#you have to portray the build-up with subtlety

[that-ineffable-devil]

I've praised George Rextrew a lot for the emotion he put behind various actions, and I stand by that.

But I also want to take a moment to appreciate Jayden Revri's ability to handle Charles' more explosive emotions.

In the Devlin house, you watch his anguish and anger build in equal measure. Unlike the characters, we get to see the build-up to the outburst that leads to him getting stuck in the loop. The first time he sees that man murder his family he wants to look away, he tries to look away. You can see how much it hurts him, but he turns back and watches anyway--and the horror turns to rage.

When the Night Nurse comes, he fights her off--very aggressively yes, but they didn't see what he did when she took him into his memories--and everyone looks at him like...like he's a bomb that may go off again? Like they've never seen him before?

The boy's just been through some of his most traumatic memories and committed an act of violence that probably only made that experience worse, and he sees his friends looking at him the way he'd always feared they would--like he's a bad guy. And Jayden portrays that grief and pain so beautifully.

And when he gives that little "no" while he's crying and jerks away from Edwin's outstretched hand?

My heart feels like it's been squashed and wrung out.

[canmom]

watched a 30 minute video about hajime isayama and his development as a mangaka and a person. it talked a great deal about his self esteem and inferiority complex and anxiety, which i agree are all relevant to his work, knowing it's a lonely (maybe autistic? he kinda has the vibe) guy in his 20s trying to navigate a first serialisation explains a lot. but not a single word about his political ideology, and like. surely someone has asked him about it? at some point?

there was a period he was getting death threats from Korean readers after it came out that a positively portrayed AoT character was modeled after a certain Japanese general who participated in the occupation, it's not like it's a niche subject. and more generally there are points where AoT comes across almost as a roman à clef for the Japanese far right, the Marley arc onwards throws out all this Holocaust imagery, it's a story full of military coups and people getting radicalised into paramilitaries and geopolitical tensions and genocides and the bloody legacy of nation building, generally handled with about the subtlety of a train. he definitely was a nationalist at one point, and the general consensus on this website tends to be it's simply youjo senki levels of fash. I still feel like the situation is more complicated (at least there is a lot that would undercut a straightforward fascist reading), but I kinda want to hear what Isayama would say about it.

not that he entirely seems to have the strongest ability to discuss the themes of his work in explicit terms. like not even in a 'the work should speak for itself' sort of way, which i would respect - he seems to talk a lot about his hesitance over what readers would accept, his worries he didn't stick the landing, his difficulties connecting with his main character, how the anime adaptation affected his writing. he's happy to talk about a lot of things! and i don't mean some interviewer should corner him like 'so man, are you an actual fascist or what, the people are dying to know' - more I just kinda want to know what the hell he was going for with all this. whether he feels his worldview changed over the course of the story. if what I think I am picking up is what he thought he was putting down. because i can speculate and all, but... whereas with someone like Hayao Miyazaki, or Yoko Taro, they've talked quite a bit about their respective ideological development and how it's reflected in their stories, with Isayama there's just nothing I've been able to find...

[disturbingstar]

The last of us trivia

TV show

• Pedro Pascal agreed to play Joel within a day of being sent the script.

• Neil Druckmann (the writer and director of the games, and the co-creator of the HBO series) watched over 100 auditions for Ellie before seeing Bella Ramsey's audition, of which he said, “It didn't feel like I was watching someone acting like Ellie. I was watching Ellie.”

• The TV adaptation offered the opportunity to expand on characters' backstories like Marlene and Ellie's relationship - as they weren't limited to a first-person POV.

• Huge apocalyptic sets had to be made for the show that were only used once - like the interior of the Capitol Building, which was built on a soundstage from scratch. Matching the lushness of the game while making it more realistic was the end goal, and art books from Naughty Dog (the company that developed the video games) were used as a jumping off point.

• Tess is portrayed by Australian actress Anna Torv. She was aware of the games but had not played them and watched the cutscenes after her casting. Torv felt her performance required consistent truthfulness due to its subtlety.

• Anna Torv and Pedro Pascal who portrays Joel decided that Tess and Joel had been lovers for some time but, like in the game, were subtle about their relationship.

• Sarah is portrayed by English actress Nico Parker. Parker watched videos of the original game years before getting the role. She wanted to stay away from the game version and provide her own interpretation of the character.

• As the clickers were a “home run” in the games, prosthetic artists from Game of Thrones were brought on to make them look as close to the source material as possible.

• There was even a movement bootcamp to train extras how to move like infected.

• The art teams were given the direction to find the beauty in the fungus. As Neil Druckmann said, “When you see the beauty in these monsters, it somehow makes them creepier.”

• It was Bella Ramsey's suggestion to have Ellie sleep with a switchblade during her first night with Tess and Joel.

• Neil Druckmann always thought of Joel and Tess's relationship as romantic, and the TV show offered the opportunity to make that explicit.

• Neil Druckmann is open to a The Last of Us Part 3 game, but it depends on whether the team can “come up with a compelling story that has this universal message and statement about love.”

• Pedro Pascal was chosen to play Joel Miller because of his ability to portray a tough, tortured, and vulnerable character who suppresses his emotions until necessary.

• Pedro Pascal based Joel's voice on his own experiences growing up in San Antonio, Texas, paring it back from the Southern accent used in the games.

• Bella Ramsey was aware of the game before their audition, but was encouraged not to play it to avoid replicating Ashley Johnson's original performance, instead watching some gameplay on YouTube to get a sense of it. As of filming the series, they still hadn't played the game.Ramsey wanted their performance to be reminiscent of the games without copying them.

• Unlike his counterpart from the video game series, Joel is more vulnerable in the television series; he is hard of hearing on one side due to a gunshot, his knees ache when he stands and he also suffers from nightmares and panic attacks. Co-creator Craig Mazin felt Joel should be less resilient than in the game to show the toll that living in the post-outbreak world has taken.

• Tommy is portrayed by American actor and producer Gabriel Luna. About a month after the casting of Pascal and Ramsey as Joel and Ellie respectively, Luna was asked to submit an audition tape. He was familiar with the work of co-creator Craig Mazin and executive producer Carolyn Strauss, and had previously worked on HBO's True Detective. About a week after submitting his tape, he was offered the role and, according to Luna, they instantly knew he was the one. He was enthusiastic for the role, having lived in Austin, Texas—Joel and Tommy's hometown—around the same time as the show's setting. He was also given a PlayStation 5 during production to play the games as research.

[roscvcins]

@h3artf3ltint3nt asked : ✦ - POSITIVITY TIME ! drop a ✦ in my inbox and i’ll tell you at least one thing i like about your writing, portrayal, headcanons, world building, blog aesthetics, whatever it is i like about your blog, writing, & portrayal!! if you can’t see the symbol, send ‘star’! (accepting!)

I love how poignant and specific the emotions are in your writing! You have a knack for describing them and really bring the energy of the thread up through the roof when you portray it in writing and Kexin's big (and small! subtleties are also very appreciated and very moving) emotions always elicits and gives space for such delicious response from other people's muses (mine, but also sometimes i spy on your threads on dash teehee)!!!

[untitled-byler-blog]

Should there be a Byler Sex Scene?

ok now that it's not a such a Hot Topic of the tag, I'll reiterate my point for those of you who weren't around for my first spiel:

disclaimer, as a sex-repulsed asexual who does not like watching sex scenes, I acknowledge my bias on the subject

in an ideal world I'm ok with a byler sex scene existing; (apparently, can't speak from experience) teenagers experience sexual thoughts/feelings and I think it's perfectly normal to portray those feelings existing, going so far as something like the Jancy scene from s2 (I don't think that characters who are minors should be explicitly shown in sexual situations (re: st4ncy in s1) regardless of the age of the actors)

That being said, there is a different obstacle that byler faces: Stranger Things can be revolutionary by being a mainstream show with such a massive following with a canon queer couple at the forefront of it when it's not an inherently queer/romance-based show; but the caveat of this is that there are a lot of people who will not be accepting of a Byler relationship. Whilst some peoples' minds will not change, the incredibly slow build up of the relationship can serve to make it much more palatable to those who sit on the fence, or perhaps even just over it.

If the audience was predominantly queer (which it is not), then having a sex scene would not be on such a fence, as the majority of the audience would perceive it (queer sex) as something that just happens. But, as that is not the case, Byler should not even so much as have an implied sex scene (in my humble, and -- as previously mentioned -- biased opinion) because it reinforces to the general audience a harmful stereotype: that queer relationships are inherently sexual

Obviously, being queer is not something sexual in and of itself, but because of this stereotype (re: because of how queerphobes perpetuated hate surrounding members of the queer community/arguing (falsely) that they are "corrupting" children by saying that their (queer people)'s existence is inherently sexual) having a queer couple that (to much of the general audience) will be coming out of nowhere, having a sex scene would only be fuel for them to continue the argument that queer=sexual

Thus I believe that for Byler to have the profound impact on the general audience that we so hope to achieve from its canon confirmation, a sex scene must be avoided at all cost; if the directors are smart, they will make sure that the relationship is not oversexualised so that it could be understood that queer people are just people, they are no different from other het ships on the show (like Lumax, who have not been shown in any overtly-sexual ways; and, with the way Max's condition is, probably will never be within the timeline of the show); and, as much as I can understand (to an extent) the satisfaction that could come with such a scene, I do not think it is a smart move from the perspective of the queer community vying for recognition as something "normal" and not "x-rated"; nor (and, unfortunately, much more importantly to netflix) from a marketing perspective

I think that subtleties like the pizza kitchen scene will be the extent of the sexual side of their attraction that we will be "shown"; and I truly think that that is for the best for everyone

[assortedseaglass]

For The Seamstress & The Sailor, questions 2, 3, 4, 9, & 10, please 💜

Thank you most lovely person! Got carried away with the answers...

2: What scene did you first put down?

The opening scene! I wanted to write a Tom fic for a while. But wasn’t sure who to pair him against. I’d also had an inkling to write about three sisters, and eventually one day they came together.

Really, the story is about Bess more than Tom, and so I wanted her world to feel fully fleshed out before I launched people into their relationship with each other. Having the sisters sitting on the front step with their neighbours, I wanted to portray every key player in the story from the outset!

It’s no surprise to anyone that has read anything by me that I love world building and a huge part of that is the characters.

3: What's your favorite line of narration?

I really enjoy writing how Bess and Tom see each other. They’ve known each other so long there’s an existing intimacy that is fun to write. And that doesn’t always mean it is loving. I enjoyed Bess’ perspective here;

His head was leant against the brick of the house, exposing the lean muscle of his neck. The cigarette in his mouth was barely lit, and he pursed his lips to puff it into life. Bess watched the smoke unfurl in the air and caught site of his shadow against the wall. Sharp, harsh and angular. He looked like a Roman statue. Not one of a great emperor, mind. One of those spoilt man-childs that fucked their way around Rome before dying of syphilis. Bess snorted and sat on the bench beside him.

I also like writing Tom because I find him quite hard to read. I’ve said it before but even though Tom is a brash character, EM plays his emotions with such subtlety it's fantastic. I like this observation of Bess from his view;

Bess sat beside him and he passed her his cigarette. She placed it between her lips, Tom watching as she did. He didn’t comment on her dress, though admired it all the same. Her rosy face glowed in the low afternoon light and the smoke she exhaled cast a shadow around the plump lines of her face. Her long eyelashes were bare, as was the rest of her face. Youth exuded from every pore but, as always, her eyes were dark and focused. Bess seemed to have lived a million lives before she was given this one.

4: What's your favorite line of dialogue?

Basically anything Dot says! She is so open emotionally she just says whatever she’s thinking and I love that.

My all-time favourite bit of dialogue, though, goes to Claudette. I wanted Tom to have this realisation that he loves Bess, and for that to come when he meets this woman very similar to her seemed like the perfect time. And just as Bess always seems to floor Tom with what she says, Claudette does the exact same thing.

“You must love her very much. To see her faults and love her as you do,”

“You what?” Tom spluttered as he made to sip the flagon of water. “I-what? I mean, Christ-”

“Falling in love is easy,” Claudette continued. “People do it all the time. But staying in love, that’s a choice. The more we know someone, the more we see their faults. To want them despite that, that’s real love.”

It also seemed to resonate with people, and that is always lovely when we put writing out there.

9: Were there any alternate versions of this fic?

Were there! There were a few alternate ideas but mostly they went out the window pretty quickly because they didn’t make any sense!

The biggest change was that I was going to kill Fergal at the end of Volume I.

I made him an air raid siren with the intention that it would help his alcoholism, and that just as he had reformed himself he would be killed in the Manchester Blitz. However, the arc with Tom and Bess towards the end of Volume I is quite plot heavy, with Tom escaping occupied Europe, so I wanted to wait until Volume II.

My mum and I had a theory leading up to Word on Fire series 2 that Douglas would be killed in the blitz, then lo and behold Julia Brown revealed it was true! I grappled with killing both Douglas and Fergal, changing the story so that it was just Fergal who died, or keeping it in line with the canon of the show. I went with the canon because I think Douglas’ death is devastating to both Tom and Bess, and that is going to be interesting to explore.

I do miss him, though, and I really miss writing him. RIP Douglas <3

10: Why did you choose this pairing for this particular story?

I’m cheating here and taking my answer from your amazing Interview with a Writer series which everyone should read!

My take on Tom is that he was a confident child, and took this confidence and started to act out after his mother died. He says what he thinks and doesn’t worry about the consequences. War wakes him up to is faults. 

Bess, on the other hand, was not confident as a child, and only grew in confidence as an adult. She became sure of her place, whereas Tom started to question it. She rarely speaks her mind, only when she feels it is needed. War wakes her up to her strengths. 

In that way they are different, but they have common ground too. Both are incredibly loyal, lost their mothers young and have things to prove. Tom, that’s he’s not just a petty criminal with no direction, Bess that she is worthy of a place despite her difference to her peers. Both of them also want to prove that there is more to the working class than what society expects of them.

I think those core elements that are similar, but the small differences that challenge each other, make them an ideal fit.

Fanfic Asks

[feastofcadavers]

THANK YOU FOR KILLING OFF MY ARCH ENEMU (lemon cookie) ABSOLUTELY DESERVED FLAIL THAT CITRUS COOKIE AROUND AND CALL HIM A PRIDE FLAG WOHOOO YAAYAYAYA🎉🎉🎉I have been praying on his downfall for so long this is the best day ever i am throwing confetti and cheering

out of all seriousness, though your writing is absolutely beautiful, I love the way you write foreshadowing and the way you build up tension so much. As someone who struggles a lot with reading tone through text, I could tell exactly what was going on and what each character was feeling throughout the scenes, I've literally never felt so immersed in a story before I'm going to EXPLODE/POS your details are.AAAAAAAAAAAAAA your work is so cool Anywyas woogooo KILL THAT CITRON WOOHOO

Ah, it seems your bias against the citrus one has bore fruit! Seething through the tale in hopes for one's unfortunate fate... I can relate to such. Mine has, too, come to fruition. Not all of it, though... Not yet.

Your praise is taken with appreciation and grace. As one who had to analyze others in order to properly understand their emotions and how specific individuals would interact with specific events, it is very comforting to know that such attentiveness has brought about an effective means of portraying emotion and tonal indication without being obvious. Subtlety is always key in matters such as these...

Now, care to watch the ripples of aftermath with me? While we still have time? It would be nice...

[themosleyreview]

The Mosley Review: Knock at the Cabin

Ya know, as far as apocalyptic films goes.....wait a second. Has it really been at least 5 years since we've had another one of these type of films. Yeah sure you could count the big blockbusters The Tomorrow War or maybe A Quiet Place, but those are more in line with post apocalyptic and time travel. I'm talking about the films that build to the inevitable destruction of everything we know. This film decided to go the other way and bring back that classic amount of tension and fear of the unknown. Is the apocalypse actually happening or are the antagonists of the film delusional? Is the evidence being presented as fact or a well crafted deception? Those are the many questions you begin to ask yourself throughout the film and I loved that. Although the tension, intensity and pain were very well portrayed, I couldn't help the feeling that the subtlety of each was quickly starting to falter and overstay their welcome. There are some moments of pure illogical behavior that were almost unforgivable and I won't spoil them here. Lets just say that there is an item that changes the tide in the struggle that any normal person would have ready to dispatch an intruder with at all times.

Ben Aldridge was great and combative as Andrew. I liked that he was the most skeptic in the couple as the clues presented themselves of whether what was happening was real or not. Johnathan Groff was loving and kind as his husband in the film, Eric. He represented the heart of the relationship and he was the most understanding and inquisitive. Kristen Cui was outstanding as Wen and I loved her pureness of heart. She was genuinely curious, but smarter than most kids in films like these and I appreciated that. The three of them were a lovely family and you feel the love they all shared for each other. Dave Bautista has continued to truly surprise me with the ever growing quality of his dramatic performances. As Leonard, he was so charismatic, heartfelt and remorseful as he reluctantly has to follow the path laid before him. I loved the opening scene with him and Wen as you see that friendly giant spirit within him shine. That scene set the tone of the film and he led it to so effortlessly. Nikki Amuka-Bird is one of the best at delivering true heartbreak, determination and yet care. As Sabrina, she did all of that and helped truly sell the nurturing nature of the character. Abby Quinn was excellent as Adriane and I loved that she was actually pleading for some sort of savior. She may be the very confident one of the group, but she really had a kindness in her eyes as she divulged her life before ending up in this situation. Rupert Grint blew me away as Redmond. He was a harder edged character that truly was full of pain, trauma and regret that I really felt sorry for. He nearly stole the film in his moments and it was great to see him back on the big screen again in a role I didn't know he could portray so powerfully.

The score by Herdís Stefánsdóttir was haunting, pulse pounding and emotionally charged in the best moments of the film. The only negatives I felt about the score is that it sometimes telegraphed or tried to force you to feel a certain way in a number of scenes. Sometimes a film can be over scored and I believe this one was one of them. The power of silence can really deliver the best tension or scares and I wish there was more of that in this film. Aside from one of the biggest mistakes a character could make happening in the latter part of the film, I did enjoy this apocalyptic tale. It delivers great tension and mystery, but it does lack some breathing room to truly make it as memorable as it could've been.

[macproject]

Unlock Your Full Acting Potential with a Dialect Coach in Melbourne

Unlocking your full acting potential is a journey that many aspiring actors take, but it often requires expert guidance to reach its fullest expression. One of the most valuable resources in this process is a dialect coach, especially in Melbourne, where mastering accents and dialects is often essential for various roles. At The Mac Project, we recognize the importance of clear communication and the subtleties of accent training. That’s why we focus on the significant benefits of working with a skilled dialect coach to help you elevate your performance.

The Importance of a Dialect Coach

A dialect coach does more than just teach correct pronunciation; they help you grasp the cultural and emotional nuances behind the accents you aim to master. This deeper understanding can elevate your performances, making them more authentic and relatable. Here are some key benefits of working with a dialect coach in Melbourne:

Personalized Training: Every actor has unique needs based on their background and the roles they pursue. A dialect coach customizes lessons to address these specific requirements, providing tailored feedback and focused practice to help you improve.

Immediate Feedback: One of the key benefits of working with a coach is the real-time feedback you receive. This immediate guidance helps you avoid developing bad habits and reinforces correct techniques as you practice.

Enhanced Listening Skills: A vital aspect of mastering any accent is honing your listening skills. Your coach will guide you in recognizing subtle differences in pronunciation and intonation, which are crucial for delivering an authentic performance.

How Dialect Coaching Enhances Performance

For actors, mastering a dialect can be the key to transforming a good performance into a great one. Here’s how a dialect coach in Melbourne can take your acting to the next level:

Cultural Understanding:Accents are closely linked to culture. A dialect coach will offer valuable insights into the cultural nuances of different accents, enhancing your ability to portray characters with greater depth and authenticity.

Confidence Building: Many actors face challenges with confidence when performing in an accent that feels unfamiliar. Regular sessions with a dialect coach can help build your confidence as you become more comfortable with your new speech patterns.

Versatility in Roles: As an actor, versatility is essential for securing a wide range of roles. A dialect coach provides you with the skills to adjust your speech for different characters, broadening your range and opening up more opportunities in the industry.

Choosing the Right Dialect Coach

When choosing a dialect coach, it's important to consider their experience and teaching approach. Look for someone with a background working with professional actors who understands the industry's demands. At The Mac Project, our coaches are experienced professionals who bring their expertise to every session, providing high-quality, personalized training to help you achieve your goals.

Key Considerations:

Experience: Make sure your coach has specialized experience in dialect coaching and understands the complexities of accent training.

Teaching Style: Coaches have different teaching methods, so it's important to find one whose style aligns with your learning preferences for the best results.

Success Stories: Check for testimonials or success stories from past students to gain insight into what you can expect from the coaching experience.

The Role of Practice

Working with a dialect coach in Melbourne is incredibly valuable, but practice is just as important. Here are some strategies to maximize your learning experience:

Regular Practice Sessions: Set aside regular practice sessions outside of coaching to reinforce what you've learned.

Record Yourself: Listening to recordings of yourself speaking in various accents can help you pinpoint areas that need improvement.

Engage with Native Speakers: Whenever possible, interact with native speakers of the accent you're learning. This practical experience can significantly enhance your skills.

Conclusion

Unlocking your full acting potential takes dedication and the right support. A skilled dialect coach in Melbourne, like those at The Mac Project, can provide the guidance you need to master different accents and refine your overall performance. By investing in dialect coaching, you're not just learning to speak with a new accent; you're improving your ability to connect with audiences through authentic and compelling character portrayals. Embrace this opportunity for growth—your future roles will benefit from it.

[lettersfromandie]

Slow Burn Melodrama: A Break from the Fast-Paced

Whenever I watch a Korean drama, sometimes I wonder how they structure and make the story progress so fast, that so much has already happened even if I'm still on episode 4 out of 16. It is not a surprise though since K-dramas are known to have a fast-paced build-up. I may have not watched most of what everyone has on their "Watched" list but I can tell that I've already seen a lot and they are mostly the ones that make me say, "What? Episode 2 pa lang marupok na si mareng Yu Na-bi ni Park Jae-eon?!" Cheka.

Seriously though, I've watched a lot of heavy and intense dramas (also recently finished The World of The Married) - which is also my liking but when I've already seen so much of that heavy-packed drama and conflict, I want to take a break. Not to mention, lately I've been super overwhelmed with school + org + household responsibilities so I wanted to find something, anything, that will serve as my breather.

Gasping for air, I was searching some music videos of K-drama OSTs because playing them are therapeutic for me. Then, I randomly discovered a really good soundtrack that led me to finding and watching my breather. The song is Rain or Shine by Elaine, from the K-drama, A Piece of Your Mind.

What exactly compelled me to watch the drama is this song and the scenes from timestamp 0:55 onwards in the music video. I was intrigued and fascinated of the mahinhin gestures and I can easily feel the tension when the person was silently watching the other from a distance. These are subtle actions that we don't really get to appreciate or take notice of because they don't seem obvious and deliberate. Personally, it's the little things, the subtleties, that soften me most. And I wanted to see it in third person.

I don't remember watching a slow-burn romance melodrama, so I guess this was a first. And since this was my first, I did not expect anything, but a precious Jung Hae-in that I know will surely melt my heart 😝💓 From not clearly understanding the background in the first two episodes, to realizing that there are other precious people aside from Hae-in's character, then gradually appreciating the sentimentality of a slow-paced development, and finally grasping the entirety of the story, here's what I can say about A Piece of Your Mind :

It's an underrated, heartwarming melodrama, which not everyone is ready yet to give the recognition it deserves. It gives me the warm fuzzies and the fresh air I had been longing for. Not only did it help me breathe better, it also made me appreciate the beauty of the quiet. Ha Won (played by Jung Hae-in) and Seo Woo (played by Chae Soo-Bin) showed that there's something so simple yet pure of looking at someone from afar - not expecting, but hoping, or maybe none at all. That there's so much respect and love of patiently waiting and giving them the space and time to take a break, to grieve, or to be at peace. No rushing, no forcing. 

This drama both calmed and fluttered my heart. Too precious, I can't take it 😭💗

There are also many scenes and lines that resonated with me. One of which is this:

Having a one percent chance on someone or something may be positive or negative depending on how we look at it. 

"At least I have one percent." 

"I only have one percent." 

Usually, it's the latter we tell ourselves. Knowing that we only have one percent can be disheartening and we tend to kill it since it's just close to none at all. But Ha Won reminds us to let that one percent be free. You'll never know, it'll grow when you leave it be. (So, Jung Hae-in, as long as you're alive, I'm still clinging to that one percent chance I have with you and leave it be. Chos. Nagbabasakali lang naman.)

There is so much understanding and emotional rawness portrayed in A Piece of Your Mind and I can't help but cry (I always do). I am relieved that this drama and its OST has somehow given me some healing. It has easily become my comfort K-drama and I definitely want to watch it again.

The perks of a slow-burn melodrama. Never fails to evoke such emotions. Letting us take the time to savor the softness and sensation of the slowness. If you need a break from the fast-paced, I can attest that a slow burn melodrama will give you a peace of mind. (Kahit mapapasabi ka na, "Three episodes left and wala pa rin kissing scene?"  HAHAHA cheka.)

Love, Andie

[denimbex1986]

'...The return to in-person movie theaters was a welcomed one. With the most unlikely crossover successes, films like “Barbie” and “Oppenheimer�� made alliances, both to their commercial benefits...

“Oppenheimer”

“Oppenheimer” is a must-see film from the summer of 2023. It has everything you would expect from Director Christopher Nolan: multiple converging plot lines from different periods, fast editing, jarring cuts and, of course, white male actors galore.

But perhaps what is most impressive is the amount of suspense Nolan is able to build in a film about theoretical physics. “Oppenheimer” builds tension without any fight scenes or action, but rather, with clashes of personalities between the scientists, the government’s distrust of J. Robert Oppenheimer (Cillian Murphy) and the ever-present external pressure of the Nazis acquiring an atomic bomb. Through his excellent portrayal of Oppenheimer, Murphy portrays the pressure of leading the Manhattan Project. The genius of his acting lies in the subtleties since his character is not the most ostentatious of men.

In fact, the acting in “Oppenheimer” is both the film’s greatest strength and weakness. Because of the sheer number of great actors, not everyone can have the spotlight for long. I wish Florence Pugh’s Jean Tatlock had more screen time, as she shines in her few scenes . Emily Blunt also excels as Kitty Oppenheimer, giving one of the most emotional and heroic performances in the film as the only person who stands up for J. Robert Oppenheimer in the face of disgrace. The most underrated performance, in my opinion, is Jason Clarke as Roger Robb: his relentless grilling of J. Robert Oppenheimer during the scientist’s trial for security clearance is both frightening and electric — Clarke makes me feel the smothering, interrogational treatment endured by the main character.

— Samuel Bartlett, Staff Writer...'

[cobaltaris]

Aris 2023 Media #17: The Owl House

so i just saw the Finale, and, fuck this show REALLY resonated with me, and I'm so glad I listened to everyone who told me to check it out. even if Season 3 was kinda rushed because Disney Fuckin Sucks and Hates The GaysTM, the way this show portrays the kinda struggles I and others dealt with as our Autistic LGBTQIA+ Zoomer Selves, and so ACCURATELY depicts how it feels to be in that kind of life with the world it sets up, with the characters it sets up, and how engrossed i was for all of it. it. it is so good

the show kinda struggles a bit at the beginning since you know, Season 1 need to establish the world and being a Disney Channel show its pretty light-hearted, gag-heavy, but you can still see a LOT of good world building scenes planted, and there's more subtleties put in place to eventually leading the show becoming Gay as Shit But Also Incredibly Heart-Wrenching and Lovable (I binged the shit out of Season 2, NO REGRETS) but god, Luz's struggles are so relatable. her's, King's, and Eda's all really - SUCH a good main trio, and the supporting cast I also all really liked by the end, especially Lilith, Amity, and Hunter! the Boiling Isles themselves have such a cool art direction too, that I'm glad in hindsight so much of Season 1 was focused on it, to let it support Season 2 and 3 as much as it did - the work Dana and her team did to make everyone and everything endearing as it was, making even the most out-there stuff be close to our own personal struggles is. fuck. it got me several times, especially when this show wants to get dark and boy can it get fucking grim

but there's always such a sense of optimism and connection despite it all, I felt for everyone to the end! fuck, the midpoint of Season 2 might just be the best part of the show for that alone, they get you attached to these characters and they put you through the WRINGER with them, but it works so, so well. and I'm so glad the show ended as it did, hit me in all the right spots and that, even if it was rushed, i still felt really sad yet satisfied to see this lovable cast go; thank you Dana and the entire Owl House team for making one of my new favorite shows ever <3

show is definitely S grade btw, I need to internalize putting in the rankings for these now that I actually have character spacing ghfgjfgjfg

[solshineonyou]

You see, the thing about LUCY's music... well more specifically the mvs. Is about how it always has been about reminiscing on childhood and finding our inner child. And I think that they somewhat strategically paced out the mv concepts, is that makes sense.

We compare the stuff that came out before and after mid 2021. From Flowering/intro up to I Got U, it's always been this whimsical, fantasy like world. Where everything is magical and somewhat soothing to watch. I Got U, specifically, feels almost more realistic and less fantasy-like. And that's where they start transitioning in mv concepts.

Rolling Rolling portrays the mundane and monotone adult day to day life and builds up to their childhood memories and the passions that kept them going. Play portrays something similar, and it just feels warming and healing for someone who has forgotten what the innocence and carefreeness of childhood feels like.

the whimsical and fantasy mvs feel like it was metaphorical(?) and subtle when it comes to embracing those who have gone through a lot, it reminds us of our child-like fantasies and wonders and makes us revisit them.

The more recent mvs are more upfront on the message: reminiscing on our childhood. The subtlety of the past mvs (ignoring that one line in snooze) may have not reached everyone. So these mvs carry out the message LUCY wants to send literally. And I think that either way is beautiful.

LUCY has gotten me through so much this last year or so. A band that creates fun and youthful feeling music that washes away my worries at the end of a long day. I honestly wonder what kind of future will we see with their music and concept.

[talkingbl]

The Good and Bad of Blueming

SPOILER WARNING. TW: eating disorders

The Good

The capturing of the Cha family dynamic. I want to start off by saying that the way Siwon's parents treated both him and his sister was shitty by any measure. That said, Blueming showcased an artfully crafted exploration of the interfamilial toxicity. Particularly revealing was the film-within-a-film. Those scenes where Siwon shot and exhibited his scenario were really the penultimate expression of Siwon's feeling's toward his mother. 2 things really got me: Siwon's stylistic choices with the film, and his mother's subsequent reaction to the film. Those two plot points demonstrated the power of subtlety in media. Siwon's feelings about his mother were deep and complicated yet felt simple to him. Siwon didn't hate his mother, he resented her. He didn't fear her, he wanted to be perfect for her. One scene in particular that stood out was the scene where his younger version is smiling as his mother forced him to drink the protein shake. It seems like, because of the divorce, he felt so sorry for her that he didn't mind when she began projecting all her insecurities onto him. All that mattered to Siwon, it seems, was that his mother was happy, even at his expense. And that feeling of wanting to see someone you love happy at all costs is extremely relatable.

Siwon's backstory. First off, we actually get a backstory that's not merely told to us but shown to us, like the adults we are. It's raw and compelling and shows us the uglier sides of humanity. But more than that, it gives us a look into Korean society that we never see--showcasing the blemishes on the veneer of perfection we see portrayed in Korean media. Another thing I loved about his backstory outside of the metacommentary it provided on individual choices was the fact that it had long-lasting and direct effects on Siwon's life. Siwon struggled with self esteem and feeling loved due to his abandonment issues and his mother's treatment of him post-divorce. This manifested itself whenever he'd jump to the worst possible interpretation of Daun's actions rather than assuming that Daun was approaching in good faith. That's a very real characteristic of people who struggle with low self-esteem. It also manifested itself as hyper-competitiveness with those he perceived as 'too good' for him or 'better' than him. Again, just a great way to communicate his lack of self-worth and fear of abandonment.

Daun as a concept. The best thing about Daun is how open he is with his feelings for Siwon. There's never a moment in the story where I'm left feeling confused about what he is thinking, which, IMO, is key to building a strong lead character. Plus, he's quite proactive and each of his actions have direct and measurable consequences that move the story forward. He is the living embodiment of this gif:

The mise en scene of Episode 9's intimate scene. Everything from the framing (the silhouettes), to the color grading (washed out moody blues), to the setting (beach house), to the tone (sleepy and playful) combined to create one of the most freeing scenes I've seen in a BL, ever. It wasn't just pretty to look at either--it took me to a completely different place outside of the show. It felt like that time around sunset when everything moves a beat slower, the wind is a perfect breeze, and soft background noise hums through the air. Truly gave the same vibes as 'the night feeling' (google it).

Daun's Episode 4 covered kiss. This was the moment I fell for Daun. I came into this show so skeptical and ready to be bored, but that moment changed me completely. And it wasn't the kiss itself that did it. It was the look on Daun's face as he did it, the words he'd muttered to himself up until that point, and the dumbfoundedness of Siwon. There was a childlike crush that had been growing on Daun's end and it just rose to a head. Such a beautiful moment, indeed.

The Bad

Siwon is a weak lead. Yes, I said it. He is so incredibly reactive that it actually hinders the plot. Any good writer knows that key to writing a good character is to make them do stuff rather than merely having stuff done to them. Even if the character is meant to be indecisive, they should do things that, you know, cause the the plot to happen. But here, Siwon barely moves the story forward. In fact, it's always someone else doing it for him. Whether it was his sister submitting his scenario or Daun progressing their relationship, siwon hardly did anything to give him a personality outside of his body image issues and general low self esteem. In other words, all his character development is in the past and doesn't particularly lend itself to moving the present story along..

What happened to Daun's villain arc? The moment Daun broke ole boy's phone, I thought we were in for a Ok Taecyeon Vincenzo-esque heel turn from Daun. Like the bad guy who'd do anything for his one true love. Sadly, I was wrong and we never explored that side of Daun again.

We still don't clearly know why Daun fell for Siwon in the beginning. Seemed a little too much like happenstance.

What exactly happened in the last 1-2 episodes? Girl, when I tell you I had no clue who was avoiding whom and for why in those last two episodes, I mean it. When I realized it was Daun who was avoiding Siwon, I was legitimately confused. Like, wtf? What did Siwon do to deserve this? Why was Daun doing this to himself? I honestly even feel like they should've cut the entire 11th hour betrayal plot out of there because we all saw that coming a mile away. It would've been more refreshing if Daun never went behind Siwon's back in the first place and they had some other conflict instead. But what do I know? I write blog posts not teleplays.

[the-girl-from-another-time]

May I ask you what's your opinion about Portia Fyfe? (At the beginning I like this character... but her reaction when Philo confesses his secret shocked me...)

Well, that’s a loaded question, isn’t it? 😂

The truth is, Portia’s character arc is one of the biggest things that bugs me about this show. I’ve heard it said that you know if media is well-written based on whether you’re mad at the characters or the writers — and I was mad at the writers. Frankly, I think Portia’s character was badly written and I don’t quite understand what the writers were trying to do with her; it feels like they changed their minds halfway through.

From the beginning, Portia is portrayed as a compassionate, insightful character. She clearly cares about Philo (more than he does about her, sadly), and that’s shown through everything like little comments and subtleties and how she acts around him. She really seems to grasp his struggle with letting others love him, and instead of judging him, she acknowledges his pain, supports his healing journey, and gently persists in showing him she cares. My overall impression for the first 5.5 episodes was that she’s an empathetic woman who’s very much in love with a man whom she knows doesn’t quite feel the same, and every scene she’s in is characterized by her shy, slightly hesitant love for him.

Then, yeah, episode six happened, and it was like whiplash. I just don’t get it when she rejects Philo like that. First of all, only a little while earlier, there’s a scene where one of her tenants tells Portia he’s moving out at the end of the month because she’s “acting like a harlot,” and she tells him off for policing her choices and then kicks him out that very day. So, this scene builds Portia’s character by having her assert her autonomy, her devotion to Philo, her independence and right to make choices as an adult, and her defiance of society’s expectations. Add that to the rest of her character development as an insightful empath, and I’m even more confused by her disgusted, almost violent reaction when she finds out Philo’s a halfblood. It doesn’t add up! That reaction in no way fits with the entirety of her character development up to that point.

And then she tells Dombey everything? My mind just explodes even more. Despite the fact that she didn’t realize the police would thereby suspect Philo of murder, it’s pretty common knowledge in the Burgue that halfbloods or full fae “passing” as human is punishable by a year in prison (mentioned I think at the beginning of episode two). So, even if a murder accusation wasn’t her intended revenge for Philo hiding the truth from her, why is she surprised that he was arrested and jailed? She told a police officer that he’d committed a crime! Is this woman stupid? Also, again, it’s obvious she’s in love with Philo, even after she outs him. The scene where she’s stripping Philo’s bed and then sits down and hugs his sheets wistfully is a pretty obvious indication to me. These aren’t the actions of a woman in love, and there’s no question that her feelings for Philo are strong.

Upon several rewatches, it almost seems to me that when Philo reveals everything to her, she seems more scared than repulsed. Could it be that she’s actually scared that she’ll be next, since the people who’ve died were close to Philo and so is she, and therefore she wants him out? But this idea isn’t explored or made clear, so it’s kind of left to the viewer to decide.

I just. Don’t. Get it. Where is the logic? Why would they build her character up in very specific ways only to smash all that in ten seconds?

Well, there’s an answer to that. The writers needed a catalyst for the drama of the last three episodes, and that catalyst was the reveal of Philo’s secret. They chose to have Portia do the dirty work ... which was a lazy writing decision. They should’ve found another way to do that without creating inconsistencies in characterization; her rejection of Philo was totally out-of-character, and I’m mad about it.

Look, I’m a writer (not a published one, but I’m working toward that!). Characterization and narrative structure and all that jazz are concepts I spend a lot of time and energy exploring and focusing on, so I’m very tuned into them. That makes it very noticeable and extra frustrating when I see massive flaws like this in otherwise well-produced media.

In answer to your question, a lazy, wouldn’t-this-be-shocking writing decision was made without thinking deeply about whether or not it actually fit the character, and I am Bitter About It. (Sorry for the essay! 😂)

[deus-and-the-machina]

Sighs you know i’ve wanted to talk about this clip for a while and since we’ve been discussing ccs having to make more responsible decisions when writing mental illness. c!Niki

So here’s the clip: https://www.twitch.tv/nihachu/clip/OnerousTangibleSrirachaCopyThis

there’s...a lot to unpack here. first off from a storytelling perspective, this is not good writing. she just “tells” the audience her character’s struggles and after this, none of these things are actually shown to us in character. when you have ccs like wilbur, tommy, jack manifold, to name a few, showing us their characters unhealthy coping mechanisms and never actually having to turn to the audience and be like “hey here’s what’s going on” it just falls flat.

This would be really easy to make into a solo lore stream! she could start it sleeping in minecraft, and make up huffing and panicked before turning to write in her diary. all this could’ve actually made for a good story. but no. it’s just told to us and never relevant again. 

Then later in the stream, she throws herself off cliffs to regain health, which is also a sign of her poor mental health. I found this a bit tasteless. There was no build up or hints that c!niki had self-harming tendencies before this moment, a lot of her conflict was about how she felt about other people and that hurting her. to make such an extreme gesture after no build up or subtlety just really feels like it’s being used for shock value and a quick and easy way to make the character sympathetic without doing a ton of work.

Then there’s the more...problematic aspects. like saying her character “turned insane”. i find this even more egregious since cc!niki is even studying to be a psychologist, and she lives and studies in England so it’s not just a language difference. I’m just incredibly disappointed at the lack of consideration or care here from someone who studies mental health herself.

And stating that the reason her character has night terrors so she...makes herself sleep in a cage. to “restrain herself”. it’s very dehumanizing wording. like, i don’t even get what the point is here? the cage seems to imply she’s protecting herself from the outside world, but no one else lives in her city? there’s a bigass space she can get out so like...what’s the point here? the cage is just going to hurt her more if she thrashes around while having night terrors.

And look, i get it. she’s excited to have her character be relevant again. making angst for your character is fun, and you want to share stuff about them with others! it’s fun to talk about your little ocs. But not only does she have an audience here for the story, not only has the bar been set by people doing characters with mental health problems before, this is just not the way to talk about a character with mental illness.

Honestly, telling and not showing has been a thing cc!niki’s struggled with in her writing throughout her whole arc. we’re told l’manburg didn’t listen to her, but we dont see that because she left for drywaters and barely interacted with them. we’re told she’s mentally ill but aside from being irrational other symptoms just aren’t shown outside of cc exposition, we’re told the syndicate are her new friends and family but she’s interacted with them like twice.

And because the fandom sees potential in her and wants it to be realized so badly, i think we fill in a lot of the gaps of the writing ourselves without realizing it.

DISCLAIMER: i don’t believe cc!niki is a bad person at all, i’m just very disappointed in the lack of thoughtfulness put on display here when portraying a mentally ill character. i dont want anyone to think im calling her ableist here, god no. we can acknowledge mistakes without jumping to the worst possible wording.