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gummywormowl · 4 years

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What’s your damage, Daisuke? Part 10, episode 11 (END)

Continued from episodes 1+2 || 3 || 4 || 5 || 6 || 7 || 8 || 9 || 10

Apologies for how different this post is compared to the rest. I made it ahead of time completely expecting that they’d put the total costs incurred like they did in the other episodes. I was so so wrong. I have been a fool. Dumb of ass, I am. This is the finale, of course they wouldn’t do that. Though, considering how much everyone in Modern Crimes used HEUSC, and the way that Daisuke took out like half that bridge, I think it’s for the better.

So. Here we are at the last episode. The end. The finale. I started this series to find out the one question that’s been plaguing my and probably everyone else’s minds when the anime first started airing:

Just how unlimited is Daisuke’s balance?

Based on what we’re given, apparently unlimited enough to spend at least 13%* of Japan’s current account balance. 13% might not seem like a lot, but remember that Daisuke (and by extension, the rest of the Kambe family) has cumulatively spent ¥414,621,545,616 up to this point. ¥414 billion. That’s an estimated $4 billion.

*based on figures from the February 2020 period preliminary press release. Subsequent periods will have this amount vary greatly. Calculations taken from episode 10. Balance unlimited, indeed. ~~~~~~~~~~ I’d like to thank any and everyone who’s left a like, replied, reblogged, and/or so much as glanced at any of the posts in this series as the show started, restarted, and continued on. I’ve experienced all five stages of grief simultaneously whilst watching the anime and I love and hate it. In the extremely off chance they make a season 2 (🅱️lease CloverWorks?) or at the very least an OVA, you can bet your ass I will do this again.

I’ll be going back and adding links to remaining episode calculations to each post. When I have time, I may collate all links into a masterpost for easier viewing. If anyone wishes, I can also do a comparison using another month’s balance, though I do believe February was the most prosperous period in the last fiscal year cycle (Japan’s 2019 fiscal year ended back in March) before the effects of the epidemic took place. (For a definitely more accurate take, I’ll probably do one using Japan’s GDP since that is a more straightforward measure of its economy and therefore makes the Kambe’s spending sins much more impactful. I know nothing about economics and it shows :’))

Likes, reblogs, and shares of this series are very much appreciated! Have a bashful Saeki as an additional apology and as a thank you for reading this essay of a post!

#Fugou Keiji Balance: Unlimited #fugou keiji #fkbu #fugou keiji daisuke #the millionare detective balance: unlimited #daisuke kambe #i'm cry y'all this really is the last episode #i had fun watching uwu #and a lot of fun doing this #very money #much spend

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niveunwhite · 5 years

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tddk valentine/white day exchange 2019: (for ray)

for @tododekuvalentine and @tzubakis !! happy tododeku valentines day friendo

title: i think i love you

summary: In a so-called exercise of teambuilding and marketability awareness, the UA teachers had decided to arrange a secret Valentine exchange between the students.

Midoriya Izuku

Todoroki stared down at the piece of paper impassively.

“And remember! Valentine’s Day is next week, so get those cards and candies ready fast-- let me hear you kids say ‘YEAH’!” Present Mic’s words fell on deaf ears as 1-A went about whispering to each other about the names that had been distributed to them.

In a so-called exercise of teambuilding and marketability awareness, the UA teachers had decided to arrange a secret Valentine exchange between the students.

Aizawa shuffled to the front of the group of staff, ignoring Present Mic’s radio energy, “Even though they’re called ‘valentines’, your gifts should not necessarily be romantic. The purpose of this exchange is to establish an appreciation for your peers. You’re likely to be working together for a long time, so take note of and acknowledge the positive traits in each other.”

Todoroki looked over to see Midoriya muttering to himself, deep in thought. Midoriya’s positive traits… Considering the possibilities, Todoroki should have been relieved to have picked him; there should be no shortage of compliments to give such a positive and overall inspiring individual. So why do I feel so tense…?

“You’ve all been working nonstop for the past few months, so this should be a nice change of pace. There’s only fifteen minutes of class left, so just go ahead and get started on this, I guess.” As Aizawa zipped himself in his sleeping bag cocoon for the day, and the rest of the teachers filled out of the classroom, the students quieted down, seeming to take the assignment very seriously.

To Todoroki’s left, Yaoyorozu was writing hesitantly, often sighing to herself. In front of her, Mineta was slumped over on his desk, sniffling. I suppose he didn’t get one of the girls. Todoroki took a moment to give a small prayer of thanks before directing his gaze further forward to see:

Midoriya Izuku. He was leaning over his notebook, writing furiously, right foot tapping. Ever so often, he’d tangle his other hand in his hair, and Todoroki took the opportunity to study the particular shade of green it was. Emerald? No. Brunswick? Not quite… Pure phthalo green. Like it was just painted on. He wondered what it would feel like to run his hands through it.

Then Midoriya began to shift as if to look over his shoulder and Todoroki snapped out of his reverie. Quickly looking down at his own blank notebook, Todoroki felt a familiar burning sensation crawling up to his face. Don’t write about his hair, Todoroki made a mental note to himself as he picked up his pencil.

Class ended, as it tends to do, and when evening came, Todoroki found himself in his room, still staring at the same empty piece of paper. Frustrated and confused, he decided to head to the dorm kitchen for hot chocolate. Perhaps he’d run into someone who knew what they were doing along the way.

When he entered the common room, Todoroki saw, in one cluster, Ashido, sprawled upside-down on a couch next to Kaminari and Hagakure, while Iida, Uraraka, and Midoriya sat in another on the opposite side of the room. Midoriya looked up as he walked in, smiled, and waved. Todoroki attempted a smile back but it may have come out looking like a grimace, considering how desperately his heart suddenly seemed to be attempting to jump out of his chest. This is probably not normal.

“Sooo, does anyone know what we’re supposed to actually be doing for this secret Valentine thing?” Hagakure’s voice drew his attention back to her group.

“Yeah, they didn’t really give us a whole lot of instructions,” Kaminari agreed, “What’s up with that?”

“As many things will be when we are Pro Heros,” Iida cut into the conversation from the other side of the room, “This assignment is up to our interpretation and discretion. It is yet another test of our initiative and resourcefulness.”

Ashido pouted at this response. “Boo, it sounds less fun when you put it that way.”

Todoroki debated asking for more specific advice, but he wasn’t sure how to do so without sounding foolish. Hot chocolate will make this better, he thought to himself… Probably. As he headed further to the kitchen, Todoroki heard Ashido call his name.

“Todoroki! Who do you have for the exchange? You could probably do something super duper fancy and romantic, huh?”

“Uh.” He responded eloquently.

“Don’t push him!” Uraraka scolded, as Iida simultaneously cried out a reminder of the platonic nature of the exchange.

Then the microwave timer went off and suddenly Midoriya was standing by his side, retrieving a steaming bowl of katsudon. Todoroki stared at Midoriya’s hands as the boy hummed to himself, pouring a sweet-smelling sauce over his food and smiling all the while. They were warped and scarred, but steady and soft-looking? That can’t be right.

“Would you like to come sit with us, Todoroki?”

Todoroki startled, meeting Midoriya’s eyes. “I’m--” he waved his hand towards the empty mug he had retrieved from the cabinets, “... Hot chocolate. Sure.”

Midoriya gave a nervous laugh, scratching lightly at his face with his utterly captivating hands and Todoroki is vaguely aware that Midoriya is saying something, and he’s trying to pull himself back to reality, but he’s a little preoccupied at the moment and--

“T-T-Todoroki? What are you doing?”

Ah, yes. Midoriya’s hand is comfortably soft, despite all the scar tissue. Now what can Todoroki do to explain why he’s holding it between both of his own hands?

“Boom.” A small plume of fire puffed out from Todoroki’s palm, held in such a way that it almost looked like it was coming from Midoriya’s, “You’re Bakugou.”

There was a stretch of silence.

“WHAT?” A sudden wave of laughter came from the common room, “Todoroki, what was that?!”

Turning to look, Todoroki saw his classmates in various states of disarray. Ashido and Kaminari had ended up on the floor, while Hagakure flailed about from her seat, all in fits of uncontrollable laughter. From their own corner, Uraraka looked on with a mixture of concern and barely-concealed mirth, while Iida appeared to be going through every stage of grief simultaneously.

But back to the matter at hand. Todoroki glanced back to Midoriya, who bared an uncanny resemblance to a tomato at the current moment. In the back of his mind, he vaguely registered the smell of something burning.

“I think… I might go back to my room, actually. I have a bit of work I need to do,” Todoroki muttered. Hot chocolate be damned.

“Oh! That’s totally okay,” Midoriya stammered out, “But, um. You’re kind of. On fire a little bit.”

The shrieking in the common room was revitalised as Todoroki quickly extinguished his hair, absolutely mortified. That hadn’t happened since the time Fuyumi caught him running through the living room, pretending to be All Might’s sidekick when he was five. And that now seemed to pale in comparison.

“Thanks. I’ll… see you later.”

...

“Todoroki?”

“Yes?”

“Can I have my hands back?”

Todoroki left the common room with a speed that would have made Ingenium retire in shame. Back in his room, both hot chocolate-less and no further along with his valentine, he laid down on his futon with a silent huff. Sleeping his troubles away didn't sound too bad…

There was a sudden, timid knocking on his door. Inwardly bemoaning his existence, Todoroki pulled himself together and opened the door to find--

“Ah! Hi, Todoroki!” Uraraka beamed up at him with an angelic smile. But not quite as angelic as Midoriya-- He shook his head to clear his thoughts.

Undeterred by his silence, Uraraka continued on, “So I couldn't help but notice that you seem kind of unsure about your valentine.”

“Well, I don't really know what to say…”

“Mmhm.” Uraraka studied his face with bright eyes. “Do you have Deku?”

Todoroki took a bit of pride in preventing himself from combusting again. He nodded curtly.

“Oohh, I see…” Uraraka had a somewhat unnerving look on her face… Mischievous? Knowing? What could she know? “Is it alright if I come inside?”

Once reseated on the futon, with Uraraka reclining in his swivelling desk chair, Todoroki felt himself beginning to sweat.

“So, Todoroki,” Uraraka clasped her hands together in a very business-like manner, “What are your intentions with Deku?”

He blinked. “To… surpass him as a hero?”

Uraraka stared at him. “Okay, but maybe, like, more personally?”

Twice. “To give him a good Valentine?”

“Okay, and you want to do that because…?”

And again. “Because… That’s the assignment?”

“Oh, my God, you’re even worse than I was! Where’s your fighting spirit?!” Uraraka slammed her hands down on the chair armrests, “ Listen, Todoroki. I’ve been where you are. Deku would never let anything come between him and his friends. Now’s your opportunity! You have nothing to lose but your chains!”

The confusion in the air had a somewhat salty taste.

“Are we talking about the same thing?”

Todoroki felt his skin crawl as Uraraka once again stared through him.

“You like him,” she stated, matter-of-factly.

“I… Like him.”

“Yes.”

Todoroki contemplated this for a minute. Oh. Oh no.

“You’d do anything for him, wouldn’t you?”

His head seemed to nod on its own.

“And you have so many things to say that you can’t even begin to write anything down?”

He looked towards his noticeably blank notebook and nodded.

Uraraka hummed, satisfied. “Sounds like love to me.”

Hm. That surely sounded interesting, but Todoroki was unfortunately too busy experiencing a total emotional reboot to respond.

Uraraka stood up. “I’ll leave you to think about it. But really, you’ll feel a lot better once you get it out there. I’ll see you later!”

Todoroki remained firmly planted on his futon as Uraraka let herself out.

Sounds like love to me. The words rattled around in his head like the world’s most confused baby angel. Is this what love is? Not being able to look at one of your best and only friends in the face without spontaneously combusting? When did this start? How do you make it go away? What would Midoriya do?

Memories of Midoriya murmuring to himself while furiously writing flooded his mind. Smiling, hard-working, genuine, beautiful Midoriya. Todoroki could feel his heart melting. Midoriya would never do anything to hurt him. Maybe Uraraka was right. Maybe he should be straightforward.

With a new sense of resolve, Todoroki picked up his pen. He was ready for the class Valentine's exchange.

I think I love you.

#tddkvalentine2019 #this is my first time doing something like this i hope its okay #tododeku #yeet yeet

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classyfoxdestiny · 3 years

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Nik Dodani, Sujata Day, Kiran Deol on the evolving space for Indian-origin creatives in western cinema

Where once, being brown brought with it stereotypes and typecasting, now a new generation of creatives of Indian origin, including Sujata Day, Kiran Deol, Nik Dodani and Avantika Vandanapu, is effecting change in western cinema — with diaspora narratives and creating their own support structures

“The producers actually asked if I’m ‘100% Indian’,” recalls Sujata Day about an unfortunate audition experience for a major sitcom in 2018. The actor-filmmaker, along with four other Indian-American actors, was vying for the role of the fiancée of one of the show’s lead characters. “In response to the producers’ query as to whether or not I was ‘100% Indian’, I said, ‘My parents are from Kolkata and I speak fluent Bengali, so yes.’ But the fact that I had to defend my Indianness was very strange. I know I didn’t book the role because I clearly didn’t look ‘Indian enough’ to them.”

Also Read | Get ‘First Day First Show’, our weekly newsletter from the world of cinema, in your inbox. You can subscribe for free here

Day, during a video call with The Hindu Weekend, shakes her head as she talks about the then-and-now of South Asian representation in western film spaces. But the 37-year-old is not alone in her views of a culturally-stagnant cinema industry in the West. The industry boxed its South Asian actors and filmmakers into what they deemed acceptable. But in the past five years, creatives have continually expressed their dissent, announcing on social media, as well as during roundtables, protests and even stand-up routines that they are tired of the ‘identikit Indian’ roles.

More South Asian-origin actors, such as Dev Patel, Janina Gavankar, Rahul Kohli, Geraldine Viswanathan, Utkarsh Ambudkar, Kuhoo Verma, and Anya Chalotra, are shunning reductive roles in favour of fully-rounded characters that had long been reserved for only a few actors of colour.

For example, in Hulu’s Plan B, Kuhoo Verma’s portrayal as a sexually-curious teen who has to come to terms with the reproductive rights in her conservative state of South Dakota as she tries to purchase Plan B (morning-after pill) resonated with many women of colour. Prior to this, Indian girls were the one-dimensional personification of purity culture across western cinema. More recently, Dev Patel’s casting as the historically assumed-white Sir Gawain in The Green Knight turned the tables on the scope of open ethnicities.

Still of Sunny (Kuhoo Verma) and Lupe (Natalie Moroles) in Hulu comedy-drama ‘Plan B’ (2021) | Photo Credit: Hulu

The identity struggle is never easily reconciled. Take that episode of The Mindy Project where Mindy (Mindy Kaling) goes on a date with the ‘ideal Indian man’ but he, unimpressed by her lack of knowledge about India, says he “could never date a coconut — brown on the outside, white on the inside”. This lights a flare to the tough dichotomy the diaspora tackles every day while forging their identity; embracing their surrounding culture and holding onto tradition.

Some address this by not taking on the ‘Indian-origin’ tag. Verma identifies as a woman of colour, as her family moved to the United States from South India but, without dismissing her heritage entirely, prefers to be known as ‘just an actor’ in the industry.

Nik Dodani attends The World Premiere of ‘Dear Evan Hansen’ presented by Universal Pictures at the Opening Night of The Toronto International Film Festival on September 09, 2021 in Toronto, Ontario. | Photo Credit: RYAN EMBERLEY/AFP

Meanwhile, actors and filmmakers including Nik Dodani, Day and Kiran Deol are also taking matters into their own hands — by either creating their own support structures for South Asian actors or producing their own films and taking them to international stages such as the Toronto International Film Festival (TIFF).

Festivals matter

Festivals have become a cornerstone for Indian filmmakers and actors. It is not just a networking opportunity but a platform for visibility. In mid-September, actor-filmmaker Deol’s short I Would Never premiered at TIFF as well as Dodani’s Dear Evan Hansen.

“Massive festivals like TIFF really help to legitimise a filmmaker and their support really helps to bring up international talent,” says Deol, who has received support from Sundance and TIFF in the past to get her short film made. “I hope that these festivals continue to be as inclusive. Big film festivals like Cannes and TIFF have been some of the places where I’ve discovered some of my favourite filmmakers, so it’s no small thing.”

Read More | Kiran Deol on ‘I Would Never’, a film for the #MeToo ages

A still from the 2020 short film ‘I Would Never’ starring and directed by Kiran Deol | Photo Credit: Kiran Deol

Meanwhile, Dodani, a deep admirer of Day’s “hustle” through the contentious industry, shares the festival circuit this year certainly feels different as well. “We are seeing more incredible filmmakers of colour; it’s a reflection of the power of our communities to get our stuff made and insert them into the conversation. The indie world has always been exciting because that’s where the films that push the boundaries exist, so we’re finally starting to see the financing start to follow the Black and Brown creators.”

Creating a community

The changes, however, are slow and not simultaneous; some generations of creatives will reap the rewards of those who have toiled for years in the murky industry. Things now could be looking up for casting as well as attention to details in South Asian roles and script. Avantika Vandanapu plays a young Gujarati high school student who is an ace coder and who, through a happenstance crush on a boy at school, discovers and nurtures talent for DJing.

Avantika Vandanapu as Rhea, in Disney Channel movie ‘Spin’ | Photo Credit: Kharen Hill / Disney

Vandanapu’s Telugu roots have seen her appear in 2015’s Brahmotsavam alongside Mahesh Babu and 2016’s Premam with Naga Chaitanya and Shruti Haasan.

The 16-year-old says her auditioning process for Spin was a far cry from the horror stories minority actors have experienced, and she owes it all to their resistance and perseverance over the years. “From the moment I saw the script, I was so glad Disney had not generalised the Indian ethnicity, but had narrowed on the specificities of the Gujarati culture,” she says. “Seeing an Indian girl written as someone who is comfortable in her identity rather than having an identity crisis was exciting.”

Of course, Vandanapu understands identity conflicts are a prevalent matter, but she hopes it is not the only narrative for people of the Indian diaspora.

Speaking on what catalysed change across the industry changing, he says, “This industry is white-dominated, and the Black and Latinx communities in Hollywood have organised and supported each other in ways that are so inspiring; we hope to replicate that. The conversation around inclusion and equity has been changing for a few years now, but has accelerated immensely after last summer. The Black Lives Movement is directly responsible for that; every community of colour in the US is benefiting from the work the activists have done over the years. The real test, if the industry starts walking the walk, is in the next five to ten years.”

Still of Evan (Ben Platt) and Jared (Nik Dodani) in Universal Pictures’ ‘Dear Evan Hansen’ (2021) | Photo Credit: Universal Pictures

On their own terms

One of the happy results of this movement is The Salon, co-founded in 2019 by Atypical and Escape Room actor Dodani, along with Bash Naran and Vinny Chhibber. “It started out as an informal way for us to connect,” says the 27-year-old. “Vinny, Bash and I were chatting and we found we all knew different folks in the South Asian film industry but not everyone knew everyone. For the first year, our goal was to just get people in the same room, to have the most basic form of community. Our vision is to help the next generation of South Asian talent.”

Read More | Nik Dodani on his cultural identity, and working on ‘Escape Room’ and ‘Atypical’

Day is not blind to the industry’s flaws either, one of the most prominent being its unwillingness to change. “Green-lighters in the film community were, and still are, slow, but now we are giving ourselves the green light,” she says.

So, the filmmaker pooled her money and directed, wrote and starred in comedy-drama Definition Please, which has been a favourite on the festival circuit in the US, having won ‘Outstanding Directorial Debut for a Feature Film’ at the South Asian Film Festival in America, and Best Narrative Feature at CAAMFest.

Told through the Indian female gaze, the indie film follows an Indian-origin woman who is living in the past glory of her spelling bee champion days while trying to move forward and dealing with her grief-stricken family. The film, which also stars Ritesh Rajan, succinctly explores themes of female friendships, familial pressures, mental health, and toxic masculinity in the Indian community.

Read More | Sujata Day on pushing through Hollywood bureaucracy and making ‘Definition Please’

Day was inspired by her long-time Awkward Black Girl and Insecure collaborator Issa Rae, explaining, “Very few people know of her first two web series; everyone thinks Awkward Black Girl was her first. But she never gave up and never let the system stop her from creating. And neither should we!”

The OTT problem

Day is currently in chats with streamers and distributors worldwide for Definition Please, and she confides with a laugh, “They feel that if they have Bollywood movies on their platform, they don’t need diaspora films. They think we are being represented already, which is wild to me because as much as I love the stars, that’s not our lives in the diaspora. We have very specific and interesting stories to tell.

During Asian-American Heritage Month (May) in the US, she noticed that streaming companies were putting out lists of Asian content on special servers and many were subtitled and foreign, but not a lot were content out of the US (or the UK). “They are handling Asian inclusion in a global sense that doesn’t make sense to folks in the diaspora. We should be able to hold them accountable and we bring these grievances up in meetings and they’re hearing us. Hopefully, they make some changes to shift their thinking.”

Money talks

Having travelled to many film festivals when it came out in 2017, Day’s eight-minute short, Cowboy and Indian (a drama-thriller about a Bengali bride who collapses in the street and is rescued by a cowboy) is now being made into a television series — made possible by a South Asian film executive reaching out to her. “It absolutely matters who’s also buying stories for production. We need representation there too!” she says.

Agreeing with her, actor-filmmaker Deol elaborates, “I feel like funding for filmmakers is always the 21-million-dollar question. This is true for folks of any colour trying to get their projects made.”

A growing space that is increasingly getting more funding is book-to-screen adaptations. Diksha Basu’s Destination Wedding, which was shortlisted for the Wodehouse Prize, is currently being adapted to a series. Meanwhile, Rakesh Satyal and Dodani have long been working on an adaptation of Satyal’s 2009 bestseller Blue Boy, which tells the story of a young gay Indian-American boy who is bullied through his school years. Dodani, who found the book to be a “full body experience” when he first read it, turns screenwriter for the film. “We’re trying to find the right home and financing for it. We want to make sure it’s done right and gets the right budget and talent,” he says.

So, while many creatives are more than happy to bid goodbye to ‘brownface’, casting appropriation and tokenism — as Deol sees it, this farewell is rather fresh — there is still a lot to look forward to and to demand in terms of inclusion.

“The changes showcase for me both how far we have come, and how far we have to go,” Deol sums up, adding, “I’d love to get to a place in representation where we have the room to tell extremely specific stories that don’t have to speak for the entire diaspora because there is enough variety in the shows and movies that get airtime, that there is a multiplicity of voices and points of view to choose from.”

It will be a frustrating wait for this level of change and some unfortunate barriers are inevitable. But as more creatives of colour vocalise their needs and rights, and also hold studios and casting agencies accountable, things are bound to change.

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