great minds think alike. :D

REGINA MILLS:

Before we start, I had to use this gif, because for over a decade it was my AO3 profile pic "Bitch Fucked With My Apples", until I changed it to Sheryl Crow to match my tumblr pic.

Onto the questions!

--> How I feel about this character:

I do so love Regina. Not as much as Emma, and I am not attracted to Regina the way I am Emma, but I love her just the same.

Her entire story is one of tragedy. All she wanted was to be good, to be left alone with her horse and her stable boy and maybe an apple tree.

And she was used and abused by everyone around her for their own nefarious purposes. Her mother abused her from childhood and then sold her as a young teenager to an uncaring king. Who, let's be real Disney, was not just "looking for a mother for Snow". He wanted a young wife to bed. And she was NOT WILLING.

Rumple came along and twisted her helplessness into vengeance.

And the world called her Evil.

And even then, exactly how evil was she. Okay, sure, if you're Snow White (or one of her friends), she was pretty lethal, and she did slaughter an entire village for hiding Snow. But apart from Snow, she was pretty non chalant. She wanted to be loved as a ruler.

Yes, she did EVIL things, but she was a pawn and she didn't choose that title, nor that life.

The curse? The big Curse to End All Curses?

She bought them to Maine and gave them safety, steady jobs, no inflation at all 80s prices forever more, running water, electricity, medicine, instant college educations.

And all those ungrateful bitches wanted to do was return to shitting in the forest and hunting their dinner amidst dying of dystentery and a random arrow.

Like, come on. If you really want to be evil, don't make Snow a goddamn grade school teacher who builds bird houses. OH LOOK,, there's Mary Margaret the garbage collector. Mary Margaret, the local stripper. The homeless drug addict. Locked up in a nuthouse. A maid. Anything, but a sweet, comfortable, happy, well fed teacher who still smiles and sings.

I said it in the other post, I'll say it here. Emma internalised her pain and sabotaged herself. Regina externalised it and hurt those around her. But it all stems from that lost, lonely little girl that was abused and had all her hopes dashed, that was never loved the way they deserved.

I do love Regina and that is all (Ha!) I am saying until further down.

--> All the people I ship romantically with this character:

(I love how this is worded: 1. "romantically", like... definitely not just "fuck nasty" buddies, but romance. 2. "People" with a "Character", ... can I name just any random person? Like, let's get Regina Mills together with Susan Sarandon. Let's go!)

Ahem.

Emma Swan, obviously. You can't really ask for more. They were perfect for each other. There are so many parallels in their stories, and they helped each other grow. They cared sincerely for each other. This is a no brainer.

But also... let's not rule out all the other ladies, Snow, Ruby, Belle. Maybe a little Jefferson. Daniel (for the hopeless teen romantic Regina). David for a little bit.

Imaginary Regina is quite the machine.

--> My non-romantic OTP for this character:

Is Henry too obvious? Come on.

Snow eventually. Zelena eventually, Kathryn to begin with (you know, before she had her kidnapped and killed and then unkilled, that kinda takes the bloom off the rose a little).

--> My unpopular opinion of this character:

The Lana stans ruined Regina for me*. I can't enjoy her as much as I would like, because... they're very rabid and they oversaturated the internet and a lot of them became Swan Queen fans, but a very specific sort of Swan Queen fan wherein it was obvious they were just there for Regina and they really hated Emma in an ugly way.

I think Lana is really great, everything I have heard about her is good. That said, i just can't... I can't really enjoy anything in terms of Lana because of her fans. So, I just steer well away.

These people and their zealotry ruined the actress and the character and that's tragic all in its own.

(*I am speaking of a very certain sort of fan, I am sure a lot of Lana fans are great, but we all know who I am speaking of).

Fandom overall became very Regina Centric or Hook Centric, to the exclusion of all else. This bled heavily into the viciousness of Swan Queen Vs Captain Swan... but I stayed out of it and just wrote my little fics and read others.

-->One thing I wish would happen/had happened for this character:

I'm not sure I can answer this question, because I still to this day have not finished watches S7 all the way through. I have watched MAYBE three episodes and then have to stop, I just... cannot get into it. So I don't really *know* what happened to her.

I know she got a very short haircut, wore singlet shirts, and ran a bar. That's what I know. So... I mean, maybe that made her happy? Chase your dreams, I guess.

Obviously "I wish Swan Queen became canon".

Oooh, I know. I wish she had gotten some justice, especially against Rumple.

(but, oh no, Rumple was a MAN and had to have a giant redemption arc and become woobified)

My old AO3 pp for reference:

[jedinightsister]

2 qs :) 1) what’s your favourite slow horses duo/team up? shirley/anyone is always prime entertainment but in the later books lech and louisa have been surprisingly competent together. Also shirley/river/jk coe “huddling” (“it’s not touching its survival!!!”) was hilarious

2) what do you think of the casting for the new characters? Obvs will reserve judgment for when I’ve seen their take on the characters but the actor they chose for whelan for example I think is maybe…. Too conventionally attractive lol. Like I remember him being described as balding. Ofc a good actor can serve us pathetic realness regardless of their looks! I mean we already we have Jack lowden as river

Tysm for the q's anon! My answers under the cut<3

QUESTION 1

That is so hard... I think I love that they always mix it up, so we can see all kinds of dynamics between the characters y'know. Like, they have a go-to pairing (ex. Min and Louisa, Shirley and Marcus), but they also switch things up to bring out a different kind of interaction. Whether it's supportive, deprecating, etc. it's just awesome.

For my personal faves tho, there's a lot and I will name them all from what I can remember.

1. Shirley and Marcus. Even after Marcus is gone, the ripple of this friendship in Shirley's life is just so strong, it is both amusing and heartbreaking. That despite how much antagonistic Shirley is toward him, she grew to genuinely care about him in her own way, to reciprocate how he cared about her. I'm scared af for season 4 because this is coming. Part of me doesn't want them to push through with it, but again, I love the effect of his loss on Shirley, for better or worse.

2. Louisa and Min. Bit of a similar sentiment here. Min's loss really takes its toll on Louisa and how she interacts with everyone else. But when they were still together, I also enjoy how they balance each other out. Min really wears his heart on his sleeve and tries to get Louisa out of her shell. And we see Louisa's struggles with that.

3. Louisa and River. The "competent" ones of Slough House hahaha. A duo I'm glad because we will see more of. I love the parallel of both of them dealing with loss (Min and Sid) and again, being the "competent" ones compared to everyone else. River being his hero complex, loser self, and Louisa not letting him off the hook so easily. Ah, there's the word I'm looking for-- accountable. They hold each other accountable, especially for this next pairing.

4. Shirley and JK. I don't even know what to say for these two 😆😆 They are the outsider crazies, Shirley being the super noisy cuz she high on drugs, and JK being absolutely silent but having the darkest intrusive thoughts. Both however seem to really share this dark, violent streak, and the fact that their team up resolved the conflict in London Rules instead of River and Louisa, it always cracks me up 😆

5. That said, River-JK and Louisa-Shirley team ups also one of my faves. Gotta put them together in one because the dynamic is somewhat similar. River and Louisa trying to "babysit" JK and Shirley while they do the "adult" work of investigating. JK's paint accident and Shirley's stint with a bat...oh dear. 😆

6. Louisa and Emma. I know Emma doesn't technically count as a Slow Horse, but she might as well be in Joe Country. Their friendship was so precious to me and I wish we got more. 🤧

7. Agree with you anon, Shirley/JK/River is also top of my list. The comedic trio we never knew we needed, so of course Mick Herron said " can't let my readers have nice things" and k-worded JK 🥲 his final moments with Shirley are so devastating like... Grrr.

8. Unfortunately I dont remember Louisa and Lech's dynamic specifically, but I am pretty sure I loved it as well??? I know I liked that a bit of an unhinged fella took JK's place a lil bit lol. I just love the more chaotic Slough House is with their different personalities.

QUESTION 2

I quite like the new castings!

Emma Flyte looks great. And her brief interactions with Lamb were already iconic haha.

We haven't seen JK Coe in the trailers or pics yet, but based on the actor himself, I can totally see him pulling off JK's isolative silence and eventual killer instinct madness lol.

I'm not sure how I feel about Frank Harkness. I know the actor from his other roles, but I'd like to see more of how his interactions with River go.

I have to agree that Claude Whelan casting feels off from the surface, but because of having seen him on Blood And Treasure, I actually think he's perfect given Claude's slimy personality haha.

[fancyfade]

Okay now for something I like in Starman, can't all be negativity or joke posts :P.

I do like the fact that Nash responds to Jack with mercy (initially) and Jack responds to Kyle without it informs their (Nash and Jack's) respective arcs, and I like the parallel in their arcs, as well as a consistent theme in the comic that the hero/villain thing is somewhat artificially enforced.

Nash is the daughter of Mist, Starman v1's villain who wants to destroy everything that matters to Starman v1. Mist does this via sending his son Kyle to kill Starman's sons, David (Starman v7) and Jack (not yet Starman v8). Kyle succeeds in killing David, but fails to kill Jack.

Jack has some adventures blah blah i'm not gonna be Starman but I'm gonna do heroic things and make myself a Starman costume and the reader sees him getting used to acting as a hero. At some point, he is cornered by Nash, who holds a gun on him and clearly seems reluctant to shoot him and feels that they're just fighting because of their dads (issue 2: "Why? Am I k-killing you? Because of h-hate. My father hates yours. Your father hates m-mine. Someone hates somebody e-e-else. It's the stuff of w-w-war and opera. we... are the food so-s-soldiers or the chorus d-depending on your pre-pre-preference of metaphor. We do the killing and the dying." ) She then lets him go when Jack asks why she in specific is going to kill him, rather than her dad.

Jack and Nash are each very much stuck with this due to family obligations at first. Jack is Starman v1's son, Nash is Mist v1's daughter, so they are fighting. Jack being Starman because he is Starman v1's son is not actually something that is ever questioned; it's treated as natural. he starts as a reluctant hero, like "I never wanted to be starman, that was David" but then we have flashbacks indicating he did like Starman and just forgot? Anyway. The point is both characters are involved because of a conflict between their fathers, rather than anything they chose to do.

Jack then kills Kyle after Mist has his dad kidnapped and tells him he has to fight Kyle.

Nash at this point dedicates herself to being the new Mist, after previously seeming uninterested in acting as a supervillain minion for her father. She says (issue 3) "You (jack) Killed my brother. I let you life and you killed him. you made me an accomplice. My mercy was kyle's death." She dedicates herself to being Jack's nemesis at this point, her demeanor changes drastically and she becomes a femme fatale type character. She breaks out of prison, orchestrates a crime wave reminiscent of her father's crime waves and the kidnapping of various Starman allies, and drugs and rapes Jack. She has him run some gauntlet to prove he's worthy of being Starman and when he's done instead of killing him (which Jack expects she would do), she says that she wants them each to become the true Starman and she'll become the true Mist. Some of this seems to be out of obligation, not due to her father or her brother's death, but just because that's what archfoes do. Once Kyle has catalyzed her into a villain, avenging his death doesn't actually seem to be that important.

the hero killing (or not saving) someone related to the villain, inadvertently creating a new enemy for them later on does kind of remind me of the Aquaman movie NGL (where Arthur leaves Black Manta's dad to die, causing Black Manta to swear revenge). It also does lead to Jack saying he will not kill again (though we've not seen this be tested yet in terms of like a super difficult or personal situation) and probably influences Arthur showing mercy to Orm in Aquaman IIRC (it's been a bit since I saw that movie, tho).

okay back to the other theme: the other theme is the hero/villain thing being somewhat artificial. this isn't like a 'what if the people who killed civilians are Actually Good and the people saving them are Actually Bad' take. we've already gone over Nash's actions as Mist v2. But some of the villain characters do sort of act as if they are simply playing out roles, as Nash says (isn't that what archfoes do?). Another is Shade who seems to regard the superhero/supervillain thing as a game and has fun fighting the flashes -- though Shade eventually appears as a Starman ally and unless something drastically changes in the series, Nash does not.

So we sort of have Nash playing out a role initially due to her father and then later just because That's What You're Supposed to Do, and Jack following in his father's footsteps as Starman. They each evolve from reluctant (hero/villain) to enthusiastic (hero/villain), and we know that Nash regrets her former mercy and Jack regrets his former lack-thereof. I'm not sure I have a ton of more thoughts ATM, this is just me keeping track of the current theme the writer is setting up and what I do like.

[snazum]

Project: IYKYK more bts this time bout Arz (The red sweater one) Once again beware spoilers if you care lol TW talk of drugs and their effects, abuse mention

Arz (Don't ask bout the name. I can't be assed to rename them but it's related to my deadname. But it's also like, 3 letters so idrc XD)

Yes they're pulled from my time when I was in the 3ddsworld fandom. (censored to not show up in tags I'd feel bad). If you recognize them, congrats you've probably seen me on the Red Army Amino roleplaying and stuff. And if you were there, Much love I miss that amino, I had a lot of fun :P

Obviously their story is changing a bit cause I gotta disconnect it from that show, idk how much. The setting for the story isn't that important rn. As it is, they're in a violent group or something. Fucked environment ig.

SONGS: Red Sex by Vessel and Farewell by Bernth (Good song btw very pretty plz listen to it) (Yes they're both instrumental songs) The two songs are very very different but that's perfect for Arz. The first song will explore their relationship with other members and the group/world in general. The second song will explore them leaving that environment and falling into despair (This leads to the next characters story Jackson, Noah Jackson)

Since the songs have no words, the instrumental relates back to the emotional side of the story, so if you want an idea of the emotional listen to them :p

STYLE OF ART: Cartoony but gritty. Also has a pixelated effect, i really want to show that this is a dark world but also very very much not real. Since the setting isn't all that clear either (And it's more the people around them and the emotions that matter) the background take on more of a trippy, non-diegetic style. It's gonna be a bunch of patterns and textures and what not.

Fun notes/Symbolism:

Will there be presence of drugs in the story? Yes. Sort of using them to represent my own personal struggle with substance use, especially to cope.

They also just represent the "Bad Boy" I wanted to be when I was younger XD Never would happen I'm too much of a goody two shoes but hey, a look into my edgy middle school subconscious

S.L. ends up creating this world, as their way of changing one of their past decisions. Seeing what would of happened.

The story reflects on that fact, and shows that it would of been a different type of bad anyways.

The first song will parallel S.L's story as well. From this [REDACTED] will be fully revealed as [REDACTED] which will also tie into [REDACTED] (maybe on that last redacted) I want to show the strong connection between their two stories.

Reason for the backgrounds just being trippy as well is (i'm lazy) and to give it that intoxicated feeling. The relationships they have are intoxicating and abusive, with people and drugs.

[thisisevenharderthannamingablog]

Liveblogging notes from ep. 5.

Regretting a few of our life choices this morning, are we Kinn? Good. (I'm enjoying him as a character, but dude, just because somebody is all but saying take me I'm yours doesn't mean you gotta.)

Porsche is not okay. :(

Kinn you really fucked up.

Kim wtf are you doing? Ah, digging for info, not getting much so Kim out. And Korn is under no illusion that his youngest was doing anything else. You did a great job on your kids.

The camera work on this show is an actual joy.

Porsche is giving him the cold shoulder and he's in trouble with dad, who knows everything. Short game. Kinn sucks at chess? He's not paying attention? He wants to get this over with? Oh wow he looks upset. Practically nothing has visibly fazed him up until now. I note that the game doesn't stop just because he loses in two minutes flat, either; it just resets.

So far this episode is hella somber, even given the Khun/Kim interaction. Change from the rather manic air we've had previously. Porsche is having the worst day, somebody rescue this guy, wtf? And right on cue is Pete, adorable and concerned and so, so oblivious about the real problem.

Kinn is back to day drinking and Porsche won't look at him and everyone is miserable (except Khun who has a whole new hobby -- at least it gets him out of the house) and they both try banging random people and can't stop thinking about each other.

I have to pause here and try to unpack some of this.

Porsche is going through it on so many levels. He's a fighter and has already been in one gunfight; getting hurt like that didn't affect him, but getting drugged and assaulted while virtually helpless is not something he's prepared for. He evidently doesn't remember that part of the night well enough to identify Vegas, but he might remember being scared. Likewise, that he might be personally targeted on the basis of who he works for clearly never occurred to him. (A little ironic given how many other characters are trying to figure him out.)

There's also the fact that he had sex with his boss, who is giving him almost no clue that it meant anything at all, leaving Porsche to wonder if this is some distressing requirement for working here that he didn't know about. The one thing the Mafia does not appear to have is an HR department. They'd started to interact kind of like normal people the other day, and now everything is weird and dangerous again. Is this like the Macau situation, where he's being shielded from something even worse? Or is this genuinely awful behavior on Kinn's part? How the hell would he know?

Then there's the sex itself, which between the whole question of his sexual identity, the uneven power dynamic, and Porsche's altered state of mind at the time, is complicated to say the least.

He's vulnerable, and he's isolated. His usual friends either aren't there or don't notice how much misery he's radiating. He's generally biased toward action as a character, but there is no action he can take, nothing he can do about any of this. It isn't much surprise that he's basically gone into shutdown.

Kinn is a bit more difficult since we still know less about him, but there's some parallels. There's a physical vulnerability component, very different from what Porsche is going through but no less complicated: it isn't just Kinn in danger. We got this much from the chess scene. The last time Kinn got involved with anyone, it ended in a disaster which did not affect just him. We are back, with some subtlety, to choice; it's not just a matter of which price does he want to pay, but who else is going to pay it. Porsche got targeted because Kinn likes him.

Then there's the emotional side of things. Kinn has been reminded that historically he is maybe not the best judge of who can be trusted, and the stakes are high. Sex is not allowed to have emotions tangled up with it. In fact, nothing is allowed to have emotions tangled up with it -- but we saw when he was talking to Korn how that runs against his instincts. He would like to prioritize Porsche right now, but a) doesn't appear to have the emotional toolkit and b) lacks confidence in his own judgement here, so he caves to his dad.

Kinn also has no one to turn to, unless you count his father, whose advice is clear but for some strange reason doesn't make anyone less unhappy. He has a lot more freedom to act than Porsche; there are lots of things he can do, it's just that all of them are making things worse, and so he's snappish and indecisive and defensive.

In case things aren't awful enough, look who rolls up while Khun and the gang are all leaving Yok's but the human red flag himself to take advantage of Porsche's state. Don't leave anybody alone with Vegas should be like, a standing order for these guys.

Oh wow, Kinn is drunk. Vegas is feeling like a winner.

Kinn, this is the opposite of a good way of dealing with any of this oh my god you actual disaster! Good, Porsche, call that bluff.

So. Much. Tension.

Bad decision again buddy! You are on one hell of a streak now. Ken is the one I can't pick out of the crowd ever. Give that man an accessory please, they all dress alike.

Thank god we are cutting to Chay, that was an exhausting half hour and unusually long tight focus for these episodes. Chay has just gotten off a better flirty line than every single one of the older characters together, well done.

Kim is still hunting for intel on Porsche. (New theory: Korn actually brought him in so the family would have something to do, like giving puzzles to your herding dogs so they don't rip up the furniture.) Kim's weakness is music I see, just has to play along. Given the established distance between Kim and his siblings, the contrast here is sad.

Korn has not caused enough trouble? Having your boss's boss ask how you're doing is awkward even at a normal job. Everyone makes mistakes literally none of this is Porsche's fault! Why does Korn look so satisfied with this development?

So Porsche gets a week vacation to hang with Chay and be reminded of why he agreed to do this in the first place? Hm.

Learn to knock FFS, Kinn. Oh, he did not know about this move from Korn? Why looking for Porsche dude? Finally sober up and realize how badly you fucked up? (We can hope.) I don't know if I would go with "heartbroken" so much as just plain "broken." Pete with some (badly needed) good advice.

Porsche's old friends can tell there's something going on with him. Porsche's new life keeps invading the settings of his old life.

Kinn you officially have less understanding of boundaries than my cat. Also, you have bodyguards for a reason. If you leave them behind so you can go argue with/apologize to Porsche, wtf did you think was going to happen?!

Chan with the red alert. Korn with an unreadable expression. It's been like a million years since we had an action scene. Big has the worst luck, damn.

[hildred-rex]

Wonderful hats! Jack's is very nice, so is Irene's from what I can tell (I look forward to being able to see it better, which will probably happen? Who knows. Nice hat. Solid feather.), and I love the bit at the end where Jack is handing Griffin (who has the same outfit as him, excepting a few bandages) a hat. (More on that under the readmore.)

Secondly, Arthur and Jack having matching outfits is delightful. I'm getting this out of the way first thing because it's much shorter than the rest of what I'm probably going to write.

And now we get to the bit that made me decide to write this as an actual post. There's been some analysis of the outfits already in the comments:—

—and it poked my brain into informing me that Jack and Griffin had loads of parallels besides the outfit.

Jack and Griffin's outfits kind of parallel their positions in Dracula and LXGF respectively. First of all, I should establish what those positions are. (Oh god this is my essaywriting process. And I'm actually writing all of it out.)

Jack, in Dracula, was the character who neglected his own health the most,* to the point that it led to injury to other people. His story between about the middle of Dracula and the beginning of LXGF seems to have been him accepting the love of the people around him and gradually becoming healthier, recovering not only from the events of the novel but also from his preexisting damaging mindset.

(Oh good, we're not to the batshit part where I need to argue this is symbolized by the hat.)

* Obligatory note that Lucy is also very bad about this, as is Mrs. Westenra to a lesser extent.

Griffin, at this point in LXGF, is somewhat similar. (Disclaimer that I haven't read The Invisible Man yet, so I can't authoritatively comment on his story there.) As Jonathan puts it, Griffin when we meet him "look[s] days from death." He's living in an abandoned building, believing (accurately) that the only way to keep himself safe from other people is to stay out of their notice. He's gotten some sort of illness that may well kill him and his first scene ends with him fainting. (To be fair, I too would faint if I were invisible and a man with white-glowing eyes nonchalantly mentioned that he could see me.)

Then he's taken in by the future League (I think it's fair to call them that) and treated well, which he doesn't expect. He's unchained, sheltered from Kemp, and actually given a meal when he wants one, all of which surprise him. He's still standoffish (refusing pain medication out of fear of being drugged; also fair, considering he doesn't know these people), but opens up somewhat (willingly answering their questions and even volunteering information).

Then, after it's made clear he's not a prisoner, he chooses to stay with the League and helps them set up their trap for the king. Also notable on the second page linked there is his reaction to having his ideas met positively. He reflexively tries to appear nonchalant, but quickly caves and asks, "I mean... you really think so?" He's warming up and being warmed up to in turn and experiencing connection.

That's the recap up to now: nineteenth-century up-to-date with a vengeance.

Now for this page. (This page—! I'm shaking it between my teeth.)

Jack and Griffin have similar outfits, which represents their similar initial positions. The main difference (besides, of course, Griffin's invisibility) is that Jack, who has already recovered, has a hat.

This hat (and now we're in the batshit part) is the love and acceptance he's found within the Drac Attack Pack.

Early on in Dracula, when he proposed to Lucy, he wore a silk hat that he very nearly sat on. Based on my (admittedly very fast) research and the Dracula fandom zeitgeist,* this was likely a top hat of some sort. Top hats are very stiff in form and do not recover well from being awkwardly sat on. (Neither do felt fedoras, and they're much more soft-sided; I speak from personal experience on that one.)

* which is valid to cite in this post since the writers were almost certainly influenced by it, LXGF having come about in the wake of Dracula Daily and all

But the hat that he's wearing now is (something I've tentatively identified as) a newsboy cap, which is as soft-sided as you can get and would survive being sat on well.

Silk top hats seem, based on some admittedly brief research, to have been the (or a) societally-accepted gentlemen's hat of the period (Wikipedia; photograph of important event), so they (in the context of LXGF's newsboy cap) represent Jack's attempts early in the novel at conformance to societal norms, even to his own detriment.

Here, he has a soft hat, which is perhaps not quite in keeping with fashion (I may be wrong about this; please let me know if I am), but which is adapted to him as a person and will not be damaged by a failure to conform (or to avoid sitting on his hat).

That's why I believe it represents the love and acceptance Jack has found in the wake of the novel.

And now that he's been picked up by the League, Griffin is experiencing some of that same love and acceptance.

Jack, who has been in a position like his but survived and surmounted it, is the one to offer him the hat, completing the outfit (and protecting him from discovery in a way that is also symbolic of the prevention-of-harm aspect of a good support network).

...

Well done, my hat's off to the writers.

First page || Previous page || Next page

Dialogue transcripts:

Panel 1 Irene: I hope this works… Griffin: It’ll be fine, I’m sure.

Panel 2 Griffin (offscreen): Lights!

Panel 3 (n/a)

Panel 4 Griffin: How’s it look?

Panel 5 Jack: Impressive. Convincing. Now, it’s back to the house with you.

Panel 6 Griffin: Oh, come on! *cough*

Panel 7 Jack: I mean it. Griffin: He bit me! Twice! *cough* By rights I ought to— Jack: —Be resting. Now hurry up, before someone sees you.

[dekusleftsock]

was rereading your Izuku meta post, and was reminded of something. Repressing emotion is often like a ship taking on water. Once you let a little bit of repressed emotion escape, the rest of your emotions start to slowly escape, faster and faster as time goes on. This may just be my bias, but this seems to be happening to Izuku. He let a little bit of repressed anger seep through, and increasingly he's struggled to rein his emotions back in. I can't help but feel like we're heading for a moment where his emotions finally come loose in their entirety. I couldn't help but wonder how that would change his character though. For bakugo, once they had that fight his personality began to change. When Katsuki saved Izuku in 285, it paralleled the start of the series where Izuku saved Katsuki. Katsuki pushed Izuku away, only facing him again after the fight. Izuku is currently pushing Katsuki away due to his sacrifice, trying to deal with his problems alone. But it's not working. So, I have to wonder: Katsuki changed slowly after being confronted about his behavior. How do you think Izuku's behavior might change? He's been like this the entire series, and with each season the story has gotten more vocal about calling out his bullshit.

Good question! (Also sorry I took so long, I had hw and school lol)

I think if we’re gonna answer how Izuku’s behavior might change, we have to think about how allmights behavior already changed.

So, when allmight lost one of the most fundamental parts of his identity (his quirk) what did he do? Well he did everything in his power to feel useful again.

But, this mindset changed when two things happened: allmight talked to aizawa about yknow, feeling useless, and then again when he talked to stain.

Stain and aizawa were the key reasons in how allmight managed to help himself. There’s this message that the story is constantly trying to push, and that’s if you want to save someone, they have to want to be saved. The same thing goes for mental health; in order for someone to get better, they have to WANT to get better. Oftentimes when people don’t get help, they usually resort to “romanticizing your sadness”. The feeling that, to be happy isn’t normal, and that you should stay sad forever because it’s what you’re used to. The change itself is the fear.

But just like every other human emotion, it changes moment to moment. You are never truly sad forever just like you are never HAPPY forever. It’s just how life works. When you ask the question, “would you be happy forever” most people would say no. Now there’s nothing wrong with this opinion, I have it too, but the REASON we have this opinion is because to feel happy you have to feel sadness. That’s just how our emotions work. A drug that makes you happy constantly exists, and it’s called literally any addiction ever. It’s unhealthy for us BECAUSE of the trade off between intelligence and blissful ignorance. That’s not me being edgy, that’s just a fact. Intelligence in animals generally makes you a less happy animal.

Why am I talking about this? Well, for Izuku to be happy, for him to not have all of this repressed anger, he has to release it. But he’s SCARED of that outcome, scared of both what that anger will look like and also what comes after.

His repressed emotions aren’t just anger, it’s love, sadness, depression, and even happiness and fulfillment on the other side, but he’s scared of what being healthy will be like.

And I feel like addressing WHY I think he’s scared is super important too. It’s partly due to his conscious act of repressing everything he feels, and also partly due to simple parallels.

Allmight and Katsuki have frequently repressed emotions and have gotten through and dealt with it. For allmight it was an expectation he had for himself and also from the world that he has to be perfect. (And btw, Izuku sets the bar higher than allmight, as he thinks that he should be the idolized version of allmight in his head, instead of the real allmight or even just, yknow, his best) In a way Izuku is kind of following his predecessors damaging way of repressed emotions, even if allmight has worked past that.

For Katsuki, it was about feeling anger over every other emotion in order to not feel vulnerability. Katsuki was also AFRAID of what vulnerability looked like, just as all might was afraid of what honesty looked like for his idolized version.

Izuku experiences both of these. An idolized version of what he should be, making him repress emotions and push the people that cause him his outbursts, (allmight) and also resort to repressed anger when in a situation of vulnerability. (Katsuki)

If Izuku changes these things, he doesn’t know who he will be anymore. Just as all might didn’t know who he was without his idolization, and Katsuki without his immediate anger.

As for his conscious repressing of emotions, that’s the bullying, his worrying mom, and allmight’s fault. He doesn’t want to upset anyone, and I also feel like if he acknowledges how Katsuki hurt him mentally, he thinks it will only end up hurting Katsuki. Let the guilt itself eat him alive; so Izuku stays silent and doesn’t talk to a single soul about how the isolation felt.

He definitely WILL have an outburst at some point, and that’s the scary part. The fact that mid battle, Katsuki is gonna be the only one able to break his spell. Make him accept his love of Katsuki, and possibly make him realize his love too.

Love is an amazingly complicated emotion, especially since it’s not actually an emotion. I’ll probably talk about how love works at some point, (and how some of you kids who follow this account need to learn what love actually IS) just because of how interesting and complicated it is. Human love is so weird and I ADORE talking about it.

EDIT: my dumbass forgot to say how he actually might change which was the entire point of the question dindosndidbdj sorry

I think he’s gonna change in the way that he will outwardly show his emotions. One, ofc, accepting his love of Katsuki and loving Katsuki (or uraraka ig if horikoshi wants to be a bad writer hsudbfkd) two, being angry in a context outside of an emotional situation or battle, and three, god he’ll finally be his own person.

Like the imitation of Katsuki and allmight is cute, yes, but just as URARAKA imitating Izuku was unhealthy and she became her own hero, he will do the same. Outside of Katsuki the person, dynamite the hero, or allmight the sensei, Izuku will be himself. His own hero, his own person; he will be, Deku the human hero. The hero not afraid to show their flaws, just like uravity, the hero for other heroes and the face of 1A, just like Dynamite, the hero not afraid to be himself.

They will ALL represent different things for the public. But win to save and save to win? That’s their thing.

[somebody-909]

Yeong-gi was arrested as a kid [I Love Yoo Theory]

In celebration of the return of my favourite webtoon, I thought I'd share the theory I shared on reddit a while ago about our favourite red head (revamped with pictures and extra discussion). This theory was eventually pretty much proven correct in Episode 112.

TLDR: Allusions to violent behaviour, a bad period of time where Yeong-gi was away, and stigmatized treatment resembling how you treat a criminal, lead me to believe that Yeong-gi, having been deeply affected by the events with his mother, developed violent behaviour, that resulted in legal trouble of some sort. He was then sent "away" somewhere for some time, likely either juvie or a rehabilitation centre of sorts for juvenile delinquents.

1. "How long has it been since you got out?"

In episode 16, when Kousuke visits Yeong-gi at Mrs. Lochlainn's (Yeong-gi's granny) place, he asks:

"How long has it been since you got out? Four years, maybe five? I'll stop for today. I know you don't like being reminded of what happened back then."

This suggests that Yeong-gi "got out" of some place/institution. The words "got out" are also quite ominous... (I would even argue that it implies being "locked" away). I find it hard to believe he would be using this for something that wasn't incredibly unpleasant/hard for Yeong-gi to get through. Kousuke proceeds to say, "Four years, maybe five? I'll stop for today. I know you don't like being reminded of what happened back then," confirming this implication.

I have seen a few possible interpretations of where Yeong-gi might've been "away" for a while. I personally think it's most likely something legal (juvie or juvenile delinquent related rehab), although others believe it might've been a mental institution, and others think it was a boarding school.

I see how "got out" could be used for the first two options easily, but the last one is a bit more shaky. "... since you left boarding school" might be a more natural way of referring to that, since it would have to be a really bad boarding school to refer to it in the way Kousuke does.

The following clues lean more towards Yeong-gi being away due to criminal reasons, however.

2. Treated like a delinquent.

The next clue and the biggest is how everyone treats Yeong-gi. His family treats him like a delinquent (I choose this word specifically because of its connotations... not just a troubled, hopeless kid... but more a kid you can't trust because he will be irresponsible and bad).

In episode 19, the students talk about how Yeong-gi hangs out with Soushi (who they think is a delinquent as seen in episode 20 probably bc he's a brown guy with a scar tbh TT)

"His family's got some great connections, that's the only reason I'm being friendly with the dude."

"But what's the point in doing that? He only hangs out with this delinquent from another school."

"You're joking..."

"I'm not! I saw him! Got a scar too... probably got it from a fight..."

"So it's true what they say then... Him being..."

"Shh! Don't say it out loud!"

They think Yeong-gi is hanging out with and is friends with a delinquent who they associate with having been violent. They immediately ask, "So is it true what they say then … Him being …"

What kind of rumour would they think is true if they saw Yeong-gi hanging out with a "thug"?

It would make sense to finish that question with "So is it true what they say then … Him being a criminal" or "a delinquent".

If we were to go with the mental hospital theory, it might work if they said "him being violent" but that doesn't really work as well here in relation to Soushi being a "delinquent."

There is a bit of nuance between what they would associate with someone with a criminal history, in comparison to someone who had been admitted to an institution for mental health issues, even if both possibilities were linked to violent outbursts.

As for his family, they treat him terribly. Like he's a screw up, a troublemaker. Not so much like someone with mental illness. I think by this point its clear that Yeong-gi made a big mistake, but what would be so bad that they treat him like this?

3. Hints of being "away" and having a criminal past.

There are several subtle hints that indicate Yeong-gi did have a criminal past of sorts. Or at least spent some time away.

Episode 79 - significant criminal past

When Yeong-gi and his father meet the lawyer about the assault and drug case in episode 79, the lawyer says:

"Your son does not have a significant criminal past."

Why not just say that he doesn't have "a criminal past" at all, period? Now this seems negligible, but Quimchee has used very subtle hints like this in the past so I wouldn't put it past her (eg. Yui calling Yeong-gi, "kid," and Kousuke "son," to indicate she is related to Kousuke and not Yeong-gi).

Episode 79 - Hansuke couldn't get to know Yeong-gi

Kousuke's cousin, Hansuke, states that he never got to know Yeong-gi back in their college days because:

"I was busy with my residency and [Yeong-gi] was… you know… "

This alludes to Yeong-gi having been unable to hang out because he had something going on...

Kousuke's Corner 2 and Episode 72 - a year behind

Yeong-gi is also a year older than Shin-Ae and his twelfth grade peers... Having any sort of legal trouble could cause a kid to flunk a year.

References to violent behaviour

In Episode 51, Kousuke mocks Yeong-gi, stating that he can have his assistant bring his punching bag if he needed an outlet for his frustrations.

Not being in "control" of his emotions is a recurring motif, with Yeong-gi's family members and even with himself.

Affinity for physical fitness (boxing) as a coping mechanism

I think it's significant that after being alluded to having had violent behaviour, his coping mechanism is something very physical. Boxing, interestingly, imitates violence.

Thematically fits with the end of the Black and White Formal arc

This is more my personal opinion... But I think Yeong-gi punching that pos Sangchul after constantly being passive aggressively criticized for violent behaviour is... cruelly fitting. Him being arrested and possibly repeating what had once happened, and after he had constantly been told not to repeat it, would be a sad parallel to what he once had to deal with.

Possible alternative explanations

TW: mentions of poor mental health and suicide attempts

I think it's most certain that Yeong-gi had legal trouble of some sort, likely due to a violent altercation, and that he was sent somewhere as a result of this incident.

Where he was actually sent to as a result, however, is a bit more shaky.

Since it was a minor criminal past, it's possible could've been simply arrested and not been sent to juvie at all. If his father was heavily involved in his life, he would likely have intervened if juvie became a possibility.

There are some who speculate Yeong-gi had very poor mental health, likely due to what happened with his mother and may have even attempted suicide. While this is possible, there isn't a lot to indicate past depressive or suicidal tendencies. For sure, his violent behaviour was coupled with poor mental health... but not necessarily poor mental health of this nature. I also feel that there is some nuance in how people would talk to Yeong-gi if his time away was precipitated by a suicide attempt. Someone who had self-harming tendencies isn't treated like a thug. Someone who beat up a kid might be though. (depressive tendencies could've been coupled with violence that caused his time "away," but once again, there is not a lot to really hint at severe depressive behaviours).

There are also theories of foster care, if his mother died (which seems to be the most likely scenario with her). I don't think this is the case because we have seen a young Yeong-gi interact with a young Kousuke. The two brothers (and their parents) were aware of each other. There is also his nana.

I think the most likely scenario is that Yeong-gi, having been deeply affected by the events with his mother, developed violent behaviour, that resulted in legal trouble of some sort.

He was then sent somewhere as a result: either juvie or a rehabilitation centre of sorts for juvenile delinquents, or an asylum (due to aggression issues). Regardless, it must have been tied to a violent incident, resulting in legal action and detention and possibly a follow up mental health related thing (rehab/asylum).

Episode 112's confirmation:

There is a vague flashback alluding to a period of time where Yeong-gi was in trouble, specifically stating

"Poor kid. No one is going to want him."

"Why not?"

"...Behavioural and aggression issues".

This alludes both to Yeong-gi getting into trouble for hurting someone, AND for being guardian-less for a period of time (no one "wanting him" seems to reference foster care or adoption).

Later in the episode, Yeong-gi's classmates gossip and say:

"Wasn't he at a detention centre for a bit?"

"I thought he was in an asylum?"

"He was sent somewhere for sure..."

[sirdust]

I saw someone going 'well why can't Stolitz be healthier like Charlie and Vaggie' but like. That's actually an interesting parallel to consider, I think. They're both royalty in Hell, they both have power political and probably literal(even if we've only seen glimpses of that latter), and unlike their family members(Stella, and presumably Lucifer and Lilith) they both have an interest in the lower castes of Hell, and they both probably have a lot to learn about how to treat those castes.

For Stolas, as we know, his interest is more in a singular member of that caste, he's very used to his status perhaps to the point he's not as aware of it as he should be, but he damn well knows how to use it and his power when properly motivated. He's unintentionally condescending to Blitzo and a bit bratty to Moxie and Millie when they save him instead of Blitzo. His efforts to cheer up his daughter end up accidentally making her mood worse, so a bit like I discuss with Charlie he IS well-intentioned and naive, but doesn't listen to Octavia until she runs off. When she does tho, he tries to explain thing, and does promise he'll never run away and leave her behind. He's well-intentioned I think, but unaware of the consequences of his actions and mannerisms, which he WILL need to unlearn.

Meanwhile comparing that to Charlie, she recognizes the people of Hell suffering and wants there to be a better way, and does have a healthy relationship with Vaggie... but from the Pilot she's also very idealistic, very naive and sheltered, and can't throw her weight around as Princess of Hell effectively, lacking resources and staff for her project, being made a fool of on television, and Alastair feeling pretty comfortable telling Hell's princess 'yeah I'm here because I wanna see you fail horribly'. Not to mention I'm not sure has a lot of knowledge about effective ways to help people, expecting all her 'patients' to go totally clean from drugs and alcohol and fights without weaning them off. In her song she ripped syringes out of a demon's hand and destroyed them, and later on she or Vaggie was irritated at a drink bar in their hotel. It may not be the same for demons and sinners, but something like that would probably send a human into withdrawal. Not to mention she's gambling all this on the hope that Heaven WILL let in a redeemed soul, if Heaven goes 'yeah, no, sorry, but no' then that shuts down her idea (unless she decides 'fuck it, restructure BOTH Heaven and Hell' which honestly I really wanna see)

So like. I dunno, Stolitz isn't healthy NOW, but Stolas is probably going to grow, and Charlie's hotel project strikes me as dangerously naive NOW, but that was just the pilot so she'll ALSO probably grow. And I'm disappointed people can't seem to realize that like... okay different show but my favorite character ever took two seasons and hitting rock bottom in a show I like to even start trying to do better, and even then he still fucked up and made some of the same mistakes until he realized and tried to do better yet, and Charlie may be a good person but can still have dangerous attitudes even as a good person, there's still a HELL of a lot of time for both to grow. (pun not intended :P) Endgame ship means end of THE SERIES, not the season.

(it was vaggie who didn’t want the bar!)

yeah i think this is an astute parallel to make. if charlie and stolas both have arcs that focus on learning to empathize with the lower class, it makes sense there would be similarities.

also, regarding the heaven thing, people act like that’s spoilers, but we were already operating under the assumption heaven wouldn’t want redeemed sinners anyways. alastor’s answer to charlie’s project is “they had their shot on earth and this is the eternal consequence”; it’s about seeing if the system can be changed, less working directly within it.

but yeah getting back to the main point, the parallels between the two are interesting, and while i tend to balk at comparing the two shows too heavily i do think there are interesting connections (they’re made by the same creator anyways). regarding charlie and vaggie’s relationship too, it’s funny because people in the crit side of the fandom tend to waffle back and forth on whether or not that relationship is “good”. canon has shown us it’s a healthy long-term partnership, but at the same time no relationship is perfect and there are seeds of conflict being planted within that dynamic already, so people who think conflict is not the core part of any story are looking at that and going “SEE. SEE. UNHEALTHY.” it’s wild.

[eddie-redmayne-italian-blog]

Eddie's interview from Style Magazine

By Valentina Ravizza

Photo: Boo George

Styling by Fabio Immediato.

Translate by me from Italian to English

HE WOULD HAVE had to spend the holiday in Italy,” I have a real obsession for your country “,Eddie Redmayne responds from a gray London,” more suited to my pale complexion”, and tells for the first time (and I try to collect my own thoughts) of his next character, the American activist Tom Hayden, protagonist of the protests against the Vietnam war in 1968 and 77e trial of the Chicago 7, the new film by Aaron Sorkin, arriving on Netflix from October 16. "Democracy is something extraordinarily beautiful and complex, nothing comes easily, we must defend our freedoms if we don't want them to be taken away from us."

 It can be risky for an actor to take a public position, Aren't you afraid to undermine your popularity?

“The truth is, I'm not afraid to take sides, we all should. I feel a social responsibility as a human being: today more than ever we should ask politicians certain questions. I'm not one who particularly likes to take risks unless it's for something I deeply believe in.”

For exemple?

To play Stephen Hawking in The Theory of Everything I met several people affected  by ALS and doctors who helped me to learn more about the disease, and now I am among the supporters of the Motor Neurone Disease Association. During the lockdown in Britain was made a list of  vulnerable people  and I found it shocking that patients with  motor neuron disease were not part of it, so I spoke to several politicians and went to help them.  As an actor my voice has more chances to be heard and I can bring  more light on this topics, I have to do it.

Also politicians as in the case of The Trial of Chicago 7?

This film tells how we got rights by changing wrong laws and remember  that progress could have gone in one direction rather than another.

Is there any similarity between the protests of the 1960s and those of movements such as Black Lives Matter ?

There are moments in history when people ask for society to really represent them and that's exactly what happened then and what many people are doing in these months. The demonstrations mentioned in the movie were against the  Vietnam  war, but also supported the claims  of the civil rights and feminist movements, the one against which they are protesting today has it’s roots in systemic racism, so the similarities are many.And there are also several other parallels between the two political situations: at the 1968 Democratic convention there was a former vice president, Hubert H. Humphrey, right-hand man of Lyndon Johnson, who ran for the White House, as today  former Vice President Joe Biden is in running, and  there was a Republican candidate for president who was betting  for “law and order” , then it was Richard Nixon, now the same campaign is being carried out by Donald Trump.

 Today there is social media, what would have happened if Tom Hayden and the others from Chicago had it?

Hard to say, myself I don't use them . While they represent a great tool of democracy that gives everyone a voice from the shore to  power, they also contribute to exacerbate and amplify the falsehoods and prejudices of those who listen only to what they want to hear, in a sort of echo chamber, and they can be used to manipulate things in a very pervasive way.

Is it more difficult to play a figure you esteem like Hayden or one you despise?

I try not to judge, to dissociate my sense of reality to recreate hers. I do as much research as possible, accumulating a lot of information and then throwing everything away and play  only  what's in the script, hoping that all the prep work has been absorbed somehow into my body, And knowing that that movie will never be. a documentary: I am creating a painting, not a photograph. For this I must accept that I will never be able to be exactly that person, that in something I will necessarily fail.

And when the character is a pure author’s Fantasy product?

It’s like when you were told at school to make  a free written essay: I hated it, I said “please, give me a lead!”, In these cases I try first of all to understand what the boundaries are, to find some elements of truth: for example, in the saga of the Fantastic Beasts to become the "Magizoologist" Newt Scamander I started by observing the work of zoologists.

How is it divided between entertainment and committed movies?

In my choices I have always let myself be guided by instinct: I read a script that my body reacts, I get excited, I laugh, I am touched to the point of  seeing myself in the role of that and than understand that I really have to do it.

Did the same happen with Tom Hayden?

They first  told me about it three years ago while  I was on vacation in Morocco, when told me it was Sorkin who wanted me it was like a dream come true. I read the script and  it not only ran , but it had a kind of syncopated rhythm I immediately loved it. Then when I got better informed about the project, I found out that it had been written years ago and I couldn't believe  he hadn't seen the light yet.

In fact, the first draft is from 2007.

We wondered if this movie had an audience, if it was current enough.Instead with what’s going it has become more and more pressing 

So much so that in order to release it this year, given the health emergency Paramount Pictures has decided to sell the film to Netflix (56 millions of dollars) to be distributed directly via streaming.

There could be no better way than Netflix to reach as many people as possible. And I say this as a passionate cinemas’  lover . Unfortunately in the last 20 years I have witnessed a general loss of attention span: there is always a new story to know, we are constantly being pulled in different directions, and instead find ourselves in a cinema hall being forced to sit there for two  hours and  half even when our attention tries to escape, it’s a kind of pleasant claustrophobia.

And theater, is  it still part of your life?

I know that  more years go by without me returning to the stage  more what I’ll say l’ll sound insincere, but yes, my career started from there, I spent 5 o 6 years working in London theaters. I knew almost nothing about cinema until that world began to open its doors to me, I had to learn a lot on the set.  I’ve been looking for a theatrical project, but so far  what has been proposed to me are works by the greatest authors, and instead I’d like do something new, fresh. Maybe I found it, but  I still can't say anything.

Have you ever thought of letting yourself be taken one day by another passion besides acting?

My other great love is art,  but if I ever have to work on it, I imagine myself more as a curator than as a co-worker. But I honestly think that being an actor is extraordinary: whatever part you encounter on your path continues to grow:although sure it’s a wild life and it's a drug.

 Are you a workaholic?

In the beginning I was because I had no alternative: I was constantly auditioning and once I got a part  immediately got to work, Until in this unfair world of acting there came a moment when I was suddenly successful and overnight I finally had the opportunity to choose. Many people are looking forward to retirement, I hope I’m offered roles even when I’m 80 years old.

At that age maybe you will also be behind the camera?

I'm a bit of a control freak,so yes, I could potentially one day  go directing, even just out of curiosity  But only if I had to find the right project, something in which I feel safe,

[j-philly-b]

So, do you think she is his daughter, or is that too obvious and they are trying to throw us off? I can't decide, coz I feel like Once has become very predictable, but I still remember the good times, so I keep expecting twists? I don't know, it's weird. Looking forward to your thinky thoughts, you always notice so many little things I hadn't given a second thought!

Hello! First off, let me say that after 7x04Jefferson Airplane’s White Rabbit hasbeen on a constant loop in my head, and by sharing this I hope to pass on theearworm!

You know, it’s funny. After 7x02 I posted myanalysis of why I thought Hook 2’s daughter would be Alice. But at the sametime, I’ve been silently hoping that the daughter would wind up being someonewe haven’t seen yet, just to keep the mystery going for a little longer and toput a bit of a twist on the story.

After 7x04, I’m not really sure what I want asa viewer. On the one hand, my confidence in A&E’s ability to pull off sucha twist has dropped and I feel like the anvil dropped on our heads at the endof 7x04 was meant to be much more subtle than it actually was. On the otherhand, and I’m probably in a minority on this, but I like the idea ofRumplestiltskin unexpectedly taking care of Hook 2’s daughter paralleling theway Hook was suddenly given the chance to care for Bae.

On the third hand, I also like the idea thatAlice was taught how to play chess by someone she met on her travels and thatsomeone turning out to be Hook 2’s daughter, so that Alice potentially bondingwith Rogers in HH would parallel something that happened in the alt!EF whenthey might have met up before the current curse. That mention of Alice’sex-girlfriend who was somehow involved with Victoria was raised for a reason.Meaning, it wasn’t just there to tell us that Alice was the LGBT character thatwas teased at the beginning of the season. If that were the only purpose, itwouldn’t have been necessary to add in that the ex also had ties toVictoria/LT. No, for now I’m thinking that there is more to the story of Alice’sex than meets the eye.

What I found interesting in 7x04 was the factthat Rumple and Alice met the night of Cinderella’s ball. The same night Aliceapparently drugged Henry at Rumple’s behest. What sort of deal was struckbetween Alice and Rumple so quickly that got Alice on board for that bit offun? And why did Alice tell Henry that she’d never met Rumple? (I can’tremember the exact phrasing of her line, but I remember wondering how Aliceknew about the DO and his relationship to Henry if she never met him.) I thinkit’s possible that Rumple somehow recognized Henry zooming past them on hismotorcycle and asked Alice to help him warn off his grandson, maybe so Rumplecould hitch a ride back to SB or to get Henry to help him find the Guardian of theDagger (seriously, where the hell did that mcguffin come from?). Then, inexchange Alice demanded that Rumple help her, either to find her father ormaybe to get revenge on LT for whatever might have happened with her ex? I can’tget away from the fact that everyone wound up in the alt!EF at almost the sametime, but that Rumple obviously kept his presence hidden from his “family” andappears to have been working on his own agenda rather going to help Henry as we’vebeen lead to believe.

Also, now that we know about the Guardian of theDagger, I assume the timing of Rumple and Alice’s meeting is supposed to makeus question whether Alice is this mysterious Guardian. Personally, I think it’sgoing to be Hook 2 because maybe his life still parallels Killian’s more thanwe know and Hook 2 will be able to battle the darkness in a similar manner.

I guess after 7x04 we’re supposed to believethat Rumple is all in on the hero train? I don’t buy it, and here’s why – his motivationis still self-serving, he wants to find the Guardian so he can finally die andsee Belle again. Just like Rumple thinking Alice is the Guardian, it wouldfurther his goal to help her, so his protection of Alice, again, would be forself-serving purposes. Rumple doesn’t want to end the darkness for anyaltruistic reason, he’s basically on a suicide mission to get his final HEA.

(By the way, given the amount of time thatseems to have passed between everyone’s arrival in the alt!EF and the curse,should we assume that Gideon is dead now as well? Or was he able to travel fromthe realm at the edge of whatever and his school without all the prematureaging issues his mother had?)