#this episode's production is quite frankly beautiful

[dongslinger--420]

Facts about The View From Halfway Down that make me insane:

The only reason the poem is called that because RBW wanted to write an episode beginning with the letter V

The entire episode exists because the concept of "BoJack has a dinner party with dead people" was one they had for years beforehand

Each character in the dinner party scene was given their own storyboard artist

Secretariat was originally supposed to flip back and forth between Will Arnett and John Krasinski but Arnett did such a good job that they decided to do that the entire time

Amy Winfrey designed the house based on Dr Caligari

BoJack's eventual attempted suicide being drowning just felt right: it wasn't planned from the offset at all

[maxwellatoms]

Would you trust ANY Korean studio for hand-drawn animation today? I ask because, when The Powerpuff Girls came back in 2016, I noticed how slow and stiff the Korean animation was. Since then, most Burbank cartoons animated in Korea, namely Cartoon Network shows, have been like that — mostly on 2s & with less inbetweening. Look at any Digital eMation episode of Victor and Valentino or Samurai Jack Season 5; do they animate as loosely and smoothly as Digital eMation episodes of Billy & Mandy do?

Sure I would. It would all depend on the studio and the circumstances. There are good studios and bad studios, and either of those will treat your show differently based on their perception of how valuable it is to their client. In the early 2000s Rough Draft was a top-notch studio. One of the reasons I switched over to eMation from Rough Draft was that I felt like Rough Draft was putting all of its resources into making Samurai Jack look beautiful, and we were still calling retakes on three year old issues. I knew we weren't a priority to Rough Draft, and I knew that stemmed from Cartoon Network's negotiations with them, so my griping was only going to get us so far. It seemed to me that I needed a studio that was smaller and scrappier like we were. We were putting in a lot of work on our end to make cool stuff and it wasn't ending up on the screen, so we needed people who were just as hungry on the back-end, and eMation stepped up.

There's also the fact, though, that animation itself has changed a lot in the last fifteen years. Powerpuff Girls and Samurai Jack's animation always seemed to have an air of "motion comics" to it. And frankly, that's part of what I love about it. It was all a throwback to the old UPA cartoons, which were built on strong, clear poses and made for the cost equivalent of a turkey dinner. Likewise, CN storyboard artists usually had around four weeks to write and draw their boards on paper, so there just wasn't time to take the effort to do anything too complex. It was all about snapping between those 300-ish storyboard drawings and momentarily savoring them for their humor and design mastery. Now we have tons of digital tools that make the basics of animation a lot more accessible to everyone, and have changed the entire studio pipeline. Things just won't look like they used to because nobody makes them that way anymore.

When I've had to choose an overseas animation studio, the network's production arm usually gives me one or three choices and tells me that's all there is. Deals have already been made. (Sometimes they make you pick two to save on costs, which (IMO) usually results in two studios that are less functional than any one of them would have been.) The studios usually have reels, so that gives you a basic idea of what they can do. You can (hopefully) find some other show creators who have worked with the studios and get an honest review. It's an important enough decision that it's worth whatever research you can put into it. Even over good bones, an ill-fitting skin can ruin the mood.

The most important thing to remember, I think, is that it's your job and your crew's job to make animating the show as easy as possible. Really, it's everyone's job to make the next person in line's job as simple as they can. Ideally, there shouldn't be a lot of questions because the materials you sent down the chain are clear.

So... yeah. I'd still trust Korean studios as much as I'd trust any overseas or domestic animation studio. You get out of them what you put into them by feeding them money and your own labor. It's quite possible that the shows you mentioned didn't do enough of either.

I imagine the overseas studios are hurting right now, so who knows what that landscape is even going to look like in a few years.

As with every step of the process making a TV show, you just sort of have to weigh your options and find the path.

Hmm. That got long.

[klapollo]

is copywriting a good job to look into as a writer? im job hunting and i see quite a few openings online but im worried the work will be extremely dreary

i didnt set out to be a copywriter -- frankly when i graduated i had no idea what i wanted to do. i spent about three and a half years freelancing and doing gig work and i'd make like 140 bucks a month on a good year. i happened to apply for a copywriting job among a sea of other entry level things -- social media coordinator, communications associate etc. and i feel SOOOOO fucking blessed that i fell into copywriting

in terms of money: copywriting is very lucrative if you get the experience for it and stay the course. my very first position with no prior copywriting experience (just freelance writing experience) paid me 35/hr. starting off you'll probably make about 50k but moving up the hierarchy can pay a LOT. with four years of experience, during my job hunt i would say the vast majority of the positions i interviewed were within a six figure salary band. moving up the hierarchy, lots of senior copywriters make six figs, and some associate creative directors make over 200k. you can definitely live comfortably as a career copywriter if you play your cards right.

in terms of work: personally i love copywriting, but it's an arm of marketing. if you cant stomach writing marketing materials or learning how marketing works, it might not be for you, but i kinda make it into a game in my head. there's a lot of different kinds of copy -- short form (landing pages, social media blurbs, headlines, emails, product descriptions etc) and long form (white papers, SEO articles/blog posts, ebooks). i would aim to find a copywriting position that will have a wide scope of copy types, because that helps cultivate a well-rounded resume (i.e. shoot for a job that'll have you writing landing pages, emails and blog posts etc over one that's just headlines and captions).

there is also B2C (business to customer, as in marketing a consumer product to individuals) and B2B (business to business, as in marketing a product like mailchimp to a business). i mostly do B2C, but I also do B2B now. it's fine to start with just one, but i'd say right now demand is very high for B2B

the good thing about copywriting is that basically any industry requires it in some capacity. i've worked predominantly in entertainment and digital media, but right now i'd say the biggest demand is in healthcare, fintech and SaaS (software). i freelance for a telehealth company right now in part because i want to make my portfolio more well-rounded. but as i said, nearly any industry can need one -- hospitality, beauty, fashion, retail, nonprofits, anything that is a business that needs to be advertised. when i started, i worked in television, which meant my days largely consisted of watching shows before air and writing episode descriptions. i had a lot of fun!

personally, i dont find my work dreary. sometimes it can be a LITTLE tedious if i'm writing something more technical/internal, but the whole point of copywriting is to figure out how to entice someone to check something out, which means puzzling out how to write something fun and engaging. if you want something less marketing-focused, i would look into getting into technical writing. this is basically writing informational texts and guides for technology and similar things. it pays VERY well and is usually in high demand, but i will say it's definitely more tedious than copywriting.

in short: yes i love copywriting and you can be very financially stable in it! i'd argue it's one of the most financially comfortable day jobs for someone with writing experience. happy hunting anon!!!! i hope u get what ur after

[anthroparis]

little bonsar fic river commissioned. it turned out well so I thought I'd post here too! word count is around 1k.

(comm info is here)

It had been a long night. 

The sound of the morning crew in the studio next door was Caesar’s cue to finally close the laptop and stow it away until he’d gotten enough sleep to bear gazing into that uncaring white light again. It took a lot of effort to hit the save icon in the corner of the program and let the file go dormant for the evening. 

This- Aftermath, that is- was so much different from his little bedroom studio back home. He had a crew of thirty people at his disposal, international airing time, and a dedicated fan audience that rivaled his original following by tenfold. Caesar could, quite frankly, do nothing. Just sit back and enjoy his limelight- let the paid professionals take care of the gritty details while he lounged with little imported cucumber slicers over his eyes to give him that fresh “good night’s rest” look. 

Of course, if he did have other people working for him, he could actually get a good night’s rest. Truthfully, Caesar couldn’t stand having people he barely knew impose their own conflicting visions over his. He was beginning to lose track of how many times he yelled at a production assistant for moving a potted plant, or argued with a producer over SFX. It was beginning to exhaust him- in a depressing way, he was starting to understand why Chris McLean turned the way he did. 

Half of the next Aftermath episode was edited on his own personal computer, by his own two hands. It felt good, having that authority. That control over his work. Besides the conflicts with the studio heads, he was admired for his talent- “Caesar Flickerman, the man who can do it all!” 

He pushed his desk chair back and let it roll a few feet before finally getting up. Truthfully, there was a lot he couldn’t do. He couldn’t flip a pancake in a pan. He couldn’t cut his own hair. He couldn’t resist adding a little dash through his written sevens. 

The catering table was empty, of course, only a stark white cloth covering its surface. In a few hours, it’d be covered in finger sandwiches and donut holes for the next crew. But for now, it was empty, perfectly empty, and Caesar enjoyed the feeling of putting his computer bag on it. Across from the white table cloth was a dark form lying awkwardly on a black couch, each side of the room contrasting each other like Yin and Yang. 

He didn’t want to wake them. Not yet. 

In the periwinkle light of dawn, everything seemed so normal. If Caesar closed his eyes, he could pretend that they weren’t in a film studio in Toronto in the naught hours of the morning. No, there was nothing quite beautiful about that- they were in his grandmother’s basement, years before she passed and her beautiful home was repossessed and bulldozed. Lying on the soft green floral couch, watching old romances from the ‘50s on the box TV set atop a stack of New Yorkers. The smell of rosemary and thyme coming from upstairs. 

Oh, how he wished he’d met Bonnie some other way. 

There was a kind of mourning between them that neither wanted to speak about. It was a silent funeral of “what if’s” and fantasies of a world in which their lives were much different. Where they could have sleepovers in the attic and bake cookies for trips to the park on warm days. 

But here they were, anyway. Backstage, where only hours ago they had been cornered into sharing their feelings to millions of apathetic viewers over a screen. This was life for them. Nothing could change that now. 

Sometimes, he felt as if Bonnie could’ve saved him if the two met sooner. 

If he’d had them all those years ago, when he felt alone in the way that makes you dizzy and disoriented, even when you’re surrounded by people. The way he felt when he passed the supermarket that was built over his grandmother’s house. 

Maybe he wouldn’t have to be so charming. Maybe he wouldn’t have to have become Caesar Flickerman, the man who can do it all, as a means of survival. Maybe he wouldn’t have discovered the truth about the world so quickly, that it doesn’t matter how smart or talented you truly are, success is achieved through charisma. And in most cases, charisma and lying are one in the same. 

Because, and the truth was, that no matter how “talented” people thought he was, Bonnie made him feel stupid. 

They just had a way of stripping away the layers and layers of lacquer he’d coated himself with over the years, as if they didn’t matter to them at all. As if Bonnie could see right through him and grasp the lonely little child he’d spent so much time and effort trying to bury, and hold his hand while they crossed the street. They made him feel stupid. Weak. 

And he liked that about them. No, loved that about them. Loved how they made him see things so differently. Loved how they made him question himself. Loved how they made him think about silly things like the couch in his grandmother’s basement. 

He sometimes wondered how just one person could be all that. How they could be everything. 

Caesar tried not to dwell on it too much. He didn’t want to ruin a good thing by overthinking it, after all. No, he wanted to stay in this little bubble forever, where life was just about him staying up ‘til five in the morning and Bonnie waiting for him outside. 

“You stress yourself too much,” They said that a lot. Caesar was always tempted to chide them- he knew that Bonnie was just as, if not more stressed than he, they just stowed it away until they could handle it on their own time. Caesar took out his worries on DaVinci Resolve, Bonnie tapped their feet and chewed their nails and checked the time on the big white clock in the production meeting room. 

But, all the same, he wanted to say “You’re right. Let’s go,” and disappear with them into the early morning Toronto fog, and never come back. He wanted to build a house with them, brick by brick, with a basement and a green sofa and a box TV, and fill it with the smell of rosemary and thyme. 

But neither of them could do that. 

So, instead, Caesar laid his coat over Bonnie’s shoulders and fell asleep next to them.

[natsspammityspamspamham]

Social Anxiety and Pretty Privilege in Anime

Disclaimer: If you enjoy any of the following anime the way they are and do not want my take on this, feel free to skip this post. I'm not saying that any of these shows are bad in any way, but I will be looking at it from a viewer's perspective on how well it portrays social anxiety disorders. I do have social anxiety myself, but I am hardly the poster dino for it as the condition varies from person to person. This is just my own take on my own blog, and you're free to disagree, but I encourage you to do so respectfully as my feelings are easily hurt.

Some more anime were added below.

Anime Mentioned:

Komi-san wa, Comyushou desu.

Cool Doji Danshi

Romantic Killer

*(I did not finish Cool Doji Danshi or Komi-san season 2)

The Halo Effect: The halo effect is the tendency for positive impressions of a person, company, brand, or product in one area to positively influence one's opinion or feelings in other areas (Wikipedia). In this case, we will be looking at it in the case of people who are conventionally good-looking being seen more positively. This specificity also describes the popular term: Pretty Privilege.

Since this is the only anime in the list that I finished, I will start things off here. Romantic Killer does a great job portraying symptomology of social anxiety even if it would more closely resemble PTSD in this character's case (although I'm not an expert on the topic). His behaviours and responses change his everyday life, and when it's revealed why he reacts in certain ways, it is not romanticized in any way. It's not played for giggles. If anything, it subverts the trope of the "cool guy" to a whole new level. I'm not saying that shows need to get on his level of backstory (because quite frankly, I don't want every show I'm watching to turn into a psychological thriller in the last few episodes), but I like how this show interprets the symptomology of a panic attack in a way that feels incredibly realistic. For a show that is literally 99% comedy, they certainly got me there.

I get what Cool Daji Danshi is trying to go for, and I do support it even if I can't get behind it or agree with it. Cool Doji Danshi goes with the approach of "These guys are clumsy and make mistakes, but they deal with it in different ways!" I watched the first four episodes to get a feel on what the show was trying to get at and what each of the guy was supposed to represent. The running theme seems to be that besides their social awkwardness and clumsiness all of them are conventionally good-looking in their universe, and people around them react unusually understanding and well because of it. People like me, not conventionally attractive with social anxiety, do not get this luxury whatsoever. If I mess up, it isn't an "oh, he's so cool even when he's absent-minded!" it's a "Never do that shit again. It's embarrassing, dude.", an incredibly judgemental stare, or just the conveyed emotions of absolute pity.

The same thing goes for Komi-san. Komi-san is described as a beautiful ethereal being, and everyone in the whole universe of that anime knows that. This is essentially Cool Doji Danshi's issue for me and cranking it up to a comedic level while consolidating all of it into one character. When I'm nonverbal, unable to speak, and sweating in social situations, it makes the atmosphere awkward. It makes things uncomfortable, and I know that this anime is built on overly exaggerated tropes, but I can't agree with a portrayal that uses the disorder for comedic effect. It just doesn't work for me. Nothing about these experiences is funny, and while there is a time and place to laugh at yourself, this show just felt exhausting to the point of being exploitative towards the disorder.

I wanted to focus on anime that are mostly framed around less heavy and more comedic tones (I swear, Romantic Killer is usually funny and lighthearted). There are other shows that tackle this too that I didn't mention like Welcome to the NHK or the notorious Watamote. There are other more serious anime that take on similar topics such as A Silent Voice and Anohana, but those are far from comedic.

As someone who runs into hurdles and difficulties daily due to social anxiety, it's nice to know that there is representation for people like me. However, I feel that some of these works shift the tone to comedic by making sure that those with social anxiety as an MC or lead character are inherently attractive. To me, social anxiety isn't being perceived as "cool and stoic" with a side of cute awkwardness. It can lead to you making bad social decisions, having a damaged perception of how the outside world looks, and it can seriously impede your everyday life (seriously, failed my driving test twice because I couldn't stop shaking and crying due to a stranger sitting in the car with me). It's not pretty, it's hardly comedic, and it would sure be nice to have a more mainstream show that shows that people with social anxiety can grow with the proper help and support without being born with good looks.

EDIT: Some more anime that came from Anon and my personal viewing.

Tsuritama was a fun watch! I don't remember a ton since I watched it years ago, but it is a relatable representation of what it feels like to drown in anxiety. It's also wacky. I never thought I'd like the duck that much.

I didn't watched Ookiku Furikabutte because I'm not a sports anime person, but I hear it's good!

Bocchi the Rock was not only a great watch, but I found it was an extremely accurate representation as well! Even though it was played off for comedic purposes, I can't say that it wasn't accurate to my being (seriously, even the exaggerated bits were a bit too much like me). Sure, it's an anime that's supposed to be marketed on "cute girls doing cute things", but it never actually says that social anxiety is cute. Heck, it even distinguishes the difference between introversion and social anxiety!

((That's me with my double bass. I hate it (joking)))

[absolutebl]

This Week In BL

May 2021 Wk 2

Being a highly subjective assessment of one tiny corner of the interwebs.

Ongoing Series - Thai

Lovely Writer Ep 12 fin - that was a long arse final ep, but solid performances. I liked that we focused on the fallout amongst the side characters. (Very clever of them to depict Chap with Tae, his Y-Destiny pairing. Especially as both actors are slated for new BL roles with different partners again, The Tuxedo and You’re My Sky.) The camera certainly enjoyed wallowing in Sib & Gene’s separation, but that’s an Asian drama for you. They like to DWELL. (Frankly, I like a bit of wallowing myself.) I thought the inclusion of the “actual” writer at the very end thoroughly unnecessary. I don’t think they had to beat us over the head with the 4th wall meta quite that much. Still, this is probably one of the best BLs we’re getting from non-GMMtV Thailand this year. RECOMMENDED 

Y-Destiny Ep 8 - (Thurs) I found the first half uninteresting but once Casper the Friendly Gay showed up it was fine. The ghost reminded me a bit of Fuse from MIR. 

Close Friend Ep 4: (Just One Life) - is it just me or is Talay insanely charismatic? Anygay, the director got ahold of a drone for this one and would like us to KNOW ABOUT THAT FACT. Look, I just don’t think YoonLay have great chemistry but this was alright, cute enough. 

Fish Upon The Sky Ep 6 - This was a better installment than we’ve had in a while. I like the obsession vs love explanation from Mork, insightful if creepy. Meen & Duean are okay, I guess. A bit annoying. Everyone in this show is a bit annoying. But the wipe toothpaste then wipe eye crud got to me. Toothpaste in the eye, yech! And then I was all, oh that’s basically this show: toothpaste in the eye. It just reviewed itself. (Also why do they keep switching aspect ratio between the two pairs? It’s like they were filming with two completely different camera types... oh. ah. Weird, GMMTV usually doesn’t make mistakes like that.) 

Call it What You Want Ep 6 fin - I skipped to the last ep on this, I told you I do that sometimes to find out what happened. So CIWYW ends happy for the main couple, but trigger warnings on: eating disorders, suicidal thoughts, depression, mental abuse, and a few other things. If you don’t mind your BL dark, gritty, self aware, and honest then you should be okay with this show. But if your preference is for fluff, then there are other fish in the sky. Speaking of... 

Nitiman Ep 2 - Giving me My Engineer vibes. This is OLD school Thai uni BL. I kinda feel like it was meant to come out in 2018, the gap year that was, but I am SO GRATEFUL we’re getting it now. Pay TF attention FUTS this is how you redeem a tsundere uke. Also I love that Bboom is just a terrible flirt and the football match twist was great. I love this show.  

Top Secret Together Ep 1 - it’s out there but no eng subs. It’s an office set romance with multiple couples all tangential to one building. A bit stilted and low production values but I’m intrigued. I hope we get subs... eventually.  

Ongoing Series - Not Thai

HIStory 4: Close To You (Taiwan) Ep 9 - gets the safe sex gold star for lube + condoms AND a verse discussion? Not to mention asking for sex advice from queer fam? Is this a first in BL? Might be. (I still think it’s weird that product placement hasn’t jumped on the lube bandwagon, too slippery perhaps?) I like the embezzlement drama. I always enjoy good outside conflict playing to setting, and this is the kind to be easily resolved in next week’s finale. What a roller coster this series has been. 

Papa & Daddy (Taiwan) Ep 5 - I LOVE THIS SHOW. A heartbeat after i thought, “they better address what he’s doing to the girls he’s dating,” they did it. Clever scripting that. The messaging is gorgeous, the idea that pride and media coverage and knowing about a changing world can broaden minds and lead to acceptance was basically Taiwan making a case for itself paving the way for marriage equality in Asia. Genius. 

Most Peaceful Place 2 (Vietnam) Ep 1 (AKA 4) - dropped with subs and improved production values, someone is learning (or got more dough). The younger brother’s drama is a bit confusing, but I am here for cute boyfriends being cute boyfriends together. And I love that they took the seme’s previous pair (from Nation’s Brother) to be the faen fatale, very crafty of them. Even though it’s not a trope I like, there’s great chemistry all around. 

My Lascivious Boss (Vietnam) Ep 6 - I weirdly love this show, okay? I’m just hoping Long has known Minh’s secret all along and is playing a reverse long con cat & mouse game, waiting for Minh to tell him the truth. Because that would be THE BEST. I could do without the faen fatale but ya can’t have everything. (I’m so glad it’s not the standard 6 ep arc, MOAR!!!) 

Gossip 

Rumor is GMMTV Thailand started shooting Baker Boys (here’s the teaser trailer). This is a remake of Antique (AKA Antique Bakery) a 2008 Korean movie (you can watch it on Viki) which is a remake of Antique (a 2001 Japanese series) with is an adaptation of wildly popular manga Antique Bakery. Knowing the plot I’m not sure this will qualify as BL. I’m still predicting Lee gets his first gay kiss in this series from Singto. More details about this series here. 

Breaking News

Love Area release pushed out, reportedly due to C19. (source DramaCool) 

Be Love In House: I Do (Taiwan, of course, with that title) got a new softer trailer (no subs). It drops next week, May 19, 2021 on Viki. All the information I have is here. 

Tangential to BL 

Two BL-adjacent shows, both from Taiwan. 

I’m watching Love is Science? on Viki which has a het foundation, but it’s a good one. There’s a BL side couple who are on an enemies to lovers slow burn trajectory; featuring a disaster bi slut meets elegant bad ass super gay. So there’s THAT. The mains are an older career woman and the sweet boy from her distant past who has pined for her for years. (He is the softest sweetest service sub you ever saw.) Props to Taiwan for a seriously underused het dynamic. As usual in Asian rom coms the straight boy love interest is a Perfect Cinnamon Role (yes I’m looking at you True Beauty & Love O2O) but I find Taiwan’s version more palatable than Korea’s or Mainland China’s. It’s not finished yet but... RECOMMENDED. 

Starting this week is Love Outlet a 50 (?!) episode show about a mall that sells relationships. It is supposed to have a main gay romance, but it might be a side dish. Very little else known about it. Coming to Line TV.

Honestly, I’m at the point where if Taiwan makes it, I’ll probably watch it. 

Next Week Looks Like This:

Some shows may be listed later than actual air date for International accessibility reasons.

Starting:

Be Loved In House: I Do (Taiwan) 

Golden Blood (Thailand) we think, like Love Area this may be delayed due to surging C19 cases 

Love Outlet (Taiwan) we think 

Upcoming 2021 BL master post here.

Links to watch are provided when possible, ask in a comment if I missed something.

[letterboxd]

In Focus: The Mummy

Dominic Corry responds on behalf of Letterboxd to an impassioned plea to bump up the average rating of the 1999 version of The Mummy—and asks: where is the next great action adventure coming from?

We recently received the following email regarding the Stephen Sommers blockbuster The Mummy:

To whom it may concern,

I am writing to you on behalf of the nation, if not the entire globe, who frankly deserve better than this after months of suffering with the Covid pandemic.

I was recently made aware that the rating of The Mummy on your platform only stands at 3.3 stars out of five. … This, as I’m sure you’re aware, is simply unacceptable. The Mummy is, as a statement of fact, the greatest film ever made. It is simply fallacious that anyone should claim otherwise, or that the rating should fail to reflect this. This oversight cannot be allowed to stand.

I have my suspicions that this rating has been falsely allocated due to people with personal axes to grind against The Mummy, most likely other directors who are simply jealous that their own artistic oeuvres will never attain the zenith of perfection, nor indeed come close to approaching the quality or the cultural influence of The Mummy. There is, quite frankly, no other explanation. The Mummy is, objectively speaking, a five-star film (… I would argue that it in fact transcends the rating sytem used by us mere mortals). It would only be proper, as a matter of urgency, to remove all fake ratings (i.e. any ratings [below] five stars) and allow The Mummy’s rating to stand, as it should, at five stars, or perhaps to replace the rating altogether with a simple banner which reads “the greatest film of all time, objectively speaking”. I look forward to this grievous error being remedied.

Best, Anwen

Which of course: no, we would never do that. But the vigor Anwen expresses in her letter impressed us (we checked: she’s real, though is mostly a Letterboxd lurker due to a busy day-job in television production, “so finding time to watch anything that isn’t The Mummy is, frankly, impossible… not that there’s ever any need to watch anything else, of course.”).

So Letterboxd put me, Stephen Sommers fan, on the job of paying homage to the last great old-school action-adventure blockbuster, a film that straddles the end of one cinematic era and the beginning of the next one. And also to ask: where’s the next great action adventure coming from?

Brendan Fraser, Rachel Weisz and John Hannah in ‘The Mummy’ (1999).

When you delve into the Letterboxd reviews of The Mummy, it quickly becomes clear how widely beloved the film is, 3.3 average notwithstanding. Of more concern to the less youthful among us is how quaintly it is perceived, as if it harkens back to the dawn of cinema or something. “God, I miss good old-fashioned adventure movies,” bemoans Holly-Beth. “I have so many fond memories of watching this on TV with my family countless times growing up,” recalls Jess. “A childhood classic,” notes Simon.

As alarming as it is to see such wistful nostalgia for what was a cutting-edge, special-effects-laden contemporary popcorn hit, it has been twenty-one years since the film was released, so anyone currently in their early 30s would’ve encountered the film at just the right age for it to imprint deeply in their hearts. This has helped make it a Raiders of the Lost Ark for a specific Letterboxd demographic.

Sommers took plenty of inspiration from the Indiana Jones series for his take on The Mummy (the original 1932 film, also with a 3.3 average, is famously sedate), but for ten-year-olds in 1999, it may have been their only exposure to such pulpy derring-do. And when you consider that popcorn cinema would soon be taken over by interconnected on-screen universes populated by spandex-clad superheroes, the idea that The Mummy is an old-fashioned movie is easier to comprehend.

However, for all its throwbackiness, beholding The Mummy from the perspective of 2020 reveals it to have more to say about the future of cinema than the past. 1999 was a big year for movies, often considered one of the all-time best, but the legacy of The Mummy ties it most directly to two of that year’s other biggest hits: Star Wars: Episode One—The Phantom Menace and The Matrix. These three blockbusters represented a turning point for the biggest technological advancement to hit the cinematic art-form since the introduction of sound: computer-generated imagery, aka CGI. The technique had been widely used from 1989’s The Abyss onwards, and took significant leaps forward with movies such as Terminator 2: Judgment Day (1991), Jurassic Park (1993) and Starship Troopers (1997), but the three 1999 films mentioned above signified a move into the era when blockbusters began to be defined by their CGI.

A year before The Mummy, Sommers had creatively utilised CGI in his criminally underrated sci-fi action thriller Deep Rising (another film that deserves a higher average Letterboxd rating, just sayin’), and he took this approach to the next level with The Mummy. While some of the CGI in The Mummy doesn’t hold up as well as the technopunk visuals presented in The Matrix, The Mummy showed how effective the technique could be in an historical setting—the expansiveness of ancient Egypt depicted in the movie is magnificent, and the iconic rendering of Imhotep’s face in the sand storm proved to be an enduringly creepy image. Not to mention those scuttling scarab beetles.

George Lucas wanted to test the boundaries of the technique with his insanely anticipated new Star Wars film after dipping his toe in the digital water with the special editions of the original trilogy. Beyond set expansions and environments, a bunch of big creatures and cool spaceships, his biggest gambit was Jar Jar Binks, a major character rendered entirely through CGI. And we all know how that turned out.

A CGI-enhanced Arnold Vosloo as Imhotep.

Sommers arguably presented a much more effective CGI character in the slowly regenerating resurrected Imhotep. Jar Jar’s design was “bigger” than the actor playing him on set, Ahmed Best. Which is to say, Jar Jar took up more space on screen than Best. But with the zombie-ish Imhotep, Sommers (ably assisted by Industrial Light & Magic, who also worked on the Star Wars films) used CGI to create negative space, an effect impossible to achieve with practical make-up—large parts of the character were missing. It was an indelible visual concept that has been recreated many times since, but Sommers pioneered its usage here, and it contributed greatly to the popcorn horror threat posed by the character.

Sommers, generally an unfairly overlooked master of fun popcorn spectacle (G.I. Joe: The Rise of Cobra is good, guys), deserves more credit for how he creatively utilized CGI to elevate the storytelling in The Mummy. But CGI isn’t the main reason the film works—it’s a spry, light-on-its-feet adventure that presents an iconic horror property in an entertaining and adventurous new light. And it happens to feature a ridiculously attractive cast all captured just as their pulchritudinous powers were peaking.

Meme-worthy: “My sexual orientation is the cast of ‘The Mummy’ (1999).”

A rising star at the time, Brendan Fraser was mostly known for comedic performances, and although he’d proven himself very capable with his shirt off in George of the Jungle (1997), he wasn’t necessarily at the top of anyone’s list for action-hero roles. But he is superlatively charming as dashing American adventurer Rick O’Connell. His fizzy chemistry with Weisz, playing the brilliant-but-clumsy Egyptologist Evie Carnahan, makes the film a legitimate romantic caper. The role proved to be a breakout for Weisz, then perhaps best known for playing opposite Keanu Reeves in the trouble-plagued action flop Chain Reaction, or for her supporting role in the Liv Tyler vehicle Stealing Beauty.

“90s Brendan Fraser is what Chris Pratt wishes he was,” argues Holly-Beth. “Please come back to us, Brendaddy. We need you.” begs Joshhh. “I’d like to thank Rachel Weisz for playing an integral role in my sexual awakening,” offers Sree.

Then there’s Oded Fehr as Ardeth Bey, a member of the Medjai, a sect dedicated to preventing Imhotep’s tomb from being discovered, and Patricia Velásquez as Anck-su-namun, Imhotep’s cursed lover. Both stupidly good-looking. Heck, Imhotep himself (South African Arnold Vosloo, coming across as Billy Zane’s more rugged brother), is one of the hottest horror villains in the history of cinema.

“Remember when studio movies were sexy?” laments Colin McLaughlin. We do Colin, we do.

Sommers directed a somewhat bloated sequel, The Mummy Returns, in 2001, which featured the cinematic debut of one Dwayne Johnson. His character got a spin-off movie the following year (The Scorpion King), which generated a bunch of DTV sequels of its own, and is now the subject of a Johnson-produced reboot. Brendan Fraser came back for a third film in 2008, the Rob Cohen-directed The Mummy: Tomb of the Dragon Emperor. Weisz declined to participate, and was replaced by Maria Bello.

Despite all the follow-ups, and the enduring love for the first Sommers film, there has been a sadly significant dearth of movies along these lines in the two decades since it was released. The less said about 2017 reboot The Mummy (which was supposed to kick-off a new Universal Monster shared cinematic universe, and took a contemporary, action-heavy approach to the property), the better.

The Rock in ‘The Mummy Returns’ (2001).

For a long time, adventure films were Hollywood’s bread and butter, but they’re surprisingly thin on the ground these days. So it makes a certain amount of sense that nostalgia for the 1999 The Mummy continues to grow. You could argue that many of the superhero films that dominate multiplexes count as adventure movies, but nobody really sees them that way—they are their own genre.

There are, however, a couple of films on the horizon that could help bring back old-school cinematic adventure. One is the long-planned—and finally actually shot—adaptation of the Uncharted video-game franchise, starring Tom Holland. The games borrow a lot from the Indiana Jones films, and it’ll be interesting to see how much that manifests in the adaptation.

Then there’s Letterboxd favorite David Lowery’s forever-upcoming medieval adventure drama The Green Knight, starring Dev Patel and Alicia Vikander (who herself recently rebooted another video-game icon, Lara Croft). Plus they are still threatening to make another Indiana Jones movie, even if it no longer looks like Steven Spielberg will direct it.

While these are all exciting projects—and notwithstanding the current crisis in the multiplexes—it can’t help but feel like we may never again get a movie quite like The Mummy, with its unlikely combination of eye-popping CGI, old-fashioned adventure tropes and a once-in-a-lifetime ensemble of overflowing hotness. Long may love for it reign on Letterboxd—let’s see if we can’t get that average rating up, the old fashioned way. For Anwen.

Related content

How I Letterboxd with The Mummy fan Eve (“The first film I went out and bought memorabilia for… it was a Mummy action figure that included canopic jars”)

The Mummy (Universal) Collection

Every film featuring the Mummy (not mummies in general)

Follow Dom on Letterboxd

[yuzukult]

—saccharine

pairing: seokjin x reader word count: 2,319 prompt: seokjin doesn’t believe in love at first sight. so... what’s this feeling that’s churning in the pit of his stomach when he meets you for the first time? warnings: none. minor cursing. fluff attack. a/n: to celebrate my follower milestone! thank you all for supporting and reading my fics, it means a lot to me!

Everyday is a continuous, recurring cycle. 

First, the alarm rings. Then, he slams the snooze button on his phone before resuming into a light sleep for another eight minutes. The annoying horn sings again, and a wash of regret hits from never changing it out of the default, so he finally accepts this by getting up and sliding his feet lazily into a pair of slippers by the side of his bed before making way into the bathroom.

His hair is a mess. But it’s a mess everyday. Life has gone to the point that even brushing his teeth has become a dreadful chore. Shuffling through his bin of hair products, he finds the mousse he consistently loses and finds on repeat and then slaps a boatload of it onto his head.

This is basically a day-in-the-life of Kim Seokjin. Except it’s everyday. It’s never ending. It feels like one of those time loop movies where when he ends his day, it starts back off exactly like it did yesterday. 

To be fair, he can’t complain. He’s got a roof over his head, an apartment all to himself (that means without a roommate), plus a well-paying full time job. It’s hard to whine and cry about how his life seems to have no excitement, other than the occasional meeting with his friends, but contrarily… there’s not much to look forward to.

It’s the same mundane activities. Opening the cabinet above his kitchen counter as he usually does at this time, he grabs his favorite Cheerios. Good starts with happy hearts, as their commercials say, but Seokjin isn’t entirely sure that’s true. 

He’s a “cereal first and milk last” kind of guy. Not that he judges those who do it backwards, but he thinks if anyone does the routine in the opposite order, they might actually be backwards. It’s a condition—he makes it seem, and it’s a rather controversial topic for the guy.

Nonetheless, he enjoys his bowl of breakfast goods. He reads the news on his phone, and when the reminder on his watch dings, Seokjin rushes to put his dishes into the sink and hauls himself down the hall, in direction to his walk-in-closet that evidently is just too big for it being only himself. It’s a constant indication that he’s alone. 

By the time it’s 8:30AM, he’s dressed in his suit and tie, hair slicked back, and has a satchel slung over his shoulder in preparation of yet another day at the office.

But maybe he’d stop by that new place this morning. Change of pace. Maybe it’ll liven up his day and give him something to look forward to. Maybe he’d like it.

The place is around the corner, less than a three minute walk the moment he leaves his apartment building, and if he timed himself, it probably takes longer to leave his home and out of the building. The shop is cute; decor stickers are laid out delicately along the windows, the walls are painted a pretty blush pink, and there’s smiles on all the workers’ faces as if they enjoyed being there.

There’s a smile on your face in particular that captures his attention.

Seokjin is a relatively kind guy, or so he thinks he is. He’s never pinned over girls like those shows he’s seen on TV, but he’s had his fair share of relationships. He’s not shy, but he’s also not outgoing. He has an abundance of friends but only a few are ones he trusts. 

And the girlfriends he had were great but… no one really appreciates his generosity as much as he’d like.

He thinks he’s crazy at this moment, quite frankly, because he doesn’t believe in love at first sight. It’s this theory and idea that writers of a romance genre film and story that people whipped up together to make it seem more appealing to their audiences. But he doesn’t actually think it’s true.

Or is it?

Hair up in a messy bun, there’s a swipe of flour that coats your one cheek, and a smile that dresses your face so beautifully. You’re in a simple outfit that’s a combination of a white tee and blue jeans with the shop’s apron on top, while running around to keep up with all the orders coming through. He has hearts brimming in his pupils and he can’t seem to stop the way his chest tightens the second he lays his eyes on you. Is this what love at first sight is?

Seokjin doesn’t only regret not changing the default ringtone of his alarm this morning. He also regrets not asking for your number.

When he reaches his office, he realizes he forgets to ask for cream and sugar at the bakery. The dark, warm liquid glides down his throat with some difficulty; the bitterness layering his tongue but the memory of you sparks sweetness from within. Who were you? He doesn’t even know you and you’re on his mind like crazy.

Now, Seokjin has seen How I Met Your Mother. He’s watched the nine seasons, totaling out to two-hundred and eight episodes, so needless to say, Seokjin knows what goes on in that show. And ironically, he hates Ted. The guy is a hopeless romantic that thinks every girl he has his eyes on is ‘the one.’ Seokjin refuses to become like Ted, and he would be caught dead replicating those same actions.

Then why the fuck is he caught up on a girl he’s seen once? 

The second time Seokjin comes by the bakery, it’s a hell of a lot less busy. In fact, it’s only three people that man the storefront, rather than the six that he saw the first time he stopped by. He has his fingers crossed behind his back as he waits in the queue patiently, hoping you’d be the one taking his order this time around.

Luck must be on his side because you’re greeting him with those pearly white teeth. “Good morning, nice to see you. What can I get for you today?”

Abort, abort! He can’t talk. He swears that his heart has found its way up into his throat, and he can’t get any words to come out.

You blink. Those gorgeous long lashes brush your cheeks so deftly, and it swells his heart that’s now lodged in the path of his airways. “Sir?”

Seokjin swallows. “Oh—yeah, sorry sorry. Uh, can I get a medium hot coffee? Cream and sugar, please. Forgot to mention that last time and I almost died from the bitterness.” Was that an appropriate comment to make? Did it make you laugh? Or were you offended that he just insulted your workplace’s coffee

He cheers in success on the inside when a soft chuckle escapes from your lips. “Aw, I’m sorry to hear. I guess we should have also done our part and asked if you wanted any. Did you want to order anything else?”

Ah. Was the conversation already ending? But it’s so soon! He barely held the dialogue for a couple seconds, and since he’s got your attention, he can’t let go now. Quickly, his eyes skim the menu and the display case full of baked goods. “Uh, what do you recommend?” He asks, gesturing to the sweets. 

You wave your hand for another coworker to take the next customer’s order. Walking over to the sweets, Seokjin trails over as well, observing your expression. You’ve got your brows furrowed, deep in thought with a quirk of the side of your lips, engrossed with the plentiful of options. “Do you like tarts?”

—

Seokjin is a regular now. 

Whenever the clock strikes 7:30AM, he’s already in his work attire, hair at its best, and has checked his face in the mirror for the fiftieth time. Then, he’s on route to the corner bakery.

He wants to look good before he meets you. Handsome guy for a pretty girl. It’s only right.

The bells at the front door of the shop ring loudly the moment he enters in, and immediately his ears are filled with that beautiful laugh of yours, but you’re not alone. It’s accompanied by someone else’s, a voice that doesn’t match any of your other coworkers and his jaw clenches at the thought. Who is this male that claims to be the purpose of your giggling with a mop he calls hair on the top of his head?

“Oh!” You beam, lifting up the cup of hot coffee in hand. “Seokjin! Come here, I have a new pastry for you to try, and your daily caffeinated beverage to pair it with. Plus, I want you to meet my friend.”

His name is Taehyung. The freaking guy looks like a model, strutting into the café like it’s his runway, and when his gaze meets Seokjin’s, it makes Seokjin feel small.

Seokjin likes you, if the amount of times he comes in a week is evidence for it. He doesn’t just do that either; he often stirs up a conversation, asks how your day is going so far, and even goes out of his way to remember small details so he can bring it up next time. But he can’t help but wonder—do you have a boyfriend? Are you being kind only because Seokjin is a customer? Or are you normally this sweet as those raspberry filled pastries you set him up with? 

And those questions are only emphasized when Taehyung smiles, extends his hands and offers Seokjin a firm shake. “I’m Taehyung.”

Seokjin’s entire work day has gone to shit. All he could think about was who Taehyung was and why you were so adamant about Seokjin meeting him. 

After taking the last bite of the delicious pastry you packed for him (free of charge, too), it hits him. 

If Seokjin liked you, he should just confess his feelings, no matter what the consequences. Instead of sitting here with his shoulders slouched, eating this treat you gave him with a pout upon his lips, he shouldn’t continue waiting around and feeling sorry for himself anymore. Why would he make himself suffer like this when there’s a way to end this vicious cycle? 

Seokjin concludes that he’s going to confess tonight. 

—

What Seokjin learns about you is that you are by far not close to his ideal dream girl. 

You’re the “milk first, cereal last” gal, and he believes you’re ass backwards. You like consistency, and your favorite ringtone is the sound of those stupid horns he has for alarms in the morning. You enjoy the first few hours of your day, basking in the routine that you’ve put together yourself, including the one that had recently involved seeing Seokjin’s face. 

And although you’re not his dream girl, you’ve become it.

“I like you,” He finally confesses, a bouquet of flowers in his hands that match the decor stickers plastered on the shop's windows. “Would you… go out with me?”

Seokjin isn’t here in the mornings like he normally is, opting that since this is definitely a change of pace, he might as well go all out. Maybe this will be different. Maybe he’ll be happier.

Stunned, your mouth drops open. You’re stuttering over your own words, practically malfunctioning like a machine. “Wha—Like—what? Like… you like me as in like… a woman? More than a friend? You want to take me out?”

“Uh,” Seokjin scratches behind his ear anxiously. Was his plan backfiring? “Yes? I… like you. As in, I come here in the mornings for coffee, yeah, but I mostly came to see you. I enjoy hearing your laugh, seeing your smiles, and listening to you talk about these pastries like they’re your world and I—“ He pauses, inhaling a sharp breath, “—then you introduced me to this really good looking guy named Taehyung and I didn’t know what my chances were with you anymore, so here I am. Confessing.”

You’re silent. Truthfully, Seokjin’s not feeling good about this. His palms are sweaty, his heart is racing, and you still haven’t said a word and he’s sure that over thirty seconds have already passed by.

“What—“ You start again, quickly stopping yourself with a shake of your head. “Thank god, really.”

The front of Seokjin’s brows dip in confusion. “I’m sorry?”

You laugh, combing your fingers through your loosened locks. “I’ve been trying to tell my coworkers that I had this stupid crush on you since you first came in. You’re such a great listener, you’re handsome, and fun to talk to. They think you’re too good to be true, so they thought you wanted to be my gay best friend. Hence… the Taehyung test.”

“The Taehyung test?” Seokjin reiterates. 

Chewing on your bottom lip, your eyes are swirls of apologies. “He’s cute, right? Either you’d get jealous that a guy like him has my attention and you like me, or you like him and you’re jealous that he’s making me laugh instead of you.”

Seokjin’s shoulders drop in relief. “So… does that mean you’ll go out with me?”

You smile softly. “Of course, Jin.”

He doesn’t think those mundane activities he identified before are boring anymore. No, not with you, they’re not. He doesn’t mind watching you pour milk instead of cereal first in the mornings because he’s glad he gets to be the one who pinches your side teasingly and call you a weirdo. He doesn’t hate the sound of the horns—okay, a lie, he hates it so much, but they’re bearable when you’re around since you don’t hesitate to shut it off the minute it rings, and immediately hop out the bed, without using the snooze button. Brushing his teeth is a delight, especially when he sees your toothbrush sitting in your own designated cup on your side of the sink.

Everyday is a continuous, recurring cycle. 

But Seokjin doesn’t mind those things if it’s done with you. 

[ericamzdm]

S1E1 and Emotional Abuse

Apparently my feelings do expand beyond five screenshots.

So! I’m going to take the Catra/Adora segments from the first ten minutes of SheRa apart, with a focus on Adora. It’s going to be dry, and it’s going to be talking about emotional manipulation and abuse at length, so please feel free to stop reading if that’s not something you want to deal with.

Frankly, the Adora/Catra content in S1E1 makes my skin crawl on a re-watch. It’s not that I don’t like the characters - I’m actually quite fond of both of them! But this episode is extremely on the nose about what it’s means to be raised in an abusive environment, and how easy it is to perpetrate abuse when it permeates your sense of what is normal and how things work.

Before we get into the episode itself, a definition. (I did say this was going to be dry)

Abuse is:

Intentional - Accidents aren’t abuse. (although abusers will lie about intent)

Harmful/Controlling (to/of the victim) - harm/control is the primary mechanism abusers use to obtain their goal, rather than an incidental effect.

Beneficial (to the abuser) - Abuse is perpetrated to get the abuser something, even if just a ‘thrill of power’.

If it doesn’t hit all three, it may be bad, and it may make the perpetrator a jackass, but it’s almost certainly not abuse.

The first relevant scene is where Catra is late to class (sorry, “evaluation”). Adora’s “Where’s Catra/*scoffs* Not again/She’ll be here, I promise” is, in itself, fairly benign, but already shows that Adora’s concern for Catra veers into controlling territory. Who is she, to make promises on Catra’s behalf?

Catra eventually does show up, and we get a lengthy ‘playful banter’ sequence that almost reassures you that their relationship is reasonably normal and healthy. They have in-jokes! And laugh! And give/take jabs in good faith!

And then Shadow Weaver shows up. And this happens.

Just to be very clear here. Adora physically dragged a visibly uncomfortable Catra into an encounter with someone who we shortly learn (and Adora is fully aware) is her abuser.

BREAKING FOR A PSA: The above ALONE makes her a fundamentally unsafe person for an abuse victim/survivor to be around. I have cut people from my life for this kind of thing. DON’T FORCE PEOPLE INTO UNWANTED INTERACTIONS. IT IS SUPER UNCOOL.[/PSA]

*coughs* We now return you to an overwrought analysis of a Y7 cartoon...

Let’s review that definition of abuse!

Is Shadow Weaver acting with intent to cause harm as a way to benefit herself?

It sure seems like it! The intent and harm are self-evident. The benefit is a little harder to grasp - but ‘thrill of power’/intimidation would cover it.

Conclusion: Shadow Weaver is abusive. Also, the sky is blue!

Now, the more interesting question: Is Adora acting with intent to cause harm as a way to benefit herself?

...and (While the PSA holds) the answer is probably no. While the interaction wasn’t an accident, it’s pretty clear that the way it played out, and the harm caused, were not Adora’s intent. This wasn’t, strictly speaking, abusive.

It was, however, negligence and intentional ignorance that borders on abuse. Catra clearly knew how this was going to roll. Adora doesn’t exactly seem shocked by Shadow Weaver’s actions. So what the heck did she think she was doing?

The bright, happy explanation: Adora wanted her friend to be rewarded for her good work! She was being kind and selfless! She believes that Shadow Weaver is ultimately fair and rewards merit, because she’s just too intrinsically good to imagine a world that works any other way!

The ...less bright and happy explanation: Adora wants/needs Catra to be fairly rewarded, not for Catra’s benefit (“I thought you didn’t care about that!” is a refrain that will come up), but for her own. Adora needs to believe that the Horde/SW are as meritocratic as they claim to be, because if they are not, then her own accomplishments are meaningless favouritism; and to accept that would be an unrecoverable blow to her ego. So, into the line of fire Catra goes!

Catra rolls over, Shadow Weaver turns to exit and we get ...ugh, this.

A visibly distressed throughout Catra pulls herself together enough to manage a half-hearted ‘It’s Fine’ shrug at Adora’s Questioning Look. Adora blithely accepts the shrug with that smile (”Oh good, everything is okay!”).

This time, the disregard for Catra’s emotional state does slip over that border into abusive/manipulative territory. Adora is seeking (intent) reassurance/absolution (benefit) that requires Catra to bury/sublimate her own distress(Harm). The smile is the clincher - it’s what makes it clear that, from Adora’s perspective, this was the desired/expected response. Now Adora can run after Shadow Weaver guilt-free, looking for her Good Girl Cookies!

Not going to cover the hallway sequence in depth; will just note that it is itself a laundry list of abuse and abuse flags. Shadow Weaver is just all around awful, really.

A friendly reminder that this next Catra/Adora scene starts with Catra being happy for Adora! Tickled pink! Adora is going up in the world! They need to celebrate!

The upset comes when Catra is informed that, not only is she not getting an equitable reward to Adora, despite equal performance (It’s fine. She doesn’t care. she does She knows that was never going to happen.), but that she’s not getting any reward at all. And yeah, that’s upsetting! It’s grossly unfair, even by Shadow Weaver standards (we are led to infer). “What is her problem with [Catra]?”

(Unsurprisingly, neither of them recognize ‘separate the victim from their support structure’  as the blatant abuse tactic that it is, rather than anything they could have had a hope of influencing.)

And Adora comes up with this. This right here.

This is well over the line into manipulative/abusive - Adora is blaming Catra (harm) with the implicit goal (intent) of  avoiding addressing the fundamentally unfair nature of the situation (benefit).

As above - Adora’s self-worth hinges on the rewards she receives being ‘valid’. If she accepts that they aren’t - that her success is a product of favouritism (or, you know, victim grooming) - it would shatter her.

But this defence mechanisms is actively harmful to Catra; it prevents Adora from acknowledging Catra’s treatment as unfair/abusive. Rewards in the Horde must be fair; if Catra is not being rewarded, it must be because of something that Catra has chosen to do/not do, just like Shadow Weaver said.

(The Just World hypothesis is a heck of a thing.)

Oh, hey, we’ve got the first instance of Catra being genuinely mean. It just took Adora victim blaming her.

So, is this abuse? Let’s see.

The harm is easy - Adora is upset at being called a people pleaser.

The intent - Well. Catra is clearly aware that this will upset Adora, but is upsetting Adora her goal? And...I don’t think it is, really. Catra’s intent - her desire - is to have Adora admit she enjoys and seeks validation. That she is, in fact, a people pleaser.

And this is basic Hierarchy of Needs stuff? It’s like wanting someone to admit that they enjoy food and shelter. Of course she does! Everyone does! Adora’s denial here is low-key bonkers, and speaks to her dysfunctions around love and validation.

So what we have is: “Catra wants (intent) Adora to admit she benefits from the validation she receives, and thus acknowledge Catra’s lack of validation as hurtful (benefit)”. This isn’t abuse, because the harm is incidental. The upset Adora experiences isn’t necessary (and is in fact interfering with the goal).

All Adora had to do to defuse this was say “Yes, I do like being rewarded. It sucks and is unfair that you weren’t.”

Instead. Well.

We get this. A classic sorry-not-sorry.

Adora wants (intent) Catra to stop being upset and forgive her (benefit), so implies that Catra’s upset is invalid(harm) [she can’t be angry over not getting something she didn’t want].

Adora tries(intent) to guilt-trip(harm) Catra for having had other emotions, so that she will go back to being happy for Adora(benefit).

And it’s only when that doesn’t work that she breaks out the skiff key.

Getting someone an extravagant gift (”love-bombing”) isn’t abusive in itself, but it can absolutely be part of an abusive cycle. Adora has decided that, instead of assessing her own behaviour to identify and address the valid reasons Catra is angry, she’s just going to do something reckless and extravagant to temporarily please her. It’s selfish and manipulative, and doesn’t solve anything. All those hurts are still there, and are inevitably going to boil over again, even if Plot didn’t interfere.

And, just. All of this. All of this stuff coming from Adora is super, super unhealthy. A lot of it is textbook emotional abuse. And I know where she gets it from! Shadow Weaver is her model for a Reasonable Authority Figure! It’s a wonder she’s not worse.

But, I find it ... not a little distressing that people can apparently go back and watch this episode and go (depending on anti status) either “LOL Catra so terrible.” or “Oh boy, what a beautiful, romantic relationship.” Because. Yergh.

You want to know one of the things that makes emotional abuse so awful? No one sees it. Adora isn’t yelling or hitting or being angry, so it’s not possible that she’s hurting Catra every time she trivializes her feelings with a smile, or smirks and blames Catra for her own hurt. Why, Adora is sad when she demands Catra’s preformative joy! Clearly Adora needs that validation more than Catra deserves ownership over her own feelings!

No, it’s clearly Catra who’s at fault, because she’s the ANGRY one. She’s the one hissing and yelling and running away and pushing back about all this hurt that clearly never happened, because hasn’t Adora always been so wonderful and calm? If Catra was right, why can’t she be ~rational~ about it? She’s must be just crazy, bad, selfish, abusive.

And...can we just not? Can we just, for once, take a miss on looking at a fictional character who is being explicitly emotionally abused and blaming them because they aren’t reacting like a perfect pristine angel, and are at fault for not Calmly Discussing their way out of an abusive situation? Please? Just for this ten minute segment?

[seoulsides]

only shine for me

⇒ asmodeus x fem!mc/reader

⇒ 2.8k

⇒ tags: fem!mc, worried!asmo, jealous!asmo, protective!asmo, cheeky!simeon, mutual pining, yes simeon knows they’re idiots in love, fluff, REAL SOFTNESS!

⇒ warnings: spoiler for chat between simeon and luke

⇒ summary: when asmodeus catches you passed out from exhaustion on top of a certain angel, he can’t decide whether he wants to rip his hair out from worry or jealousy

⇒ a/n: this was COMPLETELY inspired by the chat between simeon and luke about mc. i thought it worked really well because in my personal view, i strongly believe that asmodeus views simeon as a threat, as per his denial of being jealous of simeon (seen in an asmodeus homescreen interaction). i also believe he felt called out by simeon (chapter 8), who seems to see asmo for who he is, and that is something i think which makes asmo feel very insecure. just watch my asmo character study come out soon. i think to some asmo might come off as OOC, but this is my take on his character once the entire bravado has been dropped. 

It was far too late for him to be leaving RAD and all Asmodeus wants is to go back home and just soak in a glorious bath. He already knows that his new bath salts from Majolish had been delivered, having received an email earlier in the day. It was ironic, he muses, that the driving force behind his impatience to go home was the very thing that kept him from doing just that. It was his eagerness during class that landed him in detention. Scratch that — actually, it was all Mammon’s fault. After receiving the email, Asmodeus had excitedly texted you, slipping in a cheeky offer to join him in ‘trying out’ his new products if you were interested, when his scumbag of a brother snuck a look at Asmodeus’ texts from the corner of his eye and then proceeded to blow a gasket. 

Instantaneously the both of them had been sentenced to a long gruelling detention, which would have lasted only two hours had Asmodeus’ moronic waste-of-space brother not tried to argue with the professor and blame it all on him. And just for that, they earned another four hours. It felt like an eternity before they were finally free and Asmodeus practically bolted the very second he could, leaving Mammon to grumble by himself.

Asmodeus pouts to himself as he reads your texts on his D.D.D. Lately you have been overwhelmed with a lot of work and had spent the past couple of weeks staying behind after classes to work in the library, coming home late at night. This was also the reason you had to ‘regretfully decline’ his gracious offer. He frowns as he recalls how tired you have been looking for these past few days. You had dark eye bags and frankly seemed like you were half asleep most of the time. He has been worried for a while, and every time he tried to get you back early enough to have a proper night’s rest, you insisted that you were fine. It made him feel useless. Just what kind of a demon would he be if he couldn't care for his precious master? 

Regardless of your insistence, he was adamant. You needed to pace yourself before you burnt yourself out. Glancing at the time on his D.D.D., he decides on paying you a visit to see if you were up to take up his offer now that you were probably done with your work for the day. As much as he wanted to monopolise your time, he would rather pamper you and make sure you got the rest you needed. 

Fuelled by the prospect of sharing a soothing luxurious bath, possibly in your company, Asmodeus rushes to leave. So great is his impatience that he decides to use a shortcut to get to the house, a convenient little pathway that cuts through the courtyard. In his haste, he almost misses the two figures perched upon one of the courtyard benches. Almost.

He notices movement from the corner of his eye and, when he turns, blanches at the sight before him. There you were, the one person that was plaguing his thoughts, draped across the source of some of his deep-rooted insecurities. Simeon was sitting upon the bench, ethereal as ever as the moonlight illuminated his radiant presence. He was gazing softly at your sleeping face, cradling your head in his lap delicately as his free hand was stroking your hair. He had yet to notice the presence of the demon, far too enamoured with the human sleeping on his lap. Asmodeus clears his throat, a fake smile plastered across his face, “Now, what do we have here?”

“Ah, hello Asmodeus,” Simeon smiles at the demon, his hand only pausing momentarily whilst gently stroking your head. Asmodeus’ eyes narrow at the tender gesture, his pristine smile faltering as the angel continues speaking, oblivious to the demon’s inner turmoil, “We were chatting before planning to leave, but ___ was so tired, she ended up falling asleep on my lap. We’ve been here for a couple of hours.” 

Asmodeus’ false smile falls at the angel’s words and he looks at you with narrowed brows, eyes brimming with concern. “She’s overworked herself,” he mutters, a distraught frown marring his beautiful face.

“Well, then,” Simeon looks back down at the serene expression on your face, “It looks like I’ll be here a while longer.” Asmodeus grimaces at the fondness in the angel’s voice.  

“I can take her,” the words slip from the demon’s mouth through gritted teeth quicker than he can register them. Asmodeus quickly composes himself and smiles thinly at the beautiful angel, jaw clenching at the sight of Simeon gazing at you affectionately.

“It’s quite alright”, Simeon brushes off the demon’s offer easily. The hand stroking your hair instead moves to cup the curve of your cheek and Asmodeus feels his blood run cold, eyes flashing with rage. 

“I already informed Luke that I would not be back for dinner. Besides,” Simeon raises his gaze from your sleeping face to meet the stony expression of the bristling demon, an elusive smile dancing on his lips, “I wouldn’t want to disturb your ‘plans’.”  

There was no doubt that the angel was referring to the episode that occurred in class earlier in the day and the ever-so-slight taunt underlying his words, whether they stemmed from good humour or not, only served to infuriate the peeved demon further. At this point, Asmodeus can feel his cheery facade crack, his manicured hands fisting in fury. 

“I said I could take her,” Asmodeus hisses, failing to smother the unbridled jealousy that festers in his stomach. He certainly cannot stop the possessiveness from bleeding into his voice when he seethes, “She is my master, after all.”  

Simeon has the gall to look amused and the demon’s hands twitch at his sides from the overwhelming desire to just rip you away from the celestial being. Openly glowering at the angel, Asmodeus is just about to drop his act and give the angel a piece of his mind before Simeon cuts him off with an infuriatingly coy smile, “You may do as you please.”

Asmodeus does not hesitate, taking two quick strides towards the bench before kneeling down to scoop you up into his arms. A low groan sounds from your throat as you were jostled from your comfortable position on the angel’s lap and Asmodeus’ scowl melts immediately. He gently shushes you as he cradles your tired form to his chest, delicately tucking your head under his chin. You let out an incoherent mumble, nuzzling your face in the crook of his neck. Asmodeus pauses, looking down at you fondly, unable to fight the endeared smile from appearing on his face as he holds you close in his arms.

An airy chuckle rips him from his reverie and Asmodeus casts a dubious glance at the entertained angel. Under the demon’s wary gaze, Simeon only shakes his head to himself, almost as though he knew something the demon didn’t. He rises from the bench to take his leave, “I’ll trust her with you,” he gives the demon a nod, “Please ask her to text me once you both arrive back home.”

“Believe me, I’ll make sure,” Asmodeus growls under his breath as he clutches you to his chest possessively. He offers the retreating form of the celestial being one more glare, before spinning on his heel. He looks down at you exhausted form anxiously. He presses a soft kiss to your forehead before whisking you away from the courtyard. 

“HEY! WHAT’RE YOU DOING WITH ___?!” Mammon’s obnoxious voice echoes throughout the mansion and Asmodeus swears under his breath, cursing himself for thinking the Avatar of Greed wouldn’t pounce on the both of you the very  second he walked through the main entrance with you in his arms. 

“Shut up, you absolute moron!” Asmodeus hisses angrily, turning you away from the loud demon in an attempt to shield you from the ruckus, “She’s asleep!” At his words, Mammon freezes, eyes wide with alarm. You let out a soft groan and both the demons stiffen at the sound. Three seconds seems to be the extent of the greedy demon’s patience threshold, for when there is no indication of you rousing from your sleep, Mammon is back to his interrogation. 

“But, why are you—” Mammon tries to protest indignantly, but Asmodeus cuts him off with a loud shush. Before the Avatar of Greed can get another word in, Asmodeus stalks off with you, leaving the older demon to belt out a litany of abuses after the both of you which are thankfully then drowned out by the angered voice of Lucifer’s booming, “MAMMON !!”

Finally, within the comfort of his room, Asmodeus releases a relieved sigh. Hopefully, Lucifer kept that fool occupied long enough that he wouldn’t seek either of you out.

“Asmo?” you mumble his name dazedly, recognising the demon’s cologne. Asmodeus shudders when he feels your breath against his clavicle. He brings a hand up to pat your head gently, cooing softly at you, “It’s okay, petal, I got you.”

He takes you to his bed, setting you down gently as you gather your surroundings. You look at him questioningly, “How did I get here? Where’s Simeon?” The demon does his best to not bristle at the mention of the angel, but fails to keep the hostility out of his voice, “He’s back at the Purgatory Hall,” he grumbles, “I brought you back.”

Asmodeus is too absorbed in his sulking to notice how your face drops at his words. You look up at the Avatar of Lust guiltily, “I’m so sorry, Asmodeus,” your voice heavy with shame, “I caused Simeon and you both so much trouble.” You pull away from his hold to get to your feet, “I know you had plans and I completely ruined them, haven’t I?”

Asmodeus’ head whips to face you so quick, you would expect his neck to snap. Eyes wide with alarm, he immediately wraps his arms around you and pulls you to his chest, babbling in a panic-stricken voice, “No, no, petal, no, it’s nothing like that! I’m sorry!”

You look up at him, completely perplexed, “Why are you sorry? I should be sorry. I’ve ruined your entire evening—” A long slender finger presses up against your lips, effectively cutting you off, “No more apologising” Asmodeus chides you, a frustrated frown set on his lips. 

You look at him sullenly and his entire demeanour softens. Settling you on his lap, he inwardly curses at himself for being so taken with you, “Please stay, petal, please.” His warm hands find your cold ones and he entwines your fingers together, “You haven’t ruined anything. I had detention and on my way back, I saw you with him.” His thumb brushes over yours tenderly, “I got...I got jealous and insisted on taking you back.”

He perks up as though he reminded himself of something before he pins you with another frustrated look, pouting severely, “You need to take better care of yourself! You’re aren’t getting enough sleep! It’s bad for your skin. And health!” He berates you furiously, “And it’s unsafe! You can’t just overwork yourself to the point you fall asleep like that in public! What if you were alone?”, Asmodeus’ voice hardens, wrought with worry “You were vulnerable. Who knows what could have happened to you?”

“Asmo,” you murmur softly at the distressed demon, “I’m so sorry for worrying you.” You squeeze his hands before releasing one to cup one of his cheeks in an attempt to comfort him, “I got a little homesick a couple of weeks ago and fell behind on some course work.” Your voice softens, “I promise to be more careful from now on, okay?” Asmodeus’ frown smooths out into a sulky pout. 

You offer him a small smile, thumb brushing over his cheek to soothe his frown, “And I promise you, there’s no need to be jealous. Not when you’re my favourite person.” Finally, Asmodeus lets out a small laugh, leaning into your hand, “Ah, you’re so sly, petal”, he hums quietly, melting into your tender caress, “You’ll really be the end of me.” 

“Now that can’t happen, can it? Just what would I do without you?” you reply in an equally hushed voice. He smiles into the palm of your hand and your feel the butterflies fluttering in the pit of your stomach, “How can I make it up to you?” 

“Let me draw you a bath,” he beams sweetly at you, “I’ve been eager to put those bath salts to use.” You hand stops stroking his cheek when you tilt your head at him inquisitively, “But you bought them for yourself.” 

He whines at your lack of attention, raising his free hand up to cover yours, “And I want you to use them.” You resume your ministrations, letting out a soft laugh when he nuzzles into your hand, “Asmo, that’s so sweet, but honestly I couldn’t do that. I know how expensive they are and how long you’ve been waiting to use them.”

He looks at you with a pout, “And I will be using them. On you.” His expression immediately morphs into a coy one, teasing you in a playful voice, “Or would you like me to join in as well?” You offer him a deadpan expression, and he lets out a hearty laugh before moving your hand from his cheek to bring it to his lips, “I want to do this for you,” he breathes against your fingers.

“Why?” you ask him, voice almost a whisper. “Because,” he replies easily, brushing a chaste kiss to the back of your hand, “You matter to me.” His hand moves lower to clasp your wrist, “So, please, let me do something for you.” He presses his lips against your inner wrist, a soft kiss directly upon your pulse, “Please let me take care of you.”

“Asmodeus,” you breathe out, eyes watering as you feel your heart race wildly in your chest, “You matter to me, too.” Your voice shakes, heavy with emotion and the three words you’ve been wanting to say for the past week press against your tongue. Instead of liberating them, you swallow them down along with the other words you wished you could say and press a kiss to his jaw. 

Asmodeus beams at you as he cups your chin and presses a kiss against your cheek, “Ah, my little petal is such a naughty girl.” Your face flushes, becoming even more and more flustered as he kisses your other cheek, followed by a kiss to your forehead. Completely flustered, you nearly forget what you needed to do. 

“Oh, wait!” you pull away, ignoring the needy demon’s cry of protest, “I need to call Simeon. I need to explain everything and apologise to him,” you worried your lower lip with your teeth. The Avatar of Lust only chuckles, arms wrapping around your waist to pull you back on his lap, “Don’t worry about that, petal. I took care of it.”

Before you can question him, the demon stands to his feet, hoisting you up in his arms. You let out a yelp and he presses a cheeky kiss against the corner of your mouth, giggling when you gasp, “Let’s get your bath started, hm?”

Back in Purgatory Hall, Simeon lets out a loud chuckle as he checks the new notification on his D.D.D.,  causing Luke to look at him curiously. “What’s so funny?” the younger angel inquires, looking at the elder demon peculiarly. 

“Ah, it’s nothing important,” Simeon shakes his head to himself, offering the boy a private smile, “Say, don’t you think those demon brothers are funny?” Luke scoffs, proceeding to go off on a tangent about how nasty “those demon brothers” were. Simeon muffles another chuckle as he glances back at the screen of his device. 

There on Simeon’s D.D.D. is a picture of you and Asmodeus. You were splayed across his lap, face entirely flushed as Asmodeus pressed a kiss to your cheek, lips drawn into a coy grin with one of his eyes closed to deliver a perfectly cheeky wink at the camera. Right beneath the picture was a message that read ‘Here you go! She’s back home, where she belongs ❤︎❤︎❤︎’’

“Simeon, don’t ignore me!” Luke protests and the elder angel laughs, pocketing his D.D.D. as he offers the younger angel an apology. Smiling along to whatever Luke was saying, Simeon cannot help but hope that the two of you would come clean about your emotions. Although from what he witnessed today, he smiles secretly to himself, he thinks you both were well on your way. 

© parkblooms, 2020. Do not copy or repost without permission. 

[thecatsaesthetics]

Anne Boleyn 2021 Review

Okay, so I want to start this off by saying I am a day late and a dollar short. I know that. Who wants my, over thousand-word, essay on this... but I've gonna give it to you. So please keep reading and leave me comments with your thoughts about this show.

So I will start this off with the positives:

I think Jodie Turner-Smith was excellently cast as Anne Boleyn. Jodie has a remarkable range as an actress. Especially since this version of Anne Boleyn, she is both victim and villain Jodie was able to pull it off flawlessly. She jumped from being a heartbroken wife to manipulating Henry VIII very well. Two scenes that really highlight this are:

The one after her miscarriage and Henry riding off; showed Anne’s desperation and sorrow very well. “Won’t you say goodbye to your wife?” was a heartbreaking line and I very nearly lost it when she collapsed.

The second was in the next episode where she manipulated herself back into his “good graces” by proposing Cromwell had been double-crossing him. This didn’t come across as villainous to me, it came across as a woman in a struggle for survival. Playing the game to keep her station after miscarriage.

I will say this about the show Jodie carried it on her back. She made Anne very sympathetic but highlight that she had this temper that harmed her. However, unlike Claire Foy’s Anne Boleyn I never felt this Anne was unlikable. She came across as someone struggling to survive. The scene with Mary after she learns of potentially Mary being reinstated in the line of succession also highlighted this. The whole "The King never likes to be without me for long" was a lie given he had left her but it was to puff up her station. Reminding Norfolk that she helped his daughter marry the King's son. Forcing Chapuys to kiss her hand. These weren't just power moves, they were survival moves.

This Anne was similar to Natalie Dormer’s Anne in season 2 of the Tudor and Geneviève Bujold in Anne of a Thousand Days. I enjoyed how Jodie both made the performance utterly her own but also obviously drew inspiration from the others.

Moving on,

Another positive was George and Anne’s relationship. I did like how touching their scenes were. The final meeting between George and Anne was heartbreaking.

The horse symbolism, while oddly ripped off from The Tudor’s swan symbolism what I liked. Also, the clock from King Francis implying the “Her time is up” I truly enjoyed. I am just a sucker for symbolism

The Norris Comment

I LOVED THIS. I loved how not only it was said, Anne being flirtatious and joking but the immediate drop. This was the moment Anne truly screwed up. I loved how Norris reacted and the reactions of everyone in the room. This comment is oddly overlooked by most productions of Anne Boleyn or Henry VIII. From what I have read it was an incredibly important comment that was made by Anne. This in combination with her final miscarriage left her in a dangerous position.

Now to a more mixed feeling:

Henry and Anne’s relationship:

On the one hand, I liked it, it showed they were still into each other a lot. This is unlike The Tudors where Henry VIII weirdly loses all sexual interest in Anne (but somehow still expects her to have a baby). Most productions show Anne and Henry’s marriage crumbling the second she has Elizabeth which just isn’t true. I also liked how the miscarriage alone didn’t cause Anne’s downfall, which is usually how it’s done.

That being said the physical violence… Henry VIII was a lot of things but he really wasn’t a physically violent guy himself. He’d execute you but he was a coward about it. I think the one notable time Henry got physically violent with a wife is when he ordered a sword after discovering Katherine Howard’s prior “relationships” and people thought he was angry enough to execute her himself. Even with Jane Seymour, he seems more degrading of her at times than physically violent. Emotional violence was more Henry’s style.

I do understand that they were trying to show the relationship as chaotic, volatile, and unhealthy. However, I just didn’t think it was necessary to add physical violence to do this.

Now with the petty:

The costumes… were so god damn ugly. Just as a side note before we pass from the positives to the true negatives. I just don’t understand what goes through the minds of costume designers. Jodie is a beautiful actress and they put her in the ugliest of clothing.

I mean I have seen worse costumes. They weren't as bad as The White Princess or Wolf Hall. But I would put them alongside The White Queen honestly.

I don't think costumes must be accurate, but I want them to be pretty at least. If you aren't going to make them accurate can we at least have something interesting to look at?

The Negatives:

Jane Boleyn: Ummm I don’t know what to say other than this is fucking dumb. I mean I guess we should be glad there was no physical violence between George and Jane this time around. Other than that I don’t get it. We literally are three mins into episode one and they have Anne call Jane a “spiteful little bitch” why? Because she’s upset her husband is cheating on her? Like Anne is upset her husband is cheating on her? Why wouldn’t Anne sympathize with Jane if that were the case? Even if they wanted to make Jane Boleyn evil they did a bad job. Am I not supposed to have sympathy with the wife getting cheated on?

Also, Dan Jones should have his degree ripped from him. Dan Jones is an actual historian who is an executive producer on this show and he allowed them to have Jane be brought as a witness to Anne’s trial.

On that note let’s move to the Jousting Head Injury thing. Again Dan Jones should have his degree ripped from him. This event did not happen, at least not like this. You can watch Claire Ridgeway’s video on this but the historical records do not support Henry VIII being unconscious at all after this fall. And it was funny they had Chapuys heavily involved in these scenes since he never even wrote about this event. You’d think if it was that important he would have.

That gross miscarriage scene… for all that is holy I do not understand why we are getting these intense miscarriage scenes. The camera was literally between Jodie’s legs at one point. It was so nasty. The sounds… I just can’t. I won’t go into it further but I’d rather have Natalie’s Dormer’s implied miscarriages with just some bleeding then this shit any day.

Now before I tactical the racism I want to say the final episode was probably the weakest one. Anne’s trial… I hated it. I hated Anne speech it was way too much Feminism™. I would have rather had her execution speech or her confession with Crammer. I do get why they only chose to have one of these in the episode, it would totally over crowd the episode. That being said… not only was the directing weird in this scene the speech they wrote just was subpar at best.

The Racism:

Okay, I am going to try my best to tactical the racism in the show. Now I am white and I don’t want to say I should be speaking over ANYONE. Plenty of black Tudor fans have written this better than me.

However, two plot points on this show really struck me as racist.

Jane Seymour: the odd predator behavior Anne has around Jane Seymour. It must be noted that the age gap looks apparent on the screen. Jane’s actress is 25 and Jodie is 34. Jane looked like an innocent schoolgirl and the aggressive scenes with Anne made these seem incredibly predatory. In ALL other productions, I’ve seen this is never how Anne and Jane come across.

The weird kiss between them was both racist and homophobic. I think they said it was about Anne wanting to see the “appeal”. Again it just made her look predator. The worst scene was when she was circling Jane as she spoke a hymn. Honestly, they made Jodie look like a fucking shark in that scene. It was so nasty.

The second and less talked about was Anne and Kingston. I don’t get why nobody is talking about that disturbing scene where Kingston physically pushes Anne onto the bed and holds her there. It was utterly disturbing, and quite frankly I am shocked anyone found that appropriate. You cannot separate Anne being portrayed by Jodie, a black woman, and having a white man grip her head down on a bed saying “She’s only a woman” as an insult. It was incredibly disturbing.

Also in general having Kingston treats Anne so awful… when all other productions of Anne Boleyn have Kingston treat her remarkably well. Racism is implied here. Why in every other production Anne's ladies are kind and gentle to her, and Kingston is moved by her, but when it's Jodie he's physically brutalizing her?

I think there were obviously other incidents, including all the shit with George and Jane but I don’t feel that equipped to handle them. I just wanted to bring these two to light.

Overall:

Jodie was amazing, carried the show on her back. That’s kind of it. It was very subpar. For a show that claims in the beginning inspired by “The Truth… and lies,” it seems more inspired by lies than by any sort of truth.

I mean did we need another Henry VIII and Anne Boleyn TV show. Probably not. Which makes me feel sad. Jodie was so good. She truly pulls off regal. I want to see her in more period dramas. But other than that… 5.5 stars maybe?

[ncisladaily]

Renée Felice Smith was only six years old when she knew that she wanted to be an actress and storyteller, but people tried to dissuade her from her chosen career path, telling her it was an impossible goal. Luckily, Smith’s parents weren’t among the naysayers, and today she’s living her dream, starring as Intelligence Analyst Nell Jones on NCIS: Los Angeles (Sundays, 9 p.m., CBS) and co-authoring her first children’s book Hugo and the Impossible Thing with her creative partner Chris Gabriel.

So, when her French Bulldog Hugo was diagnosed with a brain tumor, Smith once again ignored the doubters and found the best vet possible to give Hugo a shot at life rather than listen to those who told her it was “just truly impossible.”

“We just knew we had to try for our little guy, and we’re so glad we did because he was with us for another two beautiful years, just grinning, growling and running around the yard like the wild man that he always was,” Smith tells Parade.com in this exclusive interview. “So, we’re so glad we fought for him and advocated for him.”

When Hugo finally passed, Smith and Gabriel knew they had to tell his story to inspire others to conquer the seemingly impossible things in their life. So they wrote a story about a little dog named Hugo, who succeeded where others didn’t even try as a result of his bravery, curiosity, teamwork and persistence.

“The love is still here, and it needed someplace to go, so now we have the book and Hugo’s message that now we get to share with the world, which I’m just so grateful that it’s become real,” Smith adds.

Related: NCIS: Los Angeles‘ Daniela Ruah Speculates About Whether Kensi and Deeks Will Survive the Obstacles Ahead

This Sunday night, Smith will be back with some teamwork of her own when NCIS: Los Angeles returns with a new episode dealing with technology, which is something that Nell excels at. In the “Imposter Syndrome” episode, NCIS obtains a hard drive containing a realistic deep fake video of a deceased terrorist and must retrieve the dangerous technology behind it. However, when the team’s comms are hijacked during their mission, they find that one of their own has been a victim of its potential.

And, spoiler alert, Smith says that in the May 23 Season 12 finale, Nell will finally be reunited with Hetty (Linda Hunt)! But how that will play out remains to be seen.

“Linda was essentially sidelined by the pandemic, but, very exciting, I do share a scene with her in our season finale and it’s one of the most memorable scenes of my time on NCIS: LA, so I’m very grateful to have her back as my scene partner,” Smith says.

For more of what Smith had to say about her real-life Hugo and Hugo and the Impossible Thing, as well as more NCIS: Los Angeles scoop, read on.

With your background, a movie seems a more natural project than a book about Hugo. How did it turn into a book?

Chris, my other half, and I are lovers of all types of books. We grew up with children’s books and some of the most impactful stories and lessons we feel that we’ve learned in our lives we learned in the pages of those books, so we really wanted to create this modern classic, a book that kids, or quite frankly, anyone nowadays could really benefit from.

Especially right now, we’re all dealing with our own version of the impossible thing, and we’re trying to find our way to the other side. What better way to inspire you and yours to go out and conquer whatever your impossible thing is than through a storybook following this spirited French Bulldog through the forest, kind of this yellow brick road, Wizard of Oz structure? He meets up with his forest friends and they end up helping him through the impossible thing. It’s really a story about bravery, curiosity, teamwork and persistence. We wanted to encourage that in our readers, both young and young at heart.

Tell us about Hugo and his battle with his brain tumor.

Hugo was diagnosed with a brain tumor and we were truly beside ourselves. It was an out-of-body experience. He was a feisty, curious, wild man who was quite literally sidelined by this potentially terminal disease, and we just knew that we didn’t want to give up on him, and he wasn’t giving up on himself. Every step of the way, we would say out loud, “Hugo, just let us know, buddy, do you want to keep going?” And he met us with this enthusiasm for the process every step of the way. And that is truly why we kept going.

Did Hugo instill in you the belief that the impossible might be possible? Or did you already have that?

That’s interesting. I think the process really showed us that if you ask the questions, oftentimes the people who ask the questions are the people who find the answers, and this process really reiterated that. He inspired us to advocate for him, because animals are helpless on their own, but we could do something about it. We could ask the questions; we could be his voice. I’m just so thankful that he was always this bright light that had this insatiable curiosity for life. He definitely imbued that in me, and I know he imbued that in Chris. He did inspire us to help him conquer his impossible thing. If he didn’t have the fight in him, if he wasn’t such a spirited dog, I don’t know if that would’ve happened, but he was singular in a way. I reference him as my canine son, because he was. He was my baby.

On NCIS: Los Angeles, Nell is torn these days. She feels Hetty tricked her into taking the job when she said she didn’t want it, but she has the support of her team and also Kilbride. So how do you think she’s feeling these days?

She really is at a crossroads in her life. I think a lot of young women find themselves at this point, where they are very good at their job, but is it the job that they always saw themselves in? Is it the job they saw their future selves thriving in? I think for Nell, she’s really questioning whether she wants this to be her story, and in the process, she’s really finding her voice this season. There’s a scene with Sam Hanna, LL Cool J‘s character, that recently aired, where she spells out her frustrations in her position as de facto operations manager and how she’s struggling to keep the plates spinning. And she tells him that he needs to get on her team. It was a really stern moment for Nell.

I don’t think we’ve really ever seen that. Actually, LL Cool J and I were talking about what a different flavor this scene is bringing to the show because Nell usually is quick with a quip, but she doesn’t often drop the hammer in this way. And this season, we really do get to see Nell drop this hammer, stand in her power, and let people know that she needs help and she’s questioning this process.

I think that’s the side of being the operations manager that we didn’t really get to see very much with Hetty because she had everything under control. So, it’s kind of fun and new to see the person, who may be greener in the position, find her way in this new position of leadership.

How much has COVID affected what we’re seeing this season? Is that why we don’t see more of Linda Hunt, to keep her safe? And I noticed there are fewer people in scenes, especially in ops.

You’re absolutely right. Our show did an incredible job managing the crisis that was the pandemic and continues to be the pandemic. We are tested five days a week. Our crew was incredible in keeping everyone safe. The was goal to keep everyone safe, and we were, in turn, able to create 18 episodes of television, which is incredible.

You were just picked up for your 13th season, so it isn’t over yet, but when you look back, what will you take away from it?

Oh, my goodness. We’re a family, you know, but it’s been a mini-film school for me as well. My time at NCIS: LA has been educational. I just pinch myself how lucky I am that I was able to quite frankly lock onto a job like this for so long. In our industry, stability as an actor is not something you often experience. So, to have this group of people who I’ve grown to love and really consider extensions of my family, I’m just so grateful for the time. I feel like I’ve been a student. I feel like I went to school all over again for 10 years.

With Linda being this master in her craft, I can’t even quantify what I learned from her and most of it happens when we’re waiting to do our scene. It’s in those moments that I hear the stories from her childhood and the stories from early in her career, just these nuggets of wisdom that I have now in my little carpet bag.

From your work outside NCIS: LA, it seems as if maybe long-term, you’re more interested in being behind the camera and writing, producing, directing.

It’s interesting, often as actors, we’re part of someone else’s story, we’re carrying out someone else’s vision, but I’ve always been a storyteller. As a kid, I would essentially write my own little plays and perform them in the yard and direct my friends and family, my sister, namely, in those plays. And for as long as I remember, I’ve always wanted to tell stories. So, yeah, that is where I see myself heading in the future.

You’ve said that you knew at age six that this is what you want to do. And you were lucky that your parents supported you.

Oh, 100 percent. I wouldn’t be standing here today if they hadn’t instilled confidence in me and in my creativity. They really created an environment that fostered out-of-the-box thinking, and I’m so grateful for that.

Which takes us full circle back to the impossible just might be possible.

It’s so true. If you’re curious enough and brave enough and you have the support, obviously, of your community, I think that’s the missing piece in a lot of these puzzles. It’s really the support because you can’t get there alone. No one can. The one-woman show does not exist. It’s an ensemble; it’s a production.

[rawsanma]

In Memoriam of "Shin Evangelion: Curse"

*The following article contains a full spoiler for "Evangelion 3.0+1.0".*

I sat together with a person who was not in birth when EOE was released, and after watching the film we talked a bit and thought about the people who passed away without ever seeing this. I understand that fans from the old series and those who came from the new series may have very different perceptions of Shin-Eva. So I'd like to first correct a few things I said in my first impressions.

It may be somewhere between an honorable movie and a mediocre movie in general, but as Evangelion, it's garbage.

After about halfway through the two hours and thirty-five minutes, I started to look at my watch again and again. The double ending, which is both a personal novel and a product, was a fleeting fantasy, and the two songs "One Last Kiss" and "beautiful world (da capo ver.)" were not used effectively in relation to the story, only being played in the staff roll.

When I saw the first 10 minutes of the movie that was released last year, I thought that perhaps Paris was chosen as the setting for the story of "humanity fighting together in the face of destruction" or "the expansion of the Eva world (not G Gundam, but G Eva!)", but that was not the case at all. He just wanted to depict the battle using the Eiffel Tower as a FATALITY,　I realized that he hadn't made a single millimeter of progress since when he asked Hayao Miyazaki if I could film only this action scene of Her Highness Kushana in the re-animation of Nausicaa, he was scolded, "That's why you're no good!"

At the beginning of the film, they try to carefully describe the things behind the scenes that were not told in Eva Q.  The third Ayanami like the TV version is the main character, and they go on and on about living in the countryside, copying "My Neighbor Totoro". The large family of our parent's home that we go back to during the summer vacation is presented as an image of happiness in life and a decent human being. It is also connected to Gendou's narrative during the Human Instrumentality Project but isn't it too Showa-era and too simple a solution? I am interested in how the young fans who are children of nuclear families who left their large families in the countryside and moved to the city saw the too sudden depiction of "life in the countryside". It was almost a gag to see Ayanami walking around in a plug suit which is a sexual orientation that has manifested itself after Space Battleship Yamato, in the images of pre and post-war farming villages depicted by recent NHK morning dramas. The director, influenced by his wife, must have been immersed in the LOHAS and vegan lifestyle as a fashion statement, which is only possible because he is an urbanite with too much stuff and too much money. As for this theme, it has already been presented in the watermelon field scene in the second film, and it is merely a re-presentation of the same theme in a diluted form.

I've pointed out before that Eva Q is "a crack in reality because of the loss of reality to rely on. "It's rude not to eat what you're served!", Shinji was scolded by Touji's father, who looked like a subversion of Hayao Miyazaki's work (Gedo Senki!). I have a simple question, how can the interior of a house become so old and wretched after only 14 years? How can a community of people of all ages be formed in just 14 years?　There was a line that implied that Touji had killed someone for the village, and it is possible that the director had extremely beautified the "Showa era" as a sanctuary where people who are hurt and regret their committing murder during the war as a soldier live nearby, and when he opened the last drawer after using up all the materials, he found the image of the original landscape of his childhood.

Misato and Kaji's child, which is only described for a few minutes, is also abrupt, and I don't feel that it is more than a plot device for the purpose of staging the reconciliation with Shinji later on. Some people seem to be moved by the fact that "behind Misato's cold attitude towards Shinji in Q, there was such a conflict in her mind," but it's the opposite. All the answers are just excuses after wasting nine years of work. Even if the wounds healed and treated with a gentle "I'm sorry," after being beaten severely by a raging DV husband, the fact of the beating would not disappear, and the wife would feel nothing but fear at the sudden change in her husband. To a situation that he had set to minus 100, he spent 2 hours and 35 minutes gradually pouring water drawn from other places and past works to bring it back to zero...I've never seen such a horrible match pump. Well, now that I'm writing this, I'm thinking that I've seen this before.

The relationship between Eva Q and Shin Eva is very similar to the relationship between "The Last Jedi" and "The rise of Skywalker" in Star Wars. In a self-absorbed rampage of conjecture that did not listen to the opinions of others, the historical stage of the series that had been built up was turned into a mess, and then the destroyed story was carefully built up again from the ground using unnecessary length, and only the shape of the story was created to end it without being disgraceful, and every scene that tries to make things more exciting is a copy of past work. As for Star Wars, since 8 and 9 were directed by different directors, I was able to settle my feelings of resentment towards Ryan and gratitude towards Abrams, respectively, but as for Evangelion, the director looks like a child who has been proud to clean up his own mess and have his female cronies praise and pat him on the head. Moreover, what kind of sympathy do you expect when you are told to "I'll make amends" for the mere act of wiping your ass after defecating, in a cool, Showa-era chivalrous tone?

In this film, as a recovery from Q and a summary of new Eva, there are elements throughout the story that critics can easily relate to the old Eva. “Oh, I can talk about this in connection with that!” This is what gives them a good impression and it has nothing to do with how the old fans perceive it. The director seems to have a dedicated person in charge of communicating and negotiating with the outside, but now he wants the critics to communicate with the fans about Shin-Eva. As long as he doesn't speak for himself, he can correct their interpretations later based on the "misunderstandings" of the people in between himself and his fans. This is a very Japanese-style system of surmising feelings, a system of authority that is formed when only a limited number of cronies are informed of the true intentions of the president. If I talk about it in too much detail, right-winged Yakuza will show up very soon, so to make it short, it is an indigenous control structure unique to Japan that originated from the "Mikado behind the bamboo blind". This time the director was very conscious of that, and I was able to see that Eva, who was a challenger, has become an authority that does not tolerate any criticism.

And what fan from the past could enjoy watching the endless battle scenes after Shinji returns to Wunder in the middle of the film? One after another, the sister ships of Wunder appear--there's almost no difference in appearance, but Ritsuko is able to guess their names the moment they appear. Right after the line "I'm pretty sure there's a fourth ship," the fourth ship comes crashing upon them from underneath, with no intention other than to make us laugh, right? As well as the repeated tenseless bombardment fight with no description of damage no matter how many artillery shells are hit, and it's quite painful being poured Asuka and Mari's Me-Strong Battles which are already enough by the time of Q, continuously down my throat like a goose with a funnel in its mouth. There's no way to synchronize my feelings with the screen, and it just creates an atmosphere as if the story is going on with the unattractive super-robot action that I pointed out in Q. It's no use pointing out, but the repair and supply problems of Wille side in a world where the industry has been destroyed were shown in the farming village part, though it was inadequate. But those of NERV side, an organization of only a man and an old man, was completely thrown away.

The last part of the story about the Human Instrumentality Project is like a fanzine where Gendou, Asuka, Kaworu, and Rei are lined up in a row and complemented in turn and then dismissed, whereas EOE was a total complement through Shinji. The director has tried to upgrade his framework by borrowing them from EOE and has failed miserably. Someone who has created works by putting his emotion and flair into a copy has dabbled in copying his own work. As a result, he had to confront his own sensibilities from when he was young and had to compare the old and the new by his old audience. Frankly speaking, only the techniques have been traced, the sound and the screen have become gorgeous, but the emotion and the sense have deteriorated. The face of the giant Ayanami that was replaced with a live-action one -- probably based on the face acting of Shinji's voice actor, and the "untested ordeal" of her tweet means this -- appears in the background like a gold folding screen in the high sand at a Japanese wedding reception. You're getting tired of all this, and you're not making it seriously, are you? The battle between Eva Unit01 and Eva Unit13 in Tokyo-III, which I expressed my anxiety about before the film's release, is a scene where the company's CG team can't produce what the director expects and he is so frustrated that he has the same mindset as in the final two episodes of the TV version, "I'd rather get a minus than a red", and after that, it became like a gag scene, including Eva fights in Misato's apartment and Shinji's school classroom, as if he was staged them in desperation. The side-shooting screenshot of the little Wunder charging at the head of the giant Ayanami is a picture of ”Cho Aniki (Japanese STG)” itself, and it's also meant to be funny, right? It's a series of loose, sloppy, and tenseless scenes that can't be compared to EOE.

What the hell have the CG team been doing for the past nine years, getting paid with no progress and making Eva look like an outdated piece of crap? Didn't anyone have the chivalrous spirit of the Showa era like "Don't embarrass our boss!"? Don't be so relieved when you get the green light! The director has just given up on you! There were a few scenes where the person at the top of the editing and collage, who has been making the coolest pictures, was not given as much good material as he used to be and seemed to make desperate staging in a way that he would never have given the green light in the past. It's been more than 10 years since Xapa was established, but I guess they don't have enough talent to meet the director's vision. Perhaps because of this, the conclusion of the film is exactly the same as the old one, that the director has no choice but to use his personal feelings to finish Eva, but the film ends up being a self-imitation of "Sincerely Yours". It is sad to see a person who "surpasses the original by putting his heart and soul into the copy" start to copy his own past works on the big screen of the theater, because he has become a big name in the animation world after reaching the age of 60, and there are no others left to be copied. However, right after "Komm, süsser Tod" started playing in the old movie, the scene where the titles of each episode and the reverse side of Cels were played in succession was projected on the wall of the studio using a projector -- the title of the new movie was added.  It made me mad and thought, "Don't touch my EOE with the dirty hands of the merchant.  I'll kill you."

The last things that the man who "transfers his own life onto films" presented in his costly self-published private novel were a naked confession of his own mental history up to the point where he met his wife, which he temporarily entrusted to Gendou, and the words "I think I loved you" and "I loved you" exchanged between himself and the former lover who could not be together and themselves who had separate spouses, just a reckoning of the muddled love affair that existed behind the scenes of EOE. I half-jokingly said that the distance between the director and Asuka's voice actor was important for the end of Eva, but it turned out to be true in a different way. During the recording session, Asuka's voice actor was told by the director, "I'm glad Miyamura is Asuka," which sent chills down my spine as it conveyed the horror of a creator who doesn't hide everything about his life and relationships and uses them to create his works.

In the scene where Shinji says "I liked you too" to the adult Asuka, who is wearing a tight latex suit and drawn in a more realistic character design (making us aware of the cosplay by Asuka's voice actor), while she is lying on the EOE beach, I thought "You guys should do this in a coffee shop or something between recording sessions! Don't make us watch middle-aged man and woman having unpleasant conversations on the big screen of the theater!", I almost screamed out. I think that's the scary part, the director's one-sided love for Asuka's voice actor is falsified by having the character say that she liked him, as if it was a mutual love. The director's statement at the beginning of the pamphlet says that he started working on the sequel right after Evangelion 2.0 without hesitation, using the worldview of "Q". I'm not trying to quote the line "You can change the reality you don't like by getting on Eva.", but it's not as if he's trying to cover up the fact, but he really believes that using his strong imagery, and it made me feel a bit chilly that there was no one around to correct his misconceptions.

At the end of Human Instrumentality Project, I wondered if the fact that a senior member of the movie industry had praised the shooting of EOE by flipping Cels over as a "tremendous deconstruction" was still fresh in his mind. This time, too, it was postponed after postponement, and even though the makings have been done in time, he showed the other side of the production with line drawings and roughs. The reason it was so innovative was that it was the first time anyone had tried it then, and now, 25 years later, it's just a rut. It's disgusting that everyone is praising the master's strange drawing habit and saying, "Oh yeah, that's it, that's it." As I've said before, it's like "defecating in a sixty-nine," which was successful because the first partner happened to be a scatologist. The expression of EOE was sharp and ”Rock’n’‐roll”, but Shin-Eva's "fun of anime images" has gone into the realm of traditional art, like slow "Gagaku".

The director hadn't decided who Mari Makinami was for a long time -- he was so indifferent to her that he threw the actor's acting plan to a sub-director -- but with Shin-Eva, he's changed her into an equal to Moyoco Anno, his wife. In other words, the flashy battle in the middle of the film, which is unimportant to many viewers, is revealed to have been a very pleasant pretend play for the director, in which he has his former love and his current wife fight on his favorite robots. Once again, we are shown the director's so-what-attitude, which has not progressed even a millimeter since "I'm an asshole," and which he can complete his work only by masturbation. So it's no wonder that they couldn't depict the extremely simple catharsis of Shinji's great success with Eva Unit01, which is what most of the old fans want. Because a robot with a pathetic old man on board can't get an erection due to impotence, let alone masturbation!　Oops, excuse me, sir.

And as I said before, it's time to realize that the English language has become so popular in Japan that it's become lame. You use Infinity, Another, Additional, Advanced, Commodity, and Imaginary, just because it sounds cool to you, right?　Everyone criticized the naming "Final Impact", but I never thought I'd see the time when I'd faint from the lack of taste and coolness in Evangelion, such as Another Impact, Additional Impact.

And the ending, with the wedding report in a live-action aerial shot of the director's hometown, newbie fans are screaming that it is like, "They're doing a very positive version of the old "Return to Reality!". But I felt it was too empty and cynical because it was intended to be read that way by the director. It depicts only the elation of marriage, and the pain of getting along with a partner and his or her family with different values is cut off (well, maybe Q was expressing the hardship of married life......). But isn't the emotional weight of a marriage report much higher when you meet your partner's parents?　The fact that he ended the movie by showing his own hometown instead of his wife's hometown leaves me with the impression that he's definitively an egotistical geek through and through. "You may have graduated from a good university and are making good money in the city, but if you're not married and don't have children, aren't you somehow humanly flawed?" After 25 years, Evangelion, which was such a forward-thinking Sci-Fi, is now completely in sync with the earthly ethics of Showa-era's farmers and farm horses. "I got married and it saved my life. I don't know about you, but why don't you try?" You can think what you want, but if you want to convey it as a message of salvation, you have to express it in the content of your work, not in your own talk.

I've been married for 20 years, I have two children, both of whom are about to reach the age of adulthood, I've paid off the mortgage on my home, and I'm finally at the end of raising my children, but all of that is just an outer shell of a social skin that has nothing to do with my true nature or where my soul is! There's no connection between what kind of life an individual lives in the real world and the Sci-Fi sense of wonder, in fact, there shouldn't be any connection! If you're a science fiction fan, take a page from the great Arthur C. Clarke! I was a nerd with a negative value of 100, but when I got married, I gradually poured the "common-sense values" of the Showa era into myself, and now I'm a true man with no negative value? Don't write such pathetic fiction proudly! Listen, what you presented to the audience at the end was the same thing that someone would say to you, "You seedless stallion!" It's the same kind of unethical and vulgar message that you shouldn't be giving! The old Eva became a classic of Japanimation, and no one was able to properly scold you, or you keep away those who tried, and the result of this is directly reflected in the ending of Shin Eva!　You've reached your 60th birthday and you only have such poor social common sense, damn it!

I'm sorry, I was so excited that I lost my control a little bit, just a little bit. I think the director is relying a little too much on his wife, who is ultimately a stranger on, to be his laison d'etre (lol). If they were to break up in the future, it would certainly be the soil for the next Eva, the content and development of which is completely predictable, but that is no longer my concern. I wonder if his wife doesn't like the fact that he's mentally dependent on her like this, and that it's being shown on screens all over the country. If it were me, I'd be furious, but since she's a creator, I guess she understands how he feels. Ignoring the other person's feelings and continuing to force what he believes to be love on her, thinking that it will make her happy, seems to me that there has been no progress at all since the way he treated his girlfriend 25 years ago. The person I want to hear from the most right now is not the self-proclaimed Eva fans who are looking at each other from the side and giving positive feedback in celebration of the final episode, but his wife. If the director had a child, he would not have been able to distinguish between his own ego and that of the child, and would have doted on his child, making a documentary film about his or her growth, but would most likely have turned into a controlling and poisonous parent in his or her adolescence. And he animated his feelings for his child who was rebelling against him, without the child's permission, considering it as a one-sided redemption for the child, and the child who was exposed to the whole country about their home life would have distanced from his father more and more.

In the end, Evangelion did not become a product like Gundam, but rather a robot animation that was the director's weird personal novel. The repeated use of the word "job" in the film has stuck in my mind, but in order for the studio to survive, it had to make Evangelion a product in this new series, and I'm sure that was the initial motivation behind the production of these new films. Your real "job" was to make Evangelion the same as Gundam, to protect the people who came to you because they loved Evangelion. Years from now, I can see a future where Xapa will be like Ghibli, behead the staff and continue as a copyright management company. The director, who didn't want to be embarrassed as a creator by a new challenge adopted the safe way -- I can't believe that I have to use the word "safe" for Evangelion -- to end the new series that relied on EOE only for himself, not for the future of the people who came to admire him. That's what Shin Evangelion is all about.

The good part? The fact that he didn't bring Shin Ultraman trailer at the end of the film makes me think he has grown up a bit. If you're declaring "Farewell, All Evangelions" with the intention of hurting, disappointing, and disinterested old fans like me, then your malice is unfathomable, and that's quite a feat. Brilliantly, your intentions have permanently killed a part of me that used to be an Eva fan.

As horrifying as it is to imagine, it must have crossed the director's mind to reschedule the film and set a new release date for March 11. The only reason he didn't do so is not that he has grown up to be a sensible adult, but rather because the idea of linking Evangelion 3.0 with the Great East Japan Earthquake was a fact that is too painful for him to make it public.

Ten years ago today, many lives were lost and Evangelion was destroyed.

This fact will never disappear, no matter how much the director denies and covers up with the "true" history. If there is any mission left for me as a fan, it is to continue to pass on this fact to future generations as a storyteller. It is a huge loss for Japanese fiction that the end of the great Evangelion has become a self-recovery work of the great failure of the reboot affected by the Great East Japan Earthquake, and that the potential of the great Evangelion has been consumed by the self-defense of someone who cannot admit his own mistakes, and I sincerely regret it. Shin Evangelion will be forever cursed by the dead, who yearn to see the sequel of Evangelion 2.0, and the living, who yearn to see the sequel of Evangelion 2.0.

This curse will be completed when it spreads, arrives, and is burned by the powers that be as a false history. I pray that my thoughts will reach him!

[uncloseted]

https://youtu.be/kJcpTSNWXdQ

https://youtu.be/yIZ8zUOXh2g

Can you watch these when you have the time? Im curious about your opinion on this because I think youre really smart and these are some topics rhats been on my mind lately! Thnk you so much ❤️❤️

Okay, so there’s a lot here.  I feel like I should admit upfront that I dislike Joe Rogan.  I won’t really dig into why because you didn’t ask for that, but I will say that if you want to listen to someone wax philosophical, I feel like it should be someone who was actually a philosopher (like Contrapoints or PhilosophyTube) instead of UFC commentator and former host of Fear Factor, Joe Rogan.  Anyway, let’s dig into these videos…. 

The first one is called “Unattainable Beauty Standard Outrage” and it’s with stand-up comedian Bill Burr.  Frankly, I find it to be frustrating because they’re both average looking white men complaining about an issue that they’re really not subject to in any meaningful way.  Throughout this video, they conflate a lot of different issues-  the beauty standards average men and women are held to, the (edited) beauty standards present in advertisements, and the physical requirements actors and actresses are held to are all the same in this conversation.  They make them seem like it’s all the same when in reality that’s just…. three different conversations completely.  I think that’s a result of the fact that they’re just kind of talking, not making an argument or even really trying to get to a point.

Let’s start out with what they’re saying about the beauty standards that average people are held to.  Basically, their point is that if you cared about how you looked, you can compensate for it in other ways. The point here boils down to “ugly people won’t take the time to develop a personality like the rest of us, and they’re mad that they get treated differently.”  But the reality is that you can have a great personality, but discrimination based on physical appearance will still exist.  Similar to how discrimination based on sexuality isn’t cancelled out by white privilege or discrimination based on race isn’t cancelled out by being male, discrimination based on appearance isn’t cancelled out by having a winning personality.  Ugly people earn less than their attractive counterparts, on average have fewer friends, worse social skills, and less active sex lives, and are seen as less moral, trustworthy, and competent.  Women have it even worse; while men are able to compensate for their looks somewhat (and there are more “acceptable” looks that a man can have) through factors like wealth, social capital, and personality, women are taught from a young age that being attractive is the most important thing that they can be.  Because of that, women suffer more from looks-based discrimination than men do and are more impacted every time the standard for female beauty gets raised.

Moving on, they start complaining that the UK is banning advertisements that feature impossible standards of beauty.  To my knowledge, it’s actually only the London underground that did this, and I believe it specifically concerned advertisements that are digitally altered but selling a beauty product (correct me if I’m wrong here).  Specifically in this episode, they’re talking about products that promise you a “summer body” with a digitally altered image of a bikini model.   It’s false advertising when you show an edited model who supposedly got their body by using your product- and that should be illegal.  False advertising is illegal in lots of other realms.  You’re not allowed to claim that your dietary supplement will cure cancer, and you shouldn’t be able to claim that your “summer body” product will make you look like a digitally altered model.  Joe and Bill comment that people are being overly sensitive, and that these advertisements just make them “want to go to the gym”, but that misses the point completely.  Even if you went to the gym, there’s still tens of thousands of dollars of cosmetic surgeries and digital alterations that went into making that model look like that.  It’s not about work.  Those bodies aren’t achievable with work- the models themselves, who work out for hours a day and follow very strict diets, don’t look like that in real life either.  Pretending that those images are achievable through “hard work” is actually really damaging.  It can lead to people engaging in dangerous diets and exercise regimens, taking untested supplements, and feeling that their lack of results is a moral failing because they’re not “working hard enough” (which decreases self esteem).

Then they start talking about actors and actresses who are asked to lose weight for movies, and one actress in particular who publicly complained that she was asked to lose 15 pounds for a role.  Their takeaway is that the actress who complained is being lazy, that she was hired to be hot, and that she’s being ungrateful for the opportunity.  A quick fact check suggests that the person they’re talking about is Jennifer Lawrence, who said she “was told by producers of a film to lose 15 pounds in two weeks."  That’s a very different story to the one that they’re telling.  To lose 15 pounds in two weeks, 5′9, 140 pound Jennifer Lawrence would have had to burn 52,500 calories.  Even if she ate absolutely nothing and worked out at the level of an Olympic athlete 7 days a week, she would still have only burned 39,354 calories in two weeks.  That’s still 3.75 pounds short of 15 pounds of weight loss.  It was literally an impossible ask.  Upon telling the producer that she thought the weight loss demands were not appropriate, “he said he didn’t know why everyone thought I was so fat, he thought I was ‘perfectly fuckable.'”  And so to paint it as Jennifer Lawrence being lazy is a bit disingenuous.  But I’m willing to accept that maybe they just didn’t have that context, because it seems like their goal wasn’t actually to have a discussion based in research or argumentation- it’s to make the point that people are overly sensitive now and asking the world to cater to them.

Closing this conversation out, I don’t think it’s wrong for studios to ask actors to change their appearance for a role.  A big part of why people get cast for particular roles is their appearance, and as an actor, you have to be willing to adapt your appearance for the role. Just like you may be asked to dye your hair or wear colored contacts, I don’t think it’s necessarily wrong to ask an actor to gain or lose weight for a role (especially since both men and women are asked to do that, and the studio provides them with the support to be able to do that safely).  Those bodies are achievable with work, and I don’t think it’s wrong to show those.  But I think there’s a larger conversation to be had about who’s being asked to change their weight and why.  Christian Bale lost 62 pounds for The Machinist because his character was supposed to be emaciated from his insomnia.  The studio didn’t ask Bale to do that.  He made the decision to do it on his own, even though it made sense for his character to be that thin.  By contrast, Jennifer Lawrence was asked by the studio to lose 15 pounds to... what?  Look hotter in the movie?  Almost every female actress is expected to look a certain way in order to even be considered for a role, whereas men can be fat, mediocre looking, older, balding, and still be cast.  Even when a woman is playing a role where being hot isn’t part of the narrative at all, she’s still expected to be hot.  Even when you’re playing a character that’s “let themself go” or has “hit rock bottom”, the actress needs to look hot.  For men, there’s not that same requirement.  Having hot girls in your movie absolutely do get more people to see it, sure, but the cost is that you’re reinforcing the idea that women must be, above else, hot all the time.

So that’s that.  Let’s move on to the second video,  “No, It's Not "All Men"”, featuring comedian Iliza Shlesinger.  I should say that I like Iliza quite a bit and I’ve seen her perform, so I’m curious to see where this goes.  It’s also important to note they’ve been smoking weed, which... provides some context to this episode, I think.

So again, they start by bitching about this “beach body ready” ad that got “pulled in the UK” (actually just from the London underground) that Joe is so up in arms about.  This time he shows the ad, and it turns out that it was pulled due to “concerns about a range of health and weight loss claims made in the ad”.  The concern is false advertising.  So again, to paint it as, “ugly women are too sensitive because some women are actually beautiful” is disingenuous, and serving the narrative that “people these days are too sensitive”.  They’re also making the assumption that this ad hasn’t been digitally altered, which I find difficult to believe.  

Iliza goes on to talk about how her boobs are real and some people ask her if they’re fake, and she doesn’t like that, and how women shouldn’t judge other women to their faces about how fake they perceive them to be.  I think that’s a fine claim to make on an interpersonal level, but I also think that if we don’t start acknowledging all of the manipulation and work that goes into appearing “effortlessly beautiful”, we’re going to fall deeper into this beauty standard arms race.  Iliza kind of gets a pass on this because she openly admits to having a “fake nose”.  Then she makes a good point about how women will be hated no matter what they do, and so it’s important to remember that when someone doesn’t like you, it typically has more to do with them than it does with you.  She also says that when you don’t like someone, it’s important to do some introspection to figure out where that’s coming from, which is also great advice.  Then they wander into talking about how feminism doesn’t mean that you like women more than men or that you’re asking for special treatment, just that you support the idea of equality, and that’s fine. Joe rogan praises Iliza for being “a feminist, but not annoying”, which is gross.

Iliza then says that feminists who say, “all men” are part of the problem, and I think she’s just missing the point.  When feminists say, “yes, all men”, what they mean is that all men are benefiting from male privilege, regardless of the actions that they’re taking (or not) to better that situation.  People in positions of privilege have to acknowledge that privilege in order to be able to better the situation, and by separating yourself out as “not one of those men”, you’re saying “it’s not my problem because I’m one of the good ones, so I don’t have to think about myself critically or alter my behavior in any way.”  That said, I think Iliza is right that that stance can be taken too far and serve to alienate the men who are allies in the feminist fight for equality.  

Then, Iliza equates the phrases “all men are bad” and “all women are sluts”.  I think this is a bad take; “all men are bad” is a generalization made by a marginalized group about a powerful group that they’ve been victimized by.  Every woman I know has had some type of intimidating, frightening, dangerous, humiliating, or dehumanizing experience with a man during their lifetime.  “All women are sluts” is a powerful group insulting a group that they marginalize, with the intention of controlling that group’s actions (by making them feel ashamed of being “slutty” they’ll stop being “sluts).  “Slut” is also particularly charged in this scenario, because it centers maleness.  What is a slut?  A slut is (usually) a woman who sleeps with men but who won’t sleep with the man calling her a slut.  Which, coming full circle, is why some women say “all men are bad”.  

I get their larger point that generalizations are rarely helpful, but again, they’re making this false equivalency between a political slogan (”all men”), a gendered insult (“all women are sluts”), and random, unhelpful advice, (”women want you to slow down in the bedroom”).  In the first case, the generalization serves a purpose- it’s to let men know that they’re not exempt because they’re a “good guy”.  In the second case, it’s an insult that contributes to a gendered power structure.  In the third case, it’s just shorthand for “the majority of women that we’ve surveyed” because repeating that phrase over and over again will take away from the point they’re trying to make (that maybe you could be better in bed by listening to the sluts, Joe).

All in all, I like this one better than the first one, but Joe Rogan hasn’t grown on me over the course of watching these videos.

[actualbird]

nobody asked but pat gill is so fucking hot to me and im going to tell you why im attracted to him | a 2.3k word long post where i hold you, dear reader, hostage

[SCENE: You, the reader, are tied to a wooden chair in an empty room with nothing but a small table and a projector. You pull at the ropes that tie your hands together behind your back, but then the door opens and I stroll in. I am dressed in a full black suit and am also wearing shutter shades. I am also holding a powerpoint clicker. The fancy ones with a laser pointer in them. You shudder in contempt for you know that you are about to witness a horrible lecture.]

Hello, reader. I know you know why I’ve brought you here. I’m here to discuss something very important to you. Don’t look at me like that, it is important, I swear. I am here to tell you why I find Pat Gill hot.

[I switch on the projector. My presentation slides flash to life on the wall. Behind your back, you locate the feel around the knots tying your hands.]

This is not a presentation where I will convince you that Pat Gill is hot. No, I wouldn’t prescribe my tastes onto anybody, that’s not nice. What I will do is explain in horrid, vivid detail why I myself find Pat Gill hot. 

Like everything I do, I cannot dive in without first setting up some kind of framework or system of analysis. What I am trying to explain is how I find another person attractive, and that has thus pushed me to make the AHG Criteria, a criteria made up of the three principal characteristics of a human which makes me attracted to them and is also, coincidentally, the sound I make when I see images of Pat Gill. 

The AHG Criteria refers to the following:

Appearance: the most shallow but noticeable of characteristics. Here, I will explain just what it is about Pat Gill’s perceivable flesh prison that gets me so upset in an attracted manner.

Humor: I love a funny human and humor theory is one of my side interests. Here, I will dissect two specific instances of Pat Gill’s humor, bringing in references and related literature, in an effort to explain why his sense of humor is stellar.

Good at presenting things: I am very attracted to competence, but one skill I hold in very high regard is the skill of explaining and conveying information. Here, I will analyse Pat Gill as a communicator.

So let’s jump right into it. 

Pat Gill’s Appearance is, frankly, an anomaly to me. This is not to say that anything about his appearance is strange, but that, quite honestly, as handsome as he is, he’s basic. He is white, he is tall, he is thin, he has black hair and a slight beard (though currently he is sporting more of a moustache, which I’m still into). At first glance, one wouldn’t pay him much attention. I sure didn’t, until I watched more and more videos of him. I sure didn’t, until I realized.

His Appearance is basic, but his vibes, which I am including in the criteria of Appearance, bring his Appearance to life. Pat Gill looks a little unapproachable, with his resting sad face; but, when he smiles, he is so shameless and happy. Pat Gill looks like somebody you’d see leaning on a wall outside a bar, looking up at the sky, and you wonder just what he’s thinking about---wonder if you could get lost in his thoughts. Pat Gill looks like somebody friendly--- once his resting sad face gives way---somebody who would help you pick up your stuff when you bump into him and the contents of your bag spill out. Pat Gill looks like somebody who would use his goddamn turn signal. Pat Gill looks like somebody who would pet many dogs, as many dogs as he physically could. Pat Gill looks---

[As I prattle on, your fingers explore the knots behind your back. In your mind, you are mapping out the knot’s shape and orientation, thinking about how to undo them. When you tune back into my voice, the slide on the projector has changed and I have shifted topics.]

Let’s move onto the next criteria. Humor.

Paul McGhee in his book Humor: Its Origins and Development brings up Göran Nerhardt to define humor as “[...] a consequence of the discrepancy between two mental representations, one of which is an expectation and the other is some idea or percept” (McGhee 14). Nerhardt’s definition of humor is one that relies on incongruity: wherein there is an element that is not in accordance with the other elements. An incongruous element is one that is not the expectation, and in this subversion of expectation, humor is achieved. What is funny in a humorous situation, is then, what is unexpected to a certain degree. Humor, and the reaction to it, is due to the recognition of the incongruous. 

Despite this incongruity, there is still an internal logic to anything humorous. This internal logic is different for each humorous situation, and consists of everything within the situation; the set-up, punchline, characters, etc. It is this internal logic that allows for jokes to “make sense.” It is that internal logic that helps us get from one element to the incongruous element, realize their relationship, and thus find the whole thing funny.

Incongruity and internal logic are one of the many characteristics of humor, and they are the ones I will be focusing on. With those definitions in place, let’s talk about what you’re here for: Pat Gill.

Pat Gill is a funny guy. If I tried to analyse every single instance he was funny, I would never shut up. You wouldn’t want that, would you?

[You shake your head no. God, no.]

Right, so I’ll just be focusing on two instances of his humor that stuck out to me (originally, I wanted to discuss three, but then I saw that the length of this post was getting kilometric, so I cut it down to the essentials), these of which I think is a good marker for the kind of sense of humor he has.

The first one is my absolute favorite tweet of his:

This tweet is, at first glance, a lot. Pat Gill doesn’t wait for the punchline to be incongruous, he throws incongruity straight at our faces with the opening line, and one may think that that’s a bad move. Not necessarily. It’s just a ballsy one. It’s a move that doesn’t spoonfeed the audience with the internal logic, you have to work for it. As you read through the tweet, the internal logic starts to come through the incongruity. The literal dramatic situation of the tweet is a persona talking about the good state their nemesis is in. The language of the tweet keys us in to the kind of Medieval vibe, like a scheming duke in the hallways of a castle. The punchline comes after the last comma. The monolog of the nemesis’ good fortune will be interrupted by the persona’s attack on their life.

This tweet is an example of the bedrock of many of his jokes. He doesn’t give a damn if he makes sense or not. He will throw you into the deep end of the joke and it is up to you to tread the water. However, if you do manage to keep afloat, his internal logic will bring you to the punchline and, thus, satisfaction.

[Your fingers have been working on the knots steadily as I speak. You try your best not to react as you start to feel something give way, and you keep working quietly.]

The second instance of humor I want to discuss is the Solid Snake Skincare Routine dialog he wrote and performed with Brian in episode 8 of Gill and Gilbert. The full transcript is as follows:

Pat (as Solid Snake from Metal Gear Solid): Colonel, how do I know which moisturizer to buy, and how do I know it’ll match my skin type?

Brian (as Colonel from Metal Gear Solid): Unfortunately Snake, there’s no way to tell for sure. Certain retailers will offer samples, but in most cases, it’s up to you to purchase a product and try it out.

Pat: Sounds expensive.

Brian: It is, Snake. And the cost disproportionately affects women.

Pat: Women?

Brian: Societal norms in the west dictate that a woman’s value is tied to their appearance, and the thing every woman has…

Pat: Skin!

Brian: Right.

Pat: So, we expect women to attain a higher---So, we expect women---women, to attain perfect skin, and we also expect them to pay for it?

Brian: All while paying them less for doing the same jobs as men.

Pat: So Colonel, that means…

Brian: Yes, Snake. It is imperative that you give your money to women.

Pat: Right.

Like the tweet discussed before, Pat Gill shoves incongruity in your face immediately. Solid Snake, super cool spy dude (?? I don’t fuckin know anything about video games) talking about skincare. He expects you to keep up, and if you do, you are rewarded by a surreal yet lovely conversation between Snake and Colonel talking about the intricacies of skincare, but then things get really interesting. The topic shifts to the societal expectations of beauty and how it ties into womens’ experiences. This isn’t a grand woke moment or anything, but it is a surprising shift in subject that is perfectly in tune with the internal logic of the conversation. The punchline is amazing, giving all your money to women, yet it is also written in a way that does not imply that women are the butt of the joke. The butt of the joke here is the surreal vibe of the conversation as a whole.

This dialog builds upon the bedrock of Pat Gill’s humor: he isn’t afraid to go places. This is something that is apparent in many of the Unraveleds that he writes (Dark Souls Bosses is a very good example), he brings in real issues, makes the jokes funny, but never treats the marginalized or the victims of these issues as the butt of the joke. In Susan Purdie’s book The Mastery of Discourse, she remarks that to joke about a certain topic, to make something the “butt of the joke” can degrade this topic and bring it down lower, in the process shifting the power to the joker instead (Purdie 59). Pat Gill is aware of that power dynamic and never jokes at the expense of those who are struggling. He instead makes us laugh at characters, at situations, at surreality.

[The knots tying your hands are almost undone. You just need to bide your time. You’re so close to escaping from this thirsty pseudo intellectual motherfucker]

The last criteria I need to discuss with you is GreatAtPresentingThings. 

Pat Gill has done a lot of presenting. For this, I will be analyzing just one of the many videos where Pat Presents Things, my favorite among his “X is Y because of Z” videos, “Why Bloodborne and Muppets are the exact same thing.”

I’ve talked about this video in a previous long post analysis about Pat Gill, but let me talk about it again. Pat Gill, on camera, brings up an absolutely bonkers fucking thesis: that the horrible monsters in Bloodborne are similar to the Muppets because of how they use character design. 

Pat Gill, as a presenter, is very lovely to listen to. The cadence of his voice is not only extremely relaxing and makes me feel like a tranquilized zoo animal that Pat is talking to very gently about video games, but his voice is also very easy to follow. There are many voices on the internet, and I have a bunch of sensory issues, so a lot of the time, even when I want to listen to somebody, I just can’t because of how their voice grates at my ears. Pat Gill’s voice is not that. It is of a good speed and good vibe that not only puts me at ease but makes me want to listen.

Pat Gill uses gestures. This is most apparent in this video, where he does that cute thing when he says Shape, Movement, and Texture. Here are screenshots of it because it’s so fucking cute, what the fuck.

I know, I know, what do gestures have to do with presenting things? Well, if you told me “shape, movement, texture”, six minutes later, I wouldn’t fucking remember any of those. But with these gestures, those words do stick. When words stick, the explanations behind those words stick as well. When words and explanations stick in your mind, congratulations dude, you just learned something! Pat Gill when talking, and whether it is scripted like this or unintentional like a random gesticulation, the movement catches my attention and I become a more rapt listener.

Honestly, I could go on and on about Pat as a communicator and---

[Before I can speak, you bolt upwards from your chair, finally having gotten the ropes loose. Quickly, powerfully, you grab the projector from the table and smash it over my head. I stumble and fall to the ground, and you look down at me as your chest heaves.

As I slowly lose consciousness, you hear me say, softly, but with so much fervor:

“Pat…..Gill…..hot.”]

Thanks for reading! 

(Read my other unhinged analysis essays at actualbird.tumblr.com/tagged/nobody-asked-but. If you have a suggestion for an unhinged analysis essay I can write, send me an ask!)

References:

McGhee, Paul E. Humor: Its Origin and Development, W.H. Freeman and Company, 1979, pp. 1-41.

Purdie, Susan. The Mastery of Discourse. Harvester Wheatsheaf. 1993.

[keiscait]

Hi! I just wanted to say from the match-ups I have seen that you are such a great writer! If it’s not too much I was wondering if I could get a living room and bedroom matchup for a male character. If both are too much, feel free to do one whichever one you feel like you can write better. I wanna do this anon so the emoji you can use for me is: <33

Info:

Pronouns: She/Hers

Personality: I am a very goal orientated person and I can become very hard on myself sometimes if I don’t achieve things as well as I wanted to. I tend to be quiet but not shy per say. I do not have trouble talking to people and making friends and I can become very outgoing but in the friend group itself I usually keep to myself. If I am comfortable with you I will make witty remarks and make fun of you in a playful friend banter kinda way but I would like to say I am a good listener so I can get serious real quick. I am really big on trust and I used to trust too easily and now I am a bit more closed off where it is a bit harder for me to trust others.

Relationships: When it comes to relationships, I believe in communication and I haven’t had a big problem with it in the past. I wouldn’t mind a small pda such as hand holding or a small kiss here and there but nothing over the top because you gotta keep the important stuff private ya know. My love language is quality time because I tend to be really busy once school starts and so making effort to see each other even through our busy schedules is really important to keep the relationship healthy.

Hobbies: I believe that you need a good balance between work and play though so some other hobbies I have are painting (acrylic and watercolor), baking, and skateboarding. I also listen to music everyday and watch like an episode before I go to sleep if I have school but binge watch on break. I also try to game a bit too like league, minecraft, and my switch. I also like hiking and runs in the mornings before class because it really clears my head and I used to be on the swim team but I don’t competitively do it anymore.

Bedroom: I believe I would be a switch that leans more submissive. However, I am really cautious to do anything because I need to trust them to be submissive. I would consider myself very open to different kinks and what not and aftercare is a must. I’m not super into degrading because I’m sensitive af. I just would want someone who is observant with me and my body as well as someone who helps me with my insecurities. Once I’m comfortable though I definitely become a brat. Just want someone who would manhandle but still tell me i’m the prettiest girl they’ve ever met hahaha.

Zodiac: Pisces (sun), Cancer (rising), and Leo (moon)

Hogwarts house: Ravenclaw

Future Plans/ Dreams: I am working to become a biomedical engineer one day to help make medical devices to help people. Right now I am leaning towards possibly doing physical therapy and making prosthetics.

Looks: I’m 5’6/5’7 and have a medium build. I am tan kinda like a honey color with black wavy/slightly curly hair that is about at my breast length. My eyes are hazel but mainly light brown and I have pretty big doe like eyes.

Sorry if it’s too much or too little but thank you so much! and I have such respect for writers so keep being you :) HAPPY HOLIDAYS AND STAY SAFE

-----------------------------------------------------------------------------

Hello and welcome, my darling! So sorry for the long wait, and thank you SO MUCH for your kind words! (⌒‿⌒)❤️ Let’s get right to it then! ٩(◕‿◕｡)۶

I was reading your description, and I think the person I had in mind for you also fits your bedroom matchup!

Our lovely guest keeping us company in both rooms is...

(Runner up: Ushijima Wakatoshi)

Kageyama is a very complex character. He’s one of the few characters ever who we actually see slips back into his old bad habits every now and then, but is immediately remorseful and shows signs of him knowing better. He’s always striving for progress, and he understands more than others what it’s like to dislike your past self.

- Tobio here is somehow both incredibly observant yet so fricking DENSE

- I imagine that however it is that you two meet, he’ll be super formal at first. It’ll take a little while for a romance to build because he’s not used to opening up, and he’ll need to really trust the person for him to let his walls down

- however, as soon as you guys establish a friendship, he’d be drawn to you and how goal-oriented you are, especially since he is, too

- He’d take interest in you, notice all your little quirks, and would even find himself blushing whenever you playfully tease him

- Problem is, he has no fucking clue why HAHAH

- I love him sm but boy doesn’t know what it is to like someone

- Hinata would try to explain it to him and he’d just be like cr- cru--... c-CRUSH?? ...what is that?

- Man is in desperate need of wingman someone help him

- Anyway, once his friends get Operation: Get Tobio A Girlfriend in motion, he just turns into his pouty blushy self whenever he sees you

- The other boys will probably go overboard that he’ll be forced to take matters into his own hands

- The confession would be a damn mess but in an adorable way

- He’d 100% yell his feelings at you while pouting/blushing

- You’d have to shush him TBH 

- shush him with a kiss maybe? that’s a great way to shut him up ( 　･ิω･ิ)

- Kageyama_Tobio.exe stopped responding

- anyway I think he’d just be such a soft, protective boyfriend, especially since you’re kind of quiet

- You two would understand each other so well. He’d protect you and your quiet side, while you would help him be more relatable in order to make friends. It’s also perfect that you two are both goal-oriented, because then you’d be on the same page when it comes to co-dependence/independence. One would understand the other when it comes to pressure, deadlines, and hard work, and you’d just be super supportive of each other all the time

- I think you’re better at communicating than he is, so you may have to inform him a bit on how it should work between the two of you. He’d pick up on this really fast tho so no need to worry! Kags has got you ;)

- Dates would be really productive ones. Study dates, work dates, workout dates; anything that would be beneficial to your improvement

- Early morning hikes with Kags :’( beautiful

- He really appreciates that you’re not big on PDA because that puts a lot less pressure on himself to be someone he’s not. PLUS I imagine he’s the same as you, who really treasures the private moments between the two of you because you’re both so busy

- Once you guys have some private time, he’d take it as an opportunity to release all his pent up energy and emotions. He’d be so needy and clingy when he knows others can’t see

- ( 　･ิω･ิ) ( 　･ิω･ิ) ( 　･ิω･ิ) also u kno whassup when you guys finally get some private time ( 　･ิω･ิ) ( 　･ิω･ิ)( 　･ิω･ิ)

- I don’t think Kags is the very kinky type. He’d be a dom, but I don’t think the freaky stuff would really appeal to him, especially if it’s degradation, since the man worships you?? He’s just like... why tho 

- He may get into some stuff that emphasizes his strength, mostly how he grabs you and handles your body

- Picks up on your sweet spots really quick, and I imagine he can even deduce which parts are sensitive without you having to tell him

- Apologizes if he ever makes you uncomfortable :’( he’d just be SO tender and protective

- I don’t think he knows what aftercare is, or like the specifics of it, but I think despite that, he’d just naturally want to take care of you and check in on you afterwards. He’d ask if you’re okay, if you need anything, if you’re feeling any kind of pain, if there’s anything he can improve on. And he’d definitely scan your body for any bruises.

~

You were walking home from an exhausting day at work. 

There were more than a few setbacks today - an annoying coworker took credit for your hard work, your precisely detailed schedule wasn’t honored by others, and because of this, you weren’t able to have lunch. It was now 6:30PM. The rain poured as you waited at the bus stop. You were famished, soaked, and, quite frankly, so done with this day. 

You sighed for what felt like the hundredth time. You were so out of it today that you haven’t had the chance to check on your unread messages. Your boyfriend, Tobio, had left a few missed calls over the past hour, causing some worry. He didn’t usually call, given how busy he was all the time. You texted him first to check in.

You: Everything okay, bub?

K: Yes. Sorry about all the missed calls. Where are you right now?

Y: At the bus stop near my building. Why?

K: Which one?

K: Never mind. I see you

What? You whipped your head left and right, then saw your boyfriend’s figure standing a few meters away, umbrella in hand. He was truly a sight for sore eyes right now - he wasn’t wearing anything special, juts his usual tracksuit, but he was wrapped in a scarf and held a soft expression on his face. It was just the warmth you needed right now. He jogged over to you, closing the umbrella as he made it under the roof. 

“Hi love,” you started, “what on earth are you doing here?” A huge weight seems to have been lifted off of you.

He didn’t hesitate to wrap his arms around you, rubbing your body to give extra warmth. Pulling back, he took off his scarf so that he could wrap it around your neck. 

“It’s been raining all day but I noticed you left your umbrella at home. I was hoping to catch you before you left work so that you don’t have to walk in the rain.” You couldn’t help the smile that was erupting through the exhaustion. This felt like an all new Tobio. “I guess I was a little too late, I’m sorry.”

You shook your head. “No, don’t worry about it. Thank you for thinking of me, bub.” You allowed yourself to slump onto him, wrapping your arms around his waist. You felt him loosen up, strong arms making their way around your form. You looked up at him without pulling away. Your big doe eyes stared into his blue ones, totally sinking into each other’s gaze. He planted a small kiss onto your nose. It wasn’t normal for you to be so affectionate outdoors, but right now, it seemed apt. You scrunched up your nose in response.

Had it not been for the honking of the bus, the two of you could’ve cuddled in the rain for much longer, ridding each other of the lousiness of the day.

~

I hope that was alright with you, darling! Thank you so much for trusting me with your matchup. Hope you’re having a wonderful new year so far!! Please don’t hesitate to sit and have a chat with me anytime ❤️

Thanks for stopping by! (ﾉ´ヮ`)ﾉ*: ･ﾟ