#the same as him being biracial

[astral-from-afar]

Literacy is dead what are these people saying

[jrueships]

here's what i could find on the situation ..

[boxwinebaddie]

incase you were wondering what the rant girls are doin:

were attempting to government assign ourselves

our most similar stan or kyle

across all the rant universes <3

( aka hcu style, rsb style, ewily style,

rm ravesey, pep style, ojv + every pce style )

[britneyshakespeare]

you know i'm usually the last person to have strong opinions on movie casting announcements but the idea of jacob elordi playing heathcliff stirs a fiery sense of indignation in my heart

[bucksboobs]

I’ll cry if I think about them for too long but you’re Charles Rowland you’re a biracial punk and you’ve been getting the shit kicked out of you by your father your entire life but you see a Pakistani kid getting beat for being Pakistani and you can’t help it, you’re afraid but you stop it. You’re half Indian why are you any different? The racist little white boys agree. They beat you too. You make it away. You’re cold, so cold and something’s very wrong with you, and then you see a light. But you’re not dead. It’s another boy your age and he tells you he’s dead. He died in this same shitty boarding school and he reads you a bedtime story as you fall asleep. You’re dead now and he’s still here. He knew you were dying and he didn’t want you to be scared. He crawled out of Hell and the first thing he did was comfort you as you lay dying.

Why wouldn’t you run from death with him? Why wouldn’t you spend your eternity with him? Why wouldn’t you love him?

[thevalleyisjolly]

There’s a weird recurring take in D20 fan circles that Zac doesn’t play “complex” characters and that people are just waiting for the day when he “finally” plays an asshole, which kind of baffles me.  Quite apart from the idea that only morally grey characters are complex or compelling, are you sure we’re watching the same show?

In Fantasy High, we have Gorgug, an adopted biracial teenager whose journey includes realizing his self-worth, coming to terms with his rage (literally), seeking out and navigating new relationships with others (his birth parents, the Bad Kids, Zelda), and discovering what he’s capable of. 

From The Unsleeping City we have Ricky, a second-generation Japanese-American, who has a very personal struggle across two seasons between doing the dutiful/sacrificial thing for other people’s benefit and expressing his own needs, wants, thoughts, and feelings; it’s a very particular exploration of immigrant generations and the relationship between the sacrificial model of your ancestors and the culture you grew up surrounded by which emphasizes the self.

There’s A Crown of Candy and Lapin, whose snark and one-liners are honestly less interesting than the way he engaged with and sought to understand religion and faith; the different yet similar ways in which both the Sugar Plum Fairy and the Church exerted control over their followers, and the search for spiritual meaning beyond these figures/institutions.

Then there’s Cumulous, whose every character aspect navigates a space of tension - the ultimate war guy who made himself hardened (literally) and pragmatic to get the job done but who also remains soft and caring and empathetic at the same time; wielding the power of death without glorifying or giving into it; the cousin who both is a member of the family and yet who remains at somewhat of a distance from the centre; a literal warrior-philosopher who is single-minded in battle and quietly thoughtful about the mysteries of life and death outside of it.

As for actual assholes, we have Norman Takamori in A Starstruck Odyssey, a bitter man who is the living embodiment of both the Superior Orders excuse as well as scapegoating.  On a side note, the amount of absolute vitriol and double standards which people threw at Norman during ASO for being an unapologetic asshole -and he had less than two full episodes of screen time- kind of underscores the calls for Zac to play a “real” asshole.  Zac can and will play whatever type of character he wants, but is fandom really ready for him to play an asshole if that asshole doesn’t have a secret heart of gold?

From the same season, we have Valdrinor/Skip, who starts as the “prince running from his destiny” archetype with a dash of brain slug possession, has a humorous yet oddly profound exploration of what humanity is and what it means to be human, and springboards from there into “wait, who am I really and actually, why are we doing things (brain slug possession) this way when there are other ways to engage with the universe.” 

Most recently in Neverafter, we have Pib, who apart from the fascinating meta element of being a literal character archetype, constantly straddles the line between self-absorbed self-interest and putting himself on the line to help others; his repeated demonstration of both at various points throughout the season is a subtle yet intriguing manifestation of free will and choice-making in a story all about lacking free will and agency.

So, I mean, lack of complexity where?  Does a character need to be an asshole in order to be deep or compelling?  And because I’ve heard this specific rebuttal quite a few times now, does a character need to vocalize their innermost thoughts loudly and frequently in order to prove their complexity?  If a character is “less vocal” compared to other characters, does that mean they lack interiority? 

Also, other people have brought this up before, but I am once again asking that people remember the difference between fictional characters and real life people.  Zac playing one (1) himbo on the show does not make him a himbo in real life, nor does it make him incapable of creating or playing complex characters (especially as said himbo is himself an extremely complex character), nor does it make him a lesser player than other cast members.  You don’t have to find all or any of his characters interesting or complex, but can we stop conflating character with player?

[genderqueerdykes]

apologies if this is not the place to do so, but I need to talk about being biracial. I deal with a sort of anti-whiteness where I feel genuinely disgusting for not being just black. I feel like a traitor to the black community for having white heritage too and have thought about darkening my skin to hide the traces of a part of me I wish wasn't there. It's like. A sort of racial dysphoria and I don't feel like an adequate black person. It gets really distressing sometimes when I remember my skintone is caused by partial whiteness. Have you ever dealt with this too? I know it isn't an experience unique to me to feel not POC 'enough', but it gets so intense for me that I resent the people responsible for my birth.

i do get where you're coming from, and this is an okay thing to vent about

the unfortunate thing about being mixed race is that there will be people on both sides that will be upset with you- you will encounter white folk who find you too black, and black folk who find you too white. colorism is a big problem and comes from both ends of the spectrum. unfortunately, for whatever reason, interracial relationships and biracial children can really set people off and it's not exclusive to white people. i have unfortunately seen other black folk absolutely tear into mixed black people, especially if they're light skinned. i think what happens is folks start seeing you as a white person masquerading as something you're not, when it couldn't be farther from the truth.

one of my friends for the longest time was white and afro-latino (honduran), and his own family and friends would tell him that he was basically only a white person, despite the fact that his skin was light brown, he had an afro, black facial features, and a black dad who had no white relatives. he himself literally told me that he viewed himself as entirely white because he wasn't "black enough". i felt so sad and angry for him but i didn't know how to word it at the time. i wanted him to be able to be proud of all of the parts of himself, but instead, literally his own friends and family were berating him telling him he wasn't black enough to be proud of that part of himself. every time he told me that he was "too white" to consider himself black, i just wanted to cry. he used to ask me to massage his scalp and help trim his hair. i remember how beautiful his afro was, he took very good care of his hair. he had so much to be proud of and people guilted him out of it.

i feel this as well, i have a hard time wanting to consider myself a person of color at all because folks focus so hard on skin tone. the thing is, when people are biracial, they can look like ANY possible combination of traits from their parents and relatives. sometimes, an interracial black and white couple will have children that look entirely black or entirely white. my neighbor is an older white woman whose current partner is black, and they have a black son. if i didn't know she was white, i wouldve assumed her son had 2 black parents. he doesn't look mixed in the slightest

i have more white in me than i do black, as my father was also mixed, so its hard for me to speak with confidence about this part of myself without feeling like i'll be judged, especially considering that i have not been in the same room as my father in over a decade, and before that, i was not allowed to see him for years due to my parents having a nasty divorce. it took until i was going through a photo album at my sister's house that i saw my dad again for the first time in years and realized he was not white. when i had asked my mom if my dad was black as a child, she told me no and that he "just has a white guy afro".

i went through a lot of gaslighting about being mixed, and i still do. people focus only on my skin tone, and especially how light my face is. it makes me super hesitant to speak about this part of myself, even though i've met other extremely light skinned mixed people. another friend of mine is mixed white/Mexican and he was even more pale than me. he was constantly profiled as just white, but when he would go home at night, his Mexican mother only spoke spanish to him, and he spoke it back just fine. whenever people looked at him they assumed he was 100% white and it really opened my eyes to how diverse mixed people can and do look.

sorry for such a long response, but i just wanted to say that i feel you. it's hard. there's pressure on all sides. there will be white people and black people alike that will feel like you're a "traitor", as if you controlled the people who made you. you had no hand in who gave life to you- these are factors beyond your control, and you don't deserve to feel like an outcast and like you're doing something wrong

you can't control your genetics, nor can you predict what genetics someone has just by looking at them. i'm sorry youve been made to feel this way, but i hope it gets easier for you. i know it's tough to feel like an outcast or a bother on all sides. you shouldn't have to feel like you're stepping on someone's toes just because you were born mixed. you deserve to live a life where you are proud of who you are. i hope things get a bit easier for you soon

[rwrbmovie]

BTS of #RWRBMovie: 'z' in your last name

TZP via HOLA:

Clifton Collins Jr., who plays my father in the film, was amazing. I knew of him. I’d seen his projects, but we’d never crossed paths before. And then we met and we just got along, thick as thieves. And he’s like an OG Mexican from Los Angeles which was so colorful. He made it feel like there was family on set. Same with Matthew being Puerto Rican. Their influences help you get into that vibe, and then you do the scene and it’s wonderful. You really bring that accuracy to it.

There’s a line in the film when Alex and Henry are in Paris, and Henry asks him a question about his mom’s campaign, and Alex starts telling him about his father and his abuela coming to the States. The line is something like “If you’re an immigrant in America and you have a ‘Z’ in your last name, there’s a lot of people in positions of power that don’t look and sound like you. I’ve been given the opportunity to be someone in the world that my father didn’t see when he was growing up.” As someone with two ‘Zs’ in his last name (laughs), that was a tough scene for me because I had to be there as Alex and not as Taylor. It was very emotional to think of my family and what they went through to come to the United States. Even though they came here a long time ago, you still think about all of the people that are coming to America today and about all of their stories. Alex realizes that his father didn’t have any role models growing up and now he’s a congressman. That fuels his fire to be the change. That was so exciting for me.

From NYT:

For both Zakhar Perez and the director, the character Alex’s biracial identity was particularly meaningful. López grew up in Panama City, Fla., with his Puerto Rican father and Polish Russian mother, while Zakhar Perez is of Mexican, Middle Eastern and Mediterranean descent and was raised in northwest Indiana, where he said there was only one other Mexican family. “Matthew and I talked a lot about the mestizo journey,” Zakhar Perez said in a video call before SAG-AFTRA, the actor’s union, went on strike. “Being part Mexican, part lots of other things, I don’t want to say you’re forgotten, but in today’s world, it’s like, you’re either this or you’re that. There’s nothing in between. I’m kind of a cultural chameleon.” “As a young Latiné queer man, I never read something that centered someone like Alex,” López said, echoing his star. “If I had been presented with this character when I was in my late teens, early 20s, it may have changed how I thought about myself.”

From Windy City Times:

Was the part about having a Z in your last name personal or the book? ML: It was personal. That was about me and Taylor. It came from a conversation that Taylor and I had when making the film.

From Metro Weekly:

Alex has a line about grow ing up in Texas as a kid with a last name that ends with Z, which is I guess something else you can relate to, Florida style. ML: And Taylor Zakhar Perez also. Taylor and I talked about that scene a lot as being something that we both understood. My aunt Priscilla Lopez is a beloved, beloved stage actor. She was in the original cast of A Chorus Line. And there's a story that she tells about Mandy Gonzalez, who was in In the Heights with her, and Mandy once told Priscilla that Priscilla made it okay for her to be someone with a Z in her last name. And that was a thing that Taylor and I spent a lot of time discussing as well. It was important to me that that scene be in the movie. There was never a chance in hell that that scene was ever getting cut.

From Teen Vogue:

TV: One of my favorite parts is when they’re in Paris, and Alex talks about being a young person of color coming up from Texas and not seeing anybody who looked like himself or his dad in politics, and Henry’s response to that simply being: “I’m learning.” I don’t know if you were in the theater for that one, but half the crowd was like, awwwww. ML: Yeah, I was for that. TV: I’m married to a white man, and I was like, that is the perfect thing a white man can say in that situation. ML: I’m married to a white man, too. Speaking as someone who is a person of color married to a white man: that’s like the ultimate thing you ever want your white boyfriend or husband or partner to say. That’s it. “I’m learning.”

ML via THR:

There’s a scene in the movie that is very much me, which I gave Taylor after they’ve had sex for the first time. They’re there in pillow talk mode, and he tells Henry about what it’s like to be the son of an immigrant with a Z in your last name. It was really important to me to talk about growing up with a Z in your last name and even just how our names are pronounced, the spellings of our names sometimes if you have Latin ancestry. To have to answer for your name has always been something for me that I struggled with until I stopped struggling with it. So, I needed to put that into Alex’s story and when it came time to shoot that scene again, it was something I didn’t have to explain to Taylor Zakhar Perez. He got it instantly. The only thing that I did screw him up with is like, “We’re going to do this [scene] as a oner, and we’re going to do it as a top shot that starts in a wide shot and comes all the way down to your face, and we’re not going to leave this scene until you get it right in one.”

[punkeropercyjackson]

Seriously the erasure of Duke as a Robin,Batboy and Batkid will never not piss me off because if you bothered reading his comics,you'd know he actually IS included in all three categories on multiple enough to be relevant occasions and that he explicitly views Bruce as a father figure and Bruce sees him as another son and ALL the other official Batkids have sibling relathionships with him.You'd also know he's the only reason Jason came back to the Batfam so there's such thing as 'the main/core Batboys' that includes Jason but not Duke.Jason just wouldn't be there and it's antiblack to pretend otherwise,to pretend Duke's erasure as a Robin,Batboy AND Batkid is anything OTHER THAN antiblackness,be it in the fandom or by DC itself.That shit don't exist in a vacuum and it's why i don't engage with DC critical posts very often despite being highly critical of DC,i know the ops do the same thing so as a black comics fan their words don't mean anything to me if they leave out Duke too,which they always do.Especially other Jason stans,because you can't be a Jason stan if you're not also a Duke stan due to how important they are to eachother relathionship wise and from a writing perspective-Becoming brothers with Duke was the first time Jason was actually written as himself,with respect to his history,ever since the letdown that og Rhato gave him and it's very telling black/black biracial Stephanie never really pops up by these 'criticals' either despite how much sense it makes and improves her as rep for women even more combined with their hostility as nonblacks to afrolatino Jason headcanons under the guise of 'anti racism' as they again purposefully forget to care about Duke.You left him out on purpose,you can start to care about him on purpose too if you're so much better than DC.Walk the walk bih

[terresdebrume]

I actually would love love LOVE a conversation between Charles and Crystal about their bisexuality tbh

I think they'd want to support each other but also I don't think they'd feel the same way about it, mostly because queerness was the Big Thing of the eighties in a way that (in the US and Europe at least) it doesn't seem to be the same nowaydays

Like. If Crystal is 16 in 2024, she would have been 7 in 2015 when same sex unions were legalized in the US (and 5 when it became a thing in the UK), young enough that she would probably not have realized the impact of those legislations on her and doesn't remember the time before it happened. But she was 12 in 2020 when George Floyd was killed. That's old enough to know what racism is. That's old enough to hear people talk about the case and internalize "oh, they're talking about people like me" and feel the impact of this entire conversation.

By contrast, I don't get the impression that race, especially in Europe, was as big a subject of debate in the 80s, not as a public, nation-wide conversation at any rate (if I'm wrong please let me know), but Charles was 10 when the first AIDS-related death was recorded in the UK. By 1985, there were headlines of people saying they'd kill their sons if they had AIDS, which was already "the gay disease" by then, and the crisis was still well underway when Charles died 4 years later

So like, I feel realistically Crystal and Charles would feel differently about their bisexuality, because I think to Crystal it might be secondary to the dangers and bigotry she faces as a young black woman, whereas Charles might feel like the biggest danger for him lies in people's reactions to his queerness rather than him being biracial

And tbh I think it would be really interesting to explore in fanfiction because let's face it, even if they do revive the show and give us bi Charles, that conversation is sure as hell not happening in canon

[aquickstart]

ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.

another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!

farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.

but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.

but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.

but the important thing is this.

farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.

farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.

the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.

as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.

but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.

and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.

to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).

to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.

and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?

but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.

the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.

so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.

[darcydarlingdabbles]

Hotel Field Trip Drabble

Thoughts based on this post [Link] about Charlie and Alastor taking a field trip to a human hotel for "business experience" lol

// Adorable. I just wanted to write some scene ideas. And it went Charlastor shippy immediately...though I didn't add pets. Human Alastor based on this post [Link] //

Charlie looks almost like herself with slightly less pale like death vibe, but she looks like herself.

No one is prepared for how Alastor looks as a human. Like, stunned silence silence in the hotel lobby when he joins Charlie. He is a gorgeous biracial man with oval glasses, perfectly swooshed dark hair, and a smile that is charming when it doesn't stretch demonically across his face. Tall and lean and impeccably dressed.

Alastor is not prepared for how people see him as a human.

He was a half-creole man in the Jim Crow era south. The same people who loved his radio show were probably vile to him in person. (h/c that this is why he hates being photographed and says this face is made for radio) But a hundred years later culture has shifted and he's suddenly not only acceptable but desirable.

When they get to the human hotel in New Orleans--guess what, there's only one bed. (Surprised Pikachu)

There's a roaring 20s convention in town, maybe also some true crime TikTokers too. Ultimate Alastor chagrin. People parading around like they're from his day--but the dresses, the fashion, everything is just all wrong. Don't get him started on Jazz covers of pop songs.

He asks Charlie to kill him again because he'd rather be in hell.

Guess what, only room they have is the honeymoon suite.

Elevator is so crowded Alastor does the wall lean over Charlie to keep them both from being crushed. No, sir, you cannot murder a whole elevator for being in your personal space but you can be in hers.

Debating if there's a "ghost tour" where some of Alastor's victims are said to be haunting the place. Ends with him destroying a tiktoker's phone.

Yes serial killer Alastor had his own "moral code" but he makes it emphatically clear to Charlie that he was still a monster that enjoyed killing. And hell is the perfect place for him, because everyone there failed to be moral—other than the hellborn, like Charlie.

One night Alastor tries avoiding Charlie by going to the bar, maybe while she's enjoying dancing nearby. He's had a few drinks when an older woman starts aggressively hitting on him.

literally cannot compute. Cannot shake her because he's a mamma's boy with manners and the lady won't take no for an answer. Charlie said not to kill anyone.

Alastor using Charlie as a human shield—against flirtations.

Alastor and Charlie getting to dance to music from his time. He has a moment to think...Charlie is exactly the girl his mother would have liked him to bring home. And the girl he would never deserve.

Annnnd some how I turn that angst into a happy ending because

I write romances not tragedies, dammit!!

Update: I started the fic!! link

[therevengeoffrankenstein]

the implications this bears upon pete and his life are kind of staggering tbh. like when exactly did he, as a real life human being, realize that a classless/moneyless society is utopia? sometime during/after infinity on high, based on the timeline of the book? part of me believes that this is a vindication/beliefset he's been interested in/following at least somewhat since fairly early on in his life given his more overtly held political stances in the hardcore scene in the '90s/'00s. and another good question that is asked here, does he truly believe in socialism as a realistic applied possibility, or, as the book might or might not suggest by its ending, that absolution of class/wealth is only truly achievable through death?

'gray' is a story of two star-crossed lovers who were *largely being torn apart by the oppressive capitalist society of american culture and the cure to this was them being freed from their worldly 'responsibilities' by death.

i'm always struck by how open-ended the ending is on whether or not the narrator merely hallucinates re-uniting with Her or actually does die in that tour bus bunk and walk off into the 'sunrise' (the specification of 'sunrise' (the dawning of a new day, a new beginning) vs. the traditional 'walking off into the sunset' (symbolizing closure, an ending) is even more striking and supportive of this reading) of the afterlife with Her.

*asterisk here because i am well aware that there is a lot more to the evil machinations of capitalist society than just the baseline of the economy and careers. lol. it permeates/corrupts all facets of life under it.

one of the things that is encouraged under capitalism, for example, is misogyny/the patriarchy. which is another thing largely at fault for the failures of the main relationship in 'gray' and i am not trying to undermine that fact.

[mezzy303]

So I've been rereading skip beat from the beginning for the first time in uhhhhh almost 10 years and I'm going inSaNE over characterizations and development that I have to write it down

At this point I'm only at the Heel siblings arc so I haven't gotten to the Guam or Saena arcs which are very big for Kyoko and Ren's character development and healing which I haven't reread since those chapters came out

Can we just take a moment to appreciate Nakamura for basing Kyoko and Ren's childhood struggles and trauma on very real things that aren't often, if at all, dealt with in anime/manga and also writing them with utmost care (Not only do the traumas inform their personalities, but their healing arcs aren't just a one and done thing!! It's a very slow process) Like starting with Kyoko, her single mother neglected her so much that she was raised by a family friend. On top of that, nothing Kyoko did was ever good enough for her mother, and both of these things are so apparent in Kyoko's character. She attaches herself to fairytales and magic as an escapism and because she relates to stories like Cinderella. She literally cannot function if she messes up and no one criticizes her. She can't properly acknowledge her own talents and beauty without it being attached somehow to fairytales; she never quite believes shes good enough. Similarly, she didn't want to bother anyone with her troubles, so she always dealt with them alone/in private spaces. Pretty sure she also has lowkey abandonment issues. And this is all parental trauma!! Things she already has before the series starts and she gets so utterly heartbroken she swears off romantic love entirely so she can never get hurt the same way again.

(I don't think I'll ever get over how Kyoko told all this to Kuu and he was literally like I'm adopting you. Your mine now. Sorry I don't make the rules ¯\_(ツ)_/¯ And Kuu going home to his wife like hey we got a new kid 😂 Like Kyoko freezing up when she made mistakes and then Kuu showing her love instead of reprimanding her makes me go 🥹😩💖✨😭💝 Kyoko getting all fluffy from head pats🥹🥹 But on the downside she literally can't bring herself to call him dad unless she's in acting mode sjdfhsf)

When I really consider it, I wonder if Kyoko really loved Sho as a person or like.... the idea of him. Like he was just a convenient guy via proximity bc Kyoko needed someone to be her "prince". We haven't been shown exactly why she fell in love, but it would explain why she stuck with dedicating herself to him despite his terrible personality and knowing he never saw her the same way. It's portrayed like the concept of hatsukoi in anime where its ✨pure✨and innocent✨It seems very idealistic. Whereas Kyoko's love for Ren is more mature. She sees every aspect of Ren and doesn't sugarcoat it, she sees him as he is (she does him up on a pedestal but partially bc she admires him but also as an extreme measure to protect her heart and hide her feelings imo)

And REN. trauma to the max. He had to deal with the hardships of making a name for himself when his parents are already famous, extreme racism from being biracial, his friend/mentor dying from an accident he unintentionally caused???? Like boy hates himself so much he's literally disassociating 24/7 he needs a fucking therapist. I get how being Ren has helped him in some capacity but he needs a professional asap. Though deep diving into this is so interesting because Ren/Kuon compartmentalized his issues and the parts that he hates about himself so much he created its own persona ("Dark Kuon"), to the point he's rarely ever just himself. And he buried it so deep that as soon as he cracked the lid open, those emotions just spilled out. He can't even allow himself to be happy, and when he does feel truly happy, his automatic response is acting nonchalant,,,,,,,,,,,, he didn't even realize he was doing it at first 😢

Also the symbolism with Ren's watch makes me go a little feral. I don't remember if it's originally his or Rick's but it obviously stopped when the latter died and Ren keeps it as a reminder of what happened and why he went to Japan. It's a weird item since it grounds him but also represents his heavy trauma, and I think having those two things in one kinda showcases Ren's unhealthy coping mechanisms (like grounding himself to something traumatic isn't... great...). But that scene where he realizes he took it off and he has a moment of whether it to keep it on as Cain Heel or not??? *clenches fist* it was so good. (To recap it, he had his watch so he wouldn't lose himself in the role of BJ and then forgot it in the bathroom after an unexpected trauma response) Ren narrates his thoughts as choosing between Rick or Kyoko but interpreting this, he's choosing whether to keep himself stuck in his past trauma or move forward and let himself be happy AKA stick with unhealthy coping mechanisms vs try something healthy and rely on people he trusts. Kyoko essentially becomes someone Ren grounds himself to 🥺 He still needs therapy though lmao. He's so mentally unstable in this arc,,,

As I'm writing this I'm seeing a parallel between Kyoko and Ren and how they both had an experience that completely and utterly broke them, and it was this that pushed them onto their current paths in showbiz. And they likely would never have met each other again if those things never happened (they had to lose themselves to find each other?? 😭). It's so funny to me that Ren is all like ThEiR fAtEs ArE iNtErTwInEd with Kyoko and Sho when you have to consider the fact that him and Kyoko meeting again was like. a chance in a billion. It was fate 😂

KyoRen is such a poetic ship to me. The fact that they're different people when they meet and don't recognize the other. How Ren starts falling in love AS SOON AS HE REALIZES KYOKO IS THE SAME GIRL HE MET (Ren being gray/demiromantic.... more at 5). Kyoko lowkey starting to crush on Ren when she witnesses a bit of his real personality. These two things happening around the same time??????? And Ren being SO afraid of being Kuon, his true self, because of his bad qualities, but Kyoko pulling out the good qualities without him fully realizing it?? (I'm 100% referring to Kuon being a mischievous little shit and I live for how he teases Kyoko) tbh they treat each other differently from other people without even realizing it lol. And Kyoko being surrounded by toxic and possessive men pursuing her, and Ren being anything BUT. Like my man is a gigantic green flag. He recognizes that he can't seriously pursue Kyoko bc she's a minor and he really tries his best to only be a friend and mentor in her life and keeping her trust and never crossing her boundaries despite the stereotypes of men being "unable to control themselves." Y'all take point this should be the standard at minimum☝️

I have to talk about Sho bc this boy is so fucking toxic but he makes such a fascinating character. As much as I hate how Kyoko got heartbroken in the way she did, I think it was necessary so that she could leave Sho's sorry ass and cut him out of her life. Seriously,,,, he took advantage of her and used her as a servant. she literally dropped out of school, moved to a different city, and took on two jobs for the sole purpose of helping his career and then he threw her away like a used rag (JUST THROW THE WHOLE MAN AWAY). And then he has the audacity to fall in love with her smh. Anyway the fascinating part about him to analyze is how he's so possessive of Kyoko. Like she was a mere fly in his life, but she was always his. Until she wasn't. And I think those twisted thoughts kinda morphed into feelings for Kyoko. Ig in a way he still cares about her, but it could never hide how toxic he is. Anyone who's like I don't care how this person thinks of me as long as I take up the biggest space in their heart is egotistical and narcissistic. BUT he and Kyoko bickering like siblings will always be funny. Like epitome of two people who've lived with each other for way too long so they know how the other ticks and also get on each other's nerves 😂😂Sho does makes a good foil for Ren though. Like he's basically everything Ren is not: immature, temperamental, possessive, vain, the list goes on. His only redeeming qualities as a character is providing good drama and humor and being an example of what Ren isn't.

Skip Beat is really a story about healing and learning to love yourself and letting others love you and Nakamura is such a good story teller 🥺

[d-criss-news]

Darren Criss embraces technology and his mixed heritage in his Broadway premiere

Late last month, I spoke with Darren Criss for his upcoming Broadway premiere, Maybe Happy Ending, in which he plays a robot (a Helperbot to be specific) named Oliver who’s been deemed obsolete by technological standards. Another Helperbot, Claire, asks to borrow his charger, and thus begins a unique friendship between the two.

Maybe Happy Ending was written and produced in both Korean and English and has had performances all over the world. This production features Asian American creatives both on stage and behind the scenes. Criss himself identifies as half-Filipino on his mother’s side, and has said his feelings on his identity have evolved over the years. In 2018, he was quoted in Vulture saying that he did not identify as Asian American. In 2020, he would later shift his perspective after playing a half-Filipino character in Ryan Murphy’s Hollywood, telling People: 

“It’s a tricky cocktail in America ... Anyone who is biracial can attest to this: No matter how much or how little they look like their respective mix, it’s a constant work in progress … I’ve always been proud of my heritage, of being Filipino. Just because people don’t see it, doesn’t make it any less real to me.”

I got the chance to speak with Criss not just about identity, but about his career at large, how he relates to the character of Oliver, and what audiences will take from Maybe Happy Ending.

This interview has been edited for clarity and length.

Bri Ng Schwartz: As a biracial person with Asian identity, how does it feel to be working on a show that’s been produced and written in both Korean and American? Darren Criss: This show isn’t categorically an Asian show. It is very much a universal human’s show, but it happens to celebrate and represent a large degree of Asian-ness. Anytime you can show up for your cultural identity, that’s always a very exciting thing. It’s very exciting that the vast majority of people working on the show, on stage and off, are of Asian American mix and descent. The Asian experience is not a singular experience. It’s a very large breadth of backgrounds, so it’s been fun for all of us to bring our own experiences and stories to the table. 

BNS: I saw you about 10 years ago at the Belasco when you were starring as Hedwig in Hedwig and the Angry Inch. DC: Oh boy. This will be a little different. 

BNS: Yeah, definitely different. As you return to the Belasco for Maybe Happy Ending, how do you think you’ve evolved as a performer in the last 10 years? DC: I hopefully have evolved as a person. If I’m the same person that was 10 years ago, then we have a serious problem. I’m just still trying to learn, still trying to connect as many dots as I can. Hopefully I never know the answer to that.

BNS: We are forever learning as humans. DC: Exactly. 

BNS: I spoke to your former on-screen father, Jon Jon Briones, a couple of months ago. DC: He’s the best, and he was part of this production! This show has been around in many iterations for a long time, and he actually was part of a reading several years ago. We find ourselves connected yet again, me and Jon Jon. He’s awesome. He’s the best.

BNS: Do you take any advice or inspiration from people like Jon Jon or other seasoned Broadway vets in your work? DC: There are these goalposts that artists may think are the be-all and end-all of what makes a successful career. Jon Jon’s consistency and longevity are the goalposts. He’s one of these guys, if I mention his name, half of the room knows him or has worked with him. There are a lot of guys like Jon Jon who just are constantly a part of things. And that’s the goal. Success in devoting yourself long form to the craft, which he has done in spades.

BNS: In Maybe Happy Ending you play Oliver, a Helperbot 3. Do you think there are any parallels between you and how Oliver perceives the world? DC: I am endlessly curious and endlessly trying to download and learn as much as I can from the world around me, whether consciously or unconsciously. I happen to be a human being, and Oliver is not. 

I’m still getting under the skin of this guy, of this robot. I’m finding a lot of parallels as far as the desire to please. I always say I’m in the service industry. I service ideas and emotions and people. That is my vocation. My programming.

BNS: Do you think that audiences are going to walk away from this show feeling differently about their technology? DC: Technology becomes more human in the way we treat it. When people put away their phones, they get sad. They’re like an appendage. We’ve already started to ascribe emotional connectivity to our non-human components. People will walk away with perhaps a more emotional experience with the human components they have in their life.

The battery life that our devices have are a microcosm metaphor for our own battery life, our own shelf life, and our own energy. The finite amount of time that we have, and really coming to peace with the idea that we are a transient technology ourselves, considering that, and hopefully, making sure that your battery life is spent on the right things, I think is the thing I hope people walk away with this show.

On top of hopefully singing the songs, because they’re beautiful. 

BNS: They really are. Thank you so much for taking the time today. On behalf of mixed theater kids everywhere, thank you. I don’t think I would be who I am without having you to look up to. DC: Thank you for letting me be a part of it.

[mutfruit-salad]

i find the way fans are already shipping cooper with lucy over her black love interest very telling of the clueless white supremacy and media illiteracy in the fandom. coop and lucy are obviously being setup as a father-daughter duo who need to learn caution/kindness from each other to survive, but these weirdos can’t have their white-man fave without a self-insert stand-in for 1 season. and the way people are glorifying cooper’s character is a load of bs - a morally greg white guy who realises he endorsed and was sympathetic to a massive war crime/political injustice… so he goes on to indiscriminately kill/hurt more people who have no idea of, nor say in the bigger picture that he was complicit in… is sooo boring and nothing new. also, giving him a biracial daughter as an accessory to show he’s Not Racist isn’t something we’ve seen half of a million fuckin times before 🤪 the way the show back-tracked on fallout’s message of blind american nationalism and militarism being a problem to It’s All Capitalism’s Fault, seemingly in reaction to the US currently endorsing and aiding in foreign war crimes, and past ones becoming common-knowledge, is horseshit on a platter.

I find the complete lack of a character for his daughter really horrifying- how she only exists to die dramatically for the sake of his sadness. It's odd because his wife is a well-established important character, yet their daughter is not allowed to be a person.

Fallout, in general, has had a habit of completely ignoring racism- presenting the prewar world as some fully integrated post racism utopia. Which is weird when the games regularly display overt anti Chinese (and broader anti Asian) sentiments in prewar logs and ads. This is a problem both the classic games AND the bethesda games have- racism has always been a touchy subject to the devs of the series and it seems like every game they've been content to ignore it, occasionally invoking it for horror or stumbling headlong into depicting it without realizing.

The way Ghoulgins regrets his past and just takes it out on everyone around him is absurd and plays into a lot of very hostile ideas the character peddles.

People shipping Ghoulgins with Lucy is baffling to me also considering he spends the entire series physically abusing her. People just don't want to acknowledge Max's existence, I have noticed. I know her and Ghoulgins get closer by the end, but it's after he's done just unspeakably cruel things to her- and you're right that it is absolutely framed as a father/daughter relationship.

I would also like to point out that the series has always criticized capitalism as well- but would generally frame it as sort of tangled up in American imperial ambition- with one feeding into the other. They were two halves of the same coin.

Vault Tec's entire existence in the classic games was selling smoke- profiting off of the extreme tension and stress of US military buildup- a process which would always inevitably end in disaster: either with Vault Tec going under or brinksmanship coming to its inevitable end.

Vault Tec (and the entire idea of luxury bunkers as a whole) WAS a critique of capitalism, and how it goes hand-in-hand with the American military industrial complex. It was selling the fear of annihilation to the populace. They didn't need to be some secretive controlling force to achieve any of this.

Making Vault Tec the sole antagonist, and the driving force of the apocalypse, is both deeply conspiratorial AND undermines the Cold War roots the series has always had- replacing the fear of American military buildup with a sort of hateful simplicity.