#the theater audience was not as fun as they could have been cos i wanted to clap like every time r2 beeped

[swankpalanquin]

watched star wars (original one) for the first time in Years and wow it really does just hit the same as when i was like seven lol

[justhereforthemeta]

Romantic expectations and the story we didn't see: A magic trick hiding in plain sight

Here's a hopeful meta for all my fellow celestial brainrot sufferers out there. Cheers! :)

This idea started as a dead end, trying to track the movements of Crowley’s sideburns/tattoo because I thought time travel shenanigans were afoot. I had to abandon that theory when it was pointed out that David was simultaneously filming as the sideburns-having Fourteenth Doctor, and in-universe Crowley can do whatever he wants with his facial hair whenever he feels like it. But hey - null findings are still findings!

On the bright side, pausing the show to make notations in a spreadsheet forced me to slow down and notice other changes I'd overlooked the first time around: acting choices, costuming choices, references to book lore. And possibly a few surreptitious flicks of the wrist, in places where we’re meant to be focused on the magician’s other hand.

@amuseoffyre and @ineffablefood had a great exchange recently about romance and “the significance of misdirection and three-in-one (magic) tricks” throughout the show. I suspect Neil has done something brilliant with the audience’s long-standing expectations (since the 1990s, really) for the love story between Crowley and Aziraphale to develop. And while it is a wonderful story indeed, playing to this expectation lets Neil distract his audience from the blink-and-you'll-miss-them seeds he's planting for the final chapter.

Continued below the cut...

Let’s start at the beginning of Episode 2. First, context: In the previous installment, Crowley stormed out of the bookshop, was whisked away to Hell by Beelzebub where he learns about the Book of Life threat to Aziraphale’s existence, then returned to the bookshop to dance a little apology dance and hide Gabriel with an unintentionally massive joint miracle. In S2E2, we and Shax catch up with Crowley as he's snoozing in the Bentley.

Shax: “You’re in trouble”

A. J. Crowley, cool as a cucumber: “Obviously. Former demon, hated by Heaven, loathed by Hell. How will our hero cope?”

Interesting! Sarcastic? Yes, absolutely; but that’s also a good 4500 years and an averted apocalypse away from “I’m a demon. I lie,” wouldn’t you say? Someone is sounding a whole lot less depressed and aimless and navel-gazey (do snakes have navels?), and a whole lot more like he’s got a project to focus on, since his "what's the point?" ruminations on the park bench in E1.

And of course we all noticed the costume change right away. Hello, black turtleneck. Feeling cute today, thought I’d cover up my graceful long neck? That sounds unlikely. Let’s put a pin in this one.

There’s also an interesting acting choice going on here. Crowley speaks to Shax in a funny, drawling, too-cool-for-you voice that we haven’t heard in a while. Specifically, not since 1967. If you go back and give the S1E3 scene in the Dirty Donkey a listen, you’ll hear it (and if you know of another instance of it that I've missed, please let me know!). In S2E2, he keeps up this odd voice (if anybody knows what kind of affect this is supposed to be, please do tell!) throughout this dialogue with Shax, except for the brief moment when she first surprises him about the joint miracle having been detected.

1967 was a fun year. Crowley masterminded a heist! And seemed like he was having a ball doing it, right up until his little caper was called off after Aziraphale brought him the thermos of holy water. Crowley spoke to his co-conspirators in that same funny, very 60’s-caper-film voice. He wore a hip 60’s turtleneck. He bought petrol for the only time ever, so he could get those sweet James Bond bullet hole decals for his car (per the book, seen on the Bentley in the show).

Those James Bond bullet hole decals would of course have been part of a promotion for this 1967 release, which you just know our film-enjoying demon went to see in the theater:

Starring this suave, be-turtlenecked guy:

And now - begging your forgiveness - a brief rant.

There are a number of posts out there that refer to Crowley’s S2E2 turtleneck as a flirtatious sartorial choice - actually, ‘slutty’ seems to be the favored accusation. There are even a few posts floating around commenting on how sweet it is that Crowley swaps out his slutty, kinky, throw-me-over-your-desk-and-take-me turtleneck for a more dressy and appropriate collared shirt specifically to attend Aziraphale’s Jane Austen ball. 

Now this is all in good fun, and Crowley does indeed look fantastic here, and I do love a good fangirling sesh as much as the next person. However, fandom’s collective tendency to interpret what we are seeing on the screen through the lens of romantic expectation can, at times, give rise to a kind of blinkered enthusiasm that obscures the original text in a haze that is part Mandela Effect, part unrestrained horniness, and part in-group code talking and identity reinforcement.

Respectfully, Crowley’s black turtleneck does not appear at all in S2E5: The Ball. In fact, it never appears again after the end of S2E2.

For Someone’s sake, let’s collectively pull our heads out of the romantic fog/gutter for a moment and focus on what we are actually seeing in the book and on the screen. For Crowley, this is an uncharacteristic within-period costume change. There is a surreptitious flick of the wrist happening here, out in broad daylight, and we are all missing it.

So here’s a thing. Aziraphale appears to have settled comfortably into life on Earth, his neighborhood, his books, using Crowley as an outlet for sharing his good deeds that he would once have reported to Heaven. Meanwhile, at first glance, Crowley appears stuck in a rut. There he slouches on a park bench with Shax in S2E1: a guy who lives in his car, stagnantly clinging to old familiar habits, mulling over the pointlessness of it all.

Setting aside the bit about living in the Bentley (I’m going to attribute this to well-documented issues between him and Aziraphale, discussed in many other excellent metas, and move on), Crowley has at least two very good, proactive reasons for maintaining his contact with Hell through Shax. First and foremost, it’s a source of information he can use to keep ahead of potential threats to Aziraphale and himself.

But also, I would posit…he kinda likes it.

Recall that book GO was first conceived as a parody, with Aziraphale and Crowley as spy-against-spy (but not really) field operatives in an ages-old cold war between Heaven and Hell. Their entire book dynamic is rooted in the trope of two opposing agents who have been in the field for so long that they now have more in common with each other than with their respective head offices. Their St. James’s Park meetings among other spies and ministers trading secrets are a sendup of what was once a well-known Cold War-era cliché. 

Our contemporary Crowley still likes slick outfits and hellaciously expensive watches and high-performing vintage cars and pens that write underwater while looking like they could break the speed limit. He coaches Shax on how to blend in as a demon on Earth, and he helpfully redirects the wayward contact looking for the Azerbaijani sector chief. He loves improvising and getting away with shenanigans under the institutional radar. And boy golly was he impressed with Jane Austen: master spy, brandy smuggler, and mastermind of the 1810 Clerkenwell Diamond Robbery. 

And if you look at it a certain way, for as long as Crowley has considered himself to be on “[his] own side” - going at least as far back as Job - he could almost think of himself as a sort of double agent. It’s actually a very romantic sort of notion, befitting our hopeless romantic of a (professedly former) demon; but it’s romantic in a very different way than we, the audience, have been primed to watch for.

In other words, in a very “on my own side” kind of way, Crowley really gets a kick out of being a spy. Or at least, dressing up and accessorizing as one, and moonlighting as a good-doing double agent when he can get away with it. And also being a plotting criminal mastermind. Two sides of a coin, really. Just look at Jane Austen.

My point is: No, Crowley did not wait around for Shax to come find him in a turtleneck so that he could go flirt with Aziraphale later. He’ll flirt with Aziraphale no matter what. No, this:

is actually this:

Much like the one he wears to the Dirty Donkey in 1967: 

whilst holy water heist-plotting. Here's a clearer shot with gratuitous Bentley, because I love them:

…and which he'll wear again, with appropriate camouflage, while infiltrating Heaven in S2E6:

That is the 1967 planning a HEIST turtleneck for committing ESPIONAGE and STEALING THINGS in. Because turtlenecks are what modern human master spies wear to get their hands dirty - after all, he saw it in a movie once. 

Crowley dons his tactical turtleneck sometime during the first major break in the action (which doesn't happen until after the joint miracle to hide Gabriel) after he learns about the threat the Book of Life poses to Aziraphale. Loverboy started mentally preparing himself to go after that book immediately upon learning that it was in play as a genuine threat. 

Now let’s pick up at the S2E2 Dirty Donkey scene, reading the story from this angle. Of course, Crowley enables Aziraphale’s delusions about Heaven by hiding information from him, and does not disclose the Book of Life threat when they meet again. They go into the pub, Aziraphale shamelessly paws Crowley’s chest like the seductive Bond Girl he is, and Crowley gets to act all smooth and suave and intimidating as he chases off the interloping Mr. Brown (or Mr. Collins for the Pride & Prejudice fans, take your pick).

Ergo, theory: beginning in S2E2, Crowley is already thinking of himself as a Jane Austen/James Bond action hero (“How will our hero cope?”), psyching himself up to rescue Aziraphale by getting his spy game on and stealing the Book of Life.

Now, watch closely...This is where Aziraphale and Crowley brainstorm their plans to solve the problem they both know about: getting Maggie and Nina to fall in love and thereby get Heaven off their backs. Crowley’s vavoom plan is drawn from yet another movie (“Get humans wet and staring into each other’s eyes - vavoom, sorted. I saw it in a Richard Curtis film.”). But Crowley also implicitly shares his solution to the problem he hasn’t told Aziraphale about. And true to form, Crowley’s Jane Austen solution isn’t the same as Aziraphale’s Jane Austen solution. 

Two solutions that fail by the end of Season 2, and a secret third one that might still work...and there's our magic trick of three.

‘“I’m lost. Am I doing a rainstorm?” Yes, babe. And a heist, too - just not until season three. Can I get a wahoo!? 

I won’t spend time on A Companion to Owls during this meta, except to note that in all three minisodes, we get to watch stories that involve Crowley acting as a double agent on “his/their own side” - successfully making Hell and Heaven think he’s fulfilling their will while saving Job’s goats and children; failing to fool Hell when he does a good deed in Edinburgh; and of course, collaborating with Aziraphale whilst evading detection as an infernal turncoat during the Blitz.

(Because this is getting long, I'll also skip over Crowley's interrogation of Jim in this episode - I'll probably come back to that in another meta. But interrogating is a rather spy-ish thing to do.)

When we catch up with Crowley again later, he’s already slipped out of the bookshop, having left Aziraphale to his biblical reverie about Job. He saunters snakily down Whickber Street as usual, but with a very pointed and swift glance over his shoulder (see pic above). This demon is up to something - possibly something we didn’t get to see, something that may have happened offscreen while he stepped out. In any case, knowing there’ve been unfriendly angels in the neighborhood that morning, he’s rightly concerned about being spied on.

From this point until the beginning of episode six, there isn’t a whole lot of opportunity for Crowley to make any next moves. He babysits the bookshop, during which time he manages to wring some crucial information out of Jim; he follows his Crowley’s Angel around like a puppy, and downs a bottle of red like a good old fashioned lovesick boy once that’s been pointed out to him. If any plotting or scheming is underway, this occult being is keeping stumm for now.

This has been a long one, so I’ll wrap up with Crowley’s infiltration of Heaven with Muriel. The turtleneck disguise works (Archer fans, be vindicated!) long enough to gather some information that will be crucial not just to the denouement of S2, but also to Crowley’s journey in S3 (previous post on Crowley's Fall, Saraqael, and memory wiping). And Aziraphale gets to enjoy that view exactly zero times. The point isn’t oh, a turtleneck! How flirty! So cunty! So cute! Y’all. Everything matters. The costume change was a deliberate choice. In-universe, Crowley’s decision to wear his special spy turtleneck for spying in is a signal that he is out doing spy things, even as we watch.

In sum: Beginning in S2E2 and continuing through the end of the season, Aziraphale and Crowley are actively living out the scripts of two parallel, concurrent, and completely different Jane Austen stories. But you and I, dear fellow audience member, we came here for a comedy with a hefty jigger of romance, and that’s what Neil gave us to focus on. And right up until the Final 15, that was the only story we saw.

Meanwhile, Special Agent A. J. Crowley doesn’t have time to mope around at the end of S2E6. He’s kicked down, but he’s not out. He's got a Book of Life to steal, a very serious bone to pick with a certain memory-wiping angel, and his Angel and the world to save. 

“‘Heigh ho,’ said [romantic, optimist, former demon, hero, master spy] Anthony Crowley, and just drove anyway.”

[theconstitutionisgayculture]

Man, I like Daily Wire in concept but Matt Walsh needs to shut the fuck up about video games. The same guy who tried to resurrect the tired old "violent video games are harmful!" crap is now acting like he's the first person to notice that video games are pushing woke nonsense (even though there are about a hundred channels and outlets that have been talking about this for years) but his solution is to, of course, for the right to stop playing video games.

No. Just, no.

This is the same "bury our head in the sand and pretend pop culture doesn't exist" mindset that got us into this situation in the first place. You can't win a war (and there is a culture war going on, no matter how many people on both sides want to pretend otherwise) by retreating from every battlefield. You win by raising awareness of a problem and then offering a real solution.

And it's especially stupid seeing this cultural retreat mindset from someone working for DW because DW actually knows exactly how to fight this battle. They created their own media company to fight against woke Hollywood. Are all their movies and shows good? No, not at all. But they still did the right thing. They put their money where their mouth is, and created an alternative.

A much better example is Angel Studios, which is probably the only Christian movie studio I've ever seen that puts out top quality content with great acting, writing, and production values. They're raking in money and getting their content onto mainstream streaming services as well as theaters. In other words, they're taking their message to the people who need it the most. The ones who aren't already in the echo chamber. Unlike Daily Wire, which only offers its content on its own website through a subscription service to its own audience, and never advertises anywhere.

Another successful example outside of movies is Eric July's Rippaverse. He's been killing it with his comics, with every single one of his campaigns raking in over a million dollars, every cent of which is reinvested back into his business, helping it grow, creating more content, and expanding his already impressive roster of writers and artists. Mainstream writers and artists, by the way. Like Chuck Dixon, the guy who co-created Bane and wrote the seminal Tim Drake Robin comics, among many other credits, and Mike Baron, who wrote some of the best early Punisher comics. Eric had a following before he started the Rippaverse. He runs a successful YouTube channel and he's a regular contributor to The Blaze. He could have walled himself off with his fanbase, wrote comics about ancaps saving the world from the evils of government, and made some money while pandering to the people who already agreed with him. Instead, he went big. He invested his own money, runs his own distribution center, owns his own business with zero outside investors, hires the best talent he can, and offers a product that focuses on story and characters over messaging. His work isn't even "anti-woke". It's just not woke.

And that's what we need in video games. We need alternatives. We need to roll up our sleeves and wade into the deep waters and actually contribute our ideas and our talents. Offer an alternative. Hire people who know what they're doing, who care about quality content first and social engineering never. There is a huge untapped audience who would pay hand over fist for good video games free from microtransactions and woke nonsense.

But retreating is not an option. It's not brave or moral to hide in our echo chambers and scoff at anything fun. Entertainment is necessary. And maybe more importantly, it's not going anywhere. We will never live in a world where people go to work and spend time with their families at home and do nothing else. We need to engage with the world as it is. Not wait around for whatever our idea of a perfect world is to magically form so we can finally interact with it. You can't change society if you keep pretending large swaths of it don't exist.

[mask131]

I'm going to really quickly drop something I have been thinking for a very long time - and I don't think I have made a post about it?

It is one of the reasons I kind of cut ties with fandoms on the Internet as a whole, and why I originally strongly disliked the way "headcanons" were used, and why I often roll my eyes with the way people behave on the Internet... And I don't know if it is because I was old enough to have lived in a time when I enjoyed series and movies and cartoons without the Internet - or better, with an Internet that was without the "fandoms" as we know them today.

The main thing that irritates me with the way "fans" act on the Internet is how they think because they are fans of a piece of media, it "belongs to them". I fully understand the idea of fanfiction-positive and I am ALL for fan-art and AUs and the like, don't get me wrong. I do enjoy what fandoms were for - sharing a common passion, bring fan-made content based on a loved piece of media, have fun with it all... But the way this positivity has been framed and formulated, and the way it got interpreted has been irking me a lot.

Because in effect, a lot and lot of people have gotten into their brain, somehow, that a fandom "owns" a piece of media. That a television series was made first and foremost for the fans, and not for anyone else, and thus that it must cater to their every whims and desire. More and more people take fan theories and headcanons as actual guidelines, or solid fact, or in general confuse "canon" and "headcanon". More and more people believe the idea that "If we are strong enough, we can change this piece of media" or that "The creator of this piece of media owes us things because we are fans".

I am not very old, and yet I still lived in a time when we understood that published books and the shows on TV and the movies in theater were not... "ours". Yes a fandom is a way to allow fans to toy and play with a piece of fiction, and thus in a way make it "theirs". BUT THAT'S METAPHORIC NOT LITERAL! It certainly does not help that recently more and more tv shows and cartoons and whatnot have been explicitely interacting with or refering to their fandoms, even sometimes letting the fans drive the course of the story. Which is great, and is fun - but should be remembered as something not "natural" and a bit exceptional.

It reminds me of how recently there have been more and more incidents in theaters where musical plays were interrupted by audience members who thought they just could do anything they wanted - because somehow they thought a musical was an interactive play or a karaoke night. Again, these kind of interactions do exist (The Rocky Horror Picture Show was built upon these experiences) - but they were unique and out-there.

Art, fiction and media can and will live on without fandoms. Fandoms are not a needed ingredient of a piece of fiction, they are something that at best develops a healthy co-dependency with the piece of fiction it selects, at worst acts like a parasite to its host. But the fandom can be destroyed and obliterated and die - the fiction will still live on, and the media will still exist. And yet, so many fandoms seem to believe that somehow, they are the movers and shakers of industry and fiction, and that somehow they are the ones in control? So many fans treat creators like commissioned artists or pals they can ask favors from or victims they can bully freely without consequence.

Again, I don't know how to properly express my thoughts but... I lived in a world without fandoms, and now I can't stand it when people make it seem as if art and fiction and media was all about fandoms. And I mean fandom in the modern, Internet-sense of the term. Fandoms have went from enthusiastic pupils and eager to learn students and symposiums of fair critics to just... whining, entitled, over-spoiled little brats that kick their feet in anger, give orders to everybody and try to run away with the painting that is hanging on a museum's wall.

Yes fanfiction can "correct" a badly written plot, in one's opinion. It doesn't mean the author has to stick to your corrections, or that other people can't actually enjoy the badly written plot.

Yes fanart can be much cooler than the actual design. It does not mean you suddenly know the movie better than the movie-maker themselves, or that your fan-art will have to influence the aesthetic of a cartoon's next season.

Yes headcanons are wonderful. It does not make them canon, and you cannot enforce them on anything.

I repeat myself like a broken record - but originally fandoms where a place of enjoyment and appreciation and theorizing and complaining, but solely as an audience, and as people gathered by similar interests. Now? Now they became places of control and influence and demands that don't understand that an audience member isn't supposed to jump on stage to point out "No you are saying it wrong, here is how you should say the line."

[kinetic-elaboration]

May 3: The Fall Guy

I left work an hour early today to just hang around outside and have a coffee and do some writing. It’s been hot all week but cooler today and tomorrow and I wanted to enjoy a brief period of ‘nice’ weather before it gets gross for 4 months. I think this was a good idea although honestly it was sort of chilly and I didn’t have a jacket, and also everyone at work was just hanging out and functionally having a party at circulation so it’s not like I really would have been doing anything if I stayed the whole day. But still.

Then I was last-minute invited by a former co-worker to go out to a movie with her and her family. So I said yes; I like the movies but almost never go. We went to see The Fall Guy. I had never even heard of this film before and I literally spent 30 seconds looking up what it was about before going, but I really, really loved it. I’m not really an action movie person either but the stunts and action sequences were so good—I think I like them best when they’re really heavily choreographed, sort of like dancing more than just random fighting. This is why I like the fighting sequences in TOS so much; because they’re not really ‘realistic’ fights. Obviously this was several orders of magnitude more complex, but it had that same feel like someone really thought this out very well and was invested in it looking good and being like a work of art you could truly appreciate. And I did appreciate it! All of us left the theater saying ‘yeah, stunt people SHOULD get Oscars!’ (They should, though.) Similarly, the plot was very well-constructed. I love call-backs; I love when one-off little details from the beginning make up big plot points later on; I love meta jokes; they’re all so satisfying.

It was so funny, too. I wasn’t sure about it in the intro sequence, but then after the little prologue, it got better fast and when I heard the prayer hands emoji joke I was basically sold. I think it was just the timing of it. That earned my trust totally. All the jokes landed at the exact right place and there were multiple times I just lost it with laughing, like the extended sequences with the fire stunt. That scene is before the main conflict of the movie is even launched and you’d think maybe it would slow the plot down too much but it wasn’t totally worth it.

Also I think I’m in love with Ryan Goslin now. I decided this before the movie even started, during the little intro he and the director did about like texting in the theater and so on. When he looked to camera and addressed the audience… boy. Then he followed that up with two hours where his character did all these sick stunts but also cried to Taylor Swift and shot out one-liners everywhere and was totally cool and charming and also kinda bloody sometimes. I’ll clean your wounds, handsome.

I’m glad I saw it in the theater too, not just because the stunts and action sequences were so big and fun and played so well on the large screen, but because the audience was so expressive. People laughed, but they also gasped, clapped—one person said “No!” in a very audible way at a critical moment. Like it was just a fun movie to see as part of a community with a bunch of strangers.

The popcorn was good too. I didn’t… really eat dinner so much as I ate kind of a snack beforehand and then the popcorn. I can’t really decide if I’m still hungry or not. The only thing I didn’t like about the experience, which wasn’t really the movie’s fault, was that I had a large thing of water and I had to piss SO BAD for like a solid half hour at the end. And the movie has a lot of false endings so I kept thinking ‘oh it’s about to wrap up, there’s not much more…’ and then there was another climax. But that’s kind of my fault more than the movie’s. So overall a really great experience; I had fun.

[yessadirichards]

Q&A: Daisy Ridley on fighting the dark side and developing dark comedy

NEW YORK

Daisy Ridley doesn’t want audiences to be misled by the title of her new film, “Sometimes I Think About Dying.”

Her character, Fran, is, actually, quite funny. Fran is a woman content in her mostly solitary life, apart from her co-workers in her chatty office. But when an attraction to a new colleague challenges her to take risks and push through social awkwardness to make a connection.

The film, in theaters now, is directed by Rachel Lambert and co-stars comedian Dave Merheje and several other comedic actors, who improvise watercooler talk to big laughs. )Ridley says she often had to stifle her laughter to stay in character.)

The Associated Press recently spoke to Ridley about finding Fran, reprising her role as Rey in a new “Star Wars” film, and perfecting her death stare. Answers have been edited for brevity and clarity.

AP: The film’s title makes it sound gloomy, but it’s actually a comedy, right?

RIDLEY: There was a lot more humor than anyone is expecting because the title gives a feeling that it’s going to be more of a melancholic sort of feeling. But there is a lot of humor and Fran is pretty funny. But also the world that she lives in is full of vibrancy and the office space is very gregarious and loud and fun, so it’s a nice world for her to live in, even though she is struggling to make connections occasionally.

AP: Fran’s outsider view puts the office setting and people under a microscope — did that amuse you?

RIDLEY: I loved the world and I loved the office but, actually, a lot of that was improvised. Rachel talks about how much she loves working with comedians because there’s such an ease with improvisation. The first scene we filmed was around the table in the conference room, and Rachel just let people fly and it was such a great way to bring everyone together. Fran loves to be at work. She loves her routine. But also she is sometimes a little judgmental of the people around her. So it’s not just that she’s struggling. Sometimes she’s like, “I don’t want to be part of it.” I think it’s very human, like two things can be true at the same time.

AP: You perfected your death stare for the fantasy scenes — was that challenging?

RIDLEY: The beach was cold! And the main thing really was trying not to shiver. So that was “please don’t shiver, please don’t move.” And then lying in the forest was tricky because I had a handful of bugs and it was like icky icky icky.

Thank you for the compliment about my death stare, I don’t know how I managed that well (laughs). It sounds so messed up. An absence of thought, which is obviously a contrast, because I had so much thinking when I was playing her. So in those moments, it was about the absence of any of that and the sort of calm, quiet time.

AP: This was your first time producing — how was that experience?

RIDLEY: It was a generous give of the producer credit (laughs). I did come on early so there was a sense that we all had to hold hands and say, “OK, this is what we’re going to do, and this is how we’re going to do it.” I was asked about various creative things, but Rachel made it so easy. And then from landing in Portland, (Oregon,) I was just an actor. There was no feeling of responsibility — bar from my own performance and being part of a company of people, which was wonderful. But there were a lot of lessons I learned on set because there were a group of people who made the film together and they were very generous with me, talking about budget and scheduling — so that actually facilitated me making my own movie, because I knew what could be done.

AP: Knowing you can’t say much about the new “Star Wars” movie,what excites you most about it?

RIDLEY: I’m excited about the story. I didn’t think it would happen that I would go back now. I thought maybe it would at some point, like in the faraway future. But I think the story is great and will appeal to the people that love it, and people who are maybe not as familiar with it. I think it will be a worthwhile adventure (smiles).

AP: You were so young on the last one; how will this be different?

RIDLEY: I was the baby! Now I feel more like a grown-up. It’s going to be so strange because I’m not going to be the baby anymore. But also, that’s sort of an exciting adventure of like, OK, how is this going to be — a different filmmaker, different writer, different crew, different cast? It will be such its own thing with its own thumbprint on it. It will be interesting.

AP: Who on that set gave you advice or helped you learn about the business?

RIDLEY: I’m the person that is always too embarrassed to ask questions. So I pretend I’m not fussed at all that I’m, like, next to Harrison Ford (laughs)! I think J.J. (Abrams) particularly, I will always think of in such a wonderful way because it’s such an intimate relationship, the one between actor and director, and the one between actor and cameraman. We had this amazing camera operator called Colin and there’s always such protection with the hair and makeup team and the costume team because, again, it’s so intimate. You go in at 5 in the morning and people are in your space, helping guide you and helping you feel ready to be seen eventually on an IMAX (screen). And actors. There was a lot of kindness from all places.

[brunhielda]

In hashtags: “Because Atlantis has big polycule energy”

Can we talk about this? Because I am not mad at poster. They are 110% correct. But do you know WHY it feels like everyone has romantic chemistry?

Because it has good writing. Not necessarily of plot, but of character. Those are people, with emotions, and backstories, and outside lives, banded together in one common goal. Eventually they even care about each other, which we all see and squee over. That’s it.

Leverage and Librarians has the same energy. Original Stargate has same energy. I would argue even LOTR has some of that energy. It’s just an understanding of how to write character without need for constant angst/drama to flesh them out. Is there angst and drama? You bet! But that isn’t what MAKES them people. How they interact the rest of the time makes them people.

Why does that read as romantic to us? Because outside these little pockets of tv joy, the only people in a story who get that kind of interactions are romantic/heroic leads.

In real life? People talk to each other, they like or dislike each other, you have weird inside jokes with co-workers, anyone in constant life/death situations becomes live or die sibs, the world is messy an complicated and that’s just how it works.

Do you know how hard that is to translate that to an audience? It is difficult to translate ONE feeling (like romance) let alone a complicated stew. So storytellers shorthand, they drop signals, they point at things with symbols and instances. That’s just how stories get told, and we the audience pick up on it.

Different cultures have different signals. Did you know that in India, there is an ancient style of dance theater where different hand guestures mixed with feet placement tell you how one character feels about another? And then there’s Kabuki from Japan, where a certain stance can tell you a character wants revenge. But in American media, two characters having a conversation for two actual minutes of screen time means either potential for romance or romantic subtext to be hidden from censors.

I hate that. I hate it has come to that. I hate anyone had to hide romance enough that it is now entangled and confused with true friendship more than it already is in real life. I hate that it has bled into real life, making it difficult for people to accept deep friendships. I hate that straight romance was prioritized over even normal friendships in terms of relationships to explore in stories. I hate that this priority has also bled over into real life, where people chase significant others over deep lasting friendships. I hate that I can’t squee over healthy wholesome friendships without someone saying “no friends look at each other that way.” Because yes 👏 they 👏 do 👏.

You have simply been trained by western media to see all intense/real relationships as romantic ones.

It’s not your fault. It’s not even storytellers’ fault really. They worked with what they were handed and what people already understood. Prejudice, money, and the power those have over media did the rest.

What has been, understandably, defined as “polycule energy,” could also just be “found family,” with decently written screen time… and we need to explore why that is. We need to know how to tell the story of one without nessisarily telling the other wig we don’t want to.

Sense 8 managed to do both… Stargate Atlantis is no Sense 8.

(I am now picturing the fanfic I have created with that sentence 🤣)

So I am so very very happy to see things with polycule energy. Because what you are seeing are also fully developed characters expressing healthy friendships and affection. And we haven’t seen that nearly enough. More found family PLEASE. Let THAT bleed over into real life. Make THAT normal.

And if you wanna ship them, go ahead, please do, the endless pairings make for fun fanfiction. But please, 🙏 I beg of you, do not point to “evidence of crush” and then hand us basic affection. Don’t do it for the “heart eyes” or the physical affection. Do it cause they look cute together. Do it because thier personalities make for good partners. Do it for the sheer curiosity of what it would look like.

Just… know what you are seeing on screen. Know how it is being packaged to you. Know how you have been taught to receive it. Broaden all the ways that can be seen.

Let’s make some more amazing characters.

.

What I love about Stargate Atlantis is you can throw any two characters in a scene together and no matter who it is I’m invested

[babymetaldoll]

Act one (Spencer Reid/ Reader)

Requested: Yes. Hello hello @meowiemari​ 

Summary: Spencer's girlfriend is a sweetheart, but he discovers a new side of her when she gets the lead on a play, and she portraits an unsub.

Category: Hardcore fluff 💜 (you know that's how we roll here)

Warnings: Maybe a little cursing here and there, but that's it.

Word count: 3,7K

Masterlist

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Spencer's girlfriend was a sweetheart. (Y/N) was the kind of girl who you thought might actually be a Disney princess in a different universe. She was adorable. Garcia was crazy for her, Morgan adored her, JJ thought of her as a little sister, and Prentiss always tried (and failed) to make (Y/N) curse once each time she saw her. They loved her.

And, of course, Spencer loved his girlfriend. He couldn't deny it. He didn't even try to do it. He knew he was young. He was just 25, after all. But he already knew she was the love of her life. Derek would always tease him about it, joking about how he was ready to propose to her, even after just six months of dating.

Spencer would laugh, but deep down, he knew Derek was right. (Y/N) was just perfect for him. She was the sweetest girl everywhere she went. That's why everybody was in shock when over dinner in Penelope's, she announced to the team she might play a serial killer in a play she was putting on with her drama group.

- "Oh, honey"- Penelope smiled and caressed her hand on the table- "There's no way you can actually pull that off."

- "What? Why?"- (Y/N) asked, confused, as the whole team nodded in agreement with Garcia's words.

- "You are too sweet to portray a killer nurse!"- Prentiss added

- "Well, I am not going actually to do it. I have to learn my lines and all, but I'm the substitute for the part."

- "Substitute?"- Spencer frowned, in shock- "What do you mean? You are amazing!"

- "Yeah, well, apparently not as amazing as Rachel Cooper. She got the lead role, again."- (Y/N) smiled and took a sip of her wine- "But, anyway, if anything happens, it's on, and I'll play a mass murderer nurse."

- "You are too sweet for that role, baby face"- Derek smiled at his friend and shook his head- "But you'd make an amazing job."

- "Thank you, Morgan. It's a little upsetting, 'cos I know I could do great. But well, I guess Rachel Cooper is gonna do an amazing job, and everybody's gonna be happy. It's really a team effort after all, and we are all there to have fun."

- "See?"- Penelope pointed at her- "You are too sweet to portrait a serial killer."

Spencer held (Y/N)'s hand on their walk back to her place and kissed it several times. She blushed and smiled at him as they talked of anything and everything.

- "Please don't hate me, but I'm kind of glad you didn't get the part."- Spencer confessed when they were about to reach (Y/N)'s door.

- "Why?"- she didn't get what he was talking about, especially considering she was dying to get that role in that play.

- "Because the guys are right, you are too sweet to play a mass murderer."

- "That's the idea of acting, Spencer, portraying someone you are not, and making your best to fit the role and convince the audience."

(Y/N) whispered and sighed as they walked the last couple of steps in silence.

Reid felt he had ruined it.

- "I'm sorry, buttercup. I know you'd do a great job. I was just trying to cheer you up."

- "I know, honey. It's ok."- (Y/N) whispered and cut him a small smile. She knew he was sincere.

- "I'll call you tomorrow."- Spencer said as they said their goodbyes on her apartment's door.

- "I had a great time tonight."- she answered and felt his lips on her for a second. She sighed and leaned over to kiss him again as soon as Spencer moved from her. (Y/N) wrapped her arms around his neck and kissed him for a moment.

- "I'm sorry you didn't get the part, (Y/N)."- Spencer murmured and looked into her eyes in adoration.

- "It's ok, Spencer."

- "You'd make an adorable killer nurse."- and she giggled as she felt his lips against hers. It was his favorite sound in the world, and it made Spencer feel butterflies in his whole body each time she laughed like that. So sweetly and bubbly.

- "You are just saying that 'cos you love me,"- she whispered and kissed him again. Spencer chuckled and thought he could love her even if she actually were a murderer.

During the next couple of weeks, (Y/N) divided her time after work between Spencer and rehearsals with her drama club. And each time she was at the theater, she was happy. She had a fantastic group of friends to have fun with. Except for Rachel Cooper. She was the exception of the whole gang. Actually, no one really liked her much. She had a nasty attitude toward everybody in the club. She acted like life was still the same as it was in high school. She thought she was one of the popular girls, and no one could mess with her.

No one but karma, apparently.

- "(Y/N)!! (Y/N)!! Where the hell are you?!"- everybody in the place could hear Rachel yelling backstage, looking for (Y/N).

- "I'm here! What is it?"- the girl waved and continued painting part of the background of the play.

- "I need you to sew my dress!"- Rachel commanded and literally threw her outfit on (Y/N)'s face.

- "You were supposed to have it done already! The premier is tomorrow!"

(Y/N) sighed and smiled at Rachel. Of all the people in the club, (Y/N) was the only one who didn't hate her. If anything, (Y/N) was the only one who was still somehow friendly with her. Why? 'Cos she couldn't' help it. She was just too nice for her own good.

- "Give me ten minutes, Rachel. You'll have it ready for the rehearsal"- (Y/N) answered and smiled- "Just let me wash my hands. I don't want this to be all covered with paint."

- "You better don't!"- Rachel mumbled and walked away.

- "How on earth can you be so nice with that bitch?!"- Tina turned to (Y/N) and raised an eyebrow- "Each time I hear her talk, I have to make a major effort not to break her fake nose against a wall"

- "Come on!"- (Y/N) frowned and shook her head- "She is just nervous. She is the lead. You know that can get to you when you are performing."

- "She was born being the lead. The lead witch of the meanest coven I've ever seen"- Tina added and shook her head- "Honey, you are too sweet with her, and people like her eat nice girls like you for breakfast.·

- "I'm not gonna change who I am just 'cos she is mean. And she hasn't done anything to me."

- "(Y/N)!"- Rachel yelled- "That dress is not going to sew itself!"- Tina looked at (Y/N) right into the eyes, and the girl just smiled.

- "She is just nervous. Don't be mean."

But Rachel wasn't friendly. Not with (Y/N), and not with anyone in the whole club. For twenty-two years old, she could be very juvenile. (Y/N) could understand her, though. She didn't know why, but she couldn't be mad at Rachel. If anything, she felt sorry for her. (Y/N) was sure it had to be a burden to be like that, and she bet Rachel didn't know better.

- "Hello?"- (Y/N) walked into Rachel's dressing room and picked up the phone, excited to read Spencer's name on the screen.

- "Hello princess, how are you?"

- "Hello honey, I miss you so much."- (Y/N) replied and nearly sighed just by hearing Spencer's voice at the other side of the line.

- "I miss you too, Bunny. I'm calling from the airport with good news, though. We are on our way back home."

- "Really? You caught the bad guy?!"- the way (Y/N) asked about the case made her sound younger and more naive than she was. Spencer smiled and blushed, imagining her shiny eyes and her excited face. Rachel cleared the throat and handed (Y/N) the dress and the sewing kit.

- "Yes, we'll be back home tonight, so do you wanna grab a late dinner with me?"

- "Of course! I'm in rehearsal right now, wanna meet at my place? I'll ask for some take-out from your favorite Korean place."

- "Sounds like a plan. See you later, princess."

- "I love you, Spencer."

- "I love you too."- Rachel rolled her eyes as (Y/N) placed her phone back in her pocket and started sewing her dress.

- "So, you have a boyfriend?"- the way Rachel asked that question made it sound like it was something shocking and improbable to happen.

- "Yes, Spencer and I have been dating for over half a year already,"- (Y/N) answered proudly

- "Spencer, uh?"- Rachel repeated his name and looked at (Y/N), raising an eyebrow- "And what does he do?"

- "He works at the FBI"- the girl answered with a big proud smile- "He is a profiler at the BAU."

- "What does that mean? Does he makes good money?"

(Y/N) chuckled and shook her head. She didn't even know if Spencer made good money or not at his job. But she knew the most important thing about it: that he loved what he did for a living and that he was happy going to work every day, 'cos he had the chance to save people's lives.

- "He analyzes the behavior of mass murderers and catches serial killers."- (Y/N) explained with pride in her voice- "He has been out of town for two weeks, and he just called to tell me he is coming back home."

- "Does he travel often?"- Rachel asked and raised an eyebrow staring at (Y/N), who smiled and nodded, sewing her dress.

- "Yes, he and the team have to work across the country."

- "So, how do you deal with all the cheating?"

- "What?"- (Y/N) frowned and looked at Rachel for a moment, confused and shocked by her words.

- "Oh, come ok, honey. If he travels so much, it's only obvious he must have some flings now and then. After all, he is a man."

- "You don't know Spencer. He is not like that"- (Y/N) answered and returned to her job. Rachel stood up and sighed.

- "Oh honey, I know men, and they are all the same. They can't keep it in their pants."

And after those poisonous words, Rachel chuckled and walked out of the room.

(Y/N) tried not to think about what she had just heard. Instead, she continued sewing and repeated to herself Rachel had no idea what she was talking about. It was clear someone had broken her heart, and now Rachel couldn't trust anyone. Maybe she didn't want anyone to trust anyone anymore. Whatever was the reason, (Y/N) felt it didn't mean Rachel was a bad person, only someone who had gone through some bad situation that had gotten the best of her.

(Y/N) made a mental note to invite her for ice cream or some tea after the play and talk. Maybe what Rachel needed was a friend.

- "Help!! Help me!"- someone yelling took (Y/N) from her thoughts and made her jump from her spot and run outside.

- "Help me! Please!!"

- "What happened?"- (Y/N) and the rest of the drama club found Rachel on the floor, crying in pain.

- "I was trying on the shoes for the play, and I think I sprained my ankle!"- Rachel yelled and hit the floor- "Call a fucking medic!"

- "Fucking call a medic yourself!"- Tina answered and turned around- "You have a fucking cellphone in your hand. Probably you fell 'cos you were too busy taking selfies to look where you were going."

- "I'll help you. Just stay still."- (Y/N) whispered and kneeled next to Rachel- "Let me get you some ice."

- "Hurry up!!"- Rachel grunted, crying. Tina rolled her eyes and turned around to go back to what she was doing.

- "That bitch doesn't deserve your help."

- "I need your help!"- (Y/N) nearly tackled Spencer as soon as he showed up at her door later that night.

- "Hello to you too, princess"- he answered and kissed her lips, chuckling.

- "Sorry, hi, how are you? How was your flight?"- she asked all the questions at once as she held his hand and crawled him into her apartment.

- "I'm so happy to see you!"- he said and smiled, keeping his eyes on her. (Y/N) walked around, searching for something.

- "Here!"- and when she found it, she handed it to Spencer and smiled- "I need your help!"

- "What is it, bunny?"

- "Remember the play I'm in? That I'm the substitute for the lead role?"

- "Yes, I remember."

- "The play is tomorrow, and two hours ago, Rachel Cooper sprained her ankle doing wardrobe fitting. And now I am going to be the mass murdered nurse killing it in the play!"- (Y/N) smiled and hugged Spencer.

- "Oh! But I feel so bad Rachel is hurt. I sent her chocolates and flowers. I hope that cheer her up a little bit."

- "Wait, wait, wait! Are you telling me my girlfriend is going to be the lead in the play?"- Spencer asked her, surprised. (Y/N) just nodded frenetically, and he hugged her again.

- "Buttercup! This is great!"

- "But I need your help with my lines! Please help me, Obi-Wan."

- "I'm guessing those are not your line."- Spencer joked, and (Y/N) giggled.

- " I only had one whole rehearsal today, and that's it. I need to work on my lines with someone for tomorrow."

Spencer stared at her excited and happy smile, and it didn't matter that he was exhausted from the travel and the last two weeks of work. He couldn't say no to that smile.

- "Of course I'll help you!"- (Y/N) clapped and jumped on her stop.

- "Thank you so much!"

- "But please tell me you got me tickets for tomorrow."

- "For you and the rest of the team, if they want to go."- (Y/N) replied and kissed her boyfriend's lips- "Thank you, Spencer. You are the best."

The next evening, Spencer dragged the whole team along with him to see (Y/N)'s play. He had never been more excited about going to the theater before. He had bought (Y/N) flowers, and he made sure to have the best seats in the whole place.

- "Ok, pretty boy,"- Morgan chuckled as he noticed Spencer kept fidgeting his fingers nonstop- "Why are you so nervous? It's just a play for fun."

- "I don't know. I just want (Y/N) to enjoy her time and be proud of what she does."

- "I'm sure she will"- Penelope smiled at Reid and tapped on his arm- "I'm just scared she is too sweet to portrait an unsub."

- "Yeah, me too!"- JJ whispered and shook her head.

- "But the kid is a good actress, and she is going to be great,"- Derek added and turned to Spencer- "You've seen her acting before. Is she good?"

- "Yes, very."

- "You are not a reliable source"- Prentiss argued and opened a bag of jelly beans- "You are having sex with her. You are not objective."

Spencer wanted to argue with Emily, but he couldn't even make a sound. He felt so embarrassed and mortified with Prentiss's comment, and he couldn't even talk about the subject.

The lights went out, and the audience started clapping. Spencer's stomach tightened as he held his breath. He was more nervous than (Y/N) was, and she was the one walking into the stage that very same second.

An hour had passed, and Spencer Walter Reid couldn't move. He was glued to his seat, and his eyes could barely even blink. He was hypnotized by the beauty of the woman on that stage. A woman who looked so much like his girlfriend but acted entirely differently.

Was it wrong to feel so attracted by someone who was portraying a mass murderer? Was it considered cheating being drawn in such a profound way to someone who was nothing like his girlfriend, even when it was actually his girlfriend?

Spencer couldn't move. He could barely register what was going on around him and how Penelope giggled when she noticed (Y/N) hypnotized Reid in a way that only a man under a spell could be.

And that spell was lust.

When the play was over, Spencer stood up and clapped until his hands hurt. (Y/N) looked at him and smiled sweetly, thinking she couldn't believe what had just happened. She was the lead role on a play, and she nailed it. She had killed it. Literally, 'cos she had killed pretty much the whole cast during the show. She had been someone completely different than she was in real life, and she loved it. It had been fun, and she felt proud of her job.

- "Munchkin!!"- Penelope yelled as soon as she saw (Y/N) walking to them backstage- "You were amazing!!"

- "Thank you so much, Penelope!!"- (Y/N) chuckled and hugged her friend- "I'm so happy you are all here!"

- "You are the only unsub we are looking for tonight, pretty girl!"- Derek hugged her too, and his words made her laugh

- "You are definitely some actress! I couldn't believe that was really you!"

(Y/N) knew she was blushing as Emily complimented her acting. The girl nodded and hugged JJ, to then look behind her friend to find one shy Spencer Reid staring at her in deep love and adoration.

- "Hi. I think I saw you clapping in the audience,"- (Y/N) joked and walked over to Spencer. He opened his mouth to answer, but nothing came from his lips, 'cos his eyes were on (Y/N)'s clothing.

She was still wearing the nurse outfit from the play. And though it wasn't necessarily sexy (not in the sexy nurse costume you usually see), it did things to him. Things Spencer had to suppress to act like a human being of his friends were there too.

- "You were incredible"- that was all Reid could mumble as he hugged his girlfriend and gave her the flowers he had gotten for her.

- "Thank you, honey"- (Y/N) hugged him and noticed how his arms held her tighter and closer. She knew Spencer wasn't very comfortable being physical with her around his friends, especially around Derek, 'cos he would tease them until Garcia smacked him.

But that night, Spencer didn't really care. In fact, he couldn't help it. He needed to feel her, to touch her, to kiss her. And so he did. He kissed (Y/N) slowly at first, his lips recognizing hers and enjoying her softness. But within seconds, his kiss got hungrier and more passionate. It was a kiss that he had been imagining for the last hour and a half, watching her acting. And he didn't know how to control that passion anymore.

- "Woo, kid! Slow down!"- Derek chuckled and started joking, but Spencer didn't even pay attention to him. His hands held (Y/N) closer, cupping her face against him, making her moan softly.

- "Ok, ok, please stop! This is disturbing!!"- Garcia complained, but they didn't break the kiss either- "Ok, we'll wait outside, come on, Derek!"

- "Kid, what's..."- But Morgan couldn't continue making fun of Spencer, 'cos Penelope literally dragged him outside, along with Emily and JJ, who were laughing.

(Y/N) giggled, but Spencer didn't break the kiss. His tongue played between her lips slowly, and his hands moved slowly down her back until they reached her waist.

- "I have the feeling you really like me on this play,"- (Y/N) whispered, as her lips rubbed her boyfriend's as she spoke. He chuckled and nodded, deepening the kiss again.

- "Very much."

- "Is it the outfit?"- (Y/N) asked and rested her forehead against Spencer's. He sighed and looked at her for a second.

- "If I have to be honest, I think it was the whole thing,"- he confessed, blushing. For someone who had shamelessly made out with his girlfriend in the middle of a room filled with strangers, he was suddenly timid.

- "You were so different, and... please don't get me wrong. I love you, and I love who you are. But the way you acted... how you played the role of a mean girl..."

- "Did that turn you on?"- (Y/N) whispered, feeling her cheeks turning all shades of pink. Spencer chuckled and bit his lips. He couldn't even speak, so he just nodded and looked at his girlfriend.

- "Do you wanna know something that might make you happy?"

- "What?"- even when they were incredibly close, and no one could hear what they were talking about, (Y/N) leaned in and whispered in his ear.

- "Rachel Cooper's outfit didn't fit me, so I had to buy this one. Which means, I'm gonna take this nurse back home with me, in case you wanna play with her later"- Spencer wide opened his eyes and looked at her, gulping.

- "Really?"

- "Yes, Doctor Reid. Now I suggest you be good and behave in front of your friends. We'll talk about this when we are back in my place. Ok?"- Spencer's words got caught in his throat when he heard (Y/N) giving him commands. All he managed to do was to nod, and her lips sealed the deal with a hot sloppy kiss.

Who could have imagined two nice kids were going to find out they were both pretty dirty at the very same time?

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Taglist: 

@all-tings-diego​ @calm-and-doctor​

[astrognossienne]

tragic beauty: lupe vélez - an analysis

“I had to play with boys, girls found me too rough.” -  Lupe Vélez  

This is an analysis I’ve wanted to cover for a while for quite a few reasons. Primarily because, in a few ways, I see myself in her and, as such, feel the need to defend her and assert her true legacy: as a pioneer. Which brings me to the main reason I wanted to do this: to correct the scurrilous rumours about her premature death cooked up by a hating ass imbecilic Aquarius whose infamous book doesn’t deserve to be named. So if you want to hear the truth about this lady, read on.

Known as the “Mexican Spitfire”, Latin bombshell Lupe Vélez was (an to an extent, still is) a much-maligned and terribly misunderstood woman. A true Cancer, she was a force of nature and unconsciously antagonized others and made them uncomfortable because of her authenticity to herself and her emotional nature. Born during a storm, she had a naturally stormy personality. She could be hilarious and charismatic one moment, and depressive and vicious the next. Instead of anyone trying to understand her, they just stuck her with the “spicy fiery Latina” stereotype, not knowing or caring what was behind it. The harshness of her life before stardom may explain some of her fearsome, yet fun, personality; she grew up with violent trauma – watching her father kill and almost be killed during the Mexican Revolution. She also is believed to have had undiagnosed bipolar disorder, which would explain her extreme moodiness and outbursts.

One of the first Latina actresses to make an impact in Hollywood, she was subjected to the racist, sexist Hollywood tropes that forever typecasted her—she was called “senorita cyclone,” and the “hot tamale”. The Hollywood press willfully misunderstood Vélez’s sex positivity and consistently portrayed her as a woman who took great pleasure in her body, and indeed, the tempestuous Vélez had numerous affairs, including a particularly torrid one with a young Gary Cooper, and a tumultuous marriage to “Tarzan” star Johnny Weissmuller. But in 1944, at age 36, she found herself pregnant with the child of a little known-actor name Harald Ramond, who would not marry her and this reality made her come undone, and like my other baby Carole Landis, she succumbed to an drug overdose. Her promiscuity, right or wrong, became part of the way her stardom was packaged and promoted. Also, the press naturally compared her to (and pitted her against) Hollywood’s only other female Mexican star—the “high-class” and elegant Dolores Del Rio. The press couldn’t even find sympathy for her even in death and a false story was printed that she drowned in the toilet after vomiting up a spicy Mexican dinner. Her death is parodied and mocked to this day. Again, she’s a true Cancer in the sense that the same imperfections that everyone else has, she is seen as less than human for having them. I hope to help right that wrong by honoring Vélez for being the trailblazer that she is. At any rate, Vélez would seem to be a prototype for contemporary female stars, from Madonna to Rihanna, who have proclaimed their pleasure in their body and their sexual liberation — a pro-sex activist before her time, doomed to suffer the rejection of a more puritanical age.

Lupe Vélez, according to astrotheme, was a Cancer sun and Leo moon. She was born María Guadalupe Villalobos Vélez in San Luis Potosí, Mexico, to young upper-middle class parents. Her father, Jacobo Villalobos Reyes, was a colonel in the military, and her mother, Josefina Vélez, was an opera singer. They also had another son, John and daughter, Annette. The Villalobos family were considered prominent in San Luis Potosí and most of the male family members were college educated. The family was also financially comfortable and lived in a large home with servants. As a young girl Lupe showed an interest in performing, but her father was outraged at his daughter’s “low-class” dreams, and forbade his daughter from being in show business. All that changed during the war. Her family was in a state of upheaval—the Mexican Revolution was happening, her father had been presumed dead in the war and all their money was gone. While most of her family members were too proud to get jobs, a teenage Vélez did just that, supporting the family by working as a saleswoman in a department store. She then finagled an audition with a local theater. However, her father was indded alive and well and soon returned home from the war. Because at that time becoming an artist and coming from a well-to-do family was seen as embarrassing, her father refused to let her use his last name in theater, so she used her mother’s surname.

She proceeded to seek out venues where she could dance the then-popular “shimmy.” In 1925 she was cast in the big stage revues Mexican Rataplan and !No lo tapes! and became a big audience favourite. Her name got around to American stage star Richard Bennett (father of American film stars Constance and Joan Bennett), who was looking for a Mexican cantina singer for his new play. Lupe traveled to Hollywood but was rejected for the part for being too young. While in Hollywood, Lupe met film and stage comedienne Fanny Brice, who took a liking to Lupe because of her sparkling personality. She put in a good word for Lupe to impresario Florenz Ziegfeld (creator of the Ziegfeld’s Follies), who could use Lupe in one of his Broadway musicals. However, MGM producer Harry Rapf heard of Lupe as well, and offered her a screen test. When producer Hal Roach saw the test, he immediately signed her to a contract. Vélez soon made her major film debut in Douglas Fairbanks’ action-romance The Gaucho in 1927. The film was a huge hit and Vélez was an overnight sensation.

Along with her professional life gaining steam, so did her love life. Vélez sought out some of Hollywood’s hottest men, which wasn’t hard for a hot and sexy number like Lupe; men flocked to her like bees to honey. She was romantically linked with Gary Cooper, Charlie Chaplin, Clark Gable, cowboy Tom Mix, “Tarzan” actor Johnny Weissmuller, Errol Flynn, John Gilbert, Henry Wilcoxon, singer Russ Columbo, Randolph Scott, author Erich Maria Remarque (who wrote All Quiet On The Western Front and later married Paulette Goddard), Clayton “Lone Ranger” Moore, director Victor Fleming (director of Gone With The Wind), and boxers Jack Johnson and Jack Dempsey.

One of her first conquests was cowboy star Tom Mix. She also had an with newcomer Clark Gable, who cut off their romance because he was afraid Lupe would run all over town discussing their sexual secrets, which she did. Soon she had a torrid affair with comic genius Charlie Chaplin in 1928. Lupe revitalized Chaplin’s libido after he had gone through a torturous divorce from his wife. Whatever time she had for the many men in her life, that same appreciation didn’t extend to other women and she would frequently battle with the other females with whom she had to work with and would often threaten them; when she was starring in director D.W. Griffith’s Lady of the Pavements, she had to co-star with an actress named Jedda Goudall, whom she hated, and the two had a ferocious cat-fight on the set. When she made her final appearance on Broadway in the Cole Porter musical “You Never Know”, Vélez and fellow cast member Libby Holman feuded viciously. The feud came to a head during a performance where Vélez punched Holman in between curtain calls and gave her a black eye, which pretty much ended the run of the show. Vélez was territorial about the men in her life, she was vicious toward any woman who might be competition for her man or an acting role. She mocked Marlene Dietrich, Greta Garbo, Katharine Hepburn and Shirley Temple, and her arch nemesis Dolores Del Dio by doing imitations of them.

When she was cast in the film The Wolf Song in 1929, she met Gary Cooper and immediately started what would be her first widely publicized romance. Theirs was a one-sidedly volatile relationship; he would often appear in public with scratches and bruises. One time, she attacked him with a knife during a fight. He needed stitches. By the end of their time as a couple, Copper had lost 45 pounds and was physically exhausted.  He was ordered by the studio to take a vacation. As he boarded a train, Vélez shot at Cooper but missed. Lupe soon moved on to other men; she had a thing for fighters. In addition to having a brief fling with boxer Jack Dempsey, she conducted a flagrant, but secret, affair with the black boxer Jack Johnson. In those days, blacks and whites almost never conducted sexual affairs out in the open. She met Olympic swimming champion Johnny Weissmuller at the hotel where she was staying that was owned by film star Marion Davies. One problem: Weissmuller was already married. But no matter, he dumped his wife for Lupe and married her October 8, 1933 in Las Vegas. Theirs was not a happy, serene marriage, and they constantly battled, with Lupe filing for divorce several times in 1934 and changing her mind each time. Weissmuller’s patience was so strained he dumped a plate of salad on her head at Ciro’s nightclub. Finally, in 1938 she filed a petition that was finalized in 1939.

After having many hit pictures with MGM, they unceremoniously dropped her. The excuse was that the studios were no longer going to make Spanish versions of their films and there was no longer a need for Latin actresses. Vélez returned to Mexico in 1938 to star in her first Spanish-language film. Arriving in Mexico City, she was greeted by 10,000 fans. The film La Zandunga, was a critical and financial success and Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles. She soon went to RKO Studios and starred in the B-movie The Girl From Mexico. Despite its lowly status, the picture became a tremendous hit with audiences. RKO rushed her into another film, this time called Mexican Spitfire, playing an emotionally volatile singer named Carmelita. The 1940 film became another smash for Lupe. The Spitfire series of eight slapstick comedy films rejuvenated Lupe’s sagging career.  In late 1941, she had an affair with writer Erich Maria Remarque whose wife, actress Luise Rainer later wrote that Remarque told her “with the greatest of glee” that he found Vélez’s volatility hot.

At this same time Lupe took on another lover in the form of a French 27-year-old bit actor named Harald Ramond. He was a strong and controlling man who knew how to tame Lupe. After she discovered that she was three months pregnant, she announced her engagement to Ramond without his knowledge or consent. When he learned of her pregnancy, he refused to marry her. Deeply hurt and stunned, she felt backed into a corner; she knew her career would be ruined in Hollywood if word got out she was pregnant and unmarried. It just wasn’t done in those days. And despite her wildness, Lupe was a devout Catholic, so abortion was out of the question. She could see only one way out: suicide. On December 18, 1944, at the age of 36, Vélez swallowed 70 Seconal pills, she lay down on her pink satin pillow on her over-sized Hollywood bed and arranged herself like a movie star, with her hands folded across her chest and went into an eternal sleep. Dramatic to the end, Lupe went out of this world in glamorous style. She left a suicide note addressed to Harald, which read:

“To Harald, May God forgive you and forgive me too, but I prefer to take my life away and our baby’s before I bring him with shame or killing him. How could you, Harald, fake such a great love for me and our baby when all the time you didn’t want us?  I see no other way out for me so goodbye and good luck to you, Love Lupe.”

THAT is the truth. But the bottom line is: how she lived her life as well as the circumstances around her death are all irrelevant at the end of the day. What matters is the loss of a great multi-talented, pioneering Mexican star and a legacy unrealized and stunted by a world that wasn’t ready for her.

Next, I’ll talk about the most famous of her paramours, the yin to her yang, a perfect example of the special chemistry that Taureans and Cancers share, the strong, silent hero of the silver screen: Taurus Gary Cooper.

Stats

birthdate: July 18, 1908

major planets:

Sun: Cancer

Moon: Leo

Rising: Gemini

Mercury: Cancer

Venus: Leo

Mars: Pisces

Midheaven: Pisces

Jupiter: Virgo

Saturn: Aries

Uranus: Capricorn

Neptune: Cancer

Pluto: Gemini

Overall personality snapshot: She may have seemed at times to be a shy, vulnerable, romantic individual who only wanted to please, but underneath she had a voracious appetite for adoration and respect, and would not stop until she got it. Without a doubt, she had a very warm feeling for others, and domestic security with plenty of happy togetherness is high on her list of priorities. When it came to cooperation with others, however, she had her limits because she was profoundly individualistic and, albeit in a charming manner, she insisted on doing things her way. Ultimately the most important thing for her was believing in herself and being true to her standards and aspirations. Most of all, she needed to fulfill her creative potential, which was like an intimate companion with whom she shared her life. You nurture it, protect it, and then you show it off, and whatever walk of life you are in, you tend to be a fine performer.

This gave her a lot of self-respect and a touch of vanity as well, and her emotional sensitivity combined with her underlying imperiousness tended to impress others and made them take her seriously. She was a devoted member of her flock, and she zealously and jealously protected and promoted whomever she was devoted to. When it came to developing her own talents, however, she seemed to know that she had to pull away in order to grow into her greatest self. Others may have thought she was a bit of a show-off but that was not the case: she simply had a deep sense of the importance of her own creative talents, and she felt only half alive if she did not honour them. Although she was pretty sensitive to criticism or rebuffs, she was just as committed to honesty and personal integrity; and despite her vanity, she eventually learned to laugh at herself.

She had a very good memory and found it easy to learn subjects that interested her. She was very kind and thoughtful towards others. Her imagination was very keen, but if it got carried away, she may have experienced irrational fears. Even though she may have tried to maintain a scientific and objective outlook, her mind was actually dominated by her emotions. When it came to careers, she may have felt initially vague or confused about what she really wanted to do. She was eventually forced to give up her career of choice by events out of her control (as was evidenced by the tides turning from the “Mexican spitfire” female ideal due to the changing of the times). There was probably some element of self-sacrifice involved somewhere in her choice of career (the element of sacrifice being that she had to sacrifice her child, and ultimately her life, in relation to her reputation as an unwed mother as well as her unborn child’s reputation as an illegitimate child). She had good technical and scientific ability due to her, at times almost fanatical, attention to detail. She was also fastidious when it came to matters of health, diet and appearance. She was not afraid of work and was very resourceful and capable. She also worked well in a team. She became very annoyed if somebody else questioned the way that she operated. Her energy levels were somewhat inhibited, her self-confidence reduced, and her ambitions restricted through fear of failure. Times of strength and weakness alternated within her. Even though her decision-making ability could be ineffectual through over-caution, she often seemed to be placed in situations where a quick decision was needed. When she succeeded, it was mainly through her own efforts. She also showed a tendency towards wanting to start at the top, wanting to avoid the hard work that gets you there.

She belonged to a generation with a rational and logical attitude to life. There was a conflict between tradition and convention, and the experimental and unconventional. As an individual, she had to learn to strike a balance between the erratic and the conventional. As a member of this generation, she had the ability to come up with original ideas which could be of practical value. She was part of a very artistically talented and creative generation that wanted to escape from the demands of the world around them into a world of excitement and glamour. She was part of an emotionally sensitive generation that was extremely conscious of the domestic environment and the atmosphere surrounding her home place and home country. In fact, she could be quite nostalgic about her homeland, religion and traditions, often seeing them in a romantic light. She felt a degree of escapism from everyday reality, and was very sensitive to the moods of those around her. Bow embodied all of these Cancer Neptunian ideals. As a Gemini Plutonian, she was mentally restless and willing to examine and change old doctrines, ideas and ways of thinking. As a member of this generation, she showed an enormous amount of mental vitality, originality and perception. Traditional customs and taboos were examined and rejected for newer and more original ways of doing things. As opportunities with education expanded, she questioned more and learned more. As a member of this generation, having more than one occupation at a time would not have been unusual to her.

Love/sex life: It wasn’t easy to be passionate and emotionally explosive and also hold on to her dignity, but this was what she wanted to accomplish. She tried to conceal the pulsating softness of her sexual nature behind a façade of control and bluster. She thought that her display of strength and jolly self-confidence would hide her vulnerability and her susceptibility to virtually any sexual diversion. Of course, no one was really buying this cover up. They saw the luscious edges of her erotic hunger peeking through her disguise. That’s why they were all so anxious to be around her. The biggest problem in her sex life was how to deal with change. She loved it and she hated it. She loved following the lead of her feelings and surrendering herself to the moment. Too much consistency, even loving consistency, was apt to leave her bored and dissatisfied. But she also saw change as a threat to her sense of control and to the emotional security that she valued so highly. Because of this duality in her thinking, her reaction to changes in her sex life was abrupt, contradictory, and (horror of horrors) a little undignified.

minor asteroids and points:

North Node: Gemini

Lilith: Libra

Vertex: Scorpio

Fortune: Gemini

East Point: Gemini

Her North Node in Gemini dictated that she needed to prevent her idealism from influencing her thoughts to such a high degree. She needed to consciously develop a more clear-minded and analytical approach involving her thought processes. Her Lilith in Libra was definitely working overtime here. Relationships somehow caused her to err, and her partner choices caused much suffering.   She expressed herself through others. As a lover, she was aggressive, yet co-dependent. As a mistress, she was not above trying to cause a divorce, which she did with Johnny Weissmuller and she ultimately became fatally despondent when she found herself pregnant with a bit actor's baby. She used her good looks as a weapon to help her get ahead in the movie industry. Also, Lilith in Libra strangely enough, manifested itself as a sort of lighter female Capricorn archetype, and she pulled herself up by the bootstraps in a rather glamorous way, going to work after her father left the family unit. As such, she exhibited graceful gumption right until the very end. Her Vertex in Scorpio, 5th house dictated that she had a desire or continual need for feeling irresistible and irreplaceable on all levels of intimacy, whether spiritual, intellectual, emotional, or physical. From the fires of hell to the heights of heaven, the  further and deeper the range of interaction she could experience with another the more fulfilling. She had a childlike orientation, in all of its manifestations, toward relationships on an internal level. That implicit trust, or perhaps naivete, that was instilled in our  childhood persisted far into maturity. The concomitant explosions and  occasional tantrums when these constructs are violated also accompany  this position. She had a need for fun, creativity, and excitement in a  committed relationship, no matter how many years it has endured. She often had deep fears, typical of children, of abandonment, as well as a need for universal acceptance, no matter how she acted, which she needed her partner to respect and nurture, rather than rebuke, especially in adulthood. Her Part of Fortune in Gemini and Part of Spirit in Sagittarius dictated that her destiny lay in travel, education and communication. She was able to overcome enemies by her words and by her writing. Happiness and fulfillment came from being able to express herself fully. Her soul’s purpose lay in seeking truth, justice and fairness. She felt spiritual connections and saw the spark of the divine when she studied, broadened her mind through new philosophies, or looked for inspiration outside the home. East Point in Gemini dictated that she was often insatiably curious and loved to collect little bits of (what seemed to be useless) information and trivia. Her interests were quite varied, and she may have been somewhat scattered. Sometimes her curiosity could appear cold and callous as her level of objectivity was potentially high. There was usually an openness to learning in any situation.      

elemental dominance:

water

fire

She had high sensitivity and elevation through feelings. Her heart and  her emotions were her driving forces, and she couldn’t do anything on earth if she didn’t feel a strong effective charge. She  needed to love in order to understand, and to feel in order to take action, which caused a certain vulnerability which she should (and often did) fight against. She was dynamic and passionate, with strong leadership ability. She generated enormous warmth and vibrancy. She was exciting to be around, because she was genuinely enthusiastic and usually friendly. However, she could either be harnessed into helpful energy or flame up and cause destruction. Ultimately, she chose the latter. Confident and opinionated, she was fond of declarative statements such as “I will do  this” or “It’s this way.” When out of control—usually because she was  bored, or hadn’t been acknowledged—she was bossy, demanding, and even tyrannical. But at her best, her confidence and vision inspired others  to conquer new territory in the world, in society, and in themselves.    

modality dominance:

mutable

She wasn’t particularly interested in spearheading new ventures or dealing with the day-to-day challenges of organization and management. She excelled at performing tasks and producing outcomes. She was flexible and liked to finish things. Was also likely undependable, lacking in initiative, and disorganized. Had an itchy restlessness and an unwillingness to buckle down to the task at hand. Probably had a chronic inability to commit—to a job, a relationship, or even to a set of values.                    

house dominants:

2nd

3rd

1st

The material side of life  including money and finances, income and expenditure, and worldly goods was emphasized in her life. Also the areas of innate resources, such as her self-worth, feelings and emotions were paramount in her life. What she considered her personal security and what she desired was also paramount. Short journeys, traveling within her own country were themes  throughout her life; her immediate environment, and relationships with her siblings, neighbours and friends were of importance. The way her mental processes operated, as well as the manner and style in which she communicated was emphasized in her life. As such, much was revealed about her schooling and childhood and adolescence. Her personality, disposition and temperament is highlighted in her life. The manner in which she expressed herself and the way she approached other people is also highlighted. The way she approached new situations and circumstances contributed to show how she set about her life’s goals. The general state of her health is also shown, as well as her early childhood experiences defining the rest of her life.  

planet dominants:

Neptune

Mercury

Sun

She was of a contemplative nature, particularly receptive to ambiances, places, and people. She gladly cultivated the art of letting go, and allowed the natural unfolding of events to construct her world. She followed her inspirations, for better or for worse. She was intellectual, mentally quick, and had excellent verbal acuity. She dealt in terms of logic and reasoning. It was likely that she was left-brained. She was restless, craved movement, newness, and the bright hope of undiscovered terrains. She had vitality and creativity, as well as a strong ego and was authoritarian and powerful. She likely had strong leadership qualities, she definitely knew who she was, and she had tremendous will. She met challenges and believed in expanding her life.

sign dominants:

Cancer

Gemini

Leo

At first meeting, she seemed enigmatic, elusive. She needed roots, a place or even a state of mind that she could call  her own. She needed a safe harbor, a refuge in which to retreat for solitude. She was generally gentle and kind, unless she was hurt. Then she could become vindictive and sharp-spoken. She was affectionate, passionate, and even possessive at times. She was intuitive and was  perhaps even psychic. Experience flowed through her emotionally. She was often moody and always changeable; her interests and social circles shifted constantly. She was emotion distilled into its purest form. She ventured out to see what else was there and seized upon new ideas that expanded her community. Her innate curiosity kept her on the move. She used her rational, intellectual mind to explore and understand her personal world. She needed to answer the single burning question in her mind: why? This applied to most facets of her life, from the personal to the impersonal. This need to know sent her off to foreign countries, where her need to explore other cultures and traditions ranked high. She was changeable and often moody. This meant that she was often at odds with herself—the mind demanding one thing, the heart demanding the opposite. To someone else, this internal conflict often manifested as two very different people. She loved being the center of attention and often surrounded herself with admirers. She had an innate dramatic sense, and life was definitely her stage. Her flamboyance and personal magnetism extended to every facet of her life. She wanted to succeed and make an impact in every situation. She was, at her best, optimistic, honorable, loyal, and ambitious.      

Read more about her under the cut.

Lupe Velez was born on July 18, 1908, in San Luis Potosi, Mexico, as Maria Guadalupe Villalobos Velez. She was sent to Texas at the age of 13 to live in a convent. She later admitted that she wasn't much of a student because she was so rambunctious. She had planned to become a champion roller skater, but that would change. Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but she kept a little for herself so she could take dancing lessons. With her mature shape and grand personality, she thought she could make a try at show business, which she figured was a lot more glamorous than dancing or working as a salesclerk. In 1924 Lupe started her show business career on the Mexican stage and wowed audiences with her natural beauty and talent. By 1927 she had emigrated to Hollywood, where she was discovered by Hal Roach, who cast her in a comedy with Stan Laurel and Oliver Hardy. Douglas Fairbanks then cast her in his feature film The Gaucho (1927) with himself and wife Mary Pickford. Lupe played dramatic roles for five years before she switched to comedy. In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful. In 1934 Lupe appeared in three fine comedies: Strictly Dynamite (1934), Palooka (1934) and Laughing Boy (1934). By now her popularity was such that a series of "Mexican Spitfire" films were written around her. She portrayed Carmelita Lindsay in Mexican Spitfire (1940), Mexican Spitfire Out West (1940), The Mexican Spitfire's Baby (1941) and Mexican Spitfire's Blessed Event (1943), among others. Audiences loved her in these madcap adventures, but it seemed at times that she was better known for her stormy love affairs. She married one of her lovers, Johnny Weissmuller, but the marriage only lasted five years and was filled with battles. Lupe certainly did live up to her nickname. She had a failed romance with Gary Cooper, who never wanted to wed her. By 1943 her career was waning. She went to Mexico in the hopes of jump-starting her career. She gained her best reviews yet in the Mexican version of Naná (1944). Bolstered by the success of that movie, Lupe returned to the US, where she starred in her final film as Pepita Zorita, Ladies' Day (1943). There were to be no others. On December 13, 1944, tired of yet another failed romance, with a part-time actor named Harald Maresch, and pregnant with his child, Lupe committed suicide with an overdose of Seconal. She was only 36 years old. (x)

[itspufflehuff]

Spidey Part2 - Sebastian Stan X Holland!Reader

Summary: What will happen between you and your brothers co-star after sparks fly in your first meeting at comic-con?

Part One | Part Two | Part Three | Part Four | 

MATERLIST // TAGLIST

I wasn't planing on making a part two but as requested by @star-gazing-game here it is! You can read part one here and part three here. If anyone ever has a request or suggestion my messages are always open! Thank you for choosing to read my story and I hope you enjoy!

Word Count: 4,935 (wow for a story I didn't plan on making I sure got lost in it. This is twice as long as the first story!)

~~~~

Once comic con ended you and Sebastian went your separate ways, making sure to exchange numbers first. The both of you still had to do some promoting for your movies and unfortunately, they were in different parts of the country. He would stay in California for a bit while you went back to New York. That didn't stop you from keeping up with each other. He would randomly message you throughout the day and it would always bring a smile to your face.

Sebastian: Another interview with the diva 🙄. I mean does he really need someone to carry all those juice boxes for him?

You were currently sitting in your apartment getting ready to have dinner. You were still appearing on talk shows promoting your movie and your career, now that people were noticing you more it was the perfect opportunity for you to talk more about your usual work and gain more of a following. Tonight you would be on SNL performing a parody skit of Wicked.

Laughing you responded back.

Y/N: Ugh I know right! He thinks he's so much better than anyone like 'oh look at me I'm Spider-Man' 🙄 go get your juice box and let the adults handle this

Less than a minute later your phone rang again.

Sebastian: I can't believe people think he's the better Holland when it's obvious you are.

Y/N: Thank you! Finally, someone who sees how much better I am than him

You set your phone down leaving it unlocked waiting for Sebastian's next reply. Instead, your phone read 'Tommy' as a video call came through. Confused as to why he would be calling you before an interview, you moved your food aside and swiped to answer the call.

Before you got to greet him Tom spoke, "Why are you texting Sebastian?"

Although his question caught you off guard that didn't stop you from thinking of a quick response.

Faking disappointment you shook your head, "Oh Tommy, have you been snooping on people's phones again? Hasn't mum talked to you about that already? Does she need to have another chat with you?"

His face turned a tint of red as everyone behind him laughed. You heard a voice call out, "Someone please tell me you got that on camera." It was Mackie.

Someone called back to him, "We got it!" Again everyone burst into laughter. Obviously embarrassed Tom cleared his throat, "I'll call you back later." Quickly he hung up the phone.

No new messages came from Sebastian after that. You assumed it was because his interview was starting. So for the next few hours, you busied yourself getting ready for your show later. This would be your first time performing for SNL, you were so excited but also nervous. You couldn't keep still all day you had to walk around, clean, jump, even sing. Anything to keep yourself busy.

They asked you to show up two hours early to rehearse one last time before the show began. You and your scene partner went over the opening scene that would lead into the song. Once you got it down you two warmed up your voices finding the perfect harmony. Your skit was second up and just like on opening night for all your other shows you were nervous. Sure you've performed live in front of people more times than you can count but each time was as nerve-wracking as the first time.

You had thirty minutes left before you had to go out when you got a text on your phone. Looking down you saw his name and a smile came onto your face.

Sebastian: Good luck tonight you're gonna be great xx

You felt a bit more at ease knowing you had Sebastian cheering you on from the other side of the country. You put your phone down and headed backstage where everyone else was talking as they waited for their turn to go up.

~~~~

"And now for our next guest, Tom Holland!" Your partner introduced. That was your cue to run out on stage. You stood to the right of her smiling and waving to the crowd. When the cheering died down you looked to her still smiling, "Actually it's Y/N Holland."

"We didn't book you today." She said faking confusion looking down at her cue cards, "Look it says right here Tom Holland. TOM. Not Y/N."

"You must've written the wrong name down because I was definitely asked to come down tonight."

She let out a nervous laugh looking at the audience, "No we called and asked for the Spidey twin. You know the new Spidey, not Toby or Andrew."

"I am the new Spidey. I don't know if you heard but I kinda did this new movie and I voiced Spider-Gwen."

"Ok, but we asked for the dancing twin?"

"I can dance too. Maybe even better than my brother." I wink to the audience who cheered.

"Wait, wait, wait," She said to the audience, "but we asked for the more successful twin. Surely that must be Tom. I mean he is Spider-Man. THE Spider-Man. He's gotten the Empire and BAFTA awards for best newcomer and rising star."

"Um tell that to my three Tony Awards for best newcomer and Best Actress." You held one finger up for best newcomer and two for Best Actress. The audience went wild cheering and clapping for you.

"Oh no." Your scene partner said, cuing the music to What is this Feeling begin.

"There's been some confusion over casting here at SNL" you both sang

"But of course I'll promote for Spidey," you sang then in a speaking voice you quickly said, "Spider-Man: Into the Spider-verse out in theaters now."

Your partner looked at you rolling her eyes, "And of course I'll rise up above it"

"For I know that's how you'd want me to respond, yes. There's been some confusion for you see, my scene-mate is," you both sang.

"Unusually and exceedingly peculiar and altogether quite impossible to describe," you sang.

"Y/N" She deadpanned to the audience.

The both of you continued the song just as rehearsed. By the end, everyone cheered as you two marched off stage pretending not to like each other.

You stood for the rest of this show to watch the other skits they had planned out. It was so much fun, you were getting so used to being in a small room filled with the camera crew as you and the interview sat there talking. Of course, those could be fun too but this was a nice change.

At the end of the show, Tom called to tell you how amazing you did. "Watch out because I'm coming for your Tony's with some Oscars next." He threatened before hanging up. You laughed to yourself at your dorky brother. You couldn't help but notice the noise going on behind Tom throughout your phone call. He sounded like he was at a party or something. Then your phone rang again.

Sebastian: Tom has nothing on your three Tony's the only other award he'll be getting from the Oscars is biggest diva

You smiled reading his text, you were about to respond when another came through.

Sebastian: You did great tonight, I can't wait to hear you sing in person again

You felt butterflies erupt in your stomach. Of course you liked him. He was so sweet, funny, talented, and super attractive. But you two hadn't hung out since comic con or even seen each other since then. You didn't want to think too much about your relationship with him other than being friends but deep down you wanted more.

Y/N: Once I'm back on the stage I'll get you front row tickets

~~~~

Weeks had passed when you finally finished doing interviews and promos for Spider-Verse. Sebastian was finally back in New York but you two hadn't had the chance to meet up just yet. If he wasn't busy you were. Now that you had free time you decided to take advantage and take some time off of doing shows as well. Just a few more weeks then you'd go back.

That was until they called you desperate for a replacement, both the lead actress and her understudy got food poisoning and couldn't go on stage.  They needed a new Eurydice and you knew the part. You played it once before and you did amazing. Not wanting to let anyone down you agreed to cover, you were also really excited to revisit Hadestown. You loved playing Eurydice the first time so when the chance came to play her again you took it.

You immediately texted your brother excited sharing the good news. You wanted to text Sebastian but you knew he was in the middle of an interview so instead you waited for him to let you know when it was over.

His interview went on longer than expected. By the time it was over you were already down at the theater for a mic check and to get your costume fitted. When Sebastian texted you back your phone was hidden in your purse which then happened to be buried under a pile of everyone else belongings. After an hour passed he wondered why you didn't respond. Usually, you'll respond within a few minutes or before the hours passed. He didn't want to bug and keep texting so he waited for you to respond. He walked around his apartment trying to keep himself busy until he heard his phone buzz. Quickly he ran to his phone only to see it was a text from Mackie. Disappointed but not wanting to be rude he opened it up. It was a screenshot of some news article followed by the words, "This your girl?"

He opened up the photo and read to himself in a low whisper, "Actress Y/N Holland to star in Hadestown for one night only" he read further then jumped to his feet running into his room.

She's performing tonight? Why didn't she tell me?

It was already 6:30 and the show is scheduled for 8:00. That night was the fastest he ever got ready for anything. He showered, got dressed, combed his hair, and jumped in his car all within twenty minutes but he didn't care. He was going to see you tonight.

~~~~

On his way to the theater, he passed a man and woman selling flowers on the side of the street. Quickly he pulled over running over to them. They had a variety of flowers ready to be made into bouquets, the only problem was he wasn't sure which ones to get. He had never asked before what your favorite flowers were and he was not about to ask your brother so he did the next best thing, he googled it.

~~~~

At the end of the show, you were full of adrenaline. The crowd cheered as they stood for you and the cast. You had worked with some of the ensemble cast before on other shows so they came up to give you hugs before you all bowed and the curtain dropped.

You almost forgot how amazing and fun it was to be on stage. You walked back to your dressing room ready to change back into your clothes and go home. Your bag was thrown in the corner forgotten about but the moment you sat down a thought came into your head.

I haven't texted Sebastian back all day.

You ran to your bag digging through it to find your phone. It seemed to be lost somewhere in there and you were losing patience so you flipped your purse over dropping everything onto the floor. Finally finding your phone you walked over to your chair, opened up your messages, and went to Sebastian's name.

Y/N: Hey I sorta got busy... I'll tell you more about it when you've got time

You sighed slouching down in your chair, closing your eyes, and throwing your head back. You knew he was very understanding and wouldn't be upset with you for leaving him without saying a word but still, you felt bad. A few minutes passed when you heard knocking on your door. You sat back up before calling out, "Come in."

"I have time now if you want to talk." You heard a husky voice say from your door. You turned in shock seeing Sebastian standing there in a casual blue suit with flowers in his hand. You got up from your seat and started walking over to him as he walked closer to you, "Sebastian what're you doing here?"

"Well, when I heard you would be performing tonight I couldn't miss this show. I also got you these so I couldn't let you leave without them."

"Thank you, they're beautiful. How did you know these were my favorite?" You asked jokingly. You honestly thought it was just a coincidence that the flowers he got were your favorites.

He rubbed the back of his neck as a blush rose onto his cheeks, "I may have googled what your favorite flowers are."

You couldn't help but laugh, "I'm sorry I didn't mean for that to come out. It's just- you googled me?"

"Yes, I googled you!" He was laughing now too.

"I can't believe you googled me." You were smiling at him now. He was so much taller without your heels on. You took a step back, crossing your arms feeling a bit insecure.

"Well, I was hoping I could take you out tonight. Finally, get to hang out again now that we're here together."

"Yeah, of course, let me get changed really quickly then we can do."

He nodded walking out of the room allowing you to dress in peace. You ran around grabbing your clothes and throwing everything back into your purse. It wasn't too long until you opened the door with your purse and flowers in hand, "So what did you have in mind?"

"I was thinking maybe we can go back to my apartment. I'm sure you're tired and well were not exactly dressed for the same event." He looked down at your sweatpants and t-shirt.

"Yeah, maybe you're right."

~~~~

You followed behind him in your car to his house. You were slightly nervous since this would be the first time you both properly hang out together, alone, and in his house.

When you both got there he met you at your car opening the door for you and offering his hand, "My lady." You giggled at his antics but still took his hand, "Thank you, kind sir." He walked you up to his apartment while your arm was wrapped around his.

Once you were both in his apartment he looked down at his attire, "I am going to change real quick. While I'm gone feel free to make yourself at home. If you need to use the bathroom it's just through that door right there." He walked off to his room leaving you there alone. You put your bag down on the couch taking your phone out to see a text from Tom.

Tommy: How was your show? I'm sure you did great as always! That's how we Hollands do like to do it anyway

Y/N: The show was amazing! I had so much fun I missed performing but I'm still taking a few weeks off before I jump back into it again

You got another text when Sebastian came out of his room now wearing sweatpants of his own and a band shirt. "I don't have anything w can really eat right now so we can order food if you're hungry?"

"That sounds great. I'm fine with eating anything, honestly."

"Awesome, I know this great Chinese restaurant not too far from here we can order from."

You two spent the rest of the night eating and talking. You started off just sitting on his couch but as the night went on you got more comfortable switching positions. You would lay with your back on the arm of the couch, your legs dangling over the arm of the couch, then you moved so your head was hanging over the edge of the couch until you both somehow ended up laying on the floor talking.

Sebastian's head was right next to yours but your bodies were going opposite of each other. He grabbed some pillows from the couch keeping one for himself and giving you the other.

"What happened to you giving me front row seats once you were back on stage, huh?" Sebastian joked.

You propped your arm up on the pillow and rested your head on your hand facing him, "I wasn't planning on going back so soon. They needed me and I couldn't let them down! Plus you were in the middle of something I couldn't interrupt."

He did the same as you resting his head on his arm turning to you, "Excuses, excuses. You could've left a message or something! I would've dropped whatever I was doing just to see you."

You blushed looking away from him but he put a hand on your cheek turning your head back to him. His hand lingered as his thumb drew circles on your cheek, "Have I told you I love hearing you sing?"

"Maybe once or twice." You answered nervously.

"Well, then I'll just keep telling you." You looked into each other's eyes while his hand was still resting on your cheek. You thought for sure he would lean in for a kiss but he didn't. Instead, he cleared his throat and moved his hand. He looked up at the time before letting out a whoa, "It's already two in the morning! You should really get home and get some rest."

You were a bit confused. It felt like you two were having a moment and now he's rushing you home? Sure he makes a good point it is getting late and you're tired but what the hell?

"I suppose you're right." You laid back down on the floor not wanting to get up but Sebastian was standing next to you holding his hand out for you to take. He lifted you off the floor, "Come on I'll walk you to your car."

The walk to your car was quiet, neither of you really knew what to say. When it was time to go he gave you a hug which lingered. You were grateful it did. You didn't want to let him go he smelled like old spice and his body felt warm pressed up against yours. His head rested on top of yours as he rubbed your back with one hand. "Let me know when you're home, ok?" He pulled away holding onto your shoulders until you nodded.

~~~~

Sebastian laid awake in bed waiting to know you were home safe. He could've kissed you tonight. He wanted to kiss you but the gentleman in him wouldn't allow it. From the moment you two met he knew he wanted to take you out but you being Tom's sister he didn't want to do it behind his back either.

In the morning he set his plan into motion. The first call he made was to Tom.

It didn't take long for him to answer, "Hey mate, what's up?"

Sebastian felt nervous. What if Tom said no? What if this ruined their friendship, but he had to try. "Hey, Tom I was just calling to ask something."

"Shot."

"Well, I was hoping it would be alright if I take Y/N out on a date tonight?" He let out slowly. His palms were sweating and his heart was beating fast.

"What?" Tom didn't know what to say. Of course he thought Sebastian was a really great guy but you were his little sister. Did he really want to let you go out with him?

"I would like to take Y/N out on a date, but with your permission of course. I know how close you two are and I don't want you to feel like we're sneaking around behind your back. If you say no I totally understand and I'll keep everything as just friends."

If he were being honest Tom was impressed with the way Sebastian came to him before asking you out. He thought it was nice of his friend to come clean to him instead of asking you out without letting him know, which was something that happened before. "You know what man? Go for it."

"Are you serious?" Sebastian was stunned.

"Yeah! I know we joke around a lot about you and Mackie not liking me but you really are a great friend. Plus I saw how well you two got along during Comic-Con. I know you'll do what's right and make her happy."

Sebastian was over the moon happy. As soon as he hung up the phone his second call was to you.

~~~~

"Tonight at 5:00? That sounds great!"

"Ok, I'll pick you up then." As soon as he hung up the phone you shouted into your pillow with excitement. You knew you had a moment together last night! You just thought maybe it was your crush clouding your judgment but now you two have a date for tonight!

You jumped off your bed and went straight into your closet.

What am I going to wear tonight?

You rummaged through your wardrobe for an hour trying everything on. He said you would be going out to dinner then he would take you out for a movie. Cliche but you didn't care, you were going out with Sebastian Stan! After another two hours retrying everything on and pairing them with shoes. He mentioned the restaurant you would be outdoors so with that information you settled on wearing a maroon corduroy dress with a white long sleeve underneath and some black tights underneath. As for the shoes you went with black boots that had a heel to them.

It felt like time slowed down as if it knew how excited you were for your date. At 3:30 you started getting ready, first taking a shower then quickly putting on your outfit and shoes. Seeing as how you always had to wear so much makeup on stage you hardly liked to wear any off. You only put on a bit of concealer to hide the bags under your eyes, some eye shadow, and lipstick. Once you were satisfied with your look you started on your hair. Not wanting to do too much to it you lightly curled it and pinned it to the sides. As soon as you finished getting ready you heard a buzz coming from your intercom, "Hi Miss. Holland there is a Mr. Sebastian Stan here for ya."

Excited you hurried across the room to buzz back, "Let him up. Thank you, Jerry!" Within minutes you heard a knock on your door. You had set your purse next to the door earlier so you wouldn't have to worry about grabbing it o your way out. When you opened the door you were met with a shy-looking Sebastian once again wearing a casual suit although this time it was a plaid grey. He had one single flower in his hand and a dopey grin on his face.

"Hi, you look beautiful. Well, you always look beautiful but I never mention it so I am now."

You laughed at his stammering, "Thank you, you don't look too bad yourself. I mean you never look bad but I never mention it so I am now." You said coolly mocking him.

He noticed this and laughed looking down, "Thank you. I- umm- I brought you this. Just another one to add to your bouquet." He handed you another flower, the same as the ones from last night. You took it from him happily, "You're so sweet. I'll add it to the bunch right now." You began walking back into your apartment until you realized you were leaving Sebastian standing outside of your apartment door. You turned back around opening the door up for him, "Please come in while I put this away." So he did. He stepped into your apartment but remained by the door. He looked around at the setup and decor. "Wow, you really weren't kidding about those three Tony awards were you?" He asked impressed. You turned back with a chuckle, "I don't have to lie to sound cooler than my brother." "You got that right." He mumbled to himself with a smile.

~~~~

The restaurant he chose was on a rooftop overlooking the city. The view was beautiful and even though there was a rough over your heads it was clear allowing you to see the sky above and the sides were left open so a breeze could pass through. There were strings of light running through the top to illuminate the tables as well as a small jar filled with fairy lights.

Dinner went by smoothly. As you ate you both talked about your lives and the places you've been.

"Greece is amazing! It's my favorite place to go when I need to get away for a while." Sebastian gushed.

"You've been to Greece?! Oh my, I've always wanted to visit but haven't had the chance to go yet."

"You haven't been to Greece?!" He looked at you like you just kicked his puppy. "Well, I will just have to take you someday then." He took a sip of his drink and wiggled his eyebrows at you.

"You said it so you have to take me now!"

"I will." He said with both seriousness and playfulness.

"Promise?" You raised an eyebrow as you held your pinky out.

He rolled his eyes but chuckled taking your pinky with his, "Promise."

~~~~

After dinner, he drove you across the river into Brooklyn. You looked to him confused, "I thought we were just watching a movie?"

He smiled keeping his eyes on the road, "We are."

"Then we do we have to go to Brooklyn?"

"You'll see."

Once you saw it your jaw dropped. The car made sense now. Instead of his Tesla from the other night, he was now driving an SUV. You were confused when you saw it at first but didn't think much into it. Now he was driving you into the Skyline Theater and you understood why he brought his SUV.

"It's a drive-in theater?"

"Yup, check the back seats."

Behind you were blankets, pillows, and snacks that you for some reason didn't see before. He pulled into a parking space with the back of the car facing the big screen, "Wait here." He got out of the car, opened up the back, and started putting the back seats down. Carefully he laid the blankets and pillows for you two. Once he finished he looked up to you, "Now for some popcorn, Ill be right back. Want anything to drink?"

"Just water and a bottle of soda."

"Got it." He flashed you a charming smile before closing the back and walking off.  You sat there smiling to yourself like an idiot. You haven't felt this happy in so long, it was a different type of happiness. He came back quicker than you expected with drinks and a big tub of popcorn. Seeing as he still had the keys he opened the back once again to lay out the snacks. "Come on." He nodded his head over motioning for you to join him.

You sat in the back letting your legs dangle over the side of the car, "So what movie are we seeing tonight?"

"Honestly I don't even know" He laughed looking at you.

"You don't know?" You laughed along.

"Uh-uh. It could be a kid's movie, an adult movie, or it could even be one of my movies. I don't know. I just thought it would be romantic to bring you out here for a movie."

"That is sweet but also unbelievable." You laughed but hoped the movie would be something appropriate. Luckily once the movie began it turned out to be Just Go With It.

Sebastian pushed himself back allowing him to lay down, before he did though he took his shoes off and tossed them to the front. You followed along. As the movie went on you two slowly inched closer to each other. First, it started out with him putting his hand on top of yours then he slowly put his arms around your shoulder. You leaned into him resting your head on his chest. Although neither of you could see each other's faces you both smiled at the close contact. You would feed each other snacks and when he tried tossing popcorn into his mouth and failed you both had a contest to see who could do it first, of course, you won.

By the end of the night, Sebastian took you back to your apartment walking you to your door. With your door open you leaned on the frame and looked over to him, "I had a great night Sebastian, thank you." You placed a soft kiss on his cheek before turning to walk into your apartment. He grabbed your hand before you could go. You turned to face him slightly tilting your head you scrunched your eyebrows. He walked closer to you grabbing both sides of your face, "Can I kiss you?" Unable to speak you nodded your head. You felt like your stomach was in your throat.

He leaned down closer to your face, slowly closed his eyes, and placed a soft kiss on your lips. You thought your legs would turn to jelly but luckily they stood strong. You kissed him back wishing it would never have to end.

[tcm]

Interview with Richard Benjamin on Making Comedy Look Easy in MY FAVORITE YEAR (’82) By Donald Leibenson

To hear Richard Benjamin tell it, MY FAVORITE YEAR was a charmed production. For his first film as a director, he had been looking for a comedy (“I’m just kind of bent that way,” he jokes) and the stars aligned to bring him a script that, he says, was everything he knew. He had Mel Brooks as the film’s guardian angel. He had a bona-fide movie star that his wife, Paula Prentiss, recommended after another actor regretfully declined the film’s plum role. And he heeded Carl Reiner, who gave him succinct advice about making a comedy: “Get funny people.”

Which he did. The film is character actor heaven, with Joseph Bologna, Anne de Salvo, Selma Diamond, Adolph Green, Basil Hoffman, Lainie Kazan and Bill Macy.

MY FAVORITE YEAR is set in the mid-1950s when television was live and comedy was king. Mark Linn-Baker stars as Benjy Stone, a young comedy writer on a variety show reminiscent of Your Show of Shows, where he ardently pursues the show’s not-amused production assistant (Jessica Harper). During one life-changing week, he is assigned to chaperone the show’s guest star, his idol, former swashbuckling screen hero, Alan Swann (Peter O’Toole in an Oscar-nominated performance), who has a penchant for drink, womanizing and otherwise behaving badly. 

Benjamin spoke with TCM about casting O’Toole, trying to pin down Mel Brooks and why you should never end a comedy in a graveyard.

To quote Alan Swann’s great line, dying is easy, comedy is hard. With MY FAVORITE YEAR, you make it look so easy. How did the project come to you?

Paula and I were in New York. My agent, David Gersh, sent the script by Norman [Steinberg] and Dennis [Palumbo, credited as co-writer due to the Screen Writers Guild arbitration]. I remember reading it in the hotel room and as I finished, I said, ‘This is everything I know.’ I was in high school when Your Show of Shows was on. I would get on the phone with my friend Shelley Berger, who I am still close to, and we would do all these routines they had done on the show on Saturday night. I grew up loving Errol Flynn and those swashbuckling movies. I had also worked at 30 Rockefeller Plaza [the film’s setting] as an NBC page and guide, and I knew every inch of that place. [The script] was right up my alley, as they say.

Brooksfilms produced the film, and Mel Brooks was a writer on Your Show of Shows. Did he serve as the film’s guardian angel or offer any input?

Guardian angel’s good. He kept saying he would give Norman and I two full days to sit down and go over the script to see if we could make it even funnier. The truth of the matter is that the script didn’t need much of anything, but he promised that. Trying to get Mel to stop moving is a feat. We went to his house, and he invited us in and then said he was going out. He said he had to walk the dog. Then he comes back, and he said he had to go, that there was a crisis at Fox. I said, ‘No there’s not,’ and he said, ‘Well, there could be.’ So, what he ended up giving us was two hours, but it was a great two hours. And the next thing you know, he was gone.

But Norman and I came up with one of the best jokes in the movie while we were standing in his driveway watching him drive away. It’s the one where Swann falls off the roof and plummets past the two elitist guys. And one says, ‘I think Alan Swann’s beneath us,’ and the other guy says, ‘Of course he’s beneath us, he’s an actor.’

I cannot imagine anyone but Peter O’Toole as Alan Swann. Was he the first choice?

Albert Finney had been offered the role, but he had not committed. He was up in Sausalito making SHOOT THE MOON [’82]. They told me I had to go up there and convince him to do the film; otherwise they couldn’t make the movie. The list of people M-G-M would go with was very short, because who are you going to believe with a sword in their hands? So, I’m on this mission, because if he says yes, I’m going to get to make a movie. We arranged to have lunch together. He’s completely charming. I get ready to ask the question – which could change my life, by the way: ‘Will you do it?’ He said, ‘Well…,’ and I could tell it was going to be a no. He thought the script was really good, but he had done two or three movies in a row and he said he wanted to get back to the theater. Then he said to me, ‘Why don’t you get O’Toole?’ He said, ‘We do this all the time. I turn something down, he does it, he turns something down, I do it.’ When I got back home, Paula who had made WHAT’S NEW PUSSYCAT? [’65] with Peter, said, ‘Get Peter. He is perfect for this.’ Finney said it, Paula said it. And I asked [co-producer] Michael Gruskoff if M-G-M would make the film with O’Toole, and Michael said yes.  

What was the meeting with Peter like?

(Laughs) That meeting! That meeting was quite something. First of all, we couldn’t find him. We could tell we had the right person because the behavior was just like the character. He had a farm in Ireland with no phone. You had to call this pub to get a message to him. I called the pub and they said Peter wasn’t there. His agent didn’t know where he was. I called his manager and said, ‘We’re trying to find your client.’ He said, ‘He’s at the Beverly Wilshire Hotel. He’s been here for a week.’ 

So, I’m actually talking to Peter O’Toole, and he said he had heard about the project and to send him a script and we would get together the next day. I go over and there he is in a beautiful suite wearing a smoking jacket; he is the character. He said, ‘Here’s the thing…’ and I thought, ‘Here we go again.’ He said he liked it very much, but he hadn’t read the last ten pages and to please indulge him and he would call tomorrow. The next day, on the dot, he called and he said to turn to the last page of the script.

Now, in the original script, there’s a scene which I shot that would have played after what’s in the movie. It took place in a Hollywood cemetery, and Benjy is walking past the gravestones. He says in voiceover that Alan Swann made him promise he would do something on his birthday every year. Alan has passed away, and Benjy comes to his grave, kneels down and pours a bottle of Courvoisier over the tombstone. That’s what’s on the last page. Peter asked me to read the date that was on the tombstone. It was Aug. 2. He said, ‘Aug. 2 is my birthday; did you know that?’ I asked Norman if he knew that, and Norman said no, he had made it up. And Peter says, ‘Therefore, I must do the film.’

What happened to that scene?

I was terribly reluctant to take that out because Peter did the movie because of it. But people at M-G-M said I couldn’t end a comedy in a cemetery. We had two audience screenings, one with that ending and one without it. In the screening with it, the audience enjoyed the picture, but the scene put a pall over things. Then we had the screening without it and the audience was very enthusiastic and very up as they came out.

How did you find Mark Linn-Baker?

Our casting director Ellen Chenoweth said the first person to get was Mark Linn-Baker. Mark came in and read and was terrific. I said, ‘This is my first movie, I can’t cast the first person who walks in here.’ I saw maybe 25 to 35 more—some really good people—but she was right, so after all of that, I said to get him.

Peter and Mark had great chemistry.

They seemed to hit it off right away, but later, back in L.A. after we shot the long scene on the roof, which played like a mini-farce, Peter came up to me and said, ‘I like the lad, you cast him well.’

Was Peter game for the physical stunts?

I couldn’t stop him from doing them! The bathroom scene required him to fall headfirst into the wall. I came to him before we shot and I said, ‘The camera is so close, I can’t pad this wall.’ He said, ‘I was brought up in music hall. I can do this all day. Don’t concern yourself.’

Director Howard Hawks once said that a good movie was three or four good scenes and no bad scenes. I lose count watching MY FAVORITE YEAR of how many great scenes there are in it. Between those driven by comic banter, the TV sketches, the physical comedy scenes, the quieter romantic scenes and even the dramatic confrontations, did you have a favorite type to direct?

I can’t say there was a favorite. It’s all of a piece. I will tell you that one of the scenes I like is in the Stork Club and getting to do something that reminded me of all these kinds of wonderful comic movies I loved growing up. I do remember that one of the first things we shot was the scene in Central Park where Alan Swann mounts the horse. It just seemed to lack energy. And I was thinking, ‘I have to go tell Peter O’Toole that he has to pick up the pace and it has to be lighter.’ I went up to him and said, ‘It’s good, but…’ and before I could finish, he said, ‘You want it faster and funnier.’ I said, ‘You’ve got it,’ and he said, ‘And you shall have it.’ And I thought, ‘This directing thing is not so hard.’ (laughs)

Were there directors you worked with as an actor who particularly inspired you when you became a director? For example, you worked with one of the best, Mike Nichols.

Mike, yes. He directed me in the national company of Barefoot in the Park and [the film] CATCH-22 [’70]. Mike’s thing was he’d come up to you very quietly and say, ‘Just like in real life.’ That was his main thing. It meant that there should be no ‘acting’ here; your character responds to situations as they would in life. It’s like what [critic] Walter Kerr once said about Neil Simon’s jokes: They have the truth in them. This is what funny people know: You can’t try to get a laugh, because you won’t get it.  

At one point, Alan Swann says that doing the TV show was the most fun and the hardest work since the world was young. Was that what making MY FAVORITE YEAR was like for you?

It was the most fun, there’s no question of that. It was a magical experience because of the screenplay and everyone involved. Everyone’s game came up because of Peter. You don’t need many takes with him, that’s for sure. But how all of this came about and got to the point where I would be offered this, and what has to happen in your life to come to that moment – you can’t make it up. And when that moment comes, you’re hopefully ready. I was really fortunate.

[pascalsky]

Pedro Pascal is flying high on The Mandalorian, but defining success by his earthly bonds

The Wonder Woman 1984 and The Mandalorian star is one of EW's Entertainers of the Year.

Human connection. It’s vital. Especially in a year like 2020. Especially for Pedro Pascal. So it’s ironic that the 45-year-old’s highest-profile success to date is working with an adorable animatronic puppet, inside a chrome helmet he famously can’t take off. "It is why I wanted to do this show. Selfishly, I knew [the Child, a.k.a. Baby Yoda] was likely to make people fall in love with the show," says Pascal of tackling the title role on The Mandalorian, the Emmy-nominated hit Star Wars series, which returned for its second season on Disney+ in October.

The Chilean-American actor has an eye for choosing projects where he’ll stand out, from popular network procedurals including The Good Wife, The Mentalist, and Law & Order to his breakout roles as the charming — and horny — Oberyn Martell on Game of Thrones and, soon after, DEA agent Javier Peña on Net­flix’s Narcos. But it’s the stoic bounty hunter safeguarding a frog-egg-eating 50-year-old toddler that’s made him a house­hold name. The new season of The Mandalorian followed Pascal’s galaxy-traveling warrior as he searched for the home of the Child, generating countless memes in the process.

Playing the Mandalorian has been one of the hardest and most unique experiences of Pascal's career to date. At this point, it's no secret that he wasn't physically under the helmet as much as he would've liked in season 1 and recorded his dialogue in post-production to match what his doubles, stunt actors Brendan Wayne and Lateef Crowder, did on set in the armor. Giving a largely vocal performance was a challenge for a physical actor like Pascal, who is almost unrecognizable when you compare his turns on The Good Wife and Game of Thrones, for example, because of how he carries himself. Yet, being on set way more in The Mandalorian season 2 didn't make his job any easier because he still had to figure how to make Mando compelling while also being as economical as possible in his physical movements and vocal performance.

"I'm not even sure if I would be able to do it if it weren't for the amount of direct experience that I've had with being on stage to understand how to posture yourself, how to physically frame yourself into something and to tell a story with a gesture, with a stance, or with very, very specific vocal intonation," says Pascal, who believes his collaborative relationship with creator Jon Favreau and executive producer Dave Filoni, a.k.a. his "Mandalorian papas," also helped him inhabit the role in season 2.

Speaking of collaboration: Working with comedian Amy Sedaris, who plays gruff Tatooine mechanic Peli Motto, was one of the highlights of The Mandalorian’s sophomore season. “I followed Amy Sedaris around like a puppy. [I was] like, ‘Hey again. I’m not leaving your side until you wrap,’ and she’s like, ‘Cool,’” Pascal says. “I love the Child — it really is adorable — and it is so fascinating to see it work, but somebody who makes you spit-laugh right into your helmet will always be my favorite thing."

Pascal longed for those kinds of interactions during quarantine, which proved difficult for the actor who was living alone in Los Angeles. But he lights up, is even giddy at times, when the conversation turns to bonding with the Community cast right before a charity table read back in May (he filled in for Walton Goggins), or FaceTiming his friends to celebrate Joe Biden and Kamala Harris' election victory on Nov. 7. "Ahhhh! Ahhhh!" Pascal exclaims, reenacting the joyous calls with buddies like Oscar Isaac that Saturday morning. "It was screaming and jumping and dancing and crying…. I very arrogantly took screenshots of everything and [shared them], like, 'I am a part of this!'”

"I'd be less nervous playing tennis in front of the Obamas than I was seeing a reunion of these people that I think are brilliant and have this incredible chemistry with each other and stepping in and having really, really, bad technology in this new space that I had moved into. I really resented having to actually participate acting-wise because there were instances where it was way too much fun to watch."

- PEDRO PASCAL ON SHOOTING THE COMMUNITY TABLE READ.

His appreciation for those around him has only grown during the pandemic. Before flying to Budapest to film The Unbearable Weight of Massive Talent with Nicholas Cage, Pascal leaned on his bubble for support. Community's Gillian Jacobs, for example, hosted him for an outdoor socially distanced pizza night every Saturday in the early weeks of lockdown. (He suspects that's why he was recruited for the sitcom's table read when Goggins couldn't participate.) "The friends that got me through it are absolutely everything to me and very beautifully marked in my head. I've got old friends and new friends that literally did nothing short of parent me through the experience," says Pascal, who has "survivor's remorse" for being in Europe right now. "I feel guilty not being [in the States] with my friends through [this tumultuous time] but also grateful that, individually, I was able to gain a little bit of separation from the stress of it."

Those tight bonds helped redefine, or at least clarify, what success means to him. "I want to make sure that my relationships are right, and I want to make sure I'm nurturing meaning in a sustaining way, and that won't necessarily be related to getting good jobs and making lots of money," he says. But he'll take them — as he did for both of his 2020 projects, about which he's thrilled. And how could he not be, starring in two of the year's most feverishly anticipated properties?

Besides The Mandalorian, Pascal appears in Patty Jenkins' superhero epic Wonder Woman 1984, which has endured a Homeric journey to its release (read: several pandemic-related delays). Thankfully, the odyssey is almost over because Warner Bros. recently confirmed that it will open in both theaters and on HBO Max on Dec. 25. Pascal is stoked audiences will finally see his turn as the villainous Maxwell Lord because playing the greedy dream-seller pushed him out of his post-Game of Thrones action role comfort zone.

"With Wonder Woman, [Gal Gadot and Kristen Wiig] are doing the action, baby, and I'm doing the schm-acting!" he says, hilariously elongating that final syllable. "I am hamming it up!" (Indeed, Pascal reveals Cage inspired his performance in one particular scene.)

But Pascal felt he was up to the challenge because everything he needed was right there in the screenplay, which Jenkins co-wrote with Geoff Johns and David Callaham. "I didn't have to take something and figure out how to put more flesh onto it. I had to achieve getting into the skin of what was being presented to me," he says, contrasting the experience with playing a DEA agent for three seasons on Narcos. "For me, Colombia was almost the central character, and then I was allowed to make him depressive and to tonally interpret what the character was. And in this case [on Wonder Woman 1984], there was just so much for me to meet rather than to invent."

He continues: "That was an incredible delight and challenge because Patty Jenkins is a director who loves actors and when she sees she can ask for more, she does. And there isn't anyone better, in my experience, to give more to."

In 2021, he rejoins the good guys as an aging superhero and father in Robert Rodriguez's kid-friendly Netflix drama We Can Be Heroes. The inherent optimism of the Netflix film's title also complements Pascal's hope for the new year. Says Pascal, ”If [fear] can take a little bit of a backseat and not be the main character in everybody’s life, that would be great.”

SOURCE

[i-know-my-value-darling]

Supernatural stars reflect on the show's undying legacy

Jared Padalecki, Jensen Ackles, and Misha Collins discuss 15 years of fantasy, family, and flannel. 

"We only get one shot at this." Sam and Dean Winchester are surrounded. The monster-hunting brothers are standing on the edge of a cliff. They look to Castiel, their brother in arms — or is it wings? — but even he can’t help. One move in the wrong direction could ruin everything. After years of fighting demons, going toe-to- toe with Satan himself, and saving the world multiple times, they once again find themselves in a position of having to perform under pressure. But this situation is unlike anything they’ve ever dealt with before. All eyes are on them as they have one shot…at getting the perfect picture.

It’s a dry, hot August day in Malibu — when people were still allowed to gather outside — as Supernatural stars Jensen Ackles, Jared Padalecki, and Misha Collins prepare for the last setup of their final Entertainment Weekly cover shoot. With a bottle of champagne in each of their hands, Ackles once again reminds them they get “one shot” to do this right. But if their characters can shoulder the weight of the world, surely these three can handle a photo. Read the whole story below

The champagne soaking is meant to be a celebration of 15 years, of making television history. Supernatural, the story of two brothers destined to save the world, is the longest-running genre show in the history of American broadcast television. (So old, the first three seasons shot on this thing called film.) What started as an underdog story, living its first few years on the verge of cancellation, has become an institution, a milestone to which other shows aspire. Supernatural not only survived the move from The WB to The CW after its first season — it’s now the final WB show left standing — but became the backbone of the now highly successful CW network. Over the years, the sci-fi series has aired on every weeknight, helping to launch shows including Arrow and The Vampire Diaries. The network moved it one final time, most recently, to Mondays, to help Roswell, New Mexico expand its audience. “Supernatural is a major link to many of the shows that we have successfully built to market,” The CW’s chairman and CEO Mark Pedowitz says. “Almost every one of our shows has had it as a lead-out or a lead-in.”

And to think, it all started as a promise to bring horror to television. After Supernatural creator Eric Kripke had finished working with Warner Bros. on 2003’s Tarzan series, he pitched the idea of a reporter who travels around hunting urban legends. As he puts it, it was a Kolchak: The Night Stalker rip-off. But when he realized the story would benefit from having brothers at its core, he started writing. “At the time, The Ring and The Grudge were huge hits in theaters,” Kripke remembers. “We said, ‘We’re going to take that experience and we’re going to put it on TV,’ and the initial goal was to be scary.” After Warner Bros. passed on his first, what he calls “uptight,” draft, Kripke had to reassess the kind of show he was creating. “I canceled all my Christmas plans and wrote that second draft in three weeks,” he says. “That was when the show got its sense of humor, because I was locked alone, over winter break, in my office. I couldn’t do anything fun, so I started entertaining myself.”

The show was still scary, but it was also funny and, over the years, would continue to evolve. Sure, you could say it’s a little bit X-Files — in its early days, the show often used the line “The X-Files meets Route 66” — and there were definite Star Wars influences (Sam and Dean were originally based on Luke Skywalker and Han Solo). But no combination of pop culture is going to perfectly describe Supernatural because the show has managed to do something remarkably rare in the age of peak TV, where audiences are so overwhelmed with content that an original idea seems foreign: It’s created a truly one-of- a-kind experience.

For starters, it’s a show about two flannel-wearing, beer-loving, blue-collar dudes from Kansas who for a good chunk of their lives traveled from cheap motel to cheap motel, paying for gas and greasy diner food with a mix of fake credit cards and money they earned scamming people at the pool table. “Almost all television is about rich people or, at the very least, middle-class people,” co-showrunner Andrew Dabb says. “The fact that we’ve been able to take this Midwestern blue-collar approach to this genre feels like we’re breaking the mold.”

But the mold-breaking didn’t stop there. Supernatural might’ve started out as a horror show with some snarky one-liners, but it evolved into some of the boldest, most experimental (and certainly strangest) stories on the small screen. “We’re a show of big swings,” co-showrunner Robert Singer says. “I used to say, with every idea, ‘This will be a home run or they’ll cancel us,’ but every year we wanted to do something really nuts." And when he says nuts, we’re not just talking about the episode with the talking teddy bear or the murderer targeting imaginary friends. Those are just some standard monsters of the week. We’re talking about the black-and-white episode shot like a classic Hollywood monster movie, or the episode that introduced Chuck (Rob Benedict), a prophet — who’d later reveal himself to be God — who was famous for writing a book series called Supernatural. That, of course, led to Sam and Dean attending a Supernatural fan convention as the show continued to redefine what it meant to inject a series with meta humor. And the swings never stopped. Season 13 featured a Scooby-Doo crossover as an animated Sam, Dean, and Castiel solved a case alongside the Mystery Inc. gang. And in season 14, after giving God a sister a few years prior, the show made the Big Man Himself its final villain. “I don’t think any idea, barring some production concerns, has been viewed as too crazy,” Dabb says. “Because we know that our fans are smart and that they’ll follow these guys anywhere.”

So long as each episode features Sam and Dean — and the occasional heartfelt talk on the hood of the Impala — the show can do just about anything, which is another reason Kripke had to rewrite his first draft of the pilot. Originally, Dean was the only brother who knew about monsters growing up, bringing Sam up to speed later in life. It wasn’t until Kripke figured out that they needed to be in this together that the series snapped into place. Because at the end of it all, they’re two brothers bonded by the loss of their mother and a life spent on the road with an absentee father. (It just so happens that their mother was killed by a demon and their father hunted them.) The familial dynamic — the irrational codependency, as the angel Zachariah (Kurt Fuller) once called it — is the most important part of the show. “The first inkling I had that we had something special was shooting the pilot,” Kripke says. “It was the scene on the bridge when Sam and Dean talk about their mother. It was the first time that you really saw their chemistry and their connection as brothers on full display. Because I’ve always said this show begins and ends with whether you believe that sibling relationship.” But Sam and Dean weren’t just the center of the show. For many years, they were the show.

Supernatural has never been an ensemble drama. For the first 82 hours of the series, Ackles and Padalecki were the only long-running series regulars — Katie Cassidy and Lauren Cohan briefly joined for season 3, appearing in 12 episodes combined. But Sam and Dean weren’t just in every episode; they anchored every episode. (They skipped table reads because there would’ve been only two actors there.) “I had many moments of not only questioning, ‘Can I keep this up?’ but an answer of ‘I cannot keep this up,’ ” Padalecki, 37, who’s been vocal about his struggle in the early seasons, says. “I borrowed strength from Jensen.” But even Ackles, 42, admits it was a tough job. “The 23-episode seasons were nine and a half months of filming,” he adds. “It was a lot of work, but I always came back to: I still enjoy it, I still like telling the story, I still like these characters and the people I work with.”

Not only did the guys stick around, they built a reputation of having created one of the warmest sets in the business, with a number of crew members staying with the production all 15 seasons. It all dates back to a talk Kripke had with his stars during the filming of the series’ second episode. “I said, ‘The show is about your two characters, and with that comes this responsibility,’ ” Kripke says. Padalecki remembers the exact setting of what he calls their “Good Will Hunting moment,” a bench in Stanley Park in Vancouver, where they film. It was a chat both actors took to heart. “We’d both been on other sets,” Ackles says. “We knew we wanted to enjoy it, to have fun with our crew; we wanted them to like us and us to like them and to have fun doing what we do.” It’s an attitude Pedowitz hopes bleeds into other CW shows, an attitude that launched an annual tradition where the CW chairman/CEO takes his new casts out to dinner with the Supernatural guys, a chance for the vets to share advice. “It’s always the most flattering situation,” Padalecki says, recalling a moment he had a few years back with the late Luke Perry, who was a part of the Riverdale cast. “Luke was sitting next to me and he was like, ‘What y’all have done and what we hear about you guys, it’s really cool to be associated with y’all in some way, shape, or form,’” he recalls. “And I’m sitting there pinching myself.”

It’s a behind-the-scenes legacy that’s perhaps just as impressive, if not more so, than the onscreen legacy. Collins, 45, who started as a guest star and the show’s first angel in season 4, has become the show’s third-longest-running series regular, and he still remembers walking onto set his first day. “When you’re coming onto a show as a guest star, it can be a little bit nerve-racking,” Collins says. “Coming to this set, it was an immediately different vibe. Think- ing about working on other shows in the future, that’s something that I aspire to bring with me.”

A similar reputation extends to the fans as well. Not only is the #SPNFamily one of the most dedicated fandoms out there, it’s also known to be a pretty nice one. (Not many fandoms can say they’ve helped launch a crisis support network for their fellow fans.) But their dedication isn’t just about seeing what crazy twist God throws at Team Free Will next. Thanks to fan conventions and social media, the viewers are just as invested in the lives of the actors. Supernatural’s not just about the words on the page, it’s about the actors saying them. “When you’re dealing with the public taste, there’s an alchemy of great writing, a great idea, and the close-up that’s required,” Peter Roth, chairman of Warner Bros. Television Group, says. “You need stars who you want in your living room.” And you need stars who want to be in your living room, and who, even after 15 years, care so deeply that they get emotional while taking photos in Malibu.

"It's going to be a long eight months," Ackles declares. Standing on that same ledge, an hour before the champagne shot, Ackles, Padalecki, and Collins walk away from a group hug after unexpectedly starting to tear up. It might be the setting — looking out over the ocean — or the occasion: their last-ever photo shoot. Or maybe it’s the fact that they’re almost a month into filming their final season.

It had been a question posed to the stars for years: How long will this show continue? How long can it continue? “Even my mom and dad were like, ‘When are you going to be done with this?’” Ackles says with a laugh. It was a decision the network and studio had ultimately put into the actors’ hands, and it was a conversation they’d been having for a while. Back in 2016, Padalecki told EW, “If we don’t make it to [episode] 300, I think Ackles and I will both be truly bummed.” But in season 14, they hit 300…and then kept going. While filming episode 307, they announced the upcoming 15th season would be the end, which will bring them to a total of 327 episodes when all is said and done. “[Jared] and I were always married to the fact that we never wanted to go out with a diet version of what we had,” Ackles says. “We wanted to have enough gas left in the tank to get us racing across the finish line. We didn’t want to limp across.” Padalecki remembers the moment it hit him — not the decision to end it, but rather the opposite. “We had that moment where he and I both realized that we didn’t want it to end,” he says. “It finally got to a point, ironically, where it was like, ‘I never want to leave this. I could do this until the day I die, and then if I get the choice when I’m dead, I’ll re-up!’ But you never want to be the last person at a party. We just knew. That’s not to say there haven’t been vacillations, but we all trust the decision that was made.”

Starting in July 2019, the cast and crew returned to Vancouver to begin filming the final season, but in March 2020, with two episodes left to go, they were sent home. For years, fans had wondered what, if anything, could stop the Winchesters, and now it seems we have the answer: a global pandemic. As sets closed amid social-distancing measures due to the spread of COVID-19, it didn’t take long for fans to start connecting the dots, sharing relevant GIFs from episodes that featured viruses, most notably Chuck telling Dean to hoard toilet paper “like it’s made of gold” before the end of the world in season 5’s “The End.” (Did we mention that Supernatural is also kind of psychic? In a season 6 episode, Dean calls Sam “Walker, Texas Ranger,” which just so happens to be the role Padalecki has lined up after this ends.)

When production paused, it all felt a little like we were living in an episode of the show, just waiting for Sam and Dean to drive up in Baby, open those creaky doors, and save us. They might not be able to do quite that, but the thing with the Winchesters is that they never stay down for long. When Supernatural is able to safely resume production, it will. And though there are only two episodes left to film, fans will enjoy a total of seven unseen hours, including the return of Charlie (Felicia Day) and a mystery woman who visits the bunker and, for some reason, gives Sam and Dean all the holidays they never got to celebrate. “She makes Christmas for them and Thanksgiving, birthday parties, and all that. It’s a very good episode,” Singer says, adding, “I don’t know when it’s going to air.”

That’s the thing—no one knows, not even the guys who took out Yellow Eyes, stopped Leviathans, defeated Death himself, and are supposedly destined to be the messengers of God’s destruction. But Sam and Dean do know the value of a good plan B. “Obviously it’s a horribly unfortunate situation we’re in, but the silver lining is that it gives us an opportunity to recharge,” Ackles says. “We had just finished episode 18, we shot one day of episode 19, and I was reading these two monster scripts thinking, ‘It’s like we’re at the end of a marathon and they want us to sprint for the last two miles.’ I feel like this almost gives us an opportunity to refocus and go into the last two episodes and hit them with everything we got.” Because when they do return to set, shave their quarantine beards, and step back into Sam and Dean’s shoes for the last time, they’ll have one shot at ending this thing…and they’re determined not to miss. 

Photos: Peggy Sirota for EW 

https://ew.com/tv/supernatural-stars-cover-ew-to-reflect-on-the-shows-undying-legacy/

[jumukus]

A3! Event: Trump the Phantom Thief Episode 7 Translation

Juza took Muku to one of the locations appearing in his favorite manga as they had a heart to heart conversation.

Juza's Mom: I heard Muku-chan won another race!

Kumon: Seriously!? That's sick!

Juza's Mom: Let's go cheer him on next time.

Kumon: Sure! You too, Nii-chan!

Juza: ...No, I'm good.

Kumon: Whyyy~!?

Juza: (I'll only freak people out if I go. 'Sides, what if people start spreading bad rumors about Muku because of me?)

Tenma: Thank you so much!

Misumi: Thanks for coming~!

Muku: Thank you very much!

Juza: (That's Muku? He looks like a totes different person.)

(I heard he was kind of down after quitting track and field, but he didn't look that way at all on the stage.)

(Never knew he could shine like that onstage.)

(Maybe I, too…)

Juza: You're the reason why I started theater.

Seeing you take a step forward to theater gave me the courage to do the same.

But what if you go back to track and field, and in the worst case get injured again….

What if you clash with your teammates and get hurt in the process… What if that issue affects your acting as well…

I just don't want to see you get hurt again.

...But that's just my ego speaking.

I didn't know how you feel about returning to track and field.

No one can ruin your desire to run again, just like how no one can ruin my desire to perform onstage.

I should've told you, "If you're gonna do it, give 110 percent at both of them. I'll support you."

It's my job as your fellow troupe member, your family and your co-star, to support what you wanna do and back you up.

Sorry for being harsh on you the other day.

Muku: ...It's alright. I should thank you instead, Juchan.

I know you said those things because you were worried about me.

I could make up my mind because of your words. I finally realized my own feelings.

I'm sure there's still a part of me who longs to participate in a relay race with my clubmates…

I thought I'd moved on, but...

Maybe I thought that way because somewhere in my heart, I was sure my leg hadn't recovered, because I felt like I couldn't go back to track and field.

This time, I won't regret it even if I can't manage to bring the best outcome after practicing. I just want to do my best to take part in the race with the others, just like before.

I want to do my best until the end. And I want you to watch me run.

Juza: Sure. Show me how you run as the Ace of the club.

Muku: Okay! I'll give it my all.

And you see, I've never thought about leaving the theater.

Mankai Company is a precious place that everyone gave to me when I was still unable to go back to track and field.

And I don't think I can ever quit now that I know how much fun acting is.

Juza. ...I know right.

Muku: I have to focus on our upcoming play first before the race.

Juza: We've gotta catch up after causing troubles like that.

Muku: Let's do our best!

Juza: Man, this place sure is out of this world…

Azami: Freakin' spacious.

Izumi: It's more gorgeous than the photos… Oh, right. Thanks for coming with us, Azami-kun.

Azami: Nah, no need to thank me. I wanted to see the dressing room since I'll be doing y'all makeup.

Kazunari: Mukkun, you're not getting seasick or anything, right?

Muku: Yep. I'm alright. I already took some medicine, and it's not like we're riding a small boat where we can feel its motion.

Saionji: I've been expecting you. My name is Saionji.

Izumi: My name is Tachibana. Nice to meet you.

Muku: (Hm? I feel like I've seen this person before…)

Saionji: I'd like to offer my gratitude for accepting our request.

Izumi: I should be the one thanking you for offering us such an amazing request like this.

It's not everyday we get the chance to perform in a place like this. I'm grateful for it.

Saionji: I'm also attempting a lot of new things. I don't usually hold a jewel showcase…

Since this is the first time it'll be showcased in Japan, I chose this ship as the venue so that a lot of people can see it.

And because I want people to also enjoy the cruise, I decided to hold it for several days and considered adding more activities throughout the journey.

That was how someone suggested I hold a stage play here.

Due to that, I went around the Veludo Way by myself in search of a theater troupe.

Izumi: I see.

Muku: Oh! Are you perhaps the person who dropped his cufflinks the other day…!?

Saionji: Thank you for picking it up at that time.

Muku: N-No problem!

Sakyo: You know each other?

Saionji: He helped me when I was walking around the Veludo Way. I've got to know Mankai Company because of him.

I looked it up afterward and decided to offer you a request to perform here. It just so happened that my acquaintance was also bringing you up.

I believe it might be fate after knowing that my acquaintance's son is also a member of your theater troupe.

Kazunari: Are you talking about my papi!?

Sakyo: Receiving an offer after helping someone...

Yuki: That's just so Muku.

Banri: Sounds like something that comes out of the Straw Millionaire*.

Muku: Ehehe…

Come to think of it, I remember some jewels are embedded in the cufflinks.

Saionji: That's right. You have a good memory.

Muku: I remember it because it's so beautiful.

Saionji: Right. Why don't you all participate in the jewel unveiling while we're at it?

Since the unveiling will be held a day after the closing show, I'd like you all to stay one day longer here…

Muku: Can we, really?

Izumi: Thank you so much!

Juza: Jewels in a luxurious ship… That's just like our play.

Kazunari: It won't be weird if some thieves come to steal it.

Sakyo: The setting is just perfect. We won't have any issues making the audience immersed in the play like this.

Muku: Now we only need to do our best!

Juza: We've gotta focus.

Saionji: ...Oh, I almost forgot. Tachibana-san…

Izumi: Yes?

T/N: The Straw Millionaire is a Japanese Buddhist folk tale about a poor man who becomes wealthy through a series of successive trades, starting with a single piece of straw.

< Episode 6 | Masterlist | Episode 8 >

[kendelias]

ena and sakyo for the wedding ask i wanna see sakyo stress over the budget sdklfjskl

i’ve never thought about this but now that i have i’ll be spiraling forever thanks

so i feel like it’d be a discussion for sure. like eventually sakyo would be like “so... marriage. what do we think” and ena would be like “oh my god i’ve been in love with you ten years i wanna be married to you like yesterday” so that’s good they’re on the same page

as far as proposal... oh my god im already emotional

lowkey i feel like he’d be. super traditional about it. like he’d definitely ask her parents for permission and take her to a super fancy dinner

ena has literally no idea which is so funny bc she’s usually super intuitive but she’s like “idk it’s probably just bc it’s so close to our anniversary or smth”

meanwhile sakoda found out and told the entire company already so like everyone else knows and is just like. aha! sure!

so he takes her out to this beautiful candlelight dinner on a private section of this SUPER fancy restaurant and she’s really not thinking about it and then the champagne comes and. oh! what’s in the glass!

she tears up but meanwhile he’s stumbling through this speech bc. he is the Worst with emotions but god he wants to tell her. to let her know how much she means to him. but the thing is she already does know so she just sits there and lets him struggle for a minute and then she’s like “sakyo stop of course i’ll marry you.” he doesn’t smile often but BOY OH BOY

luckily for sakyo. ena’s already been married. and it was hella elaborate. so she’s probably not gonna want anything super big anyways!!

then again he would make it super special and elaborate for her if she asked bc he literally loves her so fucking much

that being said! mankai is definitely getting over involved and making this thing a BIG party so it doesn’t matter what they think <3

sakyo gripes but really he appreciates the help bc he is Certain ena would just say “courthouse wedding” if she thought it would please him (and she would they’re both simps)

the guest list is fairly small, just the mankai company and co. and their respective families bc... tbh neither of them really has friends LNSKDNLK

speaking of, super small wedding parties too - ena has her sister and izumi and euna and sakyo has sakoda and azami and omi. crying. anyway.

honestly this is stupid but. ceremony in the theater. like the guests in the audience and them on stage. dumb. but honorific.

yuki Obviously makes her dress bc “what are you gonna go out there in thrift store chic for the cheap yakuza bastard absolutely not” and it ends up looking something like this bc she’s hot and i’m right

sakyo is sweating and freaking out about budgeting and marriage in general up until the very moment ena walks down that aisle but the moment and when he sees her... everything stops. it’s just them.

his vows are a parallel to what he said to her at her first wedding essentially when he said goodbye and admitted he loved her even if there was nothing they could do about it. jesus christ.

ena cries, her sister and izumi cry, half the mankai company cries. no one will ever have peace again.

the reception tbh is probably back at the dorms or something like. they’re not gonna rent anywhere out. BUT the decorating committee (kazunari, yuki, sakyo, and kumon with a moderate budget) made it look super nice so it’s not just... their living room SNDLKNFKLNF

at the reception, homare and azuma ARE drunk and continuously clinking their glasses so the bride and groom will kiss, azami is trying very stubbornly trying to hide the fact that he’s happy for them but kumon is Making him dance and have fun, ena had her first dance with her father but she also had a first dance with azami bc... them <3, and ena and sakyo literally will not leave each other alone almost the whole night

their honeymoon is definitely like a quiet week in the country side bc they deserve it <3

send me a ship and i’ll talk about their wedding

[bigfan-fanfic]

High School Musical feels to me like a very gay narrative, and doing a close reading reveals this fact. Long post ahead, with analysis of lyrics and story beats that contribute to a queer reading of the story

Basically, Troy is the repressed gay who hides in the closet, and Gabriella is the outcast nerd who is just discovering the gay, never knowing before then how she doesn't fit in. She talks about how she has been outcast before, because she was different. While in and of itself this is not particularly specific to the queer experience, Gabriella’s journey of becoming comfortable in her skin is prevalent to the story and a queer reading of HSM. Likewise, Troy’s growth in his confidence to do what he wants even though it’s easier and more comfortable to bow to societal pressure is also queer in its telling.

In "Start of Something New,” they both have that realization that this thing they're feeling is so right for them, they feel a belonging. :It feels so right/to be here with you” and “I feel in my heart/the start of something new” seems less to me an anthem for love at first sight and more simply the recognition of this feeling of attraction to someone - and despite Troy and Gabriella being ostensibly cishet, the combination of this song and the use of drama/the arts as a stand in for homosexuality in this reading make it feel as though both are nervous but excited in discovering their queerness - another interesting thing is that each of the love songs in HSM are gender neutral, and thus play the same if sung by two people of the same gender as by a hetero couple.

This moment is a growth for Gabriella’s queer journey - prior to the song, she is nervous and afraid to socialize, but afterwards she is open and excited to discuss with Troy their experience and be friendly. Troy is a little more closed-off, foreshadowing his journey of trying to stay in the closet - he makes a point of saying how this was something he’s never done before and is not a typical part of his character.

They meet later, and Gabriella's a little more confident, although not technically "out" yet - she doesn’t hide her interest in the “singing thing” and though she doesn’t want to be seen as the Freaky Math Girl, she does have no qualms about showing off her intelligence in class. Basically, despite this being a new territory for her, she is more comfortable in her skin. Troy, meanwhile, basically thinks about his gay experience but hides back in the comfortable closet, returning to being a jock’s jock and ridiculing Ryan and Sharpay, the story’s flamboyant representations of the “out” gays.

Ryan and Sharpay are interesting villains, and they read to me as what might be termed the LGBT+ gatekeepers, since we have drama/the arts as our allegorical stand-in for the queer community. Ryan and Sharpay are unapologetically gay, but they are also used to the ostracism they recieve and thus as a reaction, they have become fiercely protective of their safe space - Sharpay’s fear of the musical being taken over here reads as the worry of LGBT spaces being co-opted and appropriated by cishet people and thus returning them to marginalization.

The song "What I've Been Looking For" is a big jazzy pop number for out gays Ryan and Sharpay, further referencing their absolute comfort in who they are. However, when Troy and Gabriella sing it, it's a soft romantic ballad because they're still on the journey to discovery of their queerness. The lyrics are really gay in "thought I was alone/with no one to hold/but you were always there beside me" - the song is about finding a love when you thought you never could, and if that doesn't scream gay I don't know what does. Despite Kelsi’s insistence that Troy and Gabriella’s way is how it is “supposed” to be sung, the song works just as well as a hopeful romantic tune about the future as it does a celebration of finding acceptance of any kind, even platonic. Again there’s a reference to “this feeling like no other” - this song follows up “Start of Something New” as a continuation of the journey to self-acceptance, and speaks of finding comfort in the experience of meeting those like oneself -  “I never had someone/that knows me like you do/they way you do.”

“Get’cha Head in the Game” is here to show the environment Troy lives in - he’s being constantly pressured, and the song is fast paced and imperative. It also provides a contrast in lyric theme, referring to the “head” instead of feelings and heart. Troy’s tonal shift in the middle of the song where he sings about his heart feels like now that he’s had this gay experience and knows this truth about himself, he can’t go back fully into the closet.

The posting of the callback list feels very much to me like Troy and Gabriella being publically outed as queer. When Troy and Gabriella are "outed," there is a reaction of support and others "coming out" in solidarity, but those voices are shouted down by those seeking not to upset the status quo. The song is chaotic and loud, with walls being broken down and students from different groups merging - Chad mentions later in dialogue that the social hierarchy is breaking down. Interestingly enough, despite the general tone of the song being disapproving and admonishing, everybody joins in the dance and shows support, until Sharpay literally shouts everybody down. This kinda feels to me like saying that the majority of people would be accepting and tolerant, except for a minority of vocal voices who dominate the conversation and push their agenda of hatred.

Homophobic Chad manipulates Troy back into the closet to protect the status quo, and a heartbroken Gabriella sings about how she "thought [he was her] fairy tale," and that really says to me like a gay thinking they've found a relationship only to be heartbroken by realizing the person was straight or too closeted to continue on. She “confused [her] feelings with the truth” and thought “[he] felt it too,” but luckily the ensuing fallout of Gabriella and Troy forced apart and into their respective closets makes their straight friends realize their horrible mistake and do their best to repent, becoming “allies” to them.

“Bop To the Top” is just a fun number, again showcasing Ryan and Sharpay as confident in who they are. However, the interesting part is that Ryan and Sharpay’s world is breaking down around them as well, just as it is for the straight people. Sharpay snaps at Zeke because she can’t quite comprehend this guy from the straight side reaching out to befriend someone of the queer set, and her walls go up. In her own way, she’s trying to restore order as well - however instead of forcing Troy and Gabriella apart, she instead tries to make it so they must prove their commitment to one side or the other - making it so that their activities with their friends take place at the same time as the callback - basically a choice between their closets or the queer community, but with the help of their allies, Troy and Gabriella bring everything crashing together - though the straight majority floods the theater, they do so in support of the community she has protected. At this moment, Gabriella and Troy have overcome the external queer-phobia.

And then the big emotional number at the audition, "Breaking Free," really feels gay to me, in that the song is about the world trying to tear this couple apart but with their faith in each other and themselves, they can rise to new heights. The verses each feel like an anthem to a queer experience in fighting against societal pressure and having confidence in who you are. “The world can see us/in a way that’s different than who we are” is about the pressure to conform to gender and sexuality norms, “but your faith, it gives me strength/strength to believe” they can break free and be themselves. In particular the bridge where they sing "more than you/more than me/not a want/but a need" gives me "born this way" vibes and describes the need to be who you are even when others might not understand. And yet, even in all of this, they are supported and tolerated - the audience dances in the seats and claps to the beat and supports them.

And then "We're All In This Together" is of course the fantasy of tolerance and overcoming bigotry within and without the LGBT community, where everyone is singing together in harmony, where there is nothing but acceptance of the differences that make us all special and unique, with the recognition that we are all human.