#and seriously there are so many ways to view this film. i just always tend to see things through a disability lens

[silver-stargazing]

Everyone is rightfully celebrating the appearances of Barbies using mobility aids and prosthetics in the Barbie film but I've got to say: I really love that the movie can be read as a woman having a later-in-life disability and ultimately embracing the changes that come with having a disability.

As the film progresses, Stereotypical Barbie loses control over her legs and feet, develops cellulite (a common sign of aging, something which, under some models of disability, is considered a disability), and begins to experience intrusive thoughts as well as anxiety and depression, all common invisible disabilities.

When consulting Doctor Barbie and her friends, they all say she's malfunctioning and encourage her to get help which, speaking as someone with epilepsy, I can't count the number of times professional medical doctors have called my body "malfunctioning". Like a worn down piece of computer hardware.

When seeking outside help, she finds a tight-knit commune of other "malfunctioning" Barbies which includes:

Weird Barbie, who has a leg-control disability and constantly has to find places to lean against for support

Video Girl Barbie, whose physical appearance is considered unsettling to the other Barbies

Teen Talk Barbie, probably the most famous Barbie doll with a voice but almost completely mute during the film

Weird Barbie also encourages her to get help but not for the societal conformity reasons that the other Barbies had. She wants Stereotypical Barbie to get help because having intrusive thoughts of death is not healthy and she genuinely cares about her well-being (even though she previously called her "weird" both behind her back and to her face). 

While the starting point of her journey may have been to find a cure to her disabilities, by the end of the film, Stereotypical Barbie is able to accept the changes to her body by rejecting the perfect plastic body and fully committing to an inherently flawed human body.

I just dig the heck out of her storyline and how it shows how other disabled people can support each other on their paths of self-discovery.

#actually disabled #barbie #barbie movie #barbie 2023 #barbie spoilers #fan thoughts #guess what i got to see again #and seriously there are so many ways to view this film. i just always tend to see things through a disability lens #and there has been so little discussion of the disability rep here but it is there #stargazer rambles #barbara

[lovelytayforce]

THANK YOU for the Oogway defense!!! Villains are fun, especially sympathetic ones, but acting like they’re some poor misunderstood sadbois ironically just takes the fun away from them. It’s really people not wanting to admit they like villains, which is ironic because they claim otherwise. The need for stans to villainize benevolent figures that correctly called out their faves as immaturely evil just comes across as insecure.

Np, I tend to be the dude always saying what needs to be said. I think villain stans here in kfp just want their hcs to be true so badly which is where the insecurity comes from, I can't tell you how many times Tai fans I've spoken to outright forget his animosty toward others and his own damn Father who we watched him do the following; - Throw him against a STONE COLLUMN - Punched him through the roof - Asked him to commit fraud regardless of Oogway's passing - Choked him out and probably would have killed him had Po not arrived. He's just a terrible person and I wasn't shocked Ian (Hia VA) realized that guy was never gonna change, he's like his dad; always thinks he's right but unlike Shifu he never opens his eyes. It's why I love him, he's a loser and an idiot who could be perfect for being a loser like villain no one takes seriously anymore if he was ever revived cause its been years. But everyone wants that Prison Break Tai Lung, overestimating how smart and cool he is, ignoring how he fell apart at the end of the film. So, his fans emulate him in a way, an insecure child who always wants to proclaim they are right and everyone else did them wrong despite the evidence showing otherwise. Which is why they dislike Oogway so much and "distrust" him because he told the truth, there was darkness in Tai lung's heart and he had so much time to change that but never did. And they can't handle the latter part, I mean just look at all the Tai redemption arc fan media we have out here and how many VIEWS they get its wild, No hate cause I read Traces of Spring as purely fan content. It's a funny and sad reality we live in. And don't get me started on the Shen fans, at least the Kai fans are funny and don't make weird art about genocide survivors deaths. But that's a story for another day.

#taylor talks #kung fu panda #tai lung #asks #asks open

[babyarmybabbles]

Run ARMY! (Meet Part) a1 d3

[Caution: These are not full fics, or even full parts of fics for some, these are part of my writing progress archive!]

Concept: Reader won the opportunity to film a spin off of Run BTS! celebrating the boys return from enlistment, called Run ARMY!, over the course of seven days.

Word Count: 1,095

Notes: Idk if y'all have noticed but I tend to just write scenes I get inspired for and then fill in the blanks for this one lol. Random bits and bobs until I connect them. This part specifically needs some work on the actions and interactions, I think.

Took Inspirations from Run ARMY! series on Tik Tok by _yamanika_ and Guess The Bias! by HelloMyAlien7 on Ao3

Warnings: Reader is p anxious lol Sort of panic attack? Anxiety attack? idk man. Just anxious Reader.

Masterlist Link <3 | Prev Part Link c: | Next Part Link :D

By the time the SUV is pulling into the underground parking garage you’re meeting the band in you’re sweating buckets. Not literally, thank the stars, but you feel near to it. Hannuel smiles kindly at you from the driver’s seat, obviously able to see your nerves. You’re pretty sure a satellite could see your nerves right now.

“You’ll be fine.” She soothes as the car descends. “The boys are super nice, and they’re excited to meet you. You’ve got nothing to worry about.” You suck in a deep breath in response and let it out. It doesn’t help much.

“I’m more nervous about ARMY not liking me than BTS not liking me.” You admit, consciously switching to twisting your rings around so you don't pick at your nails in your anxiety. Having bloody fingers while meeting your favorite band would not be a good look. “Also they intimidate me.” You add quietly.

You hear Hannuel stifle a snicker and your head shoots up to glare at her in affront. She’s supposed to support you, not laugh at you! She must see your mulish stare in the rear-view, because she quickly defends herself.

“Sorry, sorry! I’m not laughing at you, I promise. It’s just that they’re so silly sometimes, it’s hard to find them intimidating after having known them.” You easily concede the point to her. You'd seen enough behind the scenes content to get that impression. It’s a bit soothing to hear from an actual staff member though. “They’re the sweetest, really,” Hannuel continues, “You’ve genuinely got nothing to worry about. They’ll take care of you.”

You groan and let your head thump against the seat. “That’s part of the problem!” You complain, “It’s my first time on this side of a camera, it’s my first time meeting BTS, it’s my first time being in Korea, It’s just a lot! What if ARMY sees me fumbling and the boys helping me and decide they hate me? I can’t be hated by ARMY! I’d die!” You dramatically slump sideways, coincidentally timed with a turn that scootches you that much farther over. Score one for dramatics.

Hannuel laughs gently at you, and you continue somewhat more seriously from your slumped position. “I mean, ARMY is basically my home. I don’t know what I’d do if they hated me.” You murmur into the leather cushion.

Hannuel hums musingly at you and the two of you lapse into silence for a moment.

“Well,” She starts, “First of all, you probably already know that you can never please everyone.” You nod miserably, aware that she could no longer see you. Both your therapist and your friends had told you as much many times. She continues, “But ARMY loves to see the boys interact with other ARMY. It’s another way they get to know them and feel connected. If you ask me, you’ll have more people projecting onto you than judging you. Not that they won’t judge, but” She shrugs, “People always do.”

You slowly sit up and shoot an admiring look at the woman. “Woah,” you mumble, “How are you so wise?”

Hannuel barks out a surprised laugh. “Life experience, mostly.” She replies amusedly.

You settle back into your seat and finally notice that Hannuel had stopped the car before what you assume to be the final turn before the boys would be in view. You feel a rush of gratefulness for her. You hadn’t known her very long, but Hannuel had already been an incredible help and a very soothing presence to you. You should buy her something nice before you leave if you get the chance. See if you can send a gift basket through Hybe for her if you don't.

She starts the car rolling forward again as you reappear in the rear-view mirror, fully over your momentary theatrics. You take another deep breath and let it out again. It helps more this time.

“It’s not like my socials are public or anything either," You soothe yourself aloud, "And my friends already know me, they’re just excited. Everyone else is secondary.”

“Exactly” Hannuel affirms. You jump just a bit and then try to pretend you hadn’t forgotten she could hear you. Luckily, she’s too busy driving the car to notice. “Like I said, you’ll be just fine.”

Unfortunately for Hannuel’s encouraging words, you’d finally rolled close enough for you to spot seven men standing near 3 other SUVs just ahead and you were suddenly incapable of hearing anything anymore.

Static fills your brain as you study them. You register the casual clothes, watch them nudge each other excitedly as they notice your vehicle, even note the camera crew nearby, but not a single thought makes it past the haze of panic. Distantly, you wonder if this is what an adrenaline rush feels like. You suddenly can’t remember.

Your heartbeat thuds in your ears as the car comes to a gentle stop.

You absently bring one hand up to the pulse point under your jaw to measure your pulse and raise the other to your chest to make sure you’re still breathing. Hannuel is repeating instructions for your benefit in the front seat, but you simply cannot engage your brain enough to listen. All too soon she's exiting the car. You manage to tear your hands away from their comforting positions as she comes around and opens your door for you.

Hannuel helps you down as you duck out of the car and gives you a brief sympathetic smile as she takes your trembling hand.

Excited exclamations meet your arrival and you hastily paste confidence over your every mannerism as you lift both hands to wave back with equal excitement. Hannuel is the only one close enough to be able to see your hands continuing to shake, or note the fact that you stop breathing as you approach BTS.

You hope your smile isn't too tight and that you look appropriately excited. Hopefully whatever the cameras are seeing right now can be explained by excitement and reasonable nerves. You'll take your near panic-attack to the nearest private space, thanks.

"Hello! Oh my goodness, hi!" You release your held breath as you great them, first shaking RM's hand as they return your greeting before stepping back and bowing as best you can as you introduce yourself.

This prompts a round of mostly redundant introductions from the members, starting with RM and then continuing down the line until they'd all politely introduced themselves.

You can't quite stop yourself from running your hands through your hair as you take them in.

#Baby Writes #w.i.p #w.i.p fic #bts fic #bts fanfic #bts x reader #bangtan fic #bangtan x reader #Run ARMY! AU

[thecarnivorousmuffinmeta]

So, I live for your shipping posts, Sirius Black and Patrick Bateman? Best buds? One ends up dead?

Pffft.

Now I know you guys are just throwing names together and seeing what nonsense I say.

Alright.

For those who don't know, Patrick Bateman is a character from the film/book American Psycho. For some reason, people like to ask about him on this blog.

Sirius Black and Patrick Bateman

I've talked about Patrick in Hogwarts before. We have to do a bit of head tilting to make it work. For Patrick to fulfil the same role in society that he does in American Psycho, and thus have a similar characterization if with a Harry Potter flair, then he's not a Muggle on Wall Street in the 80's getting high on cocaine.

He's going to be in Slytherin, going to be the son of a very wealthy pureblood family, who's getting high on wizarding cocaine in the Slytherin common room with the Malfoys, Blacks, LeStranges, etc.

Because of this, he and Sirius aren't going to be friends.

Sirius pointedly rejects his entire family and all their values. Patrick Bateman is the very core symbol of these values as much as Lucius Malfoy is.

Sirius will hate him on principle, never mind how they might have gotten along in different circumstances.

I imagine Patrick isn't harassed too much by the Marauders, in the sense that Lucius didn't seem to be nor any of Sirius' siblings or cousins. I imagine their primary victim is still Severus Snape for a variety of reasons. But Sirius makes a point of badmouthing Bateman at every opportunity and noting how much he hates their ilk.

Obviously, this means they're not getting together in the shipping sense either.

But What About Different Circumstances?

I'd still say no.

Bateman isn't really the mischievous/prankster sort. He views what he does as a very serious endeavor and one absolutely vital to his existence. He takes his murdering of random female Hufflepuffs very seriously.

He's not going to make Severus' life miserable just to make it miserable (especially as Severus Snape has nothing he wants/isn't someone who has anything he covets).

Now, he might murder Severus in a dark alley to get his kicks and giggles, but the violence would very much be for the violence's sake with no pretense otherwise. Where Sirius in canon tends to stand by his explanation of being young, stupid, and looking for a good time.

Sirius isn't always out to kill Snape...

Bateman would be.

Bateman I think would find Sirius to be very dumb and generally not worth his time. He's throwing everything away so he can pretend to be one of the common folk and wastes his time on juvenile pranks to make nothing Severus Snape feel miserable.

Bateman's busy raping and murdering Hufflepuffs in closets because he knows he can get away with it. He may also kill Lucius Malfoy and steal his manor in a fit of jealousy, only to then realize no one can tell the difference between him, Lucius, the LeStranges, or anyone else so he gets away with it completely (bonus points if Sirius is somehow implicated for it, as he's mistaken for Patrick Bateman) but it's not the same thing.

I imagine both Bateman and Sirius would view each other with contempt. And that Sirius would have generally very little idea of what Patrick Bateman is up to (especially as Bateman does not become a Death Eater, meaning his pillage, rape, and murder seems almost out of character for a man who does not become Death Eater scum).

Does One End Up Dead?

I'm going to say no. I think they'd keep out of each other's way as neither has anything the other really wants or is in a position to be declared a direct enemy.

When Hogwarts ends, they go their separate ways, and all of Bateman's many crimes are blamed on Bellatrix.

It's a great time to be Patrick Bateman.

#harry potter #harry potter meta #harry potter headcanon #harry potter shipping #american psycho #american psycho meta #american psycho shipping #patrick bateman #sirius black #anti sirius black #sirius black/patrick bateman #anti sirius black/patrick bateman #tw rape #tw murder #meta #headcanon #opinion #shipping

[annasnellgrove]

Day 5: Cannes Lions Festival

Don’t Touch the Pickle.

I went in to today not as excited because not as many of the panels interested me. However, there was one that I am so thankful I went to because it was able to touch my heart in a way nothing has this week.

We will get back to that thought, but for now let’s start from the beginning. I started my day off going straight to the panel called “Dentsu Inc.: All Players Welcome - When Embracing Differences Unlocks Creative Differences”. In this panel Kris Yoshie talked about how her bone cancer was viewed as a disability to society. However, she has come to view it in a much more positive light. Diversity creates creativity and it is necessary for our society she explained.

This panel was a good start to my day and made me have some hope for the next panels.

After that one I went to the Microsoft Meet-Up Spaces for the workshop. The panel was called “Josy Paul on Empathy, Emotional Data and Creativity”. Now remember earlier when I said there was a particular one that moved me today? Well this is the one.

All my life I have been a big advocate for empathy and have felt it intensely myself. I mean I can seriously feel what others are feeling, or so it feels, to where my heart will skip and flutter as if I just dealt with their trauma, too. A gift and a curse, my mother says.

Anyway this talk today I could speak about it forever, but Josy Paul explained how creativity doesn’t come from connecting point A to point B and boom there’s an idea. No. The best ideas come from human interactions and confessions. These create emotional data. People are looking for meaning, he explained, not brands.

I couldn’t agree more to everything he said. He showed us several campaigns his laundry detergent company in India did but there was one that truly made me cry. It was titled “Don’t Touch the Pickle”. Did you know that in Indian households they pretty much all have a pickle jar in the kitchen? Me either. Well did you also know that menstruating woman are not allowed to touch the pickle jar because they say it will rot the pickles? Yeah! Me either.

His campaign challenged this idea in India and it actually started an activism movement.

Next up after this panel I went to the Discovery Stage to see WARC talk about Effectively Resilience. This panel I surprisingly enjoyed. Anna Vogt (author of a book I forgot the title too) talked about many things regarding resilience.

The main thing that stayed with me from this panel was how she explained how you can be so extremely successful in your work, but if your not happy then your not successful with yourself.

This right here is something I need to really remember as I get older. I tend to strive for perfectionism subconsciously, and I could see this carrying out into my work habits when I get older. I don’t want to be this unhappy, way too hardworking old woman who’s angry at the world because she’s not doing something for herself. Luckily, I am obsessed with my major and genuinely enjoy this work. However, I need to make sure I am always true to myself and not just taking a job because it is a large company or has a big paycheck, but because it fulfills me internally, brings me joy and resonates with my core beliefs.

After all this thinking I wanted to chill out and watch some short films in the Debussy. So I headed over there with Kenzie! I got to see 3 short films before I left the theatre. My favorite one I saw was about the pandemic. You know I haven’t seen too many advertisements speak out about mental health impacts the pandemic has had for teens. The short film started by a teenager asking his mom what she wanted for Christmas. The mom said she wanted him to ultimately get his youth back and then the film referenced in text how teenagers have lost their youth.

Lastly, I attended another WARC panel about what it takes to build a culture of creative effectiveness. To be honest I didn’t really get too much out of this panel for the way they approached it was not very engaging or captivating.

That concludes my last and final day at the Cannes Lions Festival of Creativity. I am so thankful for this experience and feel very lucky to have this new knowledge. The incredible lightbulb moments I have had here will stay with me for life and I can’t wait to utilize this knowledge when I get back home.

#cannes lions #empathy #creativity #resilience #cannes 2022

[stormblessed95]

Hiiii!

I'm not sure if you will want to answer this, as you've already touched the topic several times. But something came up recently which made me ponder... It's about Jikook possible living situation.

I was one of those who was left puzzled in 2021 when we were starting to see they were not sharing cars etc. Then there was the whole ITS2 with Bam which made me think a lot, the fact that JM seemed cluesless about Bam etc. ( As of today tho, I tend to believe that since they knew they were being filmed, a lot of the Bam/Jimin interactions might have been pre-medited in order to not let people know they are familiar with each other? )

Anywayyyy that's not the point. Fast forward to when they started to have their own IG and share a bit more about their life during their breaks. First thing I noticed was the quarantine situation when they came back from the US. JK shared a video with Bam where it seems like he was quarantining in his brother's appartment. I didn't know back then that it was his bro's appart, but then found out the brother had an IG account too, where we can see a lot of pics of the said appart. So for one moment I thought ohh.. maybe JK does live with his brother....

I mean the mere fact that he had to quarantine in his brother's appartment meant he doesn't have his own place, right? Unless.... his own place is somewhere else with someone... Jiminnnn???? and he could have never quarantined there with Jimin due to the government's guidelines.

Anyway, still, the possibilities that JK lived either with his brother or with Jimin were both plausible. BUT THEN, we got a recent IG post from JK's brother. It seems like since JK left for Vegas, brother is once again in charge of our cute Bam! And what caught my attention was the caption there... he was saying that his dog haven't seen Bam in a long time and got intimidated by his size. SO therefore, JK and Bam do NOT live with the brother! And suddenly it all made sense to me...

Another thing. We all know that RM and Jimin bought an appart in the same complex, Nine One haram. And the fact that they kept sharing cars kinda made us think like they were indeed both living there. BUT then, when RM was sharing IG stories of his appart decorations, we could see the outside view clearly didn't correspond to the Nine One Haram area.

I guess my take from that is that we cannot rely on cars sharing, nor on official purchases to know about their living situation. In fact there are so so many things we don't know. I believe that none of them actually live in the appart they "officially" bought. They only let us believe that, and it's very smart of them, for their own security.

Sorry for the longggg post. I hope it's not too boring! Just wanted to share this and know what do you think? hehe

Well. Lmao thats a lot. Im... not going to get into this again. There is quite a lot in here that I don't necessarily agree with. Except your last comment about not taking car sharing too seriously, i fully agree here. Please yall, let them breathe. Lol but I really don't feel like breaking this down and addressing it all again. The mental/emotional energy is not there today. I'm sorry! I appreciate you sharing your thoughts though so nicely!

Yes, I think jikook live together. No, I never thought otherwise or changed my mind, I was never given anything to warrant thinking differently imo. No, we don't know their living situations for sure no matter what anyone else says. There is no concrete proof, just theory. No, it also really doesn't matter to me one way or another. Yes, I do STILL think they live together. Lol you can find my posts over the jikook living together situations (there are 2) in my jikook theories masterlist, which is here:

And if you haven't seen it yet (which would shock me), JKs Brothers photo of Bam with one his dogs too while JK is in America. They are soooo cute

And yes, his caption was about how Bam is much bigger than how they remembered him

Soooo cute. All the puppies together to play! Thanks for the ask!!

[a-small-batch-of-dragons]

Not So Serious

Prompt: ayoooo I’m like-obsessed with your writing style omg if your requests are open I’d love to see some good good logince hurt/comfort where Roman has a crush on Logan and gets this idea that he’s not serious enough for Logan to like him at all so Roman completely changes himself only for Logan to wonder where the man he’s in love with went.

Thanks for the prompt, babe!

Read on Ao3

Pairings: logince, as on the tin

Warnings: roman’s a little bit of a self-doubting and self-depricating boi but other than that none! we are happy now!

Word Count:  5340

Roman knows he’s the least important of the Light Sides. Or at the very least, the one that Thomas listens to the least.

 That’s okay.

 It’s not, not really, but that doesn’t matter.

What does matter is that most of it can be chalked up to the fact that he’s the least serious Side. He’s the dreamer, the fanatic, the one whose head is permanently in the clouds. He sings, he dances, he acts, he plays. And that’s his job! He’s Creativity, for Shakespeare’s sake, and if he’s not, well, what good is he?

 Well, he’s not much good when he is Creativity, but that’s beside the point.

 But Thomas needs him to be serious. Patton, for all his lightheartedness, knows how to be serious when the time calls for it. And behind all those jokes and smiles and corny lines that make all of them want to cringe a little, he’s talking about, arguably, the most serious thing there is. What’s right and what’s wrong. No matter how you slice it, that’s serious. And he’s Thomas’s heart! How can you not take that seriously?

 Then there’s Virgil, who Roman considers a Light Side. Virgil demands to be taken seriously. Not verbally, but come on, he’s Anxiety. Mental stuff is no joke, and they’ve had enough close calls to know that for sure. Virgil’s a snarky bastard, but he rarely says something he doesn’t actually mean. He keeps them safe when none of the others know what to do and honestly? That’s serious stuff. Virgil’s got enough on his plate.

 Then there’s Logan.

  Logan.

 Roman could go on for days about Logan. He won’t, but he could.

 Logan is Logic. Perhaps more than anything else, Thomas needs Logic. And Logan. Logan is always present, whether he’s there physically or not, and his voice is always going to be heard in the conversation sooner or later. He breaks down the biggest problems Roman’s ever seen until they’re manageable chunks, so much so that it’s ridiculous that they were ever big in the first place. He talks them through everything, slowly and surely. He makes everything look easy.

 And that’s all the more impressive because Roman knows it’s not.

 It’s not easy to do what Logan does. It’s not easy for Logan to always make himself heard. It’s not easy to carry the single brain cell in any given conversation.

 But he does and it’s wonderful.

 Logan is serious. His job is serious. That doesn’t mean he’s serious all the time, no, Roman’s seen him snap a quip faster than anything with a smirk on his face, and their bond over Crofter’s is legendary. And he knows the gleam that means Logan is immensely satisfied with whatever insult he’s come up with to shut Roman down. Even through the hurt of a new bruise forming on Thomas’s ego, he has to smile because it’s so satisfying to watch someone just be very good at something.

 He’s also incredible at calming them all down. He’s so sweet and kind and gentle in all the right ways and you will never convince Roman that Logan knows nothing about emotions. Come on, he’s the most intelligent Side, that extends to emotional intelligence too. The amount of times he’s been able to rip them out of some horrible spiral with just a simple touch or a word is too high for Roman to count. And he never asks for anything, he just does it. Because he’s good like that.

 Roman would be an utter, utter fool if he didn’t take Logan seriously. He doesn’t dare underestimate him, never again, not after that rap battle. He doesn’t try to speak over him, not once everyone’s actually paying attention and Logan’s clearly trying to say something. He listens, he tries, he takes him seriously.

 But sometimes Logan needs to not be serious! He can see when the strain gets a little too much and he needs to cut someone down to size.

 Well, here’s Roman!

 And yes, it’s worth it. It’s always worth it. Logan smiles and it’s like the sun comes out. Yes, that’s a cliché but we all know clichés are cliché for a reason. Logan smiles, the sun comes out, and Roman wants to bathe in it. Wants to sit and listen to Logan talk about anything just so he’ll keep smiling, keep talking, keep being Logan. Logan is serious, but serious isn’t always Logan.

 Isn’t always.

 Most of the time, though…

 Most of the time, it looks like Logan is thrilled to not have to stand next to Roman.

 Most of the time, it seems like every time Roman opens his mouth, Logan’s trying not to roll his eyes or is just listening out of politeness. And every time he pitches an idea, it seems like Logan’s getting just as much enjoyment out of leaving the meetings as he does when he doesn’t find anything wrong with it.

 Most of the time, that 0.5% hangs in the air between them like a moat.

 Roman doesn’t want that. Roman doesn’t want Logan to view him as a diametrically opposed foe, he doesn’t want to be Logan’s other side of the coin, he doesn’t want Logan to think he’s only worth 0.5% of a day.

 But 0.5% is all he gets if he stays Roman.

 It’s not big changes, nothing that would compromise Thomas, but they’re noticeable. At least he hopes so.

 He stops singing out loud in the common areas and instead has a headphone in when he wants to listen to something. He reads in the chair—sitting properly, not with his limbs haphazardly thrown about like he’s a newly made life form with no idea how muscles work—and keeps his comments to himself, written down in a notebook or in his head. He asks politely if Logan wants to come on a walk through the Imagination and conjures up something simple. A forest path, or a garden, or a small town road. None of the fantastical woods, magic castles, or treacherous mountains that he’s so fond of, because those are daydreams.

 He’s quieter outside of videos. Sure, he’s still as obnoxious as ever when the cameras are on, but they tend to exaggerate themselves when they’re being filmed anyway. So it won’t be too much of a surprise when he’s not like that when the cameras are off. He doesn’t speak as much—well, he doesn’t monologue as much. He speaks when spoken to, he’s as courteous as he knows how to be, and he tries to be serious. Even if his job is anything but.

 He could tell you it’s exhausting what he does for the videos and he’d rather not do it when he doesn’t have to.

 He could tell you it’s because it would be better for Thomas if they all got along well. 

 He could tell you it’s because he wants a healthier and more productive working relationship with Logan.

 He could tell you all of these things.

 Whether or not you believe him is up to you.

 …because Roman might be the actor, but he’s never been a particularly good liar. And deep down—not that deep down—we all know why he wants to be more serious, don’t we?

 Logan doesn’t like fantasy. Logan doesn’t like excessive noise. Logan doesn’t like someone who can’t be serious.

 Logan is kind and perfect and wonderful and smart and so many things.

 And above all, Logan is serious.

 Roman can work with that.

———————————————————————

“Hey, Specs! Do you have time to brainstorm?”

 “It will have to be quick, Roman, I’ve not much time to spare.”

 “Oh. That’s alright, then, we can do it later.”

 “Are you certain?”

 “Of course! I know how important your schedule is for you, please, don’t worry about it.”

 “Ah. I see. Well, thank you, Roman.”

 They never do end up having that brainstorm. Not alone.

 “Logan?”

 “Yes, Roman?”

 “Would it be alright if I played music? I’ll keep it low.”

 “…we can try, though I usually prefer working in silence.”

 “Oh, in that case, I’ll just go—“

 “Let’s try?”

 “If you’re sure.”

 Roman ends up getting his headphones after a few minutes.

 “Roman?”

 “Yes, my d—Logan?”

 “…were you going to say something else?”

 “No, no, I got lost in my head again, I thought you were…someone else.”

 “It may be worth practicing getting out of your head, Roman.”

 “I know.”

 He never quite manages, but he’s trying.

 “Ro—oh.”

 “Logan? Is something wrong?”

 “You’ve changed your room. Your…your paintings, your drawings, they’re…where did you put them?”

 “Oh, I got rid of them.”

 “Got rid of them?”

 “Yes. Surely you know how difficult it can be to work in a crowded space?”

 “…yes, I suppose I do.”

 Logan doesn’t comment on the fact that Roman’s room isn’t quite so red anymore either.

 “Roman?”

 “Yes?”

 “This idea, it seems…quite…realistic.”

 “Is that not the point, Sp—Logan?”

 “Well, yes, I suppose so.”

 “Besides, from a practical standpoint, we’re operating with a limited budget here. The scope of the videos has to be adjusted accordingly.”

 “Yes, I suppose you’re correct.”

 Logan doesn’t mention that it doesn’t necessarily feel like Roman’s idea.

 “Roman?”

 “Yes?”

 “Care to comment?”

 “Oh, no, I’m perfectly content.”

 “Are you certain?”

 “Of course.”

 Logan doesn’t ask again.

———————————————————————

Logan is really confused.

 Something’s wrong with Roman, that much is obvious, but he can’t figure out what. Roman’s been quiet lately, outside of the videos, but even in the videos, he’s been different. He’s not talking as much anymore, not going on his incredibly passionate rants that one can feel if they just listen hard enough. He’s not risen to the bait for weeks now, preferring instead to…talk. Or listen. His room is suspiciously absent of his paintings and drawings that make Logan want to sit and stare and lose track of time.

 And he’s stopped singing.

 That’s a definite indicator that something’s wrong.

 But he can’t figure out what.

 None of them are fighting; Patton and Virgil have noticed that something is different, certainly, but they don’t know—they can’t figure out exactly what. They would have told him if they had a disagreement with Roman, but they haven’t.

 Thomas isn’t being affected by it. In fact, he hasn’t noticed that anything’s wrong.

 And on the surface, Roman seems fine, but Logan knows better.

 He stops in front of his whiteboard, staring hard at the pieces of information he has written down.

  Roman is no longer singing or playing music out loud outside of his room.

Roman is changing the ideas that he brings to the brainstorming sessions. He claims they are meant to be more ‘practical’ and easier to budget.

Roman does not insist that we spend time with him anymore.

Roman is quiet and no longer engages in ‘banter’ exchanges with me.

Roman no longer brings me to the elaborate places in the Imagination.

Roman no longer gives me nicknames.

 Has…has Logan done something to Roman?

 He doesn’t think he has. He hasn’t—he hasn’t shot down any ideas lately, and certainly none so much as to trigger such a drastic change. There have been no arguments. There have been no big changes for Thomas.

 He finds himself twisting the cap of the marker back and forth as he focuses on the period at the end of the last sentence written. Perhaps…perhaps Roman is simply going through a rough patch? Occasionally the prince will lapse into a ‘grayer’ state, for lack of a better term, where he exhibits fewer of his energetic tendencies, but none have gone on for such a duration. Additionally, his behavior in videos has not altered as significantly as would indicate this as the cause.

  Perhaps I should try to talk to him about it.

 Logan nods sharply to himself and turns, walking out of his room toward Roman’s. The red door looms there, slightly ajar. Frowning, Logan raps on it gently with his knuckles.

 “Roman? May I come in?”

 No response.

 “Roman?” Logan eases the door open. “Roman?”

 No sign of Roman. The bathroom door isn’t locked, his laptop isn’t open, his phone is nowhere to be seen. Perhaps Roman simply forgot to close his door all the way. Logan shuts it carefully and turns to head downstairs.

 “Virgil? Patton?”

 Virgil glances up from his phone. “What’s up, L?”

 Ignoring the little flutter in his chest at the first nickname he’s been called in a while, Logan adjusts his glasses and glances around. “Have you seen Roman?”

 Virgil shakes his head. “Pat? Have you?”

 “I think he said he was going into the Imagination but he’d be back for dinner?”

 Logan nods. “Thank you both.”

 “Logan?”

 “Yes?”

 “Can you, uh—“ Patton wrings his hands for a moment— “can you ask him what’s wrong for us?”

 “Princey’s been off for a while, we wanna know why but he won’t tell us.”

 Logan blinks. “Considering I was on my way to ask him the same thing, I take it he’s been as…hesitant to share any information with you as he has with me?”

 Their nods make something twist in his chest.

 “If he’s gonna tell anyone,” Virgil mutters as he turns to go, “it’ll be you.”

 Logan pauses. “Excuse me?”

 Virgil shrugs. “You’re his favorite, L. He thinks the sun shines outta your face.”

 Despite himself, Logan feels heat rush to his cheeks. “I’m quite sure you’re confusing me for Patton, Virgil.”

 “Oh, no, Princey’s got it bad f—“

 “Virgil!”

 “Oh come on,” Virgil groans, his head lolling on the couch as he turns to look at Patton, “you’ve noticed it too.”

 “But that’s not our secret to tell!”

 “Shit. Yeah, you’re right. Oops.”

 “Wait, wait,” Logan stammers, quickly trying to get a grasp of the situation, “you—Roman what?”

 Virgil shakes his head. “Nope. Sorry, Logan. I already fucked up. You’re gonna have to ask him. And hey, you were on your way to do just that!”

 Logan narrows his eyes but Virgil shrugs, undaunted. He turns and pointedly does not run up the stairs.

 The door to the Imagination is ajar. He takes a deep breath and pushes it open, expecting to meet some fantastical landscape, a village, or a castle, perhaps.

 He doesn’t expect to wander into what looks like the grand foyer of some Victorian mansion.

 The door shuts behind him with a thud that echoes gently around the room. His shoes aren’t particularly loud but his steps make resounding clicks as he walks through the halls. The walls are elegantly crafted, with artful splashes of color here and there. He comes to a grand staircase and has to swallow heavily at the richness of the wood under his fingers as he climbs slowly, slowly up.

 There’s something here, he decides, that’s not been here for a while. Not since he started accompanying Roman more often. He remembers the first time, where he’d wearily said he didn’t have the patience for an adventure and had been pleasantly surprised by Roman’s offer of a simple walk. Each walk after that had been lovely, truly, but it was always painfully obvious that it was in the Imagination.

 Now, though? Now the walls seem to curve about Logan as he walks, like petals of a flower curve about its center. The house seems to hold him, cradle him almost as he walks slowly through it. He can almost feel a gentle hand at the base of his spine, between his shoulder blades, under his chin. It takes no effort to keep walking, to discover more and more of this truly beautiful house, to look and look and look without fear of his eyes hurting or his head growing weary.

 It feels like Roman, he realizes with a giddy bubble in his chest, this is Roman’s work. Roman is here.

 That realization gives him enough courage to call out.

 “Roman? Roman, are you here?”

 “Logan?”

 “Roman!” He turns around, trying to trace the echoes to their source. “Where are you?”

 “I’m in the library, keep walking toward the back of the hall.”

 Logan’s steps beat out an eager pace as he begins to hurry towards Roman’s voice. He meets a wide set of mahogany doors and pushes them open, looking for—

 “Oh,” he murmurs as the doors swing wide, “oh, this is…magnificent.”

 If he were—well, if he were Roman, he’d compare this to the library the Beast gifts Belle. The shelves tower over his head, two full floors of books stretching out almost as far as he can see. As he looks closer, he realizes this is a theatre, with the seats replaced with shelves. At the back of the library stands the stage, converted into a seating area with as many plush couches and overstuffed armchairs as one could ever want. Curtains drape themselves across a vast window, golden sunlight streaming inside. And on the window seat, standing as the doors fly open, is Roman.

 “Roman, my goodness—“

 “Whoa, easy, Logan,” Roman chuckles, catching Logan carefully by the elbows as he rushes through the library, “you’ll knock yourself over at this rate.”

 “This is magnificent,” Logan manages, still looking around in awe—goodness, there are some books here that he’s only seen in passing— “how—how did you do this?”

 “I’ve always had it,” Roman says, guiding him to sit on the window seat and crouching in front of him, “it’s my library.”

 “This—this is yours?”

 Half of Roman’s mouth tugs up into that crooked smile. “Yeah, Logan. This is mine. You didn’t think I just let my books lie around, did you?”

 “But you—you—you’ve never shown this to me. To anyone.”

 The smile falters. “Well, no.”

 Logan takes a moment to actually look at Roman. Roman quirks his eyebrow as he notices the questioning gaze. His costume is a little less pristine than normal. There’s something slightly different about his expression. And his sword is nowhere to be seen.

 “May I—can I ask why not?”

 Roman smiles ruefully, glancing over Logan’s shoulder before dropping his gaze to the ground.

 “When I need to think,” he says after a moment, “or just…sit for a little, I come here.”

 He rests his hand on the seat next to Logan.

 “I sit right here, and I think. I look outside into the garden. I watch the clouds. Or I stare at the shelves, and think about the books.”

 He gestures behind him.

 “Sometimes I’ll see people bustling through them, or characters diving in between pages.” The smile becomes a touch more wistful. “Or I’ll hear water rushing, or wind howling.”

 He looks back. Logan’s mouth drops open at the openness of Roman’s expression.

 “But mostly,” he finishes in a near whisper, “I just sit. And think. Because I can.”

 “…this is your space,” Logan mumbles as he puts it together, “that’s…that’s why you haven’t shown anyone.”

 Roman nods.

 Logan should apologize. He should apologize and leave. He should never have expected that this would be alright.

 But the thought of leaving this library, this house, Roman feels…so, so heavy.

 “It’s alright, Logan,” Roman says patiently, sitting on the floor, “what did you need? Am I late for dinner?”

 He shakes himself, sternly reminding his brain that he’s being rude now. “No, no, nothing of the sort, I simply needed to find you.”

 Roman spreads his arms wide. “Well, you found me. Congratulations.”

 It’s so close to the banter Logan misses that he finds himself smiling. “Thank you. Shall I assume to claim my prize now, then?”

 “Mm, and what prize would that be?”

 Roman blinks up at him expectantly when he doesn’t answer right away. There are several questions on the tip of his tongue and they war with each other.

  What’s wrong?

Are you alright?

  Did something happen?

  The others and I have noticed changes in your behavior, could you explain them?

  Did I do something wrong?

  Can I stay here?

  What did Virgil almost tell me?

 “I’ve lost something,” Logan blurts instead, swallowing the lump in his throat when Roman blinks again, startled, “and I need you to help me find it.”

 “Oh. Well, that should be easy enough. Where did you last see it?”

 “Wait!”

 Logan catches a startled Roman by his sleeve as he’s in the middle of getting up. He sits back down slowly, still staring at Logan.

 “I don’t know where I lost it,” he says, because it’s the truth. Even for all his immaculate time-keeping, he can’t pinpoint the moment he lost Roman.

 “That does make it more difficult,” Roman muses, tapping his fingers on his chin, “well, can you tell me what it is? Maybe I’ve seen it.”

  I’m sure you have.

 Logan takes a deep breath.

 “I didn’t realize it was gone, at first,” he begins, “only that it—something changed. It was quieter. Rooms felt less…I believe ‘alive’ is the only word I can use to adequately describe it.”

 Roman catches on to the fact he’s speaking about something abstract quickly. Though, of course he did, he’s very intelligent. He sits up a little straighter and takes Logan’s hand in both of his. That in itself is enough to make Logan swallow again.

 “It was more difficult to continue working,” he says after a moment, looking at the ground, “because I didn’t know what was missing. I didn’t know whether the fault lay with myself or with Thomas or how to go about fixing it. I couldn’t think of anything.”

 Roman makes a noise of sympathy, squeezing Logan’s hand.

 “Of course, once I realized it was missing, I did all I could to find it.” He adjusts his glasses. “I gathered all the information I could to see what had gone wrong.”

 “And,” Roman prompts gently, “what did you find?”

 “It’s not in my room. It’s not in the kitchen. It’s not in the Imagination, or at least it wasn’t when I was there.”

 Logan closes his eyes.

 “It doesn’t make me fight back a smile every time I see it, because I am only concerned. It doesn’t make me look forward to seeing it, because it doesn’t seem to be happy to see me. It doesn’t make me want to say how important it is to me, because it doesn’t—“

 “…doesn’t what, Logan?”

 “…it doesn’t even give me a nickname anymore.”

 Roman freezes.

 Logan opens his eyes and looks at Roman, seeing his face turn pale.

 “I’ve lost the one I love,” he confesses, “and I don’t know where he’s gone.”

———————————————————————

Roman’s heart stops.

 Logan—Logan—L—

 Logan loves him?

 Logan loves him?

 “Please,” Logan says in that soft, soft voice that makes Roman want to combust, “can you help me find him?”

 “Wait, wait, Logan, you—you what?”

 Logan shifts forward, cupping Roman’s hand. “Where did you go, Roman? Something happened, you left.”

 “N-no, Logan, I didn’t go anywhere.”

 “You did,” he corrects, “you…you’ve been different. You’ve been quieter, you haven’t taken me on any adventures—“

 “I’ve taken you into the Imagination!”

 “—and you stopped singing,” Logan finishes. Roman’s chest throbs with the way Logan’s voice cracks on the last word. “You left, Roman, where did you go?”

 “I—I was trying to—to—“ Roman swallows heavily. “Wait, you love me?”

 Logan blinks, tilting his head. “Of course, yes, I love you, Roman.”

 Roman’s face flares. “You can’t—you can’t just say that, Logan.”

 “Why not?”

 “I’ll believe you. I’ll—“ the urge to bury his face in his hands burns but he can’t, can’t pull away from Logan—“I’ll believe you.”

 Logan hums. “And why shouldn’t you believe me?”

 An incredulous laugh forces its way out of his throat. “Because you can’t love me.”

 He slams his eyes shut as Logan starts to move away. He’s ruined it. He’s ruined so much of his hard work. He’s destroyed it. He’s hurt Logan. How could he?

 “And why can’t I love you, Roman?”

 He laughs again, though this one might be technically considered a sob. “Because I’m loud! I’m obnoxious, I want to spend all my time daydreaming, I’m so out of touch with the real world, I never want to be serious, I’m—I’m—“

 “Passionate,” Logan interrupts quietly, something still cupping his hand, “optimistic. Hardworking.”

 Roman huffs. “That’s not special.”

 “Intelligent.”

 Now he does laugh. “Not compared to you.”

 Logan’s stifled noise is enough to make him open his eyes. He frowns up at Logan. He looks…heartbroken.

 “Roman,” he murmurs, “do you honestly believe that?”

 He squirms uncomfortably on the floor. “…it’s not like it isn’t obvious. El principe es estupido.”

 “It’s far from obvious, Roman,” Logan insists, “why do you think I enjoy our verbal sparring so much?”

 “You what?”

 “I respect and admire your intelligence. You’re—well, not to insult the others when they’re not here to defend themselves, but you’re the only one who really keeps up with me.” Logan smiles at him. He smiles at him. “And you’re kind, Roman. Relentlessly so, sometimes.”

 Roman can only gape at him.

 “Don’t think I haven’t noticed everything you do,” Logan chides gently, “I do notice. And I am so thankful for it. But this…” He gives Roman’s hand another squeeze. “This I don’t understand. Where did you go, Roman?”

 “I—I…” Roman swallows. “I thought I was doing it for you.”

 “For me?”

 “Y-you like serious things! You don’t want to be seen as a joke and I’ve never seen you as a joke, Logan, you have to believe me, and I thought that—that I—“

 “Roman—“

 “I make fun of the things I love, Logan!” Roman’s throat almost aches from the strain of saying it out loud. “And you—you don’t like it when we’re not serious and I’m not serious so I—I thought if I—if—if—“

 “You changed so I would…love you?”

 Roman shakes his head shamefully. “So you would tolerate me.”

 “Oh, little star—“

 Roman lets out an oof as Logan tugs him forward, his knees hitting the ground roughly as he pulls Roman into a hug. He’s warm, he’s so warm and so Logan…the frames of his glasses are cool against the side of Roman’s face, the knot of his tie pressing into the hollow of his chest. And he’s being so sweet, so tender as he holds Roman on the floor of the library.

 Roman clutches him back. It’s been agony, not being able to touch him, not even the barest brush of shoulders or knocking their elbows together. But now Logan is here and he can have this.

 “I don’t want serious,” he hears Logan murmur, “not from you. Alright, sometimes, yes, I want you to listen but never to be that serious. You’re—you’re you, Roman. That’s what I want.”

 Oh.

  Oh.

 He laughs as the tears start to fall onto Logan’s collar. “You found me, Logan.”

 Logan just gives him a squeeze. “I did, little star.”

 Oh, Roman was not prepared for that. Instead, he can hear Logan chuckle as he tenses for a moment.

 “No?”

 “Yes,” Roman blurts out quickly, fumbling with his clumsy tongue, “yes. So much yes.”

 “Yes, it is then, little star.”

 He hums contentedly, burying his nose in the crook of Logan’s neck. “You found me,” he whispers, rocking them back and forth, “and I found you.”

 “Yes, little star, you found me.” Logan pulls back to cup his face, a comforting noise escaping him at the evidence of drying tears. “And now…please, don’t leave me?”

 “Never, Logan,” he swears, “never again.”

 He gets to see that wonderful soft glow on Logan’s face for a moment longer before that gleam—oh, that wonderful gleam—comes back as he arches an eyebrow.

 “No? Then why am I still ‘Logan?’”

 Oh. So that’s how this is going to go, hmm? Roman lets a little more darkness slip into his smirk than he normally would. It only grows wider as Logan looks a little surprised.

“My dearest darling nerd,” he purrs, “if you wanted me to lavish you with pet names, you know you need only ask.”

 “That is not what I meant,” Logan says firmly, undone a little by the blush now fanning his cheeks.

 Roman chuckles. “Oh, what’s wrong, my sweet little pi, is this not what you wanted?”

 “R-Roman!”

 “Goodness, Logan, your face is so warm.” Roman’s arms come up to hug him as he buries his face in his neck. “What, you can dish it out but you can’t take it?”

 “You’re one to talk,” comes the slightly muffled reply, “you were blushing from my pet name too.”

 “Ah, yes, how could I forget? ‘Little star,’ well…” Roman cups the back of Logan’s neck and brings that darling face back out to smile at. “If I’m the star, then you must be the whole galaxy.”

 Logan tries to frown. Bless him, he tries, but he’s so flustered that it turns into this adorable pout as he leans back to get up.

 “Oh, no, no, no,” Roman chuckles, wrapping his arms and legs tightly around him, “you stay right here in my lap.”

 “Roman!”

 “What?” He tilts his head. “Can you think of anywhere better to be than right here, in my lap…with me?”

 He can’t help the note of vulnerability that slips in at the end. Maybe Logan doesn’t want this, maybe he is too much, maybe he just ruined it…

 “No,” Logan murmurs after a moment, “I guess I can’t.”

 And really, it is marvelous, there on the floor, golden sunlight streaming over them, in the library, surrounded by the quiet shelves and safe hallways of the house.

———————————————————————

“I have to ask,” Roman says, giving Logan a little shake after a moment, “how did you…?”

 “Find out?”

 “Mm.”

 “Well…” Logan toys with Roman’s collar. “I was coming to ask you about it anyway, but Virgil—“

 “Virgil?” Roman raises an eyebrow. “He said something now, did he?”

 Logan squints at him. “…why do I have a feeling there’s more to this than you’re telling me?”

 Roman shrugs. “It doesn’t really matter, not really.”

 “Now that I don’t believe for an instant.”

 “It got me my Logan,” Roman says softly, leaning forward to rub their noses together, “didn’t it?”

 “…well yes, I suppose it did.”

 Roman hums contentedly, cuddling into Logan like a lazy cat, sprawled out in the sunlight to nuzzle its kitten. A…surprisingly sweet image. The Imagination—Roman’s Imagination must be affecting him.

 There are worse fates.

 “But I can’t imagine,” he says after a moment, “that a prince such as yourself can allow such a slight?”

 The grin on Roman’s face is priceless.

 “Virgil,” Roman sings as they fling open the door to the rest of the Mindscape, and goodness Logan can’t tell you how much he’s missed that voice— “I have a question for you!”

 Logan hears muffled cursing coming from the living room.

 “What’s up, Princey?”

 “Well our dearest Specs here just told me something very interesting—“ he winks at Logan— “and I would love to hear your side of the story.”

 “Oh, uh, really? Well, that’s cool. On an unrelated note, I’m gonna be in my room for the foreseeable future.”

 “Hmmm…not if I get there before you!”

 “Shit!”

 “My darling,” Roman says softly, pressing a kiss to the back of Logan’s hand, “will you excuse me one moment, please?”

 And what is Logan supposed to do but agree? Roman is back.

 “I’ll be with you shortly.”

 Roman tears off down the hallway after Virgil, their shouts filling the Mindscape once more.

General Taglist:@frxgprince @potereregina @reddstardust @gattonero17 @iamhereforthegayshit @thefingergunsgirl @awkwardandanxiousfander @creative-lampd-liberties @djpurple3 @winterswrandomness  @sanders-sides-uncorrect-quotes  @iminyourfandom  @bullet-tothefeels  @full-of-roman-angst-trash  @ask-elsalvador @ramdomthingsfrommymind @demoniccheese83  @pattonsandershugs @el-does-photography @princeanxious  @firefinch-ember  @fandomssaremysoul  @im-an-anxious-wreck  @crazy-multifandomfangirl  @punk-academian-witch  @enby-ralsei  @unicornssunflowersandstuff  @wildhorsewolf @thetruthaboutthesun @stubbornness-and-spite  @princedarkandstormv  @your-local-fookin-deadmeme  @angels-and-dreams  @averykedavra  @a-ghostlight-for-roman @treasurechestininterweb  @cricketanne  @aularei @queerly-fluid-fan @compactdiscdraws @cecil-but-gayer  @i-am-overly-complicated  @annytheseal  @alias290  @tranquil-space-ninja  @arxticandy @mychemically-imbalanced-romance @whyiask @theaceofcrows @emilythezeldafan @frida0043 @ieatspinalcords @snowyfires @cyanide-violence @oonagh2 @xxpanic-at-the-everywherexx @rabbitsartcorner

#sanders sides #patton sanders #logan sanders #roman sanders #roman angst #roman sanders angst #virgil sanders #dragonbabbles #fic #logince

[dana-chan-the-control-brain]

Hey, did you saw the film theory on Invader Zim on Membrane that Low-key makes sense

NO. IT. DOESN’T!

Okay, maybe this is my personal bias shining through, because I really don’t like Mattpatt sometimes... No. Okay, I have nothing against the guy personally. More frankly, I don’t like his fanbase or the way he structures his videos.

The way Mattpatt words and structures his videos acts like he’s the first person who thought of this idea, it’s the main contributor to why I stopped watching his videos a long time ago.

He speaks in a lot of rhetorics and strawman arguments rather than just saying what he wants to say. Like “If you don’t believe me... look no further then...” and that’s the one thing I ABSOLUTELY HATE on theory videos.

And some of Mattpatts own theories he doesn’t take seriously, but this is what you get when you base your INCOME off of youtube ad revenue and browse the reddit forums for new ideas. A completely monopolized way of theorizing. (and this is why there are several paragraphs in my current chapter of Tech Support of Zim’s Computer complaining about the concept of youtube entertainment in general.)

Sure, I don’t think Mattpatt will run out of theories... but I really hate the structure of his videos follows along strawman arguments, acting like he’s always arguing with an imaginary audience for entertainment value rather than just say what he wants to say.

That, and people will often cling to theories of someone with good editing software and a youtube channel then Their own opinions.

Something that I learned was incredibly dangerous to do. I learned my lesson with “That Guy with the Glasses dot com” and I don’t plan to act like I know something or am better than someone else cause I agree with someone who said something on youtube once.

I do watch Internet reviews and theory videos for entertainment, but that’s all they are to me. I don’t like to watch youtube videos to give me opinions on how I feel about things. And I seriously think a wide margin of his subscribers lack critical thinking skills at times, as well as a majority of the youtube audience, or from what I’ve seen in the comment section.

However, remember... These are just my thoughts on the matter... My thoughts are not law and I never claim them to be.

Like when I first joined the fandom and posed my GIR analysis questions... I even said:

“I don’t know if the fandom has talked about this in depth or not... I just got here... or if someone put it into this many words before but...”  

Also... the thing that bothers me about his Invader Zim theory...

A lot of Mattpatt’s sources are just..... Wrong...

(for the next few minutes I will be talking about this video, feel free to watch or don’t)

Okay.. “Membrane is an Irken” this has been a popular fan theory since before I even entered the fandom and there are old fics about this. I have read Irken Membrane stories before.

It’s not personally my cup of tea, but it’s fun to think about.

But the straws Mattpatt grasps in his video.... Really upset me because there is some thought to the theory back in the day.. ... Like back in 2002??? but like.... NOW?!

Okay, I’ll pick apart this a little... bit by bit...

He says that Membrane takes a hard stance against anything paranormal.

Kinda... but no.. Membrane never outright denies the existence of aliens. (except in ETF... which he mainly says out of frustration...) This is what Membrane says about “there are no aliens” in the show:

Membrane just says that there are no “intelligent” aliens...None that are able to travel the massive distance to Earth, anyways... If aliens existed at all, (like the cryptoids Dib talks of) they would have traveled the distance to the planet and communicated with them by now.

However, this is a nitpick of a minor issue. One that a majority of the fandom tends to overlook when viewing Professor Membrane and Dib’s relationship in general. 

And I do find it weird that he used this for evidence when he cut out the most important snippet from the full lecture he gives Dib here.... JUST to support his claim... as if he’s intentionally leaving that part out.... hmmmm

However, I can let this slide, because it’s a nitpick and really doesn’t change anything that Membrane is very dissuasive of Dib’s alien-hunting hobbies. (I have a theory as to why and I explain it here in my own way)

The point is, Membrane is dismissive of anything alien... maybe because he’s an Irken...okay, good, yes. fair. 

A lot of Mattpatts claims from then on are pretty solid, and I won’t bunk them with “But in my headcanon/Fanfic verse...”  Because what he is saying is all true.

Membrane denying the existence of aliens even after being taken to space jail doesn’t have much of an explanation and is played for comedy and there are many ways you can go with this, and I am not going to bring up my fanfics or my own headcanons to argue with him here.

Because there is no explanation, and he is going with the “Membrane is Irken” theory... So that’s very solid when he’s talking about Membrane denying the Hallucinations. 

Mattpatt claimed that Membrane wore his face covering at all times and had been dressed this way since he was a child.

I will not deny this. This is true.

However, isn’t bringing up Membrane’s childhood kinda put a hole in your own argument?

MEMBRANE WAS A CHILD.

He had been shown to have childhood memories in the comics and the show.

Irkens don’t really have a “Childhood” per say, at least not in the way that humans do. They are a smeet, then elite, then Invader..

If he’s claiming that Membrane came to earth as an Irken SMEET....How, why, and when? 

That kinda raises more questions than it answers.... What are you proving by bringing up Membrane’s baby pictures on Earth exactly? It kind of works against your own argument? 

Saying that they’re Irken because they all have the same hair.... that’s just stupid... and he’s citing the Invader Zim wiki on this .... oh boy.

Yeah, Like before I watched the show I thought Dib and Disguised Zim were the same character or brothers...

But I don’t think character design here is a solid enough reason in this case... At least not when it comes to the hairstyles... That’s a stretch.

“Hmmm Membrane’s hair forms an M shape... What could the M stand for? Mirken?! SUSPICIOUS!” (this is just a joke)

Also... the lack of ears thing... He did say it would be hard for Membrane to hear if his headpiece was covering his ears, but not necessarily... The entire thing is a headset and he is the man of science, he can really do whatever the fuck he wants cause Science is like magic in a show like this. So if Membrane wears a headset that doesn’t obstruct his hearing at all, I can buy it... Also.. it’s equally possible his ears got blown off in a chem lab accident or he’s legally deaf and that headset acts as a hearing aide and HELPS him hear... 

Actually, I always noticed how in Membrane’s original design from the show, the headset looked a lot like a hearing aid. Specifically one with a head clip, It’s one of the things I first noticed about his design in the show.

And it’s just something I always assumed because he’s a scientist who deals with explosions in his face on a daily basis... (in fact he experiences one in episode 2B) So on first viewing, I thought that his headset served as a hearing aid as well as prescription glasses and a communication device. 

I’m just throwing out possibilities because the “lack of ears” is also kinda a stretch.

Mattpatt complaining about “lack of nose” however... Okay, yeah I’ll give him that one. It’s a character design choice that is a little odd for Professor Membrane, but it does fit with the Irken theory, since a majority of human characters, in fact, all have noses. So, Yes the “lack of nose” does fit more into the Irken theory. 

However.... Florpus anime Membrane DOES have a nose...

Meant to be drawn in a more semi-realistic artsyle, you can clearly see the bridge of his nose here.

And he looks very similar to anime Dib... Sooooo... Shrug-city... 

It’s likely that Membrane not having a nose in the show is simply a stylistic choice than anything else. Basically, the bridge of the nose is there... we just don’t see it.

Especially since Nightmare Membrane has a nose as well..

Membrane is like Home Improvement’s Wilson. We will never see his face, and that’s part of the gag. The man probably sleeps in his labcoat honestly...

I also find the voice pattern thing a bit of a stretch. Membrane and Zim are just eccentric characters who yell to emote or emphasize a point or emote stronger. And Membrane’s inflections are never the same as Zim’s.

Remember, no other Irken TALKS like Zim. Professor Membrane doesn’t really go around screaming: “I AM PROFESSOR MEMBRANE” either..... 

If anything... it just kinda proves both characters have auditory processing issues or hearing problems more then anything.

And there is a lot of screaming on this show.... Screaming from Dib, screaming from Membrane, Screaming from GIR, screaming from Zim... Screaming is funny... and characters scream so much that the characters with their mouths wide open is somewhat a staple of the show.

This is more because of Johnen Vasquez’s voice direction...

Especially since no other Irken really talks like Zim..

Zim’s manor of Speach is strictly a Zim thing and not an Irken thing.

Professor Membrane’s manner of speech is simply a Membrane thing and not a human thing.

I will give Mattpatt that. That a lot of tech in the show looks similar to Membrane’s. I feel this is mostly a stylistic choice, but it really does fit in with the Irken theory. 

Like that Zim just so happens to use the same operating system as Dib is played off as a joke. But it does add some small credence to the theory here... I need to point out when he does get it right... some pats on the back.

These are very good points and does follow through with what he’s trying to prove by the end of the day.

(even if Membrane was lying about the destruction of all mankind with the beans thing, but that’s a minor nitpick here) 

But his entire paragraph comparing Membrane’s tech to Irken tech is a really good one. Props there.

This whole paragraph about there being only Tall or short irkens cause their society is height based and there are no “medium-sized” irkens....cause they were “dealt with”

Okay.

....

Sure Mattpatt. Let’s just entirely ignore the existence of the Frylord and this entire character even though you mentioned it in the synopsis at the start of your video... Showing that Taller irkens are in positions of power against the shorter, also... Zim is a tiny irken... there are many Irkens that stand taller then Zim.

Being tall in Irken society is a rarity, and Almighty Tallest Purple said that he and Red “became” the Tallest. How? We don’t know, but we do know at one point the current Tallest looked like this:

How do Irkens get that Tall? Body modifications? Maybe... it’s never explained, but considering the Frylord is super big and probably eats a lot of snacks might have something to do with it. We don’t know.

It’s safe to say that being Tall in their society is a rarity and Tallests are either born or made special from the cloning chamber from the get go.

Not to mention, Membrane is Taller than the current Tallest are already...

 and you said earlier in the video that Membrane would have gone to Earth as a child...

When he was no taller than a wrapped Christmas box of socks...

So why would Membrane take refuge on Earth at this point? Mattpatt says that Membrane was sent on a mission to Earth because the Tallest felt threatened by his rule...

BY MEMBRANE’S RULE?!?

HE’S THE SIZE OF A CHRISTMAS BOX OF SOCKS!

What do they have to be threatened by? 

Because... Mattpatt DID bring up Membrane as a child earlier in the video... meaning Membrane came to earth when he was about the same size as Zim.

SO THEY HAD NOTHING TO BE WORRIED ABOUT AND HAD NO EVIDENCE TO BELIEVE MEMBRANE WOULD GROW TO BE TALL ORE EVEN VIEW HIM AS A THREAT

You bunked your own argument. Congradulations.

Membrane conquered the world through his inventions. In a way, sure. Membrane Labs does own a lot of stuff. But he doesn’t own everything. A majority of the Corporations that keep the population stupid usually don’t have anything to do with Membrane Labs and aren’t affiliated at all. 

But this does fit into the “Membrane is an Irken” theory so I will give him that one.

However, Membrane being an evil corporate dictator is a hot take I never really appreciate at all and I can never get behind it.

It hits too close to home in the real world, and I always like to view Membrane as a self-made man and a World loving hippie at his core who just wants to make the world a better place, much like his son, but he actively does something about it. (which can also be why he encourages Dib with real science so much cause he knows Dib wants to save the Earth as much as he does)

Just calling Membrane a capitalist billionaire that doesn’t care about the little guy kinda seems disingenuous towards his character for me. 

Especially when Membrane in “Ten Minutes to Doom” created a machine (foodio) that completely end world hunger... which was in BETA in the unreleased episode...

 but by the time the movie rolls around... Foodio exists... past his BETA, meaning that he’s probably no expensive than a common household microwave and can materialize food from nothing:

Yeah. Membrane completely ended world hunger off-screen. thanks. (something no capitalist would ever do...)

Membrane also does appearances for charity (in the comics), and often takes funding for sponsorships when he is low on funds and he had to find a cure for pig mouth. 

Sure “Membrane conquered the world” fits the Irken theory...

But I never appreciate that take on his character and that is admittedly, very personal bais. 

I just wanted to say my peace a little bit here about how I 100% don’t vibe with the “Membrane capitalist/billionaire scum” especially since he ended world hunger...and invented a cure for the un-common cold.

Works for the theory, so good on Mattpatt for that one, but I personally don’t vibe with it.

Mattpatt compared Zim and Dib’s head shape as something to argue... Like because Dib has a similar head shape to Zim... that Dib has to be an alien... Okay... But If you look at the Invader Zim artbook (which I own)

The show has a very distinct look on how they draw characters’ heads. It’s a very distinct stylistic choice and there are pages upon pages in the artbook describing the style and how it looks in motion, and many revision notes to the Korean animators.

There are lots of pages on the artbook describing in detail the differences between the main characters’ heads, what to do, and what not to do.

It’s a difficult style to replicate, and Dib having a big head was mostly a joke from the showrunners to the showrunners, cause they kept drawing Dib’s head slightly bigger to make him look more appealing.

A majority of the audience doesn’t really notice because all the children in the show have big heads. All the kids are like 3-4 feet tall and have huge heads. 

Also... Dib’s head is far more rounder then Zim’s in the comics and the Movie... comparing their head shape as an arguing point, when Dib’s head shape changed midway season 1 when the designs got slightly more streamlined is just... bad form..

Dib and Zim’s heads never really look the same from the early episodes as they do later on.

Comparing this character design similarity just because of the artstyle is really stupid.

This is the most infuriating thing about the video... because Mattpatt disproves his own argument with his own footage not a few seconds earlier. 

He claims that Gaz sarcastically mentioning she has a squeedly spooch is a canon fact...... but ... hmm.. Mattpatt... can I rewind the footage of your video, please?

Where’s her squeedly spooch?

IS IT BEHIND HER CLEARLY HUMAN ORGANS?! I DON’T SEE IT?

And this isn’t just a stylistic choice... here’s a picture of another human’s organs for comparison.

Mattpatt literally disproved his own argument and ignored the fact that we saw an X-ray of Gaz’s organs in the very same episode...

Gaz doesn’t have a squeedly spooch and she literally was being sarcastic.

and the whole thing is disproved very easily.

Everything Mattpatt says in between those two points, about Dib being taken aboard an alien ship as a baby, and that there is no mother, and the Clone theory... That is all good stuff and this is what the theory video should have speculated and focused on, because there is some digging to be had here... I feel he focused a lot on the wrong points in his video...

And this is the most outrageous point he makes in his video. It’s the thing that pissed me off the most... and lead me to write this essay in the first place.

He claimed Eric Trueheart himself confirmed the clone theory and had story plans where Dib would discover his clone origins.

HE DID NOT!

IN FACT, Eric Trueheart himself published Volume One of the Invader Zim script book AND THIS IS WHAT HE SAID:

Eric neither confirmed nor denied the rumor.

But for Mattpatt to blatantly say that Eric said that Clone Dib was a planned thing by the screenwriters?!

He is BLATANTLY putting words into a Screenwriter’s mouth! Something that you should NEVER do.

Because it is 100% a lie.

He had no source for this claim. He probably just read the same rumor on the wiki and has no source.

This is the reason why I don’t trust videos like Mattpatt. The truth is often stretched for entertainment value, or information is just made up to prove “they were right” about whatever the topic of the day was. He doesn’t even bother to cite the source he got “Eric Trueheart’s word of mouth” from... because it was wrong.

Sorry if this whole thing is more hostile than it intended to be... But Mattpatt was looking at the ENTIRELY wrong evidence for this show....

Irken Membrane is a fun theory... but Mattpatt picked the entirely wrong topics and points of discussion, even to the point of hiding the truth and straight-up lying to his audience about his sources.

It’s kinda like saying “Birds eat ghost peppers because they’re part dragon and dragons can handle spicy food”

While, yeah, Birds are descended from dinos, it’s kinda missing the full story there and it’s not the reason why birds can eat spicy food.

Irken Membrane is a fun fan theory... do what you want with it. I am not here to dissuade Irken Membrane headcanons...

I’m just here to encourage critical thinking, and perhaps NOT put words into content creators' mouths when there is no credible source for it just because it benefits your argument.

#Invader Zim #Film Theory #Mattpatt #danachan's rants #lol sorry i went off but he really needed to cite his sources more on this one

[themollyjay]

The Myths of Forced Diversity and Virtue Signaling.

In my novel Mail Order Bride, the three main characters are a lesbian and two agendered aliens.  In my novel Scatter, the main character is a lesbian, the love interest is a pansexual alien, and the major side characters include a half Cuban, half black Dominican lesbian, a Chinese Dragon, a New York born Jewish Dragon, and a Transgender Welsh Dragon.  In my novel The Master of Puppets, the Main Characters are a lesbian shapeshifting reptilian alien cyborg and a half black, half Japanese lesbian.  The major side characters include three gender fluid shapeshifting reptilian alien cyborgs, and a pansexual human.  In my novel Transistor, the main character is a Trans Lesbian, the love interest is a Half human/Half Angel non-observant Ethiopian Jew, and the major side characters include a Transgender Welsh Dragon (the same one from Scatter), a Transgender woman, a Latino Lesbian, an autistic man, three Middle Eastern Arch Angels, and a hive mind AI with literally hundreds of genders.  In my novel The Inevitable singularity, one of the main characters is a lesbian, another has a less clearly defined sexuality but she is definitely in love with the lesbian, and the third is functionally asexual due to a vow of chastity she takes very seriously.  The major side characters include a straight guy from a social class similar to the Dalit (commonly known as untouchables) in India, a bisexual woman, a man who is from a race of genetically modified human/frog hybrids, and a woman from a race of genetically modified humans who are bred and sold as indentured sex workers.

Why am I bringing all of this up?  Well, first, because it’s kind of cool to look at the list of different characters I’ve created, but mostly because it connects to what I want to talk about today, which should be obvious from the title of the essay.  The concepts of ‘forced diversity’ and ‘virtue signaling’.

For those who aren’t familiar with these terms, they’re very closely related concepts.  ‘Forced Diversity’ is the idea that characters who aren’t neurotypical cisgendered heterosexual white males are only ever included in a story because of outside pressure from some group (usually called Social Justice Warriors, or The Woke Brigade or something similar) to meet some nebulous political agenda.  The caveat to this is, of course, that you can have a women/women present as long as they are hot, don’t make any major contributions to the resolution of the plot, and the hero/heroes get to fuck them before the end of the story. ‘Virtue Signaling’, according to Wikipedia, is a pejorative neologism for the expression of a disingenuous moral viewpoint with the intent of communicating good character.

The basic argument is that Forced Diversity is a form of virtue signaling.  That no one would ever write characters who aren’t neurotypical cisgendered heterosexual white males because they want to.  They only do it to please the evil SJW’s who are somehow both so powerful that they force everybody to conform to their desires, yet so irrelevant that catering to them dooms any creative project to financial failure via the infamous ‘go woke, go broke’ rule.

What the people who push this idea of Forced Diversity tend to forget is that we exist at a point in time when creators actually have more creative freedom than are any other people in history.  Comic writers can throw up a website and publish their work as a webcomic without having to go through Marvel, DC or one of the other big names, or get a place in the dying realm of the news paper comics page.  Novelists can self-publish with fairly little upfront costs, musicians can use places like YouTube and Soundcloud to get their work out without having to worry about music publishers.  Artists can hock their work on twitter and tumblr and a dozen other places. Podcasts are relatively cheap to make, which has opened up a resurgence in audio dramas.  Even the barrier to entry for live action drama is ridiculously low.

So, in a world where creators have more freedom than ever before, why would they choose to people their stories with characters they don’t want there?  The answer, of course, is that they wouldn’t.  Authors, comic creators, indie film creators and so on aren’t putting diverse characters into their stories because they are being forced to. They’re putting diverse characters into their stories because they want to.  Creators want to tell stories about someone other than the generically handsome hypermasculine cisgendered heterosexual white males that have been the protagonists of so many stories over the years that we’ve choking on it. A lot of times, creators want to tell stories about people like themselves.  Black creators want to tell stories about the black experience. Queer creators want to tell stories about the queer experience.

I’m an autistic, mentally ill trans feminine abuse survivor.  Every day, I get up and I struggle with PTSD, with an eating disorder, with severe body dysmorphia, with anxiety and depression and just the reality of being autistic and transgender.  I deal with the fact that the religious community I grew up in views me as an abomination, and genuinely believes I’m going to spend eternity burning in hell.  I deal with the fact that people I’ve known for decades, even members of my own family, regularly vote for politician who publicly state that they want to strip me of my civil rights because I’m queer.  I’m part of a community that experiences a disproportionately high murder and suicide rate.  I’ve spent multiple years of my life deep in suicidal depression, and to this day, I still don’t trust myself around guns.

As a creator, I want to talk about those issues.  I want to deal with my life experiences.  I want to create characters that embody and express aspects of my lived experience and my day-to-day reality.  No one is forcing me to put diversity into my books.  I try to include Jewish characters as often as I can because there have been a number of important Jewish people in my life.  I include queer people because I’m queer and the vast majority of friends I interact with on a regular basis are queer.  I include people with mental illnesses and trauma because I am mentally ill and have trauma, and I know a lot of people with mental illnesses and trauma.  My work may be full of fantastical elements, aliens and dragons and angels and superheroes and magic and ultra-high technology and AI’s and talking cats and robot dogs and shape shifters and telepaths and all sorts of other things, but at the core of the stories is my own lived experience, and neurotypical cisgendered heterosexual white males are vanishingly rare in that experience.

Now, I can hear the comments already.  The ‘okay, maybe that’s true for individual creators, but what about corporate artwork?’.   Maybe not in those exact words, but you get the idea.

The thought here is that corporations are bowing to social pressure to include characters who aren’t neurotypical cisgendered heterosexual white males, and that is somehow bad. But here’s the thing. Corporations are going to chase the dollars.  They aren’t bowing to social pressure.  There’s no one holding a gun to some executive’s head saying, “You must have this many diversity tokens in every script.”  What is happening is that corporations are starting to clue into the fact that people who aren’t neurotypical cisgendered heterosexual white males have money.  They are putting black characters in their shows and movies because black people watch shows and spend money on movies.  They are putting queer people in shows and movies because queer people watch shows and spend money on movies.  They are putting women in shows and movies because women watch shows and spend money on movies.

No one is forcing these companies to do this.  They are choosing to do it, the same way individual creators are choosing to do it.  In the companies’ cases the choices are made for different reasons.  It’s not because they are necessarily passionate about telling stories about a particular experience, but because they want to create art to be consumed by the largest audience possible, which means that they have to expand their audience beyond the neurotypical cisgendered heterosexual white male by including characters from outside of that demographic.

And the reality is, the cries of ‘forced diversity’ and ‘virtue signaling’ almost always come from within that demographic.  Note the almost.  There are a scattering of individuals from outside that demographic which do subscribe to the ‘forced diversity’ and ‘virtue signaling’ myths, but that is a whole other essay.  However, within that demographic, lot of the people who cry about ‘forced diversity’ see media and content as a Zero-Sum game.  The more that’s created for other people, the less that is created for them.

In a way, they’re right. There are only so many slots for TV shows each week, there are only so many theaters, only so much space on comic bookshelves and so on.  But at the end of the day, its literally impossible for them to consume all the content that’s being produced anyway.  So, while there is, theoretically less content for them to consume, as a practical matter it’s a bit like someone who is a meat eater going to a buffet with two hundred items, and then throwing a tantrum because five of the items happen to be vegan.

The worst part is, if they could let go of how wound up they are about the ‘forced diversity’ and ‘virtue signaling’ they could probably enjoy the content that’s produced for people other than them.  I mean, I’m a pasty ass white girl, and I loved Black Panther.

So, to wrap out, creators, make what you want to make, and ignore anyone who cries about forced diversity or virtue signaling.  And to people who are complaining about forced diversity and virtue signaling, I want to go back to the buffet metaphor.  You need to relax.  Even if there are a few vegan options on the buffet, you can still get your medium rare steak, or your chicken teriyaki or whatever it is you want.  Or, maybe, just maybe, you could give the falafel a try. That shit is delicious.

#writing #original fiction #media #representation #diversity #the war of souls #the hearts of heroes #The Master of Puppets #scatter #transistor #the inevitable singularity #mail order bride

[kazenoshun]

The 8 O’Clock Song: A Coco fanfic

Summary: Coco AU -  It's been 10 years since Imelda Rivera was abandoned by her no-good husband and she banished music from her life. She's content to keep away from music for the rest of her life, but a chance encounter during a trip to Mexico City may turn that resolution on its head.

A/N:  I have made an attempt to include some Spanish (mostly names) in this fic to mimic the style of the film, but I make no claim to being fluent in the language, so if you spot any problems, please let me know and I'll do my best to fix them.

Also,  I'd like to thank @faceheightknifefight​ and another friend (who does not have a Tumblr account) for their help in editing this fic. They're awesome!

FF.net, AO3, DA

The streets of Mexico City were full of noise, smoke, and far too many people, and Imelda Rivera could hardly wait to get home to her family in small, quiet Santa Cecilia. She’d never been fond of the big city. If she’d had her way, she would already be on the train back home, arriving in time to wish her daughter, Coco, goodnight before bed, and no doubt scold her twin brothers, Oscar and Felipe for some mishap or other. Unfortunately, she hadn’t gotten her way all day.

She’d gotten up before dawn to catch a train to the city, in order to view a new shipment of leather, place her order, and discuss the possibility of buying a new machine for the shop. She was against the idea herself, but her brothers were convinced it would improve the quality, and quantity, of Rivera shoes so she’d agreed to at least gather some information. The salesman she’d met had yammered on long enough to make Imelda seriously consider not purchasing the new machine out of sheer spite. His poorly disguised distaste for women in the shoemaking profession had merely been the final nail in the coffin. Having thoroughly wasted her morning and the better part of her afternoon, she finally arrived at the tanner’s only to learn that the shipment of leather had been delayed and wouldn’t be available until the following morning. Had such a day occurred when Imelda was just beginning her career in shoemaking, she might have broken down crying. Which wasn’t to say that she didn’t want to cry now, but she hadn’t allowed herself the luxury of weeping over her problems since she started, and she wasn’t about to begin now.

If she could survive Coco’s childhood as a single parent, she could survive one day of setbacks.

Still, she did allow herself a small huff and a frown as she entered La Caléndula, the sleepy little restaurant the innkeeper had recommended for dinner. Not terribly charming of her, she knew, but she didn’t particularly care to be charming right now - especially knowing many men tended to view charm as an invitation. All she wanted was to order her dinner, eat, and return to the inn to close out her terrible day.

The man behind the bar was an older gentleman with more gray than black in his hair, in the few places it still grew, and a moustache that seemed to cover the entire lower half of his face. He took her order with quiet efficiency, and, after hearing he’d been recommended by the innkeeper, directed her to a small table in the corner where she would be able to eat in peace.

Imelda let out a sigh as she sank into her chair and off her feet. Between the salesman who couldn’t be bothered to offer a chair during his presentation, and walking what seemed to be half-way across the city to the tanner, her feet ached. She wore good shoes, of course. She’d made them herself. But even the best shoes couldn’t alway prevent the sort of ache that accompanied a day on one’s feet. As the ache in her feet faded, she found herself thinking of home and family. They would be sitting down to dinner themselves by now, possibly cooked by one of the twins, but more likely by Coco. The girl would be 14 soon, only a year away from her quinceañera, and was growing more self-sufficient by the day.

Needing something to take her mind off her long day, Imelda turned her thoughts to potential birthday gifts for Coco, a far more palatable idea than lost orders or snobby salesmen. A new pair of shoes was a given, of course, but perhaps it was time Coco had a new dress as well. She’d nearly outgrown her last Sunday dress. Should the new dress be pink, though? Or perhaps blue? Imelda could turn the unintended stay in the city into a chance to look for fabric and findings. Yes, that would be most productive, and save her a second trip. She would start looking in the morning.

Her concentration was broken by the sound of someone tuning a guitar.

Imelda’s eyes snapped open, though she wasn’t sure when she’d closed them, and she glared at the table with enough ferocity she almost felt it should crack under the pressure. Of course someone would be playing music here. It was a perfectly terrible ending to her perfectly terrible day. She ground her teeth and clenched her hands into fists to override the childish urge to stick her fingers in her ears. She had some dignity, after all.

It had been nearly 10 years. Nearly 10 years she’d gone since banning music from her life. 10 years of being laughed at, of enduring the mariachi following her around the market betting on who would get her to break, of scolding Coco again and again each time she caught her daughter singing or dancing. 10 long years of hating him, her no-good bum of a husband who’d left her alone with a child to raise and never come back. He’d chosen music over them, over her, so she would let him have it all.

Her eyes sought out the source of the sound unbidden, whether from morbid curiosity or to know who to avoid when she left, she wasn’t sure. When the server arrived with her food, she would pay and leave. She hated wasting money, but she couldn’t stand to listen to the guitar even one minute longer than she had to. There was a small stage along the wall opposite the bar, but it was empty. The night’s performer must have been preparing off-stage. The other restaurant patrons were unfazed by the guitar as they enjoyed their food and drinks, several of them conversing quietly together. All of them ignorant of the burning fury inside Imelda. The guitar tuning morphed into a proper song, a very familiar song, but the stage remained empty.

Imelda nearly sprang from her seat and marched out the door; good manners and fact she hadn’t paid yet aside, she didn’t want to stay and hear the song butchered like it always was. Like the mariachi back home always did, even though they knew the way it was supposed to be played, the way it had been played before he allowed it to be butchered after walking out of their lives. She redoubled her efforts to spot the musician, determined to stay as far away as possible when she left, only to freeze when she finally spotted him.

Him, her no-good husband, Héctor, sitting on a stool in the corner across hers holding a banged-up guitar in his arms, playing Poco Loco with a blank look on his face.

The plate of food being set down in front of her startled her badly enough that she jumped.

“Perdón, señora,” the server -not the bartender, but maybe his son? She didn’t have the focus to puzzle it out- said. He followed where she had been staring and grinned. “I see you’ve spotted José.”

“José?” She could only parrot the name, too shocked to turn and look again. Perhaps she’d been mistaken and the man only looked similar to Héctor from a distance. It had been a very long time since she last saw him, after all.

The server nodded. “That’s what we all call him around here, since no one knows his proper name, not even him.”

Imelda couldn’t even parrot this time as she relented and looked again. It was definitely Héctor over there, although she couldn’t recall ever seeing his face so empty. He wasn’t even smiling.

“He comes in here and plays from time to time,” the server continued, oblivious. “Doesn’t bother anyone, and the music’s good, so Tío lets him do it and even pays him a little if sales are up.”

Imelda finally found her voice. “How… Why doesn’t he know his own name?” The Héctor she’d known, or at least thought she’d known, had a ridiculously good memory and was always using it to his advantage.

The server sighed and leaned against the empty chair on the other side of the table. “I couldn’t tell you exactly what caused it, but José doesn’t remember anything from his past, or where he’s from. Whatever happened couldn’t have been pretty, though. A couple of drunks found him, back before I started working for Tío, somewhere around 10 years ago. Someone had tried to bury him in a shallow grave just outside of town. The drunks took him to the hospital, but I guess it took a while before he woke up. And when he did, he couldn’t remember a thing. Not his name, not his age, not even where he grew up.”

Imelda opened her mouth and closed it again. None of what the server was saying made sense.

“Tío says he thinks there must’ve been a fight. He says one of the doctors at the hospital thinks José was poisoned. And José didn’t have any travel papers or identification on him when the drunks found him, but he still had money in his pocket. I heard the police found a suitcase dumped in a ditch, but all the stuff inside was trashed and there was no name on the case.” The server sighed and shook his head. “I just want to know who would get into a fight with José. The man’s harmless.” He sniggered. “Well, unless you mention the song.”

Imelda turned back to the server and made a face. “The song?” This really was all too much to take in at once, and she was almost convinced she’d fallen asleep into a dream except for her aching feet still anchoring her firmly to reality.

The server nodded. “Sí. You know that fellow, Ernesto de la Cruz, who’s been making waves in music?”

Far better than I want to, Imelda thought. It had been Ernesto who had set out on the stupid tour with Héctor, and then returned nearly a year later to tell her she’d been abandoned. She tried to recall when Ernesto said they’d split, and found she couldn’t help but wonder if Ernesto had told her the complete truth. He’d been against her marriage to Héctor from the beginning, after all.

“Well,” the server continued, once again oblivious to Imelda’s inner turmoil. “If you so much as mention de la Cruz’s biggest hit--” he dropped his voice to a whisper “--Remember Me, in José’s hearing, he goes absolutely mad. Old señor Víctor had to hold him back from mauling a musician who dared suggest playing it. Didn’t play it, mind you, just suggested playing, and José went nuts. Señor Víctor’s practically a bear, and he was struggling to hold onto José that night. But, if you don’t mention the song, José’s the gentlest soul you’ll ever meet.”

That, at least, was more in line with the Héctor Imelda remembered.

The sound of Poco Loco continued to drift about the restaurant, and Imelda couldn’t decide if she wanted to scream or cry. “Nearly 10 years and he hasn’t been able to remember anything?” she finally asked. She did her best to keep her voice even.

The server shrugged, looking at her uneasily. “Nothing specific,” he said carefully. “Occasionally he’ll say or do something to make you think he almost had a memory, but then it’ll be gone before he can latch onto it. There’s definitely something there, but it’s almost like-- like he’d stuck on the other side of the door. A few vague ideas get through, his issue with the song, for one. He’ll drink anything you put in front of him, unless it’s tequíla. Put tequíla in front of him and he starts getting all antsy and saying he needs to go home. I asked where home was once, thought he might’ve remembered something. I swear he looked like he was about to cry, then he just kept saying he didn’t know, over and over, until he left for the night.”

Imelda felt some small part of her heart that she’d been ignoring for years clench in her chest. “That sounds terrible,” she managed. She tried to imagine what it would be like, if she somehow forgot home, forgot Coco, except for the faintest ideas. It wasn’t a pleasant thought.

The server nodded. “Tio and I didn’t see him again for three days. He came back covered in dirt. Apparently, he went out to the place the drunks found him and partially buried himself to try and bring back memories. It didn’t work. Tio let him clean up in the guest room upstairs, and made him stay here a few days to recover. I got yelled at for getting him into that state to begin with.”

“Ay! Diego! Stop pestering the lady,” the bartender, who’d come out from behind the bar, called.

Diego grinned and stood up straight, nodding to Imelda. “Perdón again, señora, for chatting your ear off. It’s been a while since we’ve had a new-comer so sympathetic to José’s plight.” He pulled out a handkerchief and offered it to her.

Imelda looked at him, confused.

“You’re weeping, señora,” Diego told her gently. He placed the kerchief on the table and walked away.

Imelda sat, unmoving, for a long minute, until the last notes of Poco Loco faded away and a new song started. Slowly, she raised a hand to her face and wiped half-heartedly at the tears that were indeed flowing down her cheeks. It’s shock, she thought, feeling oddly detached from her body. Shock was the only explanation she could think of for why she was still in her seat and not half-way back to the inn. Shock, and the fact she hadn’t paid yet. She’d been too distracted to pay before Diego walked away. Shaking herself, she grabbed her glass of water and took a gulp, trying to shift her brain back into motion but only succeeding in sending herself into a coughing fit when the last of it went down wrong. She fished her own kerchief out of her pocket and pressed it to her mouth to muffle the coughs and try to curb the tears now streaming down her face as she fought to breathe.

When she could breathe again, and had wiped her face clean, she stared down at her plate. She felt… empty. She’d always assumed her rage would be explosive if she ever saw Héctor again. And she’d certainly been furious when she first spotted him, ready to march out of the restaurant without even acknowledging his presence. But now…

It was as though listening to Diego’s tale had drained the rage right out of her. She couldn’t say she was happy, per se, or even sad. More than anything, she was confused. And hungry, her growling stomach reminded her. The food she’d ordered smelled delicious, and she wasn’t in the habit of letting good food go to waste. Besides, leaving without eating would gain her exactly the attention she would rather avoid. With that thought in mind, Imelda made herself begin to eat.

The food was undoubtedly good, but she barely tasted it. It felt like such a strange thing, that she’d banned music for so long and yet it quickly faded to the back of her awareness. If she closed her eyes, she could almost pretend she was at a bar back home a decade prior, waiting for Héctor to finish for the evening so they could return to their little house together.

Perhaps it was because, for the first time in a very long time, the songs were being played as she’d known them - no gaudy embellishments or implied wink and nudge from the musician. Just a simple, sincere guitar. Although Héctor wasn’t singing along, which was a bit odd, but she could only puzzle out one thing at a time.

Héctor’s letters had stopped five months or so after he left. At first she’d thought he’d absentmindedly forgotten to send the next letter, which happened on occasion. Then she’d guessed it had been lost in the mail, it wouldn’t have been the first time. But when one, and then two months passed with no word, she started to worry that something had happened. If she’d been on her own, she would have gone searching for him. But Coco had been not-quite four, and needed food and a roof over her head, so Imelda had stayed put and started to learn how to make shoes.

It had been another five months before she ran into Ernesto in the plaza and demanded to know where her husband was.

Ernesto had handed her a letter and Héctor’s wedding ring, said they’d been left behind when he and Héctor split several months prior, and left her standing there gaping in the middle of the plaza. All he’d told her about Héctor’s whereabouts was that he’d headed north to try and make a name for himself. He’d vanished into the crowd before she could ask anything else and hadn’t reappeared in Santa Cecilia since.

In the present, Imelda allowed herself another glance in Héctor’s direction.

His hair was even more unkempt than usual, and peppered with gray. Prematurely, she mused, as he was a year younger than her and only 31. He looked darker than she remembered, as though he’d somehow managed to find a way to stay out under the sun even more than he had in their youth. A multitude of lines and creases stretched across his face, and his eyes… Imelda had to close her own eyes and look away.

His eyes were the same warm brown they’d always been, but they seemed unnaturally empty of life. As though Héctor were no more than an oversized puppet.

His clothes -from what she had seen, she couldn’t look at those eyes again just yet- were starting to fray. He wasn’t wearing the suit she’d made him. Rather, a plain shirt and trousers that were too short for him, with a jacket that was starting to come apart at the shoulders. And he’d worn a hole through the side of his left shoe. He certainly didn’t look like a man who’d set out to find his fortune.

She couldn’t help but wonder at the timeline she was presented with. Between what Ernesto had told her years ago, and Diego’s account just now, it couldn’t have been more than a couple months from Héctor and Ernesto splitting to Héctor being found in a grave. But why he’d been back in the city so soon, when Ernesto had been so insistent that he’d traveled north, was something she couldn’t puzzle out.

And then there was Diego’s account of Héctor’s reaction to Remember Me. Ironically, perhaps, it was the only song of his she hadn’t heard before he left. She’d only ever caught snatches of the song from Coco’s room after her daughter was in bed. Ernesto had claimed that Héctor sold him his guitar and songs before heading north. If Coco knew Remember Me, then it was undoubtedly written by Héctor, not Ernesto, but why would that matter if the song had been sold?

On the other side of the restaurant, Héctor hit a sour note, and stopped in the middle of his song to glare at the offending string.

Imelda snorted as she watched. The guitar she’d given him was rarely out of tune. He likely wouldn’t have any issues now if he hadn’t sold it.

She froze with her fork half-way to her mouth, suddenly wishing she could slap herself for not thinking of that sooner.

If Héctor had gone north to seek fame, why had he sold Ernesto the guitar and all of his songs? Surely he would have needed songs to play, and something to play them on? Even if he decided the memories associated with the guitar were too much, he would have to be a fool to sell it without getting a replacement, doubly so to sell all his songs when he was just starting out. She could understand, on a practical level, selling the songs connected to her, to Coco, if he truly wanted to leave them behind. But that still left at least half his repertoire, full of songs she knew would have easily caught on with the right crowd- had caught on with Ernesto playing them.

The dinner she’d just eaten settled like a stone in her gut. Héctor’s letters had grown shorter the longer he was on the road, true, but the cutoff had been abrupt. There’d been mentions of fights with Ernesto, though he never went into detail. The early letters were often accompanied by songs and poems, but the last several had lacked those. Imelda swallowed uncomfortably and glanced at Héctor yet again- now back to playing, having fixed the issue with his strings. Something didn’t add up right, but the only one present who could tell her more didn’t remember enough to explain.

“Oh dear.” Diego was back, gesturing nervously at her plate. “Is something wrong with your dinner, señora?”

Imelda forced a smile on her face. “No. I’m afraid I just recalled something I really would rather have not remembered. The food was delicious.” Even so, she couldn’t make herself eat another bite.

Diego grinned, apparently reassured. “I see. I shall hope that you forget again very soon.” he glanced toward Héctor and his grin grew. “You’re in for a treat, señora. He hasn’t wandered off yet, and it’s nearly eight o’clock.”

Imelda felt as though she’d somehow missed part of the conversation. Then again, that seemed to be happening a lot this evening. “What happens at eight?”

Diego winked at her. “You’ll have to wait and see.” he wandered off again.

Imelda slumped in her seat, leaning her head in her hands and rubbing her temples. She really didn’t need more puzzles right now. The restaurant, she noticed, was growing quieter. The clink of dishes and bottles fading as other patrons turned toward Héctor’s corner. In the distance, she heard a bell begin to toll the hour.

Héctor stopped in the middle of his song, his eyes somehow more lively and more distant than before.

Imelda found herself leaning forward as the audience seemed to hold their collective breath.

Héctor closed his eyes and began to play. The opening notes were soft and gentle, not unlike the beginning of the song he’d written to propose to Imelda, although not that exact song either. Then he began to sing. “Remember me, though I have to say goodbye. Remember me, don’t let it make you cry…”

It was the same song Diego had said drove Héctor to fury, but not played the way Ernesto played it. The simple notes and gentle words reminded Imelda more of- of Coco, and the song she still sang to herself each night before bed.

“My song!” Coco had cried as a little girl, when Imelda tried to make her stop singing each night. “Papá said it’s my song!”

Hearing music, any music, tore at Imelda’s heart by then, but the anger and fear on her daughter’s face when told she had to stop was even worse. Imelda hadn’t slept that night, merely cried in her room until dawn and cursed Héctor for leaving. She hadn’t told Coco to stop again. Instead, she’d pretended not to hear the little voice each night. Coco, for her part, had confined her singing to that one song, sung quietly, alone in her room from then on. She almost always sang it at the same time.

Across the room, Héctor had opened his eyes to stare at a spot on the floor that looked no different from the rest. Except that, if Imelda thought back, it was roughly the same place Coco’s bed would have been were he back home singing her to sleep. She surely would have sung alone.

“...Know that I’m with you the only way that I can be.” Héctor’s voice caught on the words. “Until you’re in my arms again, remember me.” His eyes closed once more as the final notes faded into a silence that hung in the air. A moment later, he blinked, shook himself, and returned to his earlier playing. The restaurant patrons similarly returned to their conversations.

Imelda sat at her table, feeling a bit underwhelmed by the lack of response for Héctor’s performance. It felt like such a momentous thing -that he would sing a duet with his daughter, despite the distance between them and the fact that he supposedly had no memory of her- that surely deserved a round of applause at the very least. And yet, looking around the restaurant, it was as if the performance had never happened at all. Feeling more than a little light-headed, Imelda gathered up her glass and mostly cleaned plate, and made her way to the bar to pay.

“Was everything to your satisfaction?” the bartender asked.

Imelda nodded. “It was very good, thank you.” She handed over a fistfull of bills and coins, and waited for him to count out her change. While she waited, she glanced at Héctor. He still hadn’t noticed her. “Does he play here often?” she asked, nodding in Héctor’s direction.

The bartender sighed. “Often enough.” He handed over her change. “I used to figure he’d disappear one day. Thought it would mean he finally remembered where his home was, or someone came and found him. But after this many years, I’m not sure anymore that’ll happen. He’s a nice fellow, mild-mannered and all. Brings in extra business when he’s here.”

“Does-” Imelda paused, not quite certain she should ask “-does he play that song most nights?”

The bartender fixed her with a hard look. “Sí, he does. Try not to get any ideas, though.”

Imelda blinked at him, confused. Between him and Diego, confusing her was turning into a family trait.

He must have realized she didn’t know what he was talking about, because he continued. “We’ve had mariachi come through before who took his playing as an invitation to join in. Or they question him about it after the fact. He always ends up angry or confused. I know Diego thinks it’s sweet that he sings the same song every night, I can barely stand to hear it myself.” He sighed again, fixing his gaze on Héctor. “That man’s trapped in his own mind, and nothing any of us have done has helped. That song, that’s the closest he gets to breaking out. Hearing it each night is like hearing a cry for help you can’t answer.” Another patron at the bar waved for his attention. “Perdón, señora. Enjoy your evening.” Then he was gone, leaving Imelda with her thoughts.

She looked at Héctor one last time, still playing his guitar, and left the restaurant. She needed time to think, to try and sort out the truth from the lies, and the fresh air would help clear her mind. Or so she hoped.

Héctor’s music followed her back to the inn, continuing uninvited in her head long after she was out of hearing range. She doubted she’d get much rest. But then, she hadn’t slept much after he disappeared, either. Perhaps it was fitting that she stay up half the night after seeing him again. She dressed for sleep, put out the light, and lay in the bed staring at the ceiling. And she thought, and thought, and thought some more.

And when the dawn finally broke, she realized she had neither slept, nor puzzled out the answers to her questions.

Her husband had left on his trip 10 years ago, writing almost daily. His letters had grown shorter and less energetic as time went by, before cutting off abruptly several months into the tour. Some months later, nearly a year after leaving, his friend and partner, Ernesto, had returned to tell her she’d been abandoned. And somewhere in there, a group of drunks had found Héctor buried in a shallow grave on the brink of death.

Try as she might, Imelda couldn’t make all the pieces line up and fit together properly, there were simply too many gaps.

Ernesto might be able to fill in those gaps, were she to track him down and convince him to answer her questions. But that would take longer than she wanted, and she doubted he would answer her willingly, or truthfully. She’d known he was a liar when they were young, twisting or exaggerating tales so that they worked in his favor. Looking back, that was something she should have remembered that day in the plaza. And besides his lying nature, the gaps in the story were forming too easily into a theory she didn’t dare acknowledge just yet, but which she knew could take the man from hateful to dangerous.

No, Ernesto would not do for a source of answers, so she would have to look to Héctor. The bartender had said that attempts had been made to bring Héctor’s memories back, but nothing had worked. Then again, none of them had known Héctor before the memory loss; Imelda had grown up with him. She’d married him, lived with him, had a child with him. If she couldn’t spark his memories; well, that wasn’t worth dwelling on, she told herself as she dressed for the day. She would deal with that problem if it arose.

The city streets weren’t empty when she left her room in the inn, although they were far less crowded than they had been the day before.

Imelda kept her head high and her steps sure as she made her way back toward La Caléndula. The bartender would likely have questions for her before he would be willing to tell her where she might find Héctor. But she would swallow her pride and answer them truthfully, otherwise she didn’t know where she should even begin. When the bar came into view, however, she realized she wouldn’t need to ask.

Héctor sat on the step leading onto the porch of the restaurant, head tipped forward, and wearing a ratty straw hat that covered his face such that she couldn’t tell if he was awake or asleep. His battered guitar was on the ground next to him, the neck tipped against his knees and held loosely in one hand. He looked like he had been sitting there all night. The restaurant door opened, and Imelda found herself ducking into a deep doorway. She wasn’t sure she wanted a witness to her potential failure.

Diego stepped out onto the porch, covering a yawn and holding a bucket and rag with one hand. He gently nudged Héctor, then walked to the windows and began wiping them down.

Imelda watched as Héctor stirred, reaching his arms above his head and stretching in a way she knew made his spine pop. He’d startled her doing that the first morning after their wedding, but it had become endearingly familiar over time. She waited a few more minutes, watching Diego try to strike up a conversation and Héctor murmuring half-replies while she debated whether or not to come back later. She could always stop in at the tanner’s first, to see if that shipment of leather had arrived yet, and come back once Diego was gone and Héctor was alone once more. Except she couldn’t be sure Héctor wouldn’t leave before she returned.

Taking a deep breath, she paused -to see that her braids were still properly in place and not because she was scared- and stepped from the doorway.

“Buenos días, señora,” Diego called when she drew near.

Imelda didn’t answer him, her eyes locked on Héctor. He looked up, and she felt her heart race in her chest. Her breath seemed caught in her throat, and her stomach was doing all sorts of interesting acrobatics. She felt, rather absurdly, like she had when she told him she was pregnant with Coco- as though her world had tipped on its axis and she hadn’t quite righted herself yet.

She hadn’t actually planned this far ahead. She’d been so preoccupied with looking for him that she hadn’t realized until now that she had no idea what to say. She swallowed, but her mouth remained dry.

Héctor hadn’t looked away.

Imelda took a breath. “Héctor-” her voice came out like a squeak. She cleared her throat and tried again. “Héctor-” that was better, and she had his attention now “-do you know who I am?”

His face remained blank, and for a long, terrifying moment, she was afraid it wouldn’t work, that his memories were too far gone to ever recall. Then, almost painfully slowly, his expression changed. He scrunched his brows together and pursed his mouth the same way he had so many times before when trying to pull a song into being. And his eyes never left her face.

Imelda stayed standing before him with her hands clasped at her waist, vaguely aware of Diego calling for his tío. Her palms were sweaty, and she was gripping her hands so tightly she knew without looking her knuckles had gone white. But she didn’t dare move, she almost didn’t dare blink.

Héctor shifted on the step, knocking his hat off when he tangled his fingers in his hair and pressed the heels of his hands to his temples. The look on his face was quickly giving way from confusion to a combination of distress and pain; and Imelda was suddenly afraid she might have sent him into a state of panic if his memories failed to return.

“Hush,” she tried to comfort him, cautiously kneeling down and reaching to cover his hands with her own. “It’s okay. Take your time.”

The backs of his hands were dry against her sweaty palms, and quite warm. And his hair felt more brittle than she remembered.

He squeezed his eyes shut, and swayed back and forth, the world around them forgotten as his inner battle played across his face. Imelda rubbed gentle circles against his wrists, racking her brain for some way to calm him down. She’d grown quite skilled at handling crises in the past decade, raising her daughter as a single parent. But this wasn’t the sort of crisis she’d ever had to face before. Slowly, she became aware of Héctor humming to himself, a nervous, breathy sound that she soon recognized. The song he’d written to propose to her. It was quieter, more serious that Poco Loco, and undeniably hers. She didn’t recall him playing it the night before. Her voice was rusty as she joined him, humming instead of singing because the hurt she’d felt since he left was still there. She’d sworn off music when Ernesto told her she was abandoned, leaving it all for Héctor if he loved it so much more than her. But if it was the way to bring him back, then she could make an exception.

They reached the end of the song and started over from the beginning, Héctor’s voice growing stronger, and Imelda more sure of the notes. She leaned her forehead against his and closed her eyes, focusing only on the sound of their voices blending together, sometimes the same, sometimes harmonizing.

“Imelda.”

His voice was so soft she almost didn’t realize he’d spoken. She drew back and opened her eyes.

Héctor was looking at her again with a fragile sort of hope in his eyes. “Imelda?” he said, his voice louder but shaking.

“Shh, I’m here,” she whispered, brushing away a tear that had begun to form in the corner of his eye. “I’m here.”

“Imelda,” he said again, this time sounding more sure of himself. He broke into a grin murmuring her name over and over. “Imelda, you’re Imelda. I remember. Imelda, I remember-” The words died in his throat, his happy grin sinking into a wide-eyed horror. “I forgot, Imelda,” he gasped. “I forgot you! How- I forgot Coco!” His voice broke on their daughter’s name. “No- How- I forgot!”

He’d begun to tremble, and all Imelda could think to do was pull him towards her. He came easily, practically collapsing into her arms as he continued to babble. “I’m sorry. I’m so, so sorry! I promised to be home in six months and I forgot! I-I was planning to come home. I’m sorry! I’m so sorry!”

Imelda was caught in an awkward half-crouch while he clung to her, but she pushed the discomfort aside and brought one hand up to cradle his head, and gently ran the other up and down his spine. His face was buried against her shoulder, her dress growing wet with tears. He was still shaking, too, and he felt much too thin now that she was holding him. “Shh,” she murmured again, stroking his hair. “Shh. I’m here. It’s going to be alright.”

It was, perhaps, a foolish promise. There were still so many questions to be asked. Diego and the bartender were both standing a short distance away with matching expressions of concern, and she was sure they would want to know why it had taken so long for her to find Héctor, and why she hadn’t gone to him the night before. There would be letters to write to Coco and the twins. Letters saying who she had found, and explaining that she would be delayed coming home. She had no intention to leave Mexico City until she understood what had happened to Héctor to lock his memories away for so long.

But her most burning question had been answered. He’d wanted to come home. He’d planned to come home, and been prevented. Coco was right; he’d never abandoned them. It was enough, for now, to build on. She couldn’t say exactly what would happen in the long run. If they’d ever be able to return to even a semblance of what had been, or if their relationship would be forever broken. But they could worry about that later.

“I’m sorry,” Héctor whispered again. “I’m sorry for forgetting.”

Imelda hugged him tighter. “You’ve remembered now,” she countered.

“Sí,” Héctor agreed after a long silence. “I remember.”

#Coco #pixar coco #imelda rivera #héctor rivera #imector #AU #my fanfics

[freckledbodty]

Stripping Away The Bloat - The Umibe No Etranger Movie Did The Manga Dirty

I finally got around to watching the movie of Umibe no Etranger - a movie I didn’t know existed based on one of my old favourite BL mangas. And oh boy, does this adaptation reflect a painful trend in manga to anime/movie adaptations overall. Allow me a moment to rant, if you will...

TL;DR: READ THE MANGA BY THE LOVE OF GOD IT’S WONDERFUL. Also the movie is super pretty, but here’s a semi-detailed look at why it still really didn’t do the manga justice. You bet I came with receipts.

A few important notes before you start: 

1. Remember this is just my opinion, and I’d love to hear other people’s point of view on the matter, whether you agree or disagree! 

2. I am not fluent enough in Japanese to read the original without a translation, so my thoughts on the manga are coming from fan translations, which 100% might have affected how I view this! The anime I’m a little more sure on as I can generally tell when the subtitles have deviated, but that does mean I may have missed something/something was lost in translation that means something I say here is incorrect. I’m very sorry for this, so remember this is my view based on the media types I’ve consumed. 

3. Also the manga cuttings I use are not the best quality because of tumblr’s sizing, so even more of a reason to go read the books yourself! 

I’m aware I’m very late to this party, but when I saw the other day that this movie had been made, I was horrified that I hadn’t known about it sooner. I read the manga years ago, and adored it - it’s genuinely a sweet and beautifully drawn romance, and I’d highly recommend it to anyone. With that, however, the movie was a huge disappointment to me and I just need to have a moment to gush in a less than positive way. 

The Pros: 

Let’s get this out of the way, I’d still probably recommend this movie to anyone who likes romance anime-style movies. It’s beautifully animated. Seriously, this movie is stunning, with wonderful expressions, bright colours, and a pretty well suited soundtrack too. The animation tries to match the original art style of the manga, and frankly, I think it captures it perfectly. 10/10. Gorgeous. Watch it just for the prettiness. 

I’m also a big fan of any BL/GL adaptations that get a little more into the mainstream. This movie is definitely a huge win in terms of representation, especially when the manga (on the whole) avoided the more negative tropes that the BL/GL genres have historically been known for. (More on that later...) So that’s a win, and I will take it. 

The Bloat Cut: 

To put it simply, this movie fell into the trap of what I call (in my head) ‘cutting out the bloat’. As a long-time anime and manga fan, who has seen countless adaptations over the years, it’s a common theme that tends to make or break an anime. 

‘Cutting out the bloat’ to me means that the adaptors cut out a lot of the ‘smaller’ moments and panels that are seen in a manga. This movie was thankfully very good at following the original plot and took us through the same beats that the manga did (many adaptations don’t bother doing that at all), but they left out a lot of the extra stuff - the aforementioned ‘bloat’. 

The bloat isn’t really bloat in that it is pointless, however: the problem is that these little moments and scenes are seen to be pointless by the adaptors. Again, understandable: they have a limited run time, and it’s hard to include every little tiny moment, especially when they are ones that are easily scanned passed. Some bloat cutting is necessary to make an adaptation viable at all, but sometimes, it can be hugely detrimental to the piece. Umibe no Etranger is a key example of this. 

Setting: 

I watched this movie without rereading the manga, and as such, I was quickly thrown off by how bad the movie was. This was one of my favourite mangas, wasn’t it? Had I really had such terrible taste? (Yes, let’s not go there, but this manga was not one of my high-school bad decisions). 

The characters felt strange. Personalities did complete 180s after the time skip and did some questionable things that I couldn’t recall finding issue with when I read the manga. The two main characters felt so hot and cold that it didn’t feel like the story I remembered. Even the pacing felt off and janky at times. 

After watching, I went back and reread the manga, and this is where I saw all the ‘bloat’, the little intricate moments and minor panels that were easy to overlook but made the story what it was. Here’s a few of the biggest examples I could find. 

Shun:

Oh, Shun. What did they do to you? 

Shun’s character was bizarre. In the first 15 minutes of the movie, he was bubbly, friendly, and even bold enough to flirt with Mio. After the time skip, he was sour, cold, and completely withdrawn from the world. I understood Mio’s confusion because after the time jump he was a completely different character. 

The manga is often focused on Shun and his inner thoughts, and he’s the one who is hurt the most by the bloat cutting. For starters, he wasn’t as over-the-top friendly at the start of the manga as he was in the anime, and we’re able to see his inner thoughts and worries that cause his reservations from the first few pages we meet him. We also get more hints earlier on as to Shun’s past that explain a lot of his behaviour as a whole, as well as getting little hints as to why he’s even more negative and exhausted after the time jump. 

Mio: 

The biggest bloat cut out in terms of Mio is the big plot point of the phone call. For context, before leaving for the time skip, Mio promises to call Shun once he’s gotten to his new home. In the movie, this is never really brought up again, focusing on the relationship in the present, but this was a huge point to leave out. I think it was cut out because it was explained in one short scene in the manga, and therefore easily mistaken for bloat. 

In the manga, it’s explained that Mio does call, but it’s Eri who answers, and there’s a very important conversation that sets up Mio’s whole character development and explains why he returns to the island set on having a relationship with Shun. Eri warns him that calling Shun, despite knowing that Shun has feelings for him, is cruel and unfair, and tells Mio he shouldn’t contact him unless he’s worked out his feelings. It’s a great scene, and a real shame to leave out when it explains firstly why Mio never called back, and secondly why he is so adamant about his feelings and love for Shun when he does finally return: because he saw Eri’s warning to mean ‘don’t come back unless you are serious’.

Relationship:

In the movie, Mio and Shun didn’t really seem to have a relationship until the drama kicked up and then it quickly seem to disappear again. Shun was extremely held back and reserved, and barely ever seemed to return Mio’s feelings (even in the scenes he was instigating) - he even totally avoided anything resembling physical contact at first. 

Compare this to the manga, where there are little hints of their relationship progressing throughout the chapters. For one, Shun is never as cold and blank as he seems in the film, and when he does seem that way, the manga quickly shows a glimpse of his thoughts to explain how he’s exhausted or distracted - without those little bloated thought bubbles, he just seems... a little cruel frankly.

A really good example of this is the beach kiss scene. In the movie, as Mio is about to kiss him, Shun suddenly announces that he’s hungry and avoids the kiss altogether, leaving Mio confused. 

In the manga, they actually do kiss - it’s their first kiss, in fact. Shun seems embarrassed and his ‘I’m hungry’ feels like more of a way to distract them both. He explains he’s exhausted (which is fair enough, this is a big thing for him to process on little sleep that his inner thoughts earlier in the chapter already set up) rather than just outright shunning him. (Ha. Shun. shun. Get it?) 

A more *noted* bloat they cut out is that Shun and Mio get physical in the manga way earlier than the movie, the touches just not quite being everything Mio wanted. Without those more tender moments, where they actually seem like a couple, it seems like Mio is chasing after Shun desperately, whilst Shun couldn’t care less about him. It detracts from the whole relationship. Below are some examples of the two of them actually seeming like a couple that were cut from the movie, including longing looks from Shun, Shun hugging Mio whilst he’s asleep, and Shun asking to kiss and touch Mio. 

The Issue: 

Bloat cutting always annoys me, but usually, if it’s not hindering the story, I don’t mind. What bothers me most of all in this movie, is that without these subtle little panels and moments, the relationship between Shun and Mio seems... forced, frankly. In the movie, Shun seems to be the instigator of the flirting, and then after the time skip he acts practically disgusted, avoiding a lot of Mio’s advances, and we don’t get to hear his inner thoughts like we do in the manga to explain why he’s feeling this way. 

In the manga, during these ‘bloat’ pieces, Shun is an actual willing participant in the relationship, and Mio isn’t just forcing his advances onto Shun. It’s natural. It’s not flipping between hot and cold, or suddenly ramping up after a big moment of drama, it’s slow and careful and a real relationship. 

This would be a bad change in any adaptation, but it’s especially so in this one. Anyone who is a fan of BL specifically is probably aware of the genre’s bad rep historically for having some... questionable consent issues. This manga didn’t have them. The movie? I’m not so sure, and that’s why it’s rubbed me the wrong way. I could spend another 1000 words talking about this issue as a whole, but I’ll leave it there, you get the idea.

Expected? Yes. Okay? Meh. 

There’s no real point to this post aside from to complain a little and point out just how much more the source material gives us. Cutting the bloat always happens, and I don’t want it to stop happening per say, that would be impossible, but I’d kill for adaptors to just take a little more time to work out what is unnecessary and cutable bloat, and what is something they should really keep in. 

The movie is still cute and beautifully made, so please go watch and see for yourself! Mostly, I’d highly recommend the manga: it’s got the same gorgeous art style, only about 5 chapters long, and the story and relationship is that little bit more firmly built. 

I’ll stop ranting now, and I hope this actually made sense? Anyway, congrats on making it all this way.

#umibe no etranger #bl manga #bl anime #yaoi manga #anime discussion #please note the important points #this does not mean its a bad movie by any means #just was a disappointment

[annetteblog]

Intro & My take on KM

Hi!

I’m new around here so it’s supposed to be (not so short) introduction, since I don’t know how to start a blog heh. I hope to sprinkle my 0.5 cents into the KM conversation and maybe to bring a new perspective from someone, who is not a part of the typical English-speaking West.

Who /the hell/ Am I?  

(please, consider it to be said with NJ’s voice from Intro: Persona :D)

I was born in Siberia (it’s in the Asian part of Russia), currently live in the European part of the country while studying at a Uni (European in terms of geography, not in terms of everything else i’m definitely not shading rn lolllll). English is not my first language, I’ve just kind of learnt it to some extent. Due to this it takes me more time to write a post; and I may (and will) make some grammatical & other mistakes. Plus I’m lazy AND busy with Uni, so I won’t even promise to be consistent in posting smth lol. But I thought I need more practice in terms of writing in English, so here I am, actually scribbling something. This feels weird, because I’ve been around stan Tumblr since 2015, but never ever interacted, just read.

How I ended up around Jikook/Kookmin (and BTS) & My (long&messy) take on this matter

Although I had heard of BTS before, I became an Army only in October 2018. I had kinda avoided them, because you know... boybands.... sing songs about romantic love and how they love girls.......... (+I had been around Twitter when 1D been at their peak and I remember a quite toxic community of fans, whom always had scared me). Shortly, hello stereotypes. Obviously, after I got engaged I felt terribly sorry that I had been sleeping on them, but what is done cannot be undone. 

Someone I knew back then reposted one of their MVs and I, during my sad hours of procrastination, decided to watch it. Then I saw their live performance with the same song. And I thought “wow these guys can sing and dance and the music is kinda cool, i need to check this out maybe??” 

Then a funny thing happened. One of the next videos I watched (the same person had it added to their page) was a 2016 BangtanBomb where JM and JK practiced their Coming of Age dance. 

Do you know this moment with Gina from the 1st episode of Brooklyn 9-9:

Well, that was precisely me after I watched it. I don’t even know how to explain this, it was kind of a gut feeling? Whatever you call it, I started to get suspicious and couldn’t even explain to myself why. /actually now a do have questions to this vid and the main one - why does everyone cringe that much? if it’s a girly choreo than they had done some “girly” moves before. why is there such strong reaction??/

I started to get deeper and went to some ru-shipper communities. Shipping culture among Russian speaking fans is... well, weird to some extent, but I maybe address this topic some time later. You need to consider that (as far as you probably know) Russia is quite homophonic country and sadly is not the greatest place for LGBTQ+ community at the moment. The non-frienly influential attitudes hanging in the society + the general shippers’ weirdness = the result is not that nice honestly. 

I struggled for some time in order to find more mature people (not just in terms of age but in general sanity), failed, ended up with some EXTREMELY toxic ru-fans of TK, which was/is the most popular pairing here, spent among them like 15 minutes and ran away horrified. After that I didn’t even try to engage with shippers or believers or whatever of any pair and just decided to enjoy the music and the content (which is a great idea, highly recommend!)

After a couple of days I discovered that JK makes videos. I love video, films and visual art so I immediately found them on YT, saw the titles with names of different cities from all over the world and was like “Oh that must be so cool, he’s visited so many outstanding places I’ve never been to, so I really need to watch it! I shall enjoy some beautyyy”. Then I clicked on GCFt.

Well, what can I say. I did enjoy some beauty, but not the type I had initially anticipated. The biggest clickbait in my entire life. JK should be proud of himself.

                                       /as I said - the beauty/

I had already known Troy back then and I known the song’s lyrics so it would not be an underestimation to say - the video just blew my mind. I was like - hold on is this real? seriously?? no really really????? he manage to get away with something THAT obvious?????? dude how

As a person who edited videos AND is not a native English speaker, I don’t buy the explanation “oh he mustve didnt get the lyrics lmao”. You just don’t do that. You don’t. DON’T. You google and translate every shit you don’t understand, every word and idiom you’ve never encountered, because otherwise the possibility of an epic failure is very likely. You wouldn’t want to give your mum a video as a birthday present and then discover that you used a song with WAP-ish lyrics, right? (well maybe that would be okay in your family, I don’t judge, but that’s not the case for people I know). So don’t you dare to degrade JK’s intellectual capacities; such assumption is really offensive. He is a smart boii, he knows exactly what he’s doing in terms of his art.

So I was shocked, but decided to look for the context - maybe I missed some previous events regarding this Tokyo thing (another great idea - always check the context). Well, apparently I didn’t, because the whole narrative with the trip for two, lovely selfies etc. made my poor brain lowkey explode. (I still don’t buy the rings theory thing though)

But I didn’t give up lol! I’m a bit stubborn and it’s very hard to convince me in anything, so I decided to search for more context, more of their interactions, moreeee. Remember, the late October 2018, there were no swan lakes, RB, and even MMA18 hadn’t happened yet. 

This time I ended up watching content in more or less consistent way, and when I saw all of these scenes with affectionate JM and a cool badass i-don’t-care-about-anyone-i’m-a-manly-man-with-no-feelings-whatsoever JK, I just hysterically laughed. 

Homophobic Russia, remember? I recognized this. Growing up here being LGBT myself, taught me the same type behaviour during my high school days. When a girl I kinda liked but didn’t what to admit it to myself was nice to me or (oh god) flirted with me, I did something similar. It’s like a huge panic mode. Being an introvert doesn’t help either. The funniest thing is that you may not entirely realise what exactly is going on in terms of your own feelings, especially at that age (16-18ish). In my personal case, I thought I liked her but as a friend, only later to realise that well not as a friend oops :DDD The second thing (already not so funny) is that you actually consciously or unconsciously try to avoid the subject as much as possible, as long as possible and pretend that nothing is going on. We’re just bros. Stop doing this stupid gayish thing and don’t look at me like that, you’re annoying. If you ever do this again I (gently) kick you. I’m straighter than a straight line in my math textbook. IDK, but probably that’s your brain is somehow trying to protect you. Again, in my case&position I knew that the consequences for any non-straight person being outed would be bad (TW not to the point of being killed bad, but to the point of being excluded from a big part of society). So for me it was a mixture of the internalized homophobia + lack of self reflection + just being a bit emotionally slow + very! straight community around. Shit happens, I was a teenager and made my share of mistakes, but that experience helps me to recognize the same pattern of behaviour up to this day.   

So coming back to KM, because the post is already waaay too long and I just ramble. It’s been 2+ years for me being a part of this fandom, and what can I say... Things become more intense and eventful with every year passing by ;) Funny how I felt that vibe from the 2016 dance practice video. Seeing the Black Swan performance a week ago almost had me choked, no joking. They are amazing.

                                                    Pure Art

However, and I would like to emphasize that, I do not incline that KM are 100% romantically involved and/or gay or whatever. I tend to treat people with respect and not to make too much assumptions about their private life. That’s not my business. However, I’m also not a fan of heteronormativity, so I’m just sitting here and observe everything that’s going on putting some distance and not forgetting being generally polite and critical thinking. But if they are just straightest besties please give them an Oscar before Grammy

Anyways, I hope this blog won’t kick the bucket from the very start and I will post something every now and then. You can always ask me questions about some BTS/Jikook related stuff or something about Russia and a Russian view on mass culture topics, since I’m pretty sure some of you have very stereotypical view of what is going on here :) However, do note that I’ve never been to America or Europe, therefore I may not be aware of something verrrry obvious to you or just have a completely different experience. 

P.S.  And yeah, I’m used to say Jikook, since it’s the name which is used much more frequently in Russian.  i like it better and what will u do haha

#jikook #kookmin #what am i even doing here #i'm gonna regret this #long post

[not-wholly-unheroic]

Viewing Disney’s Peter Pan Through the Eyes of an Adult

Recently, I’ve seen several posts floating around talking about how Disney’s Hook is difficult for people to take seriously and is much too comical for what Barrie had intended. I grew up with Disney’s Hook. He was my first introduction to the character and the reason why I became interested in reading classic literature, writing fanfic, and seriously delving into the analysis of complex villainous/antagonistic characters, so he has a very special place in my heart and I’m prone to be quick to defend him. Rather than writing a long-winded reply to these individual posts, I decided to just make my own explaining why Disney’s Hook can be viewed as just as tragic and sympathetic as any other version. (You can also read some of my earlier posts defending Disney’s Hook here and here.)

*takes a deep breath* *cracks knuckles* Buckle up kiddos! You’re in for a long ride!

My view of Disney’s Hook as a tragic character lies primarily in my sympathy for him when he switches from a proud, elegant, dangerous character to a shivering mess of a man when the crocodile comes around. Let me attempt to elaborate--but first, a bit of a necessary digression.

Every film/book/play, etc. can be viewed from several perspectives. Typically, there is one character that we are meant to like and who becomes the primary focus of the story. Anyone who opposes that character is automatically an antagonist, if not a villain. Usually, even if the point of view is omniscient, we can still tell that it is not, perhaps, entirely objective in its portrayal of certain characters. This sort of situation happens all the time on the evening news--the interviewer is, in theory, supposed to be a neutral reporter on an incident, but it is often obvious that they favor one side of an issue over another, and as a result, the public's view of the situation and those involved is skewed. The lens through which we view a certain character tends to do the same thing. For instance, in Les Miserables (another favorite story of mine), Javert is viewed as an antagonist because the book is primarily concerned with the redemption story of Valjean; however, if the story was flipped and instead focused on the inspector's character and his transition from a strict legalist to a man so broken by the idea of morality that he commits suicide, he would, perhaps, be viewed instead as a tragic HERO instead of a tragic ANTAGONIST. Javert likely does many GOOD things in the name of the law as well during his career, but we don't see most of them because he isn't the main focus of the book. Similarly, I think Disney’s Hook can be more greatly appreciated as TRAGIC instead of COMICAL when we consider the lens through which we are viewing him.

Disney has always been geared toward children, so naturally, when they tell a story, they want the material to be attractive to a younger audience. This means not only that certain more frightening or upsetting elements of a story may be left out, edited, or altogether changed, but also that WE VIEW THE CHARACTERS THROUGH THE EYES OF A CHILD. (For example, in The Little Mermaid, King Triton's opposition to Ariel going to the surface world is presented in such a way that he seems extremely harsh when, in reality, he is father trying to keep his daughter safe. True, he DOES overreact, but remember, Ariel is only sixteen--not even LEGALLY an adult--and wants to run off with some guy she hasn’t even had a conversation with. But kids can relate to overbearing parents who, in a moment of disagreement, seem like they are being "mean," so that is how the audience sees Triton.) Peter Pan, especially, with its protagonist(s) as a child/children, really magnifies this perspective to the point where, unfortunately, some of the characters become almost caricatures of themselves. When children are legitimately afraid of something, they react one of two ways: Either they run from it/avoid it altogether, or they make-believe that whatever is frightening them is actually a lot less terrifying than it is so that they appear brave. I remember when I was younger, I used to be TERRIFIED of Monstro, the whale from Pinocchio. I couldn't watch the film without getting nightmares. But I didn't want to be afraid of watching the movie, so with my overactive imagination, I decided that I could fix that by turning him into a less scary version of himself and making him into an imaginary friend who more closely resembled Willy the anthropomorphic opera-singing whale from Make Mine Music than the terrifying creature we see in Pinocchio. Anyway, getting back to the point--I overcame my fear of the character by choosing to imagine that he was less scary than he was. This is what a lot of children do, and I think it's why Disney's Hook comes off as being comical.

The first time we see Disney Hook on screen, he actually comes across as pretty terrifying. He literally shoots his own crew member just because he didn't like the guy's singing! Rarely do we actually see Disney villains successfully kill another character on screen, but Hook does not even five minutes into his introduction. Immediately, we get the impression (or at least, a child should get the impression), that Hook is a genuinely dangerous guy. He also seems to regard his loss of a hand as "a childish prank," which further gives us the impression that he apparently has a pretty high pain tolerance and isn't afraid to do horrible, gruesome things to his enemies. If chopping someone's hand off is "childish," then what sort of serious damage does he inflict on his victims? However, this is Disney, and rather than having Hook gut someone or do something else which might scar a kid for life, we soon see he has a weakness...the crocodile. At this point, the Darling kids have been watching Hook for several minutes from their perch up on the cloud and are, probably, starting to have some second thoughts about fighting real pirates when they seem so scary...so what do they do? They do the same thing I did and turn him into a less-scary version of himself. They find his weakness and latch onto it. And since we're viewing things primarily from their perspective, that's how WE start to see Hook too. Hook's fear of the crocodile becomes comical for the audience because the Darling kids are trying to focus on that aspect of him so that they are can forget how terrifying he really is. We see this more frightening side of Hook come out a few more times, such as when he plans to blow up Pan's hideout...and at this point, we even catch a brief glimpse of the more sinister part of Smee when he asks Hook if it wouldn't be more humane for them to slit his throat...AND THIS IS SMEE WE'RE TALKING ABOUT HERE!!! The LEAST frightening of the pirates in ANY version. But I think Disney throws this in just to remind us that Smee is still a pirate, and if HE'S willing to do something THAT bad, Hook is a thousand times worse. However, for the most part, Hook still remains a rather softened, comical version of himself because we are viewing him through the child-lens. Remove that lens, though, and things become more complicated.

Forget, for a moment, that we are supposed to be rooting for the Darling children and Pan, and look again--not as a frightened child who is trying to laugh in the face of danger but as an adult who can feel Hook's pain. I remember one time when I was driving back from the airport in a busy city in the dark and the road was icy...I'm not used to driving in ice, and I'm a naturally nervous driver...At one point, I skidded into the next lane... I literally spent about the next hour hyperventilating, practically rocking myself back and forth, praying, and trying not to cry because I knew if I did I wouldn't be able to see the road. It was horrible... Take that sort of feeling, and I believe it's what Disney Hook is experiencing when the crocodile shows up. Through the "child-lens" it may be funny to see a frightening character in a vulnerable situation, but viewing it as an adult who understands just HOW helpless and terrified one feels in such a situation, you can't help but empathize with Hook. Every move he makes, every tremble in his voice, every look of absolute horror in his eyes tells you that he is not mentally or physically really functioning at the moment. He's on autopilot--he's in survival mode like a wild animal that freezes in hopes that it won't be seen by the approaching predator. Take away the crocodile's obviously silly "theme-music" and Hook's slightly overdone expressions, and you're left with something similar to what we see Hook experience in the novel near the end of the chapter, "The Pirate Ship." ("Very frightful was it to see the change that came over him. It was as if he had been clipped at every joint. He fell in a little heap...he crawled on his knees along the deck as far from the sound that he could go...'Hide me,' he cried hoarsely.") Now we can start appreciating him for the tragic villain that he is supposed to be.

Viewed through the eyes of the Darling children, Hook represents all that is frightening and bad about the grown-up world. If Peter is ice cream parties and summer vacations and catching fireflies in the dark, then Hook is cancer and broken dreams and being worried about being able to make enough money to put food on the table. Barrie, however, tells us that there is much more to both characters than that. Peter has a dark side--a selfish streak that forgets all pain at the cost of never learning from the past, never growing from his experiences and becoming a better person. He is stagnant not only in physically growing up but also in mentally facing reality, which is just as damaging as Hook's attitude of regretting a childhood apparently gone too soon. Hook, too, has a lighter side that loves soft music and flowers and other such things (representative of the good things about being an adult--falling in love, pursuing one's passions in a professional sense, having children of one's own). Disney, of course, doesn't quite do this to the same extent as Barrie since we're given a skewed view of the characters, but it DOES still make a few points which, when stripped of the "child-lens" effect, gives off a similar impression. Peter, for instance, brags to the mermaids at one point about cutting off Hook's hand and feeding it to the crocodile. Though we never get to hear him finish the tale, it is rather unsettling to think that Disney's Pan is capable of such horror. (Personally, no matter WHAT the circumstances of the situation were, I think any real-life child who took such great pleasure in slicing off a body part of another person and then having the presence of mind to feed said body part to a dangerous wild animal would probably be considered a psychopath in need of some SERIOUS counseling.) Disney, of course, glosses over this little inconvenience by having Hook show up before he can really get any further into the story. Again, the child-lens is going up; Wendy doesn't want to see this side of Peter, and neither does the child-based audience, so they choose to look away. However, we see a brief glimpse of this side of Pan again at Skull Rock. First, we see it resurface when he hands Smee a gun and then flies up directly in front of Hook--knowing that he can move out of the way in time. Again, through the child-lens of the audience, it seems funny to watch Smee doing his best (and failing terribly) to aim at Pan...but when you think about it from an adult's perspective, it's actually pretty disturbing. Peter legitimately wants Hook dead and doesn't care if it happens to be at the hand of one of his own crewmen (and arguably, in the Disney universe, Hook's only real friend). When Hook "dies," Peter simply takes the hat and says nonchalantly, "What a pity, Mr. Smee. I'm afraid we've lost the dear captain." It doesn't even phase him that a man might have just died and poor Smee is probably feeling absolutely HORRIBLE because it was (sort of) his fault. Even Wendy's child-lens falters a little here... While Peter is celebrating Hook's death, she at least, has enough of an adult's heart to have compassion on their fallen enemy and turn her face away with an, "Oh, how dreadful!" It happens again a few moments later when Peter is getting ready to kick Hook's hook off the ledge so that he falls into the waiting jaws of the crocodile. (The captain, at this point, is of course, squirming like--to use Peter's phrasing--"a codfish on a hook.") Again, Pan has no sympathy, but Wendy, who is starting to gradually open up her eyes to the truth that maybe staying a child forever isn't all it's cracked up to be and maybe adulthood isn't entirely bad, is losing her "child-lens." Not entirely. Not to the point where she doesn't continue to view Hook as comical to keep from being afraid. But enough to know that what Peter is about to do is wrong. She expresses this verbally when she shouts, "Oh, Peter, NO!"

It is at this point, shortly after the crocodile chase, that we start to see Hook become more of a legitimate threat (and a legitimately sympathetic character) again. Why? Because Wendy, as the protagonist and the one whose eyes we are looking through even more so than Pan, is starting to grow up and face reality for what it is--scary or not. As she sings "Your Mother and Mine" and tells her brothers that they NEED a mother--that Neverland has been fun but they NEED to go home--Hook is throwing Tinkerbelle in a lantern and planning to kidnap the kids and blow Pan to smithereens. And then we get the "slit his throat" reminder (mentioned above)... Also, as a side note, when Hook is ill after the crocodile chase, we hear him lamenting how Pan has made him look like a fool yet again. This is also something that I think we can appreciate more as adults. All Hook's crew wants is to go back to haunting the Spanish Main, but Hook refuses to leave Neverland because he feels that he has to remain there until he can regain his pride...which in and of itself is admirable, since many people who have been played the fool simply hang their head and walk away in shame. Here's this guy who has been bested by a child no more than twelve or thirteen--and possibly much younger... How must that feel? I have been in an emotionally abusive relationship where I was constantly reminded how I couldn’t do anything right, and it felt SO degrading. I literally just wanted to go hide away in my room and cry because I felt so incompetent and useless and just plain stupid. So how does Hook feel? Probably the same way. But he doesn't give up. If there's one thing we can say for sure about Disney Hook, he's a fighter. So, I guess you could say that, in part, one reason I find Disney Hook so sympathetic and tragic is because I can identify with him in his crippling reaction to fear and admire him for his bold attempts to reclaim his pride.

Anyway, getting back on track with the storyline... As we near the end of the film, Hook once again appears to lose face at the final showdown. At first, this doesn't seem to make sense if Wendy is, in fact, beginning to lose the child-lens. However, although Hook is defeated, we are never actually shown that he dies (and obviously, from the second film, in the Disney universe, he doesn't). I remember reading somewhere that when they were originally working on Peter Pan, Walt Disney chose to keep Hook alive and just have him "going like hell" rather than actually dying because, "the audience will get to liking Hook." And by this point, we have...those of us still looking through the child-lens love to hate him as a character we can laugh at, and those of us who are more grown-up love him for being just like us--an adult who is STILL growing up, in some ways, who is STILL afraid of certain things and hasn't always learned his lessons and isn't perfect but also isn't willing to give up even when everything is against him and everyone is laughing at him and nothing seems to go right.

Now, I said that at first, it doesn't seem to make sense for us to view Hook in a comical light in this scene if we are viewing the movie primarily through the eyes of the Darling children--particularly Wendy, who is starting to grow up and realize that adults are supposed to feel things like compassion for one's enemies. However, Wendy is still a child. She IS still afraid of growing up. In fact, she's terrified. And that comes out when the kids are all mocking Hook. He's still frightening to them. They still need the security blanket of pretend sometimes, of focusing on his more comical, vulnerable side...but they don't defeat Hook by killing him in this version, and I think that's significant. As representative primarily of the "scary" parts of growing up, Hook is temporarily cast aside and shoved to the back of their minds, but he IS NOT DEAD. The kids (and even Pan) know he may come back. They know he isn't gone for good. One day, they will have to face adulthood. One day, Hook--in the guise of mortgages and taxes and wars and sickly older parents--will return. But for now, they have defeated him...not just by pretending but by choosing to accept the responsibility of growing up eventually, in their own good time. Even Peter starts to reflect this theme by beating Hook, "man to man" without the use of flight. Wendy, who wants to be the good grown-up but who isn't quite ready to let go of childhood, warns Peter against it, thinking that it may be a trap. She even goes so far as to shout at him to fly when he has the chance even though he has promised not to. But Disney Pan is a bit more mature than some (maybe Wendy's better judgment is wearing off on him), and he keeps his word. He beats Hook "like a man" NOT like a boy. Pan's victory here symbolically reflects the Darling children's decision to face adulthood by going back to London. Thus, Hook is defeated because adulthood is no longer an obstacle which causes a fear is so crippling that the kids can't face it. When Wendy returns home, we get one last glimpse of this truth in Mr. Darling--the real-world representative of all things frightening and frustrating about growing up and, as I'm sure you know, also (significantly) voiced by Conried--who has done some "growing up" himself. Mr. Darling, it seems, is willing to allow Wendy a bit more time to enjoy life as a child, remembering his own childhood fondly, even as Wendy has chosen to accept the responsibility of growing up. Mr. Darling, who much like Hook, was viewed previously by the kids (and by extension, the audience) as a bit of a bully and an object of ridicule, is now the object of Wendy's affection as a mutual understanding is reached. Adulthood is frightening in many ways, but Wendy has also come to realize that it is necessary to take responsibility for one's actions and feel compassion for others just as Mr. Darling has realized that sometimes, it's okay for kids to be kids and enjoy the moment. Essentially, what I'm saying is--borrowing the idea that Hook and Mr. Darling are two sides of the same coin--Hook in Neverland, chased away by the crocodile, appears as comical in the last scene only because he effectively gets one last serious scene through his London counterpart, staring wistfully out the window with a loving wife and child by his side. Wendy isn't quite yet grown up, so she still sees through the child-lens on occasion, but she is learning, gradually, to embrace that which she once feared. She no longer needs Hook, an imaginary figure, to personify that fear. She now has her father back, and though she now RESPECTS what he stands for, she is no longer so terrified of growing up that she can't appreciate the GOOD side of the future (such as having a husband and a family of her own someday) and look forward to it.

#peter pan disney #disney peter pan #captain hook disney #disney captain hook #disney #disney villains #captain hook #james hook #captain james hook

[ithinkilikeit-reactions]

Hongjoong “Boyfriend Headcanons”

A/N: I’m going to be making a series and trying to do this with as many idols as possible 

Hongjoong version // Seonghwa version // Yunho version // Yeosang version // San version // Mingi version // Wooyoung version // Jongho version

- okay so our leader

- our precious bun 

- a man I greatly admire

- Let’s gooo

- Now Hongjoong is crazy creative and that is something I seriously admire about him 

- I think he would like someone that isn’t scared to think outside of the box

- Someone that can provide him inspiration when he doesn’t have any anymore

- this leads me into the first date

- he’d love to go do something out of the box

- maybe a little art workshop

- or maybe just hanging out with some food and drinks and diy-ing some of your clothes together

- just something relaxed and fun so that he can get to know you.

- it’s easy to talk over things like this 

- he can also get a feel of your style too because we all know style is important to Hongjoong

- When it comes to kissing

- Hongjoong always puts a meaning into his kisses

- but he won’t kiss you after the first date

- he loves the slow build up of a relationship and might even wait until after the fourth or fifth date to kiss you

- but when he does it’s really sweet

- always asks permission before kissing you

- always with a beautiful smile

- and when you say yes 

- he cups your cheek with one hand and kisses you very softly

- but it’s generally just really sweet and he can’t help but blush a little

- So if you’re upset

- Hongjoong’s heart breaks

- he wants to take everything that is hurting you and fight it??

- he hates seeing you upset it hurts him so much 

- Hongjoong will take care of your problems if he can 

- If not he will be by your side and help you through things

- definitely the type to grab your cheeks harshly, forcefully kiss your forehead and tell you to go kill em if you need motivation

- When Hongjoong is upset it’s kind of heartbreaking

- Because he kind of bottles things up because he doesn’t want to worry you

- So he never gets angry 

- but he gets really emotional and wants to be held

- and he just wants to vent

- he just wants a listening ear and maybe advice if you can offer it

- Also arguments rarely happen

- If they do they are resolved as quick as they started

- He doesn’t want to fight with you ever 

- so if there is a problem

- it normally just gets brought up in an adult conversation

- He never raises his voice at you

- He can’t bring himself to do that

- Very great at motivating you but all of Ateez is

- Speaking of Ateez

- You just got 7 brothers by dating Hongjoong

- they’re a package deal 

- You can’t help but clown Hongjoong sometimes

- which is okay because he’s used to it and finds it funny

- He’s good at clowning you too

- you’re reactions are just too good

- Hongjoong likes being physically close to you

- If you’re hanging out with him in the studio

- he wants you near

- sitting next to him

- on him 

- it really doesn’t matter as long as you’re close

- He doesn’t mind when you worry about him when he’s working alot

- but he doesn’t want you to assume he can’t take care of himself

- because he can but he also knows that it can be stressfull to watch someone you love possibly overwork themselves

- cuddling is so nice with Hongjoong

- he likes having his head on your chest

- your fingers running through his hair

- he likes sleeping like this too

- He’s very easy to wake up 

- so mornings aren’t ever really lazy 

- if you aren’t good at getting out of bed in the morning 

- Hongjoong is a great motivater to get you out of bed

- sweet morning kisses as you’re getting ready for the day are a must

- brushing your hair?

- in comes Hongjoong with a kiss on the cheek

- getting dressed?

- In comes a back hug and sweet kisses on the back of your neck

- on his days off 

- Hongjoong likes watching movies with you

- a whole bunch of different genres and languages

- he just find it interesting and finds it fun to watch films with you

- HONGJOONG PAINTING YOUR NAILS

- he thinks it’s fun

- he’d love to match his nails to yours

- also going back to like the first date

- he would really like to have clothing modification to do with you

- it’s cool and it’s really fun to him 

- it makes things unique and you can have some fun matching things together

- Hongjoong really admires your critique and admires that you are willing to critique his work

- he doesn’t want you to sugar coat if you don’t like something 

- he wants your constructive criticism

- Hongjoong adores the relationships you have with the other member’s 

- he finds it important

- they are his family and you are his love 

- it’s important you mesh well

- Also it’s important to him that you are really there for his career 

- which really should speak for itself but he really needs that support

- in turn he equally supports your career and whatever you want to do

- A relationship with Hongjoong is purely based around equality and fairness

- You need to be equally dependant on eachother 

- Hongjoong doesn’t get too jealous

- uhm he doesn’t get mad or too annoyed when he’s jealous 

- but he get’s kind of pouty and sulky 

- He just wants your attention and love

- but he doesn’t dwell on jealousy too long

- because at the end of the day you go home with him so

- He’s the real winner and he knows that 

- When he’s on tour he tries his best to call you every night and if he cant 

- yes he feels bad but he just texts you through out the days and makes sure you know he’s thinking about you 

- Hongjoong does a lot to make sure you know he loves you 

- Of course telling you he loves you 

- but also writing songs for you

- taking care of you in small ways

Nasty nasty time

- okay so I’m convinced Hongjoong is a switch (I’m convinced most of Ateez are switches)

- in reality he doesn’t care who’s on top or who’s dominant

- as long as you both are comfortable and feel good

- I think Hongjoong likes biting

- he has amazing teeth so idk i just feel like he would like that

- especially nipping at your skin 

- the surprised sound you make when he bites you

- he loves that

- Likes it when you bite him too I should have said this lmao

- he especially likes when you bite his neck

- He is audio inclined

- he loves your sounds and he want you to let him know how he’s making you feel

- Hongjoong’s also always watching you and the way you move

- it’s inspiring almost 

- seeing the curves of your body

- your facial expressions

- Loves it when you ride him 

- it gives him the best view 

- especially in the studio 

- studio sex isn’t studio sex without you riding him in his chair or on that couch in there

- He kind of has an oral fixation

- not necessarily giving oral or receiving

- but like kissing and biting and watching your mouth 

- He just finds it an incredibly attractive 

- I don’t think Hongjoong is very experienced 

- partially because of his age and because of his school history and then trainee history

- not a virgin but not a cassanova in the bedroom

- so he’s very open and okay with making mistakes and laughing about them

- Aftercare is shy?

- Soft smiles and shy laughter as you take care of eachother

- making sure you’re okay and he’s okay

- looks at you like you’re his whole universe all the time

- not just after sex 

- but like all the time

- but after sex it tends to be more noticeable

- He likes stroking your skin

- drawing little shapes as you 2 slowly fall asleep or come down from your highs in general

- Morning afters always make him clingy 

- He just wants to be attached at your hip

- Okay that’s exagerating but he does just want to be around you

- mainly because he feels like everytime you have sex

- be it rough or soft

- you guys get closer to eachother

- A relationship with Hongjoong is an equal amount of give and take 

- equal amount of trust and support

A/N: part 1 in the ateez series KAJAAAAA

#ateez #ateez scenario #ateez reaction #hongjoong #hongjoong reaction #hongjoong smut #ateez headcanons

[armorsleevedsinglehit]

the huge shippuden music meta

no one asked for this but i’m gonna write it anyway. i’m going to focus primarily on the shippuden soundtrack here, but expect some references to the original series soundtrack as well. also before i begin i know approximately two (2) music so some of my terminology is probably going to be incorrect lol, it’s been a while since college. this is a general shippuden meta but it does focus on the uchiha clan, in particular sasuke and madara.

anyway, to start off, you can pretty easily divide the shippuden soundtrack into a few general categories:

traditional and/or acoustic

electric guitar tracks

some combination of these, plus orchestra hits aplenty

there are a few odd ducks here and there, but no worries, we’ll get to them. and then within these general categories we have a series of recurring character motifs (which can be a bit muddled, because certain themes are used for multiple characters. i assume that naruto (the show) isn’t necessarily scored the way a film would be, and so the directors just slapped whatever dramatic/sad/upbeat music they could find onto a scene, esp if it’s a filler ep, which definitely generates some confusion.) but characters and groups in shippuden DO sort of get their own motifs and themes, so here is my very basic list of those as well:

uzumaki clan and its descendants/allies: “emergence of talents/hyakkaryōran” has a very cool melody towards the end that comes back in “narukami/weeping god” and “shoryu/rising dragon”. we can basically call this the protagonist theme. naruto, sakura, kakashi, jiraiya, most of the konoha 11, and even minato get to claim this one. however, VERY interestingly, narukami is what plays when tobi (as madara) is telling sasuke about the glory days of the uchiha clan... possibly hinting at greater connections between the two clans???????????

akatsuki-related themes: i won’t link a ton of these because they’re super obvious. they’re often full of choir and organ (harkening back to orochimaru’s original series theme); they also tend to be slower. not always, though; look at crimson flames, a slapper if i ever heard one. prime example of akatsuki themes: girei, my FAVORITE bit of the shippuden soundtrack. UGH.

general shippuden themes: things like hurricane suite, heaven-shaking event, etc. most of the first ost goes in here. this category also contains the closest approximation to hashirama’s theme that i could find, experienced many battles and departure to the front lines, which both make me cry lol

there are other fun little motifs and bits and bobs that appear in this soundtrack that i won’t get into here for length (remind me to talk about the angelic herald of death sometime), but it’s a remarkably cohesive piece of work to the point where it gets repetitive sometimes; why are all the super interesting tracks unreleased!!!!??? anyway the purpose of this meta is to attempt to make sense of the way this soundtrack works. we’ll investigate sasuke primarily because i feel that he really ties the whole soundtrack together, and you can extrapolate a lot from the way his theme evolves.

sasuke’s theme (wandering/hyouhaku), yes the dramatic cowboy music theme, is this wonderfully atmospheric track that makes use of the kind of negative space between guitar strums to build up this aura, this Essence of Sasuke. this alone makes it stand apart from other mostly-acoustic pieces on the soundtrack, to me. the whole thing is just humming with this simmering frustration and melancholy and it really gives you a sense of sasuke as this tortured figure who has been severely wronged and experienced the world’s faults firsthand. notably, this version of sasuke’s theme lifts its opening notes (and structure, sorta) from sasuke’s original series theme, which i assume was on purpose. it shows that he’s grown jaded as he got older, i think.

anyway, as the inevitable battle between sasuke and itachi draws closer, we get our first variation on sasuke’s theme: black spot/kokuten. it has the same melody and structure as before, but features heavier guitars, more orchestration, and, in the final bars, notes that previously fell on 1 and 4 but now fall on 1 and 3, which bring a heightened sense of urgency to the whole thing. and more importantly, it ends without resolving itself? it leaves us hanging on this almost call-and-response bit with one wailing guitar after another, before winding the orchestration down and fizzling back down to the level of “wandering.” here we see a sasuke in progress, if you will, working towards a goal that some may find sinister, but he is determined if nothing else, and the instruments match his fervor. it’s roughly analogous to “crimson flames” in terms of intensity, but it’s very distinctly Sasuke.

there are several more variations of sasuke’s theme floating around, but the next one i want to talk about is this one called “sasuke’s ninja way,” apparently, never officially released but relentlessly employed by the anime directors. it takes a more subtle turn than “black spot,” but i don’t see it as a direct sequel to “wandering” for a few different reasons. i think it represents the dilemma sasuke found himself after finally killing itachi and learning the truth about him: the realization that this whole quest for power of his was never really about revenge on one specific person, but rather about reforming the shinobi world as a whole. it’s slower than “black spot,” yet darker, more ominous; it treads the same general path as “wandering” but with added electric guitar, and, notably, choir. recall that choir is often used for themes related to the akatsuki, which i think ties in neatly with sasuke’s motivations at this point. he, like nagato before him, wants to remake the world.

the final iteration of sasuke’s theme, “sasuke’s revolution/junkyousha,” brings it all together. the akatsuki is commonly represented through choir and organ, and this theme starts out with both of these cranked up to the max. this is (pardon the pun) sasuke’s rebirth, if you will. just combine the intensity of “girei,” the anger of “crimson flames,” and the determination of “emergence of talents” and you’re there. seriously: this culmination of sasuke’s character development basically pulls from every single facet of the soundtrack and produces this MASSIVELY rich piece full of anger and rage and hate and fury, while STILL managing to include the twangy guitar bits from “wandering” (which have gone back to 1 and 4!!). we also have someone going ham on a shamisen towards the end of the track, which calls to mind the shamisen solo from “emergence of talents” and other tracks. hinting at an eventual compromise with naruto, possibly?

anyway, i started out this meta trying to find a piece of the soundtrack that could serve as madara’s theme, but i wasn’t sure that one existed. i think the susano’o has a theme, and the uchiha clan has a theme, but....madara just doesn’t?? sure there are unreleased tracks like “legendary uchiha,” but i’d argue that doesn’t really go into his character as much as it just says “watch out for this fucking guy.”

but then i listened to hurricane suite one more time, and i was like HOLY SHIT THIS IS IT. for one thing, it’s long as fuck: this track is a whole journey. it really gives the impression of someone who has lived an impossibly long life and become jaded and cruel and hardened. i realize that the argument could be made that hurricane suite is sasuke’s theme, not madara’s, or that it’s a general shippuden theme and doesn’t represent one character in particular. and yes, i think both of these interpretations are correct. hurricane suite represents what sasuke could POTENTIALLY turn out to be, given his evolution from “wandering” to “black spot” to “sasuke’s ninja way” all the way to “sasuke’s revolution.” hurricane suite warns us that sasuke can (and very well may!) make the same mistakes madara did and end up destroying himself in the process. (the middle of “hurricane suite” GREATLY resembles “wandering.”) and recall that hurricane suite is used in the very first episode of shippuden: the episode where naruto encounters sasuke for the first time, AND- are you ready for this- when madara’s name is dropped for the first time in the series.

this is why i think that, along with it being a general shippuden theme, hurricane suite is also madara’s theme. shippuden as a whole is practically suffocating under the oppressive weight of madara’s presence, right from the very first episode. even before he’s introduced, he is VERY much there. so much of madara’s character is established before he even shows up. we hear so much about him from other characters (kurama, itachi, obito, hashirama), and as such our view of madara changes drastically over the course of the series. and guess what plays when itachi shows sasuke that genjutsu of madara stealing izuna’s eyes?

anyway, in my opinion and in my interpretation of the character, the music fits him perfectly. it starts out all low and choral with these slow ominous drums and deep strings, and this violin comes in that sounds like it’s weeping. we hear something like a heartbeat that grows darker over time, before the music comes to some sort of resolution, an inflection point, and the brass comes in heavy. NOW we’re dealing with the orchestra, three quarters of the way into the song, and we’ve got strings and drums set to a marching pace, more choral chanting, climbing strings and shamisen tumbling down the scales. it sounds like grief!!

and note that yes, this track is used in the very first episode of shippuden, during naruto and sasuke’s first encounter. but it is ALSO used during the scene in hashirama’s flashback when izuna is mortally wounded and madara makes the decision to abandon the clan on the battlefield to take care of him, despite his better judgment and hashirama’s offering of peace. the inflection point in the music represents a very real inflection point in madara’s life: the loss of his last brother. (it always comes back to that, doesn’t it.)

#meta #madara uchiha #sasuke uchiha #uchiha clan #almost 2000 words churned out in one evening. [stares at fic] [sighs] #long post

[lokiondisneyplus]

Prior to the pandemic, Frank Patterson would spend most days at the sprawling production facility, formerly known as Pinewood Atlanta Studios, that he runs outside of Atlanta. Then COVID-19 hit, and not even he was able to make his health and safety team's cut of essential on-site personnel.

"They were like, 'Frank, why are you here? You're setting a bad example,' " says the president and CEO of what is now Trilith Studios, the in-demand filming location known for hosting a suite of Marvel projects, including WandaVision and Avengers: Endgame.

Since Patterson took the reins in 2016, he's transformed the place from a set of soundstages to a full-fledged film community. After divesting from the Pinewood Group, Patterson led investments in new technologies and content companies, as well as expanded Trilith's footprint. The result is a 935-acre master development that includes the studio as well as a European-inspired town including homes, restaurants and schools that serve as a live-work community for the many creatives on the lot.

In a wide-ranging conversation, Patterson, 59, opened up about the most challenging aspect of COVID-era production, the studio's biggest concerns and whether he'll mandate vaccines.

You've had multiple projects in production during COVID-19. How has it been going?

We've been very fortunate. We had the first studio feature in the industry back to work in June. I can't say what it is, but they'll be finished soon. It was an intense amount of research and work to put together protocols, recognizing that the disaster version looks like an outbreak. None of that's happened. We've had enormously low numbers of positive tests. And we have a full lot: 3,200 people drove on today.

How much more expensive is it to make a film or show right now?

It's costing about 20 percent more money and 20 percent more time. Things are slower and clunkier and it's taking more space. But the good news is cast and crew are taking safety very seriously. I'm sure you heard the story of Tom Cruise getting upset at the crew for not following protocols [on Mission: Impossible 7]. I don't think that's common. What we have found is with the exception of the day player — they tend to test positive more than the average crewmember — people are taking care of themselves.

A year in, how do you feel you did with the COVID-19 protocols?

They're pretty routine now. We're not just making stuff up like we were in the very beginning.

Which of those do you expect to remain post-pandemic?

The washing hands and standing apart, that's how we keep from spreading these diseases and how we need to work. There's a heightened awareness for cleanliness. People used to drag themselves to work miserably sick because if you missed work, you were letting your team down. Well, that's changed. If you show up and you're sick, they're like, "Get out of here." That'll go forward.

Fellow Georgian Tyler Perry said when he was shooting his shows last summer, there was an elderly actress who didn’t feel comfortable coming on set given the risk, so they had to write her out of the scripts. Have you heard of anything like that happening on any of your productions?

Not leaving a show, but changing of schedules to accommodate people's tolerance for coming back to work. There's an, "OK, let's not shoot this right now because this actor is not quite ready to come back to work." They're pivoting and shooting other stuff first and coming back. That's happening across all the productions.

What are the biggest concerns that you hear from the studios now?

Everyone's overwhelmed with the need to get stuff made, but we aren't returning to the speed that we had and we're spending more dollars per frame captured in just the pure production. And it's not like people don't care because you always care when you're spending more money than you planned, but it’s a way a distant second to: Are we getting this stuff shot?

Are all the studios behind?

Nobody is meeting their goals. Just look at the Disney+ line-up, all the stuff that they want to put in place. Look at what Paramount is doing now with Paramount Plus. If you just look at these pipelines, this is the anxiety that everyone feels right now. And then, by the way, WandaVision's a hit, so you got to feed that beast, right? That’s the tension that you feel every day.

How much of that is not having enough physical space to film? Several production facilities, including yours, are fully booked.

It's not just about space. Yes, of course, we could use some more facilities, and we're putting in five more stages that will be ready by June. But that's only one small part. Even before COVID hit, there weren't enough people — I'm talking about crew, not to mention the storytellers — to meet the demand that Wall Street was pouring into the pipeline. There's a talent drain. With COVID, it's [only gotten worse].

Georgia opened sooner than other states. Did you field a lot of calls?

It was overwhelming. Guys were like, "Hey, we heard you guys figured it out." First of all, we didn't figure it out. We have a version and it's working. But there was a lot of attention on us. And we had the good fortune of not having to worry about what role our government leaders would play because they basically said, "We're going to let the industry figure it out." That's the good news. The bad news: It was on us to figure it out and take responsibility.

Are you getting involved in the vaccine rollout as you did testing?

No, we decided we would just keep our focus on the testing protocols. We have to make certain that we just take it all the way to the end — and we'll let [union, guild and association] leadership decide when that is and when those protocols can change. And then again, as an industry, we're going to have to decide what we want to carry forward and what we don't. That's the next phase, and the rate at which we're vaccinating may advance those conversations faster than I thought. I used to think [the protocols] were going to go into 2022. I don't know if that's the case anymore.

Have you had conversations about mandating the vaccine on sets?

We haven't. We know that when it comes to mandatory protocols, we'll have to work in collaboration with industry leadership. No one goes on our lot without a mask, for example. And that was a political thing. Fortunately, Governor Kemp said, "How can I help?" And we were like, "What would be helpful is if you wear a mask in public," and he said, "OK." So when a crewmember said, "It's my right [not to wear one]" or whatever, of course we can say, "This is private property, sorry," but what our security team said instead was, "Hey, listen, the governor's wearing a mask, and you should wear a mask to protect our industry." It was us taking a stand, but the stand was really only taken because the unions and guilds and associations agreed. We'll have to do the same thing with the vaccination.

You're building out a neighboring town for people to live. Is this the future of production facilities?

I don't think so. In some ways, what we're doing is what Mr. Disney did. The mill town is not a new concept. But if we didn't have a state with a reputation for being so business friendly, for having the tax incentives, for having the most traveled airport in the world, if those things didn't exist right there, believe me, we couldn't do this. I grew up in Hill Country outside of San Antonio, Texas. You cannot do this in San Antonio, Texas.

How many people are buying houses and apartments on the Trilith property?

We have 400 of the apartments built, 260 of them occupied. We’re at almost 300 homes now sold and 500 people in the town. We're working on our next set of 150 homes right now and starting our third micro village. The second micro village filled up like that (snaps fingers). We have 36 people on the waiting list. What’s happening — and this is a global trend — is that COVID has heightened our awareness of the benefits of this approach to working. The distributed workforce and the way for us to collaborate with these electronic tools is causing a lot of people to realize that they don't have to live in the town they thought they have to live in. So I think people thought it was going to be more like a second home, but they're actually staying here.

Every few years it seems there’s some controversial legislation in Georgia that pops up and Hollywood threatens a boycott, whether it’s an anti-LGBT or anti-abortion bill. Do you just assume it's going to pass?

These kinds of ebbs and flows of social discourse and its impact on the industry will never go away. Georgia is not immune to it. The film industry has been this wonderful beacon of possibility, and I do worry, given what's going on in our culture right now, that we as an industry could get caught sideways in this in some way that really dampens our ability to continue to have diverse views on the world.

Georgia's film incentives program has been criticized by some as an irresponsible use of taxpayer money. Do you see it being phased out or pared in the future?

This state is very proud of the fact that seven years in a row now it’s the number one state in the United States to do business. They saw the film industry as a way to really diversify its economy, to bring the creative class into the state. So they wrote this policy that was supported left and right, and that still is the case. I'm not a politician, but I'm on all of these committees, and what I noticed is they were so careful and specific about making it make business sense. It would be very difficult for anyone to turn it around now because it's just good, smart money — and you have both Democrats and Republicans looking at it. But in every session in every state always in the U.S., you will have people come up and write up some kind of legislation, "Let's get rid of tax incentives." It's just not going to happen. I would be really surprised.

But there were some changes to it recently, yes?

There were parts that we needed to improve on around auditing and how we manage the information and our relationship with all the productions. We needed to clean up some of the back of house stuff, so Representative Matt Dollar passed some amendments last session that are now going into effect that really helped clean up the whole process.

Interview edited for length and clarity.