#the poses have been such a difficult angle and not even taking reference pics has helped

[coridallasmultipass]

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[clarasimone]

Iain Glen in the archives of the Victoria & Albert Museum

YES, found a new source of info and screening possibilities in London, in the archives of V&A. Access in free but you have to register to have the Museum create a card for you.

One can find a biographical file on IG (contents unknown to me at present) and one can screen Hedda Gabler (2005) and The Crucible (2006 - so no need to travel all the way to the RSC in Stratford-upon-Avon to see it) !

Click here for the technical info: https://nal-vam.on.worldcat.org/search?queryString=au%3DGlen%2C%20Iain&databaseList=199,269,239,638,283,197,285

I’ve often posted on The Crucible but here are pics from Hedda Gabler, a real treat given that the play won multiple Olivier Awards, including Best Revival and Best Actress for Eve Best in the title role. Also note that IG gets to co-star with this youngster below ;-)

Premiere night !

Bonus:

THE TIMES (HEDDA GABLER)SATURDAY, MARCH 5, 2005

IAIN GLEN IS EFFORTLESSLY STRIKING A POSE.

This 43-year-old actor is regularly referred to as a “Scots hunk”. Today, with his fair hair pulled back into a tiny, straggly ponytail and sporting a pointy-tipped moustache, he’s a little rough around the edges. But he has a warm, intensely masculine presence and a sharp wit. As he tilts his profile towards the light, facing the photographer the perfect angle without for one second allowing his attention to wander from our conversation, it’s not difficult to see what makes Glen one of our most magnetic performers.

We’re in the Almeida Theatre’s rehearsal rooms in North London to discuss Glen’s latest role, as Judge Brack in Richard Eyre’s new production of Hedda Gabler. Ibsen’s 1890 domestic tragedy is, as Glen puts it, “psychologically astute”, even when the characters’ behaviour is at its most extreme.

Glen is surprisingly reluctant to talk about how rehearsals are going because, he says, at this stage he genuinely doesn’t know. “This is always a vulnerable time,” he says. “Really you are clueless and searching and you don’t want to give any secrets away if you feel that you have had some kind of revelation.”

Nevertheless, he agrees to divulge what he has so far uncovered about Brack, a powerful and manipulative man who attempts to contrive a situation whereby he can conduct an affair with the newlywed Hedda and continue his friendship with her husband.

“He’s an enigma, and I was drawn to him because I feel he’s very open to interpretation,” Glen says. “He’s not untypical of a certain sort of man – he’s unable to commit to a married state, so he creates triangular relationships. There are men who can divorce, well, not exactly sex from love, but they can compartmentalise their lives. Yet Brack’s feelings for both Hedda and her husband are in earnest. It’s subtle and complex.”

Glen’s record as a classical actor is impressive. His RSC debut as Henry V won him comparisons to Olivier and McKellen, and he was a rivetingly febrile Edgar in Max Stafford Clark’s King Lear at the Royal Court.

More recently he starred in Peter Stein’s much-admired The Seagull in 2003 and blasted his way from under the shadow of Brando as a fierce wiry Stanley Kowalski opposite Glenn Close in the National Theatre’s 2002 production of A Streetcar Named Desire. The Blue Room (1998) directed by Sam Mendes in which he and Nicole Kidman played all ten roles sent the Donmar Warehouse box office into meltdown as the public clamoured to see them in David Hare’s update of Schnitzler’s La Ronde. Both actors gave scintillating performances – and the play’s huge impact had some unexpected knock on effects. According to Kidman, The Blue Room revitalized her career, it gave Glen a taste of celebrity life and a continuing close friendship with his co-star. But his relationship with Kidman came under less welcome scrutiny when their marriages broke down – hers, to Tom Cruise, in 2001, and then in 2002 Glen’s to the actress Susannah Harker, with whom he has a son, Finlay, now aged nine. There was no affair with Kidman, but that didn’t stop the speculation.

“It was difficult, but you have to handle it with good grace and move on,” says Glen whose partner now is Charlotte Emmerson, also an actress. “I mean, if I was taking my son to school and a photographer was there taking pictures, I don’t know how I’d react. Maybe I’d kick the living daylights out of him. But so far it’s never been bad enough to upset me. It’s part of the business.

Still, he clearly doesn’t relish it – one reason why he’s never likely to move to Hollywood. Besides, he says, there’s a much more satisfying variety of work here, where he can switch between film, television and theatre. “I like to spread myself quite thin. When I’m working I’m focused, but when it’s done, it’s done. I jump into the next thing.”

Right now, he’s on our screens playing the Jacobite rebel Alan Breck in the BBC’s Kidnapped. And RŽgis Warnier’s Man to Man, in which Glen stars as Victorian Scientist in search of the missing link, recently premiered at the Berlin Film Festival and is due for general release later this year.

“I’m someone who likes to get a lot done in a day,” he remarks. “I don’t think I’d have stuck with acting if I hadn’t worked pretty solidly. It’s so painful for actors who don’t work. If acting had meant I was just sitting around, I couldn’t have done it.” And with that he’s off. Let’s hope the acting profession continues to keep him busy.

[hellyeahomeland]

“Paean to the People” | Directed by Lesli Linka Glatter

“Paean to the People” picks up right where “All In” left off. Carrie and Anson are speeding through the streets of Budapest Moscow Budapow. In this opening shot, their car is the only one on the bridge, adding to the feeling of just how on their own they are, without diplomatic cover, as they try to distract Yevgeny long enough to get Simone on that plane.

The arrangement in this shot!! Everyone whose face is visible is serving so much face. Simone is like, “don’t look at me.” Bennet (with facial hair!) is like, “are you fucking kidding me?” Doxie (with some pretty great side eye) is like, “I am NOT getting stuck in Budapow.” And Ms. Pink Scarf is like, “What am I doing here again? What is my job?” You and us both, Pink Scarf. You and us both.

Let’s give a full round of snaps to Sandy this season. She brought the sassy realness and Russian know-how the whole dang time. This show needs all the female energy it can get and this shot of her pulling out the chair for Clint’s “time out” is incredible. We’re not sure if she’ll be back for season eight, but if she won’t, we will miss her so.

Both Carrie and Anson know what’s at stake in this mission but in this moment, it’s Carrie who has to convince Anson how far she can and will go. We hate to say it, but the moment of recognition shared here between them screams “America First” when Quinn tells Carrie to get in the car and stay down. If seven seasons of Homeland have taught us one thing, it’s that these people all follow the same code: Get in. Get down. Shut up. Mission over self.

IJLTP.

We will hand it to the Homeland props department for getting the birthday right on Simone’s fake Carrie Mathison passport (it’s April 5, 1979). But!! Her middle name is spelled Anne, not Ann.

Simone spent a lot of time obscuring her face from the Russian officials in that car, but this glimpse of her expression after she asks Saul if he’s really going to leave Carrie--the Carrie who CLIMBED A FUCKING ROOF LIKE TWENTY MINUTES AGO TO GET TO SIMONE--in Budapow. That is a pursed lip and evil eye if we ever saw ‘em.

...And, of course, the guilt is written all over his face.

We are CACKLING at the dude in the white jacket in the background. We are not sure if he is just a really bad extra or some random stranger who saw Claire Danes in a Budapest train station and needed to share else he was met with a chorus of “pics or it didn’t happen” from his friends.

Sara and Doxie have the same birthday (November 4), which further solidifies that he is her forever man and the best Carrie Angel of them all.

We talked about the strong “America First” vibes above and the whole sequence of Carrie running through the train station is giving us heavy “The Smile” vibes, too. After seven seasons, it’s difficult for some moments not to feel like explicit callbacks from earlier episodes. After all, maybe looking at a mirror in a crowded marketplace is just Carrie’s favorite American spy woman move. But this shot, and Carrie’s smile later, are so specific that we think the homage is intentional.

IJLTP, II.

Real talk though, you really get a sense of the loneliness of the office here, as Beau faces away, back to the camera, surrounded by those heavy curtains.

Lesli Linka Glatter is a choreographer by training and she’s talked before about the diligent preparation she does before directing a Homeland episode. In sequences like these--filmed, acted, and edited with such specific clarity--that training and preparation come through loud and clear. Every shot has a purpose and we’re exposed to all angles of the action. It really is like a dance.

Here, the slow reveal of Yevgeny coming around the corner ratchets up the stakes as Carrie waits, a sitting duck in the locked room.

And here’s our duck. What’s so great about thrilling and suspenseful action sequences like this is the human moments they’re contrasted with. We can see the fear in her face as she contemplates whether to go down in a blaze of glory. She’s not made of steel. She may only have seconds left to live. She may be a hero but she is not a superhero.

Yevgeny delivers a BudaPOW (sorry, we couldn’t resist) with his punch to Carrie, but her moment of defeat is quickly transformed into one of triumph with the news that Saul and his “package” have achieved lift-off.

This smile, guys. Damn. Claire Danes is in a class all her own.

Delirious, glorious laughter. When was the last time we saw Carrie laugh?

It doesn’t last long, of course. The first rule of Homeland is that if Carrie smiles, shit’s about to get fucked up. “At least she had this moment,” we all whisper quietly to ourselves.

The shots of Saul looking down from his window at the city of Budapow--Carrie in it God knows where, the proverbial needle in the haystack--are powerful. He has left her there. And now he has to get her back.

We love this shot of everyone arrayed out like this, watching Simone’s testimony in The Room Where It Happened. Though we would like to point out that it’s hard to take Bennet seriously without facial hair. Dude, it’s 5 o’clock somewhere. Get on it! (Also there are so many VESTS this season! We count two in this shot alone.)

IJLTP, III.

This is the sequence of shots after Keane says she’ll do everything she can to get Carrie back. There was some chatter about going to Anson first (looking pensive), then Saul (looking sorrowful), and finally Max, who looks the most doubtful and suspect of them all (and, of course, almost hidden behind the others in the back). Sara actually thinks closing with Max is the most powerful. He’s been by Carrie’s side, through thick and thin, all seven seasons of this show. And after the trauma of losing Quinn last season, it’s easy to see how history may be replaying itself for him, this time in agonizing slow-motion.

So many “Pilot” vibes. This show loves playing with reversals and bookends, and having Carrie be the prisoner now is one of the most stinging of them all.

Sara would just like to say that she even looks beautiful in a Russian prison.

The book Carrie’s reading here is called Where Avon into Severn Flows, which is actually a short story by the American writer Harold Frederic and part of his book The Deserter and Other Stories: A Book of Two Wars.

Here is the opening paragraph of the story:

“A boy of fifteen, clad in doublet and hose of plain cloth dyed a sober brown, sat alone at one end of a broad, vaulted room, before a writing table. The strong, clear light which covered him and his work fell through an open window, arched at the top and piercing a stone wall of almost a yard's thickness. Similar openings to the right and left of him marked with bars of light a dozen other places along the extended, shelf-like table, where writers had now finished their day's labor, and, departing, had left covered horns of ink and cleansed utensils behind them. But the boy's task lagged behind fulfilment, and mocked him.”

It’s easy to see the parallels. Carrie is held in a Russian prison, also dressed in plain, ill-fitting clothes. She sits in a broad, vaulted room with a plain writing table nearby. Carrie might have won the battle, getting Simone back to the United States, but here in this cell, her success must feel fleeting and the irony of her current circumstance mocking.

Some major “There’s Something Else Going On” vibes here. (Sorry, we’re just gonna point out all our vibes.)

We’re just gonna call this pose from Costa Ronin the Yevgeny Lean (#IJustLikeHowHeLeans). On a more serious note, some credit needs to be given to Ronin, who brought Yevgeny to life and made him feel like a fully lived-in person. His habit of leaning back, feet propped out before him, is just one small example, but it’s representative of the care and attention he put into crafting such a three-dimensional portrait of one of the most interesting villains in the series’ history.

IJLTP, IV. 

And that IJLTP shot of Carrie, alone in that Russian prison with the stakes (i.e., her mental health) now clearly defined, is followed by the rather astounding hero’s welcome that awaits Keane back in the West Wing. This reminds Sara of those tunnels that sports teams would form after a game for everyone to run through. And now Sara wishes Keane had run through the tunnel, high-fiving everyone.

It’s Tie Color Time! Note that Beau is now back to the blue tie, having resumed his position as Vice President.

Talk about sweet karma. The scene between Paley and Keane is remarkable for a few reasons. First, Paley does all the talking. Keane doesn’t even give him the respect that comes with a response. He lowers himself to his knees, literally begging for her mercy.

Keane is often shot from below, highlighting her stance and power. But here, it’s a point-of-view shot. We see what Paley sees: this woman, whom Saul once claimed could not “rise above her own vindictiveness,” closing in on him, a bird of prey who’s finally made her catch. And then she spits in his face.

The Washington Monument, which sits due east of the Reflecting Pool, adds great dramatic effect to this beautifully shot (and scored) moment after Keane leaves her meeting with Paley. Despite the monument’s great size, in these shots its height matches Keane’s, which is likely intentional.

As the monument was being completed. Joseph R. Chandler, a Freemason and member of the House of Representatives said:

“No more Washingtons shall come in our time ... But his virtues are stamped on the heart of mankind. He who is great in the battlefield looks upward to the generalship of Washington. He who grows wise in counsel feels that he is imitating Washington. He who can resign power against the wishes of a people, has in his eye the bright example of Washington.”  

As she drives back through the DC streets at night one last time as President, she’s clearly at a crossroads. History has its eyes on her. (We will also continue to make ALL the Hamilton references.)

We’re not sure if this moment was scripted or if it was a choice by Claire in the moment. Either way, what’s happening? If she praying? Thanking God? Carrie’s relationship with religion and atonement has been basically nonexistent since the show devoted attention to it in season five. We wonder if, like Brody before her, she may be discovering--or rediscovering, as it were--it while in captivity, a salve for her inevitable isolation.

A few things to note from this headstone:

It’s the tenth anniversary of Andrew’s death.

Are we really meant to believe Keane is old enough to have had a kid in 1979? Elizabeth Marvel was born in 1969, which means she’s playing at least ten years older than she actually is. Sara does not buy this, but whatever.

Andrew is born mere weeks before Carrie, which in hindsight kind of shifts the relationship between Keane and Carrie in season six. Carrie really could be Keane’s daughter, and if Carrie indeed did see her in some small part as a mother figure, it frames her conflict with Saul last season--and the battle for Carrie’s loyalty--in an even sharper light.

This is just a gorgeous light, the rows of headstones filling the bottom half of the screen and the large, overgrown tree framing Keane in the top half. It’s her figurative “moment alone in the shade” (figurative because she’s not really in the shade, but y’all catch our drift).

Again, it was impossible to properly capture the moment when Carrie congratulates Aleksandr through anything other than a gif. The quiver in her voice, her attempt at a forced smile. After this moment, the lighting in the room shifts--she is literally forced to see the light, as the direness of her circumstances are fully revealed.

This is the last time we see Carrie before the “seven months later” coda, so now’s as good a time as any to talk about the truly tremendous work she did this season.

From the opening episode, Claire took us on the tenuous, tumultuous journey of Carrie’s war with her own mind and the battles waged within. Every episode, every moment was brought to life with exacting precision. Sometimes we loved her, and sometimes we hated her, but Claire’s commitment to every moment never wavered, whether it was seducing Dante, having nightmarish visions of her bloodied daughter, or inching her way across that GRU roof.

The throughline of this season of Carrie’s mental health makes this moment and the final scene land with even more crushing weight than they otherwise would. When Carrie experiences a breakdown so harrowing and frightening, she goes to extreme lengths to restore her own sanity. In the last three episodes of the season, we see just how invaluable that sanity is--her mind is both her greatest asset and greatest liability.

Carrie knows here what’s about to happen. She stares, eyes wide open, almost as if she’s glimpsing into the future at what lies before her. There’s no safety net this time, no pills or ECT to pull her back or hit the reset button. But for as much as she knows that she’ll lose her mind (in every sense of the word, it turns out), there is also great uncertainty, looking into “the bottom of a black hole with no walls.”

Something we find super interesting about this sequence is just how many perspectives LLG gives us of Keane’s speech, whether it’s Wellington’s from inside the Oval, Saul in his office, or Yevgeny in Budapow. Again, LLG’s choreography background comes shining through. For almost the entire speech, we see her presidency--and what turns out to be its final moments--through everyone’s lens except her own.

LLG doesn’t shoot Keane center-frame, without some extra filter of a screen, until the very end of the scene, after the speech is over. Keane talks earlier about wanting to speak directly to the American people, from the heart, but what we actually get is everyone looking at screens, at the filtered version of this woman and her office, a metaphor if ever there was one for her short-lived presidency.

As her speech (which, like Washington’s Farewell Address, focuses on the need to not let political parties and divisions tear apart the country) nears its end, we do see Keane center-frame. But, again, it’s a shot of her center-frame on the screen, and her appearance is somehow altered and filtered.

(A quick note about her wardrobe: Keane starts the day grieving for her son at Arlington, and she keeps on the same black clothing during her speech, a signal of the impending end of her presidency. The dangling earrings are also an interesting choice, and an unusual one for Keane, who usually wears studs or conservative-looking hoops. Like Carrie in “Species Jump,” this is as close as she’ll get to “letting her hair down,” and the unconventional jewelry choice conveys the peace she’s found with her decision.)

And now the lights come down on Keane and her presidency, in every sense of the word.

The dynamics of this scene remind Sara of the end of “The Choice,” when Saul sees Carrie in that hall of dead bodies after thinking she’d died in the explosion. They shared a moment of recognition at the end of that scene, standing in stark contrast to what unfolds here.

Here’s our first good shot of Carrie, and there’s a lot to take in. The swollen face and unkempt hair are startling, to say the least. Under her bulky black coat she’s wearing white (you can see a peak of her shirt here but her pants--not visible in this shot--are also white), indicating she’s been in an asylum.

The season opened with Carrie running on a treadmill, athletic and strong, the buzzy chords of jazz blaring in our ears. It ends with our heroine on the complete opposite end of the spectrum. She’s feeble and unsteady, running away from the Russian guards and straight past Saul. We hear jazz again, but it’s slower and somehow weightier.

As Saul gently brushes the hair from her face and looks into her eyes, calling her name, she is seemingly unable to recognize him. Her eyes dart from side to side, up and down, but his remain steady on her, and we can see (and share) the concern and devastation etched on his face.

She’s searching, and so is he.

[rayadraws]

Hero FB adventures

This is the result of me, @jenny-opm, @shorthairsonic, @dibujos-de-la-orilla and @criscura talking about the concept of our boys (and their friends) using Facebook and what that might lead to... It led to a really fun discussion, so I’ve collected it as points here for anyone curious. It’s about 2.6k long so I’ll put it behind a Read More. Enjoy XD

Dr. Kuseno, being a technical genius, takes to Facebook like a duck to water, having no trouble navigating the site. However, he still acts like a stereotypical grandpa on there - when Genos posts a status along the lines of “Rainy day, perfect for a movie” Kuseno comments with “Indeed my boy, try not to catch a cold and send Saitama my regards. Kuseno.” He occasionally also teases Genos, such as sending him a photo of an electric whisk with the caption “your next upgrade is ready.” (In a misplaced attempt at being kind he tags Saitama in all ads for hair growth treatment he comes across… but at least he also tags him when he finds an unusually good sale)

It is actually thanks for a birthday post from Kuseno that Saitama learns when Genos’ birthday is the first time! He catches the borg sitting and smiling while looking a his phone, which is unusual - usually if he’s on the phone it's something from the HA, which normally has him frowning.

Neither Saitama nor Genos have a lot of friends on FB (to start with, at least). It’s mostly their closest friends such as King and Mumen. Genos also has Metal Bat added, who gives him (good natured) crap on near everything he posts.

Bang is the hopelessly confused Facebook grandpa, struggling to understand how it works. Poor Charanko does his best to help him… “How do I search here?” “You have to go to the search bar… No, that’s where you write your status” “My what?”

Once he does get the hang of it, Bang comments every time someone posts about themselves doing any sort of sporty activity with “Looking good! Ever think about coming by the dojo?” (It gets to the point that FB warns him for posting the same thing over and over and everyone is starting to suspect that his account has been hacked by a virus that just keeps promoting his dojo - poor Charanko is accused of setting it up)

Metal Bat SPAMS FB with videos of Zenko’s piano shows. Everyone knows about her recitals a week in advance because he keeps hyping it up. He also has a soft spot for posting glamour selfies.

Saitama posts a lot of blurry cat photos with no caption and sometimes food pictures. He posts at all kinds of random hours of the day, almost never answers anyone, his photos are low quality and he posts a lot of odd YouTube links.

Genos likes every photo of Saitama and uploads his own - somehow, Saitama always looks far less derpy in Genos’ photos (he’s studied all his best angles).

Genos has no shame and starts liking all photos of Saitama, going through every tag ever - meaning once in a while someone who went to high school with Saitama suddenly gets a like from Demon Cyborg on a photo taken 12 years ago. Unsurprisingly, people are SHOCKED at this and it takes them a while to figure out why - until they notice how he keeps tagging Saitama on his page. This is the only kind of interaction they get online with Demon Cyborg and people start tagging Saitama in photos in the hope of getting response from him. They slyly get photos of him in public and post and tag him in the hope of a response. As long as he’s awake (he’s a heavy sleeper) Genos likes them instantly, unknowingly rewarding his fans for their behaviour.

Genos never accepts friend requests from any non-heroes but Saitama sometimes does because “maybe that name’s familiar idk whatever” and some of Genos’ fangirls manage to befriend him on Facebook, consequently seeing his photos… causing them to just about spontaneously combust - “Did you SEE that photo of Demon Cyborg in an apron?!”

Genos notices this and tells Saitama that he is NOT to post his 124 bedhead pics of Genos to Facebook. Saitama forgets(?) and posts 53 of them anyway before he remembers he wasn’t supposed to. He tries to cheer Genos up - “But look at how many likes and shares they’re getting! This doesn’t even happen with the cat pictures!” Genos is not impressed to see his groggy-ass self on a million message boards (and tells Saitama that “...to be fair, Sensei, sometimes it’s hard to tell if they’re cat pictures.”)

Saitama is enjoying this game (not quite realizing the scope of this all) - sneaks a pair of cat ears on Genos, takes a photo and uploads, enjoying the storm afterwards.

Facebook suggests that Saitama upload a photo album that is just the same photo of Genos doing the dishes at slightly different angles and he’s like “why not” and posts that as well. This is followed up by a little video of him singing quietly and dancing a little while washing the dishes.

One day they come across a group of Demon Cyborg fans on the street who come up to them and ask if Genos could sign their photo books - they’ve printed a bunch of pictures from their FBs, full of like bedhead and apron pics (“Mr. Demon Cyborg sir I LOVED that video of you dancing with the mop!”). Genos can’t even process what’s happening and signs them with a stunned expression, while Sai takes one of the books, looking through it and pointing out his favourites. “Hey, I remember this one! Aw, dude, where’s this shirt? You look nice in it, I haven’t seen it in a while.” (“Mr Demon Cyborg I didn’t know you had feet slippers!” - a small part of Genos dies)

Saitama starts getting bombarded with requests on Facebook. “Get him sleeping!” “Get him laughing!” “Can you get him to pose in that white shirt, maybe with the ripped jeans?”

Saitama starts uploading little videos, such as himself telling Genos a bunch of puns as they go through a store. Eventually he figures out how to cut videos into clips and bombards Genos for two days to get “material”. It does get a bit overwhelming in the end however, so he tells the fans that he can’t take more pictures because his phone ran out of memory. To his despair, this leads to fans sending them shipments of memory cards, cameras and gift cards for even more stuff and it’s all very unnecessary. He even receives a brand new phone from “a fan”.

(The good side is, with all this training he is getting progressively better at taking pictures)

One day, the daily picture he uploads is very sad - just an empty chair with the caption “He’s at repairs” :(

Another day however, Saitama goes to upload a photo of Genos in his apron, but it’s… the wrong apron picture. He accidentally uploads a naughty pic, oops. It’s not the most obviously naughty one, not enough to get them banned from FB (and Genos has no nipples, anyway…) but it’s pretty obviously not meant for the public.

Genos is at first (rightfully) mad at Saitama… until they get like a million really nice apron lingerie sets in the mail. To get back at the other, he uploads a photo of a bare-chested Saitama - not at all prepared for the onslaught of “HOLY SHIT” responses, growing possessive instead of mad when the fans start screaming for more.

Saitama tries to take a good shot of himself but eventually Genos, even through being annoyed, takes the camera from him and gets a good picture. Fans ask for even more and a bewildered Saitama replies with “Um, sure?” uploading a half-naked bathroom selfie, where he’s still wet with a towel wrapped around himself. People go wild. (Genos can’t decide if he wants to delete the picture or share it so it’s on his wall as well. He is… conflicted.) (A less successful picture shows Saitama absolutely ripped, but unfortunately with a prominent double chin, like that time he played video games at the HA - selfies are hard…) (“Mr Saitama, can I request the ripped jeans again, but this time with you wearing them..?”

Unfortunately their shenanigans do not go unnoticed at they get called in to HA’s Public Relations for the umpteenth time. Their attempts at getting the heroes to take it down a few notches is made more difficult by them referring to Amai’s latest “I’m about to have sex” album cover as proof they aren’t out of line.

Amai Mask, in his defence, maintains that his pictures are “classy” and “done professionally”. Saitama responds with gesturing to a photo of Naked Apron Genos frying eggs - “This is classy!”. They continue with pointing out that more than likely, if they stopped, people would complain to the HA and they’d have to explain it was the HA who stopped them in the first place... (And really, the HA shouldn’t complain, Saitama and Genos are earning them so many donations….) "THEY CURED MY CANCER AND WATERED MY CROPS AND BLESSED MY CAT HERE'S MONEY" - “They did what now?!” - the HA representatives don’t even understand what this means but eventually lets it all slide. (The only one who understands the references is their intern managing the official HA twitter, but no one cares about their opinion…)

With all this material, Genos’ fan club is getting a lot more activity than Amai Mask’s, which doesn’t go unnoticed. Amai tries to upload “accidental photos” too in an attempt to become the centre of attention, but they are all obviously fake, such as “I woke up like this” pictures of him with perfect hair and makeup, nothing like Demon Cyborg’s messy hair and squinting eyes.

Amai tries again - “Oh no guys you won't believe this but, i was doing my make up right and omg my cat walked on top of my phone and took this photo of me lol” - someone digs up an old interview where Amai states that he’s allergic to cats (that someone is Genos). He also uploads a photo of a cup from Starbucks which has “To the prettiest guy I’ll see today” written on it and claims he got it (until someone points out that’s a photo from Google).

Meanwhile on Saitama’s FB page, a new video of an unaware Genos twitching in his sleep has just been uploaded, caption “look he’s dreaming shhh”

Saitama just happens to be awake late that evening and passes the time surfing FB, commenting “y’all never go to bed huh” when he sees the immediate responses - given how big Genos’ fanclub is, there’s always someone who’s awake. In fact, this video is more than likely to wake a number of fans up to scream over it. Saitama makes a little livestream showing off their cups as he brews himself some tea (“this is my cup. That one’s Genos’. We found it in a thrift store after he accidentally dropped the last one.” He finishes with showing Genos sleeping again and saying “see he’s sleeping now you all go to bed too”.

One day he posts a still picture of the sleeping borg, with the caption being just “I love him”.

It takes a while, but once the fans understand that their love is real and not changing, some of them start to (not always so) subtly suggest he should propose, such as tagging Saitama whenever a jewellery store has a good offer (they’ve picked up on his love for sales).

One day everything is quiet, then Saitama posts simply “He said yes” (or perhaps it’s just a picture of their hands wearing the rings) and FB EXPLODES. People ask for photos and Saitama replies with “All I got is him ugly crying oil everywhere” and the fans go “POST IT.”

After they’ve gotten engaged things get a bit more quiet, with Saitama just posting the occasional update like “he’s going to marry me” and “he’s going to be my husband”. “I want the date to be on his birthday but that’s too long of a wait” ,“he loves me”.

Fast-forward a bit. It’s been quiet for a while. Genos has barely posted anything but one day Saitama’s FB friends see that he’s been tagged in a picture that turns out to be a photo where Saitama appears to be passed out on the futon, drooling in his sleep and surrounded by empty pizza cartons. Caption “my husband to be”. (The picture completely blows up on FB)

Fans start speculating on their outfits, causing Saitama to sweat - he hadn’t planned that far ahead. He asks for suggestions and they end up covering the entire colour spectrum. He even enquires a little bit to hear if there’s anyone who’s a real actual wedding planner among their fans, it might work out…

In the end, they decide on a small private wedding, but Saitama does suggest he might be able to livestream it. He gives no date or anything to go by, however. In an attempt to keep it hidden, they end up hosting it at the dojo, hoping the stairs might also deter some potential invaders. (Bang is more than happy to host - maybe he can convince some people to join the dojo. The stairs aren’t a problem for the heroes, mostly - King does text Saitama with “I’m here can you pick me up” once he arrives at the bottom whereas Mumen handles them himself - but makes sure to arrive very early so he’ll have time for a shower before the ceremony. Saitama suddenly starts the livestream out of the blue on FB, writing “k its happenin!” and a bunch of fans tune in. (Hopefully Bang won’t hear about the livestream or he’ll start advertising on it, too…)

They get married!!

(Back to where we started - how does Kuseno react to all this FB shenanigans? Well, more than likely he doesn’t spend too much time on FB, but he does check periodically, probably catching at least a couple of the pictures of Genos sleeping and in his apron and whatnot. As always, he replies good naturedly - “glad you’re getting your rest son”.

Kuseno also has a habit of going full-on Geek and writing very long explanations regarding Genos’ body sometimes - such as explaining why he twitches in his sleep, or an explanation on how his cooling systems work in response to someone writing “WAAAHHH WHY IS HE SO COOOL” on one picture. Unfortunately, Kuseno doesn’t realize that his FB is set to friends only, so only Saitama and Genos see these comments…)

Bonus: Saitama occasionally tags Genos in pictures he takes of cheap bootleg Demon Cyborg merch he comes across, disappointing fans hoping to see a new photo of him, only to be met by his asymmetrical poorly painted face on an action figure. “It’s not even official merch…”

Saitama has a habit of buying the especially poorly made ones because “they’re funny”.

One fan asks one day if Demon Cyborg owns any merch and Sai uploads a photo of all the stuff he keeps in the apartment with the caption “And even more stuff at his docs”.

The fans are stunned - but some are also like “ok but where do I get these things?!”

"says he special ordered them or w/e" "oh this other one was from HA" "oh... he says it's out of stock" "he has the stock" ”Maybe if you ask him real nice. Doubt he’ll let go tho he only has like 278 of them” ”...he informs me he has 289”

The fans try to barter with Genos, such as offering to draw a NEW Caped Baldy posted in return for one of those charms. At this point Saitama is starting to wonder why he has to be the bridge between fans wanting Caped Baldy merch and Genos. Genos doesn’t seem to want to talk directly to his fans, but eventually agrees to use Saitama’s account, basically pretending to be him - the fans do eventually get their merch, but are confused as to why Saitama suddenly seems to turn a lot more serious and formal whenever it comes to merch talk (and is that 10 page terms of service really necessary?!) but at least in the end they get a super rare piece of merch not available anywhere else (because Genos bought them all).