#Girl Boss Anti-Hero Trio | Explore Tumblr Posts and Blogs

todoscript · 4 years

Text

Syndicate — [ 1 ]

Parts | one ; two ; three

Genre | Mafia AU / Anti-Villain AU.

Pairing(s) | MafiaBosses!TodoBakuDeku x Fem!Reader

Rating | Mature

Words | 5.2k+

Summary | Being the lover of, not one, but three influential young men, who are the leaders of the most wanted crime syndicate in Japan, it is no surprise that other eyes are watching you beyond the three’s own.

Warnings | Violence. Cursing/crude language. Guns. Mafia talk/“negotiating”. Lots of fighting. Reader is inspired by the femme fatale archetype. Polyamorous relationship. Characters are aged-up. Sexual undertones/implied sexual content. Possessiveness. Heavily self-indulgent. Written in 3rd POV. Shouto’s “codename” is Mercury (b/c the planet is both half-hot and half-cold lol).

Author’s Notes | Hello all! This is the first ever fanfic I’ve posted on tumblr! Sorry, the idea was lingering in my head until I suddenly felt the burst of energy to start writing this out of nowhere in the dead of 3AM. I’ve written fanfiction before but I’ve never published anything for tumblr so this is exciting.

The air is still, nearly silent apart from the nocturnal creatures that scurry and prowl through alleys, navigating over the dewy darkness between the seams. The moon graces the gloom of the night with its luster across desolated areas in Japan. Business hours have longed past as services are halted until the next coming day. Civilians are nowhere to be found, tucked away in their homes with their lights flickered off.

What remains alive in Japan during this hour is the wind cast through the streets, the scamper of animals in the nocturne, and a low hum of an ebony vehicle driven down roads of street lights.

“Whatever the fuck Overhaul wants better be worth my fucking time, Deku,” hisses a peeved Katsuki Bakugou, leaning against the window of their sleek automobile and looking highly uninterested during the ride. Izuku Midoriya, the young man with the head of unruly verdant hair, nods his head. His expression is mild at his friend’s usual discontented tone.

“Kai Chisaki—the head boss of the Shie Hassaikai yakuza—wants to negotiate with us, Kacchan. Surely it would be advantageous for us to hear him out. If anything we’ll manage to at least squeak some intel from him to reference for later on.” A glint rises in the male’s eyes.

“‘Some intel’ ain’t enough. If they’re gonna drag all three of us out here, then it better be for something good, or else I might have to let off some explosions to satisfy my boredom.” Bakugou’s quirk begins to pop and crack around his palms at the idea of letting loose.

Shouto Todoroki—the third of the trio—sighs exasperatingly at his fellow inflamed mafia boss, running his hand through his red and white tresses.

“Bakugou, I’d advise against it. Knowing the location we’re heading to, your explosions would only cause a ruckus in the area that’d get the annoying heroes involved. I’ve had enough dealing with those fools as it is and we also don’t need the men in blue following after our trail.”

“Shut up Icy-Hot! If this ‘negotiation’ isn’t beneficial to us, I’ll find my own way to make them pay for wasting our damn time!” Bakugou yells.

These three young men—Izuku Midoriya, Katsuki Bakugou, and Shouto Todoroki—are known as the bosses of one of Japan’s most powerful organized crime syndicates.

Notorious, ruthless, and authoritative, these three, despite their youth, have secured a name for themselves within the underground crime world. Aside from their tenacity and skill, the strength of each of their quirks played a large factor in their rise among the rivaling crime groups. They easily snuffed out the weak competition without so much as a sweat, and working under them are other strong combatants, each of them possessing their own unique and powerful quirks.

With everything at their disposal, the Yuuei mafia group quickly obtained a vast, large territory within the capital of Japan—the epicenter of where all the shady deals and disputes occur.

“We didn’t even bring Angel Face with us. What a drag.” Bakugou gruffs. He leans back in his seat, arms crossed, and cushioned behind his head as the lamps flicker past them, the dim lights splayed across the endless road.

“Letting ____ rest was the least we could do after her successful infiltration at the political officials gala,” the middle of the three states matter-a-factly.

“Especially after the rounds she endured even after her mission,” Todoroki adds, vividly remembering the gala dress cascading down her skin and clinging to her body that night, as well as their antics that ensued afterward.

He recalls the beautiful, red formal gown she wore for the occasion, the material hugging her figure perfectly and accentuating her curves in all the right places. God, he prayed that something within him wouldn’t stir at the thought of it again.

They all remembered it quite clearly. It made their fingers itch the very evening of the event, yearning to touch all the dips and arcs that sculpted her body. Her hair, styled up and tied with a matching silk red ribbon, kept the skin of her neck bare and begging to be marked while gold lined her wrists and collar bones. To say she was a goddess that night would be an understatement. The three could barely keep their hands off her before she even left the mansion, let alone attend the gala. But once her mission was complete, she arrived home to be thoroughly loved and lusted, with three young and hungry men indulging in all the divine fruits this celestial being had to offer to them.

The girl they speak of is not only their right-hand woman but also the three’s beloved paramour. Since their journey into coming to power, ____ has been with them through thick and thin and has become an influential asset in attaining their position.

Beautiful, yet dangerous, she proved to be an incredibly powerful fighter in many forms of combat in combination with her quirk, along with having a gift for deception that allowed her to climb her way to the top of the pack. Naturally, the trio found themselves drawn to her, not just for her strength and beauty, but also her passion and ability to mend the spirits of those around her. If it weren’t her, the Yuuei mafia group would not be as intact and well-oiled as it is today.

“Besides, we have some of our best following in the car behind us in case anything suspicious happens,” Midoriya gestures to the similar-looking sleek and dark-tinted car trailing behind their own.

“I very much doubt we need them, but it’s best not to worry Angel too much while she’s resting,” Todoroki murmurs, crossing his legs.

A few more turns and they’ve eventually entered the area of a vacant warehouse located on the edge of Japan near the shore.

The moment their vehicle is directed to a stop, the three bosses exit. Bakugou vehemently slams his door, eyeing the building with a vexing glare.

“Let’s get this shit show over with. This better be good.”

The warehouse is eerily quiet in the dead of the night and smells of salt from the ocean behind it. Spotting them walking to the entrance, the watchmen of the Shie Hassaikai yakuza hastily open the doors enclosing the warehouse. The hinges bear an uncomfortable creaking sound that jars through the silence.

“Oh, he’s here! He’s here! My cute little Izuku is here!” hollers a shrill voice belonging to an all-too-energetic head of messy, bunned-up blonde hair. The said boy blinks twice at her enthusiasm as they approach the lone wooden table situated in the center of the warehouse.

Uh, do I know her? He ponders for a second before dismissing the thought.

A pale man with gloved hands and shaggy auburn hair holds a hand out to halt the girl behind him. “Calm down Toga, we haven’t spoken of negotiations yet, so I need you to be quiet.”

Toga pouts, nearly grasping a silver blade at her side but stills herself for now. In the meantime, she opts to fidget with the tubular machine wrapped around her body.

The three look up to view a small group illuminated by the light fixed above the wooden table. Their eyes swiftly count seven or eight of them surrounding that area, including the ringleader, and likely more hidden somewhere in the darkness around them. After all, any fine and experienced villainous group would know better than to invite the bosses of the most dangerous crime syndicate without being thoroughly prepared for a possible scuffle to occur.

However, for now, they all advance with the notion to talk first before unleashing quirks and violence (well most of them anyway).

“Welcome, welcome. I see you made it to this place without much trouble; you’re right on time,” Overhaul greets the three young men mildly, “Deku, Ground Zero, and Mercury.”

Midoriya walks forward as the center of their entourage to return the cordial greeting. “Yes, it’s nice to finally meet you, Kai Chisaki of the Shie Hassaikai yakuza. Otherwise known as Overhaul.”

“Ah, so you know of me and my cause. It seems our reputation precedes us.”

“Of course. The Shie Hassaikai yakuza has long been in business in the crime world…” Midoriya muses, “Though they’ve wrung out past their former glory. Having since been pushed back into the underground after the rise of heroes.”

Bakugou smirks, close to letting out a snicker at the backhanded comment.

It’s true. While the Shie Hassaikai were one of the main criminal groups running the yakuza underground, that all soon fell and crumbled as the surge of heroes came into society. It was only after the former boss’ grandson, Kai Chisaki, came into power and took leadership that their name grew back into prominence once again, albeit little by little.

“Why you little–” A man donning a long white raincoat and plague doctor mask swiftly appears with a pistol pointed in Midoriya’s direction, none too amused by the remark. However, he’s cut off by a wall of ice erected at Midoriya’s side.

“Watch where you point those toys you little rat,” Todoroki sneers, and the tone of his voice nearly exposes chills to the air.

“Calm down, Chrono. We’re the ones that invited them as guests, thus we need to treat them like so.”

The white-haired subordinate withdraws at the words of his leader, retracting the gun back into the pocket of his coat.

“I apologize, he’s simply on edge over the fact we have some pretty powerful people at our doorstep. You’ll have to excuse him.”

“It’s quite all–”

“Did we come here to talk, or did we come here to fight?” Bakugou barges through, shoving past Midoriya with no restraint.

“I thought this was a fucking negotiation, not an apology fess. If one of your dogs is so edgy, I’d be happy to give him a good thrashing to satiate him if you want,” his raised hand sparks and flickers in the dark, “If not then get to it, Overhaul,” he threatens. Midoriya sighs.

“I think we’re simply all… piqued as to why this meeting was demanded out of nowhere and scheduled for the dead of the night no less, but I’m sure you have some important matters to discuss with us right, Overhaul?” Midoriya reasons, a sly grin on his lips.

“Right, let's get to it shall we?” Approaching closer to the table separating them, Overhaul continues, “First off, I must congratulate you on successfully infiltrating that gala the other night. Not many crime organizations can sneak into a party of that caliber. Especially when it’s so heavily guarded and kept secretive to all suspicious eyes of the dark,” he commends, digging a hand into the pocket of his jacket.

The three exchange quick, wary glances from the corner of their eyes that the opposite party misses.

“You were there?” Todoroki questions bluntly in which Overhaul hums in response.

“Hm, yes. But for different reasons, I’m sure. You see, I’ve been… examining little details of the Yuuei mafia group recently. It fascinates me how well-oiled and efficient you are at running your organization, so I began to ponder: ‘How do they do it?’ Little did I know, the answer all became more than clear to me from what I saw at that gala,” the auburn-haired man drawls, finally plucking out a photo from his pocket and sliding it across the wood under the light.

The moment the three recognized the image, their eyes widened, soon shifting into visages of sheer hostility at the next statement pronounced.

“This girl here? I want her.”

Within the confines of the paper is ____, dressed in the red gown she wore the very night of the gala, a masquerade mask over her features with the purpose to obscure herself in the throng.

The three before Overhaul seethe vessels of wrath.

“What did you just say? Do you even know what you’re asking of us?” Todoroki feels icy and heated atmospheres form on his opposing left and right sides upon hearing Overhaul’s words, sensing the tension rising around his fellow partners as well.

“The girl, I must say, does excellent work at her job. She’s skilled and tactical, having infiltrated many influential organizations and assassinated several powerful faces getting in the way of your mafia group. Such precision, efficiency, and beauty makes her the perfect woman, wouldn’t you agree?” He picks up the picture, bringing it up next to him.

Given the deadly pressure in the air, the next words he utters might be the final nail in his coffin.

“Well, I want you to hand her over to me.”

The nail is hit. There’s a lingering silence before hell nearly breaks loose and the next motions could deliver his soul down the River of Styx.

Fueled by blood-boiling anger and annoyance, Bakugou charges forward to land an explosive hit on the yakuza boss. “LIKE HELL WE WOULD, YA FUCKING BASTARD!” He’s thwarted by a yellow barrier emerging to shield the leader from the attack, courtesy of a henchman at his left side. The blonde jumps back, his hands still crackling and his rage not dissipating anytime soon. “Don’t go spewing a bunch of shit outta your mouth!”

“Now… let’s be rational or you’ll start getting dirt everywhere...” Overhaul dusts off his shoulder before resuming the conversation nonchalantly, “Of course I’ll provide you with compensation. I wouldn’t be so naive as to expect to be given something so valuable without offering payment after all.”

With a snap of his fingers a large, bulky man promptly lays a silver briefcase on the table. The locks click open to reveal wads of cash layering the case to the brim, enough to flabbergast and entice any common citizen in Japan.

“If this amount isn’t enough, I have another briefcase with—”

A jolting sound of the wooden table and metal briefcase breaking beneath Midoriya’s foot is enough to diminish the rest of Overhaul’s remark, signifying their blunt answer to his offer.

“What a waste of a night it’s been. Presenting money to us in hopes that we’d simply hand over our beloved like she’s some prostitute for sale? You're more of a fool than I took you for, Kai Chisaki,” Each word that rolls off Midoriya’s tongue is laced with venom. Such malice is enough to paralyze those who hear it, as if it would be the last statement they’ll ever listen to before hitting the concrete dead.

Reasoning with the trio any further is equivalent to bargaining with the god of the underworld, offering nothing but your knees on the floor and a sad pleading voice, only to be whisked back to the deepest, darkest chambers of hell.

Overhaul simply pauses before following with a long, testy sigh.

“A no then? Alright. Toga.”

The bun-headed blonde pounces forward at the command almost instantaneously, knife in her grasp and ready to swing. Midoriya moves to the side with ease, evading the blade as well as dodging a puncture from a needle. His agility is manifested in green electric currents of aura.

“Ooh, I finally get to cut up and obtain cute Izuku’s yummy blood!” She grins psychotically, keeping both eyes trained on the green-haired boy. “Heehee, I’ve been waiting for this day! Ever since I saw that photo of you all bruised up in a fight, I had to have you all to myself! I just love a man all red and bloodied!” Toga exclaims in utter glee, giggling like a schoolgirl meeting her celebrity idol.

Midoriya grimaces, nearly shivering at her excitement over announcing her neurotic confession to him. Her contorted facade is not earning her any points either. Taking notice of the wary expression that crosses his brows, Toga grins wider.

“It’s OK, even if you don’t like me now, you’ll definitely like me when I get a drop of that girl’s blood and transform into her! We’ll look so much alike, you’ll have heart-eyes for me too!” Her features curve into a look of pure hysteric that leaves Midoriya speechless, so much so it takes a loud blast hurled past him to finally bring his senses back to the conflict.

“Move it, Deku!” Bakugou’s attacks are relentless and powerful, but Toga’s nimbleness prevents her from getting hit.

“Deku, Ground Zero, back up,” Todoroki raises his left hand, the corresponding side flaring with heat before quickly igniting into bright hot flames enough to cover his entire arm. “You lot have some nerve to call us and arrange this abhorrent deal under the guise of a ‘negotiation.’ I’ll incinerate you all for even thinking you could take her from us.”

His quirk is unleashed in a flurry of fire that’s launched toward his enemies.

“Dabi,” Overhaul signals and a lanky man with patched, burnt scars and skin held together by staples and stitches steps forward, triggering his blue blazes to combat the red-orange ones. The infernos collide into a firestorm that soon scatters and disperses due to a power struggle.

“Tch,” Todoroki narrows his brows, annoyed.

“Hm, the brat’s not all talk after all,” Dabi’s expression remains stoic while his hand hovers in front of him, still swallowed by his azure flames. Wordlessly he releases his blazes once more only to be countered by Todoroki’s wall of ice diminishing the onslaught of fire.

On their end, Midoriya and Bakugou are in pursuit of the head honcho Overhaul himself, while attempting to throw blows at Toga along the way.

Now enveloped in energy that increases his strength and dexterity tenfold, it isn’t long until the green-haired young man catches up to crafty Toga’s momentum. With a grunt, Midoriya kicks forward, swinging his foot into the girl’s direction with tremendous force that’s too quick for her to avoid.

Toga braces herself for the impact but the attack never meets. Instead, a yellow shield materializes in front of her to take the blow, a crack now evident on the surface of the saffron safeguard. “Oooh! Izuku’s really out for blood! How thrilling!” she squeals, licking her lips.

“It’s that fucking barrier bastard again! Move over, I’ll kill him!” yells a pissed Bakugou who jumps over Midoriya’s head, running across the top of the manifested barrier. From there, he spots his offender.

Gritting his teeth, he dashes off the shield before it can disappear and uses it to propel himself forward. His palms glow and envelope themselves with heat as he holds them outward.

“Rappa! I can’t conduct another shield so quickly, get him!” Tengai, the one with the barrier quirk, hastens his partner. Rappa zealously swoops in front of him with iron-knuckle gloves ready.

“Oh no, you don’t! Try and fucking dodge this!” Bakugou brings his hands forward while still in midair, “Stun Grenade!” A radiant, gleaming light emits from his palms, effectively blinding all those within his vicinity.

Rappa and Tengai have no choice but to cover their eyes from the intensity of the light, leaving them wide open to strike!

Without hesitation, the ash-blonde creates two more explosions to launch himself forward, spinning in the air and gathering momentum before firing his attack encased in an explosive tornado.

“Howitzer Impact!!”

In an instance, a flash exudes in a fiery burst of nuclear reaction, which releases violent discharges of kinetic energy towards his enemies. The attack hits home, covering a chuck of the area with debris and rubble, and producing a hole on the right side of the warehouse.

Tengai and Rappa are incapacitated.

“Kac— Ground Zero, you went all out didn’t you…” Midoriya mutters while holding Toga down despite all her fidgeting. In a last-ditch effort, the girl draws out the spare knife tucked away in her utility belt, however the young man on top of her knocks it away before she can react any further.

“Toga, am I correct? I suggest you stand down, or I may have to break something to make you cooperate.” Midoriya’s warning exudes a menacing tone, in contrast to his former courteous character and the gentle features adorning his face. Yet Toga does not seem fazed by this.

“Heehee, you’re so cute when you make threats like that…” she giggles, shifting her head ever so slightly to catch glimpses of the male’s appearance. He’s quite disheveled down to his wrinkled suit, unbuttoned collar, sweat glistening on his forehead, and what’s this?

Toga peeks at a single crimson line split on the skin of his cheek with dilated pupils.

“Even though you were so fast, I at least managed to graze you just a teeny-tiny bit! That scarlet cut looks so nice on you, Izuku, aw how I wish I can give you more!” She prattles on and on, beaming over every utterance spoken past her lips. “I did say red is the best color on you, after all!”

Midoriya’s eyes narrow at her behavior, fists clenched and apt to deliver a silencing blow.

“Although… blue wouldn’t look half bad either.”

Unable to express confusion at her remark, he soon perceives a blast of cerulean blue flames aimed and released in his direction, forcing him to jump up to dodge the attack. Toga makes her escape after the fire diffuses, withdrawing next to Dabi. The patched man continues his onslaught on Todoroki and Midoriya.

“They’ve managed to defeat our spear and shield, and nearly took out Toga,” Overhaul’s stance is methodical and calculating, overseeing the fight from the back lines of his unit with a gloved hand beneath his chin. “I suppose it’s time to use that,” he declares.

Chrono briefly glances at him before reaching for a gun in the pocket of his coat—a different weapon from the pistol he pointed at Midoriya earlier. In a container held behind him, he produces a peculiarly shaped bullet, one that takes on the form of a cartridge with a hypodermic needle sticking out on one end.

“Dabi, when these bullets hit, that will be your chance to burn them all away,” orders the auburn-haired man. He raises an arm to prep for the signal as Chrono readies the gun wielded in his hand, positioning his target onto the spiky blonde mafia boss.

“Ha! You think a pathetic little gun is going to stop me?!” While Bakugou exudes confidence and arrogance, his dual-haired comrade is not as keen about the situation at hand.

Why would those fools try to use such a primitive method of fighting at this point? They saw how useless that gun was earlier… ponders Todoroki in the heat of battle, Unless…

“Ground Zero! Be careful! There’s something fishy about that weapon they’re using!” he warns, making the blonde’s expression fix into an irritated glare.

“Shut up Icy-Hot; I know what I’m doing! Why don’t you pay attention to patchwork over there before you get another scar!” Bakugou quips back, eyes never leaving Overhaul. “I’m gonna make this washout yakuza leader regret ever giving us a call to this useless negotiation.”

The man is impassive at the blonde’s threats, lips remaining in a fine line underneath his mask. His arm stays raised next to him for Chrono to acknowledge.

At once, Bakugou’s body launches back into action like a jet engine propelling a rocket. His movements gather more and more sweat to strengthen himself for another devastating assault.

“Pesky thing won’t stop moving…” mutters Chrono, hand continually shifting aim at Bakugou’s unpredictable tumbling. “I’ll just make you sit still!”

On command, arrow-shaped hair pierces through the fabric of his hood and extends straight to Bakugou. His quirk’s versatility and quick instincts allow him to evade the attack to the left with ease. However, it seems Chrono was waiting for that very moment as the blonde is now within his gun’s line of sight.

Overhaul draws his hand down, giving Chrono the signal to finally pull the trigger. A crack of a sonic boom resonates within the single millisecond it is shot. The dart is fired.

The gunshot rings throughout the space of the warehouse. Todoroki and Midoriya can barely register the shot in time to yell out to Bakugou, whose head turns toward the capsule’s velocity in almost slow motion.

Crap..! he curses, unable to move away to escape the bullet in time and preparing to embrace the shot.

However, it never makes its mark.

“Boss! Watch out!”

A gruff voice suddenly makes its debut within the fray, taking everyone by surprise as the newcomer throws himself in front of Bakugou, hardened arms crossed.

“What the—!”

Chrono watches in despair. The bullet ricochets right off the rock-like body of a man with spiked tufts of crimson red hair.

“What the hell? Red Riot?!” sputters a bewildered Bakugou at Kirishima’s abrupt entrance.

“D-Dammit!” Chrono tries to fire again to rectify his failure, but his attempt is in vain. Something muscly wraps around his arm tightly, tossing him away.

“Froppy!” Midoriya calls out to the girl as she retracts her froggy tongue, currently clung to the wall, and camouflaged into her surroundings. She reveals herself into the battle with a small “ribbit.”

“While you guys were inside, a bunch of their goons started surrounding our cars. We knew something shady was up, especially when we heard explosions coming from inside, so we busted our way in here right past them!” Kirishima explains, now standing back-to-back against Bakugou, “Seems like you’re fighting a battle too!”

“I see, so they planned on ambushing all of us if we didn’t comply with their deal,” says Todoroki. He fires more flames in their direction. “How pathetic. They were woefully unprepared.”

“Agreed! Ambushing is no way to fight! Real men would come at us head-on!” Kirishima emphasizes his fierceness through clanking his hardened fists against each other, jagged edges sparking.

“Red Riot! Froppy!” exclaims Midoriya, “Where are the others?”

Asui ribbits before answering, “They’re handling the rest of the—”

“L-Leader..! Leader!” a frantic voice shouts from the entrance of the warehouse, where a ragged up Shie Hassaikai henchman tries to pry inside.

“T-The girl..! She isn’t h-here, she isn’t— GAH!”

His message is interrupted. A menacing shadowy figure looms over the goon like a monster hiding within the dark and throws him back to the struggle outside, proceeding to rampage across the battlefield. Desperate cries leak out but to no avail.

Overhaul discerns the sputtered message:

The girl he so desired was not with them to begin with.

To his dismay, this fight was pointless. If what he sought could not be forcibly taken right then and there, then there is no reason to continue the battle. There was no prize to be won by the end of it all.

Now, he must adjust his plans due to the unfavorable news. How tragic.

At the thought of having lost time, energy, and resources, the yakuza leader pinches the bridge of his nose, utterly furious. There’s a pause in which Overhaul seethes an aura of killing intent over this frustration.

But it eventually simmers and subsides. What happens now cannot be changed, no matter how enraged he is. So he must take logical steps to preserve and remedy the repercussions, which to him was simple:

“We’re withdrawing.”

“What?” Dabi looks at him incredulously, “After all this?”

“Yes, they've taken down our spear and shield, and have wiped out the majority of the soldiers. If what we want isn’t here, then there is no point in staying,” Overhaul’s husky tone bears weight and authority at every word.

“Nemoto, grab Chrono from wherever he was thrown.”

“Yes, Overhaul. What about Rappa and Tengai?”

The auburn-haired man doesn’t so much as spare a glance toward his two defeated subordinates lying on the ground, “Leave them. They’re expendable to me.”

Nemoto nods, going to gather a knocked out Chrono thrown across the warehouse and now lying unconscious atop broken wooden crates.

Midoriya’s fists clenched tightly at the scene, realizing what the yakuza’s next plan of action was going to be.

“They’re trying to escape!”

“Oh, the fuck they are. I won’t let a single one of you bastards leave!” Bakugou bursts into the air, propelled by the explosions from his palms in hot pursuit, with Midoriya catching up thanks to his heightened speeds.

“Sorry boys, party’s over!” Toga intercepts the two using twin knives flung in their direction, catching them off guard. Dabi follows the diversion by gathering a massive amount of flames into his hands before swiftly releasing the kindled energy to erect a blue wall of fire throughout his surroundings.

“Bye Izuku~!” a feminine voice shrills from behind the fiery wall, becoming the last words they hear as they wait for the flames to dissipate, ultimately revealing that their enemies had already fled.

“Those fuckers couldn’t have gone far,” Bakugou doesn’t relent, poised on finding them and having them pay the full consequences of their actions. Midoriya grasps his shoulder, stopping him.

“Let them go, Kacchan. Considering the location they decided for this meeting, they likely fled by boat. We have no way of following them at the moment.”

Todoroki agrees, adding on, “Besides, there are more important things to worry about right now,” he casts his gaze to the wooden table Midoriya had broken prior to the fight transpiring. “For one, they’re after ____ and are willing to go to any lengths to get her. We need to head back to the mansion to make sure she’s safe.” There’s slight urgency evident in his tone. Despite their tenacity, the idea of having their beloved wrenched away is enough to render them even a little bit fearful. Had she been present in the conflict, there’s no telling what could have happened.

“And two,” Todoroki walks off to another site of the warehouse, picking up something dropped on the floor, “we need to figure out what this is.” In his hand, he holds the small capsule bullet that is now slightly dented thanks to the impact against Kirishima’s hardened skin.

The other two examine the capsule briefly until Bakugou decides to take it from Todoroki’s fingers for closer inspection. If Overhaul was so keen on using a gun to do away with them all, despite how inferior it was, then this must be no ordinary bullet.

The three decide to contain the item for further examination for now as they, Kirishima, and Asui make their way outside again. There, bodies of Shie Hassaikai thugs littered the floor after having been thoroughly beaten into submission. Tokoyami, Yaoyorozu, Uraraka, and Kaminari lean against the cars casually but remain attentive after the fight.

“It was quite an ill-planned move to dare to attack us in the night,” Tokoyami’s eyes closed in thought at the havoc he wreaked thanks to the amplified powers of his quirk. Kaminari snickers and boasts with an electric snap of his fingers, “Yakuza didn’t know what hit them, the mafia always stays on top.”

“Excellent work everyone, it seems the henchmen were of no trouble to you,” Midoriya commends the squad, “Now, we must leave before the police arrive on the scene to assess the damage.”

Their six combatants all nod at the order, about to gather back in their vehicle until Bakugou huffs with a final statement before they make their getaway.

“Know that the next time we see those Shie Hassaikai bastards, we will take them down,” He narrows his eyes at the ocean, the moon still hanging above the sky and basking the waters in moonlight,

“without hesitation.”

Ending Notes | Whew.. thanks for reading! For the next part I was considering writing it in 2nd POV since the reader will actually be physically present during the events of the story now, but I’m not sure yet. Please let me know your thoughts and follow if you’re interested in this series <3

2K notes · View notes

mw-moriearty · 4 years

Text

Superman III is an Anti-Capitalist Parable and Way Ahead of its Time

No seriously. Here’s the skinny.

Superman III came out in ‘83 and was directed by Richard Lester, who also directed the markedly inferior theatrical cut of Superman II three years earlier. Lester had a very different approach to the Superman series than his predecessor, Richard Donner: he insisted, ostensibly at the studio’s urging, on taking the series in a more camp comedy direction rather than the Old Hollywood epic movie tone Donner brought to the table. It makes sense, then, that audiences would push back against the goofier, lower-stakes tone of III. They were used to the (comparatively) operatic tone of the original Superman and, to a lesser extent, its sequel.

Superman III was a financial success, but it was negatively received by audiences and by critics, a negative reception that helped send the follow-ups Supergirl and Superman IV: A Quest for Peace to the bottom of the trash heap (not that they needed much help).

But, unlike those two installments, Superman III, when watched today with an unbiased eye, holds up much better than its reputation would suggest. The emphasized comedic undertones don’t stand out so much in this era of light, bantery Marvel films.

And, what’s more, Superman III is probably one of the most plainly anti-capitalist superhero movies of all time. Its maybe not “woke,” but its pretty damn close.

At the core of the film, and perhaps its most controversial element, is the comic relief character played by comedian Richard Pryor. Pryor’s character in Superman III may not be the most nuanced character of color in film, but he is also certainly not the Jar Jar Binks minstrel clown some make him out to be. What he is, is a naturally-gifted computer programmer so brilliant that he is able to hack into a government weather-controlling satellite while completely blitzed and effortlessly design a supercomputer so sophisticated it gains self-awareness. It is obvious the only reason that he lives on unemployment and can’t keep a job rather than being the next Bill Gates and giving the millionaire villain orders is the deep institutional racism upon which capitalism is founded.

The film is well aware of this racism, highlighting it in ways both big and small. Pryor is blackmailed into serving the rich white Trump-esque antagonist, played by Robert Vaughn, after being forced by his ridiculously small paycheck to commit embezzlement (the only victim of which being Vaughn himself, who is so dripping with surplus wealth that he has an artificial ski slope on the roof of his skyscraper). Their first interaction is full of condescending microaggressions on Vaughn’s part, such as cringe-inducingly calling Pryor “my man” in a manner that brings to mind the dad in Get Out.

When Pryor travels to Smallville, Kansas later in the film, he is visibly aghast at how eerily lily-white the whole place is, particularly staring in horror at a trio of porcelain-tinted mannequins in a store window. I’m sure his discomfort would be echoed by many black men taking their first step in rural southern America. Later, to infiltrate one of the businesses that he plans to hack in the small town, Pryor wears one of the awful suits worn by the aforementioned dummies and puts on an affected “white voice” to earn the trust of the drunken redneck that watches the place at night, a fitting commentary on how black men and women are expected to homogenize and “act white” to be above suspicion in white America.

And what happens when Pryor convinces Vaughn to give him the resources to construct his incredible supercomputer? Why, Vaughn and his sister appropriate it for themselves and put its unique capabilities to nefarious ends, shutting Pryor out of any control of his baby and leaving him out in the cold.

Pryor is much more than a victim through all of this, however. I already mentioned how he took the initiative to bolster his paltry computer programmer’s paycheck by using a clever scheme to embezzle from his greedy millionaire boss. He also doesn’t let said boss kick him around, either. Though his circumstances leave him with little choice but to be a cohort in Vaughn’s schemes, when push comes to shove, he stands up for himself. He refuses to allow Vaughn’s order for complete control of the oil tankers to be irreversible, he fights for his fair cut of the loot when Vaughn starts profiting off of his brilliance, and in the end he stands by Superman against his bourgeoisie bosses. He even saves Superman’s life on multiple occasions, using both his computer smarts and eventually a fire ax to come to the big guy’s rescue.

Given that Pryor has at least as much screen time as Supes throughout the picture, one is left wondering, who’s the real hero here? Why, its the guy running around in the frilly pink tablecloth, of course!

And Pryor’s not the only example of a downtrodden minority not being allowed to live to their full potential in a white supremacist patriarchal capitalist society. Perhaps the most interesting character in the film is the villain’s girlfriend, who is initially presented as a vapid, gold-digging bimbo until we learn that this is all an act on her part and she actually is a computer-wise, philosophy-reading secret genius herself. She only plays the part of the brainless trophy girl because life has left her few other options. It is a very fun subversion of the typical villain-moll dynamic, and it is a shame we don’t get more of this character, though she like Pryor is ultimately disturbed by Vaughn’s increasingly villainous actions and bails on him in the end.

But lets talk about Vaughn’s villain, and how he’s emblematic of the film’s ideas on rich white privilege as a whole. This is a guy who is so used to getting everything he wants that he sics a freaking hurricane on Colombia just because the country is competing with him in the coffee export industry. If that ain’t capitalism at its finest. He even repeats the tired adage “it is not enough that I succeed, others must fail,” misattributing it to Genghis Khan like an idiot. I mean seriously, who does this sound like?

This is the guy who gives us probably the most immortal line from the whole movie.

And that’s only the tip of the white entitlement iceberg. There’s also the running joke of the old white couple who win the Daily Planet’s vacation lottery and get sent off to Colombia, where we are treated to the wife saying things like, “look dear, a native wedding!” Cut to the most conventional looking church wedding ever. After this parody of cultural voyeurism, we have the couple later threatening to SUE Daily Planet Editor-in-Chief Perry White because A HURRICANE RUINED THEIR VACATION. What a couple of Karens.

The whole film is about the struggle between the working class and the rich. I’ll paraphrase one of the Smallville locals who, after seeing the chaos caused by the gasoline shortage brought about by Vaughn’s forced oil monopoly, says “I don’t know what’s going on, but I guarantee you, someone’s getting rich off of it. Someone’s always getting rich off of it.”

Oh yeah, and Superman is in this movie too a little. There’s a plot wherein Vaughn tries to synthesize an artificial kryptonite in an effort to kill Superman and prevent him from foiling his dastardly deeds. But, this being a kryptonite forged in the capitalist machine, its a lazy, half-assed copy that doesn’t even work right (leading to the above line).

That doesn’t mean that the kryptonite has no effect, though. Indeed, the symptoms of this knockoff kryptonite are fascinatingly similar to the effects of living under the crushing wheels of the capitalist regime.

We actually see Superman, through this physical manifestation of the exertion of capitalist oppression, deteriorate into a selfish, depressed, bitter shadow of his usual self. As this happens, the colors of his costume subtly grown more dark, drab, and dingy. Superman becomes concerned only with doing what is best for himself without regard to anyone else, giving up the whole “saving people” thing and even letting himself be coerced by the moll into ripping a giant hole into an oil tanker in exchange for a little nookie (the subsequent disturbing image of a massive oil spill creeping across the surface of the ocean is maybe the film showing its hand a little bit). Many socialist and anarchist thinkers have raised the thought that this exact selfish mindset is the natural effect of being socialized in a capitalist society.

Let’s be clear, this isn’t just “evil Superman”. This is Superman so crushed by self-loathing and the futility of his actions that at the lowest point in his decline we see him looking like this:

Indeed, this sad, alcoholic Superman very deliberately mirrors another character in the film: the aforementioned drunken yokel, who is also the former star quarterback of Clark Kent’s high school graduating class. This is a character who found, after graduating, that his celebrity status in school translated to nothing in the adult world, leaving him woefully unprepared for a real life where he is a functional nobody. Cue binge-drinking and pining for the glory days.

This all culminates in the movie’s most iconic scene, wherein Superman crash-lands in a junkyard and splits into two separate individuals: the above Superdick, and plain old Clark Kent. They then proceed to beat the shit out of each other.

Obviously, we aren’t meant to read this scene as literal; it isn’t actually, physically happening. It is a clever visualization of the internal struggle between the character’s two halves: Clark and Superman.

In fact, this very conflict is the heart of Superman’s story throughout the picture. This is examined in the form of Clark’s re-kindled relationship with childhood sweetheart Lana Lang. After the always tragic will-they-won’t-they of Superman and Lois, Clark and Lana’s romance is refreshingly positive and healthy. The obvious reason for this is that, unlike Lois, Lana isn’t just interested in the Superman persona. She loves Clark for Clark. He can be himself around her. Indeed, any romantic incursions between Superman in costume and Lana are portrayed as downright toxic, as in the unsettlingly realistic scene where Superman, first beginning to feel the effects of the faux kryptonite, makes several forceful, sexually aggressive advances on Lana in her own home. The obvious fear and discomfort on Lana’s face during this scene is incredibly telling. She isn’t interested in an inhumanly privileged, aggressive thug in spandex. She likes Clark Kent, the regular guy.

So it is no accident that in this climactic junkyard scene, Clark comes to represent the character’s “good side” and Superman the “bad”. Because this is not simply a struggle between Superman’s good and bad halves, it is a struggle between Clark Kent, the spectacularly unspectacular working man, and Superman, the ridiculously naturally privileged enforcer of statist status quo. Proletariat vs. bourgeoisie. And Clark Kent, the proletariat revolutionary fighting his way out of the bourgeois Superdick’s corruption, wins.

Not that Superman then becomes a perfect champion of the working class for the rest of the film. He does defeat Vaughnald Trump and blow up the evil computer, but he also remains something of a parody of typical movie “white savior” figures. This is mostly clearly shown in the denouement where Superman, obviously thinking he is providing some great act of charity, drops Richard Pryor’s character off at a dirty coal pit far from his home and recommends him for an entry-level computer job there. Pryor understandably decides he’d rather not slave in a coal mine in the middle of nowhere for the rest of his life, and chooses instead to walk the nine miles to the nearest bus station. There is also the final scene where Superman (who in evil mode had straightened the Leaning Tower of Pisa earlier in the film in an extreme act of pettiness) returns to Italy and “fixes” the tower, smiling and waving in smug self-satisfaction at the locals below, oblivious to the poor souvenir salesman who has just finished making his setting up his new display of now-straight replica towers.

tl;dr, I think that Superman III deserves reevaluation not as the moment where the Superman franchise began its descent into crappery, but instead as a flawed but biting satire on privilege and capitalist corruption in America.

That’s my two cents.

#superman #superman 3 #richard donner #richard lester #christoper reeve #capitalism #blm #fuck capitalism #Donald Trump #richard pryor #movie review #blog post #white privilege #socialism #anarchy #my two cents #tldr

5 notes · View notes

themattress · 5 years

Text

My Opinions on the KH OCs

SORA: I adored Sora from KH through KH2. But then I became disillusioned with him because they kept making clones of him, pushed his positive Messianic qualities to the extreme, and then went too far the other way in 3D by making him into this over-the-top childish idiot who screwed everything up and was denied Keyblade Master status, all amidst proclamations that he was a "dull, ordinary boy" who "the Keyblade didn't choose" (which is an outright LIE.) For the most part, KH3 brought my old love for Sora back by usually characterizing him the same way KH2 did...and then it basically killed him off in the end, punishing him for doing good, all while Xehanort gets rewarded by being able to go to Heaven even after a lifetime of doing evil without a shred of remorse. What. The. FUCK? When Sora faded away at the last minute, so too did any remaining interest in this series.

KAIRI: Loved her in KH, she was so damn interesting and relatable, and her role in the story was a perfect twist on the classic Disney Princess role. Her role and characterization in KH2 weren’t as strong, but her new design, actions, connections with other characters and endgame development made up for it, as did the fact that she was still voiced by the lovely Hayden Panettiere. Add to this how strongly she factored into COM, and Kairi was clearly the original trilogy’s emotional heart. Then that heart got removed and never put back, as Kairi was excluded from the games to the highest degree possible, all leading up to a horrifying bait-and-switch in KH3 where she was finally returning to prominence and looked to become a stronger character than ever before, only for the exact opposite to happen, not at all helped by the voicework of Alyson Stoner. What Nomura’s done is a travesty. #KairiDeservedBetter.

RIKU: Loved him in KH, where he was like a Final Fantasy character turned Disney villain and he played that role incredibly well. I thought he was fumbled when he starred in his own story mode in COM, but I never really blamed him for that and more the writing around him that pushed him into an unnatural position that even he didn’t seem to want to be in. Despite not truly appearing as himself until the endgame of KH2 and having flatter characterization, Riku still redeemed himself excellently through being a party member helping against the final boss, along with a beautiful reconciliation with Sora. Like his other friends in the Destiny Trio, things went downhill afterwards. Riku became so overexposed, shoved down our throats, and positioned as the series Deuteragonist who phased Kairi out of existence while being given more badass feats than Sora, that I lost my liking for him entirely and consider him to be a blatant Mary Sue. This sadly didn’t change with KH3, and it only looks to be getting worse.

ROXAS: Despite falling way short of the hype, I enjoyed Roxas in KH2. He was likable and sympathetic, and he did a good job servicing one of the game’s deepest themes. But then, because he was (confusingly, IMHO) uber-popular, he got his own game featuring his time in the Organization, and he never left that bland portrayal behind, with every subsequent game he appears in having it be Days!Roxas instead of KH2!Roxas, to the point where KH2!Roxas was demeaningly retconned into having “ceased to exist” when he fully re-merged with Sora despite what was said and shown to the contrary in KH2, all for the sake of giving him a shamelessly fan-pandering perfect happy ending. Roxas thus became one of the characters whom I most associate with the downfall of the KH series, and thus one of my least favorites.

NAMINE: Namine was a character that I loved in COM and KH2, despite being pretty confusing even back then, since she had a real humanity behind her. I was very disappointed that afterwards, she became more and more of a convenient plot device and mouthpiece for Nomura’s convoluted lore rather than a legitimate character, with her characterization regressing to and being regurgitated from her debut appearance. The scale and scope of her powers got ridiculous, the retcon of Sora having promised to thank her when that was never the case is beyond stupid, and she fell prey to the same retcon Roxas did of “ceasing to exist” when she merged with Kairi and thus needing to be “saved” in order to cure her “hurt”. Naturally, she’s right up there with Kairi as one of the most frustratingly-handled characters.

XION: I was immediately turned off by this character due to how blatantly fanfic Mary Sue-esque she was, then warmed up to her considerably as I actually played the game and saw how she was utilized, only to be turned off of her again when Nomura completely went back on her firmly established tragic fate for the sake of a schmaltzy happy ending that neuters what was effective about the character, in essence turning her right back into just a fanfic Mary Sue. I don’t actually blame Xion for this, but she’s still my least favorite main KH girl.

VENTUS: Kind of the same deal as Xion - didn’t like him at first because he was a lazy retread of Roxas and whose connection to Sora cheapened things, warmed up to him after playing the game and seeing him in action (I especially love his voice by Jesse McCartney, which is very distinct from Roxas), only to go right back to not really liking him when we ended up never hearing the end of him and how he is the reason behind so many events and character motivations, especially once he was retconned into hailing from the X time period.

TERRA / LINGERING WILL: While I’m not too attached to him, I still low-key love this guy. Yes, he’s an idiot, but an understandable, well-meaning and likable one, who also has a very charismatic-looking design and is badass in combat. Everyone loves the Lingering Will, but I don’t think it would be as effective if it didn’t come from such a flawed screw-up like Terra. It’s uplifting that even if you do nothing but fail, your will to succeed can achieve some form of success in of itself. He may have got the shaft in KH3, but he made the most of what he had.

AQUA / ANTI-AQUA: In BBS, I felt Aqua was more enjoyable than Ven but not as much as Terra, making her a pretty fittingly balanced character in my view - I loved that she was the first fully playable female character in the series and did a lot of neat stuff in the story, but I hated how devoid of character development she was compared to her male friends and how her English voice actress constantly missed the mark in her delivery. In 0.2 BBS, she was put in a lousy story, but she became a much more interesting and developed character as a trade-off. Sadly, it all fell apart in KH3, where aside from her brief stint as the terrifying Anti-Aqua, Aqua became an incompetent joke of a “Keyblade Master”, jobbing in every major fight she had and jobbing badly, with that development from 0.2 BBS amounting to nothing. In the end, Aqua wound up right back where she began - between Terra and Ventus in my favor.

MASTER ERAQUS: Love his design, love his voice-acting, love his premise as a character - do NOT love him. In a story where all the heroes act like idiots, Eraqus takes the cake, and becomes outright unlikable when he attempts to murder Ven and Terra under very flimsy reasoning. And KH3 only makes him worse, with a severe disconnect existing between his younger self and his older self, and helping to contribute to the game’s bullshit ending.

DIZ / ANSEM THE WISE: I loved him as the tragic, Monte Cristo-esque figure as shown in COM, Days and KH2, especially when voiced by the incomparable Christopher Lee. He had the perfect send-off in KH2, which made it such a slap in the face when BBS’ secret ending retconned him into having surviving, only for him to do jack shit but be a plot device, and not a very good one at that. Bringing Ansem the Wise back was one of the series’ biggest sins, and stands as a textbook example of Nomura not knowing when to just let a character go.

HAYNER, PENCE & OLETTE: I like these kids, they’re a lot of fun in all their appearances.

MASTER XEHANORT: I really enjoyed Master Xehanort in BBS, when he was just a simple Darth Sidious expy voiced by the great Leonard Nimoy, a character whose chief purpose was backstory for the villain we already knew who went by the same name. But then Nomura decided that he was the main antagonist of the whole series and retconned that everything that ever happened was part of his convoluted master plan...a plan with very muddled objectives and motivations, not to mention contradictions at many turns. This turning of Xehanort into a Villain Sue had severe consequences in KH3, where not only was he weakly voiced by Rutger Hauer, but he was written terribly: only showing up at the end, fridging Kairi for no reason, being beaten in a surprisingly easy boss fight, having his entire motivation changed, and receiving one of the most audience-insulting endings that a villain could possibly receive, especially one as remorselessly evil as him. The final slap in the face was revealing that he was a pawn to someone else, derailing the entire point behind the stupid-ass “Xehanort Saga” decision! So in the end, Master Xehanort was pretty damn pointless.

TERRA-XEHANORT: The original Xehanort introduced in KH2. While his origin is something of a headache (he’s an amnesiac Master Xehanort possessing the body and heart of Terra), it still works, IMO, and creates a character who is much more interesting than either of the two characters it took to form him, despite (or perhaps because of) his relative lack of screentime.

ANSEM: Terra-Xehanort’s Heartless is both the original incarnation of Xehanort in the series and both me and Nomura’s personal favorite. Sadly, Nomura screwed him up when he brought him back for the “True Organization XIII”, first going too over-the-top evil when part of his appeal was that he genuinely (and pompously) believed that he was the one in the right, and then suddenly being far less evil than he should be considering that he’s a freaking Heartless! The Ansem that I adore will always be the one from the original KH and Riku’s mode in COM, the hammy philosopher who is totally drunk on darkness and is seeking it for his own sake, not for the sake of some absurdly convoluted grand plan of Master Xehanort’s.

XEMNAS: Terra-Xehanort’s Nobody is the best villain in the KH series and the most consistently good of the Xehanort incarnations. While certainly at his best as the Superior of Organization XIII in KH, COM, Days and KH2, he actually managed to still be a captivating presence as part of the “True Organization XIII” in 3D and KH3 even if his character lost a lot of its depth thanks to the bullshit retcon that he was following Master Xehanort’s grand plan all along. He’s terrifying, loathsome, humorous and pitiable all at once...he’s just fantastic!

XIGBAR / BRAIG / LUXU: Oh, what a roller coaster this guy has been - I didn’t particularly care for him as Xigbar at first in KH2, then grew to really like him thanks to extra exposure in KH2:FM and Days, then came to love him as Braig in BBS, then went right back to disliking him when he became Xigbar again in 3D, and now am hardly able to stand him in KH3 when it’s revealed that he’s Luxu. Like Namine, he’s become a total vehicle for Nomura’s bullshit.

XALDIN / DILAN: I love Xaldin. He’s badass, intimidating, and despicable, and he really stands out by being linked so heavily with the Beast’s Castle and the Beast himself. His boss fight on the castle bridge is the stuff of legends. Dilan is a bore, though, especially in KH3.

VEXEN / EVEN: Somehow, this is one of the few characters who manages to remain consistently entertaining and well-written in all his appearances, helped out a lot by Derek Stephen Prince’s performance. As both the mad scientist Vexen and the well-intentioned scientist Even, he’s someone I just can’t take my eyes off of whenever he’s on screen.

LEXAEUS / ELAEUS: Boring but admirably power as Lexaeus, with the potential to be more interesting thanks to his intellect and rapport with Zexion. Just plain boring as Eleaeus.

ZEXION / IENZO: Everything about Zexion had potential, but it just never came together properly and left him as an underwhelming villain. He has much more success as Ienzo, being very likable and interesting; honestly one of the best KH-original characters in KH3.

SAIX / ISA: This character is one of the more frustrating ones to me. I liked him just fine in KH2, but not as much as I would’ve liked to. I liked him more when he got more scenes in KH2:FM, and I straight-up loved him in Days for being such an effective Hate Sink as well as a really interesting and tragic character. But I did not care for his cameo appearances in BBS and 3D, even though he still carries some of what I enjoyed about him with him in KH3, he also receives new baggage that makes his character less appealing...namely, the fact that his motivation all along was based around some random girl we never heard of until now. Still, if there’s one thing that remains consistent, it is that Kirk Thornton does a phenomenal job in the role. I honestly think most of Saix’s effectiveness comes from that badass voice.

AXEL / LEA: Sigh...you oughta know this one by now. I love Axel the Nobody, I think he was one of the series’ finest villains, and think he had an effective character arc despite some bumps along the road. I can’t stand his human self, who is a watered-down, obnoxious, whitewashed Mary Sue version of his Nobody self who is only here for fanservice, only given a major heroic role and his own Keyblade because Axel was a favorite of both fans and the development team. He’s sadly one of those characters who becomes the victim of his own popularity, with what made him popular to begin with lost as a result of increased exposure.

DEMYX / ???: He’s funny, I like him. Don’t have any stronger feelings than that.

LUXORD / ???: With his slick design, gambling gimmick, classy gentleman demeanor, and English voice by Robin Atkin-Downes, I’ve always liked Luxord, but I don’t think he’s ever truly lived up to his full potential...until KH3, where he’s a standout in both the Caribbean and the Keyblade Graveyard. I especially love his respectable rival dynamic with Jack Sparrow.

MARLUXIA / LAURIAM: A lack of clear motivations aside, Marluxia is an excellent villain. I love how he’s got flower powers, a pink sycthe, pink hair and a pretty-boy face and yet has this very masculine and imposing demeanor, not to mention a diabolically clever and manipulative personality. His battles and battle themes are also always impressive in every game he appears in. And while I don’t care for him being a Keyblade wielder, I actually like him as Lauriam too. He’s surprisingly sympathetic and is a neat contrast to his Nobody.

LARXENE / ELRENA: I love Larxene, she makes being the only female member of the Organization count by being one of the most aggressive, despicable, frightening, humorous and oddly endearing members all at the same time, getting a tragic death scene in COM and some softer moments in Days and KH3 that add depth to her while never causing her to lose her edge. And like with Lauriam, I like Elrena despite not caring for the Keyblade angle.

VANITAS: Vanitas is awesome. He’s an evil version of Sora who does evil things because he enjoys being evil and has zero fucks to give about it. Haley Joel Osment really brings his gleeful brand of evil to life, making it always a pleasure to see Vanitas in both BBS and KH3. And thus I’m really glad he didn’t get redeemed in the end - pure villainy is his whole appeal!

RIKU REPLICA: Despite being an over-the-top retread of Riku’s role in KH for most of COM and having one boss battle too many, Riku Replica was still a good character and with one of the most tragic arcs in the series, which really made his death scene stand out. Of all the characters to ruin due to Nomura not letting go of them, I thought he was safe, but nope! He was pointlessly brought back in KH3, played a worse and more convoluted role, and had a much weaker “happier” send-off that clashed with how other aspects of the story were being treated and only reinforced Riku’s Special Snowflake status. Of course, even before that happened, the replica concept that he introduced to the series had spiraled into a much more needlessly confusing state, so I guess his legacy was doomed either way. Poor Repliku!

DARK RIKU: A confusing composite of all Riku’s alter-egos: Riku when he was possessed by Ansem, Riku Replica, and Data Riku, enlisted in “True Organization XIII”. I’m not sure what the point of this guy was. Or if he’s basically another version of Repliku, why not just make him the only Repliku in the story and spare us that convoluted nonsense with the other one?

YOUNG XEHANORT: Haaaaaaaaaate....haaaaaaaaaaaaaaaaaaaate....

KAIRI’S GRANDMOTHER: In the first KH, but only a real character in BBS. But getting Kathryn Beaumont (original voice of Alice and Wendy Darling, and thus a Disney Legend) to voice her was absolutely brilliant and made her single scene stand out as the game’s best.

And that’s about it. The rest are all the datascape clones I don’t give a shit about (Data Sora, Data Riku, Data Roxas, Data Namine, and Data Sora’s Heartless) and the cast of X that I also don’t give a shit about (The Master of Masters, the Foretellers, Ephemer, Skuld, Brain...the only ones I like are Chirithy and Strelitzia, but only on the shallow basis that they’re cute.)

And I am NOT sticking around this series to properly meet Yozora...

#Disney #Square Enix #Kingdom Hearts #Opinion

6 notes · View notes

popentertainment-moviereviews · 5 years

Photo

SPIDER-MAN: INTO THE SPIDER-VERSE (2018)

Featuring the voices of Shameik Moore, Hailee Steinfeld, Mahershala Ali, Jake Johnson, Liev Schreiber, Brian Tyree Henry, Luna Lauren Velez, Lily Tomlin, Zoë Kravitz, John Mulaney, Kimiko Glenn, Nicolas Cage, Kathryn Hahn, Liev Schreiber, Chris Pine, Natalie Morales, Oscar Isaac, Edwin H. Bravo, Greta Lee, Jorma Taccone, Lake Bell, Post Malone and Stan Lee.

Screenplay by Phil Lord and Rodney Rothman.

Directed by Bob Persichetti, Peter Ramsey and Rodney Rothman.

Distributed by Columbia Pictures. 117 minutes. Rated PG.

VENOM (2018)

Starring Tom Hardy, Michelle Williams, Riz Ahmed, Scott Haze, Reid Scott, Jenny Slate, Ron Cephas Jones, Michelle Lee, Melora Walters, Marcella Bragio, William W. Barbour, Mac Brandt, Sope Aluko, Sam Medina, Donald K. Overstreet, Christian Convery, Michelle Fang, Woody Harrelson and Stan Lee.

Screenplay by Jeff Pinker, Scott Rosenberg and Kelly Marcel.

Directed by Ruben Fleischer.

Distributed by Columbia Pictures. 112 minutes. Rated PG-13.

Spider-Man, the nerdy teenager given the proportional strength of a spider, has had many incarnations over the decades in the comic books – whether it's the nerdy Steve Ditko original, the hunky Romita senior version, or the porcine Spider-Ham.

In the mid-'80s, Marvel, looking to compete with the likes of He-Man in the minds of kids, launched an event called "Secret Wars," resulting in Spidey ditching the red and blue tights in favor of a sleek black costume made of a sentient alien goo known as the Symbiote. But when the honeymoon period was over, the alien suit made its way to journalist Eddie Brock, who became Venom, the toothsome villain/sometimes anti-hero.

In the recent eponymously named live action film, the alien symbiote merged with journalist Brock (Tom Hardy) which granted him super strength but also inextricably bound him to the alien slime. Peter Parker, however, is nowhere to be seen in this film, which is loosely based on the Venom created by David Michelinie and Todd McFarlane, and the story went off in its own strange directions, harkening back to an era of super-films that were more concerned with the here-and-now than the mega-franchises down the road.

In the case of the Spider-verse, other Marvel madmen came up with the idea of a multiverse with endless Spider-man variants, pulled together over the decades. The digitally animated "Spider-Man: Into the Spider-Verse" – was based on the idea that an African American teenager, Miles Morales (who originally appeared in Marvel's Ultimate line of comics, and that set much of the tone and look of the current Avengers films), got bitten by a radioactive spider, suddenly developed mysterious powers (which transforming him into an Alternate Earth Spider-Man), and then, as the hero, saved the many universes. In the place of the original Peter Parker, Miles is another nerdy teen who battles the hulking madman crime boss Kingpin – who has gone from extortion and drug trafficking, to opening portals to other dimensions. The Webhead's colossal foe now threatens not only this Earth's Spidey, but also has the power to destroy a bunch of other Spideys, such as a Japanese girl with a giant spider-robot, and an alternate version of Parker's deceased gal-pal Gwen Stacy (who is now not dead but is masked).

Since Sony Pictures' executives retained the rights to Spider-Man, these two films represent their effort to be a part of that Marvel Universe but are doing their part to stand out from it as well. In order to do so, they have rounded up their share of A-list actors such as Tom Hardy to play Venom, and a seasoned team of animators to create an entertaining version of Spider-Man and these multi-verse variants.

The directing trio of Bob Persichetti, Peter Ramsey, and Rodney Rothman coalesced in 2017, and they all decided to make a unique film with a style which combined Sony Pictures Imageworks' in-house computer animation with traditional hand-drawn comic book techniques inspired by Sara Pichelli, Miles Morales's co-creator. Up to 140 animators – the largest crew ever used by Sony – made the critically acclaimed Spider-Man: Into the Spider-Verse. Snarky though it be, it also prompts much thought on what other multi-verse Spideys are possible. Some of weird ones already imagined include Spider-Man Noir (Nic Cage) and Spider-Ham (John Mulaney) – a talking cartoon pig in a Spider-Man outfit.

A sense of humor also pervaded Venom, but it didn't get much critical acceptance, though fans online have likened the film to be a metaphor for queer relationships. But despite it getting mostly bad reviews, it had great audience numbers. With that success on hand, coupled with the critical enthusiasm for Spider-Man: Into the Spider-Verse, sequels and several spin-offs are already in development. And, since comic-book superhero mega features have become conceptually tired, these two relatively stimulating re-thinks are worth seeing on the big screen.

Brad Balfour

#Spider-Man: Into the Spider-Verse #Venom #2018 #Movie Reviews #Brad Balfour

2 notes · View notes

blackkudos · 7 years

Text

Rihanna

Robyn Rihanna Fenty (/riˈænə/; born February 20, 1988) is a Barbadian singer, songwriter, and actress. Born in Saint Michael and raised in Bridgetown, she first entered the music industry by recording demo tapes under the direction of record producer Evan Rogers in 2003. She ultimately signed a recording contract with Def Jam Recordings after auditioning for its then-president, hip hop producer and rapper Jay Z. In 2005, Rihanna rose to fame with the release of her debut studio album Music of the Sun and its follow-up A Girl like Me (2006), which charted on the top 10 of the U.S. Billboard 200 and respectively produced the hit singles "Pon de Replay" and "SOS".

She assumed creative control for her third studio album Good Girl Gone Bad (2007) and adopted a public image as a sex symbol while reinventing her music and image. Its successful lead single "Umbrella" became an international breakthrough in her career, as she won her first Grammy Award for Best Rap/Sung Collaboration with Jay Z in 2008. After releasing four consecutive platinum studio albums, including the Grammy Award winner Unapologetic (2012), she was recognized as a pop icon. Her eighth studio album Anti (2016) and its lead single "Work" reached number-one on the Billboard 200 and Hot 100. Many of her songs rank among the world's best-selling singles of all time, including the singles "Umbrella", "Take a Bow", "Disturbia", "Only Girl (In the World)", "S&M", "We Found Love", "Diamonds", and "Stay" in which she is the lead artist, and her collaborations "Live Your Life" (with T.I.), "Love the Way You Lie" and "The Monster" (both with Eminem).

With sales exceeding 200 million records worldwide, Rihanna is one of the best-selling artists of all time. Rihanna is the youngest and fastest solo artist to earn fourteen number-one singles on the Billboard Hot 100, and was named the Digital Songs Artist of the 2000s decade and the top Hot 100 artist of the 2010s decade by Billboard. Among numerous awards and accolades, Rihanna has won eight Grammy Awards, twelve American Music Awards, twelve Billboard Music Awards, two Brit Awards, and the inaugural Icon Award at the American Music Awards of 2013. Widely recognized for frequently reinventing her style and image, she received the Fashion Icon lifetime achievement award from the Council of Fashion Designers of America in 2014. Forbes ranked Rihanna the fourth most powerful celebrity of 2012, and was named one of Time's "100 Most Influential People in the World" later that year.

Early life

Robyn Rihanna Fenty was born on February 20, 1988, in Saint Michael, Barbados. Her mother, Monica (Braithwaite), is a retired accountant of African American background, and her father, Ronald Fenty, is a warehouse supervisor of Afro-Barbadian and Irish descent. Rihanna has two brothers, Rorrey and Rajad Fenty, and two half-sisters and a half-brother from her father's side, each born to different mothers from his previous relationships. She grew up in a three-bedroom bungalow in Bridgetown and sold clothes with her father in a stall on the street. Rihanna's childhood was deeply affected by her father's addiction to crack cocaine and alcohol which contributed to her parents' strained marriage. As a child, she went through a lot of CT scans for the excruciating headaches she suffered: "[The doctors] even thought it was a tumor, because it was that intense." By the time she was fourteen, Rihanna’s parents had divorced and her health began to improve. Rihanna grew up listening to reggae music and began singing at around the age of seven. She attended Charles F. Broome Memorial Primary School and Combermere High School, where she studied alongside future England cricketer Chris Jordan and future West Indies cricketer Kraigg Brathwaite. Rihanna was an army cadet in a sub-military programme; the singer-songwriter Shontelle was her drill sergeant. Although she initially wanted to graduate from high school, she chose to pursue a musical career instead.

Career

2003–2004: Career beginnings

In 2003, Rihanna formed a musical trio with two of her classmates. She was discovered in her home country Barbados by American record producer Evan Rogers. Without a name or any material, the girl group managed to land an audition with Rogers who commented, "The minute Rihanna walked into the room, it was like the other two girls didn't exist". Rihanna went to Rogers' hotel room, where she performed renditions of Destiny's Child's "Emotion" and Mariah Carey's "Hero". Impressed, Rogers scheduled a second meeting with her mother present, and then invited her to his hometown in the United States to record some demo tapes which could be sent to record labels. She recorded the demo over the next year intermittently, due to Rihanna only being able to record during school holidays. "Pon de Replay" and "The Last Time" were two tracks recorded for the demo tape, which were eventually included in her debut album Music of the Sun. That same year, Rihanna was signed to Rogers' and Carl Sturken's production company, Syndicated Rhythm Productions.

Rihanna's demo was shipped out to Def Jam Recordings, where Jay Brown, an A&R executive at the record label, was one of the first to hear the demo. Brown played the demo tape for rapper Jay-Z, who had recently been appointed as president and Chief executive officer (CEO) of Def Jam. When Jay Z first heard the track "Pon de Replay", he felt the song was too big for her, saying "when a song is that big, it's hard [for a new artist] to come back from. I don't sign songs, I sign artists". Despite being skeptical, he invited Rihanna to audition for the label. In early 2005, Rihanna auditioned for Def Jam in New York, where Jay Z introduced her to music mogul Antonio "L.A." Reid. At the audition, she sang Whitney Houston's cover of "For the Love of You" (1987), as well as the demo tracks "Pon de Replay" and "The Last Time". Jay-Z was absolutely certain about signing her after she performed her future hit single "Pon de Replay". His boss L.A. Reid was also impressed with her audition who then looked at Jay Z and told him not to let Rihanna leave the building until the contract was signed. Reid left it to Jay Z and his team to close the deal which resulted in a six-album record deal with Def Jam. She waited in Jay Z's office till three in the morning to get lawyers to draft up a contract because he wanted to prevent her from signing with another label. Rihanna cancelled other meetings with record labels and relocated from Barbados to the United States to live with Rogers and his wife.

2005–2006: Music of the Sun and A Girl like Me

After signing with Def Jam, Jay Z and his team did the A&R for Rihanna's debut album and spent the next three months recording and completing her debut album. She worked with different producers to complete her debut studio album, primarily Rogers and his production partner Carl Sturken. With several songs to pick as a lead single, "Pon de Replay" was chosen because it seemed liked the best song suited for a summer release. In May 2005, her debut single, "Pon de Replay", was released which charted successfully worldwide, peaking in the top five in fifteen countries, including at number two on the U.S. Billboard Hot 100 chart and the UK Singles Chart. The song became a big club hit in the United States, peaking at number-one on the Billboard Dance Club Songs.

Music of the Sun, was released in August 2005. It debuted at number ten on the Billboard 200 and received a gold certification from the Recording Industry Association of America (RIAA), denoting shipments of over 500,000 units. The album sold over two million copies worldwide. A second single, "If It's Lovin' that You Want", was not as successful as its predecessor, but reached the top ten in Australia, Ireland, and New Zealand. Aside from her work in music, Rihanna made her acting debut in a cameo role in the straight-to-DVD film Bring It On: All or Nothing, released in August 2006.

A month after the release of her debut album, Rihanna began working on her second studio album. A Girl like Me was released in April 2006. Rolling Stone felt that "the burning rock guitar of "Kisses Don't Lie" and haunted strings of "Unfaithful" help make "A Girl like Me much more likable." The album was a commercial success, charting in the top ten in thirteen countries. The album reached number one in Canada and number five in the United Kingdom and United States, where it sold 115,000 copies its first week. The album became her first to be certified platinum by the RIAA, after selling of over 1,000,000 units. Its lead single, "SOS", was an international success, charting in the top five in eleven countries. The song reached number one on the U.S. Billboard Hot 100 and in Australia, her first to reach this chart position. "Unfaithful", the album's second single, reached the top ten in eighteen countries, including number one in Canada and Switzerland. Two more singles were released from the album: "We Ride" and "Break It Off".

2007–2009: Good Girl Gone Bad and Rated R

In early 2007, Rihanna began work on her third studio album Good Girl Gone Bad. With the help of producers Timbaland, Tricky Stewart and Sean Garrett, she embraced a new musical direction through uptempo dance tracks. Released in May 2007, the album charted at number two in Australia and the US and topped the charts in multiple countries, including Brazil, Canada, Ireland, and the UK. The album received the most positive critical reviews of her first three albums. The lead single, "Umbrella", topped the charts in thirteen countries and remained number one in the UK for ten consecutive weeks, the longest-running number one single since Wet Wet Wet's single "Love Is All Around" spent fifteen weeks at the top in 1994. It was Rihanna's first single to be named one of the best-selling singles worldwide, with sales of over 6.6 million copies. The songs "Shut Up and Drive", "Hate That I Love You" featuring Ne-Yo, and "Don't Stop the Music" were also released as singles, with the latter becoming an international hit. In support of the album, she began the Good Girl Gone Bad Tour in September 2007, with 80 shows across the US, Canada, and Europe. Rihanna was nominated for several 2008 Grammy Awards, winning Best Rap/Sung Collaboration for "Umbrella" alongside Jay-Z, her first Grammy Award.

During the late 2000s, Rihanna began experimenting with pop, dubstep and rock music while shifting her musical style and image away from the Barbados island girl. Throughout 2008, Rihanna performed on the Glow in the Dark Tour alongside Kanye West, Lupe Fiasco, and N.E.R.D. Her third studio album's reissue, Good Girl Gone Bad: Reloaded, was released in June 2008 with three new songs: "Disturbia", "Take a Bow", and the Maroon 5 duet "If I Never See Your Face Again". All three were released as singles and charted highly, reaching peak positions worldwide. In August 2008, Rihanna and a host of other female singers, recorded the charity single "Just Stand Up!", the theme song to the anti-cancer campaign Stand Up to Cancer.

"Live Your Life", a duet between T.I. and Rihanna, released that November, and topped the Billboard Hot 100. A remix album, Good Girl Gone Bad: The Remixes, was released in January 2009. Good Girl Gone Bad has sold over 2.8 million units in the United States alone, receiving a two-times-platinum certification from the RIAA. It is Rihanna's best-selling album in the country to date. The album has sold over seven million copies worldwide. By late 2008, Rihanna remained on the charts with her eighth single, "Rehab" and was named "Diva of the Year" by Entertainment Weekly for her "newfound staying power".

In early 2009, Rihanna began working on her fourth studio album, Rated R. Rated R was released in November 2009 with Rolling Stone stating that Rihanna "transformed her sound and made one of the best pop records of the year". Rated R featured a darker and more foreboding tone than Rihanna's previous albums. Rated R debuted at number four on the US Billboard 200 chart, with first-week sales of 181,000 copies in the United States, giving Rihanna her highest first-week sales in the US at that time. The album was supported by six singles including "Rude Boy", which was the biggest worldwide success from the album, topping the US Billboard Hot 100 for six weeks and reaching top ten positions in twenty-two other countries.

2010–2011: Loud and Talk That Talk

In summer 2010, Rihanna collaborated with rapper Eminem on "Love the Way You Lie", which was a major worldwide success, reaching number one in over twenty countries. The song was Rihanna's seventh US number one of her career, making her the female artist with the fifth-most number ones in the chart's history. Reaching number two, the song became the biggest-selling song of 2010 in the UK, and the first of Rihanna's singles to sell over one million copies in the country. She also lent her vocals to "All of the Lights", a single from Kanye West's album, My Beautiful Dark Twisted Fantasy, alongside John Legend, The-Dream, Elly Jackson, Alicia Keys, Fergie, Kid Cudi, and Elton John. In October 2010, Rihanna switched managers, joining Jay-Z's Roc Nation Management.

Loud, Rihanna's fifth studio album, was released in November 2010. Its lead single, "Only Girl (In the World)", reached number one in fifteen countries, including the United Kingdom and the United States The album's second single, "What's My Name?", featuring rapper Drake, also reached number one in the US and UK. The third single, "S&M", reached number one on the Hot 100 following the release of its official remix featuring Britney Spears, becoming her tenth number one single. Rihanna set a record as the solo artist with the fastest accumulation of ten chart toppers.

At the 53rd Grammy Awards, "Only Girl (In the World)" won the award for Best Dance Recording. "Man Down" and "California King Bed" were released as singles in May 2011 with moderate success. "Cheers (Drink to That)", which interpolates Avril Lavigne's 2002 single "I'm with You", was released as the sixth and final single from the album, reaching the top twenty in the UK and the top ten in the US. To promote the album, Rihanna embarked on her Loud Tour in June 2011, which sold out ten nights at The O2 Arena in London, the most sold out shows for a female artist in the venue's history. The tour was the seventh highest grossing tour worldwide of 2011.

Rihanna's sixth album, Talk That Talk, was released in November 2011. The album debuted at number three on the Billboard 200 with sales of 198,000 copies and number one in the UK, selling 163,000 copies. The lead single, "We Found Love", topped charts in twenty-seven countries worldwide, peaking in the top ten in thirty countries and breaking many records worldwide. It topped the Billboard Hot 100 for ten non-consecutive weeks, becoming Rihanna's longest-running number one single and the longest-running number one of 2011. The song was later named the 24th biggest hit of all time on the Billboard Hot 100. "You Da One" and the title track featuring Jay-Z were released as the second and third singles from the album to moderate success. "Where Have You Been", the fifth single, successfully charted worldwide, reaching number five in the US and six in the UK. "Cockiness (Love It)" was released as the album's sixth and final single in a remixed form featuring rapper ASAP Rocky.

2012–2014: Battleship and Unapologetic

In early 2012, two collaborations featuring Rihanna were released: Coldplay's "Princess of China" from the album Mylo Xyloto and Drake's "Take Care" from his album of the same name. In February 2012, Rihanna won her third Grammy Award for Best Rap/Sung Collaboration at the 2012 Grammy Awards, and was voted the Best International Female Solo Artist at the 2012 BRIT Awards for the second consecutive year. March 2012 saw the simultaneous release of collaborations between Rihanna and Chris Brown: remixes of her song "Birthday Cake" and his "Turn Up the Music". The recordings received mainly negative responses due to the pair's history of domestic violence. In September 2012, "We Found Love" won the MTV Video Music Award for Video of the Year, making Rihanna the first woman to receive the accolade more than once.

Rihanna starred as Petty Officer (GM2) Cora Raikes in her first theatrical feature film Battleship, which was released on May 18, 2012. Loosely based on the game of the same name, both the film and Rihanna's performance received mixed-to-negative reviews; The New York Times said she was "just fine in the rather generic role". On August 19, 2012, Rihanna appeared in the first episode of the second season of Oprah Winfrey's American prime time television show Oprah's Next Chapter. The episode scored the second-highest ratings in the history of the Oprah Winfrey Network.

Rihanna's seventh studio album, Unapologetic, was released in November 2012. In the United States, the album debuted at number one on the Billboard 200 with sales of 238,000, marking Rihanna's first number one album in the country. The album was Rihanna's third consecutive number one album in the United Kingdom and fifth in Switzerland. The lead single from the album, "Diamonds", reached number one in more than twenty countries worldwide, including on the US Billboard Hot 100, her twelfth number one on the chart. The album's second single, "Stay", featuring Mikky Ekko, reached the top five in over twenty countries, including number three on the Billboard Hot 100. As promotion prior to the album's release, Rihanna embarked on the 777 Tour, a mini tour of seven shows in seven countries in seven days.

In February 2013 at the 55th Grammy Awards, Rihanna won her sixth Grammy Award, in the category Best Short Form Music Video for "We Found Love" (2011). Also that month, the Official Charts Company announced that Rihanna had sold 3,868,000 records in the past year in the UK alone, ranking at number one in the list of 2013 BRIT Awards artist nominees. Rihanna's fifth headlining concert tour, the Diamonds World Tour, began in March 2013 in support of Unapologetic. Rihanna appeared in the Seth Rogen and Evan Goldberg comedy film This Is the End, released in June 2013. That same month, American hip hop artist Wale released a remixed version of his single "Bad" featuring Rihanna.

In October 2013, Eminem released his Rihanna-assisted single, "The Monster", the fourth release from his eighth studio album The Marshall Mathers LP 2 (2013). With the song entering the UK Singles Chart at number one, Rihanna joined Elvis Presley and The Beatles as just one of three acts to have scored a number one single each year over seven consecutive years in the chart's history. The song also peaked at number one on the Billboard Hot 100, which marked Rihanna's thirteenth chart topper. Rihanna appeared on Shakira's single, "Can't Remember to Forget You", which was released in January, 2014.

2015–present: Anti and acting career

Following the release of Unapologetic and its accompanying tour, Rihanna aimed to take a hiatus from recording music stating; "I wanted to have a year to just do whatever I want artistically, creatively.” In January 2014, Rihanna began working on her eighth studio album. In May 2014, Rihanna left Def Jam to sign fully with Roc Nation, who had managed her career since October 2010. A year after Rihanna began working on the album she released the single, "FourFiveSeconds", featuring Kanye West and Paul McCartney. Two further singles followed its release: "Bitch Better Have My Money" and "American Oxygen"; both did not make the final track listing for her eighth studio album. In March 2015, Rihanna released a concept album based around the 3D animated film Home, which she starred in, alongside Jim Parsons, Steve Martin and Jennifer Lopez. "Towards the Sun" was released as the first single from the album.

In late 2015, inked a $25 million contract with Samsung that would see Rihanna promoting Samsung's Galaxy line of products whilst Samsung would sponsor the release of Anti and its supporting tour. The Anti World Tour was announced in November 2015 and began in March 2016, with Travis Scott supporting in North America, and The Weeknd and Big Sean supporting at selected European dates. On January 28, 2016, Rihanna released her eighth studio album Anti exclusively through streaming service Tidal. The album peaked at number one on the US Billboard 200, becoming Rihanna's second number one and eighth top ten album on the chart. The album was supported by the release of four singles including the lead single "Work" featuring Drake, which topped the Billboard Hot 100. Further platinum singles "Needed Me" reached number seven on the chart, whilst "Love on the Brain" charted at number 13.

In 2016, Rihanna was featured on several singles. The first collaboration was Calvin Harris' "This Is What You Came For," which reached number three on the Billboard Hot 100 and number two in the United Kingdom. Rihanna was also featured on Drake's "Too Good" from his album Views and Mike Will Made It's single, "Nothing Is Promised". On June 27, 2016, Rihanna released "Sledgehammer", the lead single from the Star Trek Beyond soundtrack. On August 28, Rihanna was honored with the MTV Video Vanguard Award at the 2016 MTV Video Music Awards.

Upcoming projects

In 2015, it was announced that she would have a major role in the upcoming Luc Besson film, Valerian and the City of a Thousand Planets, an adaptation of the comic book series Valérian and Laureline, which is scheduled for a 2017 release. In August 2016, Rihanna joined the all-female spin-off of the Ocean's Eleven franchise, called Ocean's Eight directed by Gary Ross, opposite Sandra Bullock, Cate Blanchett, Helena Bonham Carter, Mindy Kaling, Anne Hathaway and Awkwafina. She is set to play the role of Marion Crane in the fifth and final season of Bates Motel.

Artistry

Music and voice

Rihanna possesses a mezzo-soprano vocal range of three octaves and two notes. While recording tracks for her third studio album, Good Girl Gone Bad (2007), Rihanna took vocal lessons from Ne-Yo. Speaking of the experience she stated, "I've never had vocal training, so when I'm in the studio, he'll tell me how to breathe and stuff... He'll call out these big fancy words: 'OK, I want you to do staccato.' And I'm like, 'OK, I don't know what that is.'" Her vocal performance on Loud (2010) received positive reviews from music critics. James Skinner from BBC praised Rihanna's vocals on the song "Love the Way You Lie (Part II)" and wrote that her voice is powerful and that "it is Rihanna's vocal – at once commanding, soulful and vulnerable – that anchors the song, and Loud itself". Andy Gill from The Independent feels that "California King Bed" features her best vocal performance. In a review of Unapologetic, Billboard magazine wrote, "Diamonds finds Rihanna doing one of her throatiest, most impassioned vocals to date, on this inspirational pop ballad." Jon Caramanica of The New York Times stated, "over the years, as her game face froze in place, her voice cured into a weapon of emotional chill and strategic indifference. It's decidedly unfriendly, made to give orders".

Rihanna's music has encompassed a broad range of genres; including dancehall, reggae and soca, as well as pop, R&B, dubstep, hip hop and electronic dance music. Some of her songs are also inspired through record sampling from other artists. With its provocative subject matter and lyrics, her musical career has been an experiment with new musical ideas and stated that she wants "to make music that could be heard in parts of the world that I'd never been to". Growing up in Barbados, she wasn't exposed to a lot of music, mainly reggae, hip-hop, and soca music. At the time of her debut, she recorded songs that were inspired by her Caribbean roots and described her early sound as "a fusion of reggae, hip-hop and R&B, with a little something different thrown in". Her early dancehall roots can be found on her debut album, Music of the Sun (2005), and its follow-up, A Girl like Me (2006). When she moved to the United States, she became exposed to a lot of American music "rock being one of them, and I fell in love with it. [Now] I love rock music."

Music of the Sun demonstrates the influence of Rihanna’s musical heritage of the Caribbean. Kelefa Sanneh of The New York Times complimented its combination of dancehall and reggae, who said, "Dancehall reggae sometimes seems like a furiously insular form of music, but ... Rihanna is only the latest singer to discover how versatile the genre's spring-loaded electronic rhythms can be". Her debut single, "Pon de Replay" features a dancehall-pop mixture that infuses a reggae style, while "If It's Lovin' that You Want" talks about a girl seducing a guy to be her boyfriend. Aiming for artistic growth, A Girl like Me expresses personal experiences that typical 18-year-old girls go through with ballads that were described as elegant and mature. During a review for Good Girl Gone Bad (2007), Sal Cinquemani of Slant Magazine to write that Rihanna "finally figured out that she's a dance artist and the majority of the album is comprised of uptempo dance-pop" songs like "Push Up On Me" and "Don't Stop the Music". It represents a departure from the Caribbean sound of her previous albums, and is described as a turning point in her career. While the first half of the record shares a lot of 1980s pop influences with songs like "Don't Stop the Music" and "Shut Up and Drive", the second half retreats into standard R&B.

Recorded after the assault by her then-boyfriend, Chris Brown, Rated R (2009) had a much darker tone and was filled with various emotions she experienced throughout 2009. In Loud (2010), Rihanna reflects on the fun and energetic vibe she had while recording the album. The album is a mixture of ballads, party anthems, and empowering love songs. Talk That Talk (2011) was similar to Rated R, as both contain hip hop, R&B, dancehall, and dubstep genres. Loud and Talk That Talk saw her explore sexuality in her work ("S&M" and "Birthday Cake") and return to her dancehall roots ("Man Down" and "Watch n' Learn"). She also branched out into house music with tracks like "We Found Love", "Only Girl (In the World)" and "Complicated."

Influences

Rihanna has named Madonna as her idol and biggest influence. She said that she wanted to be the "black Madonna" and praised the singer for being able to constantly reinvent herself successfully throughout her career. "I think that Madonna was a great inspiration for me, especially on my earlier work. If I had to examine her evolution through time, I think she reinvented her clothing style and music with success every single time. And at the same time remained a real force in entertainment in the whole world." Another major influence on Rihanna's music and career has been Mariah Carey, whose song "Hero" she performed when Rihanna was still a teenager at her high school talent show. She revealed that Carey's song "Vision of Love" "was the song that made [her] want to do music" and that "everything Mariah did, [she] would try to do." She grew up watching videos of reggae legend Bob Marley on television because that's what they would play in the Caribbean. She stated, "He's one of my favourite artists of all time – he really paved the way for every other artist out of the Caribbean". She built a shrine in her home dedicated to the reggae legend and has covered Marley's "Is This Love" and Bob Marley & The Wailers' "Redemption Song" during her concert tours.

During her childhood, she would go around singing Whitney Houston songs and "A Whole New World" into her hairbrush so much that her neighbors started calling her "Robyn Redbreast". She also stated that one of the first songs she remembers falling in love with was Houston's version of "I Will Always Love You" and that it "was really inspiring, and it made me develop a passion for music, so really, she’s partly responsible for me being here in this industry." Rihanna commented that Janet Jackson "was one of the first female pop icons that I could relate to" and that late R&B singer Aaliyah has a huge impact on her style and also complimented on the singers artistry as well. Watching Beyoncé on television with Destiny's Child also inspired Rihanna's musical career, who was chosen along with R&B recording artists Amerie and Teairra Marí, to give a tribute performance to the female group at the 2005 World Music Awards. Other musical influences and idols include Celine Dion, Grace Jones, Alicia Keys, Prince, Fefe Dobson, and Brandy.

Rihanna takes influence from the different types of music she discovered when she came to America and revealed that rock music was one of the first genres she fell in love with. She commented, "as I grow older, I want to know more about music. I want to discover more types of music". She cited Brandy's fourth studio album, Afrodisiac (2004), as her main inspiration for her third album, Good Girl Gone Bad (2007). In her early career, her music contained strong influences of Caribbean music, including reggae and dancehall. The music video of the song "Rude Boy" featured images inspired by her Caribbean roots.

Videos and stage

Rihanna has worked with music video director Anthony Mandler on more than a dozen music videos, the first being "Unfaithful" (2006). "We've done 16 videos together; they're not all tough, [...] Yeah, I mean, I'm known for the 'Disturbia's and the 'Russian Roulette's and things like that, but 'Only Girl (In the World)' is certainly an ethereal kind of empowering, beauty-filled video," Mandler said. Jocelyn Vena of MTV wrote, "Rihanna, like Madonna, also has a tendency to make truly thought-provoking music videos that fit the songs they represent. Smattered in between glitzier, more glamorous clips, Madge and Ri want us to think about bigger issues". Jon Bream of the Star Tribune commented "[i]n the tradition of Madonna and Janet Jackson, Rihanna has become the video vixen of the '00s ... Rihanna has perfected the pout, the long-legged strut and trend-setting hairdos that keep women and men alike checking her out on YouTube." George Epaminondas of InStyle considers Rihanna's music videos to be "cinematic" due to her "blend of lush island rhythms and swinging pop and ... mischievous sensuality." Tamar Anitai from MTV Buzzworthy listed "Disturbia" at number five on the "Buzzworthy's Top 5 Most Paranoid Music Videos" and said that "Paranoia never looked so supernaturally sexy!".

Many of her music videos were shot as short films exploring issues such as love triangles, abuse, and substance abuse romance, including "We Found Love" and "Man Down". Her music video for "Umbrella" shows Rihanna's transition into adulthood and her newly adopted image. The "dark, creepy" scenes of "Disturbia" have been compared to Michael Jackson's Thriller. The video for "Russian Roulette" features Rihanna in a padded room playing a game of russian roulette with her partner. A scene of Rihanna being approached by a speeding car at night was compared to the altercation with Chris Brown. The Caribbean-inspired music video for "Rude Boy" was compared to rapper M.I.A.'s video "Boyz" by many critics for its colorful aesthetic similarities. In 2011, she released three controversial music videos about sadomasochism, rape, and domestic violence. "Man Down", which features Rihanna shooting a man in a train station, was criticized by the Parents Television Council. "We Found Love", which shows Rihanna and her love interest in a drug-filled unhealthy relationship, sparked criticism from the Rape Crisis Centre for its inappropriate message. But Charne Graham of the Houston Press defended the singer, asking, "Why should Rihanna's music videos get everyone riled up when others' equally sexual and controversial videos are in rotation? [...] she just like[s] to make music videos that give us something to talk about." She is the first woman to pass two billion cumulative views on the music video website VEVO. As of December 2016, she has accumulated over 10 billion views on the site.

Denis Armstrong of Canadian Online Explorer commented on her performance at the Ottawa Bluesfest, saying "her show was a Disney-esque choreographed fantasy of non-stop hip-swiveling, sassy attitude and personal endearments and a string of funky, sugar-free hits." Her performance of "Disturbia" at the 2008 MTV Video Music Awards was ranked tenth best on the MTV Video Music Awards, according to a Billboard poll. Her revealing leather costumes during her Good Girl Gone Bad Tour were highly criticized by Malaysia's conservative Islamic party, who recommended that her concert tour should be banned. Whilst commenting on her third album's accompanying tour, The Times compared Rihanna's stage wardrobe styling to that of Janet Jackson and called her "a vision of Ann Summers couture in thigh-high boots and a few scraps of black PVC." In the October 2011 issue of British Vogue, Rihanna said her performance outfits and appearances are all an act; "[t]hat's not me. That's a part I play. You know, like it's a piece of art, with all these toys and textures to play with".

Image

Public profile

Known for reinventing her style and image, Rihanna's music and fashion sense are noted by the media. In 2009, New York magazine described Rihanna's early look as that of a cookie-cutter teen queen, noting she has the ability to shift looks dramatically and with great ease. Around the time of the release of her second studio album, A Girl like Me (2006), many critics felt that Rihanna's style, sound, and musical material were too similar to those of Beyoncé. In an interview with Look magazine, Rihanna spoke about comparisons to Beyonce: "Beyoncé is a great artist and I feel honored to be mentioned in the same sentence, but we're different performers with different styles". She revealed during Oprah's Next Chapter that Def Jam's pop-princess blueprint made her feel claustrophobic during her early years with the label. According to Rihanna, "I felt like they were giving me a blueprint. [...] They had a brand, they had an idea of what they wanted me to be without figuring out who I was." With the release of her third album, Good Girl Gone Bad (2007), Rihanna dismissed her innocent image for an edgier look with a new hairstyle, which was inspired by Charlize Theron's bob cut in the science fiction thriller Æon Flux (2005). She followed the likes of recording artists Janet Jackson and Christina Aguilera who also shed their innocent image for an edgier look and sound.

Nico Amarca of Highsnobiety magazine wrote "over the course of her now 10-year career, [Rihanna] has undergone one of the most significant aesthetic metamorphoses the world has ever seen". Her image and fashion has changed several times with different hairstyles since the release of her third album. She commented that as a child she "used to watch her [mother] get dressed" and that her love and admiration for fashion started with her mom. When putting together her own wardrobe she stated, "It's become more about taking a risk ... I always look for the most interesting silhouette or something that's a little off." Jess Cartner-Morley of The Guardian wrote that "Rihanna's wardrobe is the most talked-about, influential and dissected in pop right now" and that whatever she wears "is immediately reproduced on the high street, because it sells". Country singer Miranda Lambert admires Rihanna's fashion and style stating, "I don't necessarily get inspired by the whole no-bra thing, but I love that you never know what she's going to wear. It always keeps you guessing, which makes her sassy and interesting."

In an interview with Alexa Chung during Vogue Festival 2015, Balmain designer Olivier Rousteing praised Rihanna by stylistically comparing her to some of the biggest fashion icons in music history, such as Madonna, David Bowie, Michael Jackson, and Prince. Commenting on the cultural expectation for pop stars to be role models, she said "[being a role model] became more of my job than I wanted it to be. But no, I just want to make music. That's it". In a May 2013 interview with MTV, The Vagina Monologues writer and feminist Eve Ensler praised the singer, saying, "I'm a huge Rihanna fan, I think she has a kind of agency over her sexuality and she's open about her sexuality, she has enormous grace and she's immensely talented."

Appearance

Described as one of the sexiest woman of her generation, she revealed that being a sex symbol is not a priority and that "it's definitely flattering, but also uncomfortable." Emily Hewett from Metro wrote, "Rihanna is quite possibly [the] most sexiest woman in the world. The 25-year-old songbird can grind like no other, pull off a provocative pose better than a Playboy pro." Her appearance has landed her on the cover of magazines such as Maxim, FHM, Rolling Stone and GQ. She has appeared in the top ten on Maxim's Hot 100 list and on FHM's "100 Sexiest Women in the World" several times. In 2007, she was tagged Venus Breeze's "Celebrity Legs of a Goddess" by Gillette, and was ranked second on People magazine's list of "10 Best Dressed Stars" the following year.

In 2009, Glamour ranked her at number 17 on the 50 Most Glamorous Women and Esquire named her the Sexiest Woman Alive of 2011. In December 2012, Rihanna became the first woman to be featured on the cover of GQ magazine's "Men of the Year" issue and ranked fifth on Complex list of "100 Hottest Female Singers of All Time". The following year, VH1 placed Rihanna second on their list of "100 Sexiest Artists".

Rihanna is well known for having a wide collection of small tattoos around her body. The 21 in total include two musical notes on the front of her ankle (now covered), a skull with a pink hair bow on the back of her ankle, a Pisces sign behind her right ear, a Sanskrit prayer going down her hip, a star in her left ear, the word "love" on her left middle finger, an Arabic phrase meaning "Freedom in Christ" on her ribcage area, a trail of stars going down the back of her neck, the phrase "shhh..." on her right index finger, the date 11.4.86 in Roman numerals on top of her left shoulder, a henna-style tribal dragon claw including hibiscus flowers inside her right hand/wrist, and a handgun under her right armpit. A gun tattoo was planned to be placed just below her shoulders but was ultimately located on her rib cage. In late 2009, Rihanna had the phrase, "Never a failure, always a lesson" inked onto her chest backwards as she wanted to be able to read it in the mirror; it is her "motto in life for everything". In mid-2010, the phrase "rebelle fleur" was tattooed onto the singer's neck. In 2012, a Christian cross was tattooed on her collarbone, the word "lover" in Tibetan above her left buttock. Rihanna covered the music notes on her ankle with a gun-shaped Egyptian falcon design. As a tribute to her late grandmother, Dolly, the singer had the Egyptian goddess, Isis, inked on her chest. In 2013, she had the Ancient Egyptian Queen Nefertiti tattooed on the side of her left rib cage. In 2015, Rihanna had "1988" (her year of birth) inked above her right ankle. In 2016, whilst with Drake in Miami, she had a shark inked above her left ankle. Drake had the same tattoo inked on his right forearm.

Legacy

Rihanna's first albums established her as a "Pop/R&B Princess" by music critics; Nick Levine of Digital Spy described her third studio album Good Girl Gone Bad, as "the closest thing to a Thriller that 2007/08 is likely to produce". Her single "Umbrella", famous for its "ella ella" hook, is considered by Rolling Stone to be one of the 500 Greatest Songs of All Time. Her 2011 single "We Found Love" was ranked by Billboard as the 24th biggest US Billboard Hot 100 hit of all time. The music video won a Grammy as Best Short Form Music Video and MTV's Video of the Year.

Time magazine included Rihanna on its 100 Most Influential People in the World issue in 2012. Stella McCartney writes "She's one of the coolest, hottest, most talented, most liked, most listened to, most followed, most impressive artists at work today, but she does it in her own stride. She works hard, very hard. She gives to her fans, friends and foundation not just herself but her energy and spirit." On June 2, 2014, Rihanna was presented with Fashion Icon lifetime achievement award from Council of Fashion Designers of America (CFDA), a special prize reserved for "an individual whose style has made a significant impact on popular culture on an international stage". In August 2013, Rihanna is placed at number 13 on Billboard's "Greatest Of All Time Hot 100 Artists" list, being its highest ranking newcomer. Billboard also ranked Rihanna the top Hot 100 artist of the 2010s decade. In 2014, Time magazine's pop stardom ranking metric, ranked Rihanna second in history, based on all-time chart performance and contemporary significance.

Rihanna's work has directly influenced a number of contemporary artists such as Little Mix, Selena Gomez, Justin Bieber, Ellie Goulding, Tegan and Sara, Jessie J, Cover Drive, Fifth Harmony, Demi Lovato, Alexandra Stan, Grimes, Cher Lloyd and Willow Smith. Rihanna has an honorary title of Ambassador for Culture and Youth in Barbados. Additionally, Rihanna has become a dominating figure in social media and internet streaming, ranking at number one on Forbes' 2012 list of Social Networking Superstars. In 2013, Rihanna was also named the most influential pop star in the United Kingdom by UK channel 4Music.

In February 22, 2008, former Barbados Prime Minister, David Thompson, launched the national "Rihanna Day" in their country. Although it is not a bank holiday, Barbadians celebrate it every year to honor Rihanna's success in the music industry.

Achievements

Rihanna has received numerous awards throughout her career such as 8 Grammy Awards, 12 Billboard Music Awards, 12 American Music Awards, 8 People's Choice Awards, among others. Rihanna received the "Icon Award" at the 2013 American Music Awards and the Michael Jackson Video Vanguard Award at the 2016 MTV Video Music Awards. She has sold over 200 million records worldwide, making her one of the best-selling music artists of all time. In the United States, Rihanna has sold over 10 million albums, while Nielsen SoundScan ranked her as the best-selling digital artist in the country, breaking a Guinness World Record for digital single sales of over 58 million as of 2012. On July 1, 2015 the Recording Industry Association of America (RIAA) announced that Rihanna had surpassed more than 100 million Gold & Platinum song certifications. In doing so Rihanna has the most digital single awards and is the first and only artist to surpass RIAA’s 100 million cumulative singles award threshold. In the United Kingdom, she has sold over 7 million albums making her 3rd best selling female this century.

Rihanna has accumulated fourteen number-one singles on the U.S. Billboard Hot 100 chart for the third most number ones in the chart's history. She has been named the top Mainstream Top 40 chart artist of the past twenty years by Billboard; she ranks first with most entries (36), most top tens (23), and most number ones (10). As of March 2014, Rihanna has sold over 18 million singles and six million albums in the United Kingdom. She is the tenth best-selling and the second best-selling female singles artist in the country, only behind Madonna and is second only to The Beatles for the most million-selling singles in the UK of all time. Her collaboration with Eminem, "Love the Way You Lie", together with "Umbrella", "Disturbia", "Only Girl (In the World)", "We Found Love", and "Diamonds", are some of the best-selling singles of all time worldwide. According to Billboard, her total album sales stand at 54 million copies sold worldwide. On 7th of February 2017, Rihanna surpasses Elvis Pressly as the Best-Selling Solo Artist of All-Time with record of 213.3 million album sales with just 12 albums released.

Other ventures

Endorsements

Rihanna has ventured into other businesses and industries. In October 2005, Rihanna struck an endorsement deal (her first of many) with Secret Body Spray. In 2010, Rihanna featured in the Optus commercial, in conjunction with Optus supporting Rihanna's Last Girl on Earth Tour. The same year Rihanna also featured in the Kodak commercial along with rapper Pitbull. In October 2010, the singer released an eponymous book. The book, featured photos from Rihanna's Last Girl on Earth Tour and served as an accompaniment to her fourth studio album Rated R (2009). Rihanna's first fragrance, "Reb'l Fleur", was released in January 2011. The product became highly successful, according to Rolling Stone, Reb'l Fleur was a financial success and was expected to gross US$80 million at retail by the end of 2011. In 2011, Nivea celebrated its "100 Years of Skincare" festivities which featured several performances from Rihanna. Rihanna's song "California King Bed" was featured as a part of the "100 Years of Skincare" commercial campaign. Rihanna also became the face of Vita Coco in 2011.

Rihanna's second fragrance, "Rebelle", was released in February 2012. The promotional campaign for Rebelle, was shot by director, Anthony Mandler, who also shot the promotional campaign for Reb'l Fleur. In November 2012, Rihanna released her third fragrance, "Nude". In 2013, the singer collaborated with MAC Cosmetics and released her own summer, fall and holiday lines of makeup called "RiRi hearts MAC". In July 2013, lager production company Budweiser announced that Rihanna had become a part of their global "Made For Music" campaign, also co-starring Jay-Z. A commercial video was released featuring the singer and song "Right Now". Rihanna's fourth women's fragrance, titled Rogue was released on September 14, 2013. The singer announces to release a men's version the following year. It was announced on August 1, 2014 that September 2014 will see the release Rihanna's first fragrance for men, "Rogue Man". Also in July 2015, she announced her latest fragrance, RiRi by Rihanna. The scent features notes of passion fruit extract, rum absolute, sparkling cassis, and Italian mandarin and arrive at retailers in September 2015.

Business endeavours

On March 30, 2015, it was announced that Rihanna is a co-owner, with various other music artists, in the music streaming service Tidal. The service specialises in lossless audio and high definition music videos. Jay Z acquired the parent company of Tidal, Aspiro, in the first quarter of 2015. Including Beyoncé and Jay-Z, sixteen artist stakeholders (such as Kanye West, Beyoncé, Madonna, Chris Martin, Nicki Minaj and more) co-own Tidal, with the majority owning a 3% equity stake. "The challenge is to get everyone to respect music again, to recognize its value", stated Jay-Z on the release of Tidal.

In November 2015, Rihanna and Benoit Demouy launched a beauty and stylist agency named Fr8me. The business based in Los Angeles was set up in order to assist artists in booking commercials, editorial shoots, ad campaigns, and red-carpet appearances. Speaking on the venture Rihanna stated "Hair, makeup and styling play an important role in creativity, I am very involved with that part of my process, so this agency was an organic thing for me to do." The roster includes Rihanna’s makeup artist Mylah Morales, wardrobe stylist Jason Bolden, hairstylist Patricia Morales, and Marcia Hamilton. In addition to Fr8me, Rihanna opened a photo agency called "A Dog Ate My Homework", which represents photographers Erik Asla and Deborah Anderson.

Under her PUMA collection, she released the "Puma Creepers". Then in 2016, she released the PUMA Fenty Trainer, which premiered in red, white, and black, and then was scheduled to release in a grey "Quarry" colorway at midnight on June 14 via Packer Shoes; they sold for $180. The "Fenty Trainers" were available on June 15 in-store at both Packer Shoes locations.

Fashion

The singer's first fashion range, for Armani, became available in November 2011. Rihanna's 2010 song "Skin" was used in the Armani Jeans and Emporio Armani Underwear adds. Her first television program, Styled to Rock, premiered in the UK in August 2012 on Sky Living. In the ten-week series, Rihanna, Nicola Roberts, Lysa Cooper, and Henry Holland assist up-and-coming British designers with their clothing lines. In February 2013, Rihanna presented her first women's spring fashion collection at London Fashion Week for British street fashion brand River Island, collaborating with her personal stylist Adam Selman. They published two more collections for the brand, a summer edition released on May 25, 2013 and an autumn edition released on September 10, 2013. The fourth and last collection for River Island, the winter edition was released on November 7, 2013. Meanwhile, the US version of Styled to Rock premiered on October 25, 2013 on Bravo.

In December 2013, it was announced that Rihanna is set to be the new face of the forthcoming spring/summer 2014 campaign — due to appear in magazines from January — of the French fashion house Balmain. On June 2, 2014, Rihanna "will receive the Fashion Icon Award at the 2014 Council of Fashion Designers of America Fashion Awards" at the Lincoln Center's Alice Tully Hall. and said regarding it "Fashion has always been my defense mechanism". In December 2014, it was announced that Rihanna would become the creative director of the fashion sportswear Puma, overseeing the brand’s women’s line which will include collaborations in apparel and footwear.

In March 2015, it was announced that Rihanna was chosen as the new face of Dior; this makes her the first black woman to be the face of Dior. In July 2015, Rihanna announced that she would design multiple seasons of a signature women's collection of socks in a multi-year partnership with Stance. The first release included two limited-edition styles in a print called "Murder Rih Wrote," with further designs to follow. In March 2016, Rihanna teamed up with Manolo Blahnik for an all denim shoe line. She has collaborated with luxury fashion Label Dior to create a line of futuristic sunglasses she debuted on instagram. It is simply called "Rihanna." Mexican singer Becky G has stated Rihanna is one of style icons to Latina magazine.

Philanthropy

In 2006, she created her Believe Foundation to help terminally ill children. In 2007, Rihanna was named as one of the Cartier Love Charity Bracelet Ambassadors, with each celebrity representing a different global charity. To help raise awareness and combat HIV/AIDS, Rihanna and other public figures designed clothing for the February 2008 H&M Fashion Against AIDS line.

In 2008, Rihanna performed a series of charity concerts entitled A Girl's Night Out to benefit the Believe Foundation. The concerts were made free for the public. Money from sponsors and advertisers were to be donated to provide medical supplies, school supplies and toys to children in need. In September 2008, Rihanna contributed to the song "Just Stand Up!" with fifteen other female artists, who shared the stage to perform the song live on September 5, 2008, during the "Stand Up to Cancer" television special. The proceeds from the single were given to the fundraiser. The television special helped raise $100 million for cancer research.

Rihanna founded the Clara Lionel Foundation (CLF) in 2012, in honor of her grandparents, Clara and Lionel Braithwaite. Current programs include the Clara Braithwaite Center for Oncology and Nuclear Medicine at the Queen Elizabeth Hospital in Barbados, and education programs. The CLF host an annual Diamond Ball—charity fundraiser event. The inaugural event in 2014 raised over $2 million, with the second raising over $3 million.

On February 12, 2012, Rihanna performed a benefit show at the House of Blues to raise money for the Children's Orthopaedic Center and The Mark Taper-Johnny Mercer Artists Program at Children's Hospital. In November 2012, Rihanna gave $100,000 to food bank donation for Hurricane Sandy, On January 3, 2014 Rihanna was part of the MAC Viva Glam campaign, which benefits women, men, and children living with HIV/AIDS.

Personal life

On February 8, 2009, Rihanna's scheduled performance at the 51st Annual Grammy Awards was cancelled. Reports surfaced that then-boyfriend, singer Chris Brown had physically assaulted her. He was arrested on suspicion of making criminal threats. On March 5, 2009, Brown was charged with assault and making criminal threats. Due to a leaked photograph from the police department obtained by TMZ.com—which revealed that Rihanna had sustained visible injuries—an organization known as STOParazzi proposed "Rihanna's Law", which, if enacted, would "deter employees of law enforcement agencies from releasing photos or information that exploits crime victims." Gil Kaufman of VH1 reported the "nonstop coverage of the Rihanna/Brown case has brought up a number of issues regarding the privacy of alleged victims of domestic violence, including the decision by almost all major news outlets to divulge the identity of the victim—which is not typically done in domestic-violence cases" and discussed the controversial distribution of the leaked photograph. Rihanna was subpoenaed to testify during a preliminary hearing in Los Angeles on June 22, 2009. On June 22, 2009, Brown pleaded guilty to felony assault. Brown received five years probation and was ordered to stay fifty yards (46 meters) away from Rihanna, unless at public events, which then would be reduced to ten yards (nine meters). In February 2011, at the request of Brown's lawyer and with Rihanna's consent, Judge Patricia Schnegg modified the restraining order to a "level one order", which allows the singers to appear at awards shows together in the future.

From December 2009 to 2010, Rihanna dated Dodgers baseball player Matt Kemp. Canadian rapper Drake has also dated the singer. In a January 2013 interview with Rolling Stone, Rihanna confirmed that she had rekindled her relationship with Chris Brown, though he remained under probation for the 2009 domestic violence incident. The confirmation followed persistent media speculation throughout 2012 regarding the pair's reunion. In a May 2013 interview, Brown stated that he and Rihanna had broken up again. In 2015, Rihanna briefly dated Travis Scott, a rapper from Missouri City, Texas.

Rihanna has stated that she believes in God and that she focuses on obeying God and reading her Bible. She is a fan of Protestant charismatic minister Joyce Meyer. In 2015, Rihanna told Harper's Bazaar that her faith in God has helped her throughout her career.

During her performance at the NCAA March Madness Music Festival, Rihanna expressed her disagreement with Indiana's Religious Freedom Restoration Act that allows companies and individuals to use their religious beliefs as protection, in case of being accused of discrimination against LGBT people. Rihanna along with numerous other high-profile celebrities featured in an online video entitled "23 Ways You Could Be Killed If You Are Black in America". The video was released in partnership with the We Are Here Movement and called for action against police brutality.

According to the New York Post, Rihanna filed a lawsuit against Peter Gunis and the firm Berdon LLP for $35 million but settled out of court for more than $10 million. Forbes began reporting on Rihanna's earnings in 2012, calculating that she earned $53 million between May 2011 and May 2012, for her music, tour, and endorsements. In 2013, Rihanna came in at number 13 on the list with a total earning of $43 million due to endorsements such as vita coco. In 2015 Rihanna earned $26 million, which resulted in her net worth rising to $160 million by 2016. In July 2016, Forbes magazine placed Rihanna at number 13 on their list of highest paid celebrities, earning $75 million between 2015 and 2016. Rihanna currently lives in Manhattan, New York City and owns a penthouse there that is worth $14 million.

Wikipedia

#Rihanna

8 notes · View notes