#All I am saying is learn to separate the actor from their craft | Explore Tumblr Posts and Blogs

jade-parcels · 3 years

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The bunnies’ other jobs!

From my bunny cafe au

((I am so peeved :((( I had this all written out!! And I deleted it by accident!! Darnnnnn!!!))

Anon asked “You mentioned that some of the bunnies have day jobs so do they all have jobs outside the cafe or just a few?” (Something along these lines…again…I deleted it by accident 😔)

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Diluc/‘Angel’

After his father got bored with the wine industry, he passed the whole company off to Diluc on his 18th birthday in order to shift his focus to mining. Diluc found himself swamped with all kinds of business decisions while just barely being an adult. He expanded the company and hired some very trustworthy people to handle things for him so he could finish college

When the business was given to him, Diluc and Kaeya had an explosive fight over it. Kaeya felt like he deserved to have some say in what happens to the business, he’s still a part of the family! But Diluc refused to let him in on any decisions so Kaeya packed his bags and left (not before cussing him out in front of their father, staff and business partners). He was just in a silly, goofy mood. They’re fine now, not on the best terms but they do chat and meet up for lunch on occasion.

He is filthy rich, he couldn’t spend all of his all of his money if he tried, so he doesn’t really need the job at the cafe! Kaeya got him the job because he knew his brother was stuck in a weird, antisocial funk and needed some fun in his life

Diluc loves this job, he has a great time, but it isn’t his main job. His priority will always be the family business!! If he has to quit his job at the cafe, he would in a heartbeat

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Kaeya

Kaeya was going to go into the police academy but was scouted out by a modeling agency. They had seen him at Ragnvindr company events and thought ‘well damn’ so they gave him a pretty generous deal

Kaeya makes a good living off of modeling, the tips and paycheck from the cafe. He rakes in cash pretty quickly just cause he knows how to get it. That, and his dad sends him checks every other month as well. Kaeya thinks of it as ‘I’m sorry’ money. He isn’t wrong

He doesn’t travel much for modeling, which he doesn’t mind, so he kinda just hangs around the city with a lot of free time on his hands between photo shoots. That’s why he got this job at the cafe! It gives him something to do and it’s fun as hell ;)

Albedo

Bedo is one busy bunny. He finished college early and is getting his masters degree online. He works most days at the cafe and on the weekends, he tutors other college students in bio/chem/science related subjects

(He was actually Xiao’s tutor back when he was failing chemistry!! Xiao is very thankful for Albedo’s help!!)

His dream is to become a biochemist, he’s always been interested in cells and what makes up living beings. So having a career in that field would make him the happiest man alive

His mother and sister live outside the city in a more rural area so he spends a lot of time FaceTiming the two of them! Klee is always so excited to hear about Albedo’s experiments or the people he’s met while working in such a bustling, fun city :)

Zhongli

Zhongli is a simple man! He’s a bunny waiter and an artist

He creates intricate pieces based on folklore from different cultures, focusing mostly on dragons. His favorite medium is paint, he loves painting on glass and layering the panes in order to create a 3D piece

He sells his works to galleries, shops and anyone who wants them! As long as they appreciate the story behind the artwork. Sadly…He undersells his work. He could def be making more money but he just does not desire money or material goods the way others may

So he got his job at the cafe in order to help out his dear friend Ningguang, not for money, he only planned on working there for a month or two until she got more bunnies but…he ended up really loving the people he works with :’) he looks forward to working with them now and texts/calls them outside of work to meet up for lunch or bowling (such an old man thing to do omfg)

Dainsleif/‘Sweetie’

Dain was a bouncer at another bar before leaving to come to Celestia’s! He’s good friends with Beidou, they belong to the same motorcycle club so when she was talking to him about the lack of security at the cafe/bar, he stepped in to help out

Little did he know…he’d actually become a bunny…And like it

This is his full time job now, he doesn’t have another for the time being. While he is a bunny at the cafe, he still keeps an eye out for any threats to his coworkers and has access to the offices upstairs (Ningguang’s office and the security office)

When he isn’t waiting tables, he’s upstairs in a tank top and sweatpants keeping an eye on the security cameras and talking to the other security guards through their ear pieces

Ajax

Ajax is a student who doesn’t really have much time on his hands

He mows lawns in the summer and he’s quit his job as a cashier to come work at the cafe! He mostly works night shifts his cause he’s still going to school aaaaaand he’s on his college’s swim team! He’s about to graduate so he works close with his coach to help train the others on the team

He doesn’t really want his family knowing that he skips around in a skimpy bunny outfit and fucking customers most nights but I mean…They’re bound to find out if they see him in pictures people post

Xiao/‘Tofu’

Xiao is an art student!! He wants to be a tattoo artist :)

He’s already got one sleeve of tattoos, it’s unfinished but you can’t really tell just by looking. When he isn’t at the cafe, he’s either in class or shadowing Ganyu, his best friend and tattoo artist. Their art styles greatly differ, she focuses her craft on cutesy, colored tattoos, but she is skilled. And Xiao looks up to her

Xiao admires Zhongli too, they met at the cafe and when Zhongli found out Xiao wants to be a tattoo artist he told him that once he’s licensed, he wants to get a tattoo from him :’)

Baizhu/‘Honey’

Baizhu is a (mostly) full time pharmacist, hence why he isn’t usually at the cafe

He also has a niece, Qiqi, who he babysits often. He loves her very much so he has no problem watching her! Baizhu will even bring her to the pharmacy with him when he’s swamped with work. In the break room, he has a play kitchen, coloring books and a bunch of puzzles to keep Qiqi occupied while he works :)

When he’s not at work, he’s at home resting. He has chronic pain flare ups in his back and shoulders that can make life miserable :( he has plenty of good days that outweigh the bad! And as a pharmacist, he has access to any medicine he needs to make his life easier!

Dottore(Alain)/‘Doc’

Alain’s an oral surgeon who’s a little bit….too into his job

He isn’t phased by blood or gore so he’s easily able to conduct procedures that would make other squeamish. He’ll pull teeth, put in dental implants, remove rotten tissue, any of that without even flinching

Outside of that, he works at the cafe. He wears a mask in order to avoid being recognized even though at his job as a surgeon, he’s usually wearing a medical mask anyways. It’s just a precaution

This has nothing to do with his career but he used to be a tap dancer and actor so he’d join in on local theatre shows! He helped build sets when he wasn’t rehearsing. He doesn’t have time for that anymore (which kinda makes him sadddd) but he has all kinds of theatre playlists on his phone and in his car that he’ll sing along to

Scaramouche/‘Boss’

Scara’s job at the cafe is his main job! His side job is something you may not expect from such a grump

He works at an animal shelter! In fact, he brings cats home to train so they have an increased chance of being adopted. Someone is more likely to adopt a potty trained, socialized cat than a feral cat who doesn’t know what a litter box is. So Scara brings them to his apartment for some one-on-one socializing, training and cuddling

One time he offhandedly mentioned working at an animal shelter while he was working at the cafe and sure enough, three separate customers from the cafe came by to adopt!!! Only one actually took an animal home but he was still surprised that those people had listened to him and cared enough to come by

Scara is a jerk most of the time but when he’s at home…by himself…With a lil kitten sleeping in his lap while he plays games on his PC…Yeah, he softens up a bit

So as you can see, we have a very diverse group working at the cafe! They’ve all learned a lot from each other, come to appreciate each other’s friendship and come to help each other out when one of their coworkers is in need or upset.

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nellynee · 3 years

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The makings of greatness, or why, as a ride or die Treasure Planet stan, I’m glad there’s no Treasure Plant 2

You ever see somethings that makes you unreasonably angry? Yes I understand exactly what I’m saying, and how that indicates that my emotions and opinions on this are exactly that. Opinions. There’s a good chance I have some objective truths mixed in, but that does not make my opinions based on those truths truth. If you disagree or have different tastes or opinions or interpretations, cool, let me know! maybe you’ll change my mind. That being said.

The plot synopsis for the Treasure Planet sequel makes me angry. Not like, actively so, just annoyed enough to be in a bad mood. And now you guys all have to be in one as well. Why?

Reason 1, and probably least important: Disney sequel syndrome.

Ok so Disney sequels aren’t inherently bad. I’ll stan the Aladdin sequels to my grave, who knew Cinderella could world build, obligatory Rescuers Down Under (the first one was better) blah blah blah.

But there is an inherit problem with sequels in general, and that usually has to do with cast and crew. An original piece of fiction has to grab the audience yes, but there’s also freedom in that. Media touches people in different way. The worldbuilding can mean more to some than others. Some are in it for the animation, or the character developments, or relationships. What connects with one person won’t connect with another. The problem with sequels is that different people who worked out the original material might and usually do not work on the new. And those new people are already working on that new material with their own personal lenses and experiences and interpretations coloring the old. The reason sequels (and remakes, and big budget presentations of other materials like books into movies) tend to bomb hard is because you are essentially being forced to accept someone’s fanfiction into the canon material. Usually, there’s a pretty strong correlation between more successful franchises/extension material, works staying true to the core material, original crew working on the material, and the enjoyment of the audience.

And sources say very few of the original crew remained. Some yes, but mostly voice cast. Even worse, TP2 was a DisneyToon production, not even a mainline feature. Now I’m not saying the new people weren’t talented, or passionate about the project, or were lacking in experience. It doesn’t really matter if any of those things are true or not. It’s the warping of their personal lenses I don’t trust. Fanfic I can disregard, meta I can disregard. This would have been canon.

And reading the Artbook makes is abundantly clear that the parts that touched me personally would have been missing. The very core of Treasure Planet for me was the relationship between Jim and Silver (and their exquisite animation budget). However you choose to interpret that relationship, you can not deny that Treasure Planet is a powerfully emotionally romantic movie. It’s quiet moments and emotional resonance shaped my views of intimacy with a sharp and fine touch. Silver and Jim’s bond is as undeniable and powerful as it is compelling and awe inspiring to witness unfold.

And a lot of that is owed not only to the voice acting of Joseph Gorden-Levitt (Jim) and Brian Murray (Silver), But to animators Glen Keane and John Ripa, who were the head animators of Silver and Jim respectively. Not only did Gorden-Levitt and Brian Murray deliver stunning performances, but made sure to work together and jointly play off each other in ways most voice actors don’t have the opportunity to do. And the Masters Keane and Ripa took an already stellar and carefully crafted vocal rapport and took it one step further. I highly recommend the Artbook as a good read, both Keane and Ripa talk about the journey of discovering who Jim and Silver were with delight, acting out entire scenes together using their own body language to build the characters together, using the same animation reals to animate, tag teaming in and out of the program rather than do it separately, becoming so attuned with their characters attitudes and mannerisms that you can tell they poured entire pieces of themselves into Jim and Silver.

I’m not saying the Sequel would have been inherently bad because it’s a sequel, or because a new crew worked on it, but I am saying I wouldn’t trust it with a ten foot pole.

Reason 2: Thanks I hate it (I’m saying it’s inherently bad because the plot is bad and I hate it)

I’m sorry for the length, but for you to really understand just how bad this is, I actually have to pick through every single line and tell you why it fails critically at some junctures and where it would be so simple to fix. For those of you who were unaware that there was a sequel in the works at some point, I’m pulling these quotes pretty much wholesale from the AnimateVeiws article Buried Treasure: The ill-fated voyage to Treasure Planet 2, specifically the interview with Jun Falkenstein who was set to direct the now canceled sequel. Spoiler warning, I guess?

So, from the begining

“The sequel was to pick up where the first film left off, with Jim Hawkins going to the Royal Interstellar Academy. At the Academy, he is a hotshot “natural,” but he doesn’t follow the rules very well.” - Strong start but then dropped the finish. I think the interstellar academy would be a very compelling starting point. I see no fault in it at least, it’s a good opportunity to world build. Clemence and Musket like to make a point that Jim was crafted to connect with the emotionally wounded and distant youth in a age of divorce, so showing what happens when that youth hikes up their britches and gets to work can extend on that theme aaaaaaand you dropped it. Dropped that strong start. Yes, Jim was more than a bit of a bite back rebel in the film, but that was a reactionary response to the bad place he started in. Jim was abandoned, and tied his self worth into that abandonment. His kickback against society was a reaction stemming from an inability to see his personal worth and any sort of future he could craft from it. He outgrew this, his very character development was about this in the film. His character arc was about realizing his inherent worth, embracing a sense of confidence and learning what he could do. Even disregarding that, bonus material outside of the film shows that Jim has a very strong sense of respect for Captain Amelia, her military career, and the hard work she put into it, and he’s there on her recommendation. Why would he act out in this? He is a natural yes, but the film shows he’s incredibly sharp and intelligent, if unlearned, and more than ready to learn given opportunity.

“Hence, he gets off to a shaky start – especially with his classmate Kate, who is very smart and has a type A personality. Kate’s father is Admiral Blake, the Commander of the Navy. Jim and Kate vie for top of the class but have very different skills.” - So building off this to fix the problem before. I guess the dynamic they are going for is something like “the kind of a jerk hotshit hotshot who’s got it all figured out and the straight laced rule fallowing stick in the ass rival”? I’m not apposed to to a rivalry, but lets tweak this, given how “hot shot natural jerk” isn’t really where Jim settles at the end of the film. Jim is a natural talent, who excels under tutelage, but more importantly, he has practical experience. While the time period spent on the RLS Legacy is not defined, they do sail to a deep and unexplored part of the galaxy, probably well outside of regular settlements, so no small distance, though Jim is young enough that a very long period of time would be noted in physical growth. Given comparisons to classic nautical sailing of the source time, months, perhaps up to a year? That’s a long time to spend, learning the rough and tumble basics, tying knots, experiencing food and water rations, extreme temperatures, playing with the rigging and mechanical aspects of the boat. Jim knows what it’s like to actually sail. Meanwhile, this is the Royal Academy, who probably takes in upper class second born children and pumps out military accolades for well learned mathematicians and strategists. Jim doesn’t fit in because he can visualize, he can think outside of the box, he can weld a damn engine to a hunk of shrapnel and ignite it freefalling against a metal hellscape and outrace a boat in a high adrenaline situation. He adapts where the other’s frantically look through their notes for the answer. Worse yet, he’s poor and not classically educated. Make it a class issue. In this aspect I do like Kate. Being the Daughter of the Commander of the Navy, she probably has a very technical and far more expansive understanding of navel ships, particularly the running of them. In this way Jim and Kate are perfect foils. Jim representing the poor, instinctually and practically knowledgeable crew, and Kate the upper-class, technically knowledgeable command, a dichotomy representing the haves and have nots in their skills, experiences, an class.

I don’t want to post a picture and break the post, but I do love Kate’s design. I do recommend looking up the article and checking it out. that being said, being a feline species, they messed up not spelling it Cate.

“Captain Amelia is dean of the Academy, which has a brand-new vessel: the Centurion.” - I… why, why is Amelia the dean? Additional material shows that Amelia broke ties with the military because she didn’t like their rule stickling ways and red tape. Why would she want a red tape position? She helped with a war and then bailed first opportunity to become a freelance captain so she could fallow her own rules. Even if you don’t know any of that additional material, you do know that she is a freelance captain. Why is she dean? what happened to the old one? Are they dead? Did DisneyToon kill them? Did Disneytoon kill the old dean?

“Designed by Doctor Doppler, the Centurion is the fastest ship in the galaxy.” - HE’S NOT THAT KIND OF DOCTOR!

“B.E.N. is its pilot”. - NO

In all seriousness all three of those statements show a serious problem, in that none of those characters are in fact those things. Amelia I’ve already explained. But Doppler was a debatably youngish bachelor with too much money who was fascinated by astronomy specifically and who suffered from ennui. And BEN was a navigational unit, so maybe it makes sense for him to be a pilot, but why is a robot who was functioning under a galaxy feared pirate for who knows how long given any kind of agency over a brand new incredibly important ship? These decisions were probably made to incorporate as much of the old cast as possible, to not exclude fan faves. But any decision that makes BEN a prominent part of the plot and thus gets more screen time is a BAD one.

“The pirate Ironbeard desires to commandeer the Centurion. This ruthless villain is relatively all iron – almost nothing of whom he originally was, inside and out, is left.” - On the one hand, I have a weird feeling that this would somehow violate the 30-70 rule. Buuuuut on the other hand, the Artbook does describe the decision making process of what and how was mechanical on Silver (my favorite tidbit was the wheel on his head representing his constant thinking and assessing) and states that that they in a way represent the pieces of humanity he gave up looking for Flint’s Trove. Extending that to a pirate who has given up everything could be a powerful thematic tool if used right (or intentionally)

“He leads a group of pirates to hijack the Centurion while Jim and Kate are aboard.” - ok, yeah, I’ll buy that. If they are butting heads constantly, I could see them sneaking off to the new piece of hardware to one up each other on who knows their stuff, or maybe bond over wanting to learn about the said new tech and being frustrated with restrictions.

“The Navy can’t catch the Centurion, due to the vessel’s speed and armor.”- sure

“Jim and Kate escape the Centurion. Jim decides he needs a pirate to help catch pirates. They find his old buddy Long John Silver in the Lagoon Nebula, where he is running a smuggling ring. “ - So what Jim just goes “I know just the pirate to help us” and then finds him? That journey of itself deserves it’s own movie, anything less is a disappointment. Alternative. Jim and Kate escape onto a particularly lawless planet. Jim has some tricks to keep them safe and fed, maybe he even excels in ways he’s been straight up stop gapped at the academy. Maybe his knowhow is appreciated by others who society also rejects. But Kate is a frustrating fish out of water, getting offended and worked up over things that are big deals to an average citizen but not criminals and pirates. But such reactions are putting them in danger and she needs to get perspective fast. It’s plausible maybe that Silver tracks them down through interesting rumors, but more than that, let it be fate. Neither having any idea the other is there till the second they see each other. Bonus points if Jim and Kate get in a bind and Silver is the leader of the harassers. Better yet lets add some thematic mirroring not only to the scene where Silver saved Jim from Scroop, but directly contrast it to the scene where Silver doubled back and down against the notion of caring for Jim when called out before the mutiny. *kisses finger* Touching and hilarious.

“ Silver agrees to help when he hears about the Centurion. “ - Silver agrees to help when he hears about the Centurion without Jim even having to ask. Storywise, lets make some kind of deal over how Jim, an upstanding enrollee of the academy, apparently is chummy with a pirate. Tension doesn’t just have to be external, and Kate is the daughter of the Commander of the Army. Maybe she’s recognized and this gets them in trouble. Maybe Kate has issues with her identity outside of her father’s career and need to learn a lesson about being outside of a rigid social structure?

“Jim and Kate receive a tracking signal from B.E.N. – who is currently hostage aboard the Centurion – and follow via Silver’s creaky vessel. They discover the Centurion docked near the Botany Bay Prison Asteroid. “ - While being the fastest ship yet is a good excuse for wanting it to get stolen, my suspension of disbelief breaks a little at any ship, let alone a creaky little pirate vessel, catching up to the fastest ship yet, or the tracking signal being the only way to track it to a guarded prison. Seeing as how I’ve written BEN out of this scenario lets fix it. After the events of the movie, the Royal Military swoops in after to confiscate the debris of Treasure Planet. For those in the know, canon lore states that the Planet was a giant computer, and it and the map were the byproducts of an ancient and advanced civilization. Studying the debris led to the Centurion, notable not for it’s speed, but for it’s stealth. It can cloak itself. Which is why no-one can find it. Meanwhile Silver lets it slip that he snagged the map from it’s pedestal as they escaped the planet as a souvenir. (handwave why the portal was still open with a “the whole thing was exploding, the computer froze). The map is able to track the remnants of said planet, aka the Centurion, meaning Silver has the only means of tracking the cloaked ship

“Ironbeard is using the Centurion to disable Botany Bay’s security systems. Jim, Kate and Silver sneak aboard the Centurion, where Silver reveals to Jim that he wants to take the Centurion for himself. He asks Jim to join him.“ YES. YES YES YES YES YES YES! Understanding that Jim’s decision to not go with Silver in the first movie is key here. He rejected Silver’s offer the first time because Silver had shown him he had intrinsic value, and Jim finally felt that the natural gifts he had were worth cultivating, that he did have the chance to explore who he could be on his own terms. Jim was comfortable being on his own, because he felt capable. Now, Jim and Silver bring out the best in each other, and the time apart has done them harm. Jim’s strings of social rejections are starting to fell like a glass ceiling he can’t overcome, and is finding more and more comfort in being a big fish in a pirates small pond, and the emotions of of being wanted that come with Silver is a powerful drug. But it’s a one way ticket away from any opportunities he could work towards, not to mention his barely repaired relationship with his mother. Meanwhile Silver has been slowly slipping back into the colder, more selfish self he was, a necessity for his lifestyle, and doesn’t want to loose his connection to Jim and what Jim brings out in him, but is still far enough gone to make the offer and try for the boat anyways, even if he knows it’s not what’s best. It’s an emotionally compelling decision. You want them to say yes, you know they shouldn’t

“Kate overhears this and is horrified, especially since the two have, of course, started falling for each other during the adventure.” - Hate. this I hate. Leaving shipping to they way side, what’s that “of course”? why do they have to fall for each other? Why the Disneytoon sequel love interest? I have a feeling her characterization would come at the cost of it. Why can’t they be rivals? why can’t they develop a mutual respect outside of attraction? Why can’t they both learn an individualized lesson about finding their own place in the world outside of social constraints as foils without macking? I hate this concept. Kate overhears, and is horrified, because Silver is a Pirate which is actually in universe get yourself hanged offense, and Jim is considering this, and they are going to steal a VERY IMPORTANT BOAT and and leave her stranded in a dagerous prison, and are making an objectively morally bad decision.

“Ironbeard discovers the intruders, charging into a fight in which Silver is injured. Meanwhile, the other pirates throw down ladders to the prison below, allowing swarms of elated prisoners to climb up into the ship. Silver, Jim, and Kate exit the Centurion amidst all the confusion. However, Ironbeard shoots down Silver’s ship. They plummet to the prison asteroid below, crash-landing” - cool. Drama. But for my purposes, lets tweak it so Silver isn’t injured yet. But I really want to emphasize that this attack does not interrupt before Jim can react to Silver’s offer. Even something as tentative as “I’m not sure” has consequences. None of this “misunderstanding” BS.

“ Kate is angry at Jim and storms off. “- again, make it clear that Jim showed a real chance of agreeing to steal the ship. if she’s angry before he had a chance to answer that’s contrivance for drama’s sake. Give her a reason to be mad

“ Jim is about to blow her off as well when Silver tells him to give her a chance. He reveals a part of his past through a flashback, when a young (non-cyborg) Silver screwed up a relationship with the love of his life – a decision which directly led to his life of piracy. “ - nope. nope nope nope . I’m gonna put a big old * here because this is reason number 3 why I hate this potential movie, and I will get to that believe me, but here’s me, putting a pin in it. That being said, have Silver selfishly try to double down on getting Jim to join him in a three way argument instead. This is the conflict of the film. Kate, who was learning to grow outside of the strict restrictions of her life and do her own work, make her own way, is being rejected. She is as morally repulsed as she is hurt that she wasn’t included, and hates herself for that hurt as well. Jim is torn between the freedom of what he could be after the academy paired with the strict social constructs around it, and the freedom of a life “full of himself and no ties to anyone” but running from the law and the two friends they represent. Silver is the aggressor here. He likes Kate, he does, but he loves Jim and only has one place in his heart, and has spent his life being selfish. There’s already a crew on board, and Iron beard is hooked into the Centurion. With having the only other means to navigate, they take down ironbeard, the rest will surely fall in line. This is paydirt. A fantastic ship, a bloodthirsty crew, and Jim.

“Silver has a very dangerous cargo with him that he had been trying to smuggle and sell for a fortune, which has the power of a neutron bomb. Jim, Kate and Silver reconcile and work together to fix Silver’s ship and prevent the Centurion, filled with the most evil pirates in the galaxy, from going on an insane robbing-and-killing spree. At the last second, Silver reluctantly gives up his “retirement fund” in order to destroy the Centurion, with Ironbeard and all the pirates on board.” - this entire section needs rewritten. That’s a mcguffin Silver put it away. I have retconned the mcguffin to be the old map, so that is now moot. Now to not blow up the ship. Afterall, Silver and Jim have both already overcome what Treasure Planet represented with it’s destruction. Rather, B plot

If we are that desperate to have past characters in, let’s have Amelia and Delbert back home. When the Centurion is captured, Amelia immediately volunteers to fallow, feeling responsible for Jim and secretly pining for some adventure. Delbert feels the same, and he to a bit of an adrenaline junkie after the events of the first movie, but they have the children to think about and only one can leave. Delbert is the one chosen to help by the navy officials searching for the Centurion. While Amelia bickers with the Admiral Blake over his pragmatic but emotionally distant decisions over the situation of his missing daughter, Delbert is an astronomer, and is blah blah blah science meta, fallow the flashing and bending lights around the cloaked ship to find it. As in Delbert is helpful. Amelia in a reflation to Admiral Blake, is torn between her family and commandeering her own ship to help. Blake is frustratingly headstrong in his decisions, and the script makes it seem like that emotional distance is disinterests, but reveals to the audience that it incorporates a great deal of suppression of his anxieties and worries over his daughter, and trust in her abilities, though he has issues expressing this pride to Kate herself. Amelia, Delbert and fam make what is probably a poor decision in commandeering a ship and leaving on their own to track the Centurion, the navy hot on their heels.

Back to A plot, the navy is approaching. Jim has to make a decision. He is the only one who knows how to unmask the ship using the old ones tech without training, as it’s based off the map. While Kate and Silver are distracting iron beard, he has to either steal the ship and sail off, or uncloak it for the navy. Iron beard is taken down, but not without Silver getting injured. Jim decides that Silver’s life is worth more than anything, and after agreeing with Kate that she’ll commandeer a doctor and wont let Silver die, uncloaks the ship. The Centurion is retaken in a blaze of naval glory that is the action climax. The pirates fight back up are over run. Maybe Kate gets taken hostage as the Admirals daughter, as an opportunity for a resolution with her arc as Blake’s distant daughter, though obviously said resolution comes at her showing her abilities in taking care of herself and the practical skills she has learned.

“Silver again parts from Jim and Kate, telling them to take care of each other. A few years later, Jim and Kate graduate with honors, while a proud Silver secretly watches from the shadows, smiling” - Boooooo. Kate and her dad make up, and she challenges him that she’s going to one day Captain the Centurion, with him understanding that she needs less a mentor and more an emotional support while she works her way up the ranks. She invites Jim to be her first mate, to which Jim accepts as a navigator, (a thing I’ve pointed out to be his real strength in another post). But to Silver, who has been “pardoned” for his part in retaking the Centurion, the movie hinting that he to would be on the eventual crew there I fixed it fic to come I s2g.

yeah there’s a lot of good there, but it’s so easy to fix the bad it’s frustrating. which brings me to

Reason 3: that little pin

Nope nope nope I’ll tell you why.

First of all, sources like the artbook say that Jim is so Important to Silver because he’s the first person Silver has ever let become important. he’s specifically stated to have no family, never married, no children. And that’s something he cultivated actively. His life of piracy, his metal limbs, his loneliness and moral failings were all gleefully accumulated for one reason and one reason only

Treasure Planet.

Treasure Planet was the great love of Silver’s life. It was a lifelong obsession. It destroyed his body, took his youth, his opportunities and nearly his life. He broke Jim’s heart over it.

And he let it go. For Jim.

And Jim understood this

This is the crux of treasure planet’s very themes. This is where Jim found self worth. Another person finally looked at him and said “you matter, you matter more than anything. I like being around you and I choose you first.” and it made Jim realize he’s someone worth choosing.

The treasure was EVERYTHING to Silver, and Silver let it go, for Jim.

That one line there, attributing the start of Silver’s fall to a girl? that actively retcons the entire theme of the previous movie. IT rewrite the emotional linchpin of Silver’s sacrifice of the gold. And actually fuck that. right into the ground. I do not accept. I do not pass go. I refuse. Fuck you non existent movie. That makes me mad. every single time. Hate I shall never let go.

#Disney #Treasure Planet #Jim Hawkins #long john silver #john silver #long post #meta #god I hate this non existent movie #This outline is the closest I've ever come to writing spitefic and its still up in the air #Treasure Planet is such a romantic movie and you come into my house and try to shred the emotional core and themes by recontextualizing?#fuck off #Fuck I love Treasure Planet #sequel synopsis can die in a fire tho

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dylanobrienisbatman · 2 years

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I think Dylan should at least make a cameo. He wouldn't have the fanbase or career he has now without Teen Wolf.

I mean, would I like him to have a cameo? Absolutely! I love Stiles, I love Dylan, of course I’d love to have him come back.

But obviously he doesn’t think it’s the right decision for him, at the moment in his career. And honestly? I agree. He only recently broke out of the YA/Teen drama box he had been in, from maze runner and TW, and now he’s working on more serious projects, like The Outfit and Flashback. Going back to teen wolf honestly doesn’t even make sense to me, and that’s coming from someone who LOVES him as Stiles. And even if I didn’t agree, who am I to question his career choices? He’s clearly done alright for himself so far, I’m just gonna trust his judgment.

Dylan has never been anything but lovely and eternally proud of Teen Wolf. He credits the show constantly for being where he got his start, where he learned his craft, and he clearly knows that his original fan base comes from his time on that show. Honestly, that’s a lot more than some actors give their fans. Plenty of actors who become popular from a teen show or another project that isn’t considered ‘serious’ actively shy away from it to try to separate themselves as they take on a more serious career, but Dylan has never been anything but enthusiastic about his time on Teen Wolf. He doesn’t owe us anything at all, but he certainly doesn’t owe us more than what he’s already given us.

And like, yeah, teen wolf is where he got his start, it’s where he got noticed, that’s true. But to say he wouldn’t have had a career without it? If it wasn’t teen wolf, it would have been something else. He’s an incredibly talented actor and he was from the very start. He would have found his way into the acting business one way or another, and the idea that he owes everything to teen wolf, rather than his talent and hard work, is tiring. There are so many artists whose success is attributed solely to one role, or one song, or one tour, etc., which completely ignores the hard work these people put into having the careers they have. Teen wolf opened the door a crack, but he pushed it all the way open and got to where he is all on his own.

#dylan o'brien

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showtunesdream · 3 years

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Ok, so I have seen almost every English version of Cinderella made since 1950 and it is my favorite fairy tale. So I saw the new Amazon version and I have a LOT OF THOUGHTS: (Spoilers)

I am here for Cinderella remakes, and I really hoped this one would enchant me. But...it didn't. I've read several reviews to help me specify just what didn't work for me, and I think it ultimately comes down to discord in nearly every element. Discord: too many notes at the same time; no unity, no connection. I'm all for pulling popular tunes, but they have to fit the character's emotion. I'm all for powerful female choreography, but having a chorus of women violently pelvic thrusting in ball gowns was...just weird. The artistic choices have to fit the narrative.

All the women in the story are trying to assert some authority and agency in a world we are consistently told is exclusively patriarchal "because tradition." But it feels like that tone clashed with the producers' desire to include all the fairytale elements they felt audiences would expect. I think they could've done it, but they didn't get it right. It would be a fine line to tread, bc on the one hand you are talking about female disenfranchisement and lack of agency/rights, and on the other you’re trying to do fairytale love--the subject matter is really quite a heavy burden for that storyline.

I've also seen comments that the cinematography and pacing were a mess, but I didn't get past my "do I like this?" vibe enough to notice.

A few other assorted critiques: There was no chemistry between the prince and Ella, there was a lot of tell and not show (you can have a chorus sing it multiple times but I'm not gonna buy it unless you back it up with acting), and also the prince was not appealing in the least. Like, maybe that was the point, but if so, forget the romance plot altogether bc if I'm not falling for the guy, why would our heroine? There was more chemistry between the prince and his manservant (braid guy) than between Ella and him. There was nearly more depth of character in the manservant than in the prince as well, which is saying something.

One of the most annoying instances of tell and not show was Ella’s appearance. They kept talking about how dirty she was, and the stepmother even says “you would be so pretty if…” but the only real difference in Ella’s appearance is that she has a darker complexion… So what are we saying here, that she is unappealing bc she isn’t white enough? Admittedly that is reading into it a bit much, but just put some damn ash on her face and it’s a non-issue!

Moments of magic included the original songs (why did they not do the whole score this way???), and the performances from the sterling cast members as you'd expect. Also, I loved the building they chose for Ella's family estate/basement. (Oh, and also if you are going to turn the stepmother into Mrs. Bennett, then you have to show the financial difficulties in some wayyyy...)

Overall, I could see what could've been a homerun concept in the script. I wanted to love it. I really did. But the execution fell woefully short for me.

**If I could, like Fab G, wave my wand and fix some things:**

-All original songs, not poorly fitting pop covers. The worst offenders in my eyes were “Material Girl,” “What A Man,” and “Find Me Somebody to Love.” The ball song should be about the princesses/stepsisters’

/Gwen/Ella’s aspirations, and maybe the prince’s too, if this fix version means he gets character development, like, say, a superobjective.

-We open as before, with the narrator telling us how tradition has ruled everyone’s lives for years. As the townsfolk sing, we get the feeling that Ella isn’t the only one who is not so happy with the status quo. Ultimately everyone will learn through Ella that they don’t have to be struck in the same old ways.

-As she works in the house we see Ella using her flair for fashion, her gift for making women feel beautiful to act a modiste/lady's maid to her stepmother and stepsisters. We see her transform an outfit/hairdo with a clever and fresh idea noone would have thought of. We get that speech about “it doesn’t matter if I think you’re beautiful. What matters is how you feel...etc.” Insert song about fashion and how amazing women are just in general, with makeover magic. (She didn’t feel like a fashion designer to me, I didn’t feel that creative spark/passion. I needed them to amp this up.)

-Ella’s personal appearance reflects her gift for inventive style as well. (I really struggled with her being on one hand a fashion designer and on the other hand having no color in her dress, AND having everyone talk about how untidy her appearance was (which again, it wasn’t. Also, were she really covered in cinders and ash, she wouldn’t be able to handle fabric without making it dirty….)

-Ella’s dresses are made of found and reused materials, cleverly crafted. Like a set of old drapes a la Sound of Music, or forgotten antique dresses harvested for their fabric. After the prince buys her dress she can afford to buy new fabric and make her pink dress (that then gets ruined by Vivian.)

-If we *are* going to keep the idea of borrowed pop songs, then at some point all of the women sing No Doubt’s “I’m Just A Girl,” illustrating how their gender in this society makes them second class citizens: the stepsisters, Vivian, and princesses have to marry to gain opportunity/privilege, Gwen can’t get a word in on state matters, the queen is constantly shut down by her husband, etc. However, better for them to sing an original song that reflects this--maybe have “Dream Girl” come in earlier and get expanded/reprised.

-We needed to see the hardship that Vivian spoke of, bc I never saw it. Why remarry when you are clearly a wealthy widow?

-I still haven’t figured out how to give the prince a character that Ella could fall in love with. Show his kindness separate from supporting Ella? Give him an “I want” song that isn’t about his father wanting him to get married? Give him some kind of point? We’ve seen the “I don’t want to be king and am lost until this amazing girl inspired me” trope work before, but your boy has to have more to him than this guy did.

-I also would like to find some way to extend the insta-love a bit. I’m a huge fan of meeting as commoners, as in the 1997 Cinderella, and there, they make a connection that properly works. Maybe it all boils down to a lack of chemistry between the actors? And/or give me better lyrics? Hmm.

Anywho, I'm just rambling. So sad to see this fall so short of its potential.

#cinderella 2021 #amazon cinderella #cinderella #amazon prime

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wisherbysharlight · 4 years

Text

Can’t Deny It, Who You Are Is What You’re Feeling

Word Count: 5685

Pairings: Demus, LAMP(and all variations thereof)

Janus is trying to settle into his new role as the makeup artist for a small off-off Broadway production, but he can't seem to figure out the relationships going on in the troupe, let alone what he has going on with the eccentric set designer...

AO3 Link

Janus squinted at the side of the stage. He should definitely be trying to make himself useful, it being only his second day, but he had just finished an eye test on Valerie and he was fairly certain he could pass off his staring as making sure it looked right where she stood in the spotlights. Hell, that’s what he’d been doing originally, before getting side tracked by the male lead sliding off the stage to the crafts table, where he’d sidled up to Patton, the costume designer Janus had met yesterday. Patton had beamed like Christmas had come early and promptly started breaking off pieces of his muffin to feed over his shoulder to the man who was now firmly attached to his back with his arms around his waist, visibly giggling the entire time. They looked carefree and besotted with each other in a way that made an ugly curl of envy build up in his stomach, but he couldn’t look away once he’d started. At least, until the props master interrupted him, that is.

“They’re tooth-rottingly sweet, huh?” Janus would deny the sound he made til his dying day, but he was fairly certain it could only be described as a yelp. The prop master cackled, holding their hand out to shake, which Janus took, grateful for the distraction. “Hey, it’s Janus right? I’m Talyn. Could you come back this way and give me a hand with moving some of these bigger pieces over to the wings for the next scene?”

“Oh sure Talyn, I don’t have anything until my next stage test in an hour or so,” he assured, carefully pasting a smile on his face that he hoped looked genuine.

Talyn threw a thumbs-up over their shoulder as they went towards the workshop and Janus took the opportunity to look back over at the crafts table where Valerie had now joined the two during a break and was laughing brightly as the actor playfully picked Patton up, throwing him over his shoulder to head over to the drinks table, and Janus could hear the shrieks even from his distance, “Rooooman, oh my goodness, you put me down right now, you big show-off!” Huh, so Mr. Leading-Man was named Roman. Good to know.

“You’re just so easy to toss around, Patton-cake. Maybe stop being so cute and I won’t be so tempted,” Roman shot back, opening a can of apple juice with an overexaggerated casualness.

“I’ll get you back for this, you heathen,” Patton cried, changing tactics to poking and tickling at Roman’s sides.

The laughter could still be heard even in the back wings of the auditorium where the workshop was, and Talyn had to raise their voice to be heard as they worked to finagle a fake-flower covered arch through the doorway, “Thanks for the help. The set designer, Remus, is out shopping for supplies today and he’s usually the one who actually moves this kind of stuff, but the director needs this for some sort of choreography today.”

“No problem at all,” Janus assured again, eager to prove his usefulness. “Happy to help when I can.”

By the time they finished getting the bulky prop to the proper side of the stage, the break was over, Roman was back onstage with Valerie, Patton had gone back to the far wings of the stage to continue working, and Janus had a new actor to meet and a fake scar to attempt to do in a transition that lasted less than 10 minutes.

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Less than a week later and Janus once again found himself squinting to the side of the stage, but this time it was up higher in the sound and light booth. Actors were scattered throughout the theater, running lines with each other, and the Technical Director seemed to be taking the opportunity to work with the Lighting Technician on setting up a few cues. Nothing out of the ordinary, most of the productions Janus had worked on in school worked the same way, no, the interesting part was just how close the Technical Director was to the Lighting Technician in the booth as they worked. They seemed to be able to communicate without speaking at all, effortlessly moving around each other and flicking different settings and somehow coming out with the correct configuration without ever saying a word.

The ease around each other was palpable, and that was what caught Janus off guard. He’d worked with the TD, Logan, once, and that interaction had been succinct, professional, and brokered no nonsense. Now, though, Logan’s shoulders seemed to loosen up the more time he spent up in the lighting box, and every once in a while, when the technician was triple or quadruple checking a light, Janus could see the TD huff and roll his eyes teasingly, then dodge an equally teasing swat to his side or shoulder. And he’d smile , a real smile, not a smirk or a placating pleasantry, and Janus felt that nasty longing that was tinged green with jealousy snake up into his throat again.

He forced himself to look away, finally, just to see Roman sitting in the makeup chair looking thoroughly amused and he was suddenly glad he’d chosen to wear a full face of makeup today, not just covering his left side like usual, because now he could at least hope that his thick foundation would cover up the way his face flamed up at getting caught staring at a couple again . “Hello Roman, did you need something?” he asked, going to his workstation to avoid having to look at the actor’s smirking face anymore.

“Hmm? Oh. Yes, yes, yes, I did, I was wondering if I would be able to offer up my time for you to practice the second act’s possession effects, as I know you were saying it would be difficult to practice on a dummy, and I am much further ahead in my memorization than the others,” Roman rattled off, and when Janus turned back to him, he quickly averted his eyes from the lighting box. Hm, so apparently he wasn’t the only one looking, that was interesting…

“That would be great actually, thank you. Getting that pallid coloring done three times in one intermission is going to be tough unless I do it a few times ahead of the show, I appreciate it.” He brought his rolling cart over to the makeup chair and crouched in front of Roman, watching carefully without giving away that he was focused on anything other than the makeup. After the third time Roman’s eyes strayed towards the light box he decided to speak up, “What’s the lighting technician’s name? Haven’t met him yet.”

“Oh you mean Tall, Dark, and Moody? That’s Virgil, him and Logan grew up together so they’re pretty used to each other by now, it’s really great to watch them work,” Roman enthused, and that made more sense, Roman was just appreciating the well oiled machine. “We all send Logan up there when it looks like he’s ready to murder the next person to say ‘slightly behind schedule’. Or when Virge gets new cues and gets so overwhelmed he starts gnawing on that giant hoodie he’s always got on. They really good at chilling each other out.”

Janus absorbed all of this as he brushed a small test bit of gray over Roman’s cheek bones, mulling it over and ultimately content to just let Roman talk. By the time he was done with the ghostly sheen, he had learned that Logan, Virgil, Patton, and Roman all went to college together and all joined the budding troupe together straight afterwards, even though they all had offers for separate larger companies scattered across the country. It was clear that Roman would talk about his little group forever if he were allowed to, had spent almost 10 minutes alone enthusing about some cosplay work Patton did in college with this adorably smitten twinkle to his eye, but Janus had to let him up from the chair eventually. When he stepped back to admire his work, though, Roman didn’t make any moves to get up. “Spent all this time talking about us, how about you? What brings you to our humble little company instead of some larger agency?”

Janus startled a bit, not used to getting asked anything about himself. “I suppose I was intrigued by the premise of the play, and wanted to do more hands-on work than most agencies allow new graduates.” It wasn’t quite a lie, and Roman didn’t need to know that this particular theater had been Janus’s saving grace growing up, how he owed the owner, Thomas, everything, how…

“My brother is the exact same way. Not happy unless he has full, creative control over his sets,” Roman laughed, and Janus tilted his head curiously. “I mean it’s better that he has an outlet for his thoughts. You don’t wanna know what he gets like when you try to stifle him, woo boy. Much better he swing a hammer at the scenery than at my head.”

“It was a wiffle ball bat, I only hit you once, and you didn’t even have a concussion. And beside that, you practically dared me to.”

Janus spun so quickly his beanie tilted slightly, and he fidgeted with his gloves to hide the fact that his heart was racing, but his face remained carefully even, “Remus. Speak of the devil and he shall appear.” The man had a way of blending into the shadows until you least wanted him to jump out at you. Janus had been too startled to even react the first time, but Remus had taken it as though he wasn’t scared at all and was now determined to make him scream. Luckily, Janus had great experience controlling his expressions, the few times he’d been caught daydreaming observing relationships around the theater notwithstanding.”Were you looking for Roman or are you just here to bother me?”

Remus swooned dramatically, “Bother! You wound me! Nono, Joan sent me, they want Roman on stage to help Virgey-poo calibrate the acoustics after I, er, nudged one of the speakers over. Accidentally, of course.”

Roman rolled his eyes and scoffed, “You pissing Virgil off has never once been an accident. But I’ll head over there before Tickle-Me-Emo has a heart attack.” He turned to Janus, patting him on the back, “Good luck with him, don’t let him near anything sharp or he’ll try to cut his own bangs in the name of creating a new hairstyle.”

“I can handle him just fine,” Janus drawled, and pointedly ignored the suggestive look Remus gave him in return. Instead, he focused again up on the lighting box where Virgil seemed to be ranting, hands flying in front of his face, as Logan patiently listened. Roman finally got up on the stage and Virgil started messing with the sound board, forehead creased in concentration, and Janus pretended there wasn’t a tug in his heart when Logan leaned over to smooth the skin out just between his eyebrows with his thumb, earning himself a small but genuine smile, before heading back down to work.

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Three weeks into rehearsals and Janus was really getting the hang of his new life. He and his roommate, Remy, the publicity manager for the theater, had moved into a new apartment closer to the theater with Remy’s boyfriend Emile, as between the three of them they could now afford more than what basically amounted to a shoebox. He’d made friends, something he’d thought was somewhat of a pipe dream before. He absolutely adored his job. Two to three times a day he would snag actors to do test runs of looks and see how they turned out on stage, tweaking things here and there when he could. The rest of the time he would help out around the theater, helping Logan with keeping Remus in line and on schedule(Remus would sometimes demand only Janus be allowed in his studio, and Janus had found that Remus was much more bearable when he felt he was paid attention to. Pleasant, even, if a little random and impulsive), shopping for props for Talyn, running lines with Valerie or Roman or Terrence or the background actors when the others were busy, or, most often, assisting Patton in costuming.

Apparently, Patton was supposed to have an assistant but they’d had a family emergency and Patton had brushed off the idea of trying to find someone else on short notice. Janus had noticed, of course, that Patton came in earlier and stayed later than almost anyone else and so he went out of his way to help where he could. He had some basic sewing experience and worked well as a sounding board for Patton to bounce his ideas off of while he worked, and Janus was thrilled to be able to be helpful. He had also noticed Patton was more willing to take breaks if he thought Janus needed one and Janus was not above being a bit dramatic with his yawns to get Patton to relax for a few minutes. He’d become fond of the guy.

He’d just gone to the craft table to grab something Patton would eat, intending to goad him into taking 15 minutes off. He’d gotten a bit sidetracked when Remus decided to “stumble” into him, leaving a large forest-green handprint right in the center of his chest and loudly declare that he needed to take it off (Janus made a note in his head to spend the next day in his workshop, he was definitely looking for attention, and he was missing the rowdier man a bit besides), but he had still only been gone about 20 minutes, so he was surprised when he heard another voice coming from the sewing room aside from Patton. “- and we need to make sure Valerie’s weighted dress is done before next Wednesday, she needs to rehearse the choreography with the added material-”

“Lolo, relax. I’ll get it done, I promise,” came Patton’s voice, light and almost teasing in a way Janus had never heard before. He’d almost describe it as… flirtatious? But that didn’t make any sense… “You’re starting to sound like Virgil with all that fretting. You know me, you know I never break a promise.”

“Y-yes,” and now Logan sounded flustered, which really was out of character, “Of course, Patton, I just wanted to make sure you had all the resources you needed and were not overextending yourself-”

Patton cut him off again, and this time Janus got the impression he was very amused, “I’ve got everything I need, right here, Mr. Berry. I even promise I’ll do something to relax tonight, sound good? Pick up a bottle of wine and have a night in, maybe watch a movie, something to really decompress…” Janus got the distinct feeling he was missing something, because Patton was speaking as though he had a completely different meaning behind the words, but they seemed completely innocent.

Janus finally decided to head into the studio then, feeling like he’d been eavesdropping on something private, and when he saw Patton he was leaning against his desk casually, no indication in his body language at all that he’d been flirting like Janus thought he’d heard. He thought maybe he’d been mistaken, but Logan was adjusting his tie even though the knot was perfect, like always, and had a very faint pink to his cheeks that he would have missed if he weren’t paying attention. He lightly cleared his throat before speaking, “Hello Janus. I was just heading out. Thank you for assisting Patton with keeping to the deadlines, it is much appreciated. Patton, we can continue our discussion later.” Patton smiled brightly, looking like the picture of innocence, and waved as Logan headed back towards Remus’s workshop and Janus repressed a wince. Yeah, he’d definitely visit tomorrow if Logan was going to get on his case about deadlines too.

He pasted a smile on, making sure not to indicate he’d heard anything before coming in, “Hey Pat, I grabbed some cookies and tea from the craft table. Remus sends his regards.” He gestured wryly to the graphic tee shirt he held in his hands, still grateful he’d worn an undershirt today.

Patton beamed and took a cookie, looking all the more innocent when he bounced a bit on his toes, curls catching in the light as they moved with him, “Woo! You rock, we definitely earned a few cookies today!” He tilted his head curiously at the stain, then nodded like he’d decided something, “I can definitely get that out, by the way, just need some vinegar and washing soda. Re does stuff like that to Roman all the time. Leave it with me and it’ll be perfectly fine by tomorrow!”

Janus smiled again, feeling taken care of in a way he hadn’t in a long time, and it felt more real this time, “Thanks Patton.”

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Janus was making good on his promise to himself the next day, lounging on a chair next to the open door of Remus’s workshop even though it was technically his day off. He came into the theater every day no matter what just in case anyone needed assistance, but it was nice to not feel guilty for not doing his own work. He people-watched between the points where Remus would ask for his opinion on a piece or start up a seemingly unrelated conversation, letting the silence fall when Remus needed to focus. He’d been watching Virgil up in the tech box, messing with the settings for the lighting of one of Valerie’s solo scenes while she rehearsed. He had that focused crease in his brow again but he didn’t look nearly as murderous as when Remus screwed around with his speakers, so Janus didn’t feel the need to get Logan yet, but when the door opened behind the engineer he’d still been expecting the technical director to come in.

What happened instead was much more confounding to Janus. Patton burst through the door, looking worn down and cranky, and paced the room a few times with his hands waving around. Virgil took his headphones off without turning around and nodded along, not breaking focus at all but still responding from what Janus could see. Then, seemingly out of steam, the costume designer maneuvered around cords and computers over to Virgil’s chair and promptly ducked under his arm and threw a leg over Virgil’s before burrowing his face into Virgil’s neck. Virgil didn’t flinch at all, continuing to focus on the lighting of the scene by simply arranging Patton slightly on his lap so he could tuck his own head over his shoulder.

At some point in the performance on stage, Valerie and the director aimed a thumbs up at the light box, and Virgil gave a self satisfied smile as he leaned back and finally wrapped his arms around Patton in return.

“Jannie?” Remus called, sitting back from his stage setting, a beautiful star-lit grove, “Do you think you could make me look like a werewolf?”

Janus blinked at him for a couple moments, not knowing how to respond, before he just shrugged, “Sure. Might look a little weird with your mustache though.”

Remus nodded, once, with finality to it, “How about a tentacle monster?”

“Same answer,” Janus replied, quicker this time now that he knew where Remus’s head was at.

“Huh. I think I’d like to try being a tentacle monster at some point. Could probably terrify the shit outta Roman. Not to mention all the benefits of tentacles.”

Janus laughed, charmed as always by Remus’s ability to just say whatever he felt like without hiding anything, “You name the time and place and I’ll be there, Remus.”

Remus gave him a blinding smile and Janus felt his breath catch a bit. God, this whole thing was so stupid but he couldn’t bring himself to care at all. He found that he’d do just about anything to make Remus smile like that again. “It’s really nice to have a partner in crime now,” Remus enthused, twirling his paintbrush without a care in the world if he splashed himself with paint.

“Yeah, Re, I get what you mean.”

By the time Remus had gone back to work splattering a blood stain artfully over a tree in the middle of the otherwise beautiful landscape, Patton had left the tech box and Virgil was back to his computer with his headphones on.

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It was one week til opening night, and Janus had been sent to find Remus, who had apparently announced he was going on a quest for inspiration which alarmed pretty much everyone who knew him, but instead he’d stumbled upon Logan, alone in the orchestra pit, looking like he was ready to scream as he tugged at the padlock on a crate. Janus made his way over and tapped Logan on the shoulder lightly, “Hey, everything alright?”

Logan’s eyes were fiery as he responded, and Janus was just a little bit taken aback, “The previous production group left the alternate curtain ropes in this container, nicely labeled and everything, except the box has this godforsaken lock and I do not want to have to pay for bolt cutters. Or have the time to buy them before dress rehearsals. It’s rather… infuriating.”

Janus laughed a bit and knelt down next to the box, pulling his wallet out of his back pocket and taking a long thin piece of metal out, “You don’t have to do that, rotation locks like this are ridiculously easy to pick.” He manipulated the piece of metal up under the last rotation dial and pressed up, trying to listen for the click even though Roman and Valerie were rehearsing their final duet up on stage. He finally got the lock to pop open and turned to show it to Logan, only to find him thoroughly distracted by the scene on the stage.

Janus could understand, he had no interest in Roman Prince( his brother on the other hand...) but even he thought the way he was waltzing Valerie around the stage was a bit hypnotizing, the lyrics soft and sultry and romantic for the final number of the performance. Logan seemed to be completely entranced, singing along under his breath to Valerie’s piece and following their movements carefully. His eyes were filled with nothing short of adoration as he swayed to the music and as Janus watched carefully, the movements matched up fairly evenly to Valerie’s part in the dance as well. Logan didn’t look away until the director had called for a cut for adjustments. He shook himself slightly, seeming to remember all of a sudden that Janus was there, and flushed brightly as he took the lock from Janus, “Oh. Um. Thank you, very much. Where did you learn to pick locks like that?”

Janus could practically envision his mask slipping into place, covering the memories of manipulating the door to the theater open for what must have been the hundredth time only to come face to face with the new owner…

“Oh it’s barely a party trick, just something I picked up along the line. Let me know if you need any more street-rat techniques,” he brushed off with a wry grin, waving a hand dismissively, “Anywho, any chance you’ve seen Remus around?”

Logan eyed him a bit critically for a moment then seemed to choose not to push it further, “Yes, I believe I saw him lurking back by your station actually.”

Janus repressed a disappointed sigh at himself. Of course, Remus had come looking for him if something had upset him. He took off for the makeup room quickly, leaving Logan behind to stare up at the stage again while Roman began rehearsing the solo piece of the song. He didn’t miss the small wink Roman aimed down at the pit when the director had turned to answer a question, and filed that bit of information away with Logan’s admiring gaze to analyze after he’d made sure Remus was alright.

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Janus was not used to anyone being in his station before him, but he was starting to become used to being surprised, so he didn’t even really react to seeing Roman and Virgil commandeering one of his makeup chairs, Roman’s hands buried in Virgil’s long black and purple hair, twisting it into intricate braids as they argued fiercely. “No, Virge, you don’t get to say ‘American Idiot’ is your favorite Broadway song. That doesn’t count.”

“It totally counts. You wouldn’t say ‘Honey, Honey’ doesn’t count, even though that’s just an ABBA song!”

“Don’t you dare bring Mamma Mia into this, that is a classic!”

“So is American Idiot!”

“Girls, girls, you’re both pretty,” Janus droned, smiling at the Venti Iced Mocha sitting on his rolling tray, ice not even melted yet, with a little doodle of a green dragon blowing fire at what he could only assume was Roman on one side, and a python wearing Janus’s signature beanie on the other. Virgil and Roman both turned to glare at him and he smirked back, lounging back in his chair and taking a long sip from his coffee in a loose impression of Remy, “What are you two doing in my domain aside from attempting to drive each other up the wall?”

“Princey was having a minor meltdown about opening night tomorrow, so I told him he could braid my hair,” Virgil told him, squinting curiously at the cup like he was trying to make out what the doodles were.

“Not true! Virgil was freaking out about opening night, not me, and he asked me to braid his hair,” Roman whined, though Janus noted that the whole time Roman’s hands never stopped moving and Virgil seemed to lean further and further into them, both their shoulders relaxing more and more as the braids took a more concrete form, “Though I will admit it is somewhat of a ritual for us at this point. Been doing this since freshman year of college when Virge first started growing his hair out.”

“Barely had enough for one braid back then, you would just do it and take it out over and over again while I ran lines with you,” Virgil commented fondly, fidgeting with the end of a piece which was left down.

“And I didn’t have the skills which I do now, of course.”

“Oh, no doubt. Maybe I’ll cut it so you could test that theory.”

“Don’t you dare!” Janus looked up from his thank you text to Remus(he’d responded with a giant squid emoji, followed by a dirty joke about proper thank yous which Janus found unreasonably funny), tilting his head curiously at Virgil’s smirk and Roman’s blush. “I-I mean, it’s your hair, obviously, but it definitely suits you being grown out.”

“Alright, alright, I’ll leave it be. Just for you,” Virgil shot back, and Janus felt like he could see the years of friendship in his smile.

Roman and Virgil stuck around for another hour until the director got there, ribbing each other over everything from music preference to sleeping habits to, bizarrely, the dark undertones of Disney movies, not even noticing when Janus slipped off to Remus’s workshop to have his own minor meltdown about opening night, lost in their own little world.

(Remus already had a hammer and some messed-up pottery out, actually encouraged him to smash stuff, cheering him on enthusiastically, and Janus thought he might have found his own pre-show ritual. He didn’t even realize he hadn’t felt envious of Roman and Virgil’s easy camaraderie and teasing affection at all until he was lying in bed that night.)

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Janus made a downright embarrassing shriek when he felt a mustache rub against his neck and Terrence broke off from their conversation to the living room with a playful eye roll, leaving the other two in the kitchen. “Come on Re, don’t start anything you can’t finish in public,” he teased lightly, patting Remus on the cheek, the adrenaline rush from three successful shows, the pure joy at being officially offered a full time position within the theater troupe from Thomas (from Thomas , who took a chance on the high school dropout who snuck in to the theater to use the big mirrors and the real theater makeup and listen to music echo through the empty stage. Thomas who so generously gave him the recommendation letter he needed to get the scholarship to cosmetology school. Thomas who found him a roommate so he wouldn’t have to stay with an older brother that didn’t understand him at all. Thomas who had seen his talent for deception and pushed him to turn it into art. Thomas who Janus owed his entire life to...) and the three vodka sodas in his system making it difficult to even begin to hide his flirtation, especially since he was fairly confident at this point he wouldn’t be rebuffed.

He felt more than heard the laugh that followed as Remus pulled away, still leaving his arms wrapped around Janus’s waist, a testament to the comfortable something (Janus refused to call it a relationship, even in his head, lest he burst the perfect bubble of happiness) they’d fallen into, “Come on Jan, you can’t deprive me of finally getting revenge on my brother for the years of cast-party-brand PDA he’s put me through.”

Janus stiffened and he turned to face Remus quickly, bracing himself on Remus’s chest when he started to trip a bit out of tipsiness. He also blamed the tipsiness for his lack of ability to cover up his curiosity, “PDA? What do you mean? I’ve spent the last 6 weeks trying to figure out who would end up with who in that group, but Roman’s already seeing someone?”

Remus smirked at him, clearly enjoying a less-inhibited Janus, and didn’t audibly answer. Instead, he laced their fingers together(Janus was not blushing like he was a middle-schooler. He wasn’t. If his foundation just so happened to help hide that lie then so be it.) and led him back towards the living room where a particularly rowdy game of beer pong was being played with Logan and Virgil on one side with only one cup in front of them and Joan and Talyn on the other with two, all four of them looking like a giant weight was off their shoulders with the last show of the first weekend over and done with and four whole days before the next one. Patton and Roman stood behind Logan and Virgil’s side, alternating between making ridiculous and distracting movements and singing along to whatever was playing through the speakers. The other team missed both their shots and Virgil snagged the balls, handing one to Logan before holding the other behind him. Patton leaned in and blew on the ball, then leaned further to press a kiss to Virgil’s cheek with a visible giggle while Roman mimicked his motions with Logan. Oh, ok, that kinda made sense for how the pairings worked out, he supposed…

Janus’s head tilted in confusion as Roman and Patton promptly switched positions and repeated their actions before they actually fell back. Logan and Virgil then glanced at each other from the corners of their eye, smirked, and sent both balls flying in unison. They didn’t even circle the rim, sinking easily, and the room erupted in chants to “chug” that Joan and Talyn took good naturedly on one knee as they emptied their cups.

Janus wasn’t watching the prop master and stage manager, though, instead focused on where Logan had apparently flung himself into Virgil’s arms in celebration, wrapped his legs around his waist, and promptly kissed him like he was trying to devour him, glasses tilted with no attempt being made to adjust them. Patton laughed brightly and tugged on Virgil’s sleeve to bring them both over to the couch with a practiced ease that said this was a fairly regular occurrence, Roman practically skipping as he followed. Logan transferred to Roman’s lap once they were settled, kissing him with the same amount of barely-restrained hunger, and Patton took his place in Virgil’s, pressing small kisses up his throat at the same time as he hooked his pinky with Logan’s and nudged his feet under Roman’s thigh, at which point Janus looked away, blushing furiously at just how shameless they all were.

He turned back to Remus with wide eyes just to find him openly laughing at him, “How long have you spent trying to figure that out, hm? For someone so smart you’re kinda a dumbass sometimes.”

Janus pouted, still feeling flustered and embarrassed that he’d somehow missed the idea of polyamory, but in the back of his mind he was delighted that the angry green jealous monster was no longer clawing at his insides at seeing so much open affection. He finally had someone who replaced that nasty curl with fluttering butterflies. Someone who gave a shit about him, and who was darkly hilarious and creative and didn’t hide anything but didn’t push Janus to be completely open in return. Someone Janus could truly see a future with, someone he felt he could trust.

He made a calculated decision, and his mouth turned up in a smirk as he grabbed Remus’s wrist and tugged him over to the pong table, “Tell you what, Re-Re. You help me win and you can have as much revenge as you want.”

Remus’s eyes went dark but his smile was blinding, “And if we lose?”

Janus grinned back, sharp and wicked, and easily sunk his first ball despite Remy’s boyfriend Emile jumping around ridiculously on the other side, “Guess you’ll just have to keep up so we don’t.” Remus’s grin widened even further at the challenge and he nodded resolutely, focus zeroed in.

For all the talk of revenge, they didn’t even notice Roman’s indignant squawk when Remus pinned Janus to the wall before Remy could even take the last cup off the table.

#ts lamp #analogical #logicality #prinxiety #moxiety #royality #logince #demus #sanders sides #sanders sides fic #sorry if you saw this on ao3 already lol #i wanted it in this format too #my writing #dukeceit

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vanessakirbyfans · 3 years

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Defying expectations, challenging Hollywood’s norms and facing one’s own fear of failing emerged as central themes when Michelle Pfeiffer, Kate Winslet, Rashida Jones, Vanessa Kirby and Andra Day met virtually in December for The Envelope’s Actress Roundtable. Collectively, they represent four decades in film and more wild experiences than we can fit in one discussion — and they’re also behind some of the most complex characters in film right now.

Pfeiffer is eccentric, wealthy New York widow Frances Price in the quirky drama “French Exit,” which opens this week in limited release. When Price blows through most of her inheritance, she flees to Paris, where she attracts an odd assortment of friends. Winslet is rough-hewn paleontologist Mary Anning in “Ammonite,” a period drama that explores the hardships of a female pioneer in 19th century England’s patriarchal science world and the challenges she faced hiding her love for another woman.

Jones is Laura, the dutiful daughter of an eccentric father in the comedy-drama “On the Rocks.” Despite their complicated history, daughter and father embark on a covert mission to find out if her husband is cheating, but self-discovery may just be the biggest reveal. Kirby conveys anger, sorrow and grief following the death of her newborn baby as Martha in the emotionally wrenching “Pieces of a Woman.” And singer Day makes her film debut in “The United States vs. Billie Holiday,” a period drama streaming on Hulu later this month that chronicles Holiday’s battles with law enforcement, drugs and the crush of systemic racism.

Their conversation here has been edited for length and clarity.

Your films are built around narratives of complex women, many of whom face challenges that aren’t often explored on screen. “Pieces of a Woman” is a great example of a film that is so specifically female, it would have never made it to the screen in the past.

Vanessa Kirby: It definitely feels like a different time right now ... we want to represent women that we identify as being us and the weird parts of us. In the movie, my biggest intention was to make it not a sanitized, movie version of a birth. So [she] felt super sick and burped a lot. She was really nauseous ... things that we might think are unpalatable or not comfortable. That’s all the facets of being human, and particularly being a women. I’ve read so many scripts where it was a version of a woman that I don’t know. It was a film version as opposed to my sister or my best mates or me.

Kate Winslet: That’s what is great about now ... the world is making space for all of these stories. We’ve always tried to tell these stories, but the world is more receptive to hearing them now. That is a shift.... It’s such a moving, seismic time to be doing this job.

Michelle, your character Frances Price is the perfect example of an imperfect female protaganist. She is a mess, and fantastic, and I couldn’t take my eyes off her.

Michelle Pfeiffer: I was just was so curious about this woman, and I thought she was so odd and not like a character that I had seen or that I had played. And then the dialogue is very stylized. So you have to give in to it but, at the same time, not too much. It was made up of these disparate tones of absurdism and melancholy, and it was funny, and it was tragic — these oddballs sort of living on the fringe of society and trying to make some sort of human connection, all of them, in some way.

Rashida, in “On the Rocks,” you play a reserved writer with a charming, flamboyant father. Your real father is Quincy Jones. What sort of parallels did you feel playing Laura?

Rashida Jones: I very much related to this idea of coming of age with a larger-than-life father who commands presence and changes the atmosphere of any room he walks into, and how that in itself can be something you have to untangle from. Because in order to be your own person, in order to find your life, in order to figure out who you are in the world, not relational to anybody else, you have to separate yourself from all that charm and the warm light of your father’s love. That part of it I very much related to. But Laura is unlike me in the sense that I’m pretty outspoken. This character, I think, has a lot of restraint. That was a challenge.

Andra, stepping into the shoes of Billie Holiday must have been a huge challenge, and this is your first film!

Andra Day: It was definitely terrifying. First of all, I’m a fan of hers. And I’ve always loved movies and had such a great respect for the craft of acting. My biggest terror was that I was going to suck. So I was like, “OK, I’m going to take two to three years off of music just to study and focus on acting.” I auditioned at the end of 2017, landed the role at the beginning of 2018, and then we shot at the end of 2019. So I had time to really live in her [shoes]. The film isn’t a sanitized version of Billie Holiday. She is raw. She is a fighter. She’s a hero, in all of her real humanness, even as a fractured figure. All of the emotional pain. It was the most challenging and rewarding thing I’ve done in my life — and the most terrifying.

Winslet: It never goes away.

Day: That’s actually my question. I mean, do you ever really, really shed all of it or let it go?

Winslet: Honestly, it does not go away. But I feel so excited for you, Andra, that in this moment you are connecting with other people, having these kinds of conversations, because we all learn on the job. All of these experiences that we are sharing are the things that will hold you up and buoy you through, and this is a time when we have to hold each other up. But it doesn’t get any easier. And I’m afraid you will always be terrified. I f—ing am.

Pfeiffer: When I first started acting, probably for the first 10 years, I literally on the first day would shake so terribly that I was sure you could see it on film. Fortunately, you couldn’t. I don’t shake any more, but I still have those jitters. I still think the first week of shooting I’m going to be fired and replaced.

Jones: Yeah. So congratulations on that, for a lifetime.

Day: This is a roundtable, but also a therapy session.

Let’s talk about the risks that jangle those nerves. Those of you who have been doing this a while have tackled a wide variety of characters and survived, and thrived. That’s unusual in Hollywood, especially for women.

Pfeiffer: Like all actors, you sort of choose the best of what is available to you, and go for as long as you can without working, until you need a paycheck. It’s also that thing where, depending on what your last role was, that’s how the industry sees you. It’s really up to you to try to find those things that shift it in the direction you want it to go. I did “Grease 2,” and that was one thing, and then was lucky enough a year later to get cast in “Scarface.” People were very upended, because nobody expected that turn. And then when I did “Married to the Mob,” that [was] another seismic shift, like, “Whoa, wait a minute; who’s that?” I remember when I met Marty Scorsese for the first time, he expected this dark-haired girl from New Jersey to walk in. That was one of the most flattering things anyone ever said about my work. It’s just looking for those opportunities, and sometimes they’re very small, but those small opportunities end up having the biggest impact on the direction that your career goes in.

Jones: I just want to interrupt and say how cool this is. Michelle, obviously, you’re an icon and a legend, but the fact that you did [those films] back to back; such different things, such different audiences, such different characters. To me, that is the success of the art form.

Pfeiffer: Well, thank you. I spent lots of time being unemployed and waiting and really stretching it out, but it is, for me, the most exciting thing about being an actor. And that’s why we’re always terrified, because we’re always trying to do something different.

Day: As music artists, people are always trying to put you in a box, like, “This is what you do,” and we’re constantly rebelling against that, because life’s not like that. I can’t be the same. This role changed me, and I wouldn’t have been the same [person] as three years ago anyway. As a fan of yours, [Michelle], it’s exciting not to know what you’re going to come out with next.

Kate, your recent leap into the unknown is playing Mary Anning.

Winslet: She was a woman of scientific brilliance who made pioneering discoveries in the fossil world. But she was an unsung hero, because she lived in the early 1800s, and the world of science and geology was, like so many worlds back then and still now, dominated by men. And those men would buy her finds and claim them as their own discoveries, actually put their names on them. But there was something incredibly stoic and accepting of her lot in life. Mary was self-taught. She was extremely working-class, actually impoverished, lived a very harsh life. I just loved her even though she is cantankerous at times and quite difficult.

Vanessa, in “Pieces of a Woman,” Martha is emotionally distant and hard to read even after going through significant trauma. Was that challenging?

Kirby: In her nature, [Martha] tries to never show anything she’s feeling. So I was really scared, because I thought, “Oh, my God, what if it looks like I’m feeling nothing or nothing’s going on?” I just had to trust that if I really felt it, and I really thought those thoughts [it would come through]. I’ve never given birth ... so a lot of women spoke to me about their experiences of miscarriage or stillbirth or losing children. I owe them everything, because they allowed me to sit with them and try and understand how it really felt. At the end of the shoot, I was like, “I hope it’s done them justice,” because it’s definitely something that’s not spoken about. There’s so much silence around it. I hope that the film will help start conversations that really need to start happening.

Andra, Billie had an exceptional life that was also quite brutal. How did you go about trying to convey that while still honoring her greatness?

Day: She is musically, my foremost inspiration. I already knew a lot about the government going after her. The early war on drugs, and the subsequent wars on drugs, were wholly entrenched in race. I was aware of that, but I didn’t know about how deeply they went after her, even up to her death. Yes, she was an addict and, yes, alcohol and drugs ... but they wanted her to die. And not just kill her, but to actually eradicate her legacy. It’s why I call her the godmother of civil rights, because she was doing it alone. Her singing “Strange Fruit” and the death of Emmett Till reinvigorated the civil rights movement. She was innately a fighter, a character with resilience and tenacity.

Kirby: Kate, can I ask what it was like being so young in “Titanic”? Did it like blow your mind after it came out and you realized that that many people were watching you in the cinema? Did you know at the time when you were making it —

Winslet: I didn’t. I was playing an American for the first time. And working with Leo, who I’d seen in "[What’s Eating] Gilbert Grape” and “Basketball Diaries.” So it was like, “Oh, my God, I’m Kate from Reading.” I was the overweight girl who would always be at the end of the line. And because my name was a W, sometimes I wouldn’t even get in the door of the audition because they’d run out of time before the Ws. And I was in “Titanic.” It’s mad.

Jones: How were you smart enough to know, even with all of that pressure and then getting hit with all of that fame, how did you know to back off and not take the big paychecks? You were so young. How did you know to shoot for longevity?

Winslet: The honest answer is I was scared of Hollywood. A big, scary place, where everyone had to be thin and look a certain way. And I knew that I did not look that way or feel like I fit there, so if I was ever going to belong, I had to earn my place. And to me, I hadn’t earned it. “Titanic” might have been a fluke. I had done “Heavenly Creatures.” I had done “Sense and Sensibility,” which I was nominated for an Academy Award for at the age of 19, but still I had this feeling of “maybe that was just luck.” When I became a mother at 25, all of that stuff evaporated completely. Then two years after she was born, I was asked to do “Eternal Sunshine [of the Spotless Mind].” I do believe that was a huge turning point in my career, because from then on people suddenly went, “Oh, she can do that?!”

Kate, what if anything did you learn from “Ammonite”?

Winslet: It really opened my eyes to wanting to take responsibility for this sort of shared voice that we have as women. To try harder to not be objectified.

Jones: But we take it for granted that things will be the way they’re supposed to be. And that’s what’s been cool about the last five years is there has been a complete and utter subversion of just having that existential moment of like, “Wait, what is it that I’m supposed to do? What are the societal norms? What are the professional norms that I’ve agreed upon that actually don’t feel comfortable?”

Kirby: I remember when I first started reading scripts, the character descriptions. The man, it would always be “articulate, intelligent, high-powered.” And then the woman would be “attractive, dark, beautiful hair, and all eyes look at her when she comes into the room.” It was so subtly objectifying. Often, the woman would be just ever so slightly moving the man’s story along, rather than necessarily having her own journey.

Day: I think we so often write this [young] generation off as like, “Oh, it’s the social media generation, and all they care about is selfies and dah, dah, dah.” But I think we can partly attribute this shift to them. I don’t think this generation wants the glossy, clean, the sanitized version of life. Also, with the internet and social media, everyone’s still connected; the globe is so much smaller now.

Rashida, you’ve not only acted, you’ve written, produced and directed. Do you think that kind of representation behind the camera is making a difference in what we are seeing?

Jones: The good news now is there definitely is an appetite, at least within Hollywood, for female content creators. And what’s nice is what all of you have been saying is the more women there are around, the more comfortable women feel advocating for themselves. If you don’t have that representation around, you’re less likely to speak up, because you don’t feel like you have any backup.

Day: One of the things we learned is that certain audiences would wince at [Billie] getting beat, but I was like, “If we don’t have that in there, then we’re continuing to retool her narrative, the thing that she’s been a victim of her entire life.” Suzan-Lori Parks cowrote this movie with Lee Daniels. Women’s stories have always been told through the lens of masculinity, through how they view us or how they want us to be. Most of our stories need to be told by women, written by women, done by women. Not to write men out of the picture, but for them to understand that it is a collaborative effort.

#Vanessa Kirby #Pieces of a Woman #Kate Winslet #Michelle Pfeiffer #Rashida Jones #Andra Day #Interview #Articles #Roundtable #Videos

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asktheheirofslytherin · 3 years

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The children were grateful for the autograph, they have it hanging by the ones they have of quidditch players, Nathaniel was insistent because you had “done the greatest deed in this mess”, keeping his favorite store open. Children’s priorities amaze me every day, Maeve was insistent this week that she share her toys with the house elf because Whimsy should get to have playtime too.

My eldest niece Maisie is 18, she was a Ravenclaw and has been immensely helpful in making sure the others educations don’t fall behind. She’s also been helping me go through and pack what remains of our extended families library collections, she’s even got one of the heaviest boxes marked for ones she wishes to read herself. It’s quite funny that for having such a strict analytical mind that she is an accomplished seer. I think her determination to understand and control her gift is actually what has allowed her to succeed. Nathaniel is her younger brother he’s turning 13 soon, he is a Gryffindor through and through, a rambunctious trouble maker who doesn’t always thinks things through but it ultimately loyal. Then comes the twins, Luna and Luca, they’re 9 now and both quite quiet. However Luna has an affinity for plant life and nature based magic, and well Luca is just a bit of a pyromaniac. Their brother Leo is the youngest in my care, only 18 months old. Then there’s Maeve, the animal lover who stayed at our hounds sides all week until we heard the news, she’s to turn 5 soon. I honestly sometimes wonder if she’s actually able to communicate with the different creatures she always seems to find, she says she can but children that young are known to imagine theses sorts of things, especially after trauma.

Maeve unfortunately saw my youngest sister and her husband die, they were in a bookstore that got attacked. Maisie and Nathaniels father, my older brother, was attempting to protect their home from looters, he finished mending the protective shields but used too much energy and had none left to heal his injuries, their mother died years prior. I’m not quite sure what happened to the twins and Leo's parents, their father was my little brother and sent them to me, away from most of the violence initially in our ancestors home, but I received notice of their death not long after they arrived. There’s also a good possibility my youngest uncles three children, two sons and a daughter (14 b, 11 b, 7 g) will be put in my care if he does not come out of his coma. His wife’s parents can handle them short term, but are much too old to care for them in the long run.

By chance is the Bagshot Park Estate available or perhaps Claremont House Estate? They are a bit large, but we need land for when accidents happen, which they’re bound to when learning the old magic. Mess up one step and anything can happen. Also, the hellhound needs space to roam, especially when his mate visits.

I’ve been informed to properly join I’ll need to go through trials. I was wondering if I would be able to know what this entails. Also, as the children in my care come first, I must insist that they be settled in to wherever we find our new home in England before taking on these trials. They’ve been through so much I simply must ensure that they feel safe in their new home before spending much more time away from them.

Thank you again for your time my lord,

I hope to make your acquaintance soon,

Iona McKinley

(Maeve has included a drawing of our hellhound and his mate. Maisie says this gurdyroot Luna harvested earlier this week may be useful if you are not careful with the soup you consume and recommends paying close attention to the wives of men with whom you dine for the same reason within the next four weeks)

(Writer of this blog: this is quite fun thanks for doing this, I doubt I’d be able to consistently come up with answers for such a complex, selfish, and perfect cult leader, definite early signs of sociopath (killing that kids bunny and stealing others treasured and valuable things and lack of empathy) that seem somewhat canonical. Ik we know a lot about Voldemort which definitely helps but people who run these blogs in ways that seem true to character are talented. I always try to understand where people come from and what’s made them them. I try not to hate a person but only hate the actions and choices they make and the actions and choices that have effected them. But ik with some of these questions you get I’d probably have to really try to think hard about what the character would say and put a lot of focus on separating myself out of the equation. You’re kind of like a skilled method actor. Like Heath Ledger (RIP) was a wonderful and kind person, but he was so good at separating from himself and really becoming the joker.)

Children are indeed a baffling delight, are they not. I remember when Delphini was small, and she enjoyed giving me flowers to set upon my desk. I humored her, and there would be bouquets of daffodils placed around various dark texts and artifacts. What a sight that must have been! I was perhaps too annoyed with the child at the time. They do grow rather quickly.

Maisie sounds like she has a good head on her shoulders, as any Ravenclaw does. A fine house - I am certain she knows Delphini, though Delphi was a bit of a wild teenager and I would imagine she would not have hung about anyone with half some sense at that age. Shame, truly. But she is calming down a bit now, as much as one can with someone like Bella for a mother. She takes after her mother in more ways than one, which is a blessing and a curse.

A Gryffindor? How unfortunate, but it does sound as though you are raising him right. As for the smaller ones, they sound as though they will turn out well - despite the challenges. War is very hard on our children, unfortunately. My condolences for your losses.

I recommend Bagshot Park. More land for the children to run amok on - especially if you gather up more.

Ah, so you wish to take the Dark Mark? I had assumed you would not want to get terribly involved in government as you have the children no one in your position would get hounded after to take the Mark, with that in mind, so if you feel you must out of necessity, you need not worry. Ah, but Bella informs me this is sexist, and you may merely just want to take the Mark out of genuine interest. I admit, I grew up in a different time, and perhaps forget this on occasion.

We do generally prefer an eldest son take the mark when he comes of age - your oldest boy being a Gryffindor, he may resist this custom. However, if Maisie were to marry one of my ranks, (or I suppose take the Mark herself, if she is interested) then perhaps we can look the other way about the boy.

The trials only last a night, and are a test of loyalty and strengths more than anything. There is dueling involved, so dress comfortably. But we can speak more to that once you are settled.

Regards,

Lord Voldemort

[[OOC: sorry this answer took so long! But I tend to delay longer asks for when I have time and energy for them - longer questions do take longer to craft an answer. And thank you! <3 <3 <3 I am so glad you like my blog, and that you feel I do Voldy justice! I’ve never heard writing be compared to acting before but it really makes a lot of sense, and that is really cool to think about. Thanks again!]]

#voldemort #letters #Iona McKinley #new recruits #trials #children #death eaters #correspondance #nerdettezebracorn333

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holisticalecsecareanu · 3 years

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This interview by ERA News Beta speaks to Alec about a varied number of subjects to do with his film casting and debut in GOC, but farther than that, Alec speaks in great detail about his journey in Romanian theatre, his views on the state of Romanian theatre today, his acting philosophy.

I found this an incredibly revelatory article about Alec because you don’t fully realize, until an interview like this, the depth and breadth, not only of his intelligence, but of his strong beliefs and views regarding his chosen profession. It’s very different going from little snippets in interviews where Alec discusses mostly just one project, to this really comprehensive presentation of who he is as a person and an actor. Also, obviously being able to discuss such complex subjects in his native language, I believe, really allows him to open up more comfortably.

He has a -LOT- of strong feelings and responses to the questions the interviewer asks and he expresses them eloquently, intelligently, and also pretty bluntly, sometimes. It shifted, a little, and not in a bad way, who he is in my head, or rather, it fleshed out who he is in a way that all the quick sound bites and magazine interviews don’t.

I know, from this, that he will never strop striving to push himself and his abilities, to discover new and different ways to learn in his craft. This interview also goes a long way towards explaining how Josh, Francis, and he, formed such a bond, because I believe they also hold these beliefs and commitments to the roles they take on and the projects invest in. It’s almost like kismet because what are the odds that these three individuals would have the same kind of approach to the story they were telling? I think that is why God’s Own Country is such a superlative and luminous film.

Also, the Fight Club production sounds KICK ASS and I wish I had seen it and I can’t believe someone didn’t tape it!

And, yes, that photo, because it never, never ceases to rock every aspect of my world.

This interview is in Romanian but, at least on Google, there is a Google translate button that appears. I have also provided the Google translated version below; am not able to vouch for it’s accuracy, but at least it is something!

Thank you if you’ve read this far. :-D

Google Translation of Interview Below. :

The first British film brings a London agent to Alec Secăreanu

There is also news that one of the young aspirants managed a movie in Hollywood, and for a second people hold their breath, dismayed, wondering "what the hell is this?", Before the engines start again. and to see life beyond its course - Radu Iacoban once said to me, referring to an entire generation, actors who are making their way to a glory that neither they nor we know much about yet . It could have the American endorsement or the greatness of the European trophies, in any case it will no longer be possible to rely on the applause of those who built their illusions in the theaters where they were taken by force or on the admiration of those who dreamed of the two hours of the program. television of yesteryear.

Alec Secăreanu is not one of the 10-15 actors who appear constantly in the distribution of each of the films of the new wave, fueling the impression that only a few people have managed to finish the theater institute in Romania lately. But it has the merit of entering Tyler Durden's mind. And to enter Tyler Durden's mind is courage, especially since it is a dark mind, split into two completely separate universes, and in each of them reigns revolt in all its forms, revolt against the system, against consumer society, against to an absent father and, therefore, against God himself. It's an even greater courage to do this after a perfect director has already passed by, who explored his corners, in tandem with an iconic actor.

The first six rounds of Fight Club demonstrations were, at the end of last year, an absolute success in Bucharest, so the complete version follows, with sophisticated projections made by Les Ateliers Nomades - the company that made the famous mapping on the Parliament Palace - and imagined stunt figures under the guidance of experts from the Gladiator Association, which works in the good tradition of its illustrious founder, Szobi Csech. It's like we lost sleep. Anyway, Tyler Durden doesn't sleep either… Alec Secăreanu certainly sleeps quite a bit himself, since in the meantime he finished filming the first feature film in which he took the lead role, a kind of Brokeback Mountain with a farmer from Romania, the debut film of the British director Francis Lee.

There were nine weeks of filming in Yorkshire, enduring the "bipolar weather" of England, during which time he learned, among other things, to cut the hooves of cattle, to make cheese, to witness the birth of lambs. Oleacă already knew from the Fight Club. And in few percussions I surpass him, after Alexandrul Dabija's Requiem, from the National Theater in Bucharest. In addition to stories about the British system, a show business performance machine, news about new theatrical productions in Bucharest or evaluations of Romanian theater in general, from Alec Secăreanu I found out that there is an online radio that takes you far, Nice Cream FM , and something even more interesting, that there is Radiooooo, with five "o's", which allows you to choose from the map of the world what kind of music you want, in decades, from the beginning of the twentieth century to the present. «You can understand your decade and your country and listen to, say, Mongolian music from the '60s. It's something like Wikipedia, users are still uploading music, so they've already reached an impressive database, "says Alec.

Rep: Actors of your generation make most of the film and most make film outside. Ana Ularu, Iacoban, Bucur… a long series in which you have just been included, in the most honorable way, with a British production, a kind of Brokeback Montain as far as I understand, a love story that happens on a farm and involves a character born in Romania

Alec Secăreanu: The first feature film in which I had the main role, "God's Own Country" is Francis Lee's debut film. I really wanted a Romanian for the role, because the character in this story is Romanian, and the director wanted everything to be as authentic and organic as possible. Of course, the character has only a line or two in Romanian, not at all significant, by the way, for the story, so they could take absolutely any other actor who speaks English with an accent. But he wanted everything to be organic. The casting director from Romania gave more than 40 rehearsals and, a few weeks later, the director came to Bucharest and wanted to meet about 13 of us, a group from which he chose three actors. The three were in London for a final test, a so-called chemistry test with the other actor, the one who had already taken the role.

YOU HAVE TO HAVE EXTREMELY STRONG NERVES THOUGH, ESPECIALLY WHEN THE STAKES ARE HIGH. PROBABLY THE FIRST THING YOU NEED TO GET USED TO AS AN ACTOR IS TO BE REJECTED. YOU GO TO DOZENS OF CASTINGS, TO HUNDREDS OF CASTINGS, YOU GET FIVE OR TEN PERCENT OF THEM, TO THE OTHERS YOU ARE REJECTED AND, MOST OF THE TIME, IT'S NOT YOUR FAULT.

They are simply looking for something else, the sooner you understand this system, the better. To keep your lucidity and show signs of mental health. And you have every reason to protect your health, since, in the end, the tool you work with is yourself and, if you break this tool or if it is defective, it no longer serves you properly. My character's name is Gheorghe Ionescu, he is a young Romanian farmer who went to work in England, who ends up working somewhere, in an isolated complex in Yorkshire, and there he meets a guy, the boy of the farm owners. An unexpected meeting for both of them, surprising, a friendship and a fascination are linked and the two end up living a love story, although neither of them identifies as a gay person. In fact, the film does not want to be a gay movie, but, rather, a story about people, a plea that some encounters are love. A very interesting creative connection was created between me, my colleague, Josh O'Connor, the director Francis Lee and Joshua, our operator.

We had two weeks of rehearsals, in which we discussed very well each stage of the script, each sequence, what happens to the characters, the history of each of them. When I started working, everyone in the frame knew what to do. I filmed a lot of exteriors, on which occasion I got to know very well the weather in England, which is dementia, you

have four seasons in one day, it starts with snow, followed by a storm, then hail, then the sun rises, then again it snows a little and so on. In fact, the weather was a real problem at the connections, because I was starting a frame in the sun and when I resumed it, it was snowing outside, so things didn't fit.

THE TWO WEEKS OF REHEARSALS HELPED ME BUILD THE CHARACTER, BECAUSE I HAD TO WORK ON THE FARM, I LEARNED TO WORK WITH COWS, SHEEP, TO WITNESS THE BIRTH OF LAMBS, TO CUT THE HOOVES OF CATTLE, TO MAKE CHEESE , LOTS OF THINGS. IF THIS THING WITH ACTING DOESN'T WORK… I LEARNED SOME EXTREMELY USEFUL THINGS, WHAT CAN I SAY.

Rep: I understand that the benefits were even greater, you chose an invitation to the British actors' union and a London agent…

Alec Secăreanu: I had the opportunity, for nine weeks, to work in a healthy system from the ground up, starting from the way the union works, to the fact that the actors from the British schools learn notions of personal discipline from college, in a broader framework for the management of the profession. I was treated as a member of their union. A month and a half after I finished filming, my agent received an email from the union asking if I had been paid for the work done, so that the warranty that had been withheld from the producers at the time could be released. in which they announced the film. What can I say… welcome to Romania!

I told them that I am not part of this union, they told me that such a contract in the UK guarantees me these rights and allows me to become a member. I'll be back on the 20th for a series of meetings, and we'll probably finish the talks on this occasion. In the meantime, I also have an agent in London, in addition to those who represent me in Romania. I started the relationship with my agent from Romania, Alexandru Harsany, from RAA (Romanian Artists Agency), two years ago, when I was just returning from Venice, where I stayed for about three months, at the Art Biennale, where I was a performer in an installation built by Alexandra Pirici. Alexandra…, a perfect artist… two days ago completed a performance that will be presented at the Tate, in London…

Returning to my professional path, my stake, I once told my agent, is to work abroad, because in the country, unfortunately, you have nothing to do. You just have nothing to do. Seven to eight films are made a year, which usually have the same cast. In fact, if you look at Romanian films from the last ten years, you might get the impression that only 15 actors have graduated from the University of Romania lately. Beyond this shortcoming, there is no market, the options are few, I do not understand how many of my colleagues manage. Well, I'm in this situation too. Outside, once you have a major project, some doors open, everything goes on.

HERE, I HAVE COLLEAGUES THAT PEOPLE RECOGNIZE ON THE STREET, BY SUBWAY AND BY BUS, WHERE THEY ARE MAINLY BECAUSE THEY DON'T HAVE TAXI MONEY. IT'S FRUSTRATING.

I worked with my agent in Romania, I updated my casting photos every six months, which means to make available to potential producers a picture of the state, in which you must be relaxed, not to frown and to highlights your features as best you can. We have updated, to the necessary standards, the video materials or CV presentations, ie that series of things without which you have nothing to look for at the door of a casting director or an agent. While filming in England, the producers there issued a press release announcing that they were filming and that they had a certain distribution. At time number two, Alexandru's mail exploded, hundreds of requests, questions and offers came, sent by casting directors, agents, an entire machine was set in motion.

During the filming in London, I had five days off at one point, and the producers arranged for me to meet with some other directors, agencies, to see how things worked. They are somehow looking for unpolished stones, hoping to find the next great talent. We don't have this culture. I know only one casting agent who goes to shows or to UNATC, to see new faces, and that is Domnica Cârciumaru. The others always work with the same people, and that's especially because they don't know other people, they don't look to see what actors there are on the market, they don't care. Romanian agencies do not have casting databases, for example.

There are real platforms out there for that. Our casting directors work from project to project. 'What I need, a 40-year-old woman. Where else have I had a 40-year-old woman? Aha, in the gum commercial. Well, let's call that one too - that's how things work. In London I had meetings with three agencies and I opted for a rather large one, The Independent, which deals not only with actors, but also with directors, screenwriters, a total of about a thousand people. I liked that it works as a boutique agency, they have 40 agents, every week they meet and discuss the projects that are on the market and to which they have access and then they try to promote the people they represent. In addition, this agency is open to the States. We will see…

Rep: Returning closer to home, you have a few shows in Bucharest, including Fight Club, one of the revelations of last season. The first six rounds of Fight Club demonstrations were an absolute success, so the full version follows…

Alec Secăreanu: In addition to the most recent premiere, Fight Club, we have an extraordinary show at Godot, «Flowers, Girls, Movies or Boys», which we have been playing for ten years with great success. It is one of the first texts written by Mimi Brănescu, he being a basic actor, but lately he has reshaped himself on dramaturgy and screenwriting. A show about relationships, which follows the evolution of two couples, from the moment when future lovers know each other, until a little later, when they may lose love. It's a good, funny text, it catches the audience very well. I'm one of those lovers, a filthy neighborhood wannabe, the kind who feels like he knows them all, and obviously he's not.

His evolution is very interesting, he hits a person he underestimates, in any case he did not expect to have such an impact on him. The girl is from another social class and this very conflict between social classes arouses him and makes him get closer. In time, however, the two realize that they do not have much in common.

I KNOW, I KNOW, THERE'S A THEORY THAT OPPOSITES WOULD BE DRAWN, BUT THEY'RE MOST LIKELY DRAWN TO THE POINT WHERE THEY REALLY HAVE NOTHING IN COMMON. THEY MAY NOT EVEN MEET AT ALL, AND THAT'S THE STRANGENESS OF THE COUPLE WE'RE TALKING ABOUT.

I have another show at the National Theater, Requiem, directed by Alexandru Dabija, entered the seasons last year, things are going well. We expected him to be selected in the National Theater Festival, but it seems that was not the case. It is a text Vişniec, first placed in Romania, with references to an area that seems to be of great interest to Dabija now, more precisely the area of war, the world of soldiers. Vişniec was also interested in this form in one form or another, if we think of "The Woman as a Battlefield in the Bosnian War".

most spectacular staging of this text. There was another show, once in France, he told me that he had seen it, but that it is much more extravagant. Dabija thought of an image show, there are costumes, there is scenery, there are quite a few actors on stage, about 20, some of them employees of TNB, most of them - collaborators. It is sung, it is sung beautifully, the music is by Ada Milea, some songs are really very nice, it is a kind of music specific to the instruments with which it is played: an accordion, a big drum - where I play… We have some marches and various others pieces that lead to the military music area.

I play the role of a soldier who still believes in victory. The story takes place in a cafe Chez Vişniec, a place where soldiers meet who are preparing to return home, who dream of the triumphant march and the glory of reception in their cities. All sorts of people gather at this cafe, some who have never believed in victory, others who have believed, there are some who still believe that victory is possible - all sorts of psychologists synthesized from this theater of war.

What did not delight me about this text is the fact that the characters do not have an evolution from one end of the show to the other. A logic does not have to exist, it is an area of the theater that Vişniec has accustomed us to, but the characters, although very vehement, with a very strong speech, were suitable for a well-deserved development.

Rep: Do you believe in victory? Or have you not fought your big battles so far?

Alec Secăreanu: No, the great battles did not take place. But we started with a few fights, some of which we lost, others we won, others are still contested. I lost, for example, the struggle with the idealism I had at the end of college. I was very disappointed when I finished college, very disappointed… I had high expectations from the Romanian theater market, I hoped to have a vision, a coherence, a general enthusiasm. Of course, everyone wants to be part, at some point, of a movement that means something. I'm still part of the independent theater area, so I never relied on the state theater to do anything for me.

BY THE WAY, I THINK THAT THE STATE THEATER HAS ENTERED A KIND OF SHADOW CONE, IN THE SENSE THAT, AT LEAST THAT IS MY IMPRESSION, IT HAS BECOME MANNERIST, IT HAS NO IMAGINATION, IT HAS STUCK IN SOME RECIPES THAT SEEM TO WORK AND, WITH FEW EXCEPTIONS, NO ONE SEEMS WILLING TO DEVELOP NEW THEATRICAL EXPRESSIONS.

And in the latter case, the high hopes and high expectations were primarily for them, because they manage the funds needed to do that. Every year they have to put on a number of shows and I look in amazement that they are not trying to discover anything, they are systematically going to areas where they have been before, they only walk on dirt paths. It's not the commercial that has to bring the world to the theater. There may be a commercial area, but I think it is our duty, of artists, actors, directors, to push the boundaries a little, to invent new ways.

But the independent theater is currently identifying itself as an area of precarious means. You do shows that catch the audience - logically, otherwise you can't finance yourself, the setting is, most often, modest, consisting of two chairs and a table - since there is no money for something more sophisticated, the costumes are also as they are - most often the actors come with their clothes from home. It's a poor theater, let's face it. If you try to look for what is happening in the independent theater, the first time you notice the lack of funds, and you notice it as a spectator and it would not be your job as a spectator to see things like that. It can be seen that the director made a kind of compromise with the money to make this show. While in the state theater a lot of funds are lost.

There are exceptions, of course, but my huge frustration is that you see shows with extraordinary budgets and you don't understand why the money went for such a show, which doesn't bring anything new. While in the independent theater there are so many ideas and so much desire to work, but there is no funding for their realization. I was really talking to someone the other day, because we're looking for funding for Fight Club, and I was asked, okay, beyond funding, what's the business? Let's get along, we're talking about an art form, and monetizing art in this brutal way is harder to imagine, because our stake is to try to develop new theatrical languages, we need grants, state aid, maybe even the private area, the effort is not made for a show to be sold like this, to fill the halls.

If you want that, you have a party, you call the world, you play a few more instruments, you say three more poems and that was it. Either way you want to go, the discussion inevitably reaches the area of the diseased system, which you have little to do, except to try to build it from scratch.

I have a cultural association with some colleagues. We realized in 2007, when we finished the University, that there is no point in hoping, that we will not receive any kind of help from the theaters, where even now the places are blocked.

I WOULDN'T SAY THEY AVOID YOUNG PEOPLE, BUT RATHER THAT THEY ARE WARMER WITHOUT US. THERE ARE A LOT OF EMPLOYEES IN THEATERS WHO DO NOTHING, BUT KEEP THE SEATS BLOCKED, TWO OR THREE SEATS APPEAR ONCE EVERY THREE YEARS.

IT'S A KIND OF SLAVERY, PEOPLE WORK IN A WELL-GROUNDED SYSTEM, WHICH NO ONE REALLY WANTS TO CHANGE.

In fact, the same situation is in every state institution, many people who receive a meaningless salary. And these are not theater companies, to say that they are families, but they are state institutions, financed from the budget. One is an independent, self-financing theater company and theoretically is allowed to do whatever it wants with its money, and another is a budget-funded theater, obliged to function for the public and to educate it, to arouse it, to motivate it. . If you put the same pieces of Caragiale and Chekhov every year, and only that, and only that…

Rep: There are all kinds of public calls lately for the elimination from the scene - from various scenes - of the generation we call, coded, "golden", as we saw calls of some intermediate generations, I would not know how to define them , to finance somewhat less intellectual productions, which have at least some connection with the public. Where is the truth? And with the golden generation, what should be done, ideally, from the point of view of the new wave you represent?

Alex Secăreanu: Who else is today a consumer of magazine theater, for example? They are nostalgic, and they know where to find their shows, and they somehow look for them by virtue of inertia. I have no problem taking care of established actors. I appreciate them as history and there are some from which I had a lot to learn, because they are better than me. Victor Rebengiuc, for example, with whom I worked for a short film called Casting Call, written and directed by Conrad Mericoffer, is a man from whom I learned a lot. The story follows an elderly actor, who is called to a casting, but it is not necessarily about the elderly actor, but a generic meditation on the condition of the actor, because we are all, in fact, in the same situation. I played, Paul Ipate, Victor Rebengiuc and Sergiu Costache.

I learned a lot in the short time I spent with Rebengiuc, how to behave in a team, how to approach a role…

IT'S LIKE CHESS. IF YOU PLAY WITH SOMEONE WHO IS BETTER THAN YOU, YOU LEARN FROM HIM. IT'S NICE TO HAVE SOMEONE BETTER BEAT YOU, BECAUSE YOU LEARN FROM HIM.

There are cases, however, in which it would be in the best interest of the actors in question to give up, as is the case of Radu Beligan, for whom I have a huge respect, but who has advanced a lot in age, goes through natural stages of life, to simply remember the lines, it is simply no longer possible. What we want from this story is already doing him a disservice. It's just an example. With reconfigurations and reinventions it is harder… but actors like Victor Rebengiuc and Marcel Iureș believe that they went in different ways from the very beginning, they wanted more than they were offered and they looked for more.

In this profession you never stop searching, because as soon as you get the impression that you know them all, you enter a very dangerous area, an area where you don't come up with anything new, and the viewer feels that. You have to surprise him, he has to see you doing something new, otherwise there is no stake.

Rep: Fight Club… You were able to get into Tyler Durden's mind, a courage, probably, after his twisted imagination was once explored by David Fincher, with the iconic film released in 1999. What you found there ?

Alex Secăreanu: Fight Club… is a story that, for me, started many years ago. I read Chuck Palahniuk's book in 2006 and I thought that this book must be a theater show. The idea bothered me for many years, until last year, when the stars lined up, I said it would be time to do it, especially since I found an exceptional team. We developed ideas, we had a lot of meetings in which we kept challenging the imagination, to see where the story can take us, and finally we were ready to put everything into practice. Sure, we hit the funding. Arcubul financed us for the show, which is a complex one, with multimedia elements, videomapping, fight scenes, music,

It was a test for us first of all, to see if our ideas work, if the team works. After the first six rounds, we realized that we are on a very good road, which must be continued. We can bring new elements to the theater, we can develop new languages in the theater, we wanted from the beginning to make an experience for the spectator, a one hundred percent experience made for him. We wanted the spectator, when he left the theater, to feel that he had received a punch in the stomach. We got pretty close to the goal, all the people said, after the show, that they lived that thing that we felt when we were little and we watched a karate movie, and after the movie you wanted to jump around the house, to give more and you a fist, try another scheme.

He left absolutely no one regardless of this show, which is very important. We need some more money to set it up the way we thought it would. The amount is not large for a state theater, but huge for an independent theater. About 60,000 euros. Usually, in the independent theater you say, come on, how much do we have, 5,000 euros? Let's do it, we come home with more clothes, we cut another set, we give up that one, the other one and we did the show. When you have thought of an artistic approach in a coherent way, you cannot make concessions like this. You can not. There are elements, means that you absolutely need to build your convention fluently, to say what you wanted to say.

THERE ARE ALSO PRODUCTIONS AT TNB OF ONE MILLION EUROS, APUS DE SOARE, THIS ONE FROM TEN YEARS AGO OR WHEN IT WAS MADE, TWO SEASONS WERE ALSO PLAYED AT REVEDERE.

There is also a record amount for a show that has never been played before. I don't know how much the funding was, but let's remember that in the year of Caragiale, a theater wanted to do D'ale Carnavalului somewhere, at the Metrorex Halls. They equipped a hall with bombers, cars, an entire fair built from scratch, and the show was never done again

#alec secăreanu #alec on stage #interview #fight club #fight club: play #he's so intelligent #how is that fair #goc #god's own country #goc film

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lillupon · 3 years

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So, I've got a very long rant/opinion here and Idk really know how to say this without coming off kinda bad but I'm gonna say it anyways. I agree with the fact that the seventeen tag has been kinda dry lately on most fanfic places, but it's really only in the smut area. It's the sane way with other groups too I feel like. All of the nice little innocent tags are boomin to this day and thats completely fine. I think the smut tag is dry tho bc lately I feel like a few social issues (like sexualizing people and disrespecting them and their identity) have crossed over into kpop and have been ?blown out of proportion? Lately there's been a rampage of people who like to say that writing smut about someone is disgusting and is dehumanizing because people want to assume that it would make the idols uncomfortable which could equate to some morality issues on how you are reducing someone only to their body without their consent and a bunch of stuff like that. It kind of pisses me off bc this is fiction. About grown adults. Clamping down on horny people who simp over hot asian men isn't going to solve the issues we face in real life. I think a shit ton is wrong with the world we currently live in, and deciding to come after something that isn't even real bothers me. Like what does that actually accomplish. But yeah, I think thats a reason why smut has been dying down. I mean, on youtube almost every video about unpopular opinions, or things they dont like about kpop will include something about shipping idols in fanfics. And then everyone in the comment section will talk about how its all fine and dandy in moderation, but once people start writing smut it's crossing the idols personal boundaries. It's something I've been seeing a lot more often and I think people who are interested in writing smut are being turned away from it bc we've gotten to a point where people are being called disgusting for having fantasies.

Hi Anon, thank you for sending in this Ask.

I want to preface this by saying: when I write or talk about Mingyu and Wonwoo fucking on my blog, it is a fantasy. I am not speculating about what the real Mingyu and Wonwoo might be like in bed. I am imagining the versions of Mingyu and Wonwoo that I have created in my head, that exist only in my stories. None of it is real. I understand that this can be a blurry boundary for some people. But for me, the separation between fantasy and reality is well-defined. Now, on to your Ask!

You’ve hit the nail on the head with this one. You’ve also touched on many of the issues I have been struggling with myself as of late. It’s difficult to argue about morals since everyone has a different set of values, as well as different comfort levels. Some people think real person fiction (RPF) is a gross invasion of privacy. Others are fine with it. And others don’t care one way or another. There is no single answer; I can only offer my answer. Which means, of course, people are welcome to disagree with it, or parts of it.

In this essay (LOL But forreal: this is an essay), I will be sharing my experience in the k-pop fanfic community from 2014 to present, the etiquette I personally abide by as a reader and writer of RPF, as well as my stance on RPF in general.

I started reading and posting fanfics back in 2014/2015 on a website called AsianFanfics (AFF). Obviously, no one on that site had a problem with RPF, since AFF is a platform made specifically for sharing stories about Asian celebrities. For many years, I read and enjoyed RPF with zero guilt. I scribbled away by myself in my own corner of fandom and curated my own content. I didn’t interact much with other fans, readers, or writers. I didn’t have a Twitter, and I only used tumblr to reblog memes. As a result, I’ve been able to avoid a lot of anti-shipping discourse, as well as purity and cancel culture. I had no idea there were so many negative opinions about RPF. It wasn’t until I became active on the subreddit r/Fanfiction last year that I learned about all the discourse surrounding RPF.

This newfound ‘awareness’ does make me feel guilty at times—but only because after mulling this over, I still don’t think this is something to feel guilty about.

Here’s what I remember, first and foremost, when I create and consume RPF: fanfics and my favourite ships are fictional, and fiction is fantasy. This is basic etiquette when it comes to RPF, and most people in the k-pop fandom understand this. Delusional fans exist, of course, but they are not representative of the entire k-pop community.

Another point of etiquette is to keep fanfics within fandom spaces. I would never push my fics into celebrities’ faces, or go around claiming that my fanfics are accurate representations of a k-idol’s life or personality, in any way, shape, or form. I would also discourage directing ship-related questions to official accounts, or bringing them up during fansigns or other face-to-face interactions; I believe that in these instances, shipping does have the potential to strain real-life relationships.

So with basic etiquette out of the way, let me share my approach to RPF in general.

As much as we like to think we know our favourite celebrities, we really don’t. All we see is their public persona. And this public persona is intentionally controlled, managed, and curated by a team of people: directors, tabloids, editors, makeup artists, publicists, etc. How “real” are these celebrities? We are so distanced from them that they may as well be fictional.

I draw from the public persona that idols project, and I work them into my own writing. But at the end of the day, these personalities are my own interpretation. My interpretation is probably nothing like an idol’s actual personality. I just use the “public persona/character” that idols portray as inspiration for my own stories, which are set in wildly different universes.

More than anything, I think of k-pop idols as “actors” in my fic. You know how when you write an original novel, you scroll through Google images, looking for the perfect person to portray your original character? RPF is literally that, except you might build upon pre-existing dynamics and personalities.

When it comes to explicit fanfiction, two main concerns are prevalent: one of consent, and one of sexualisation.

If we argue against explicit RPF due to lack of consent, we should be willing to apply the same lens to all explicit works. How do we know that the creator of a movie, book, series, etc., is okay with us using their characters in our stories, explicit or not? We don’t. Perhaps some creators encourage fanfiction, but don’t want their lovingly crafted characters engaging in sexual acts or experiencing trauma. We just don’t know. I feel this line is even more blurred when we talk about characters from movies or TV series.

Let’s take Steve Rogers and Bucky Barnes, as portrayed by Chris Evans and Sebastian Stan, from the Captain America movies as an example. I am willing to bet that when people consume and create explicit fanfiction about Steve and Bucky, they are imagining Chris Evans and Sebastian Stan in their heads. I doubt many people are imagining the 2D cartoon versions of Steve and Bucky, even though they’re technically the exact same characters. Why? Well, it could be because movies are more readily and easily consumed than comics, and so people are unfamiliar with comic book Steve and Bucky. But it might also be because fans find Chris Evans and Sebastian Stan attractive. Is this really any different from RPF, where fic authors make up everything about a celebrity’s life?

When readers and writers of fanfic talk about how hot Steve Rogers or Bucky Barnes is, those comments are about Chris Evans and Sebastian Stan’s bodies. When reading explicit stories, fans are going to picture Chris and Sebastian’s bodies in their head, doing sexual things. Can we say, “Well, it’s not really you, Chris/Sebastian”, when in a way, it is?

The reality is, people are going to thirst over celebrities, regardless of whether or not explicit fanfiction exists. They’re going to post thirst tweets on Twitter. They’re going to talk to friends and strangers online about how hot [insert celebrity name here] is. They’re going to fantasize about dating and having sex with their favourite celebrity. Or, as it is in my case, they’re going to make up stories in their heads about their favourite idols dating and banging each other. People are going to do all of this without ‘getting consent’ from the celebrity. Cracking down upon and shaming writers of RPF isn’t going to change any of that.

To be honest, I’m not sure why people think it is disgusting to imagine sexual scenarios about real people. It is okay and normal to have these kinds of fantasies. I suppose the alternative is to fantasise about having sex with cartoon characters instead? It’s a very binary way of thinking to say that if you imagine/write real people in explicit scenarios, you are immediately sexualising, dehumanising, or objectifying them. There is more to dehumanisation than writing smut about our favourite celebrities. For one thing, you can love someone and appreciate all parts of them, and still want to fuck their brains out. And generally, fanfics come from a place of love—love that is not only sexual in nature.

Is it the sharing aspect inherent to fanfiction? The possibility that a celebrity might stumble upon explicit works about them? The chances are very low, I think, of the k-pop idols I enjoy writing about coming across my English fics. But I also believe in curating your own content, and that applies to celebrities too. Perhaps a celebrity should not go searching for fanfics about themselves. And of course, people should not show celebrities their fanfics, unless invited.

Another argument I hear against (explicit) RPF is, “How would you feel if someone wrote fanfiction about you?” First off, I don’t like this argument because there’s a difference between someone who decides to be a public figure versus someone who decides to remain a regular private citizen. Celebrities should and do know what they’re getting into when they choose their occupation. (This is not to say, “They are celebrities; sexualise them all you want because that’s what they signed up for.” Here, I am only acknowledging that people might have sexual fantasies about celebrities they are attracted to. Presumably, celebrities are cognizant of this.)

If someone (whose existence I am not even aware of, mind you) decides they want to write explicit fanfiction of me in some tiny corner of the Internet, I wouldn’t care so long as: (1) they don’t shove it into my face, and (2) they don’t harass me and ask invasive questions about my personal life and relationships. It’s not hurting me or negatively affecting my life, so it wouldn’t even register as a blip on my radar. When fanfiction remains within its appropriate spaces, it is largely harmless.

Now, if a k-pop idol were to ask their fans to stop writing fanfiction about them, would I? Yes, I would. However, I can’t imagine that happening. Judging by the number of ‘sexy’ concepts, fanservice moments, and variety shows such as ‘We Got Married’, I am certain that k-pop idols realise they are the stars of many fantasies—some of which are explicit in nature. Considering the prevalence of shipping in the k-pop industry, I would argue that shipping is subtly encouraged.

It’s sad that so many talented writers are shamed out of fandom, or feel that k-pop cannot be the medium through which they tell their stories, or explore their sexuality, or cope with trauma, or simply have fun. Professional works and Hollywood love their RPF—readers and writers of fanfics should be able to, as well.

As you said Anon, “clamping down on horny people who simp over hot asian men isn't going to solve the issues we face in real life” (this is a lovely sentence, by the way). The kind of person who dehumanises another and reduces them to a sexual object will do so some other way, if not via fanfiction. I don’t think the issue of fetishisation can be fixed simply by telling people not to write explicit RPF. In my experience, people who read and write RPF are more respectful and thoughtful about these things than the general public. We’ve all seen the general public say highly sexual things about celebrities in the media and to their faces, or tag celebrities in their thirst tweets. Are these things less invasive than fanfiction? Personally, I don’t think so. And in my opinion, there are more pressing and damaging issues in stan culture than fanfic.

In conclusion, I don’t think there is anything wrong with creating and consuming RPF, both explicit and non-explicit so long as we:

Remember we are writing fiction

Keep RPF within its appropriate space, and

Do not harass celebrities about their personal lives and relationships

RPF is not for everyone. There may be people who enjoy RPF, but draw the line at explicit stories. This is fine. Everyone has their own personal preferences. What is not fine, however, is attacking people for creating things you don’t like. I’m not sure what kind of moral crusade people are on and what they hope to achieve by shaming writers of RPF, explicit or otherwise. Ultimately, fic authors are writing a fantasy. It’s not real; no one is being hurt. I think it’s important for people to curate their own content, and AO3 makes it very easy to filter out explicit works and unwanted tags.

Maybe this is me trying to justify my own participation in explicit RPF—I don’t know. What I do know is that I love k-pop, and fandom is an important part of my media and entertainment experience. I adore the k-pop idols I write about, and I just want to imagine them being happy and getting lots of love and orgasms. Let a bitch be horny, goddamn…

Some bonus fun facts!

At the time I am writing this, on AO3:

26.2% of Stray Kids fanfics are rated M or E

26.3% of Seventeen fanfics are rated M or E

29.0% of Merlin fanfics are rated M or E

34.9% of Captain America (Movies) fanfics are rated M or E

40.1% of BTS fanfics are rated M or E ( ͡° ͜ʖ ͡°)

Coincidentally, I saw this post on Reddit this morning: Can we have a RPF positivity post?

#asks #my writing #fic & fandom #I keep coming back to fiddle and add things to this answer #but I think I've said all I wanted to now...

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flyingcatstiel · 3 years

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1of2 Tired of metas blaming executives / defending writers. Writers can write horrible endings. Proof - GOT, HIMYM, Lost etc. Executives didn't force those bad endings. Reading all these conspiracy theories feels like I am listening to Trump. Executives are homophobic but ok with incestous ending? I asked my SO (who never watched SPN) to watch SPN final with me. I quote him "didn't you say they are brothers. It almost looks like they are going to kiss - Ewww - is this what you want me to watch?"

2of2 Even if we look at bottom line - Executives - apparently don't care the fact that Destiel was trending FIRST world wide - in middle of pandemic, middle of historic US elections - such free publicity to gain more viewers and money - but they care about incestous endings which grossed out lot of people. I wish these metas and conspiracy theorists stop baiting people and stop defending writers. Even before covid - Dabb had intended for this bad ending with proof that only 30% will like it.

Oh, nonnie. If you have sent this just 2 days ago, I’d be there with you, all salty about metas defending writers. Today tho, after going through some serious posts about the CW involvement with the show, about Russian market, about professional dubbing practices I have my thoughts in different order.

So, from what I’ve seen so far (barely past midnight November 26 in the US as of writing this). Jensen went to re record audio stuff for 15x18, most likely Cas confession scene. Now we have info from Latin America (2 separate dubs) that Dean actually reciprocated Cas’s love declaration and only after that The Empty took Cas. Nonnie, this changes everything. The first thing so many viewers noticed and commented on was the weird way the scene was cut and how little emotions Dean showed. The running gag on twitter was that Jensen is homophobic and Misha strong-armed him into that scene. Non shipper said that it was platonic love declaration from Cas, coming out of nowhere. But most importantly, we, shippers were robbed from proper celebration of our ship going canon. After 12 years of sticking with the ship, they still took it from us. This is totally on the CW shoulders.

But also, this means that destiel was at some point greenlit by the executives to be reciprocated in canon. Until someone at the CW backpaddled in late September. The writers are not responsible for this, they are victims of these changes as well. Dean’s answer changes the emotional beats of several scenes in 15x19 in addition to the scenes that were cut. 15x19 has that strange montage at the very end which most likely was added to cover cut scenes, say like Lucifer, Jack and Cas scene in the empty? Because if Misha was in 15x19, that would mean that the prank call was never meant to be his last contribution. I mean, the disrespect to the fans, the writers and Misha, all in one episode.

And then there’s 15x20 which looks so weird that a lot of fans immediately said that it is a butchered episode. Thing is, we have no idea what kind of script was written pre covid, how much it was changed and when, and how much was cut out from filmed episode. I’ve seen posts sayin that the script for 15x20 was still in rewrites when they finished filming for 15x18. Which is very, very late for a shooting script. I personally think that Dean’s death was the thing Jensen disliked so much, but even then - we don’t know how it was framed in earlier scripts and how they arrived at that horrific scene in 15x20.

I’m not saying that SPN writers are the most amazing TV writers out there, and I look forward times when we will be able to discuss all problematic stuff SPN is filled to the brim with, but. We just don’t know what exactly happened in the SPN writing room and how much executives meddled with it. COVID happened. Nothing of this is normal. This is why the most important thing right now is to pressure the CW for some answers. Look at them throwing Misha under the bus today. That tells you bunches how well they know fandom and how to manipulate us.

Now about that incestuous scene, aka Dean’s death, and why homophobic executives would be OK with it but not canon destiel. Under the cut we go, mostly for space reasons.

Ok, this is so funny but I actually just finished writing my second answer about wincest in 15x20 and had problems posting it and that’s how I learned that we broke tumblr and destiel went canon in spanish. Here’s my post, check it out bc I’m not repeating it here.

I think wincest, aka incest between two able bodied, adult male brothers is something casual viewer outside the fandom is not even thinking about. If it was sister/brother deal with intimate embrace, people would notice faster. But two masculine, 6 ft tall macho dudes during the death scene? Nope. Here comes plausible deniability which viewers also use to ignore anything “funny” between Dean and Cas. I’m glad that you and your partner noticed incest vibes, but, I’ve see plenty people even in destiel fandom being fine with such scenes between Sam and Dean. I’ve seen some destiel fans saying that they really loved 15x20, so, there are viewers out there for whom it worked.

Now let’s look at the bottom line. TBH, I’ve no idea where to look? Where is the projected revenues for a show that is ending? You say that Destiel trending during pandemic is a proof that our fandom is huge, but. No one knew that we had such power! And trending on twitter is not something that translates into money easily. And it happened 2 weeks before finale. There’s no time to change finale anymore. I personally think that destiel fandom has been shrinking for past couple of years, since so many folks left due to bad writing and queerbaiting. But they came back for tweeting. At this point destiel is bigger than it’s fandom. I personally think that the CW would have benefited from canon destiel, but they made different call.

I agree with you that in general, fandom should not defend the writers so much and ought to be more critical about the stuff they write, but today, November 26, 2020, the game is happening on completely different plane. I’m pretty sure that we got a butchered finale, and I’m very much inclined to believe that it is somehow connected to their efforts to promote The Walker show. Maybe Dabb’s original finale was really bad, but show me the script then. If destiel was supposed to be reciprocated, then they might have gone overboard with bro love in Dean’s death scene. Only now, when destiel was one-sided, that scene becomes very wincesty seemingly on purpose. A good creative writing, in it’s finished form, is a very tightly woven fabric. You pull out some threads, you unravel whole fabric. And that’s what 15x20 is.

2 days ago I’d be roasting metas who defend spn writers, today I want to storm the CW. (pitchforks anyone?) Destiel shippers were robbed, queer love story was censored, this should be the focus of or anger today, not the writers or actors. We can do both - demand truth about the Cas confession scene and roast original Dabb’s ending if we ever get it.

ETA - after writing this up, I checked out some posts by blogs who debunk all conspiracies, including Spanish dub. They sound very convincing! But in that case we have to talk about long term queerbaiting that was taking place on this old CW show till the very last minute. Cas was used in promos for 15x17 he was not in. They (ppl who make promos) deliberately used Cas barn scene from 4x01 in those promos, then actual barn in 15x20 promo but somehow it is shippers who are delusional? Don’t start me on Song of the day. Angel with a shotgun for 15x19? What was that about? After 15x18 there was no official goodbye to Cas which made ppl to watch finale. Like? Even if the Spanish dub gets officially debunked by the CW and not some random blogs, we are left with the fact that destiel fandom was gaslighted during the last stretch of s15. And not only by writers.

And if this was the finale they so lovingly crafted and deemed to be good, where are the celebration of the SPN ending? Why we had to watch documentary before the episode? Why 15x20 was so short? Why Canada watched the episode first (and leaked spoilers online) They filmed after quarantine, the script had to be the usual length. And so on, fandom has been through all the things that didn’t match several times already. PITCHFORKS -> the CW

#anons #flyingcatstiel has thoughts #spn finale is a gift that keeps on giving #15x18 #15x20 #andrew dabb #te amo #wincest for ts #///#i'm putting this in the queue #and I'll try to reblog more stuff re this issue #scroll down and read my tags #destielgate #PITCHFORKS

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xxskycrystalxx · 4 years

Text

Mystic Pop Up Bar Thoughts - Ep. 12 [FINAL]

SPOILERS AHEAD

Ahh, the last episode of MPUB has aired, and I’ve finished it with a heavy heart, filled with emotions. The last episode has basically answered all the questions, theories, and hopes that we had, and ended the drama off as a masterpiece. I was going to right a full on review of MPUB, but I think my thoughts are enough review, so I’ll end off my last thoughts of MPUB with a small review.

In the beginning of ep.12 it gave us more insight on the sacred tree, and further solidified the fact that Kang Bae IS Weol-Joo & Chief Gwi’s child. I wanted to see a bit more of the sacred tree, but we get what we get. Anyways, the sacred tree is rlly powerful and gave Won-hyung a run for his money in like .0001 seconds, the sacred tree clapped back! After the confrontation with Won-hyung, Chief Gwi & Weol-Joo bring Kang Bae back to his house, and Weol-Joo drops the baby bomb on Chief Gwi. His reaction is definitely not surprising, and his emotions are called for. I mean imagine finding out that you did have a child with the person you loved, but stuff went sideways and basically realizing that they’ve been there the whole time. After realizing that they’re both the parents of Kang Bae, their parenting radar went up, becoming protective parents, parenting 101. Then, of course, Won-hyung comes to mess everything up and kidnaps Kang Bae, while the whole squad puffs up and is ready to rescue him. Yeo-Rin stepped up big time and was being a g, while Chief Gwi, cool as always, brought out his glave and wreaked havoc with it. Can I just say tho, Chief Gwi is serving them looks. Give Choi Won-Young an Oscar, cuz he did an absolute stellar job as Chief Gwi. Once again tho, the drama showed off some amazing CGI effects and choreography! The fight between Chief Gwi & all the possessed people, was cool to watch + the fight with Won-hyung, and of course, cue the catchy action themed music to make it all the more epic! He was just completely bad*** in this episode!

Then here comes the angst, like HEAVY angst. When Kang Bae was confronting Won-hyung we learn that he already knows that he is Weol-Joo & Chief Gwi’s child. I was a bit surprised at first that Kang Bae knew, but then he said he knew after he fainted and I realized that, that was the same for Chief Gwi’s mother. So it made sense. Then Won-hyung put him in the dream world so he would be able to exterminate him, while Chief Gwi & Weol-Joo are trying to protect Kang Bae from the outside, with Chief Gwi dying in the process. He’s done so much already, and here he goes getting impaled by his very own glave, protecting the ones he loves. Ouch. Uh like excuse me, I didn’t ask to be hurt like this. Out comes the waterworks. Then there’s that “I love you” confession before Chief Gwi died, and that hit HARD. Like I cried more on this scene than the other scenes I cried on. But srsly, you writers should’ve given them more happy moments together before they got ripped apart from each other and making us all sad over it 😞 He didn’t even say I love you back tho, what blasphemy!!!

Going into Kang Bae’s dreamworld, Won-hyung is pushing Kang Bae over the edge when mama Weol-Joo comes in, real pissed. I mean the man she loves just died in front of her, and her child’s life is being threatened, who wouldn’t? She tried to push Won-hyung down, but he got a grip on her and dragged her with him, not before Kang Bae managed to grab onto Weol-Joo’s hand. The way Kang Bae was just crying and finally said “mom,” well thanks for that arrow. Weol-Joo letting go and falling into the darkness was just messed up, and my heart broke for this separated family. 🥺😭

Then some time passed, Kang Bae still not over the fact that Chief Gwi & Weol-Joo is gone, but I’m glad Yeo-Rin was there to help him through it and provide comfort and love. I was really hoping for a happy ending for the three of them, and my wish was answered. Weol-Joo was back, and plot twist! It was her grudge that was solved, and was able to fulfill the 100,000 grudges quota, and honestly that was a good move, so good job writers! Yeomradaewang came through, and wanted to reward Weol-Joo with someone that a) took her punishment unconditionally & b) rescued her from the void/darkness. Can you guys guess who it is? MY BOI CHIEF GWI 🙌🏻 He comes in with a smile on his face and his arms open wide. The hug was the best reunion I could ask for, we don’t always need a kiss to make a couple/ship work or show how strong they are. The way they connect, work with one another, actions, and sacrifices is what proves their love for one another. Get a love story like this. Precious bby’s 💕 Also, this is just my way of interpreting how Chief Gwi was able to come back, but in the end, it talks about how the heavens can be moved by even little things, and honestly, I’m pretty sure all the self-sacrificing Chief Gwi did, was what changed their minds, and they were moved by his love and determination to keep his loved ones safe and being good to his promises.

Their reunion was so heartwarming to see, the way Chief Gwi & Weol-Joo look at Kang Bae, like the adorable and loving parents they are, and Kang Bae is like “I’m home.” Ugh, my heart 😣❤️ I cried a bit here too, but who wouldn’t am I right? 😂 It was a good and happy ending, that I’ll take, and I’m glad the writers were able to do these characters justice and bring about MPUB to what it was.

Btw, is it just me or did I not see this scene like anywhere in the last episode? I wonder if it’s a deleted scene or if I really just missed it in a blink of an eye, but Chief Gwi with those sunglasses... 😳 Just hits differently you know?

Anyways, wrapping up, MPUB was an overall amazing drama from start to finish. It had me engrossed from the first episode to the last episode, and the attachment I have with the three characters is saying a lot for me, since I don’t get attached as much. The only times I get attached to a drama and their characters is because I rlly rlly like it, and because I like it, it grows on me. The OST’s, cinematography, CGI effects, characters, story, and basically everything else was well done and crafted! The writers did an amazing job on the story, and being able to deliver plot twists and revelations that actually make sense, and for the actors and actresses that were able to make the drama for what it is. I mean, just spectacular performance to the main actors/actresses, especially Choi Won-Young! I’m really going to miss MPUB. It made me sad, happy, relieved, thoughtful, and surprised all at the same time. Chief Gwi & Weol-Joo is my fav couple at the moment, and them with Kang Bae is the most adorable and loving family ever, our found family/chaotic family trio. The only thing I’ll complain about is the fact that there was only 12 episodes. In all honesty, I rlly wouldn’t mind if there was a second season. I also wish they explored the sacred tree a bit more, and gave us a scene or two of Weol-Joo & Kang Bae finding out that Chief Gwi took her punishment instead, but that’s just me nitpicking out of an amazing drama. It was a wonderful journey to go through while watching MPUB, and I’m also thankful for the MPUB fandom. So very wholesome and filled with lovely people! Thanks to all who have read my thoughts and enjoyed my content! 💕

#mystic pop up bar #my thoughts #chief gwi x weol joo #chief gwi #weol joo #kang bae #ill be revisiting mpub soon 100%

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philologer-mosaic · 3 years

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Hey! Fellow writer here! I was curious as to how you learn to write characters and /keep/ them in character without it being overly stereotypical or stiff? I've read your work and I'd love to learn from you ;^;

Hi! Glad to meet you, and wow, I am so flattered to be asked this. Happy to help out a fellow writer, and I’m always down for rambling about writing-related stuff! I’m not sure how helpful some of this will turn out to be, but here goes.

I’m not sure if you’re asking about characterisation in general including crafting OCs or specifically about writing canon characters, and a lot of this advice will be relevant to both, but I will say this straight off: I’ve seen a fair amount of quibbling about how fanfiction won’t teach you how to worldbuild and maybe that’s true, but there is nothing like writing fanfiction for teaching yourself how to craft character voices. Especially when your source material is a movie/ TV show/ whatever definition RWBY falls under. So: rewatch! Pay attention to all the little details. What turns of phrase do they use? How do they stand, how do they move? What’s their usual emotional range? Pick a line they speak, think about what descriptors you’d use to get across their tone of voice or their emotional state if you were writing the scene in a fic. When you’re writing new dialogue for them, try to hear it in the actor’s voice (if that’s a way your imagination works; some people don’t have great auditory imaginations. Mine can be kind of hit and miss!).

Rest of this advice is going under a cut, because this got looong!

With canon characters: start from what you know, then extrapolate. Especially with characters we don’t see all that much of, boil them down to a handful of personality traits/ ways-they-present-themself first, then consider what might underly them. And in reverse: take the things we know about their status and backstory, consider what that implies about them as a person.

So, Clover: I think I boiled him down to ‘confident, friendly, professional’, and what’s underlying ‘confidence’ is really obviously his semblance: he’s never had to hesitate about anything, he always knows he can rely on himself. So in his internal monologue, he’s not going to second-guess his decisions. He calls Qrow out on deflecting compliments, so he’s good at reading people and also wants to help them; I assume that applies more broadly than just to Qrow. He’s leader of Ironwood’s flagship team of Specialists, and semblance or not I made the assumption he didn’t get there without working for it [that is an assumption, though! People less inclined to think well of Clover will make a different assumption, in-universe as well as out, and how he responds to that is also something to consider], so he’s got to be smart, dedicated, a good tactician, a good leader. And building from that: he’s smart and perceptive but we know he’s also loyal to the bitter end (very bitter); what sort of personality can we project that reconciles those two, what sort of person would respond like that? What I went with is that he trusts the system because he understands enough pieces of how/why it works that he trusts the bits he doesn’t understand are also created with the best interests of the people at heart. (Even when that’s really not true.) So then that’s a consistent philosophy-like thing that underlies a lot of how I write him: he understands the reasons for a lot of why things are how they are and then assumes the best of all the rest.

– This looks like a lot, now I’ve written it out. I thought all this out while working on the early chapters but I never put it some of it into words really. In coming up with the plot or story idea you’ll have made plenty of these assumptions and extrapolations already. Take a second look at them; take them further, find places to link them together or pit them against each other.

And remember, these are your interpretations. There’s not a right or wrong way to flesh these out. Work with semi-canon stuff like the mangas or discard it as you wish; follow fanon or argue with it or throw it out entirely. I interpreted Yang as ‘normal outgoing teenage girl in a non-homophobic world’ and wrote her as having dated people from Signal before she got to Beacon; the other day I came across a tumblr post interpreting her as “a rural lesbian”, by which standard she definitely didn’t have any romantic experience before canon; they’re both entirely plausible takes! Where we don’t know stuff for sure, slot in whatever your story needs, or whatever you think seems interesting. I settled on Clover’s backstory for Soldier, Spy mostly by going ‘ok, what’s an interesting way to contrast him with Qrow?’ And in some of my other fic ideas, he’s different.

Limited third person perspective (or first person, if you can pull if off) is the best for dropping in characterisation smoothly. Though I’m probably biased because I love it so much. Omniscient third person POV is when the narration’s impartial and uninvolved, and skips between person A’s thoughts and person B’s thoughts and pure description of what’s happening, objectively speaking; limited third person is – when the camera’s always over one person’s shoulder in a given scene. It’s less close in than first person, but we get the POV character’s thoughts and no others, we only see/notice what they notice and pay attention to, descriptions are coloured by the way the POV character thinks about the world. I don’t want to be setting you homework, but, a neat writing exercise, if you want it: pick an object, place or person, and consider how two different characters would see it differently. Write those two descriptions. For fun, pick something that at least one of the characters is going to really look down on or dislike parts of! (Qrow’s snark is so much fun.)

This is cynical, but: people lie to themselves a lot. When you put yourself into a character’s head, they’re going to be telling themself a narrative in which what they’re doing is the best thing to do and makes them a good person. (With a few exceptions, the big ones being depression- and anxiety-brain, which instead do their best to convince you you’re the worst.) Get your characters to justify themselves to you.

Goals, motivations, priorities. It feels like a massive oversight to write about how to characters and leave that one out, but honestly I can’t think of anything I can say here that hasn’t been covered better by tons of other writing advice. [Incidentally: https://www.writersdigest.com/ . Subscribe to their email newsletter, it’s free, they will try to get you to buy their how-to courses but there’s no need to, the website has all kinds of articles about the craft and details of writing and the newsletter will send you all the new ones plus curated picks of what’s already there. And also: https://springhole.net/writing/index.html . There’s some stuff specific to fanfic in there, and also general writing advice.] Just: keep it in mind.

Related to that, but a separate thing and one that I haven’t seen other writing advice talk about so much: how does the character try to achieve their goals? What are their skills and resources? And more than that, what’s their preferred approach? In the simplest terms. It’s a matter of mindset, and what options they see as available to them. So the things I would keep in mind for this are: Who’s got social skills/ is good at thinking in social terms, and who isn’t/doesn’t? (Not just interpersonally speaking. James “not really concerned about my reputation” Ironwood is a good example of a character who always thinks in terms of hard power over soft power; even when public opinion is an important strategic consideration he only thinks about it in the broadest and most simplified strokes.) Who would rather work within the system, and who prefers to do an end-run around it? (That doesn’t have to correlate with who’s actually got power, though obviously there are trends. I’m writing Clover as tending to take charge even when he officially shouldn’t because he’s more concerned with solving the problem than with rank, and that’s a case of circumventing the system, it’s one of the things he’s got in common with Qrow.) Who’s more analytical about their approach and what they’re trying to do (which means their failure mode is overthinking and decision paralysis) and who reacts with their gut instinct (which means their failure mode is getting in over their head)?

… I could talk about this one at length. There’s a whole framework I use to categorise characters in this way (I came across it in, of all things, the flavourtext of a supplement to an RPG no one’s ever heard of and it just stuck with me, and I’ve made it my own in the years since) and I could go into all sorts of detail about how it works/ what it means. But I think this is enough to be getting on with, on that topic. If you want to know more, send me another ask? But no one else talks about this thing in writing advice, it might be completely orthogonal to the writing process of anyone but me.

So! Related to the topic of characters’ skillsets, a really great tip I can’t remember where I picked up: how do you write someone who’s smarter/wittier/better at tactics than you? Spend minutes or hours turning something over in your head that the character is going to come up with in seconds. The great advantage of writing: it’s so much easier to be eloquent when you’ve got time to think. [If you had asked me this question in person you would have got ‘i don’t know?’ and then half an hour later I would have thought of half of this stuff and kicked myself. A week and change later, you’re getting the other half too :p ]

And lastly: you said you were worried about your writing getting “overly stereotypical”. And my immediate response to that was stereotypes bad, yes, but archetypes great. The difference being: stereotypes are lazy and offensive writing that let ‘membership of a social category’ stand in for ‘actual characterisation’ and if you’re asking for advice on characterisation you’re obviously too thoughtful to commit them; archetypes are pre-made sketched-out personalities that you can take as your own and flesh out into your own thing. Tropes are tools. No one ever said ‘They were roommates? Ugh, how unoriginal’. By the same token, ‘lone wolf who pretends he’s fine and doesn’t dare trust anyone no matter how much he secretly wants to’ is a fantastic trope that exists for good reason, the CRWBY used it for good reason, and when we found out Qrow’s semblance I went yes please I will have some of all that angst and then laughed at myself because when it comes to fictional characters I have A Type. I’m pretty sure I’ve never written the exact scenario ‘pushes themself way too hard and passes out, wakes up in unexpected safety and immediately condemns themself for not sticking it out longer’ before the opening of Soldier, Spy, but I know I’ve come up with plenty of things that were like it, and if they’d made it to a state of publication you’d be able to see that.

It’s like artists using references. Just because they looked up how to draw that hand and that pose doesn’t mean the final product’s not their own. There’s no reason not to start with your ideas of the character (no matter how ‘stereotypical’ they feel) or a collection of traits you’ve grabbed from other characters that seem like they’d fit – or, for OCs, an MBTI type or a roleplaying class/background combo or one of these or some other personality type you feel like you can find your way around the basics of – and just take it from there. When you start writing/outlining/daydreaming-about-ideas you’ll run into scenarios/setups you can’t copy across from but you can see what responses might come up, and that’s how the template becomes your own unique iteration of it.

… Because really all writing advice does come down to: just write. In your head or on the page, try things out, see what works, see how it goes. I’ve been doing this a long time; most of it never made it to words on a page, let alone to the internet at large. Read across genres, read things people write about themselves and how they live and think and feel, and just – go for it.

I hope this helps! Once again, I was really glad to be asked; feel free to ask me to elaborate on any of this, or about anything else you want advice about. I wish you all the best in your future writing!

#writing #my thoughts #posting into a void

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sometimesrosy · 4 years

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(1) Thank you for the gif(t)s of Misters Elba & Morley. I could always use a little more of them in my life ;) Sorry for the last rant but I’m perplexed by those regarding Bellarke as a six season platonic friendship possibly to turn romantic in the last stretch or not at all. And “turn” is generous since some prefer to use “forced” instead. I suppose it can technically be true but only in the strictest, most surface-level sense. It’s been a long time since I’ve thought of Bellarke as NOT part

(2) of a romantic narrative. I look back and see Bellarke as a three-sided dynamic- partnership, friendship, and romance, with each side of the triangle pushing and influencing the others and each season deepening the dynamic. Even season 1 had elements of all three. I’d say progression is the most accurate term to describe their story. Strangers of different hierarchical classes to political rivals to co-leaders to friends to lovers separated by trauma, politics, death, time, other partners to

(3) future couple. Not a single step exists in a vacuum. Their relationship and individual character development are pieces fit to form a complete puzzle over time. Or as I’ve come to see, a seamless 100-episode tale with interconnected threads from start to finish. The only right way to decipher meaning is to look beyond a collection of scenes to the full picture of what we have so far. All stories are chronicles of progression from one point to the next and romance plots are no exception. JR

(4) didn’t invent some newfangled revolutionary storytelling protocol. His story just requires us to look beneath the surface and connect the dots across a seven season sequence. By 6x10, there are no layers needed to be looked under. The romance is smack dab in the middle of the room for all to witness, figuratively and literally. Even the nonshippers can see it, it’s not exclusive to the trained eye of the romance lover. I thought I signed up for a great story years ago. But I never would’ve

(5) known HOW great it was without the thought-provoking, deep-dive analyses by you, jeanie205 and the 3rd in the triumvirate of fandom heroes, travllingbunny, the kind of insights that bring an accompanying joy to the show itself and leave one stupefied in awe. Thank you all, truly. I don’t have sure plans to watch the prequel yet but if the 3 of you will, it may just tip the scales for me into the affirmative. It’d be fun to geek out with you guys on a new-ish adventure from the start.

+++

I got chills when you said,

Not a single step exists in a vacuum. Their relationship and individual character development are pieces fit to form a complete puzzle over time. Or as I’ve come to see, a seamless 100-episode tale with interconnected threads from start to finish.

That was the most unexpected thing about this show. That it wasn’t just another fun show with hot people in the apocalypse with shocking twists dealing with complex questions-- which would be good enough, you know? Lots of fun. No, it was more. I did NOT figure out that it was a novelistic show until we got to season 3 and even then I didn’t understand how LONG TERM a novel was being told here. Not a novel, more like a series. A novel would be season long, but the narratives here have lasted for 7 seasons.

It is seamless. Subplots weaving in and out of the 7 seasons. Character arcs taking the whole series to complete. That actually really confused me in season 3, because I expected both Clarke and Bellamy to finish their hero’s journeys in that season, and instead, there I was, feeling like it was unfinished because they HADN’T returned from their journeys wiser and stronger, ready to change their worlds. Nope. They were still struggling and learning.

Just because I SAW the hero’s journeys in season 3 (a little late, mind you, since they started in s1 in the ‘hot people in the apocalypse’ phase,) doesn’t mean THAT was the entirety of the hero’s journey. It actually stands to reason that if they’re on a hero’s journey, that it’s a whole series long journey. Oooh. But then this hiatus, someone was like... are you sure Clarke isn’t on a HEROINE’S journey? And I, not really being an expert on the heroine’s journey and only seeing the hero’s part of it (which is like the first half of the heroine’s journey?) had to go research it and LO AND BEHOLD, her journey was the HEROINE’S journey, which TOTALLY fits with the dual protagonist, yin/yang, dark/light, head/heart, binary stars, feminist, mythic, epic love story of it all. NOW it all makes sense, why I couldn’t understand that her hero’s journey hadn’t finished yet (because it shifted into the more unexpected heroine’s journey.)

It always frustrates me when people say I can’t admit I’m wrong and am delusional about bellarke, because I have continually adjusted my theories as the story has gone on, changing them when something is off and doesn’t match canon and THAT’S why my theories are still holding up, which they are. Because I keep checking them back against canon. And when canon confirms the theories I have, I keep using them. When canon josses my theories and headcanons, I adjust. I ask myself, okay where did I go wrong? what is he really saying here? I’ve been struggling, particularly with Raven and Murphy’s roles in the show, and talked to various people about them, because I couldn’t grab ahold of them. With shipping, particularly, things can get confused. I’m wondering if Raven’s love story is not for another person at all, what if it’s self love? Because her most consistent relationships have actually been with familial relationships. Clarke as sister. Bellamy as big brother. Abby as mom. Sinclair as dad. While the romances have failed her. (whether they intended to start out this way or not idk, since all the actors who played her love interests asked to leave or were fired.) And I’m wondering if Murphy’s main love story is actually a spiritual love story. His romance with Emori is a good one, but here he is now wondering about immortality and morality, and he’s always been concerned with that just not secure enough to have answers. Maybe spirituality is his route to finding peace within his soul and coping with his mental illness and trauma? IDK. ANYWAY

I don’t think this show is flawless, and maybe they’ve had to franken-stitch some of their plotlines together to fit when things didn’t work out, and maybe some of their subplots ended in a way that didn’t satisfy us because we wanted something BETTER for those characters even though the tragic ending was part of the larger narrative, but I agree that it is seamless, one leading to the other to the next. When I look back at the storylines I didn’t understand or didn’t like as much, I can see how they fit with the larger narrative. How they lead to the ending the whole show is heading towards.

It’s actually very exciting. It’s not a new way to tell stories, it’s an old one, but it’s not one we see on tv very often, with its ratings and early cancellations and dependence on seasonal !POW! endings to keep people watching, and it’s impatience with slow story telling. They COMMITTED to a long term story despite the risk, and that must have been really hard with the pressures from hollywood and the money people and fandom and reviewers and even the cast. it’s remarkable and I can’t wait to see how it’s wrapped up. No matter what the endings are for our fave characters, I think it will be fascinating to see. And being able to watch the whole show, knowing how it ends, and that it was all crafted to be that way, is going to be really cool. It’s impressive, actually. I think the future will actually be much kinder to this show than the present is. Watching it week to week, you can’t see the development so much, but when we get the whole thing, everyone will be able to see it. I think this series is going to count as a future classic.

It’s like the reverse of GOT. We expected GOT to be novelistic, based on the epic ASOIAF novels as it was, we expected it to have a grand structure that pulled everything together and gave it a bigger meaning, and in the end, it was trash shlock with no meaning past boobies, action, trauma porn, and dragons. HOWEVER, The 100 was thought to be some trash teen scifi soap with no meaning but hooking up, action, trauma porn and apocalypses, and it’s ending up being an epic novelistic series with a grand structure that pulls everything together and gives it meaning. Basically, if JR had been hired by HBO to do GOT, he would have done it right. But D&D were hollywood hacks and flim flam men who only know how to do surface and don’t understand story. (and are also racist and misogynistic bullies.)

ANYWAY, nonny. Do you have a blog? You should be writing this stuff down under your own name. If you send it to me on anon because you don’t have your own blog, you should think about it. I’m pretty sure that @jeanie205 and @travllingbunny would agree with me. I have limited what meta I reblog due to past experiences, but I think other people would like to follow you.

#the 100 #epic story #novelistic #narrative arc #series finale

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