#you could do a series of action films here for decades without running out of setpieces

[salmalin]

My sincerest apologies and warmest welcome to my rant about FF7: Crisis Core. Or, as I like to call it,

Propaganda: The Video Game

I say this with the utmost affection. Crisis Core ranks really high up there in my favorite Final Fantasy 7 installments. I played it when it first came out, borrowing it from a friend to play on a borrowed PSP. And, the more I learn about the game and the more I replay it, the more everything lines up.

This game is not about Zack Fair.

This game is about how Capitalistic Propaganda can sink into every aspect of life to the point where it is entirely indistinguishable from reality. And it’s very overt about it. So…

Here we go.

My treatise on Propaganda’s starring role in Crisis Core.

Part One: The Timeline

Something that a lot of people gloss over due to decades of Child Heroes in media—Japanese Shonen and Shoujo series in particular—is how young these protagonists are. We’ll hand-wave a lot of stuff in non-live-action series with just a little bit of suspension of disbelief. And that’s honestly just accepted these days. But here’s the thing about those hand-waves.

Final Fantasy 7 doesn’t do that.

Now, FF7 hand-waves a lot of stuff. For example, how far you can travel in a day by foot, the distance a man weighing approximately 165lbs can jump after being genetically fused with what might as well be a cocaine demon (Jenova), and how much hairspray one can reasonably carry on a cross-country journey while on the run from the feds.

Age is not one of them.

Exhibit A: Yuffie Kisaragi.

Do I really need to say more? She acts her age. So does Zack. And Aerith, even. Most of the characters in the original lineup were over twenty for a good reason. We see several kids in the series, and they all act their age, too—both the OG and the remake. Age is not a thing that FF7 really grapples with. It’s something they take relatively seriously.

Now, to the point.

Zack is 16 when Crisis Core starts…

… and he was 13 when he ran away from home without his parents’ knowledge to join the military.

Which accepted him.

At 13.

Without a parental permission slip.

Think about that for a second.

… Or for the next several parts of this breakdown.

Part Two: The Main Character

As I mentioned in the introduction, Zack is not the main character of the events of Crisis Core. Instead, he is the focal point of the second person POV. This is not the first time Square has done this. It was done most notably with FF9, FF10, and FF12. (I’m not going to go on an Akira Kurosawa rant right now, but please check out his film “The Hidden Fortress”. FF12 and Star Wars episodes 4-6 borrow heavily from this film.) The purpose and position of this character is such that they might best witness the effects the other characters make on the world as their stories unfold, usually in the role of a love interest. For Akira Kurosawa, it may have been told this way because these people are most effected by the decisions being made.

“Well, then, Sal,” you may be asking, ��who would you say is the main character? Would that be Aerith, since she’s the love interest, like in the other games?”

No, actually.

It’s the antagonist.

And by that, I mean Genesis.

Hear me out. I used to hate Genesis, for I was once young, full of judgement for flamboyancy (thanks, internalized homophobia), and was led by the narrative to believe he was mean to his friends. Then I met my Lovely beta who loved him, so I wrote a fic for her as a gift. So for that I kinda just… read stuff. Because that’s the thing about Propaganda—you gotta read stuff to navigate it. I read the in-game emails. I re-watched all the scenes I could get my hands on with him. I read his wiki and tried to track down more information about him. Then I watched the scenes in Japanese and gained a better understanding of not just Genesis, but Sephiroth’s character. And I realized that Genesis was put on this road from the start. In fact, a big part of the fact that he’s seen the way he is in Canon—only at his most hostile and lowest points—is because the story is told through Zack’s point of view.

So before we get into the breakdown, here’s the hard facts about Genesis.

1. He was a test tube baby who may or may not technically be Angeal’s fraternal twin brother, which we are not going to unpack right now.

2. He was adopted by a relatively rich family.

3. He was a child genius (which requires not only resources, but drive to achieve), and at a tender young age of like… ten or something? He decided to mess around and literally invented pasteurization. Which is incredible, and really speaks to his knowledge of the world and ability to grasp complex concepts even at a young age. But, again, this is not the time or place to unpack that.

4. He was best friends with Angeal, who might as well have been the sweetest, kindest boy to ever walk the Planet. (I’m biased. I love him.)

5. As a teenager, he became fixated on Sephiroth, who had gained national acclaim as a SOLDIER despite them being the same age. (Please see part 1 and think about that for a second.) He then goes to join SOLDIER and brings Angeal with him. And Angeal brings his step-father’s puritanical “hard work is honorable” mindset with him. (On that note, Angeal and his father’s arc really are a wonderfully scathing letter to companies that overwork their employees and how toxic/unhealthy that line of thinking is. But. Again. We are not unpacking that right now.)

6. At one point he became consumed with LOVELESS, a series of poems with heavy prose and symbolism thicker than syrup. It got to the point where he was so well known for it that there was an entire fanclub dedicated to both him and analyzing the text.

7. While he was in SOLDIER, he repeatedly had his achievements publicly accredited… to Sephiroth.

Over and over and over again.

Everyone did, really. They mention it in the beginning of the game. Sephiroth even got public credit for Zack’s raid on the castle when he wasn’t even there. How much of his legacy is real? How much of it is made up? How much of it was faked? We don’t know. No one knows. But he keeps getting credit, anyways. And when Genesis confronts him about it, Sephiroth doesn’t care. In the Japanese version of their fight scene, you could even say he indirectly implies that he wants Genesis to take his place as the “hero”. In the English, Sephiroth’s line is, “Come and try.” But in the Japanese the line is closer to, “Wouldn’t that be nice?” Which, depending on how you take his tone, can mean wildly different things—from mocking, to earnest, or even admiration—which is especially to tell because he might be annoyed with Genesis at the moment.

Fun Fact: In Ever Crisis, Sephiroth explicitly says they are making up his achievements in the press to target boys his age for recruitment. (Thus why they accepted Zack at age 13.)

My theory on this line is that he is being cynical; that Genesis doesn't understand just how harrowing and even humiliating his experience has been. This only enforces my theory that the "come and try" translation in the English not only does a disservice to a line as wonderfully heavy as, "Wouldn't that be nice?", but fundamentally misunderstands Sephiroth as a character.

8. Genesis then took the fight to Shin-Ra. Inspiring a good chunk of their staff to leave the company, he then staged multiple attacks on facilities, staff, and the main building—which also spilled out into the city of Midgar. He murdered his parents, buried them, killed everyone in town, and… Yeah. It wasn’t pretty. A lot of innocent people died simply because they were vaguely associated with Shin-Ra. These are the actions of a villain. What’s more, this is clearly a sign that he has been acclimatized to death and violence by Shin-Ra to the point where he doesn’t even consider taking hostages.

Except.

Except the entire town was a Shin-Ra town.

Banora, canonically, was a Shin-Ra built town, which means everyone there was basically an employee of the company. No one was safe. Everyone was a threat. And that…

That was how he was raised. And he finally knew the truth—that every moment of his life was touched, controlled by Shin-Ra, all the way down to his very conception. He has never known freedom. He has never known his own identity. And now that very cage was killing him, slowly and painfully, and turning him into something that couldn’t even be recognized as human. He was watching himself rot in the mirror, and it was all because of Shin-Ra’s greed. And as he searched for salvation, he sunk into LOVELESS as he always had, hinging his entire life on Minerva’s Gift because he knew he was dying and that was all he had.

9. And then he died…

10. … but then it turned out LOVELESS was actually kind of a blueprint, and he did meet the Goddess, and he did get reborn without his degradation so he was rewarded for his journey in the end.

So why wasn’t Genesis the main character of the game?

Simple.

His actions challenge the status quo without being about the status quo. It’s a story about revenge. It’s a story about retribution. It’s a story about answering mass violence with mass violence and ultimately being rewarded by it. And while, yes, the series is an action-based violence simulator, the violence in the original FF7 was a guided, tactical effort. (For all that the characters aren’t the brightest bulbs in the sun lamps.) But the biggest, most obvious shift in the narrative happened when they realized their role as terrorists—bringing mass violence to the company via bombing and open aggression—was just resulting in increasing levels of retaliation against uninvolved people. They might as well have been a child beating the ankles of a giant. The goals and themes of the game fundamentally change when they realize that answering mass-scale societal violence with mass-scale physical violence was not only unsustainable, but also wasn’t going to solve their problem.

FF7 is about change and learning when violence—and what kind of violence—is appropriate in the face of different threats.

Genesis’ arc undermines all of that, and making him the main character would contradict the very heart of the OG game.

So, instead, we are positioned as Zack, connected to him through a mutual friend. From there we see all the damage and horror this vengeance brings to those living under the status quo.

But also, that plotline’s a major downer in a lot of ways, so they needed to lighten things up a bit to keep audience involved. And that’s why Zack is, well…

Part Three: Zack is a Himbo

Please, for the love of all that is holy, keep in mind that everything I say here is with the utmost affection.

Zack is dumb as a rock.

He is a charismatic, enthusiastic sixteen year old jock who ran away from home at thirteen years old to join the military. Which, please know, why I say “military” I mean “private security guard force with a standard-issue Death Baton and a license to kill”. The first scene in the game is him being excited that he gets to murder a bunch of people in a simulation, which he is immediately scolded for by his mentor. He is a glorified, souped up private security guard who is canonically only in it for the glory at first. He wants to be a “hero”, but doesn’t seem to fundamentally know what that means. And, over the course of the story, the definition of that clearly changes for him.

Which tracks, because the story takes place over a period of time with high stress.

Occasionally I see people saying they wish that Zack had more complexity to him, and honestly? The game. Would be. SO. BAD.

Full Disclosure: I am not the biggest fan of Zack specifically because he lacks a lot of nuance. I wish he was a bit more complex, too. But I also know that would break the game. What’s worse, if he was still on Shin-Ra’s side because he understood Shin-Ra’s mission… Well… That would make him a villain, or a cog at best. That’s not main character material. It would make the ending more messed up, though.

Anywho, Zack was thirteen when he left home. He had no formal education. He didn’t tell anyone what he was doing. He even joined without a permission slip from his parents. This means that Shin-Ra was accepting thirteen, possibly fourteen year olds into the military. (Some people will say this tracks because you can get a job at fourteen in many parts of Japan. But, and this is important, you aren’t allowed to be a security guard until you’re quite a bit older, and you need a specific license for it, much like in the US.) Clearly they didn’t teach this boy critical thinking skills. Not because he’s a himbo, but because having their Super-Powered Private Security Force With A License To Kill think independently would explicitly go against their interests. (EX: Genesis.)

Shin-Ra needs SOLDIERs to follow orders or the company would no longer be able to function. Seconds and Thirds aren’t even allowed to reject missions. (One could argue that sending certain someone on back-to-back missions would be a good way for them to eliminate undesirables within the ranks by sending them to their deaths, which… would make an incredible fic idea, actually.) We already know that First, Second, and Third Class rank assignments do not actually reflect the power of the SOLDIER. This is canon. I would instead argue that those who make the rank of First Class aren’t necessarily the most powerful, but are instead the most visible in the media, thus the easiest to market, and/or the easiest to manipulate and control. (For a great example of this, see The Umbrella Academy.)

The point is, Zack may have been elevated to his position as a first specifically because he is malleable and single-minded. Even after all he saw with Genesis, he stuck by the company to the very end, with the exception of the time Sephiroth was literally guiding him to fail a mission. Zack allowed himself to take Shin-Ra’s side every time, taking down their enemies and following their orders, preserving his “honor as SOLDIER” as he had been taught. The only thing that made him stop…

… was literally getting put in a jar.

It was when he was no longer a SOLDIER.

Part Four: Honor

There is no such thing as SOLDIER Honor.

I repeat: There is no such thing as SOLDIER Honor.

It is a fictional thing that is borne of an ideology based around hard work. It only has power because it is believed in. It is an intangible social construct similar to the law, mathematical order of operations, and gender roles. So why are Angeal and Zack obsessed with it?

Pretty simple.

Angeal’s step-father followed it.

Now, we know three things about Angeal’s step-father.

1. He was chill with the fact that Gillian was already pregnant when they started dating.

2. He was a very good father.

3. He worked himself to death trying to pay off the sword he bought Angeal.

This, of course, says a lot about Angeal considering he rarely uses the sword. He essentially sees that sword as the symbol of his step-father’s life. Everything he uses it for, he sees as more important than his step-father’s life. That thing is usually Zack.

Zack, who is the child who joined the military based on stories of heroes.

Zack, who rises against Angeal in the name of his own step-father’s ideology and tries to talk him down, even at the very end. But Zack fails because he fundamentally doesn’t understand what’s going on, partially because “Soldier Honor” is just one more aspect of this narrative he was given. It is a narrative that Angeal has had to step away from, even though he doesn’t want to leave the memory of his step-father behind. He was a good man. He was a good, hardworking man.

And that is why he died.

Corporations will use you up until there is nothing left, then honor your memory/sacrifice. Shin-Ra was doing the exact same thing the company his step-father worked for did; using up SOLDIERs until they outlived their usefulness. And Angeal was horrified to realize that his “SOLDIER Honor” wasn’t honor at all.

It was willingly submitting to control.

But, unlike Angeal, over time, this meaning changed for Zack. Partially because he didn't understand it fully in the first place. It became about acting with integrity. It became about helping people. It became about not lying down and watching the abuse Shin-Ra handed out in exchange for literal money; for maintaining the status quo.

At the very end, Zack understood what it meant to be a hero.

Part Five: The Conclusion

To sum up, Zack believed in and idolized the propaganda spread by Shin-Ra at such a young age, and was so convinced by it, that he ran away from home at thirteen to join the military.

He was their target demographic, so they happily took him into their ranks. What’s more, people think this is normal enough that we see no one opposing this, because the only people who oppose Shin-Ra are “extremists” or “violent terrorists”.

Zack then became their loyal puppy, groomed to fill his role as super-powered attack dog to sick on anyone they deemed appropriate, and he filled the role. He believed he was doing good. He didn’t think they were invading another country, because that’s not what he was told.

He went after Genesis, because that’s what he was told, and he wouldn’t let Genesis’ actions shake his faith in the company.

Then he went after Angeal, hoping to get answers, only to become more confused. Angeal taught him about SOLDIER honor. He taught him about a higher calling. He was the one who made Zack truly loyal to the company. This challenged everything Zack knew.

He went with Sephiroth, planning a small rebellion of their own (a white lie on paperwork) to get answers, only to find things he wasn’t ready for and couldn’t fully understand.

Zack is shaken by each of these events. Horribly. At times, we even watch him grieve. But time and time again, he doesn’t leave the company. He sees the damage they do first hand, and he doesn’t leave the company. The company isn’t the problem, to him. He reads their emails, does their dirty work, and “maintains his SOLDIER honor”.

Zack swallows what they give him right up until what they give him is torture.

Zack swallows what they give him until he becomes their victim.

Every step of the way, Zack is fed a story of how the world is. He was raised on it. He lived it. He became part of it. He was paid peanuts to enforce the status quo Shin-Ra installed in the world by force, and he was proud of it because it was, to him, something to be proud of.

Zack believes the propaganda whole-sale, and we get to watch, from the point of view of an outsider, as it slowly destroys his life before killing him.

Propaganda has the power to make suffering normal. Propaganda has the power to make murder righteous. Propaganda has the power to take a thirteen year old boy out of his home so they can give him a sword, and when they point him in the direction of their enemies he charges of his own volition, because they made him believe in their cause. And he believes in their cause because he believes that it makes life better for everyone.

But that’s not what’s actually happening.

That’s just what he was told.

Crisis Core is about propaganda, and the depths to which it can affect our lives. It changes our belief systems. It changes our perceptions of reality. And when it’s torn down around our eyes, it can make us go insane. It can make us violent and unreasonable as we realize just how much violence is being forced upon us—violence other people just plain do not see. It's just a a piece of paper. It's just a law. It's just a job.

It's just a war.

Final Fantasy 7 was about Fascism.

Crisis Core is about the propaganda that built it. It is told from the point of view of a boy, then a man, steeped in it. He watches until the people suffering around him—Sephiroth, Genesis, and Angeal—are twisted into villains by the truths and lies around them. Genesis and Angeal are tortured by truths, Sephiroth is transformed by lies, and Zack is subsequently hunted down to conceal them.

Crisis Core is Propaganda: The Video Game.

[theconstantsidekick]

The Whole World Is Watching (1) | b.b

Pairings: Bucky Barnes x Stark!Reader, Past Steve Rogers x Stark!Reader, OC x Stark!Reader (brief)

Genre: Fluff with a touch of angst.

Summary: Sam and Bucky call on the only Stark left in the Superhero business—codename Static—to help take down the Flag Smashers. Only problem is she’s pretty damn reluctant.

(These scenes incorporate y/n into the pre-existing story as a character without making drastic changes to the plot or mythos. All the major plot points from the MCU remain in place with the addition of the reader as Static, who is not only a Stark but also enhanced)

Warnings: Swearing, kinda.

a/n: Aight, aight. Here’s the skinny; I function purely on attention and praise, so please leave a comment. I’m a narcissist; I make no apologies. Let me know what you guys think, I love reading your hot takes. Entertain me in exchange for all the entertainment I’m providing you. No, but seriously, let me know what you guys think, always love to hear from y’all. Also oh, the tag list is open.

sidenote: would ya’ll be interested in flashbacks to previous MCU films explaining the reader’s origin?

Power Broker (7) | The Whole World Is Watching (2) | Series Masterlist

“Eight hours, White Wolf,” Ayo warns him. “Then we come for him.” Her eyes flint over to somewhere behind Bucky’s shoulder, “No matter who stands in our way.”

Bucky turns to look back at who she’s addressing and does a downright comical double take.

“Nice to see you too, Ayo,” Y/n stands behind him, waving goodbye at Ayo who is walking away. She is wearing a charming smile on her face as she shouts out, “Tell T’Challa I’m sorry for not calling bac—”

Bucky’s tackling her in a second, “—what are you doing here?” He takes her hand and begins walking back to Zemo’s place. She goes with him without much resistance.

“What does it look like I’m doing?” She asks, petulant.

“She would’ve killed you if she wanted to, you know that right?” Bucky’s patience is running pretty damn low after the encounter and Y/n really isn’t helping.

“Pssh! I’d like to see her try.”” She brushes him off. Her disregard pisses him off further and he begins walking faster. “Hey, come on!” She rushes to catch up with him. “James?”

He doesn’t reply.

“James?” She calls out again. He remains silent. “Come on, talk to me! James!?”

His feet halt, he turns to look at her, “You were following me,” he accuses. She mimics his action but looks away from him, and that’s answer enough. He lets out a heavy breath. “You know, I would have told you anyway… about this… I wouldn’t have lied… B—but you don’t trust me.” He tries to keep his tone accusatory but he knows he only ends up sounding hurt.

Because he is... hurt.

She finally looks back at him, “Don’t take it personally, Sarge. It’s an occupational hazard.” He can’t not take it personally, as much as he’d like to. They were sharing stories and laughing together only an hour ago. What the fuck happened in the span of 60 minutes? 

She pushes her weight from one feet to another before adding, “I’m sorry okay? It wasn’t just—I mean—fuck… I was worried, alright?” Her voice sounds strained like it’s almost hurting her to admit it. And fuck, it’s hurting Bucky to listen to it too. He’d rather she didn’t care if it bothers her so much. “The Wakandans take the whole revenge thing very seriously and you have a habit of running into fights without thinking. I just—”

“—yeah yeah. Worried. Got it,” he spits out. He was naïve of him to believe that they could just be… well he isn’t sure what he wanted them to be but it was sure as shit naïve of him to think they could. He isn’t mad at her... well he is. But far less than he is at himself for thinking that one twilight conversation would undo all the ill will he had garnered over the course of seven decades.

They both walk back to Zemo’s place in uncomfortable silence. 

Bucky opens the door, ushers her in and then enters the room behind her. “Well, the Wakandans are here. They want Zemo,” he informs them.  “Bought us some more time.”

He can spot Sam sitting on a stool at the kitchen island, while Zemo walks over to the stained glass mosaic floor to ceiling windows in a… is that a fucking bathrobe??? 

The room is spacious, with an L shape couch opposite to the kitchen and a small round coffee table in front of it. There’s a table behind it and there’s two twin pillars in the middle of the room at a safe distance. There’s sunlight filtering in from the windows, shining different colors onto the Egyptian blue motifs of the room. Bucky’s gotta admit, the place ain’t half bad.

“Were you followed?” Sam asks. 

“Except by her?” He nods at Y/n who’s made her way over to the kitchen counter and pulled herself onto it. “No,” he adds.

“Thought you had to make a call?” Sam accuses her. She just shrugs in response. He sounds only half as pissed as Bucky but he’ll still take it.

Simultaneously Zemo asks, “How can you be so sure?”

“He wasn’t followed,” Y/n confirms. And that for some reasons comforts Zemo far more. And man, fuck Zemo!

“It was sweet of you to defend me at least,” Zemo says, turning back to look at the three. And begins rubbing… is that fucking fregarance oil? Is the criminal mastermind really rubbing fucking fregna—Bucky wants to fucking retire. He is literally too old for this shit.

“Hey, you shut it. No one's defending you,” Sam cocks his head back at Zemo, “You killed Nagel.”

Bucky walks over to the opposite side of the kitchen island from Sam. He pulls out his phone, looking through it for updates.

“Do we really have to litigate what may or may not have happened?” Zemo counters, his voice smooth and unnerving.

“There's nothing to litigate. You straight shot the man,” Sam chastises him. Zemo walks over to the kitchen shelves, standing close to where Y/n is sitting silently.

“Sam,” Bucky calls out.

“What?”

“Karli bombed a GRC supply depot.”

“What? What's the damage?” Sam asks, rushed.

“Eleven injured, three dead. They have a list of demands and are promising more attacks if those demands aren't met in full,” he reads off the article.

Sam sighs audibly.

“She's getting worse,” Zemo notes, walking over to stand at the head of the kitchen island. “I have the will to complete this mission. Do the three of you?”

“She's just a kid,” Sam reasons.

“You're seeing something in her that isn't there. You're clouded by it. She's a supremacist. The very concept of a Super Soldier will always trouble people,” Zemo states. Bucky walks over to the other head of the table, facing Zemo as he continues, “It's that warped aspiration that led to Nazis, to Ultron, to the Avengers.”

“Hey, those're our friends you're talking about,” Sam warns. 

“The Avengers, not the Nazis,” Bucky clarifies, only to be met with a small chuckle from his left. His eye flicker over and he sees Y/n with a smile on her face, getting off the kitchen counter. She leans back on her elbows as she rests them on the edge.

Bucky scolds himself for the warm feeling that climbs up his chest with the knowledge that he’s the one who put that smile on her face. He looks away.

“So, Karli is radicalized, but there has to be a peaceful way to stop her,” Sam barrels on, adamant yet somewhat desperate in his belief.

“The desire to become a superhuman cannot be separated from supremacist ideals. Anyone with that serum is inherently on that path. She will not stop. She will escalate until you kill her,” Zemo pauses, “Or she kills you.”

“Maybe you're wrong, Zemo,” Bucky challenges, “The serum never corrupted Steve.”

“Touché,” Zemo agrees, holding up his index finger with a biscuit on top. “But there has never been another Steve Rogers, has there?” He challenges right back, and eats the damn biscuit off his finger.

“He’s not wrong,” Y/n chimes in. Both men turn to her in unison, shocked. She makes a gagging noise and her face contorts. “That wasn’t fun to say.”

“Then why’d you say it?” Sam asks, infuriated.

“Cause he is,” she defends.

“How can you of all people say that?” Sam leans forward, his tone accusing.

“Because, I’ve been on the receiving end of it,” Y/n’s voice is low and cold, as she fixes him with a glare. 

Sam backs down, instantly.

Noticing his demeanor change she exhales audibly, winding herself down. “I don’t agree with all of it, but he is right. It’s a slippery slope. The moment you begin craving power more than justice, it becomes a race towards supremacy, whether you know it or not,” she says.

“But Steve—” Sam begins, but is promptly cut off.

“—was exceptional,” she finishes. “I am not trying to argue with that. He was… unique.” There’s this fondness in her voice that makes Bucky’s heart clench. “Trust me, I know,” She sounds like she’s reminiscing, thinking back to when Steve was… hers. And while Bucky understands, there’s this small ugly part of him that curls up over itself. For the life of him he can’t tell if the ugly feeling is meant for Y/n or… Steve. “But Karli isn’t Steve,” she finishes, shaking her head in an attempt to break herself out of her reverie.

“So you’re saying we should just give up on her?” Sam asks, there’s a sense of instigation in his voice. 

“No,” Y/n tries.

“That’s what you’re saying, what he’s saying,” he points at Zemo, “that Karli is beyond saving,” Sam spits out.

Y/n however, doesn’t take the bait. She lets out a short laugh, “No, Sam. Unlike the Baron, I’m not fond of generalizing.” She walks over to the kitchen island, standing opposite to Sam. She puts her palms on the edge and leans over. “Look, the serum—and I mean the real one, that Erskine made—was meant to enhance who you were… not just physically but also mentally. That’s why Schmidt’s turned into a freaking hellbeast. It enhances who you are… That’s why Steve stayed incorruptible. Cause he was just as good before the serum as well.” She sighs. “His circumstances were different though, he didn’t seek the serum out like Karli did. Because she needed power… So what I’m saying is, maybe it didn’t start off that way, but her motives are starting to look a lot like vengeance more than justice.”

“But do you think we can save her?” Sam asks incredulously.

“Well…” she pushes herself away from the table, “We can’t,” before Sam can interrupt she adds, “But I do know a very persuasive little birdy who could.” She winks at him with a knowing smile. 

Sam finally breaks into a smile as well.

“But you do agree with me,” Zemo cuts in, walking back to the shelves.

“Maybe we should give him to the Wakandans right now,” Bucky throws back, jovially. He walks over to the couch. 

“And you'll give up your tour guide?” Zemo asks, his back turned to them.

“Yes.” Bucky spits out. He knows he’s lying, so does Zemo, but it’s been a tumultuous few days, cut him some slack. He sits down on the couch. He throws his head back and closes his eyes in a futile attempt to curb his oncoming headache.

“From my understanding, Donya is like a pillar of the community, right?” Sam ventures, looking between him and Y/n. “So, when I was a kid, my TT passed away.”

“Your—your TT?” He asks, so utterly confused, pulling his head back. His brows furrowed when he looks back at him.

“Yeah, my TT, yeah,” Sam states, like it’s the most obvious thing in the world.

“Who is your TT?” He asks confounded.

“Fine,” Sam surrenders, “When I was a kid, my aunt passed away and the entire neighborhood got together for a ceremony. It was like a week long. Maybe they're doing the same thing for Donya.”

“Worth a shot,” Y/n says.

“Your TT would be proud of you,” Zemo chimes in. Bucky would love to punch him in the face. He then begins to pull out a jar from the shelves, picking out a candy from inside it, throwing it at Sam. “Turkish delight,” he explains. “Irresistible.”

Read part 2 here. Find series masterlist here.

tag list: @thisisparadisemylove @justab-eautifulmess​ @intothesoul​ @buckyisperfect @aryksworld @ceo-of-daichi @ireadthensuetheauthors @fckdeusername​ @hotleaf-juice @itspetitfantomestuff​

[thevibraniumveterans]

Tony Leung: “[Wenwu] isn’t a villain at all!”

On September 6, 2021, Tony Leung sat down with Hong Kong actress Carol “Dodo” Cheng for an interview about life, sports, and of course, his latest Hollywood outing as a widower who grieved the death of his beloved wife and a father who “didn’t know how to love [his children]” in Shang-Chi and the Legend of the Ten Rings.

=

Interview is originally in Cantonese, and has been translated into English.

FULL TRANSCRIPT BELOW:

-

Today I'm really pleased to interview Tony Leung Chiu-Wai. The last time I really chatted with you in earnest was... Do you remember? In 2013.

I think that time I was with...

We were on a plane together. 

At the mall? On a plane?

We arrived in Hong Kong, and went to some awards ceremony. We were waiting for our luggage, exchanged a few words. That was 2013, and we haven’t met since. Where did we meet up next? I’m sure you won’t remember. It was here in Hong Kong. I was surprised by you. I usually go to the supermarket, very early in the morning. Because there's no-one there. 

Yeah.

I saw you there.

I think that was probably it. Not too crowded in the morning. 

You too. Why so early in the morning?

To... buy food. I usually wake up at 6am. I’d exercise until about 10am-ish, and then I’d…

Go for a walk.

Shower, then shop for food. I usually eat quite simply— it’s either salad, or buckwheat noodles. Salad doesn't stay fresh very well. So I’d get up early in the morning, shop for what I like, and prepare it at home.

Have you been eating healthy all this time?

I’m not doing this particularly for my health. I get an upset stomach easily. I get food poisoning very easily. And it’s miserable having food poisoning! When you’re at work, others don’t know how bad you’re having it. But you can’t tell-- you can’t convey that.

Alright, at this point it’s time for a nostalgia trip. We used to be colleagues, and we’ve shot TV series together. At that time, did you feel that you could eat whenever and not have to sleep… When did you start prioritising your health?

When did it start? I think it would have been… at least 20 years ago. Because it’s miserable being sick while on set. You’ve got to keep working. Even when I had a fever, (producer) Wong Kar-Wai would say, “No, it’s the last day, you’ve got to make it.” So I would work with a fever!

It’s good that everyone's health-conscious now, and wants to avoid falling ill. So when I was preparing for this interview, some friends told me, They’d seen you and me do an interview, from many years ago. I don’t think you’d remember. We’re talking many years ago - decades here! You were really young at the time. At the TV station you were a rising star, a top male lead actor. So I interviewed you. I asked you a question, and I don’t know if you remember how you answered. I asked, “Have you thought about retirement?” You did give me an answer at the time. Do you remember at what age you said you’d retire?

I really don’t remember. I’m sure retirement was always on my mind then.

You were in your 20s then, not quite 30. You told me�� “I will definitely retire at 36!”

[laughter]

What changed your mind?

I believe that when I started out as an actor, it was certainly hard work when I was just starting out. But I thought, I wouldn’t get to where I am today without going through tough times. But as I slowly grew as a person, my perspectives and values have changed. I feel more at ease. So I wouldn’t think in extremes like I did before. I think that in the past 10, 20… 10 years? I've become a more relaxed person. I wouldn’t just say, “now I’ll retire.” If I want to keep going, I will.

This is your favourite line of work, isn’t it?

Except sport. 

Could you imagine yourself in any other career? I can’t.

I’d be a sportsperson. 

A sportsperson, playing what?

I play a lot of sports. I like mountain biking, sailing, water skiing, surfing… I’m up for anything. 

You really like water sports, don’t you?

It’s hot in Hong Kong, and summer takes up most of the year. What’s more refreshing than being in the water?

How about in winter?

I’d still be in the water, wearing long sleeves.

You wouldn’t take up running?

I don’t particularly like it… I can’t seem to find much variety in running. I like to interact with nature directly. There’s something new every day. Take sailing, for example. Every day is different, the weather changes.

Your body is in a different condition every day.

You're working with the changing conditions. You end up building up a lot of knowledge. You learn about nature, the weather, changes in conditions. The water, currents, what do you call it... Hot weather warms the ocean and you’ll have gusts of wind. I didn’t know all this. But the more I sailed, the more I thought,“This is great!”

You’ve got a real passion for this.

I do.

What have you been up to during the pandemic? It’s been 1— almost 2 years, hasn't it?

I was filming in 2 movies… And... flying here and there.

Do you need to quarantine? 

Quarantine! Countless times.

We’ve talked for so long, let’s come back to this film, Shang-Chi. I believe Tony has received endless invitations to appear in overseas films. Why did you choose this film?

I didn't really... I believe it’s fate to be involved in certain films. I can’t just want to act in some type of film, then get it. An opportunity comes up, but sometimes the director might not like me, or I might not like the screenplay. Or I might like the director, but I don’t like the character. So you can’t just make this sort of thing happen. I think sometimes the time will be just right and things will happen. The director may like me, and I like the project, or I like the director. Or I might want to try something in particular. It takes a lot, a combination of factors, for something to happen.

It's like a piece of furniture, isn't it? The pieces need to be joined precisely.

Yes.

How were you scouted for this movie? How were you approached?

The director approached me, wanted to have a chat with me. So I...

What's your requirements for taking on a film? Do you need to read through the whole screenplay?

That would be best. It would.

You would've been in many films without a solid screenplay, wouldn't you?

There would still be an idea. 

An overview of sorts.

But this movie... You know Marvel is very secretive. At the beginning, I was in a video conference call with the director. What he could tell me at the time was, "You're going to be the main villain. Your character has many layers." Then I asked, "do I need to fight?" "No, because you have those rings." So I said, "then I'll definitely be fine." That was all.

What about that drew you in? Being the main villain?

That was one of the draws. In the past few years, I wanted to try characters different to those I'd played previously.

Why do all actors who have played male leads want to go off and play villains?

Actually... there's more complexity to them. I feel like there's a different mindset between playing a protagonist and an antagonist. I've acted for 30-something years. It's about time I did something different.

So you're in, you're headed to the shoot, and you're now the main villain! What's the mindset behind this?

Oh, not for this film. I thought I was the villain at first. A month before the shoot, I read the script. I didn't think this character was a villain at all. There was a real human side to this villain. Perhaps Marvel was hoping to portray a villain from a different angle this time around. So I was puzzled. Initially I was expecting, "Ooh, a villain, this will be fun", but when I looked at the script, "no, this isn't a villain at all!"

Very sentimental? 

Yes, and a lot of humanity.

You thought it would be easy playing a villain.

I didn't think it would be easy.

You didn't think there would be so much emotion. 

I didn't think it would be easy. I thought there would be more evil in him. I read the script and thought, "oh no, he's not evil at all", And that's difficult to portray. How would you let the audience... and I thought, "wow it's as if he's a good guy?" I read through the script and couldn't find the evil in this character.

How would you portray this character? Was the director able to help you?

The director...

Or did he put a lot of trust in you? 

I rarely... He put a lot of trust in me, and I don't discuss with the director often. I thought, what's the use of discussing? I could just act it out. You can be really idealistic when you discuss. I would rather do more... When I arrived, Destin would ask me, "Do you want to talk it out?" and I would say no.

Was there a read-through? 

No, no read-through.

You went straight to shooting?

Yes, straight to the shoot.

Then it would be like, "Tony, stand here, in this shot do this and that, and you'd do it?

Yeah. It was kind of like that. We filmed the action scenes first. So there was time to warm up. Then the dramatic parts. I like the drama most. I felt the most excited during these parts. The action scenes were particularly tough, because it was summer in Australia then.

Did you need to train?

I did. At first I was told I didn't need to fight. Then when I got there— wow, there's so many action scenes! So I scrambled and...

But you've got those rings. You can just throw the rings.

Sure, but there's still some action involved. Because I didn't physically prepare beforehand, it was rather tough at first. I got used to it as the shoot went on, but the weather was still hot. And there were period costumes, so it was tough at first.

So there was a sequence, they filmed all the action scenes first, and then scenes with dialogue afterwards, is that right?

I think they deliberately scheduled this so I could warm up a little. So I wouldn't need to dive straight into very intense dialogue.

There are a lot of actors involved, right? Your character has a son, too. Is this the first time you're portraying a dad?

Would it be my first time... 

Or you have, but not for a much older son?

Yes, not for a much older son. I had a child in “The Grandmaster” as well. But not that old, no.

How would you portray the emotions of a father-son relationship? Because your character didn't know his son. 

It was manageable. In this movie, the father-- not that he didn't love his children. He didn't know how to love them. This character doesn't even know how to love himself. The love was from his wife, portrayed by Fala Chen, He found love in this woman. But he doesn't know how to love others. So he was very distant from his children, his sons— his daughters were pretty much ignored. He was a father figure who preferred sons over daughters, a rather... traditional father archetype. Almost the old-fashioned type.

In shooting this movie, what was most difficult for you?

The action scenes. 

Do you do all these scenes yourself?

I try to, but they wouldn't let us do the really dangerous ones. If you're injured, who's going to replace you?

Sure.

But I try to do as much as I'm able.

You'd need to rehearse the scenes with everyone. 

Of course. Once we arrived, they arranged for Fala, my son, played by Simu, and my daughter... like you and I used to, we would all practice in the studio.

How long were the working hours?

It was 10 working hours a day, but we went all the way through that. There was no break in between. 

Really? I thought you would be sitting comfortably in your trailer?

No! We filmed a lot every day! You know how that made me felt? It felt like I was in my TV days again.

Really?

You'll think, "will we get through this much filming today?" And by the end of the day, you would. But it was very intense. Perhaps they didn't want us to have a break, because we'd have to disperse and regroup. So we went all the way through. Once we arrived in the studio, it was full steam ahead. There was no meal break, because there was always...

No meal break?

No.

I've never heard of a Hollywood film shoot without meal breaks.

There's food throughout the day. Catering comes around, and we'd just eat.

But there wouldn't be an hour for a meal break.

No.

How long was shooting in total?

I was involved for about... 4 months.

Was that long or short timeframe, in your experience?

I felt like it was short, because they were very efficient and organised. They planned it really well. So every you'd head in and whoosh,

It flowed well. 

Yes, very professional.

In your opinion, are there particular scenes you're in that the audience should pay attention to?

I think... I wouldn't say particular scenes, but the film as a whole. I don't think you've all seen me in this get-up before.

We could tell from the promos.

Very different to what I've played before.

Did you stay in one place for four months, or did you have to fly around?

We were only in Sydney, because we were in a studio. It was all green screen. There were a lot of special effects, so we only had to construct part of a set, And the rest was green screen, so it was mostly shot in the studio. Only the opening and ending were elsewhere, in a park, and in a village on a set they'd constructed. So I was there for... I was in Sydney the whole time. But because of the pandemic, I left for a few months in the middle, and returned when were were able to shoot again.

How did you feel about your experiences after the shoot? It's a Marvel movie, very different from the dramas and other films you've been in. How would you sum up your experiences?

Very stressed, very frustrated.

Really?

Because I'm the type of person who stays in their comfort zone. I filmed with familiar directors, and familiar crew.

You've really leapt out of your zone there.

I really stepped out of this comfort zone, working with strangers. The only person I could trust in was the director. I didn't know anyone else there. And when I got a copy of the screenplay, like I mentioned, I realised, "Wow, a villain that doesn't feel like a villain, what do I do?" I'd only received the script a month before the shoot. And when I got there, I had to work with the dialect coaches on delivery. I was filming, I was thinking... it was stressful. But we got through in the end.

Where were the costumes done?

In Tokyo. I was there at the time, and our costume designer kindly flew over to dress and fit me. At the time I didn't know what was in the script, I didn't know the story. But the costumes helped me a lot at the time. The movie's costumes were made beautifully. I thought they had good design sense. So when I was dressed for the first time, I was able to feel...

That you were the character.

Yes, roughly. I had an initial feeling for it. And then I would turn up in person, and get a better feel as I played the character.

So the shoot is over, it's about to be released. What plans do you have next, Tony?

Well when I came back to Hong Kong, I took part in a local film. Then I might shoot one in Shanghai, and then a TV series in Vancouver.

So you've done a complete turn-around since I last interviewed you. You were thinking of retiring at 36, do you not plan to retire now?

Not that I haven't thought about it... I'll stop when I feel tired. Then I'll go back to playing sports. If I feel like I've taken too long a break, and go "no, I need to do something," and there's something I'm really interested in, I'll do it. I don't need to come to a complete stop. It's something I like, after all.

So when you film in future, you wouldn't be thinking, "oh, I've been in a Hollywood production, "I will only appear in productions at that tier.” You'll be happy with a good screenplay.

Yes.

You might be asked to shoot drama films again. You would still take that on?

Well, I haven't given myself...

You've already left your comfort zone.

Yes, but I haven't really limited myself to what I think I should film. If there's a good film, I'll shoot in it. If there's something I like, I'll do it.

Well Tony, surely a typical day in Hong Kong for you wouldn't be on the water all day. What's a typical day like for you without shoots?

Well I'd get up, and there would be at least 2 hours of exercise.

Every day?

Yes.

Monday through Sunday?

Maybe one, half day's rest. You've got to let your body recover.

How about when you're shooting in Hollywood?

Not during filming, I'd save up my energy for that. Shooting takes 10 hours a day, but hair and makeup could take 2 hours. That's 12 hours, and it was tiring.

That's true.

I needed the energy for filming. But in Hong Kong, without a shoot, I'd have 2 hours exercise in the morning, make lunch, I might do some sports, like sailing, or water skiing. I'll come home, maybe watch a movie, or read a book. That's it. Maybe I'll have dinner.

I wouldn't exactly call that exciting. [Laughter]

It's pretty exciting!

For you, at least.

If the weather's good and I spend the day out sailing, I'd feel really happy about that. But not every day's a good day. I might capsize, and it would feel wrong. But it's not all that bad.

Why don't you enter competitions?

I have entered competitions.

Have you placed in these competitions?

Well... I have placed before.

What did you place?

I think second.

Oh, that's quite good. If you competed in the Olympics in sailing, there's no age limit there right?

Yes, there's no limit. But you don't necessarily have to compete in the Olympics. I could...

But we would all be happier for it, Tony. Imagine, Tony Leung Chiu-Wai representing Hong Kong and winning a medal! You've seen how happy the medalists have been this year.

It's really hard! It's really hard!

Why is that?

You're not as fit as younger people. It's hard. I play sports purely for enjoyment. I feel like it's an experience.

Fair enough.

It's... I'm not the type to want first place or something.

You're not a competitive person.

Yes. I don't want to experience a sport in that way. I'm there for my own enjoyment, not to win.

Let's say in future... since I last saw you in 2013— that wasn't even an interview, and now I've met you after all this time. Let's say in 5 years. What would you be doing in 5 years' time?

Maybe I...

Back then you said you'd retire at 36. I'll ask you again now, let's not dredge up the past. What do you think you'd be doing?

In 5 years' time, I think I would have more time for sports. [laughter]

Still on the water?

Yeah. Well, not necessarily, but a lot of different sports. I do want to try some—

Try running! I've seen Kar Ling (Carina Lau) run before! 

Yes, she likes running, and hiking too.

Why don't you run with her?

I don't really like running.

Hiking?

Hiking, I'd rather... well when I'm skiing, I'd walk in the back country, in good weather, carrying my skis and wearing my cleats, it's the same thing. I'd hike up and ski down. But not that kind of hiking. Well sometimes... when in summer, in Hokkaido, I can't ski. I would still hike, but I wouldn't really like it. But it would be better with friends.

But you don't like being around too many people. 

I sometimes like being with family. But my family... not everyone can hike. One might cramp up halfway.

Since you like being on the water so much, how many people does it take to do that?

One.

Just you?

Yeah.

Just someone to steer the boat.

Uhh... yeah.

It doesn't matter if there's a boat?

I do a lot of different water sports. I have those... electric boards, the type that shoot up like a magic carpet on the water, I have a stand up paddleboard, I can surf by myself too, that's doable. A lot of the sports I do can be done solo. I don't need a lot of people around.

You've really changed from before. You used to like to... go out at night?

Yeah.

That's all gone?

It has for a while. I haven't been in the nightlife for 20, 30 years. I'd eat out for dinner at most. Then I'd go straight home.

I remember I used to shoot TV dramas with you, you surprised me— We've filmed one or two series together, I would go straight home to bed afterwards, because I've always been a morning person. You could still say, "I'm going to go out for a bit." Yet the next day — our call sheets had us in very early — you were still able to make it in on time. Back then…it was a rite of passage.

Because I was young. Yes, and it was life experience. There are things you should do at that age.

Sure. Well, I hope to see you in another production soon. If this series were really successful, would you continue in any sequels?

[laughter] I really don't know, I can't say.

Why's that?

I feel like... as I've mentioned, there's fate involved in shooting a particular film. We'll see where...

…where fate takes you.

...where fate takes me.

Thank you Tony Leung Chiu-Wai for being with us today.

You're welcome.

[lokiondisneyplus]

No character in the Marvel Cinematic Universe has the staying power of Loki. Portrayed with just the right amount of smarm and charm by Tom Hiddleston, the impish trickster with the ability to shapeshift and cast illusions is a favorite among fans despite the fact he's betrayed friends and family multiple times since debuting opposite Chris Hemsworth in 2011's "Thor." The most predictable thing about him might be his unpredictability. And yet no one thought the character would return to the MCU after being killed by the all-mighty Thanos (Josh Brolin) in the opening scene of 2018's "Avengers: Infinity War." However, we're now on the cusp of the character leading his very own show.

Debuting Wednesday, June 9 on Disney+, the six-episode "Loki" follows a past version of the character, though it's not a prequel. This Loki is the man who successfully stole the Tesseract, aka the Space Stone, when the Avengers traveled to the past in 2019's "Avengers: Endgame." His actions that day ultimately created a branched reality — the very thing the Ancient One (Tilda Swinton) warned the Avengers about when they attempted to gather the stones in the past. So when the show picks up, Loki will find himself being forced to work with the Time Variance Authority, an organization dedicated to protecting the proper flow of time, to help restore the main timeline he broke when he fled with the Tesseract in 2012.

It remains to be seen whether or not the series is one of the shows Marvel's Kevin Feige said was developed with additional seasons in mind. But with this particular setup — and assuming the show operates independently of the main overarching narrative of the MCU — this is the type of series that could easily run for multiple seasons should the people involved desire it. And given his comments over the years, Hiddleston definitely seems game to portray Loki until he's too old to do so.

But what is it about the character, a Frost Giant who was adopted by Odin (Anthony Hopkins) as a baby and raised as an Asgardian, that has allowed him to persevere – especially when Natasha Romanoff (Scarlett Johansson), Tony Stark (Robert Downey Jr) and even Steve Rogers (Chris Evans) have not? What gives Loki, a character who has been both villain and antihero, such longevity in the MCU? Is it Hiddleston himself? Is he nurturing goodwill with his enchanting performance? Is it the character's unpredictability keeping things fresh? Or is it the potential of a flawed man still searching for an identity and purpose?

Over the last decade, Hiddleston — whose name was once bandied about as a possible James Bond candidate after a stellar turn in "The Night Manager" — has won favor with Marvel and its fans thanks to his continued dedication to the role of Loki and his support of the extended universe. Some actors have been happy to say goodbye after fulfilling their contracts, but you'd be hard-pressed to find an actor who loves his job with Marvel more than Hiddleston. (Never forget the time he dressed up in character and took over Hall H at San Diego Comic-Con in 2013.) But in addition to his acting chops and commitment to the role of Loki, Hiddleston is also just an effortlessly charming individual, and some of that natural charisma bleeds into his performance, making the character a richer and more complex character as a result. And it's a good thing too because a character like Loki — someone ruled by his emotions, whose only allegiance is to himself, and who wouldn't think twice before double-crossing his own brother — runs the risk of becoming either very annoying or quite tired rather quickly. Luckily, Loki is neither.

After learning the truth of his origins in the first Thor film, Loki's anger toward his family and the betrayal he felt put him on a path to finding his purpose, which resulted in him becoming the mouthy and manipulative, power-hungry antagonist of the first Avengers movie. At the time, no one outside of Feige and other decision-making executives likely knew what was in store for the future of the MCU.

But now we can look back and see Hiddleston's captivating turn in "The Avengers," in which he attempts to take control of Earth using an army of Chitauri forces, was more than just the catalyst for the various heroes recruited by Nick Fury (Samuel L. Jackson) to finally team up. It was also the beginning of what might be the best character arc in the entire MCU. No one save perhaps Sebastian Stan's Bucky Barnes, aka the Winter Soldier, has had a more complicated or effective emotional personal journey throughout the entirety of the Infinity Saga (and beyond). Perhaps that is why when Loki was eventually killed several films later in the middle of his redemption arc during the opening scene of "Infinity War," the heartbreak seemed to extend beyond the edges of the frame and into the real world.

The exceptionally fun 2017 film "Thor: Ragnarok," which immediately preceded "Infinity War," saw Loki forced to confront his past and make a decision regarding his future. The death of his father and the return of Hela (Cate Blanchett), the Goddess of Death and the sister neither Loki nor Thor knew existed, ultimately meant the end of life as he knew it. But rather than fleeing at the first chance like everyone assumed he would, Loki accepted his place in his family and returned to his brother's side after the destruction of Asgard. Of course, he also pocketed the Tesseract before the planet was destroyed, a seemingly innocuous decision that would unfortunately lead Thanos right to him. But learning to care about something more than his own immediate wants was a redeeming moment for Loki, as was his attempt to save Thor from Thanos, so his death was both an effectively heartbreaking moment that resonated with fans while serving as a harbinger of what was to come.

It also felt like closure, so when a past version of Loki popped up in "Avengers: Endgame" when Tony, Cap, and Scott Lang (Paul Rudd) traveled to 2012, it was a pleasant surprise. That the new series "Loki" follows this branched-reality version of the character and won't erase the character's original narrative arc is what makes the show such an intriguing new chapter. When the show premieres, Loki hasn't gone through any sort of character evolution. He is still the angry man who tried to force all of humanity to kneel before him in a desperate attempt to find his place in the world. He has yet to go through the events of his mother's death or the destruction of Asgard. He's a man out of time, a man without a home. And it's the chaotic, still-in-progress nature of Loki and the inability to guess what he might do when an organization like the Time Variance Authority, which is dedicated to order, tries to force him to do what they say that makes this new chapter so exciting.

Each episode of the show, which also stars Owen Wilson as Mobius M. Mobius and Gugu Mbatha-Raw as Judge Ravonna Lexus Renslayer, will see the character travel through time and space on a mission to restore order to the timeline. But will this Loki follow the same path as the man we know and love? Or will this version make different choices without Thor by his side? More importantly, will he find what he's looking for?

Loki is a man driven by insecurity and an ongoing struggle with his identity, though he deftly covers up his deficiencies with a devious wit and charm. The constantly shifting logo in the show's trailer represents both the character's shapeshifting ability as much as the idea that he doesn't know where he belongs or who he is yet. And although the beats of such a character arc are hardly new territory for Hollywood — you could argue they've even been done to death at this point — the potential for greatness still exists as Loki remains pleasantly unpredictable. It means anything can happen, and with Hiddleston promising a show that is unlike anything Marvel has ever done, there's no reason to believe Loki the man and "Loki" the show won't continue to endure and evolve even beyond this first season. After all, he certainly has the staying power.

"Loki" premieres Wednesday, June 9 on Disney+.

[ddaenghoney]

Series: Flora

Part 24

masterlist link in blog description

After spending more than a decade establishing a career as an acclaimed actress, you decide to go on a sudden hiatus while also discreetly moving to a new townhome, renting out the second room to your old friend from high school: Kim Taehyung

Pairing(s):

Kim Taehyung x Y/N

ft. Lim Jaebeom x Y/N

disclaimer: any character depicted do not represent the actual personality of the respective idol in real life.

Series warning(s)/genre(s): Social media/Fake Text AU, Roommates au, somewhat Slow Burn relationship (or is it more oblivious to lovers ?), Actress!Y/N, Flower shop owner and model!Taehyung, fluff, drama(bc it’s me), romance, angst (updated as needed)

Necessary story written piece beneath the cut!

wc: 4017

Chapter warning(s): Heavy themes of loneliness and quite a bit of angst. Emotional breakdown by means of a lot of crying and a small moment of nearly hyperventilating. Optimistic ending. 

You look down at the ended conversation displayed on your phone, thumbs hovering over the device but you know you have nothing more to say. Sighing, you let it fall to your phone and glance your head out at the grey outside that the car travels through. The clouds took a break from the constant showers that covered the city, but you do not doubt they will continue again, probably the second you step out of the vehicle.

“You can just take me home instead of stopping by that food place.” You speak up to your manager’s assistant who has recently been driving you around for scheduled activities. When Manager Yang is not able to attend things with you, the assistant is definitely there instead. You wager to make sure you don’t do anything more to grind the nerves of the company, but you never have asked the question directly.

“Are you sure? The weather doesn’t seem as bad as a few minutes ago.”

“Yeah, I have some leftovers at home I’ll eat instead.” The explanation exists only to pacify his confusion, because after that conversation you really have no interest in eating anytime soon. Without conviction your eyes search between passing buildings for signs of the sun breaking through any of the clouds, but as you expected there is no such light. If there had been any hope of the storm ending, the production team would not have called off shooting for today.

You don’t mind the weather for that fact, but at the same time it leaves a bitter taste in your mouth that you can only rely on unruly weather to give you a dent of the day back to yourself. If you try to think about how long it’s been this way, your mind would skim back years and years. Early on when you were still in high school and quickly garnering all of the roles in films you could, you didn’t mind the workload at all. Everything was still new, and admittedly going through that part of your life with fame attached to it felt like a grandiose thing.

The glittering of it all wore off a while ago, and letting your head fall back against your seat cushion, you realize just how exhausting it all is. But what else is there?

“Thanks for the ride.” You wave to the assistant as you exit the vehicle in front of the small gate that surrounds the townhome. Your company may know the address somehow, but you certainly are not willing to give out the gate code, much less a key, so you get out on the curbside. You’re relieved when he doesn’t loiter to make sure you get in safely, because the sooner you can stop thinking about everything the sooner you can have a semblance of a clear head.

To your surprise the rain comes again after you’re under the cover of your entryway instead of starting to pour directly on your head. Standing there for a moment, you watch the droplets fall in a humid frenzy that is familiar for this time of the year. This odd hour of the day is much earlier than people head home from jobs, so the neighborhood is quiet with inactivity, only seeming to be populated by you and the millions of droplets that see only a moment of you before they’re gone from your sight into puddles on the ground.

You stretch out your arm to breach into the shower, feeling the water collide with your skin as you continue watching the spectacle of it all. Almost, you’re able to enjoy it completely; take in the beauty of nature, and the serenity of your tiny front yard that’s enclosed in its own bubble. But as your eyes scan the area, your arm tenses when you catch the well-tended to flower beds that line the front gate.

You remember everything you wish is not reality.

Pulling your arm back, you turn on your heel and type the code to your door, entering in haste. The lights inside are off, and the space is quiet, almost without the sound of the showers outside. Without consideration you simply allow your bag to fall beside you on the floor while you flick your shoes haphazardly in the same general direction. It’s not unusual for no one to be home in the middle of the day, but as you step deeper the space feels uncharacteristically empty.

Miscellaneous items are decorated in their little mess around the area, but they’re all your own things that clutter. In your moment of recollection, you glance back to the front door as you realize you didn’t trip over any of Taehyung’s shoes on the way inside. Your lips part at the knowledge and your hand clutches against your top as you turn to walk into the kitchen.

Your line of sight wanders over the countertops, then to the small table beside the door out to the back, but you find nothing. You turn back and stalk into the living room once more, eyes searching quickly to the coffee table, then end tables-- any surface of space you could.

In that instant of finding nothing your eyelids grow hot, and your throat hitches, but you hold back any noise by biting your lip. You don’t have the right to be this upset if he’s already gone without a word of goodbye. You made your choices-- you’re living the consequences.

Air nonetheless escapes your mouth in a high, choppy gasp. You thought there would be more time than the four days it's been since you told him he should leave, since you typed all of those things you didn’t mean and left tears all over your phone screen. You shake your head, forcing everything back again, because you don’t have the right to feel upset about this. You don’t, and you keep repeating that to yourself, but what difference would it make if you started bawling about it here anyways?

You put your hand to your face, rubbing your eyes to stop tears from beginning, but when the sentence plays in your head you’re unable to stop them when you inevitably mumble to yourself,

“I’m all alone now.”

Only a couple escape your ducts, before you take in a deep inhale and remind yourself that this is for the best. If Taehyung has nothing to do with you, then his reputation will not be bothered further, his flower shop won’t run the risk of being singled out on a gossip form, and  his life will continue in its peaceful path just like he wants.

You rub the tears from the corner of your eyes, finding sight of his mug in its usual spot beside the couch. As you take a step towards it, your eyebrows knit wondering if he forgot it but you find a beverage still within it, though mostly gone.

The front door’s entry alert causes your shoulders to jolt in surprise, and your body to turn as it opens wide to let the melody of the rain flood your ears once more. From the cloudy outside that’s a lighter blue than the inside of your house, Taehyung’s figure seems enveloped by a dull brightness.

The hollow feeling in your chest fills with the thrum of your heartbeat. You watch as his lips pout while he looks down at your discarded items, then his head lifts up upon the recognition, startling with a sound of surprise when he sees you.

“I didn’t know you were home,” His words stumble out while his hand searches on the wall and successfully presses on the light switch. “What are you doing?” He asks, frowning in confusion of the certainly odd situation he wandered into.

Taehyung knows that you are not the most organized person on the planet, but your shoes finding their way to the designated closet is the example for him that he never manages to follow. So to see them in a mess on the floor beside your bag, Taehyung thought the placement to be abnormal and maybe somewhere in the back of his mind before he looked up he even felt worry.

“Ah, I just,” You start in a small voice, before dipping your head away from his view. Taehyung takes notice of the aversion, then latches onto the remembrance of your last text conversation. “I got off work because of the weather, so I’m here. Forgot to turn the lights on.”

“I see.” He responds simply, with the slightest nod of his head. Taehyung slips off his shoes finally, and enters deeper into the house, trying his best not to let questions in his head breed into a field that will be left unanswered by you and filled in with guesses by himself.

“What about you?” Your words come making him stop just beyond where you remained as he followed the path to his bedroom. Taehyung can’t help glancing towards you, just a couple feet from him, but appearing so far away as your head faces at a downward angle to the couch beside you.

“I closed the shop early today.” He explains in a low voice, because he does not want to say why he’s come home. He still doesn’t want to think about everything falling apart. And for a moment that fact causes him a burst of frustration because of all of those unanswered questions so his tone shifts coarsely when he gives a curt reply, “Going to sign a new lease.”

Taehyung expects nothing from the sentence, but watching your hand  tighten atop the couch makes him hesitate from going to his room. It’s the smallest action, and nonverbal at that. He knows everything you said about distrusting him and about his importance being nothing more than an irrational measurement you never meant, so why does he still cling on to the smallest sign. One that means nothing.

He shakes his head softly, feeling consumed by the tension. He walks down the hall to his room, leaving you there. Turning away just in time for the sparse rain drops in your eyes to drip in silence onto the leather your hand clings to.

Rather than reaching to wipe them away, you simply let the tears fall, thinking it better to ignore them so they altogether stop. For all of the relief that built in your chest at seeing him again, it ripped back away at his statement. You want to tell him he still has two weeks that he could stay, but you know that would only serve unnecessary confusion, and that it’s better if he leaves now while you’re still able to hold yourself back from confessing the insincerity of all the hurtful things you messaged him.

“Do-” Your shoulders tense at the pet name he stopped himself from uttering. Your lips tighten into a line, forcing away a frown as he continues after a moment, “Y/N, are you okay?”

Considering everything, you wonder how Taehyung even asked you that, knowing well that you’ve given him every reason to stop caring about you to even the smallest extent. But he’s sweet and gentle like the flowers he tends to. You muster a smile at this thought, and nod your head even though you’re facing away from him still.

Taehyung’s hand curls in response to your demeanor, wondering if you really have to look away from him. Does it bother you that much to even be around him? Because things were different only a week ago, it is nearly impossible for him to accept the situation at hand, but ultimately he just sighs, and starts a walk back to the front door, wearing a fresh shirt that’s different from the type he typically wears to work in the flower shop.

As he heads to the door, you recall the countless times he’s walked in and out, wandered around the house familiarly, like a necessary puzzle piece to the space. You can think of the many failed recipes created in the kitchen that led to races to the front door to get the food deliveries afterwards. And you can remember the time you held the door open for him when he struggled with his arms full of little flower starts that would bloom soon if they are maintained after he leaves.

He’s leaving.

“Tae,” Your voice barely sounds like anything but a weak squeak because of the emotions clogging up your throat. He stops to turn back towards you like a habit-- his eyes focusing on your person easily, though the irises are admittedly not as cheerful as all the times of the past. “You-” Your nails dig into the leather of the couch, like the logic you’ve taped up in your mind tries desperately to stay together. But the throbbing pain in your heart wins over your mouth, “I’m so sorry.”

“What-” Taehyung’s sentence drops away as he notices the glittering on your cheeks, and he turns completely. With every nerve on his body beginning to prickle in worry, he takes a step in your direction on impulse, pausing only when you shake your head, releasing more tears down your skin.

“I’m sorry. I’m so selfish-- I really can’t do this.” The words dribble out in a frantic mumble as you finally begin to wipe away at the tears. “I know I need to let you leave-- I know you should; I can’t do this though. I don’t want you to go, I really don’t-”

Your breath hitches as you’re all the sudden pulled into a strong embrace. Without hesitation your arms cling to his shirt, while a sob muffles into the fabric. Taehyung’s arms encompass you with the same feeling that living with him gives you: safety.

“Calm down, Y/N.” Taehyung soothes your trembling frame with his fingertips clutching tightly on your shoulder blades, fastening you to this space that was stable. Giving you a place to belong again.

“I didn’t mean any of it, Tae,” You croak between gasps as your lungs fight for air amidst your sobs. “I trust you more than anyone-- you’re the most important person to me, Taehyung. Please don’t go.”

“Then why,” He starts the question, but then your rushed sentences finally register to him properly. The fact that you said you know he needs to leave. Taehyung breathes in as the realization of it sets in. You were trying to get him away so he wouldn’t be involved anymore. For his benefit, not because you ever wanted that.

“I-,” You cough, clutching onto him tighter as the sobbing leaves your throat thick. You want to explain everything, and make sure that he hears your apologies as many times as necessary, so desperately you try to speak up again only for Taehyung to hush them away.

“Stop for a bit, dove.” He tells you, causing you to find a grasp at peace just from him addressing you with endearment once again. “I’m not going to walk away-- you don’t need to rush. Let’s sit down, okay?”

As you sit on the couch with your fingers rubbing onto your temples, Taehyung stands in the kitchen fiddling with objects that you hear clatter around. You think little of it, simply counting seconds with the inhales and exhales of your breaths, elongating them so as to ease away the rampant swarm of tears and emotions. The prickling in your head must be from a mixture of shock and embarrassment, you decide, becoming increasingly aware of how vividly everything came flooding out.

When Jaeboem texted you days earlier, you had to stop replying. You feel bad still for leaving his series of texts pleading with you out of worries for being left on read, but when he verbally acknowledged how alone you must be, you couldn’t look at the words any longer. That aspect of your lifestyle needs to be kept in check or else you would have to look at everything that’s hollow in the world that you made for yourself.

For following a dream that you were passionate about, in the past you anticipated a cover of happiness washed over your life once you reached the level of notoriety that would keep acting jobs flooding in. But for years of your work and efforts to simply amount to you walking into a lifeless house, with the few people around you about to walk out, you couldn’t let yourself see that because it would be the one thing too much to bear. Even if you enjoy acting, the present gives you no sense of fulfillment outside of your job, which in itself is starting to be cracked with holes as well.

“Here.” Your eyes break from their lack of concentration to watch Taehyung settle a mug that matches his on a coaster in front of you. The steam filled with the warm scent of honey and tea leaves. “Does your head hurt?”

Meagerly and barely do you nod, finally removing your hands from putting pressure on your temples to take hold of the mug. Careful to keep your skin from directly touching the hot ceramic, you balance it inches from your lips to blow gently.

“Thank you.” You mumble, taking small sips so as not to burn your taste buds. The drink is light, but soothing to your throat that is ravaged from your outburst. “I,” Your head jolts as you recall, nearly sloshing around the scalding tea, but Taehyung’s hand aids you in steadying the mug as you speak in worry. “I stopped you from meeting the leasing office-- I’m sorry.”

“Don’t be.” Taehyung shakes his head, very slightly nudging the mug so that you drink more. As you finally give in despite your frown, he continues in a quiet voice. “It’s not like I really wanted to go anyways.”

As you glance towards him with an uncertain hope glinting in your eyes, Taehyung smiles gently and is unable to stop his thumb to graze over your cheek where tear treks remain. In the void of words, the shower outside rages on with a hum of thunder only relaxing the tension in your shoulders. As his hand leaves your skin, you break eye contact to again sip at the beverage while Taehyung eases more into his seat beside you.

Without speaking, he simply rests his head on the cushion, letting you revitalize yourself with the drink. He arranges his thoughts with his newfound information, and is almost upset that he never contemplated any of it before. His friends too had commented repeatedly how strange and out of character all of the texts you sent him were, especially Jeongguk who was fully convinced the connection between you and Taehyung could only be genuine. Taehyung thought the same, and he could blame the surprise of it all for letting his rationality falter, but ultimately he feels disappointed in himself for not considering that this was the only way you found yourself able to protect him.

It’s true that if he continued to believe your words, the hurt would have been enough to start a gap of separation from you, and perhaps even if he reconsidered later down the line he may have pushed the thoughts aside to keep you from having to bother with the whole thing again. Or perhaps it is more accurate, he decides, that he may have not been willing to risk hearing you say everything to him all over again.

“Now you don’t want me to leave?” Taehyung breaks the silence with the small question, the corner of his lips quirking as the empty mug clatters on the coaster from your surprise from the bluntness. With furrowed eyebrows you turn to look at him, so clearly upset with yourself, that Taehyung doesn’t have the heart to tease you any further. His lips part to speak but in a small ramble you beat him to it,

“I never wanted you to. I just didn’t know how else to keep you from getting dragged into anything more than you have been. I know you don’t want anything to do with fame, and,” You shake your head as once again those texts replay through your head.

“Dove.” Taehyung’s hand covers over the top of yours as they fiddle on your lap, bringing you back down. “I understand now.”

Your frown remains, and your chest feels heavy once more because you know you really did hurt him, and yet he’s sitting beside you still and giving you a chance at explanation. You don’t deserve that.

“I should have let you go though.” Your eyes fall to your lap, watching as his hand squeezes over top of yours. You’re sure he doesn’t like your sentence. “Taehyung, I know you say that you don’t mind any of the baggage that comes along with getting linked to me in rumors, but you don’t know what it’s actually like to go through any of that. To have thousands of people you don’t know critique all the choices you make and constantly put their judgement on you just because they don’t like you or are bored-- it’s exhausting. Especially if you’re not even gaining anything from it. You don’t want to get into this lifestyle--and that’s fine, but it’s even more of a reason for you to distance yourself from me. I can’t control any of this as much as I want to, and you’ll just end up dealing with trouble because of it all.”

Without thinking, one of your hands turns upwards, taking a grasp of his gently.

“I do gain something from it all.” Taehyung says, ready for his eyes to meet yours when your head turns in confusion. “I’ll still be in your life.”

Your jaw clenches; heart beating too happily at his affirmation of it all. It’s idyllic and frankly all you would want to hear from him. Such a simple thing, yet the implication causes new, touched tears to collect in the corner of your eyes. Warmly Taehyung smiles at you, tugging you towards him so he can hug you, which you allow without hesitation.

“I know that you’re worried about me, dove, but what you’re telling me I’ve considered too. I may not have been that involved when I was a trainee, but I know the media can be ruthless and cruel, but I’d still choose dealing with that than not being with you anymore.”

“But why,” You pull a bit from him to look up at his face, frowning. “No one’s ever wanted to go through all of this crap just for me-- I don’t understand why you always pick to stay.”

“How many times do I have to tell you that I care about you before you believe me?” He asks with a smile, cutting off any of your uncertain remarks by simply hugging you tighter and chuckling as you make a noise of surprise from the action. “Dove, I’m happiest living here with you. You mean so much to me, and there’s nowhere else I’d rather be. No matter how many times you ask me, you’re going to get this for an answer. You’re my friend, Y/N. You’re dear to me.”

Your hands meddle their way from between your torsos so that you can wrap your arms around him tightly. Taehyung smiles at the reciprocation, settling his forehead atop your head when he feels your body rumble from some muffled cries that somehow have an air of happiness to them.

You’re willing to accept his answer, no longer frightened of all the repercussions as you cling onto Taehyung as if he’ll drift away. Now you realize how content the world becomes with even one person willing to stay. Without the attachment of jobs, or the necessity to save face in front of cameras, Taehyung wants to remain where he is. You’re so thankful for the fact, but can’t properly express the gratitude through words, but he hums in response anyways, keeping you enveloped in his arms as he tells you peacefully,

“I’m not going anywhere, Y/N. Don’t worry.”

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[chiseler]

Larger Than Life

In 1927, Albert Bertanzetti and his three-year-old son, William, were taking a stroll when they stopped to join a small crowd watching a film being shot on the streets of Los Angeles. During a break in the shoot, Albert suggested his son go show the director, Jules White, his little trick. So William toddled over to White and tugged on his pant leg. When he had White’s attention, William flipped over, went into a headstand and began spinning in circles. White was so taken with the trick he gave the young Bertanzetti a small uncredited role in the two-reel short, Wedded Blisters. Afterward, William earned a regular role in the popular Mickey McGuire series of shorts, where he played Mickey Rooney’s younger brother Billy. Taking prevailing anti-Italian sentiments into consideration, in the credits he was cited as “Billy Barty.”

Barty had been born in Millsboro, Pennsylvania in 1924, but when it was determined he had hay fever, Albert decided to move the family West, to the dry, clean air of Hollywood. Depending on how you look at it, hay fever was the least of Barty’s problems. Or maybe not, given how things worked out.

Apart from hay fever, Barty had also been born with cartilage–hair hypoplasia, a form of dwarfism. Being extremely small for his age at three (as an adult he stood three-foot-nine), when it came to early film roles he was almost exclusively relegated to playing diaper clad infants. It was a director’s dream—having an infant on set who could not only take direction, but could walk, run, talk and do tricks as well. As a result, along with the Mickey McGuire shorts, he played infants in everything from the all-star live action adaptation of Alice in Wonderland (1933) to Golddiggers of 1933 (1933) to Bride of Frankenstein (1935). In fact Barty, tiny as he was, would play diaper-clad infants until he hit puberty.

Over a career that would span seven decades, along with infants, Barty would play his share of elves, leprechauns, imps, Hobbits, trolls, assorted other fairy tale and fantasy characters, clowns, court jesters, pygmies, sideshow performers and mad scientist assistants. Ironically, for having appeared in over two hundred films and television shows, Barty did not appear in the three touchstones of American Dwarf-centric cinema: Tod Browning’s Freaks (1932), Sam Newfield’s The Terror of Tiny Town (1938), or Mervin LeRoy’s The Wizard of Oz (1939). No, although he would appear in the behind-the-scenes comedy Under the Rainbow (1981), contrary to the general assumption, Billy Barty was never an original Munchkin. There are reasons for this.

In 1932 when Browning was working on Freaks, Barty was only eight, he was not a professional carnival freak, and he was too busy with the Mickey McGuire shorts. And after the shorts’ seven-year run ended in 1934—two years before casting began on Tiny Town or The Wizard of Oz—Albert Bertanzetti, recognizing talent in all of his children, pulled Billy out of the movies and sent the whole family on the vaudeville circuit.

Now, 1935 was hardly the most opportune time to try and break into vaudeville. As an entertainment form it had been on life support for a decade already, with theaters either closing down or becoming movie palaces with performances, almost as a sad afterthought, taking place after that evening’s double feature had ended. Those performers who could were trying to break into pictures, and those who couldn’t were vanishing without a trace. Now here was Barty, who’d been working regularly in films for nearly ten years, trying to break into vaudeville. Nevertheless, Billy and Sisters, as they were touted, marched on, with a musical act featuring Barty’s sister Evelyn on piano and accordion, his other sister Dede playing violin, and Barty himself on drums. They all sang and danced a little, and the adolescent Barty told jokes and did impressions. In his later years he remembered the time fondly, mostly because it gave him a chance at that early age to see much of North America.

In 1942 Barty enrolled in college in Los Angeles and majored in journalism, hoping to become a sportswriter. While there, he joined the football and basketball teams, where he was both a novelty and a ringer. He also played second base on a semi-professional baseball team for a spell, where by his own account he was walked forty-five times.

Instead of pursuing work as a sports columnist after graduation, he returned to show business. Later he was quoted as saying, “You don’t see any little people doing newscasts, you don’t see any doing sports writing, you don’t see any sports announcing, you don’t see any coaches, but there are little people who are capable of doing these things, who have proven themselves.” You get the sense there was a little personal bitterness there, hinting he may have been forced back to Hollywood because that was the only place he could find work.

By 1947, now an adult with a gravelly but high-pitched voice, Barty sported a boxer’s face on a disproportionately large head. In many ways he resembled a diminutive William Demarest, and in many roles would adopt Demarest’s gruff but lovable demeanor. Shedding the diaper at last, he nevertheless picked up where he left off, playing assorted pygmies and leprechauns and elves, usually for cheap laughs.

In the early Fifties he became a regular member of Spike Jones musical comedy ensemble, The City Slickers, and was a big hit on Jones TV shows, where he became especially known for his slapstick, spot-on Liberace impression, and his ability to roll off his piano bench into a head spin, a trick which continued to serve him well.

Growing up, Barty said, he had no idea he was different, that his parents never told him there were things he couldn’t do because he was too short. By the time he was thirty, however, he’d come to learn the rest of the world was not quite as accepting as his parents. In 1957, Barty put out a call for little people from around the country to join him for a get together in Reno. Only twenty people showed up to that first convention, but it became the foundation for Little People of America, a support and advocacy group pushing for equitable treatment and civil rights for dwarfs, midgets and other people of unusually small stature. His aim was to ensure little people across the country would be treated fairly, would be able to get jobs, and would be granted the same accessibility rights afforded the normally-sized. It always struck me as a little odd that, for all his tireless efforts lobbying to normalize perceptions and treatment of little people throughout American culture, Barty, without much apparent gumption, would continue to take roles some might call demeaning, or at the very least helped cement those stereotypes he was fighting so hard to break. Perhaps to him it was simply paying work, it was showbiz, and he knew full well what his role was within that world. But the apparent ironic contrast between his activism and his work would lead to a public tiff in the Seventies with fellow small actor Hervé Villechaize of Fantasy Island. Barty, who’d appeared on the show, felt Villechaize was undercutting all his work when he said bluntly that people like him and Barty “were midgets, not actors.”

After the second annual Little People of America convention, Barty began courting Shirley Bolingbroke, a little person who had attended the meeting. When he proposed, however, she declined, telling him she was a devout Mormon, and so would never consider marrying anyone outside the faith. In 1962 Barty relented and converted to the church of Latter-day Saints, and the two were married. Although Mormon insiders and publicists have made a big deal of Barty’s enthusiastic True Believer status within LDS, it would be many years before he agreed to get baptized and receive full member status, and then only to participate in his son’s baptism.

Around the time of the marriage, as Barty was making regular TV appearances on various comedy and variety shows (including a recurring role on Peter Gunn), he also began hosting a weekday afternoon local kid’s show in Los Angeles which was called either Billy Barty’s Big Top or Billy Barty’s Big Show, depending on who’s doing the remembering. That stint may well have brought him to the attention of the sinister Sid and Marty Krofft, who in the late Sixties conscripted Barty to become a regular on several Krofft shows including H.R. Pufnstuf, The Bugaloos, and later Sigmund The Sea Monster, where he played the titular sea monster opposite Rip Taylor and aging child star Johnny Whittaker.

For all the low-brow antics and his uncredited roles in Elvis movies, it must be said Barty was always a compelling and charismatic screen presence, a, yes, larger than life character. In those few rare instances when he played roles that made no references at all to his height—like Abe Kusich, the shady drunken cockfighter in Day of the Locust or Ludwig, Rod Steiger’s sidekick in W.C. Fields and Me, he proved himself an electric onscreen presence who could dominate any scene.

(Just a quick aside, in 1980 Ralph Bakshi rotoscoped Barty to portray both Bilbo and Samwise Baggins in his animated version of Lord of the Rings. I wasn’t aware of that at the time, but thinking back on it now, the way both characters moved, it seems so obvious I was watching another Billy Barty performance.)

In 1975, around the same time he opened a Southern California roller rink he called “Billy Barty’s Roller Fantasy, Barty established The Billy Barty Foundation. As an adjunct to Little People of America, the Foundation aimed to provide practical assistance—money, adaptive equipment, etc.—to little people in need, particularly children. And after campaigning for George H.W. Bush during the 1988 presidential campaign, he sat on a panel of advisors working to hammer out the details of the Americans with Disabilities Act, which President Bush signed into law in 1990.

At the same time he was sitting on that panel, Barty was also producing, directing and starring in Short Ribs, a syndicated sketch comedy series featuring an all-dwarf cast including Patty Maloney, Jimmy Briscoe and Joe Gieb. The show, which was modeled after SCTV and SNL, only aired in the Los Angeles area and ran thirteen weeks. After the show went off the air, Barty was slapped with two lawsuits, one from the show’s co-producer William Winckler and one from the show’s co-writer Warren Taylor, both of whom claimed Barty owed them money. The suits ended up, inevitably, in small claims court. Barty lost both suits, and even though few people had ever heard of, let alone seen the show, news of Barty in small claims court was too much for reporters to resist, and the case received smirking national attention.

After the suits were settled, Barty continued to work, but a bit more sporadically. He had one-off roles on Frasier, Jack’s Place, and a few low-budget quickies, and seemed to be edging more into voice roles, providing characterizations for a Batman cartoon and The Rescuers Down Under, to name a couple. But he was still working until the end, when he ended up in the hospital with cardiopulmonary issues in late 2000. He died on December 23rd of that year at age 73.

In the late Eighties he told an interviewer, “I’ve never looked at acting as ‘Ahhh!’ and ‘Gee!’ I started in vaudeville when I was five and for me it was just walking on a stage and I’m gonna perform. Later on I was impressed by many things, like when I worked with Burt Lancaster and Kirk Douglas in Tough Guys. That was an ‘Ahhh!’ for me. When I look back, even today, I guess I can go ‘Ahhh!’ because I worked with Ruby Keeler and Dick Powell in Gold Diggers of 1933 when I was nine. Then they were just grown-ups on the stage. As I look back, I’m more awed now than I was when I was actually doing it.”

Those who knew and worked with Barty always recall what a joy it was, how kind and enthusiastic and funny he was, a real spark who could enliven even the most questionable production. I would never deny that. I’ve always loved and admired Barty, and have sat through countless godawful films and TV shows simply because he had a role, no matter how small.

That said, I do have to wonder if at the end, after all his decades of work fighting for the dignity of little people everywhere, he felt like a bit of a hypocrite for spending those same years and more cementing the stereotype in the American consciousness. I also wonder if he died still wishing he’d become a sportswriter for a Des Moines daily instead.

by Jim Knipfel

[aion-rsa]

The Star Trek: The Original Series Episodes That Best Define the Franchise

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By the time my generation got to watch Star Trek: The Original Series, the episodes often were being presented in top-ten marathons. When I was ten-years-old, for the 25th Anniversary of Star Trek, I tape-recorded a marathon of ten episodes that had all been voted by fans as the best-ever installments of The Original Series. Later, I got lucky and found Trek stickers at the grocery store and was able to label my VHS tapes correctly. But do I think all the episodes that were in that marathon back in 1991 were really the best episodes of all of the classic Star Trek? The short answer: no. Although I love nearly every episode of the first 79 installments of Star Trek, I do think that certain lists have been created by what we think should be on the list rather than what episodes really best represent the classic show. 

This is a long-winded way of saying, no, I didn’t include “Amok Time” or “The Menagerie” on this list because, as great as they are, I don’t think they really represent the greatest hits of the series. Also, if you’ve never watched TOS, I think those two episodes will throw you off cause you’ll assume Spock is always losing his mind or trying to steal the ship. If you’ve never watched TOS, or you feel like rewatching it with fresh eyes, I feel pretty strong that these 10 episodes are not only wonderful, but that they best represent what the entire series is really about. Given this metric, my choice for the best episode of TOS may surprise you…

10. “The Man Trap” 

The first Star Trek ever episode aired should not be the first episode you watch. And yet, you should watch it at some point. The goofy premise concerns an alien with shaggy dog fur, suckers on its hand, and a face like a terrifying deep-sea fish. This alien is also a salt vampire that uses telepathy that effectively also makes it a shapeshifter. It’s all so specifically bonkers that trying to rip-off this trope would be nuts. Written by science fiction legend George Clayton Johnson (one half of Logan’s Run authorship) “The Man Trap” still slaps, and not because Spock (Leonard Nimoy)  tries to slap the alien. Back in the early Season 1 episodes of Star Trek, the “supporting” players like Uhura and Sulu are actually doing stuff in the episode. We all talk about Kirk crying out in pain when the M-113 creature puts those suckers on his face, but the real scene to watch is when Uhura starts speaking Swahili. The casual way Uhura and Sulu are just their lovable selves in this episode is part of why we just can’t quit the classic Star Trek to this day. Plus, the fact that the story is technically centered on Bones gives the episode some gravitas and oomph. You will believe an old country doctor thinks that salt vampire is Nancy! (Spoiler alert: It’s not Nancy.)

9. “Let that Be Your Last Battlefield” 

There are two episodes everyone always likes to bring up when discussing the ways in which Star Trek changed the game for the better in pop culture’s discourse on racism: “Plato’s Stepchildren” and this episode, “Let that Be Your Last Battlefield.” The former episode is famous because Kirk and Uhura kiss, which is sometimes considered the first interracial kiss on an American TV show. (British TV shows had a few of those before Star Trek, though.) But “Plato’s Stepchildren” is not a great episode, and Kirk and Uhura were also manipulated to kiss by telepaths. So, no, I’m not crazy about “Plato’s Stepchildren.” Uhura being forced to kiss a white dude isn’t great.

But “Let that Be Your Last Battlefield,” oddly holds up. Yep. This is the one about space racism where the Riddler from the ‘60s Batman (Frank Gorshin) looks like a black-and-white cookie. Is this episode cheesy? Is it hard to take most of it seriously? Is it weird that Bele (Frank Gorshin) didn’t have a spaceship because the budget was so low at that time? Yes. Is the entire episode dated, and sometimes borderline offensive even though its heart is in the right place? Yes. Does the ending of the episode still work? You bet it does. If you’re going to watch OG Star Trek and skip this episode, you’re kind of missing out on just how charmingly heavy-handed the series could get. “Let that Be Your Last Battlefield” is like a ‘60s after-school special about racism, but they were high while they were writing it.

8. “Arena”

You’re gonna try to list the best episodes of Star Trek: The Original Series and not list the episode where Kirk fights a lizard wearing gold dress-tunic? The most amazing thing about “Arena” is that it’s a Season 1 episode of The Original Series and somehow everyone involved in making TOS had enough restraint not to ever try to use this Gorn costume again. They didn’t throw it away either! This famous rubber lizard was built by Wah Chang and is currently owned by none other than Ben Stiller.

So, here’s the thing about “Arena” that makes it a great episode of Star Trek, or any TV series with a lizard person. Kirk refuses to kill the Gorn even though he could have, and Star Trek refused to put a lizard costume in a bunch of episodes later, even though they totally could have. Gold stars all around.

7. “Balance of Terror”

The fact that Star Trek managed to introduce a race of aliens that looked exactly like Spock, and not confuse its viewership is amazing. On top of that, the fact that this detail isn’t exactly the entire focus of the episode is equally impressive. The notion that the Romulans look like Vulcans is a great twist in The Original Series, and decades upon decades of seeing Romulans has probably dulled the novelty ever so slightly. But, the idea that there was a brutally cold and efficient version of the Vulcans flying around in invisible ships blowing shit up is not only cool, but smart.

“Balance of Terror” made the Romulans the best villains of Star Trek because their villainy felt personal. Most Romulan stories in TNG, DS9, and Picard are pretty damn good and they all start right here.

6. “Space Seed”

Khaaaan!!!! Although The Wrath of Khan is infinitely more famous than the episode from which it came, “Space Seed” is one of the best episodes of The Original Series even if it hadn’t been the progenitor of that famous film. In this episode, the worst human villain the Enterprise can encounter doesn’t come from the present, but instead, the past. Even though “Space Seed” isn’t considered a very thoughtful episode and Khan is a straight-up gaslighter, the larger point here is that Khan’s evilness is connected to the fact that he lived on a version of Earth closer to our own.

The episode’s coda is also amazing and speaks of just how interesting Captain Kirk really is. After Khan beat the shit out of him and tried to suffocate the entire Enterprise crew, Kirk’s like “Yeah, this guy just needs a long camping trip.” 

5. “A Piece of the Action”

A few years back, Saturday Night Live did a Star Trek sketch in which it was revealed that Spock had a relative named “Spocko.” This sketch was tragically unfunny because TOS had already made the “Spocko” joke a million times better in “A Piece of the Action.” When you describe the premise of this episode to someone who has never seen it or even heard of it, it sounds like you’re making it up. Kirk, Spock, and Bones are tasked with cleaning-up a planet full of old-timey mobsters who use phrases like “put the bag on you.” Not only is the episode hilarious, but it also demonstrates the range of what Star Trek can do as an emerging type of pop-art. In “A Piece of the Action,” Star Trek begins asking questions about genres that nobody ever dreamed of before. Such as, “what if we did an old-timey gangster movie, but there’s a spaceship involved?”

4. “Devil in the Dark”

When I was a kid, my sister and I called this episode, “the one with giant pizza.” Today, it’s one of those episodes of Star Trek that people tell you defines the entire franchise. They’re not wrong, particularly because we’re just talking about The Original Series. The legacy of this episode is beyond brilliant and set-up a wonderful tradition within the rest of the franchise; a monster story is almost never a monster story

The ending of this episode is so good, and Leonard Nimoy and Shatner play the final scenes so well that I’m actually not sure it’s cool to reveal what the big twist is. If you somehow don’t know, I’ll just say this. You can’t imagine Chris Pratt’s friendly Velicrapotrs, or Ripper on Discovery without the Horta getting their first.

3. “The Corbomite Maneuver” 

If there’s one episode on this list that truly represents what Star Trek is usually all about on a plot level, it’s this one. After the first two pilot episodes —“Where No Man Has Gone Before” and “The Cage”—this was the first regular episode filmed. It’s the first episode with Uhura and, in almost every single way, a great way to actually explain who all these characters are and what the hell they’re doing. The episode begins with Spock saying something is “fascinating” and then, after the opening credits, calling Kirk, who is down in sickbay with his shirt off. Bones gives Kirk shit about not having done his physical in a while, and Kirk wanders through the halls of the episode without his shirt, just kind of holding his boots. 

That’s just the first like 5 minutes. It just gets better and better from there. Like a good bottle of tranya, this episode only improves with time. And if you think it’s cheesy and the big reveal bizarre, then I’m going to say, you’re not going to like the rest of Star Trek. 

2. “The City on the Edge of Forever”

No more blah blah blah! Sorry, wrong episode. Still, you’ve heard about “The City on the Edge of Forever.” You’ve heard it’s a great time travel episode. You’ve heard Harlan Ellison was pissed about how the script turned out. You heard that Ron Moore really wanted to bring back Edith Keeler for Star Trek Generations. (Okay, maybe you haven’t heard that, but he did.)

Everything you’ve heard about this episode is correct. There’s some stuff that will make any sensible person roll their eyes today, but the overall feeling of this episode is unparalleled. Time travel stories are always popular, but Star Trek has never really done a time travel story this good ever again. The edge of forever will always be just out of reach.

1. “A Taste of Armageddon”

Plot twist! This excellent episode of TOS almost never makes it on top ten lists. Until now! If you blink, “A Taste of Armageddon” could resemble at least a dozen other episodes of TOS. Kirk and Spock are trapped without their communicators. The crew has to overpower some guards to get to some central computer hub and blow it up. Scotty is in command with Kirk on the surface and is just kind of scowling the whole time. Kirk is giving big speeches about how humanity is great because it’s so deeply flawed.

What makes this episode fantastic is that all of these elements come together thanks to a simplistic science fiction premise: What if a society eliminated violence but retained murder? What if hatred was still encouraged, but war was automated? Star Trek’s best moments were often direct allegories about things that were actually happening, but what makes “A Taste of Armageddon” so great is that this metaphor reached for something that could happen. Kirk’s solution to this problem is a non-solution, which makes the episode even better. At its best classic Star Trek wasn’t just presenting a social problem and then telling us how to fix it. Sometimes it was saying something more interesting — what if the problem gets even harder? What do we do then? 

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The humor and bombast of “A Taste of Armageddon” is part of the answer to that unspoken question, but there’s also a clever lesson about making smaller philosophical decisions. In Star Wars, people are always trying to rid themselves of the dark side of the Force. In Star Trek, Kirk just teaches us to say, “Hey I won’t be a terrible person, today” and then just see how many days we can go in a row being like that.

What do you think are the most franchise-defining episodes of Star Trek: The Original Series? Let us know in the comments below.

The post The Star Trek: The Original Series Episodes That Best Define the Franchise appeared first on Den of Geek.

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[likealittleheartbeat]

There are some really solid critiques out there of several aspects of atla. Despite what seem to be the team’s best efforts, it def appropriated and white-washed and could generally be insensitive about real people and cultures (esp. regarding Tibet). That being acknowledged, it’s probs more fruitful to lay a lot of our criticisms on television and animation production practices generally rather than Avatar or its head writers. Yes, keep asking for better representation in shows. And yes, keep asking that more writing rooms, and network exec offices, and voice actor booths are filled with people who have been historically marginalized. We can never have enough! Keep demanding your needs and desires from people with privilege. Keep demanding environments that are safe and comfortable and inspiring for every member of the team, demanding environments that limit dangerous hierarchies of authority. Avatar failed on more than one of these fronts.

Along with that criticism, though, I think we can simultaneously recognize that Avatar broke ground in creating a space for violently marginalized narratives, characters, and people. A television series--and especially animation--is not the work of one or two great minds. It is wildly collaborative, and as you look through the full production crew of atla, you will begin to see a diverse group of writers and consultants who were certainly as instrumental to the show as the “showrunners.” Notably for the audiences experience of the show, you’ll notice a cultural consultant from the Median Action Network for Asian Americans (an position that ought to be standard in the industry). At the time of ATLA’s production, marginalized folks were only JUST beginning to be allowed by corporate executives for these positions in animation in the US. In 1999, Brenda Chapman was the first woman to direct a major animated film (and that was a co-director credit with two men). And from what I can find, outside of Fat Albert (which was helped by the weighty influence of a certain individual who we don’t need to discuss here), it seems like Static Shock (made in 2000) was the first animated television series with black men as the lead directors and creators. As far as Asian or Native headwriters (both of which have multiple cultures strongly featured in ATLA), I can’t find specifics. As far as Asian input in western tv animation, since the 1960s, US companies regularly work with and outsource animation duties to Korea and Japan. Based on a quick google search, the past decade has seen a surge of a distinctly Native animation community.  While I am hella excited for more series led by these other kinds of voices, I think we need to acknowledge that avatar is a direction we want creators with privilege to strive for (and in some capacity almost everyone has privilege they can be cognizant of). We need to be investing in stories and causes outside of the dominant discourse. We need to be inviting people into our creative process to help us understand other’s perspectives and to avoid reasserting harmful frameworks. We need to find ways to properly compensate those we consult with. And last, audiences and networks need to create equitable responses for shows to fail in some capacity, so that those shows run by, representing, and/or telling the stories of marginalized people do not become reasons to stop supporting the growth of those artists and stories. If the stakes are too high, we will end new stories and careers before they have begun, and we cannot let that happen.  So yes, ask for better. Explain your thoughtful and impassioned criticisms. I, for one, cannot wait for creations that fill my heart in the spots where Avatar failed, and creations that can sit alongside or even eclipse ATLA in some of the thematic areas where the show really hit home for me. In the meantime, we can appreciate what we have without losing sight of what we strive for.

[ryanmeft]

Movie Review: Reminiscence

At just under two hours, Reminiscence has everything it needs and little it doesn’t. It presents us with a Miami flooded by climate change, slowly being consumed by the sea, and an elite who took advantage of a war presumably caused by the rising waters to enrich themselves, leaving the poor in the dust…or in this case, the surf. In this setting, many people choose to live inside their own memories via machines clearly inspired by the Animus of the game series Assassin’s Creed. They are not living their ancestors’ lives but their own, returning to the sunny days and lost lovers of a dead world.

Facilitating this ultimate nostalgia trip are Nick (Hugh Jackman) and “Watts” (Thandiwe Newton). She is the mechanical whiz, operating the complex apparatus for a series of mostly working class clients---a wheelchair-bound, drug addicted veteran, a lost and wandering lover unable to move on. He’s the Memory Master, whose calming voice, even tone and expertise in the human mind allow clients a guided tour to the synapses they want to visit. They give away too much to really turn a profit, but it hardly matters since everyone is dirt poor anyway. Then in walks a slinky nightclub singer named Mae (Rebecca Ferguson), with whom Nick begins a passionate relationship. When Mae disappears, his life quickly unravels as he becomes obsessed with finding her.

Nick spends his time in his own memories, which is dangerous, trying to figure out where Mae could have gone. Cleverly, we do not see the actual relationship at any point, or her disappearance---unless I miss my guess, every single shot of Mae in the film takes place inside Nick’s mind. It’s a smart bit of compression: we only need to know that she is missing, and to waste time showing her vanish would only stretch a film that is better the tighter it is wound. Eventually, Nick will learn things about his love: that she has led many lives, has been connected to underworld figures and their sordid business, and that she may be involved in less than savory things herself. The plot involves a ruthless land baron (Brett Cullen), a sizzingly charismatic-yet-sleazy drug dealer (Daniel Wu) a D.A. (Natalie Martinez)  who is trying to nail her targets via digging through the memories of their henchmen, and a corrupt cop (Cliff Curtis) who is key to the mystery.

There were some very specific things I appreciated about director Lisa Joy’s script, things which may very well mean nothing to most people but which I want to talk about. I liked that the causes and nature of the war, which most of the characters participated in, is never given some long expository scene for the audience---people who live in an actual world don’t spend time explaining things that have happened in it, and people who have been in a war don’t talk about it as if they’re telling stories. I liked that Newton’s Watts was a dyed-in-the-grease mechanic sort, that her and Nick’s relationship does not follow standard screenwriting paths, and that the urge to overtly feminize her is resisted.

I liked the movie’s visual sense. I liked that fights have weight and meaning and intent, that Jackman’s Nick, despite being a former soldier is not a bad-ass, and that after decades of increasingly superheroicized cartoon action you can still make a movie where real bodies react to real hits. I have not seen much Westworld, Joy’s claim to fame, but she and her team, including the show’s cinematographer Paul Cameron, use environment well. They place a seedy part of Miami full of low-rent clubs and shuttered buildings along streets that run with water, opting not to go for the all-out devastation often seen in such films and which would in fact take decades. It is a more haunting world for that, just a mite more ruined than our own, traces of our past still very much around but also very much dead and gone.

The film is not being well-received by critics, who claim it is not inventive enough with the settings. At the risk of angering people who actually get paid to write reviews, I have to say I really thought the professionals were more perceptive than that. It does not take much awareness to recognize the movie is a noir thriller with a gentle science fiction overlay, and that the setting they demand “more” out of is not in the least the point of the story. It is a genre exercise, but a skillful, well-acted, well-shot, gorgeously framed one with real characters and not cyphers, and it distresses me that in a world where franchises like Star Wars can microwave old ideas, repackage them and earn rave reviews, we seem to demand movies without such easy brand recognition give us more to earn their precious stars.

The critics are correct: Joy could have made the movie they think she should have, had she wanted to. She didn’t want to, though. She wanted to make a taut thriller in the vein of L.A. Confidential or Red Rock West, perhaps not up to those standards but able to hold its own. There are scenes that go differently than genre tropes might lead you to expect, and the cast is so assured and confident that even some too-repeated lines aren’t a big deal. Superficially, the film is being compared to everything from Blade Runner, from whose original cut it lifts an unfortunate tendency toward over-narration, to the films of Bogart, mostly to suggest it is merely a pastiche of better ideas taken from other places. Even if that were true---and I do not think it is---memory is essential to art. Should I be mad that Joy occasionally borrows a stray idea, in a world where movies made entirely of other people’s thoughts get more praise?

Verdict: Highly Recommended

Note: I don’t use stars, but here are my possible verdicts.

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid like the Plague

You can follow me on Twitter here, if you want more posts about film and video games and sometimes about manscaping:

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[jamielea81]

Just a Simple Lie

Chapter 5

Description: Having worked on small independent films for the better part of a decade, your friend tells you about an opening for a script supervisor with a large studio. Wanting to advance your career, you apply and get an interview. The only downside, they prefer to hire crew who are married. It’s just a simple lie, right?

Pairing: Chris Evans x Reader

Warnings: Maybe some cursing, talk of drinking

A/N:  Surprise! Coming back a day earlier than planned. This fic is simply for fun. I know nothing about the personal lives of the two actors in this series and mean no harm. I am also totally guessing regarding the studio talk. Comments, reblogs, and likes are always welcome.

Catch up with Chapter 4

**

Oh boy were you hungover. After you finished that fifth beer, David brought you back to your hotel where you promptly passed out on your bed, makeup and all. The fact that you were so drunk, kind of helped you with the embarrassment of the slipped comment about your lack of a sex life. From what you remembered, it seemed like your quick reply had done the trick. At least you hoped it had. You remembered Monica chucking a pillow at you at some point in the middle of the night. She mumbled something about you snoring like a chainsaw. You were drunk and it could not be helped. There would be no more drinking for you.

Call time to set was three in the afternoon and you took advantage of the precious hours by sleeping until noon. After a shower and all-day breakfast from McDonald's, you felt human again.

Outdoor shooting would start tonight once it got dark, which this time of year meant another hour or two at the most.

**

You made your way to the studio via the studio shuttle. It was empty this time of day which you appreciated. You dressed in a sweater, jeans, and jacket. You had on a pair of winter boots, but brought a bag that held your trusty sneakers to wear when inside.

The one thing you weren’t a fan of with the new office set up was the lack of an enclosed room. The volume in the building was loud. Not school gymnasium loud, but loud enough for that you were finding it hard to concentrate. Everyone was excited. New location, outdoor shoots, whatever it was, no one wanted to be quiet about it. Even though the sleeping in and shower helped, you were still a tad hungover so you just wanted everyone to either move to a new location or go to their cubical and shut up. That wasn’t happening.

Monica came barging into your cube about an hour later. Okay, she didn’t barge in, technically. There’s no door. Kind of hard not to barge in.

“Can you believe this place? I’m going to hit my ten thousand steps within three hours each day. Way bigger than Cali,” she said taking a seat on the edge of the desk.

She was right of course. It was a series of massive warehouses where they shot a lot of action-packed movies and television shows. Those films often required a lot of space with massive sets. This movie wasn’t that and your team would not need all of the space, but it didn’t mean you didn’t have to trudge your way from one warehouse to another.

“You need better shoes,” you said motioning your hand to her pointy slip-ons. While they were cute, you would be crying at the end of the day wearing those. “Those aren’t going to work with this place. Unless of course, you hide out in your cubical all day.” A small smile peeked out from behind your lips.

“I would normally agree with you, but if I have to wear boots whenever we are outside, I’m wearing my cute shoes where I can,” Monica said, sending a wink your way.

**

The sun had set and you found yourself back on the shuttle with Monica and about ten others. Only Keanu and Chris were filming tonight and as far as you knew, they were being driven in a separate vehicle to the location.

“Are you still hungover?” Monica asked. She sat directly across the aisle from you on the shuttle. Since there weren’t many people on the bus, you each got your own row.

“Not drinking with you people again. I can tell you that,” you said with a shake of your head.

“Even if Chris is there? That’s some eye candy if I ever saw some,” she said wiggling her eyebrows. “Wonder if he’s single?”

“You’re horrible,” you giggle out.

“Hey! Not all of us have a fiancé. Not like it matters anyway.”

“What do you mean?” you asked.

“Maggie thinks he’s hot and have you seen that girl? I stand no chance. Keanu has a girlfriend,” she said with a shrug.

Interesting. So, Maggie thinks Chris is hot. But really, who doesn’t think that man is hot.

“I’m pretty sure it’s frowned upon to date the actors anyway.”

“Who said anything about dating?” she replied with a wink.

“You are horrible. I stand by that.”

**

The temperature had dropped by about twenty degrees and you were feeling like such a rookie. You grew up in the Northern Midwest for goodness sake and you failed to bring a hat or gloves with you. This was not ideal for outdoor filming where you needed to hold on to a script and pen for hours. Apparently, you were doing so with bare hands.  

Much of the first hour was spent helping with stage setup. You didn’t have to help unload the props, but it was certainly aiding you with the keeping warm factor. You eagerly carried box after box and then helped coordinate stage design.

Keanu and Chris arrived about twenty minutes later in separate vehicles which you found odd. They were filming together tonight and seemed to get a long as far as you could tell all through the shoot in Los Angeles. Chris and you were friends, but you didn’t feel comfortable enough to pry into that quite yet.

**

There’s a log cabin façade set up in a heavily wooded area made to look like a two-story cabin built in the 1950s. Once you open the door, it’s nothing more than plywood sides that only go back maybe 20 feet. Just the entryway or what can be seen by the camera is designed to look like a house. All internal shots of the “cabin” were shot back at the studio. Unfortunately, the “cabin” wasn’t any warmer than the outside temperature. Your plans to hide in the house between shots was crushed within minutes.

As the guys filmed their first take, you stood next to Hugh, the director with Monica on your other side as your backup since none of the actors she was working with were filming tonight. The first take was cut with Hugh calling for a reset. You spent the next ten minutes jogging in place to keep warm. The script was dropped to the ground with your hands burrowed into your coat’s pockets. Chris gave you an amused look as his face was being powdered by his makeup artist. You sent him a wink and continued on your jog to nowhere.

Take two and three were called and by this point you could no longer stand still. Not wanting to make a lot of noise while the film is rolling, you opted to dance in place. Billie Eilish’s All the Good Girls Go to Hell is playing in your head. You wiggle to the beat, careful not to let your feet shuffle. It helps, but just a little.

“Let’s just get one more and we’ll move on,” Hugh calls out.

“Can someone tell Y/N to stop dancin’ over there? It’s mighty distracting,” Chris yelled.

If you weren’t already frozen solid, you’re pretty sure your face would resemble fire at this point.

Keanu turns around to face you and gives you a bit of a smirk.

“I’m cold!” you said loud enough for everyone near you to hear. “You don’t like my dance moves?”

“You’re distracting. Hugh, tell her she’s distracting,” Chris responded with a chuckle.

“Y/N, stop distracting Chris,” Hugh repeated nonchalantly.

“Aren’t you from Minnesota? Why aren’t you dressed warmly?” Chris asked, coming to stand next to you.

“I lost my mind this afternoon,” you said with a shrug.

**

After one more take, Hugh called it and ordered the next scene to be set up. You and Monica made your way to the food tent that conveniently had heaters blowing inside.

“This is like heaven. Who needs the sandy beaches of Aruba when we’ve got this wonderful tent in paradise?” You plop your butt down at a table ignoring the food and lean back in the chair, arms hanging like dead weight at your sides. “Go on without me. You can have Keanu and Chris. I’m just going to stay here forever where it’s warm,” you sighed happily.

“So dramatic,” Monica replied, grabbing two cups of coffee and depositing one on the table in front of you. “Two sugars and two creams?”

“One stevia or Splenda, whichever is there. Three creams.” You slip off your coat figuring you’ll only be colder once you leave the tent if you leave it on.

Monica drops the containers and packet in front of you, taking a seat next to you stirring in her own add ins.

“How much time do you think we have? I’d like to defrost a bit longer if we can.”

“Probably another ten. Drink up,” she replied holding up her own paper cup.

Downing your hot beverage that did little to warm you up. You got up and put your coat back on, zipping it up as far as it would go. Something warm and heavy was placed over your shoulders suddenly. Looking down, you could see it was a dark brown wool coat. You spun around to see Chris standing there, soft grin on his face.

“Keep it. Just make sure you give it back to wardrobe before we leave.”

“Don’t you need it for the next scene?” you asked furrowing your brow.

Chris shook his head no. “Next scene has me in that denim jacket with the white wool lining. It’ll be my turn to freeze.”

You gave him a thankful smile while buttoning up the coat over your own. “Thank you. Really. Didn’t realize you hated my dancing this much, but I do appreciate it.”

“Didn’t say I hated it. Said you were a distraction.” He runs his hands up and down your coat covered arms in his attempt to warm you up. The goosebumps that erupt are luckily hidden by the layers, but you can’t help but pray he doesn’t hear the increased beat of your heart. “You’re gonna get sick if you don’t layer up.”

You can’t seem to speak so you just hum in response.

**

Somewhere between the second or third take, your helping with costuming. The Polaroid pictures from the interior shoot aren’t agreeing with the way Keanu’s hair is now. It could be the way his hat is hanging, but you grab his stylist to assist.

“Yeah, that’s so much better,” you said after his hair is moved behind his ear no more than an inch.

“You certainly are particular,” Keanu said with a chuckle.

“S’always a pet peeve of mine when watching a movie if it doesn’t match exactly. Call it over kill if you will, but I call it doing my job,” you replied with a smirk.

“Warm enough over there Frosty?” Chris asked from a chair while he waited for you to be done.

“Yes! Thanks to you,” you responded back.

“This Chris’ coat?” Keanu asked.

“Yeah. Well, technically William’s coat.”

Keanu hummed in response before turning away to stand on his mark.

**

After filming wrapped for the night, you made your way to the wardrobe tent, catching Chris as he was leaving.

“Returning William’s coat?”

“Yep. Told you I would.”

“Here. I’ll take it in. M’sure you want to get back to the hotel,” he said, holding out his hand.

Quickly unbuttoning it, you pulled it off missing the warmth immediately. Chris took it, holding it over his chest with his arms crossed over it.

“Damn, did I miss this coat over the last two hours.” He ducked his head down for a second and then looked back at you. “Smells good.”

You let out a cross between a gasp and a laugh. “Did you just smell the coat?”

He bit at his lip and looked away. “Wasn’t trying to. Caught a whiff of it and had to investigate further. Just smells nice is all.”

“Okay Evans,” you said slowly. “Have a good night. Gotta catch that shuttle before they leave me.”

“Ye-yeah. Alright. See you tomorrow Y/N.”

“Night, Chris.”

**

You were positive it wasn’t half a night in the freezing cold that did you in. It was probably the travel, along with the stress of being away. No matter how you spun it, you were sick. Head congested, sore throat, the occasional chill while you were indoors. Yeah, you were sick. Monica turned out to be a germaphobe and you hadn’t seen that coming. It started as soon as you two were awake. She noticed the change in your voice.

“It’s just dry in here. Stupid winter. I just need some water,” you played it off not willing to accept your fate as well.

“Yeah okay. I know I saw a few water bottles in the mini fridge,” she replied.

You grabbed one and brought it into the bathroom with you. Taking a few chugs from the bottle, you set it on the counter then hopped into the shower hoping the hot steam would kick you into gear. It didn’t.

Maggie was shooting tonight along with Joe and Daisy. Chris and Keanu had the night off although you thought they maybe had some dialogue they were re-recording this afternoon. You were set to be Maggie’s backup tonight but really you wanted to do was go back to bed.

The two of you made your way to conference room B for the breakfast buffet they set up for your group each morning. It wasn’t much, but it was free and available from seven to ten each morning and you managed to wake up early enough to check it out. Grabbing a plate and filling it with a muffin, scrambled eggs, and two sausage thinks, you joined Monica at a table with a couple of other crew members.

Your throat started to tickle just a bit after your first bite of eggs. Taking a sip of orange juice did nothing to ease that feeling. You coughed into your napkin much to Monica’s horror.

“Too much pepper,” you replied.

She rolled her eyes but carried on eating her own breakfast until you coughed again. She stood up and moved a seat a few chairs away.

“Just a precaution,” she said with a shrug.

Your phone buzzed in your pocket. Reaching back into your pocket you quickly pulled it out.

Chris: You de-thaw yet?

Y/N: My shoes are soaked from the melted ice

Y/N: I slept great. That cold took a lot out of me. Thanks again for coming to my rescue.

Chris: 😎

Chris: No big deal

Y/N: Well, I appreciate it and will be better prepared tonight.

Chris: Captain’s orders

You shook your head at his comment.

Y/N: Wow. He went there.

Chris: Yeah. Yeah. Let me know if you have time to grab food later. Little harder for me to grab desserts here and bring them to your office.

Y/N: I’ll let you know.

The tickle was back and you couldn’t help but cough to clear it. Getting up from your seat, you averted Monica’s eyes as you dumped your plate and opened the door to leave.

“Better not be sick, Y/L/N!” she called out just as you stepped through the door.

I’m not sick. There’s no way. It’s just in my head.

Making a quick stop at the hotel gift shop, you paid double the amount you would pay at Target for vitamin C drops and Cold Eeze. These were for in case you were coming down with something. Not that you were or anything.

Back in your room, you applied moisturizer and light makeup. You hoped that trying to go on  with your day as normal would make you feel normal. By the time you got to the bathroom to do your hair, Monica came back to the room.

“How are you feeling?” she asked.

“I’m okay,” you replied putting the final touches on your hair.

“Just okay? That sounds specious.”

You let out a quick chuckle. “Don’t you have somewhere to be?”

“Yeah. Yeah. I’m just getting my bag. Maybe open a window. Let some of the germs out,” she said sticking her tongue out at you.

“I’ll see you there in a bit,” you said as she opened the door.

Except you didn’t. Somewhere between digging out your mittens, hat, and scarf that you apparently put back in your suitcase, along with returning a few missed calls from your family, you were tired. Deciding to lay down for just twenty minutes, turned into a couple of hours. The sound of pounding on your door was what woke you. Bolting up right in bed, you reached for your phone, seeing that it was already one in the afternoon. You had two missed calls from Chris along with a few text messages from him, Monica, and David.

“Coming,” your voice coming out hoarse. Your hand gently touched your neck as you swallowed, noticing it was slightly swollen and tender.

Swinging open the door, Chris stood in front of it, tired look on his face. His hands immediately going to his waist.

“Okay. You’re alive,” he said, bobbing his head as he said it. You giving a confused look in response. Chris nodded his head again, turned and started to walk away.

Keeping the door propped because you didn’t have on shoes or your room key on hand, you leaned out the door. “Chris! Come back! Please don’t make me yell.”

He stopped walking and turned back to face you. The same tired look was still on his face as he made his way back to you, stopping once he was in front of the door once again.

“I was--we were worried about you,” he sighed out. “When you didn’t respond to my text or call, I stopped by your cube and you weren’t there. Monica said you should have been there no later than eleven because you were on your way shortly after she was.” He runs a hand through his hair. “Then when you didn’t respond to Monica or David, we got concerned.”

“I’m sorry. I was just really tired and fell asleep too long,” you said softly, stepping back into the room and motioning for him to come in. “I didn’t mean to make you guys worry.”

Chris followed into the room, flicking on a light before taking a seat on Monica’s bed.

“It’s fine,” he sighed again. “Just didn’t know if something happened since you didn’t show up at the studio or answer your phone.”

“Don’t tell Monica, but I’m sick. I think that’s why I slept longer than I intended to. I’m sorry you came all the way out here,” you said, taking a seat next to him.

“I’m sorry you’re sick. That sucks.”

“It does,” you said getting up. “Should probably keep my distance. Don’t need the talent getting sick,” you said, giving him a wink.

“Good one. I’ll let it slide since you’re sick.” You grabbed your bag, checking to see that your worn script was still in it. “Where are you going? You’re sick, missy.”

“Missy? Really? It’s called life doesn’t pause just because of me,” you said slipping on your coat and putting your hat on.

Chris gabbed his phone from his pocket, clicking it a few times and bringing it to his ear.

“Hey,” he said. “Yeah, I found her. She’s sick and was sleeping when I got here. Trying to convince her to rest up… Yeah, she’s stubborn… What? No. No. I’ll take care of it. You don’t need to do that… I’m sure. I’ll get it sorted…Yeah, I’ll see you later… I’ll tell her… Bye Monica.”

“What are you telling me?” you asked as soon as he dropped his phone to the bed.

“You have the night off.” You were about to protest but Chris put his hand up. “Not my choice. She said she can handle it tonight and rather not have you breathing on her,” he chuckled prompting you to roll your eyes. “She said to rest up.” You nodded and started to unzip your coat. “Keep your coat on! You’re not staying here tonight.”

“Chris, I’m not hospital sick. I can stay in my own room,” you protested, hands instantly going to your hips.

He shook his head. “Monica was going to bunk up with someone else, but I told her I’d find you somewhere else to stay since she wouldn’t be back until late. You’re coming with me.” He stood up, grabbing your scarf from the desk and wrapping it around your neck.

“Where are we going?” you asked.

“You’re staying with me and before you say anything, it’s fine.”

“Chris…”

“Y/N…” he responded in the same tired tone. “It’s a three-bedroom condo. I have the room and no you won’t be in my way.”

“Okay…Let me just grab some things.”

Chris sat back down on Monica’s bed while you grabbed your carry-on, throwing in some pajamas, a change of clothes for tomorrow, your hairbrush, and makeup bag from the bathroom.

“Alright. Let’s go see how the other half lives,” you said with a smirk.

“Such a smaht-ass,” Chris said with a shake of his head.

“And that’s why we’re…”

“…we’re friends,” he cut you off. “Yeah. Yeah. Let’s get a move on sicko. Cahs waitin’ downstairs.”

This is totally normal. Doesn’t look inappropriate at all. What the studio doesn’t know won’t hurt anyone.

**

Tag List: @chrisevansfanfic @zsuzstyina @peach-acid @hista-girl  @trynnabemultifandom @mrsshiddleston @tfandtws @heyyouwiththeassbutt @denisemarieangelina @evanlys19 @cheeseburgersstuff @linki-locks11 @whymalu @straightforwardly @lakamaa12 @deidrashouseofpain@samsgoddess @fanfictionaffair @sweet--rabbit @imaginesofdreams @captnstarryeyed @tanelle83 @pinknerdpanda @allaboutthebooz @estillion14 @panicfob @patzammit @heartislubbingdubbing @collinsstanharbour @ab-baybay @rda1989 @impalaimages @jesseswartzwelder @rainbowkisses31 @xostephanie @smoothdogsgirl @mrsambroserollinsacklesmgk @xxloki81xx @thenormreedus  @firstangeldragonranch @soitmightgetweird @maeleeme @rvgrsbrns @icanfeelastormbrewing @velvetwonderbucky @kitkat1690 @smilexcaptainx @suppu97 @dangerouslovefanfic @dwights-new-plague @kelbabyblue @sweetlittlegingy @chrisevansforever @evansxxx​ @twittytelly​ @southerngracela​ @bitterstar88​

[recentanimenews]

IN-DEPTH: How Did Demon Slayer: Kimetsu no Yaiba Become Japan’s Hottest Domestic Franchise?

  At this point, it’s safe to say that Demon Slayer: Kimetsu no Yaiba is one of the biggest franchises this decade. The manga series sold more than double what One Piece did at its peak in 2020, the Mugen Train anime film has outgrossed Hayao Miyazaki’s Academy Award-winning Spirited Away to become the king of the Japanese box office, and the franchise is estimated to bring in 270 billion yen to the Japanese economy by itself this year. 

  Looking at all of that, there is no question that Demon Slayer is the hottest domestic property in Japan right now. But how did it get here? Let’s examine how the little manga series from new author Koyoharu Gotouge became a cultural phenomenon in Japan.

  Demon Slayer’s History with Jump

  Before the Demon Slayer anime started, the series was running in Weekly Shonen Jump, one of Japan’s top manga magazines. The series started in Jump on February 15, 2016, and had modest success, with around 3.5 million copies of the manga series printed and sold as of February 2019, just a few months before the anime premiered in April 2019.

  During Jump Festa 2017 — an annual exhibition for series being released by Shueisha in Weekly Shonen Jump and their other manga magazines — the first chapter of Demon Slayer was given out in a sample booklet alongside other new series that had started in 2016, such as THE PROMISED NEVERLAND. Outside that sample booklet though, Demon Slayer barely existed in the mind’s eyes of attendees, with gazes glued to NEVERLAND and BORUTO as the new hot series.

  It wasn’t until Jump Festa 2020 (held in December 2019) that Demon Slayer got some time in the spotlight, with the Aniplex booth doing its best at showing off the series that had become such a hit over the previous summer. 

  Demon Slayer at the Aniplex booth during Jump Festa 2020 (photo: Daryl Harding)

  Even though the collected manga volumes weren’t selling as much as one might expect from the now behemoth of a series, Demon Slayer was slowly gaining traction among fans, but wouldn’t really break out until just before the first episode of the TV anime aired on television in Japan.

  The Outside Influences Brought into Demon Slayer

  When the Demon Slayer TV anime was announced in June 2018, it was revealed that the studio Ufotable would be adapting the series. The Aniplex-affiliated studio is widely praised for their work on the Fate franchise, which has culminated with the Fate/stay night [Heaven’s Feel] film series. Ufotable-produced works are known to already be event-type series, and with Demon Slayer being their first Weekly Shonen Jump adaptation, it was a series to look forward to on that point alone.

  First Demon Slayer TV anime key visual (source: Anime Eiga)

  Just before the series premiered in April 2019, it was also revealed that popular singer LiSA — who was then mostly known for her work on the Sword Art Online openings, including the wildly popular theme to the Ordinal Scale anime film “Catch the Moment” — would be singing the opening theme for the series, with the first preview of the song at Anime Japan that year. LiSA went on to have a solo concert at the Yokohama Arena on the last days of the Heisei era in April 2019, selling out the 17,000 capacity hall.

  AnimeJapan 2019 Trailer

  Music can be a huge element in propelling the popularity of a series in Japan. Some of the biggest anime over the last decade was supported by their opening and ending themes, which kept the anime in people's minds. Demon Slayer’s opening theme “Gurenge” became such a hit in its own right that it dragged the rest of the series along with it. This formula worked to bring Your Name to the forefront of Japanese pop culture in 2016 — you couldn’t go anywhere in Tokyo without hearing Radwimps. And the double whammy of “Gurenge” and “Homura” (the theme for Demon Slayer: Mugen Train) has helped the series achieve even more success.

  Rounding out the series was the star-studded voice cast who all have their own fan bases. Voicing Tanjiro is Natsuki Hanae, who was best known at the time for Ken Kaneki in Tokyo Ghoul; Zenitsu is voiced by Hiro Shimono, who voices Connie in Attack on Titan, and the boar himself Inosuke is voiced by Yoshitsugu Matsuoka, who voices Kirito in Sword Art Online. Nezuko's voice actor Akari Kito, who largely played side characters up until her casting in Demon Slayer, would become a well-known name and go on to play many more lead roles after the series became popular. 

  On paper, the breadth of talent involved in Demon Slayer far exceeded that of just any TV anime series. The production committee, led by Aniplex, was banking hard on people giving the series a try before the first episode had even aired. And it worked.

  Topping the Film Charts before the First Episode Even Aired

  Demon Slayer: Mugen Train has topped the film charts since it first premiered on October 18, 2020, but it’s not the first time the series has been in theaters. Prior to the TV airing of the first episode on April 6, 2019, the first five episodes were shown in eleven theaters across Japan starting on March 29. The screenings were dubbed “The Bonds Between Brother and Sister” and topped the mini-theater rankings, with over 10,000 people going in just the first three days.

  Ironically the press release from Aniplex announcing that the screenings were being extended in early 2019 said the “excitement for Demon Slayer is at its peak!” If those screenings were anything on the mountain of the popularity of Demon Slayer, they’d be right near the start of the trek.

  “The Bonds Between Brother and Sister” Visual

  Due to the immense popularity, the two-week special screenings were then extended for another week at all eleven cinemas, which were coming in at Number 1 on the mini-theater rankings (for screenings in less than 30) for the two weeks it was originally scheduled for.

  It’s no surprise then that just after these screenings had finished, and during the early broadcast of the anime on TV, that the production committee ordered the Mugen Train arc — which directly follows after the ending of the first season — to be produced as a film, according to industry sources.

  Demon Slayer’s Evolving Popularity Throughout Its Airing

  Hiroyuki Nakano, the editor-in-chief of Weekly Shonen Jump, spoke to Nikkei Entertainment in the March 2020 issue of the magazine on the slow success of the manga series, explaining that “normally the number of sales of a series increases gradually during the broadcast, but the number of copies sold of Demon Slayer exploded when the broadcast ended.” Nakano alluded to streaming services helping the anime series escalate the popularity of the original series by giving people the accessibility of being able to catch up on the show the next day via services like Amazon Prime and Netflix, who streamed the show weekly in Japan.

    Gone are the days where an anime fan would have to record an episode of a late-night anime series because it aired early in the morning. With streaming services on the rise within Japan, that night’s episode of Demon Slayer could be watched the next day on the way to work or school, on the train, or on the toilet.

  “I felt that the way people interacted with anime had changed and that we had entered a new phase,” Nakano explained, discussing how Demon Slayer’s rise in popularity was due to the evolving ways of media consumption.

  This helped the series when the famous Episode 19 aired, blowing away all expectations of what an anime could do in animation. If Demon Slayer wasn’t already part of the modern anime zeitgeist, that one episode — which trended worldwide on Twitter after airing — propelled the series to the forefront by word-of-mouth. Inside Japan, people couldn’t help but talk about the latest episode of the series, treating it like prime-time event television in the same vein as Game of Thrones would have been in the west.

    Demon Slayer’s success has also been well documented since the anime finished airing on September 28, 2019. The manga series has broken all records to become the most-sold series for a year, the Mugen Train sequel film is now the highest-grossing film of all time in Japan, and has given Japan the honor of being the third country to have a film reach US $300 million in a single market during its initial run.

  Why Does Demon Slayer Resonate With Japanese Audiences?

  How Demon Slayer became popular is one thing, but why did this one series, when many others have the same level of talent behind them, become the cultural phenomenon it is today? In December, Oricon released the results of a survey given to Japanese people on how well they know the series, and if so, why did they like it so much.

    An astonishing 97.6 percent of the 3,848 respondents, who ranged from teens to the elderly, said they knew of the series, with 40.5 percent of people saying they knew it well. Of those who knew the series, they described how they liked the world setting and had sympathy for the characters. A male teenager said that he “was fascinated by the story of the main character growing up while struggling with various difficulties,” while a woman in her sixties enjoyed “the storytelling and LiSA's powerful voice.” A woman in her thirties remarked that she “never thought I'd be talking about anime at my age with my 60-something mother.”

  All through the responses, Demon Slayer is bridging the divide between generations, with each generation taking something out of the story that Gotouge has crafted. 

  The top-notch action scenes and relatable characters draw in the younger crowd, while more middle-aged people get a kick out of the family bonds that weave throughout the story, and the aesthetic of the entire series gives older people a sense of nostalgia, also known as “Taisho romance,” but without it being overly melodramatic about the era. Even kids are going to the schoolyard to reproduce the breathing techniques seen in the series. Japanese Prime Minister Yoshihide Suga joined them when he made a cheeky reference to Demon Slayer’s breathing techniques while speaking to the DIET in November. 

    The accumulation of these points has made Demon Slayer a cultural touchstone, one that could only be born out of Japan. Even if the world wasn’t in the current state it is in, the Shonen Jump series would be just as big in its homeland, if not bigger, with more people going to the theaters and traveling to the areas that influenced the series. 

  Living in Japan at the moment means living in a world surrounded by Demon Slayer. From billboards promoting the film to masks people wear, you can’t go outside (not that people should be!) without having the series in your eyesight. And with how good the series is, and how many people are enjoying it, Demon Slayer: Kimetsu no Yaiba deserves its time in the sun.

  Demon Slayer masks being sold in Harajuku in December 2020 (photo: Daryl Harding)

      Daryl Harding is a Japan Correspondent for Crunchyroll News. He also runs a YouTube channel about Japan stuff called TheDoctorDazza, tweets at @DoctorDazza, and posts photos of his travels on Instagram. 

  Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features.

By: Daryl Harding

[smokeybrand]

Watch the Throne

Singular Point has finally revealed it’s version of the Big G and, i must say, it is pretty f*cking amazing. I knew it was going to be dope from the leaked concept art but in action? Holy sh*t! It can give Shin a run for it’s money! The reveal got me thinking about all of the Goji over the years so i wanted to kind of explore that. I wanted to revisit some of my favorite, and not so favorite, Goji designs. Also, this blog needs more Godzilla content.

10. TriStar

I hate this Goji so much. It’s been all but disowned by the fandom and, indeed, is referred to as Zilla in official materials because it doesn’t deserve to be called God. That movie did nothing to help it’s case. However, the animated series all but redeemed the character. The character, not the design. This thing is the worst and edges out Showa strictly because it’s not Godzilla in any form. It’s a goddamn iguana pretending to be a velociraptor. Sh*t whack, son.

9. Showa

Showa makes this list based strictly on nostalgia and it’s contribution to the overall mythos. Every major addition to the franchise, be they characters or monsters, occurred during this period. I mean, they gave me MechaG and we all know how much i love that metallic beast. Hell, he might get one of these lists one day, too. As a design, though? This Goji is definitely not my favorite. More than that, there were SO many! Goji looked different in every film and not in the sense of fixes or critiques. This was the era where Toho was cutting budgets and corners so, often, the suits were damaged and never properly repaired. As such, Godzilla looks like varying degrees of sh*t thought out. Showa gets a lot of credit strictly because it was my introduction to the series, first Godzilla film i ever saw was Godzilla versus Mechagodzilla but let’s be honest; Showa Goji looked like ass. Dude was a clown and the realization of that was a hard one to accept after seeing Gojira, Return, and Shin. Like, what the f*ck, Toho?

8. Earth

I don’t like the Godzilla trilogy. They’re terrible films. I do like the ideas presented therein. I like the idea of Ghidorah being this inter-dimensional, planet eating, energy beast. I like the idea of the Shobijin being a race of Moth people. I like the idea of Godzilla being the progenitor of every other monster in the world after twenty thousand years or whatever. I love the idea of MechaG city. There is a lo of great sh*t in there, a lot of potential, but the films just sh*t the bed upon execution. Also, they were kind of ugly as sh*t. I think they would have benefited from being classically animated rather than the cheaper, CG, modeling. That went a long way to me disliking the execution. I Was watching these things and all i could see was that new Berserk series. All of that said, it’s a great design. I love how they combined Monsterverse and Millennium. It was super awesome. And massive.

7. Shodai

i mean, how was i going to leave the very first Goji off this list? It’s the genesis, the Alpha, the beginning. Without the progenitor, we wouldn’t be talking about the dynasty. I just really love this design. As a cat who grew up in the US, i didn’t get he opportunity to see this thing, outside of toys and such, until i was an adult. We got Godzilla with all of the edits and Perry Mason. It wasn’t until decades later that we got to see the original vision of Gojira and, let me tell you, what a difference editing makes. This movie is bleak, emotional, and exhausting. It’s a true horror film and you feel that throughout. Gojira is a force of raw, unmitigated violence, destroying everything in it’s wake but also leaving a radioactive wake as it passes. It’s the gift that keeps on giving, just like the atomic bomb. I love this film and it deserves it’s place in the Criterion Collection. It’s a masterpiece of cinema and a masterclass in atmosphere.

6. GMK

GMK is how i see Godzilla in my nightmares, which is fitting because it is Nightmare Godzilla. Motherf*cker is literally the wrath of dead Japanese, killed during WWII. It’s very similar to Shodai but in a literal sense, not figurative. GMK IS the accumulated sins of the Japanese for their transgressions during WWII, not the ideal of their suffering at the hands of the atomic age. I love that juxtaposition but, more than that, GMK is straight up malevolent! Dude is here to leave a body count and it goes about that with aplomb. A lot of cats in the community wouldn’t rank Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack very high on their list of favorite films but that Goji is the most menacing I'd seen since that first Heisei outing. Like, holy sh*t, did this thing come for the pain!

5. Monsterverse

I was burned hard by the first attempt at a US Goji as a kid. F*cking TriStar dropped the ball on that one, especially considering the mock up of other versions I've seen over the years. So, going into Godzilla 2014, i was a little sus and considering we didn’t even see a fleeting glimpse of the Big G until half the movie was over, i thought for sure we Yanks sh*t the bed again. We did not. Monsterverse Goji is one of the best Goji designs I've ever seen. I love how large it is and the fact that he got those thunder thighs. I love how he has both lungs and gills because, you know, amphibious. Love the way his dorsal plates light up individually when he fires his atomic breath. I love everything about this dude and I'm glad that Toho opted to extend the deal with Legendary. We get Monsterverse content going forward which means more of their Goji, even if these assholes keep pounding Kong down my throat. If i had to pick just one iteration, i would have to give it to King of the Monsters Goji. That dude, so far, is peak Monsterverse Godzilla for me. Plus, i mean, Burning Godzilla is just straight up chef kiss.

4. Heisei

For me, Heisei is peak Goji. It captures everything i think Godzilla should be, like, the classical interpretation. It calls back to Shodai while updating the overall form to a modern aesthetic. I believe that the very first of those films, the first version of this Goji, is the best. Godzilla Returns or, Godzilla 1984 as it’s known here in the States, is, in my opinion, the strongest of all the Heisei Goji. It captures the spirit of malevolence which Godzilla continued to have throughout this run of films. He’s never really a hero but, at best, anti-hero, and all of that can be traced back to his absolutely terrifying first appearance. Plus, i really like the multiple rows of teeth. That sh*t wigged me out as a kid. Heisei isn’t my favorite but, when i think of Godzilla, it is the first one to pop into my head.

3. Shin

I love Shin. It’s design is ridiculous and the power set seethes with originality. Everything about Hideaki AAnno’s monstrosity is just so anti-Goji but it works so brilliantly. The way it mutates and grows into this malignant stack of cancer and radiation and exposed musculature is absolutely traumatizing. It’s dead, fish eyes make sure you understand that this thing is, at best, a beast of instinct, devoid of any level of intelligence. More than that, the fact that the motherf*cker can focus it’s Atomic Breath into a whole ass plasma beam is ridiculous and the fact that it can fire it out of it’s entire body just f*cks me up. Not only is Shin Godzilla in my top three Goji films all-time, but so is it’s version of Goji, itself. That motherf*cker is just plain terrorizing.

2. Millennium

Look, i know i said that when i thing of Goji, i see Heisei but Millennium’s design is hard to not put this high. It was the first Goji to radically redesign the King since, i would say, Showa? I mean, it still looks the part but those dorsal plates, that face, and that mouth absolutely scream originality. The shape of his chest ad the slimming of it’s overall form, gives Goji a sense of improved mobility and we see that in films like Godzilla vs. Megaguirus. No longer is he this lumber nuclear disaster. Instead, he’s this fast paced, agile, atomic apocalypse that slips whole ass Black Holes. I love the look of Millennium and my favorite is definitely the first one intrigued in Godzilla 2000. It took me by complete surprise and has had a pretty safe, nostalgia driven, spot in my heart.

1. Ultima

Listen, i adore this design SO much. I know this guy is the newest to take the stage and placing him at the one spot on my list might be a little sus but, for me, it’s peak Goji. I think Ultima has achieved this level of rarefied air specifically because it’s the newest version of our malevolent King. Ultima is every Godzilla ever created, rolled into one. He has the dorsal plates of Millennium, the build of Heisei, the forms of Shin, the size of Showa, The face of Shodai, the destructive power of Earth, and the forms of Shin. Ultima earns the name as it is, quite literally, the best parts of every Goji in Toho history. Plus, look at that dude. That design is straight up monstrous! It’s aggressive, visceral, and cannibalistic. It’s real hard not to put this one at the top of my list.

[differentnutpeace]

'Jupiter's Legacy' Decodes The Superhero Genre Without Subverting It

You'd be forgiven for wondering how Netflix's Jupiter's Legacy compares to other recent entries in the glut of "Wait, what if superheroes ... but, you know, realistic?" content currently  หวย บอล เกมส์ คาสิโนออนไลน์

 swamping streaming services. (To be fair, this "realistic superheroes" business is something we comics readers have been slogging through for decades; the rest of the culture's just catching up. Welcome, pull up a chair; here's a rag to wipe those supervillain entrails off the seatback before you sit down.)

So here's a cheat sheet. Netflix's Jupiter's Legacy is ...

Less cynical and empty than Amazon's The Boys

Less bright and blood-flecked than Amazon's Invincible

Less weird and imaginative than Netflix's The Umbrella Academy

Less funny and idiosyncratic than HBO Max's Doom Patrol

Less dark and dour than HBO Max's Titans

Less innovative and intriguing than Disney+'s WandaVision

Less dutiful and disappointing than Disney+'s The Falcon and the Winter Soldier

Less thoughtful and substantive than HBO's Watchmen

Less formulaic and procedural than the various CW super-shows (which I include here only out of a sense of completism, not because they're aiming for the same kind of performative faux-realism that drive most of these other series).

It's unfair to make these comparisons, sure. But it's also inevitable, given the crowded landscape of superheroes on TV right now. And in every one of those comparisons, Jupiter's Legacy doesn't necessarily come up short (it's far better than The Boys, especially), but it does come up derivative.

Makes sense: "Derivative" is a word that got slapped on the comics series it's based on, by writer Mark Millar and artist Frank Quitely, which kicked off in 2013. Millar and Quitely would likely prefer the term "homage," of course, and after all, the superhero genre is by nature nostalgic and (too-)deeply self-referential. So the fact that so many story elements, and more than a few images, of Jupiter's Legacy (comics and Netflix series both) echo those found in the 1996 DC Comics mini-series Kingdom Come is something more than coincidental and less than legally actionable.

Showrunner Steven S. DeKnight and his writers' room have carved out only a thin, much more grounded slice of the comic's sprawling multi-generational saga, but they've retained certain elements of family tragedy and Wagnerian recursiveness, wherein the sins of the father get passed to the son. They've also, smartly, retained the multiple-timeline structure of the comic as a whole, though they've pared it down and stretched it out over these eight episodes, clearly hoping for a multi-season pickup.

Readers of the comics will likely grow impatient at how little of the overall saga is dealt with here, but this review is aimed at those coming to the series fresh, who will find more than enough in this season to satisfy — it's a whole story that hints at what's to come without slighting what's happening now.

The now in question switches between two eras. In 1929, immediately before and after the stock market crash, brothers Walter (Ben Daniels) and Sheldon (Josh Duhamel) are the sons of a successful steel magnate. Walter's the diligent numbers guy, Sheldon's the glad-handing optimist. Sheldon's rich, smarmy friend George (Matt Lanter) is going full Gatsby, and muckraking reporter Grace (Leslie Bibb) runs afoul of Walter and Sheldon following a family tragedy.

Sheldon becomes beset by visions that will put him and several other characters on a path to their superhero origin story. Be warned: The series doles this bit out even more slowly than the comic — settle in for seven episodes' worth of Duhamel clutching his head and shouting while trippy images flash by, hinting at his ultimate destiny.

In the present day, Sheldon is the all-powerful hero The Utopian, who is married to Grace, now known as Lady Liberty. Walter is now the telepathic hero Brainwave, and George is ... nowhere to be seen.

The series has fun playing with the disconnect between the two timelines — characters from the 1930s story are either missing, or drastically transformed, in the present day, and while later episodes connect some of the dots, many of the most substantial changes are left to be depicted in future seasons.

The present-day timeline instead focuses on the generational rift between heroes of Sheldon and Grace's generation and those of their children. There's the brooding Brandon (Andrew Horton) who strives to live up to his father's impossible example, and the rebellious Chloe (Elena Kampouris), who rejects a life of noble self-sacrifice and neoprene bodysuits for a hedonistic modeling career.

At issue: Sheldon's refusal to acknowledge that the world has changed, and that the strict superhero code (no killing, no politics, etc.) that he lives by — and forces others to live by — may be obsolete, now that supervillains have escalated from bank robbery to mass slaughter. Younger heroes, including many of Brandon's friends, feel compelled to protect themselves and the world around them through the use of deadly force.

Clearly it's a fraught cultural moment to have fantasy characters who can fly and zap folk with eye-lasers deal with that particular all-too-real real-world issue; several scenes land far differently than they were originally intended.

But unlike other entries in the superhero genre, Jupiter's Legacy is prepared to deal overtly, even explicitly, with something that films like Man of Steel and shows like The Boys too simply and reflexively subvert: The superhero ideal itself.

The notion that an all-powerful being would act with restraint and choose only to lead by example is what separates superheroes from action heroes. Superheroes have codes; that's the contract, the inescapable genre convention, the self-applied restriction that tellers of superhero tales impose upon their characters; navigating those strictures forces storytellers to get creative. Or at least, it should. The minute you do what so many many "gritty, realistic" superhero shows and movies do — dispense with that moral code, or pervert it, or attempt to argue it out of existence by portraying a villain so heinous and a world so fallen that murder is the only option, you're not telling a superhero story anymore. You haven't interrogated or inverted or interpolated the genre, and you certainly haven't deconstructed it. You've abandoned it.

Say this much for Jupiter's Legacy — it's not content to wave the concept of a moral code away, or nihilistically reject it. It instead makes its central theme the need to inspect it, unpack it, and truly and honestly grapple with it.

Which is not to say it doesn't stack the deck by portraying a fallen modern world not worth saving — it does do that, usually through the lens of Sheldon's daughter Chloe, who throws herself into a world of drugs, alcohol, sex and general narcissistic monstrousness. The show attempts to explain her sullen self-destructiveness as a reaction to her father's unrealistic ideals, but in execution, her scenes prove cliche-ridden and bluntly repetitious. It's one of several examples where the show's choice to focus on and pad out one small part of the comic's overall tale results in leaden pacing.

But even though it takes seven full episodes for the characters in the 1930s timeline to get to the (almost literal) fireworks factory of their superhero origin, it's hard to argue that it isn't worth all that extra time, as Duhamel, Bibb, Lanter and especially Daniels have a great time with the period setting. (There are two other actors who get brought into the superhero fold in this timeline, but they 1. aren't allotted nearly enough screentime to really register and 2. represent spoilers.)

The period details of the 1930s timeline (Lanter was made to wear a waistcoat; Daniels' pencil-thin mustache should win its own Hairstyle and Makeup Emmy), and the brewing conflict between the younger selves of Sheldon and Walter can't help but make those scenes much more intriguing to watch than those set in the modern day.

The ultimate effect is a lot like watching the 2009 film Julie and Julia, in that sense. If you imagine that Julia Child could fly and shoot lasers out of her eye-holes.

And, really, who's to say she couldn't, after all?

[explosionshark]

Thanks for recommending Gideon the Ninth! It was so good! Do you have a book rec tag I could check out? :)

honestly i should, huh? i’ve read more books than probably ever before this year and i’ve talked about ‘em intermittently, but not with a consistent tag. i’ll recommend some right now, though, with a healthy dose of recency bias!

sf/f

the priory of the orange tree by samantha shannon - a truly epic fantasy novel with one of the most beautiful, satisfying f/f romances i’ve ever read. the novel takes account nearly everything i hate about fantasy as a genre (overwhelmingly straight, white, and male centric, bland medieval European settings, tired tropes) and subverts them. incredible world-building, diverse fantasy cultures, really cool arthrurian legend influence. one of my favorite books i’ve ever read tbh.

gideon the ninth by tamsyn muir - which you’ve read, obviously, but for posterity’s sake i’m keeping it here! sci-fi + murder mystery + gothic horror. genuinely funny while still having a super strong emotional core and more than enough gnarly necromantic to satisfy the horror nerd in me. makes use of some of my favorite tropes in fiction, namely the slowburn childhood enemies to reluctant allies to friends to ??? progression between gideon and harrow. absolutely frothing at the mouth for a sequel.

the broken earth trilogy by nk jemisin - really the first book that helped me realize i don’t hate fantasy, i just hate the mainstream ‘medieval europe but with magic’ version of fantasy that dominates the genre. EXTREMELY cool worldbuilding. i’ve definitely described it as like, a GOOD version of what the mage-vs-templar conflict in dragon age could have been, with a storyline particularly reminiscent of “what if someone got Anders right?”

this is how you lose the time war by amal el-mohtar and max gladstone - i’m not usually big on epistolary novels, but this one really worked for me. spy vs spy but it’s gay and takes place between time traveling agents of two opposing sides of a war. the letter writing format really plays to el-mohtar’s strengths as a poet, the unfolding love story is weird and beautiful. it’s a really quick read, too, if you’re short on time or attention.

empress of forever  by max gladstone - i just finished this one this week! if you’re in the mood for a space opera, look no further. imagine if steve jobs was an asian lesbian and also like not a shitty person. this is where you start with vivian liao. you get the classic putting-the-band-together arc with beings from all across the universe, your romances and enemies-turned-friends and uneasy alliances all over the place. really satisfying character development and some extremely cool twists along the way. it’s just a fun good time.

the luminous dead by caitlin starling - this one rides the line of horror so it’s closest to that part of the list. it reminds me of the most inventive low budget horror/sci-fi films i’ve loved in the best way possible because it makes use of the barest narrative resources. it’s a book that takes place in one primary setting, featuring interactions between two characters that only meet each other face-to-face for the briefest period. the tension between the two characters is the most compelling part of the story, with competing and increasingly unreliable narratives and an eerie backdrop to ratchet things up even higher. the author described it as “queer trust kink” at one point which is, uh, super apt actually and totally my jam. the relationship at the center of the book is complicated to say the least, outright combative at points, but super compelling. plus there’s lost of gnarly sci-fi spelunking if you like stories about people wandering around in caves.

horror

the ballad of black tom by victor lavalle - we all agree that while lovecraft introduced/popularized some cool elements into horror and kind of defined what cosmic horror would come to mean, he was a racist sack of shit. which is why my favorite type of ‘lovecraftian horror’ is the type that openly challenges his abhorrent views. the ballad of black tom is a retelling of the horror at redhook that flips the narrative by centering the action around a black protagonist. 

lovecraft country by matt ruff - more of what i just described. again, lovecraftian themes centered around black protagonists. this one’s especially cool because it’s a series of interconnected short stories following related characters. it’s getting a tv adaptation i believe, but the book is definitely not to be missed

rolling in the deep / into the drowning deep by mira grant - mermaids are real and they’re the ultimate deep sea predators! that’s really the whole premise. if for some reason that’s not enough for you, let me add this: diverse cast, a romance between a bi woman who’s not afraid to use the word and an autistic lesbian, really cool speculative science tangents about mermaid biology and myth. 

the haunting of hill house by shirley jackson - it’s halloween month so i’m thinking about hill house again. one of the greatest american ghost stories ever written. especially worth the read if you follow it up w the 1964 film adaptation (the haunting) and then the 2018 netflix series.

the hunger by alma katsu - i’ve always been fascinated by the donner party even though we now know the popular narrative is largely falsehoods. still, this highly fictionalized version of events scratched an itch for me and ended up surprising me with its resistance from the most expected and toxic racist tropes associated with donner party myth.

wounds / north american lake monsters by nathan ballingrud - nathan ballingrud is my favorite horror writer of all time. one of my favorite writers period regardless of genre. in ballingrud’s work the horror is right in front of you. you can look directly at it, it’s right there. but what permeates it, what draws your attention instead, what makes it hurt is the brutally honest emotional core of everything surrounding the horror. the human tragedy that’s’ reflected by the more fantastic horror elements is the heart of his work. it’s always deeply, profoundly moving for me. both of these collections are technically short stories, but they’re in the horror section of the recs because delineations are totally arbitrary and made solely at my discretion. 

short stories

her body and other parties by carmen maria machado - tbh i almost put this in w horror but there’s enough weird fiction here for me to be willing to straddle the line. it was really refreshing to read horror that centered queer women’s perspectives. the stories in this collection are really diverse and super powerful. there’s an incredible weird fiction piece that’s like prompt-based law and order svu micro fiction (go with me here) that ends up going to some incredible places. there’s the husband stitch, a story that devastated me in ways i’m still unraveling. the final story reminded me of a more contemporary haunting of hill house in the best way possible. machado is a writer i’m really excited about.

vampires in the lemon grove by karen russell - my friend zach recommended this to me when we were swapping book recs earlier this year and i went wild for it! mostly weird fiction, but i’m not really interested in getting hung up on genres. i don’t know what to say about this really other than i really loved it and it got me excited about reading in a way i haven’t been in a while. 

the tenth of december by george saunders - i really like saunders’ work and i feel like the tenth of december is a great place to start reading him. quirky without being cloying, weird without being unrelatable.

misc

the seven husbands of evelyn hugo by taylor jenkins reid - there’s something really compelling to me about the glamour of old hollywood. this story is framed as a young journalist interviewing a famously reclusive former starlet at the end of her life. the story of how evelyn hugo goes from being the dirt-poor daughter of cuban immigrants to one of the biggest names in hollywood to an old woman facing the end of her life alone is by turns beautiful, inspiring, infuriating and desperately sad. by far the heart of the book is in evelyn finally coming out as bisexual, detailing her decades-long on/off relationship with celia st. james, another actress. evelyn’s life was turbulent, fraught with abuse and the kind of exploitation you can expect from the hollywood machine, but the story is compelling and engaging and i loved reading it.

smoke gets in your eyes by caitlin doughty - a memoir by caitlin doughty, the woman behind the popular ‘ask a mortician’ youtube series. it was a super insightful look into the american death industry and its many flaws as well as an interesting, often moving look at the human relationship with death through the eyes of someone touched by it early and deeply.

love and rockets by los bros hernandez (jaime and gilbert and mario) - this was a big alt comic in the 80s with some series within running on and off through the present. i’m not current, but this book was so important for me as a kid. in particular the locas series, which centered around two queer latina girls coming up in the punk scene in a fictional california town. the beginning starts of a little sci-fi-ish but over time becomes more concerned with slice-of-life personal dramas. 

[greatfay]

controversial opinions?

Cold pizza actually not good. Tastes like angry bacteria.

There’s a completely separate class of gay men who are in a different, rainbow-tinted plane of reality from the rest of us and I don’t like them. They push for “acceptance” via commercialization of the Pride movement, assimilation through over-exposure, and focus on sexualizing the movement to be “provocative” and writing annoying articles that reek of class privilege instead of something actually important like lgbtqa youth homelessness, job discrimination, and mental health awareness.

Coleslaw is good. You guys just suck in the kitchen.

Generational divides ARE real: a 16-year-old and a 60-year-old right now in 2021 could agree on every hot button sociopolitical topic and yet not even realize it because they communicate in entirely different ways.

Sam Wilson is a power bottom. No I will not elaborate.

Allison’s makeover in The Breakfast Club good, not bad. She kept literally and metaphorically dumping her trash out onto the table and it’s clearly a cry for help. Having the attention and affection of a smart, pretty girl doing her makeup for her was sweet and helped her open up to new experiences. Not every loner wants to BE a loner (see: Bender, who is fine being a lone wolf).

Movie/show recommendations that start with a detailed “representation” list read like status-effecting gear in an RPG and it’s actually a turn-off for me. I have to force myself to give something a try in spite of it.

Yelling at people to just “learn a new language” because clearly everyone who isn’t you and your immediate vicinity of friends must be a lazy ignorant white American is so fucking stupid, like I get it, you’re mad someone doesn’t immediately know how to pronounce your name or what something means. But I know 2 languages and am struggling with a 3rd when I can between 2 jobs and quite frankly, I don’t have the time to just absorb the entire kanji system into my brain to learn Japanese by tomorrow night, or suddenly learn Arabic or Welsh. There are 6500 recorded languages in the world, what’s the chance that one of 3 I’ve learn(ed?) is the one you’re yelling at me about. Yes this is referring to that post yelling at people for not knowing how to pronounce obscure Irish names and words. Sometimes just explaining something instead of admonishing people for not knowing something inherently in the belief that everyone must be lazy entitled privileged people is uh... better?

Stop fucking yelling at people. I despise feeling like someone is yelling at me or scolding me, it triggers my Violence Mode, you don’t run me, you are not God, fuck off. Worst fucking way to "educate” people, it just feels good in the moment to say or write and doesn’t help. Yes I’ve done it before.

Violence is good actually.

Characters doing bad things ≠ an endorsement of bad things. Characters doing bad things that are unquestioned by the entire rest of the cast = endorsement of bad things, or at the least, a power fantasy by the creator. See: Glee, in which Sue’s awfulness is constantly called out, while Mr. Shue’s awfulness rarely is because he’s “the hero.” See also: the Lightbringer series, in which the protagonist is a violent manipulator who is praised as clever, charming, diplomatic, and genius by every supporting character (enemies included), despite the text never demonstrating such.

Euphoria is good, actually. It falls into this niche of the past decade of “dark gritty teen shows” but actually has substance behind it, but the general vibe I get from passive-aggressive tumblr posts from casual viewers is that this show is The Devil, and the criticism of its racier content screams pearl-clutching “what about the children??” to me.

Describing all diagnosed psychopaths as violent criminals is a damaging slippery slope, sure. But I won’t be mad at anyone for inherently distrusting another human who does not have the ability to feel guilt and remorse, empathy, is a pathological liar, or proves to be cunning and manipulative.

It’s actually not easy to unconditionally support and love everyone everywhere when you’ve actually experienced the World. Your perspective and values will be challenged as you encounter difficult people, experience hardship, are torn between conflicting ideas and commitments, and fail. My vow to never ever call the cops on another black person was challenged when an employee’s boyfriend marched into the kitchen OF AN ESTABLISHMENT to scream at her, in a BUSINESS I MANAGED, and threaten to BEAT the SHIT out of her. Turns out I can hate cops and hate that motherfucker equally, I am more than capable of both.

Defending makeup culture bad, actually. Enjoy it, experiment, master it, but don’t paint it as something other than upholding exactly what they want from you. Even using makeup to “defy the heteropatriarchal oppressors!” is still putting cash in their pockets, no matter how camp...

Not every villain needs to be redeemed, some of you just never outgrew projecting yourself onto monsters and killers.

Writing teams and networks queerbaiting is not the same as individuals queerbaiting. Nick Jonas performing exclusively at gay clubs to generate an audience really isn’t criminal; if they paid to go see him, that’s on them, he didn’t promise anyone anything other than music and a show. Do not paint this as similar to wealthy, bigoted executives and writing teams trying to snatch up the LGBTQA demographic with vague ass marketing and manipulative screenplays, only to cop out so as not to alienate their conservative audiences. And ESPECIALLY when the artists/actors/creators accused of queerbaiting or lezploitation then come out as queer in some form later on.

Queer is not a bad word, and I’ve no clue how that remains one of few words hurled at LGBTQA people that can’t be reclaimed. It’s so archaic and underused at this point that I don’t get the reaction to it compared to others.

People who defend grown-woman Lorelai Gilmore’s childish actions and in the same breath heavily criticize teenage religious abuse victim Lane Kim’s actions are not to be trusted. Also Lane deserved better.

Keep your realism out of my media, or at least make it tonally consistent. Tired of shows and movies and books where some gritty, dark shit comes out of nowhere when the narrative was relatively Romantic beforehand.

Actually people should be writing characters different from themselves, this new wave in the past year of “If you aren’t [X] you shouldn’t be writing [X]” is a complete leap backward from the 2010s media diversity movement. And if [X] has to do with an invisible minority status (not immediately visible disabilities, or diverse sexual orientations and gender identities, persecuted religious affiliations, mental illness) it’s actually quite fucked up to assume the creator can’t be whatever [X] is or to demand receipts or details of someone’s personal life to then grant them “permission” to create something. I know, we’re upset an actual gay actor wasn’t casted to play this gay character, so let’s give them shit about it: and not lose a wink of sleep when 2 years later, this very actor comes out and gives a detailed account of the pressure to stay closeted if they wanted success in Hollywood.

Projecting an actor’s personal romantic life and gender identity onto the characters they play is actually many levels of fucked up, and not cute or funny. See: reinterpreting every character Elliot Page has played through a sapphic lens, and insulting his ability to play straight characters while straight actors play actual caricatures of us (See also: Jared Leto. Fuck him).

I’m fucking sick of DaBaby, he sucks. “I shot somebody, she suck my peepee” that’s 90% of whatever he raps about.

“Political Correctness” is not new. It was, at one point, unacceptable to walk into a fine establishment and inform the proprietor that you love a nice firm pair of tits in your face. 60 years ago, such a statement would get you throw out and possibly arrested under suspicion of public intoxication. But then something happened and I blame Woodstock and Nixon. And now I have to explain to a man 40 years my senior that no, you can’t casually mention to the staff here, many of whom are children, how you haven’t had a good fuck in a while. And then rant about the “Chinese who gave us the virus.” Can’t be that upset with them if you then refused to wear your mask for 20 minutes.

Triggering content should not have a blanket ban; trigger warnings are enough, and those who campaign otherwise need to understand the difference between helping people and taking away their agency. 13 Reasons Why inspired this one. Absolutely shitty show, sure, but it’s a choice to watch it knowing exactly what it contains.

Sasuke’s not a fucking INTJ, he’s an ISFP whose every decision is based off in-the-moment feelings and proves incapable of detailed and logical planning to accomplish his larger goals.

MCU critique manages to be both spot-on and pointless. Amazing stories have been told with these characters over the course of decades; but most of it is toilet paper. Expecting a Marvel movie to be a deeply detailed examination of American nationalism and imperialism painted with a colorful gauze of avant-garde film technique is like expecting filet mignon from McDonalds. Scarf down your quarter pounder or gtfo.

Disparagingly comparing the popularity and (marginal) success of BLM to another movement is anti-black. It is not only possible but also easy to ask for people’s support without throwing in “you all supported BLM for black people but won’t show support for [insert group]” how about you keep our name out your mouth? Black people owe the rest of the world nothing tbh until yall root out the anti-blackness in your own communities.

It is the personal demon/tragic flaw of every cis gay/bi/pan man to externalize and exorcize Shame: I’m talking about the innate compulsion to Shame, especially in the name of Pride and Progress. Shame for socioeconomic “success,” shame for status of outness, shame for fitness and health, shame for looks, shame for style and dress, shame for how one fits into the gender binary, shame for sexual positions and intimacy preferences, shame for fucking music tastes. Put down the weapon that They used to beat you. Becoming the Beater is not growth, it’s the worst-case scenario.

Works by minorities do not have to be focused on their marginalized identities. Some ladies want to ride dragons AND other ladies. The pressure on minorities to create the Next Great Minority Character Study that will inevitably get snuffed at the Oscars/Peabody Awards is some bullshit when straight white dudes walk around shitting out mediocre screenplays and books.

Canadians can stfu about how the US is handling COVID-19 actually. Love most of yall, but the number of Canadian snowbirds on vacation (VACATION??? VA.CAT.ION.) in the supposed “hotbed” of my region that I’ve had to inform our mask policies and social distancing to is ASTOUNDING. Incroyable! I guess your country has a sizable population of entitled, privileged, inconsiderate, wealthy, and ignorant people making things difficult for everyone, just like mine :)

No trick to eliminate glasses fog while wearing my mask has worked, not a single one, it actually has affected my job and work speed and is incredibly frustrating, and I have to deal with it and pretend it’s not a problem while still encouraging others to follow the rules for everyone’s safety and the cognitive dissonance is driving me insane.

It’s really really really not anti-Japanese... to be uncomfortable with the rampant pedophilia in manga and anime, and voice this. I really can’t compare western animation’s sneakier bullshit with pantyshots of a 12-year-old girl.

Most of the people in the cottagecore aesthetic/tag have zero interest in all the hard work that comes with maintaining an isolated property in the countryside, milking cows and tending crops before sunrise, etc. And that’s okay? They just like flowers and pretty pottery and homemade pastries. Idk where discourse about this came from.

You think mint chip ice-cream tastes like toothpaste because you’re missing a receptor that can distinguish the flavors, and that sucks for you. It’s a sort of “taste-blindness” that can make gum spicy to some while others can eat a ghost pepper without crying.

Being a spectacle for the oppressive class doesn’t make them respect us, it makes them unafraid of us. This means they continue to devour us, but without fear of our retaliation.

Only like 4 people on tumblr dot com are actually prepared for the full ramifications of an actual revolution. The rest of you just really imprinted onto Katniss, or grew up in the suburbs.

Straight crushes are normal. They’re people first, sexual orientation second. Can’t always know.

The road to body positivity is not easy, especially if what you desire is what you aren’t.

You’re actually personally responsible for not voluntarily bringing yourself into an environment that you know is not fit for you unless you have the resolve to manage it. Can’t break a glass ceiling without getting a few cuts. This one’s a shoutout to my homophobic temp coworkers who decided working a venue with a drag show would be a good idea. This is also is a shoutout to people who want to make waves but are surprised when the boat tips. And also a shoutout to people who—wait that’s it’s own controversial opinion hold up.

Straight people can and should stay the fuck out of gay bars and queer spaces. “yoUrE bEInG diVisiVe” go fuck yourself.

[aion-rsa]

Why Jack Bauer Is America’s James Bond

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Despite what Marvel might have you believe, not all film franchises are perfectly serialized.

Take, for example, another kind of cinematic superhero: James Bond a.k.a. 007. The MI6 spy created by Ian Fleming and brought to screen by Harry Saltzman and Albert R. Broccoli is timeless in the most literal sense of the world. Since Sean Connery passed the role of James Bond to Roger Moore for good in 1973’s Live and Let Die (Connery previously gave way to George Lazenby in On Her Majesty’s Secret Service before returning in Diamonds Are Forever), James Bond has become unstuck in time. 

As played in subsequent films over several decades by actors like Timothy Dalton, Pierce Brosnan, and Daniel Craig, Bond remains the same while the world around him changes. Some fans like to theorize that “Agent 007” and “James Bond” are aliases used by different MI6 spies throughout the years. But within the context of the series, there is only one Bond…James Bond. Bond is always middle-aged, looks good in a tux, enjoys stiff drinks and beautiful women. 

Read more

Movies

James Bond Movies Streaming Guide: Where to Watch 007 Online

By Don Kaye

The Cold War ended in the ‘90s and yet Bond, perhap the ultimate cinematic representative of its aesthetic, just kept calm and carried on as usual. Save for a handful of Craig’s latter year depictions, James Bond rarely learns any new tricks. He doesn’t develop. He is what he is – a hero of espionage and action. In that regard, the James Bond series is a surprisingly honest exploration of the occasional propagandistic aims of major blockbuster filmmaking. Bond isn’t a character in a story. He’s the United Kingdom’s idealized version of itself writ large on a canvas widescreen: a suave spy who is welcomed into every country to get laid and save the world. 

But what about the United States’ idealized version of itself? How has the Cold War’s lone surviving superpower let itself go without a similarly iconic (and occasionally nakedly jingoistic) cinematic creation? The answer is that America already does have an outsized action icon…he was just on television. 

Jack Bauer of early 2000s Fox thriller series 24 is American James Bond whether we want him to be or not. Just as Bond is the idealized Englishman, with his martini lunches and quick wit, Bauer is the America’s warped ideal of itself: angry, merciless, focused, and unfailingly effective. 

As portrayed by Kiefer Sutherland (who won an Emmy for the role), Jack Bauer started off as a fairly three-dimensional character in 24’s first season. That season picked up with Jack as a family man and a glorified pencil pusher at the fictional Counter Terrorist Unit’s Los Angeles office. Over the span of the first season’s 24 hours (24’s hook, of course, is that each season takes place over the span of a 24-hour day in real time), Jack slowly lost grip of his humanity, culminating with his friend Nina Myers turning out to be a mole and murdering his wife Teri. 

The death of Teri fundamentally changed Jack. For eight subsequent seasons and a movie, Jack became an Uncle Sam-style cartoon character obsessed with protecting his country from terrorists all over the globe, because his family was already taken away from him. Elisha Cuthbert as Jack’s daughter Kim was a prominent character for a few seasons, but as she was phased out so too was Jack’s grip on reality.

Unlike the James Bond series, 24 was particularly devoted to its chronology, with the very premise of the show meaning it had to have a close relationship with time. Jack Bauer would in theory grow as a character from season to season. But rather than developing, he mostly devolved into the most base version of himself. 

It’s in this way that Bauer actually became more like James Bond than one might initially expect. Regardless of who is playing him or what time period a particular film is set in, Bond’s characteristics remain static. By the end of 24’s run in 2014, Jack was similarly a Bond-ian relic of the past. Though the country was still feeling the effects of it, “The War on Terror” seemed as dramatically quaint for 24 as the Cold War did for James Bond. And yet here was this rugged American in the miniseries 24: Live Another Day, gripping the life out of a pistol and barking at perceived London terrorists in a gravely timber like a psycho.

24: Live Another Day was the last appearance for Jack Bauer and rightfully so at the time. The character had become a bit too anachronistic and his show, quite frankly, was frequently xenophobic. Still, as the continued success of Craig’s Bond films indicate (with No Time to Die finally set to arrive this October) perhaps there is still room for walking anachronisms in the entertainment world, as long as they’re approached correctly.

Fox has repeatedly attempted to rejuvenate the 24 brand. In 2017, the network greenlit a spinoff starring Corey Hawkins called 24: Legacy. Like its forefather, 24: Legacy, utilized a real-time format, only condensing 24 hours into 12 episodes like Live Another Day did. The spinoff was not successful and was quickly canceled following the conclusion of its first season.

Ultimately, Fox (now owned by Disney) hasn’t made any subsequent reboot attempts work yet because it has misidentified the appeal of 24 as a franchise. While the ticking clock aspect of telling a story in real time is novel and interesting, it wasn’t the reason the original series lasted for nine seasons. The real reason for 24’s success was Jack Bauer. Viewers are typically attracted to characters, not concepts. In Jack Bauer, many an American viewer likely found the embodiment of a paranoid nation they recognized.

There’s an undercurrent of anger and indignance in the American psyche. Exactly why is a question best left for sociologists. Perhaps it’s misplaced guilt over displacing a society to create a new one, or maybe it’s just the disappointment of being promised a Manifest Destiny and getting Wyoming. But whatever the reason, Jack Bauer is as apt a cartoonish American avatar as James Bond is a British one.

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So why then doesn’t 20th Television (again, now owned by Disney) just formalize the comparison and make Jack Bauer literally American James Bond? Just as Connery once handed off the baton to Lazenby and Moore, have Sutherland hand the role off to someone else. That actor would preferably represent the American physicality that Sutherland brought to the role (despite Sutherland being a Canadian, which is somewhat fitting given that the Scottish Connery was the first to play Her Majesty’s favorite spy). The new Jack Bauer would be played by someone who is short, stubbly, and angry rather than Bond’s tall, dark, and handsome. Throw the new Jack back into the field in a modern day ticking time bomb plot without bothering to explain why he is still middle-aged after 20 years. 

The answer to why Disney wouldn’t want to do such a thing is almost certainly all that aforementioned racism and torture. That is admittedly a, uh…roadblock. It really can’t be overstated just how xenophoci 24 was at times and how cruel it could be to characters and actors of Middle Eastern descent. Jack Bauer’s reliance on torture wasn’t just a dramatic crutch, 24 co-creator Joel Surnow genuinely believed in the value of torture as a foreign policy tactic. 

Suffice it to say, the series has not aged well. Then again, however, neither have many of the earlier Bond films. To a certain extent that’s the point of the Bond franchise. It understands that making movies is making myths. James Bond is every bit the mythical figure that Captain America or Iron Man are. The fact that Bond is so obviously an exaggerated character now has helped soften some of his more problematic edges. 

Bauer, on the other hand, comes from an era where Americans were both terrified of the looming threat of terrorism and were starting to invest in television as a more “serious” art form. As such, not everyone of the time was prepared to accept Jack Bauer as American James Bond, that is to say a cheesy cultural figure, not a vital supersoldier of freedom. 

In The Atlantic’s 2007 article “Whatever It Takes” about the politics of 24,  U.S. Army Brigadier General Patrick Finnegan, the dean of the United States Military Academy at West Point, recounts Jack Bauer’s effect on enlistees.

“The kids see it, and say, ‘If torture is wrong, what about 24?’ The disturbing thing is that although torture may cause Jack Bauer some angst, it is always the patriotic thing to do.”

The world has changed since then, obviously. But even now, it feels like it hasn’t fully set in that Jack Bauer is the American James Bond and should be treated with the same amount of reverence, which is none at all. Perhaps the only responsible move left is, in fact, to continue the increasingly ridiculous stories of the character with new actors.

In the right hands, Jack Bauer could be put to use as a blockbuster magnet and an appropriate critique of American foreign policy. In the end, icons don’t matter so much as what you do with them. 

The post Why Jack Bauer Is America’s James Bond appeared first on Den of Geek.

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