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queenshelby · 3 years

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The Singer – Part Four

Pairing: Cillian Murphy x Reader

Words: 2,483

Warning: Smut, Semi Public Sex

***The Interview***

It’s been three weeks since Kurt’s stunt and things between you and Cillian couldn’t have been better. Whilst you struggled with comments from the press and the public initially, calling you a home wrecker and making an issue out of the age gap between you, it brought you and Cillian closer together and he even defended your relationship in a recent interview.

Whilst you still hadn’t talked about what you were and where you were at, it was clear to you that you were officially dating. But no one really took you seriously. You were seen as Cillian’s midlife crisis.

Cillian cared very little about the press, ignoring the bad rumours and assuring you that none of this mattered.

He was right. It didn’t matter. People were still buying your new album which, under contract, was unfortunately being produced by Kurt. Under the same contract, you were also obliged to engage in interviews and promotional events.

Whilst you were very eager to simply break your contract, Cillian reasoned with you. He was sensible and you were impulsive.

He assured you that breaking the contract would simply mean more bad press and you engaged Cillian’s agent to help you with media engagements. He seemed to take a sensible approach and asked interviewers to not ask you any personal questions.

But this didn’t always work out, especially when you had an interview scheduled with a London based program whose interviewer just loved to get under your skin.

This interviewer managed to ask you about your alleged affair by referring to some lyrics of one of your songs.

‘Look, my private life is private and I will not discuss my relationship on this show. But what I can assure you is that there was no affair. We both had separated from our partners when we got involved with each other. The song you are referring to was written over a year ago and doesn’t reflect any of my personal experiences. It was written for a movie and just like the movie, it’s fictional’ you explained in response of the interviewer’s intrusive question.

‘There are many other songs you’ve written which come to mind indicating that you do in fact prefer to be with men who are older than you. These songs were all well received but your relationship is not. How do you feel about this?’ the interviewer than asked, not giving up.

‘Again, the songs are fictional, but my private life is not. That might be the issue. It’s all good if it’s fictional but as soon as it’s not, people get curious. Perhaps there is a lack of understanding surrounding relationships that aren’t the norm. Maybe people’s perceptions will change over time. I certainly hope so. After all, there are so many relationships in the history of the world where people have large age gaps and I believe that every adult has the right to date whoever they want without being criticised about it’ you explained before taking a short pause. ‘Anyway, I would prefer if we could chat about my music now rather than my private life. That’s why I am here’ you said bluntly.

The interviewer finally backed off after your request and your agent had already called in, putting the producers of the show into their place.

Cillian had also listened to the interview and texted you, making sure that you were alright and telling you that he thought that your response was well placed.

Kurt, on the other hand, was once again annoyed with you and sent you a rude text message shortly after the interview and he couldn’t help but try to get under your and Cillian’s skin.

***The Function***

Later that day, the studio was hosting a release party to celebrate your new album which Kurt had organised at the theatre complex function rooms.

It was a beautiful venue but you knew that Kurt would be attending which could end up being a complete nightmare.

This was also the first official event which you were attending together with Cillian and you raised the question whether this meant that you are his girlfriend now.

‘I suppose….I don’t know…do you want me to be your boyfriend?’ Cillian chuckled as he buttoned up his shirt.

‘I would love you to be my boyfriend’ you giggled before giving him a kiss and asking him to zip up your dress.

‘Well, I suppose I am officially off the market again then’ Cillian chuckled before returning the kiss, which was also when you heard the taxi pull up in front of his house.

Your agent has taken the liberty to invite several producers to the party, much to the dislike of Kurt. Kurt was even more irritated when you finally arrived, together with Cillian who was holding your hand.

‘Y/N…Cillian’ Kurt said greeting you both, wanting to shake Cillian’s hand but all he got in return was Cillian raising his eyebrow.

‘Kurt’ you responded with an almost evil grin on your face and just before Kurt leaned in and kissed you on the cheek.

You didn’t stay to talk to him and it wasn’t long until you were inundated by other producers, wanting to talk to you.

‘I told you, she can be a real slut’ Kurt said to Cillian as Cillian gave you some space to mingle, unbothered by the attention you were receiving by several of the producers your agent had invited.

‘And you wonder why she left you?’ Cillian chuckled, thinking that Kurt is an absolute douche.

‘You know she sucked my cock just before I signed her’ Kurt said with a smug face and it was obvious to Cillian that he had been taking some coke again.

‘Nice talk’ Cillian laughed before walking away, getting himself a drink and talking to some of the other artists.

After about thirty minutes you sought out Cillian who was standing next to the buffet talking to two female artists and you decided to give him the same space he had given you. Jealousy wasn’t your thing and you knew there was no need for it.

Eventually, however, you received a text message from him which said nothing but ‘HELP’, making you giggle. He obviously didn’t enjoy himself talking to these women and was being polite, hanging out with them and engaging into some small talk.

Just as you were going to get Cillian away, Kurt approached you.

‘Found a new producer yet?’ he asked and you responded with a quick ‘maybe’.

‘You won’t get the same sweet deal you had with me Love…’ Kurt went on to say, causing you to laugh.

‘You remember that night in the record studio together?’ he asked sheepishly.

‘Yes, I do. You lasted a total of ten minutes which was quite something Kurt’ you chuckled.

‘And I bet these were the best ten minutes of your life’ Kurt said just as Cillian approached you, listening into the conversation and taking in a deep breath.

‘Would you please give us a minute’ Cillian asked somewhat angrily.

‘I will…because my date is here’ Kurt said sheepishly.

‘What, did you hire an escort?’ Cillian asked, looking over to the woman Kurt pointed at.

‘She’s a model’ Kurt explained, not realising that Cillian was being sarcastic.

‘Of course she is’ Cillian chuckled before saying bye to him and this is when you broke out laughing.

‘He’s got the IQ of an ape’ Cillian huffed as Kurt walked away, shaking his head in disbelieve.

‘You are being so polite sweetheart’ you giggled.

‘I am sorry, but he just makes me fucking angry. You know what he said earlier?’ Cillian said but, before he could tell you, you crashed his lips onto yours.

‘Are you angry?’ you asked as your lips drifted apart.

‘At Kurt? Yes’ Cillian said.

‘Good. Come with me’ you winked as you pulled him away from the function.

Without questions, Cillian followed you upstairs where the offices of the producers were located.

‘I saw you talking to these women earlier…tell me about them’ you said as you led Cillian towards the back of the office area.

‘Sorry Y/N, I don’t know much about them, they just…’ Cillian said but, before he could finish his sentence, you interrupted him with a passionate kiss in front of the door leading to Kurt’s office.

‘Don’t apologise, just tell me. I think there is nothing more sexy than seeing other women want what I have’ you smirked, your hand moving to his crotch.

‘Seriously?’ Cillian asked, causing you to nod and bite your lips suggestively.

‘Well, unlike you, I don’t like seeing other men want what is mine now, especially not this smug bastard’ Cillian said before pressing his lips back onto yours for an urgent kiss.

‘Please tell me this makes you angry’ you giggled as you pulled a white card out of your handbag.

‘Of course it makes me angry and, if I wouldn’t be so fucking complacent, I would punch him’ Cillian chuckled just as he watched you swipe the card through the black machine on Kurt’s office door before putting in the PIN on the security keyboard.

‘I’ve got a better idea’ you smirked as you pulled Cillian into Kurt’s office.

‘What are you doing?’ Cillian asked and all you did in response was looking over to Kurt’s study desk.

Cillian’s eyes lid up and, before you knew it, you felt your lower back pushed against the desk while Cillian lifted up your dress and pushed aside your panties.

‘You are so wet’ Cillian growled with excitement as, without warning, he pushed two of his fingers deep inside you, causing you to moan loudly. He was so aroused and rock hard, ready to take you, but he wanted to play with you first.

‘You do this to me Cillian’ you moaned, throwing your head back and taking in the sensation of his fingers deep inside your tight entrance.

Cillian continued to slide his fingers back and forth within your wet folds, hearing you moan and gasp at the sensation. He then slipped his middle finger inside you. You cried in pleasure. He loved pleasing you like this and started to thrust his fingers inside you faster and faster, watching your body pulsate with his movements.

He hit your g-spot over and over again and you knew what this meant. He was doing this on purpose, making sure to mark what is his and, in the process of it, possibly also mark the carpet in Kurt’s office if he kept going like this.

‘Oh god Cillian’ you cried, your eyes closed as he was manoeuvring his fingers tilted up to get the pleasure spot over and over again until your legs began to shake.

‘You like that?’ Cillian asked softly as he continued thrusting his finger into you and you barely managed to nod.

You fluttered your eyes open and looked at him as he confidently smiled at you. His unabashed confidence was turning you on even more. He knew that no one else ever made you cum like this.

As he continued to finger you, sending waves of pleasure over your body, you could feel yourself getting close to your orgasm and just as you were about to scream in pleasure, Cillian pushed his other hand over your mouth firmly as you came over his fingers, a wet puddle immediately forming on the office floor.

While your head was still spinning and without allowing you to come down from your high, Cillian spun you around and pushed you down against the cold oak table.

He certainly was angry and you loved every moment of it.

With one swift movement, he lifted up your dress again and pushed down your panties.

‘Spread your legs’ he instructed and you obliged, hearing his belt unbuckle and the zipper of his jeans opening.

‘That’s good’ he said as he was positioning his cock directly at your entrance, ready to push in.

Your heart started pounding with excitement and with one hard and powerful thrust and one loud groan Cillian buried himself deep inside you.

You shrieked at the sensation as he immediately and forcefully bottomed out inside of you. It took your breath away and he gave you no chance to adjust as he began to thrust in and out of you.

‘You are all mine’ Cillian moaned as he hit your cervix with the tip of his cock for what felt like the hundred’s time.

‘I am yours Cillian, oh god yes, fuck me hard’ you moaned.

Cillian grunted with each thrust, getting more aroused by the second as he was taking you over Kurt’s desk.

Each thrust was igniting a fire in you. It felt so good and you cried at the inexplicable pleasure consuming you, calling Cillian’s name multiple times.

Cillian was grabbing your thighs, prying them apart, and opening you up to him even more. He thrusted deeper and harder into you in this position.

You cried, your nails digging into the wood of Kurt’s desk while your pussy clapped against Cillian with each thrust.

‘I am coming Cillian, fuck’ you moaned and just, like that, another loud moan escaped you and your orgasm washed over you, your legs quivering and shaking as a result.

Cillian exhaled and groaned loudly, leaning in and filling you with his warm cum at the same time. You felt yourself fill up with his seed, exhaling at the sensation. He stayed inside you for a minute, then slowly pulled out. He watched his cum flow out of your opening ecstatically, running down your thighs.

You then turned around and grabbed one of the tissues from Kurt’s desk, wiping your legs clean before throwing the tissue into the bin.

His desk was covered with some of your sweat and juiced and Cillian looked at your flushed, glistening, beautiful face as you were still panting and kissed you softly on the lips.

‘Should we clean this up?’ Cillian chuckled as he closed up his belt.

‘Oh god no’ you smirked before collecting a good amount of Cillian’s cum that had pooled inside you and then licking your finger suggestively before pulling your panties back up.

‘Let’s get back to the party and say goodbye, shall we?’ you giggled.

Cillian followed you and the first person you chose to say goodbye to was Kurt, which surprised Cillian.

Giving Kurt a big kiss on his cheek, you wished him a pleasant evening and Cillian’s chin dropped immediately.

He couldn’t help it but laugh, shake Kurt’s hand, with the same hand that had pleasured you just minutes earlier, and wish him a pleasant night also.

‘You are so fucking bad, you know that?’ Cillian laughed later in the taxi on your way home.

‘He deserved it’ you giggled.

Tag List (Cillian):

@lilymurphy03 @deefigs @theflamecrystal @desperate-and-broken @weepingstudentfishhorse @livinginfantaxy @rosey1981 @atomicsoulcollecto @peakyboyslover @nerdy4itall @elenavampire21 @hanster1998 @mariapaiva13 @fairypitou @harry-is-my-sunflower @zozeebo @lauren-raines-x @kasaikawa @littlewierdalien @sad-huffle-nerd @theflamecrystal @peakymalfoyscullymulder @themissthang @0ghostwriter0 @stylescanbeatmyback @1-800-peakyblinders @datewithgianni @momoneymolife @ntmynouis @lilymurphy03 @mcntsee@cloudofdisney @missymurphy1985 @peakymalfoyscullymulder @otterly-fey janelongxox @uchihacumdump

Cannot Tag (please check your settings):

@l0tsofpennies @margoo0 @trolleydolly @avonlady1985 @chrisevanshoeee @daydreamingnymph @fookingshelby @chocolatehalo

#cillian murphy #cillian murphy smut #cillian murphy x reader #cillian murphy imagine

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chillyravenart · 5 years

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Tagged by @naomimakesart 💜 Thanks for the tag! This was so much fun!!!

Rules: Answer the 10 questions below. Then make up 10 of your own for the next person to answer and tag people.

1. What are your top 3 favorite houses in Westeros?

These will come as NO surprise: House Targaryen, Stark, Velaryon.

2. If you could live during one era in GRRM’s universe what era would it be? (Age of Heroes, Valyrian Empire, Conquest of Westeros, Dance of Dragons etc.)

Argh this one is so tough!!! Knowing I’d most likely be a poor, dumb peasant, all these great eras would just spell misfortune for me, but I’d love to see the Valyrian Freehold at the zenith of its glory with mystery, magic and dragons galore! That being said, I’d have loved to have been around when Aegon, Visenya and Rhaenys were conquering Westeros, that would have been quite something to witness (plus I could fangirl madly all over them and Visenya would have to feed me to Vhagar- no regrets though)

3. What is your favorite episode/scene from the Game of Thrones 📺 Series?

Lordy. There are so many amazing scenes and episodes, but I’ll never get over The Battle of the Bastards. Special mentions go to Jon and Sansa’s reunion hug and Jon and Dany rocking the boat!

4. What ruler do you think brought about the most change in Westeros, be it good or bad?

I’m going to say Aerys II, because that old git ended his own dynasty the mad bastard. Not just that, his beautiful, marvellous, sexy, gorgeous, melancholy, bookish, harp playing, sad song singing, beautiful son gave us Jon Snow and his daughter Daenerys Stormborn, of the House Targaryen, the First of Her Name, The Unburnt, Queen of the Andals, the Rhoynar and the First Men, Queen of Meereen, Khaleesi of the Great Grass Sea, Protector of the Realm, Lady Regent of the Seven Kingdoms, Breaker of Chains and Mother of Dragons is one of the most brilliant and essential characters in ASOIAF.

5. If you could ask GRRM one question what would it be?

Hi George, huge fan, listen mate, when are we getting The Winds of Winter?

6. If GRRM could write a short novel/series about one other family or historical time (besides the Targaryens) in his universe what would you want it to be about? (My choice would be Nymeria’s Journey!)

Hey not fair! Most likely House Stark or the Valyrian Freehold (tee hee 😉)

7. What was your first introduction to ASOIAF/Game of Thrones? Did someone tell you about it, did you 👀 it online or did you come across it at a store/shop?

My bestfriend told me about GoT when it came out in 2011, so I was lucky enough to get on the train early on. I started the books right after!

8. What’s one thing that bothers you about GRRM’s series?

Dying in childbed. A bit overused George. I know there’s plenty to criticise, but I believe it’s George’s prerogative to write whatever he wants so I won’t get into it too much.

9. What’s one thing you unabashedly 💛 about GRRM’s series?

Those sexy motherfucking Targaryens. I love ASOIAF with every fibre of my being, I love that George has given us such a complex and intricate story with so many colourful characters, the good, the bad, the ugly and everything in between. It’s a privilege and an honour.

10. What are your feelings about the prequel series in development at HBO right now for the Long Night?

My questions (sorry if they’re repetitive):

1. Which Westerosi castle would you like to live in?

2. Would you rather be a rich and influential lord, born into wealth and privilege or would you rather be someone who wields power from the sidelines, like Littlefinger?

3. Pick one: platinum hair or purple eyes?

4. Based on a tag I made once, based on your physical features, which part of Westeros/which house do you belong to?

5. Who do you think will actually defeat the Night King?

6. Three people you think will die in season 8?

7. What would you name your dragon/direwolf?

8. How must Ser Pounce be avenged?

9. Whose POV chapters are your favourite? (If you haven’t read the books... skip this and hang your head in shame lol jk jk jk)

10. Your favourite ASOIAF/GOT antagonist?

I tag:

@naomimakesart @filhadoboto @goodqueenalys @adecila @thousandeyesand-one @agameoftragedy @ryswell @daenerysjon @oberynmartell @janiedean @thevagabondthoughts @sebschubbydumpling @madaboutasoiaf @callmedewitt @ofwickedlight @mzyraj @wightjon @visenyastargaryen @ladyofdragonstone @valoisqueens @tomakeitbeautifultolive @toaquiprashippar @zeetao-hime @nooneeverlookedforagirl and anyone else who sees this, yes you, you there trying to scroll past this as fast as possible, come back here and answer my questions!!! Feel free to ignore too though, it’s ok :)

#asoiaf #tag #game of thrones

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songketalliance · 6 years

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Four Common Sexist Tropes in Malay Dramas

“The problem with Malay dramas and its portrayal of gender dynamics is that people continue to watch them and enjoy these shows. It injects the idea that bad behaviour from men are acceptable because, and women have to be the one to change in order to make relationships work.”

As Told by Lina Osman

Malay dramas is a popular form entertainment in Brunei. This popularity, however, comes with many consequences and questions. Malay dramas are extremely sexist in its content:

1. Narrow view of womanhood.

The female leads in Malay dramas—known as the ‘protagonist’—are often portrayed within one realm of personality: Muslimah. She is kind, soft-spoken, pious has a little bit of feistiness in her—just a wee bit—and is always the one to step back during arguments. These are good traits, compared to the other female lead (the “antagonist”), who is materialistic with luxurious brands occupying her flesh, thick make-up on her face, sexy in the way she dresses, and is regularly scheming to court the male lead. She has the personality range of a teacup: constantly mean and horrible.

Drama writers portraying women in this polarising way is harmful because it encourages watchers to assume that women are either one or the other. These women are pitted against each other, when honestly, the best route for them would be to team up and just leave the toxic man they are fighting over. No competition exists between men, according to Malay dramas, therefore enforcing the idea that women are constantly at war with one another. Which is not true, obvs.

Moreover, women must be seen as pure in order for her to be taken seriously. She must take care of the house and children; she cleans up and cook, even though she has a flight to catch in ten minutes time or else the man would cease to love her (TRUE STORY!) She must be kind-hearted and follow the man’s lead. The expectation of what it means to be a woman must not be tainted through the real everyday emotion real women face: frustration and anger, fatigue and sadness, joy and laughter. Men, meanwhile, are only expected to work and bring home the money while also being allowed to laugh and have fun. Women in Malay dramas Do. Not. Laugh.

For boring creatures, people expect so much from women. Why are the women never the doctors? Why can’t we have Suri Hati Miss Pilot instead?

2. Continuous Encouragement of Toxic Masculinity

On the other side of the gender spectrum is the male lead, often portrayed as the unproblematic problematic. He is misogynistic, cocky, alpha male, and self-centred. Everything he says is right, even when he is abusing the women in his life. This man believes women—and any other man—are beneath them, by shaming and controlling them within and outside the realm of the households. They practise open relationships without the consent of their partners, and are allowed to fool around with women without consequences. They are jealous of their partner for talking to other men, even if it’s a ‘hi’.

Despite all these problems, they are depicted as the ideal man women should strive towards. This normalises misogynistic characteristics towards those who watches these shows, using excuses of “boys will be boys” or “that’s how men are” when it comes to domestic abuses. It takes away women’s agency by prioritising the strength of a man’s words. Men should not be allowed to get away with so much shit, whether it’s in dramas or outside.

3. Rape Victims

Rape culture is dominant in Malay dramas, and is often portrayed in a blasé way, so much so that when a victim comes on screen, we are not to sympathise with her.

She is always at fault FOR BEING RAPED, because the way she dressed BROUGHT ABOUT RAPE, and is told that her RAPE IS DESERVED. The reality of rape is never the woman’s fault, regardless of how she is dressed. When such forceful action comes from men, it is the man’s fault for invading a woman’s body without her approval. The depiction of a raped woman is also often done without sympathy: she is abandoned by her family, thrown out of the house, and gossiped about. The men, meanwhile, are not brought to justice and allowed to roam freely as if he can separate his brain from his dick.

Rape is often portrayed as a stepping stone in a woman’s life in Malay dramas—a tool that is seen as a gift from Allah for her to jump over in the hoop of her difficult life. If you want to portray rape, do it properly or with the mind to change rape culture in our already patriarchal society. Bring the man to justice, emphasise the necessity for support from family and friends, and stop allowing men to behave as such! Using it as a plotline which encourages sexism should have no space in Malay culture.

4. Abusive behaviour.

Abusive behaviour should not be tolerated, but is prominent in Malay dramas that it isnormalised for people to behave as such. The abusive behaviour does not only come from men, but also from the mother who is considered evil. The unsurprising thing is the gender dynamics in the portrayal of this behaviour: regardless of how intense the abuse is, the mother is always the one who’d get chastised for her anger—for not being sabar. On the other hand, the abusive man, whether it is a spouse to the protagonist or the father, are not criticised or questioned.

Protagonists are expected to take the beating of these abuses, because remember! If she isn’t calm and redha with her situation, she isn’t A Woman! Malay dramas portray domestic violence as a norm as opposed to fighting against it; something to be tolerated because there is a pot of gold at the end of the rainbow—even without couple counselling or psychological therapy. It assumes that everything works out in the end, but the reality is that I hardly ever does.

The problem with Malay dramas and its portrayal of gender dynamics is that people continue to watch them and enjoy these shows. It injects the idea that bad behaviour from men are acceptable because, and women have to be the one to change in order to make relationships work. Men are allowed to limit their working time following office hours, while women are expected to work around the clock to please her husband. These television shows communicates to the audience that it is okay for men to behave as such, that toxicity in relationships are to be tolerated and endured through. The reality of our life is far more complex than that, and if we allow Malay dramas to rehash these tropes over and over again, it is not progress for the modern Malay.

As Told by Lina Osman

Buy a copy of our zine to get a hold of our full Malay Drama Bingo! Get a copy here!

#brunei #writing #gender and sexuality

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ladyvialana · 6 years

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Fic: Friday Night Revelations - Ch. 5

Final Fantasy XV fic. band!AU, pre-relationship Prompto/Noctis

Chapter Summary: Prompto is having a more difficult time with everything than he’s admitted to Noctis.

Chapter Notes: Prompto POV, pining!Prompto, light angst, fluff

Also on Ao3

Previous Chapter | Next Chapter

Prompto had always been told he was good with his hands. Never in the sexy way (which was a perpetual source of disappointment for him) but quite a few people had admired his dexterity and steadiness from a young age.

He was a deft hand at drawing. He’d never seriously pursued traditional visual arts, but he could sketch well enough when needed and was quite good at drafting. He did enjoy photography as a hobby, though, and his steadiness was beneficial when he needed patience to capture the perfect shot (and not drop the camera when jostled—he learned that expensive lesson very early on).

Prompto had latched onto music with an enthusiasm that startled both him and his parents. They’d put him in lessons to learn the drums since it seemed an easy way to help him burn off all that excessive energy he seemed to produce when he was younger. They soon regretted it when he would play for hours at a time, never tiring of the repetitive practice since every time he hit a skin or cymbol it produced a sound just slightly different each time. He loved that every time he played it was different, whether the beat or rhythm of the song had changed or his mood or actual physical exhaustion was influencing how he played. It was a chaos of his creation that he was allowed to be proud of.

His parents gave him a guitar when they could no longer bear the noise or complaints from their neighbours. He’d loved that just as much as his drum kit and, thankfully for his parents, the neighbours seemed to enjoy it more too.

It wasn’t long after mastering basic chords and developing a repertoire of popular songs that Prompto started teaching himself to sing. He watched endless videos of guitarists online, mimicking how they strummed and positioned their wrists and held themselves so they could both play and project their voice. But, unlike with his other instruments, Prompto was more reluctant to sing when he knew he had an audience—especially during puberty. It wasn’t his voice that people had originally praised him for and Prompto didn’t want to seem egotistical in asking for opinions about it.

(Self-esteem was funny that way. He was allowed to take pride in his talents and skills if other people brought it up first but he hated drawing attention to his body, regardless of who initiated the discussion. If people thought it was okay to criticise his voice, maybe they would think it was okay to criticise other things about him. And Prompto had worked so hard to have the sort of body and face and appearance that passed without scrutiny. Maybe it was better all round if he just didn’t advertise his singing.)

As much as Prompto enjoyed music—and he grew even more attached after meeting Noctis and hearing him play for the first time—he knew that his parents didn’t take it as seriously as he did. Of course they admired his talent and dedication to the art and would praise him in front of their friends, but they never thought of it as a long-term goal for his life. A nice hobby maybe, but nothing he could (or should) make a career out of.

See, when his parents or their friends used to comment about how good he was with his hands, they always used to segue into comments about engineering or science. “I hear they’re doing interesting things with mythril plating over in Longwythe.” “Aeronautics is the way of the future, especially if we want to keep up with Niflheim.” “He’s got the same look as my husband. He’s just accepted the job as head of surgery at Insomnia Central, you know.”

So, when applications for university came around during their third year in high school, Prompto reluctantly put in his choices for courses and decided not to think too much about the future. His parents weren’t wrong about music; it wasn’t like Prompto intended to make a career of it.

Staring at the dismal end-of-semester report in his inbox, Prompto had to reconsider that thought. Because, with these grades, there was no way he was going to be able to pursue a serious career in mechanical engineering. And there wasn’t much else he was good at.

Well, there was his photography, but Noctis hated paparazzi and, in terms of full-time freelance work in Insomnia, that was about all he was going to be able to get with his limited professional portfolio. Not that Prompto was much more of a fan of paps himself, but Noctis had legitimate reason to dislike the entire industry. Prompto was surprised that Noctis posed as willingly and—dare he say—eagerly for Prompto’s impromptu shoots and selfies.

Prompto sighed and threw himself back dramatically on his bed, his laptop teetering precariously near the edge of his mattress before settling against the rumpled sheets shoved at the bottom of the bed. He stared up at the blank ceiling, trying to pay more attention to the hairline cracks in the plaster than the tightness in his chest causing his breathing to quicken.

Sure, he’d passed (barely), but there was no way he could show his parents these results. It was heavily implied that if he couldn’t manage at least a credit average they would refuse to pay his board at the dorm. Sure he had a pretty good part time job with regular hours but, with transport and food costs—not to mention the very expensive textbooks, as well as gear for his music and photography and leisure stuff like games and concert tickets and alcohol (yeah, okay, he could probably cut back a little on some things)—there was no way he could afford even a double room with a shared floor bathroom on campus. And he’d been at university long enough to have heard way too many horror stories about off-campus sharehouseing. (Or just gross stories. Or weird in a way that some people might find sexy but just made Prompto want to gag.)

He’d give it a week before he told them, maybe he could scout out some opportunities in the meantime. His parents might be more amicable and willing to let his disastrous grades slide after they got back from their holiday in Altissia.

(They wouldn’t be.)

Regardless, Prompto couldn’t deal with thinking about it right now—he was barely staving off a panic attack having just glanced at the email.

Honestly, all he really wanted to do right now was get drunk and cry, but he was supposed to meet Noctis for a jam session soon, so that was out. And he’d been aching for weeks to play something with Noctis; it felt like he hadn’t seen his best friend in years.

They’d been too swamped with studying and exams to get any practice in. After the exam period was over, they’d only managed one night of drunken relief before Prompto had to spend nearly every spare hour for two weeks working at the department store at the huge complex a suburb away. His hours increased during the semester break since it coincided with their stocktake. On top of that, a few people had left in recent months and they were short-staffed—hence even longer hours than usual. He’d probably worked in every department in the store at least once by that point. (Toys was his favourite, even if little kids were slobs with no sense of restraint or care for other people around them—some of them were cute and actually put things back in the aisle where they belonged after their temper tantrum failed to influence their parents.)

He felt like that old saying: all work and no play made Prompto want to scream and drink himself into a stupor.

Prompto’s pity-party was interrupted by his phone vibrating in his back pocket.

He groaned and stood up, pulling it out to check his messages.

Pizza or curry? Noctis inquired about their dinner for that night.

Prompto was supposed to be on his way over by now. His overnight bag sat in the middle of the tiny patch of free floor space in his small room, only half-packed for the weekend.

Prompto attempted to gather his thoughts to reply. Noctis was faster.

Or we could check out the new burger place that opened down the street. Maybe ice cream afterwards?

Prompto sighed. He was looking forward to seeing Noctis but mostly because he needed something familiar and comforting. The very thought of food was making him nauseous, which was never a good sign. And he wasn’t certain he could focus enough to play anything good tonight either.

Astrals, this weekend was going to be awful. And would be Prompto’s fault.

Noctis, not telepathic and thus blissfully unaware of Prompto’s spiralling mood, kept texting.

Who am I kidding. If we’re walking we’re getting ramen and beer.

Noctis knew he had the weekend free from work, so that excuse was out, but maybe he could plead sickness. Although, Noctis would probably call or even come over to check on him if he was sick. He’d probably even convince Ignis to skive off work and cook something like soup then drop by with a thermos and Prompto would feel even more guilty for lying and ruining his weekend.

But sitting in Noctis’ apartment and sulking sounded like a terrible idea too, especially since Noctis seemed so pumped to see him.

Prompto didn’t know what to do.

At the very least, he had to reply to Noctis’ texts.

i’m good with anything

As soon as Prompto sent it, he hung his head and groaned.

Sure enough, only a few seconds later, Noctis was calling. Prompto debated not answering but he could just imagine Noctis’ petulant frown as he stared at his phone and gave in.

“Hey buddy.”

“You okay Prom?”

“Course I am.”

“You just never miss an opportunity for curry.”

Prompto sighed. “Just tired I guess. I’m not really that hungry.”

Noctis was quiet on the other end. Prompto closed his eyes and mentally cursed.

“Look,” he tried to stave off the immediate concern, “I’m fine.”

“Do you want me to come over? I can pick you up.”

“No. It’s a five minute train trip and it’s still light out.” Barely. The sun had started to set while Prompto was moping. His room was covered in shadow. “Besides, I’m almost finished packing. Why don’t you order something now and it’ll be there as soon as I get there.”

Prompto winced as he heard Noctis sigh. “If you’re sure.”

“I am.”

“I’ll get your usual then.”

“You’re the best, Noct.”

“I’ll see you soon?”

Prompto hated that Noctis had to phrase that as a question. “Won’t be more than half-an-hour. Promise.”

“I’ll hold you to that.”

Prompto let out a huge breath as they ended the conversation.

So, that was decided then. No point backing out now.

Prompto tried his best to shake off his mood, turning on the overhead light so he wouldn’t trip as he finished packing his bag. He focused all of his attention on the task at hand so his mind wouldn’t wander again. His room was a mess by the time he finished packing but at least he wasn’t dwelling any more.

Duffel bag and guitar case slung over each shoulder, he locked the dorm room behind him and set off to meet Noctis.

Despite all the anxiety previously souring his appetite, as soon as Prompto reached the door to Noctis’ apartment and smelled the recently delivered green curry from his favourite shop he felt his stomach rumble in anticipation.

Noctis opened the door at the first knock.

Prompto wanted to wave off Noctis’ concern but, as soon as he saw Noctis’ wide eyes and relieved smile, his own fake smile fell away and he rushed forward to grab Noctis in a desperate embrace.

Noctis’ arms automatically came up around Prompto’s back to pull him closer as Prompto rested his forehead in the curve of Noctis’ neck.

“That bad huh?” Noctis’ breath stirred the hair at Prompto’s nape.

Prompto just hummed in reply, already feeling more relaxed and grounded in Noctis’ embrace.

“Wanna grab some food and talk about it?”

“Not yet.” Prompto’s voice came out muffled. He wanted to savour Noctis’ warm touch—the familiar and enticing scent of him (even if it was just a little sour and unwashed—Prompto probably wasn’t much better after a ten-minute walk from the station).

Noctis shifted his feet, dislodging a scowling Prompto from his position. “Your guitar is poking me in the forehead.”

“Oops.” Prompto pulled back with a sheepish smile. “Sorry.”

Noctis shook his head, his own smile soft and inviting as he gestured for Prompto to properly enter the apartment. “Come on. Food’s still hot. And I got extra rolls and deep fried ice cream for later.”

Prompto dropped his bag on the floor of the living room as he followed Noctis inside. “You are a beautiful man and a wonderful friend, Noct.” He was a little more careful about setting his guitar up against the wall near the window.

Noctis had spread the food out on the coffee table in front of the television, and the space inbetween the couch and the coffee table was piled with cushions and blankets.

They’d made plans to jam tonight, not crash out in front of a movie.

Seeing Prompto’s confusion, Noctis shrugged and plopped down on the floor, starting to open the containers of food. “I figured we needed a night to relax. I mean, I’m eager to get back into writing and jamming too, but I’ve missed just hanging out.”

The fact that he’d sensed Prompto’s fragile mood and changed their plans accordingly to make him feel better went unsaid.

Prompto settled himself in the cushion nest and helped Noctis serve their food. His turbulent thoughts had vanished the instant Noctis sat down and smiled at him. He forgot about his parents and his grades, forgot the exhaustion of last week’s overtime.

Instead, Prompto smiled and laughed with Noctis as they ate.

A C-grade action movie played in the background; they sometimes turned to the television to make fun of a scene or quote melodramatically along with the actors. Stray grains of rice dotted the table and Prompto spilled some curry down his shirt (like he always did) as he tried to talk and eat at the same time. Noctis got up and brought them beers as they struggled to finish the last few bites of food. They turned off the lights and curled up in the fluffy blankets and hummed along to the theme song of the sci-fi show they switched over to once the movie finished.

Two episodes and four beers into their marathon, Prompto told Noctis about the email and his parents and the ultimatum about his grades. They didn’t look at each other in the dim light of the television screen, but Prompto could feel the full weight of Noctis’ attention and concern anyway.

Prompto finished dumping his worries out to Noctis and the starship captain on screen started on his inspiring speech to the crew for the episode.

The episode was almost over by the time Noctis said anything.

“Move in here.”

Prompto’s breath caught as he registered what Noctis was asking. He glanced down at his half-empty bottle to make sure he hadn’t drank more than he thought and started hallucinating.

He looked over at his best friend. Noctis had turned his body towards Prompto, leaning forward and staring at Prompto with a wide hopeful gaze that let Prompto know he was completely serious.

“I …” Prompto struggled to find a coherent argument. “How would that even work?”

Noctis practically jumped at the chance to explain.

“It’d be easy—you already spend so much time here anyway. You can take the spare room——”

“You mean your dad’s room!” No way could Prompto kick Regis Lucis Caelum out of his own apartment.

Noctis shook his head, the motion so emphatic he nearly fell over.

Four beers was too drunk to drive; they were probably too drunk to have serious life-altering conversations like this too, but Noctis didn’t seem to care.

“I’ve already talked to him. He spends all his time at the penthouse anyway. I don’t even remember the last time he slept here.” Noctis’ excitement dimmed for a brief moment as he spoke about his father but, glancing at Prompto, he returned to his argument. “You can change the bed or the rest of the furniture if it feels weird.”

Prompto was still stuck on the fact that Noctis had already discussed this idea with his father.

As Noctis continued with his pitch—talking about shelf space for Prompto’s movies and making space in one of the corners of the music room to fit Prompto’s drum kit and kitchen utensils (Noctis had seen Prompto’s dorm room right? Did it look like he had a reason to own kitchen utensils?)—Prompto realised that this wasn’t a drunken spur of the moment thought for Noctis: he’d been planning this.

Sure, maybe Noctis might have brought it up and tried to explain himself a little better if he were sober, but he’d clearly been thinking about asking Prompto to move in for a while. He looked so excited by the prospect of them sharing an apartment. He pointed out the fact that Prompto’s new room had a balcony with an expansive, almost flailing, wave of his arm towards Regis’ room. He poked at Prompto’s side as he teased him about the fancy moisturiser and moulding clay on the bathroom counter. He smiled fondly as he talked about lazy Sunday mornings making pancakes—because pancakes were always better when you had someone to share them with.

Noctis wanted this.

So did Prompto.

“Okay.”

This was probably a terrible idea. Prompto was drunk and in love—a terrible combination when making major life decisions.

And yet, seeing the way Noctis’ face lit up with happiness at his answer was far more important than thinking about potential future repercussions.

“Yeah?”

“Yeah.” Prompto grinned, probably a little too manic as he got caught up in the excitement of Noctis’ plan. “Let’s do it.”

Prompto’s breath escaped him in a pained huff as Noctis tackled him to the floor in his excitement. He laughed and ruffled Noctis’ hair, feeling the rumble of Noctis’ own laughter against his chest.

“This is going to be awesome,” Noctis said, tilting his head back to look at Prompto. His grin was so wide and bright, Prompto didn’t even care about the fact that Noctis had tackled him onto a cold patch of floor that wasn’t covered in blankets. “Thank you Prom.”

“Seriously? You just solved like every major problem in my life. Thank you, Noct.”

“I just want you to be happy.” Noctis looked away, embarrassed by his admission.

Every time Prompto thought he couldn't possibly love Noctis any more, he did or said something like this to make Prompto fall head over heels all over again.

Prompto had enough self-control not to admit this aloud but he did drape his arms over Noctis’ back and pull him closer to say, “Right back at ya, buddy.” They both ignored the way his voice broke on the words, just as they ignored the blush that still covered Noctis’ cheeks.

Eventually they would crawl back into their blanket nest and finish their marathon but, for now, Prompto closed his eyes and allowed himself to enjoy the feeling of holding Noctis in his arms.

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#fanfic #ffxv #ffxv fanfiction #promptis #prompto argentum #noctis lucis caelum #au #band!au #pining!prompto #pre-relationship #light angst #fluff #vialana's fic #friday night revelations

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iol247 · 4 years

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Politicking, pandemics and prestige: What’s really behind the squabbles at South Africa’s high-level COVID-19 committee?

By Mia Malan

The sphere of the politics of science is intense and complex — the larger the problem, the bigger the payoff to solve it.

COMMENT

“It reads like a suspense novel.”

My journalism professor’s feedback on my Master’s thesis in 2003 was unexpected for a 125-page academic document — and his comments had little to do with my writing skills.

Instead, it was the subject of my research that lent itself to Agatha Christie-like plots and storylines.

And it was completely accidental.

I analysed the media’s reporting on HIV dissidence and expected my interviews with journalists to reveal gripping tales of political interference and editorial suppression. Reading up on the scientists, who spent their days behind microscopes in white lab coats examining viruses, was obviously going to be less dramatic.

But I was so wrong.

The real-life dramas contained within the sphere of the politics of science outstripped even the most intriguing of journalist narratives.

Alleviating mankind’s suffering, I discovered, is not the only force driving medical researchers. (Sometimes, it’s not a force at all). Rewards for scientific discoveries are remarkably gratifying: international recognition, prestige, and in the case of diseases, lucrative patents for subsequent diagnostic tests. The larger the problem, the bigger the payoff for solving it.

And scientists, of course, need money to conduct their research; clinical trials are incredibly expensive. As a result, they all compete for visibility because they are in the running for the same pots of funding; the more a scientist stands out, the more likely they are to be noticed by donors.

The incredible politics of the discovery of HIV

On a scientific level, few moments have illustrated these arguments as well as the discovery of the cause of Aids, HIV, in the early ’80s. That era revealed a scientific community far from noble and benevolent, far from cooperating with one another for the good of mankind, but instead “wretched and rank with politics”, as American epidemiologist Don Francis put it in a memorandum quoted in Randy Shilts’ best-selling non-fiction book, And the Band Played On,in 1987.

In fact, HIV uncovered scientific rivalry so ruthless and relentless that it required the intervention of heads of states.

In short, a powerful American scientist, Robert Gallo, asked a less influential French scientist, Luc Montagnier, to lend him a virus (it turned out to be HIV) that the Frenchman had managed to isolate. Gallo used Montagnier’s virus for HIV-related experiments, but then claimed he achieved his results by using his own virus. Following that, Gallo became the acknowledged and much-heralded “discoverer” of HIV. He went on to develop an HIV test for which the US had been awarded patent rights, and with it, the right to an income derived from its sale. A while after that, Gallo was caught out by the French, and to prevent a drawn-out court battle, President Ronald Reagan and Jacques Chirac of France signed an agreement in 1987 according to which Gallo and Montagnier would henceforth be co-discoverers of HIV, and the royalties from the diagnostic test would be distributed accordingly.

There were, however, limits to what such an agreement could achieve: it may have settled some squabbles and doused a few fires, but it left behind a fragmented Aids research realm that would pave the way towards infinite and trivial disputes over the cause of one of the most devastating epidemics in history.

Will the politics of COVID-19 be as intense as with HIV?

So, here we are again, at the point when another virus is devastating the globe… Are the stakes as high as they were during the onset of HIV? Are the politics as intense?

My bet is, yes: the virus has been with us for a mere five months, but the cracks in the scientific community are already showing.

The politics of South Africa’s ministerial advisory committee, comprising 51 top scientists who advise the health minister on the country’s COVID-19 response, that emerged in the media over the past few weeks, I suspect, plays off against the background of all the usual scientific infighting… Although there are also legitimate concerns about the government’s reluctance to release the mathematical modelling data that it uses to make policy decisions with regards to testing and lockdown policies, as well as data around hot spots, contact tracing and the availability of high care beds, amongst others.

In summary: Several members, including three subcommittee chairs — South African Medical Research Council (SAMRC) president, Glenda Gray (research chair), infectious diseases specialist and UCT professor, Mark Mendelson (clinicians chair) and Wits professor and SAMRC respiratory and meningeal pathogens research unit head, Shabir Madhi (public health chair) — have published op-eds, or have been quoted in articles criticising government policy. Over the weekend Gray claimed, in a News24 article, that the government doesn’t take the committee’s recommendations seriously, and that the gradual phasing out of the lockdown, as well as some lockdown regulations, have no scientific basis.

But according to the committee’s chairperson, Salim Abdool Karim, members — who all serve on the structure for free — have submitted 50 advisories to the health department to date, and none of them has been rejected. The fact that we all have to wear cloth masks in public, was, for instance, one of the committee’s recommendations. According to a document provided by Abdool Karim, the committee is in the process of preparing advisories on at least 10 other issues, including serological (antibody) tests, the use of saliva for coronavirus testing, getting children back to school safely, the easing of lockdown regulations and daily testing targets.

Throw a bunch of A-rated scientists on the same committee and you’re heading for trouble

There are clearly considerable tensions among committee members.

Over the weekend, following several media reports, allegations of vested interests and funding conflicts, criticism of members’ code of conduct and weaknesses in the structure of the committee that some say led to a few members using the media to make their voices heard, emerged on a WhatsApp group of industry leaders.

Advisory committee members are high-ranking, often world-renowned scientists; many have impressive records of peer-reviewed publications focusing on HIV. Some head up large research organisations they created themselves, some play leading roles in state-owned enterprises such as the National Institute of Communicable Diseases or National Health Laboratory Service and some steer remarkable projects at universities.

South Africa has all these outstanding medical scientists, who would surely be the envy of many nations, at its disposal. To confront an emergency such as that presented by COVID-19, we couldn’t be better equipped on an intellectual level.

But place a bunch of A-rated scientists on the same committee, many who are conducting COVID-19 research of their own and are therefore competing for funding and recognition, and you’re heading for trouble. Add a disease for which there is no cure or treatment, a lack of clear scientific guidance and a government reluctant to release data that committee members are demanding, and the problem gets more complex.

This is the battle that’s now being fought in the media.

The media is indeed an incredibly powerful tool. In fact, it was an investigation by the Chicago Tribune that finally ensured that Luc Montagnier got the royalties and recognition that he deserved. And in South Africa, the media played a crucial role in exposing the HIV denialism of President Thabo Mbeki and Health Minister Manto Tshabalala-Msimang in the late 1990s and early 2000s, and its tragic consequences. But, the reporting practised by some publications at the time also resulted in equally polarising and damaging narratives that did little to help anyone, other than Mbeki and Tshabalala-Msimang and their acolytes.

Right now, at the time of COVID-19, it’s important to use the media wisely: as a tool to foster constructive debate, rather than as an instrument of division. In ways that help people learn from differing viewpoints, rather than be confused by them.

Media battles lead to confusion. Confusion leads to panic

Are there now more malnutrition cases at Chris Hani Baragwanath Hospital than before the lockdown? I’ve heard two committee members say “yes,” although one adjusted their statement in a media report afterwards. Following these statements, confused social media users have been quoting studies that argue that there have always been cases of malnutrition evident at Africa’s largest hospital, across platforms. So, they wonder, what is the truth?

Is it wise to send our children back to school? Some committee members have argued for this, quoting studies that children rarely infect adults, decreasing the danger that they would infect vulnerable parents or grandparents. Yet many studies say it’s dangerous for kids to return to school, because the science just isn’t that clearcut, yet.

Should the lockdown be phased out or ended abruptly? Again, we really don’t have a lot to go on, so when a well-known and respected scientist says the lockdown should end NOW, it’s understandable that the public and the media believe the call to be scientifically sound.

Confusion leads to panic. Panic leads to bad decisions being made.

I’m not a spin doctor or a public relations officer. But, as a member of the public and a health journalist, I think the committee members need to find a way to work together and try to sort out their differences internally rather than to snipe at one another in the media. I like a good argument and a sexy quote as much as any other reporter. But this is not the time for such luxuries.

Those who don’t contribute to debate in an informed and rational way, and who don’t take decisions solely in the interests of the public, as the committee’s code of conduct requires them to do, should be called to order.

Scientists on the committee should declare their funding for COVID-19 research projects and the government should be transparent about the projections they use to make decisions, or publicly explain the reasoning behind not making such information available.

If there’s anything we should learn from what has gone before in the realm of HIV, it’s that the payoffs from building trust during an epidemic far exceed the short-term and selfish gains from creating division. In the case of HIV, distrust paved the way for some communities to be receptive to a dissident movement that doubted HIV as the cause of Aids. How did that turn out?

We have no cure, no vaccine or treatment for COVID-19, at this stage. But we cannot afford to allow this to be the only factor that unites us. We cannot afford for our chief weapons against an epidemic that is changing life as we know it, to blunt one another.

Mia Malan is the editor-in-chief of the Bhekisisa Centre for Health Journalism.

https://bhekisisa.org/article/2020-05-19-ministerial-advisory-committee-politics-of-science-glenda-gray-salim-abdool-karim-zweli-mkhize/amp/?__twitter_impression=true

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is-osana-here-yet · 7 years

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Comparing Lunar Scythe and Yandere Simulator 1/? : Character Design

This is Luna, her backstory as written by Dev is:

The main character is a girl in her late teens named Luna. Luna is obsessed with an idea; the idea that this world is full of people who don't deserve to live. Murderers, thieves, kidnappers, human traffickers, drug dealers, arms dealers, arsonists, scam artists, identity thieves - Luna desperately wishes she could do something to rid the planet of such people, but she feels like there is nothing she could do that would ever make a difference. At the beginning of the game, Luna dies. As Luna's spirit looks down at her own body, she feels nothing but apathy. She didn't want to live in a world filled with human filth, anyway. That's when Death shows up. Death looks into her soul to determine which afterlife she belongs in, and he is surprised at what he finds within her. He learns that she is free of sin, yet her strongest desire is to take millions of lives. While examining this pale girl clad entirely in black who yearns to kill, Death feels as though he's looking at his own reflection for a moment. Death decides that Luna may be able to serve him a purpose. Instead of sending her soul to the afterlife, Death makes Luna an offer. "I'll bring you back to life, if you agree to bring me human souls." Luna is shocked by his offer. "But I don't want to kill innocent people!" "Then do not kill the innocent," Death replies. "Kill the guilty." "But who are the guilty?" She asks. "That's for you to decide," Death replies. Death is offering her the authority and the power to kill anyone she thinks deserves to die - and she thinks that a LOT of people deserve to die. She doesn't want to come back to life and return to a miserable world filled with criminals, sadists, and psychopaths...but if she had the power to purify this sinful world, she could create a world that she actually wants to live in. And so, Luna accepts the offer, not to become Death, but to become Justice. Death resurrects Luna, gives her a giant scythe, and grants her superhuman powers that become active at midnight. By day, Luna is an ordinary girl who works part-time jobs to scrape by...and by night, she is the judge, jury, and executioner of her city, an agent of death. If Luna does not bring him enough souls, Death will take her life. Luna asks Death how many souls he wants, and what her deadline is. Because Death does not perceive time the same way that mortals do - in terms of seconds, minutes, or hours - he cannot give her a specific date. As he looks upward in contemplation, he notices that the moon is full. And so, he decides that Luna must use the scythe to deliver a specific number of souls to him by the end of the lunar cycle. Hence the name of the game, "Lunar Scythe." (What do you think? Corny?) The game takes place over the course of a year. After each full moon, Death demands more souls by the next full moon. So, Luna has to kill more and more people to meet her quota each month. What Luna doesn't know is that she's not the only dead girl that Death has brought back to life! He has also resurrected other recently deceased girls who each have the capacity to take millions of lives. Every time there is a full moon, Luna will fight another resurrected dead chick wielding a giant energy weapon. The game takes place in 2015, and there are 13 full moons in 2015, meaning Luna will have to face 13 of these enemies in total.

What is Death plotting? Why does he want mortals to gather souls for him? What will happen once Luna has defeated all of the other dead girls?

You'll have to play the game to find out. ^.~

Alex has given her a fairly simple backstory that could easily be expanded on. In the forum he presented this in, he gets some good feedback on her character wise. The people pose questions such as “what is her goal?” and “well this bit doesn’t make sense because .....”

We already know Dev made Ayano a blank slate, because when he presented Lunar Scythe, he was met with what he saw as “harsh criticism.” However in the forum no one is really that harsh. Most tend to clue in that Alex doesn’t take critique well, and pose their thoughts in ways such as “well think about why she does this, who made her like this...” One of the major problems fans have with Yandere Simulator, is the lack of personality/story for Ayano. One could say Ayano is meant to be a self insert for the player, but the problem is she is legit nothing. A self insert in other games typically has a base story, and the interpretations of a character are formed based on the choices that the player makes. In otome games, Persona 5, Fallout, you can choose dialogue options. It’s up to the player to pick the snarky comment, the kind comment ect... The only way a player could form an interpretation of Ayano is through elimination methods. Do they stab a person? Blackmail? Pair them up with someone else? Either way the only focus on these options is Ayano’s perspective on removing someone from Taro’s life. The player can’t decide why Ayano loves Taro. What kind of person Ayano is.

I tried my best to make sure that Luna wasn't a Mary Sue. There are a lot of details about Luna that I left out... Luna's younger sister, Stella, was a child genius and a celebrity. Chess grandmaster, master of four instruments, wrote and published a best-selling novel, graduated college, performed surgery - all before the age of 12. Luna was never able to measure up to her little sister in any way, which left her with a horrible inferiority complex. As soon as Stella started pulling in tons of money and making the family famous, her parents practically forgot that Luna existed. Luna tried everything to get her parents' attention - causing trouble at school, wearing bizarre fashion, dying her hair crazy colors - but this only pushed her parents further away. She moved out at age 18, and she hasn't spoken to them since. She doesn't bother reading any news related to her younger sister, preferring to pretend that she doesn't even exist. The goth fashion and dyed hair became a part of her identity after so many years, so she still keeps a little bit of dye in her hair and wears gothic accessories from time to time. Luna started struggling immediately after moving out. She barely graduated high school, she can't make friends easily, she can't hold down a job, and can't afford to pay her rent. She's depressed, miserable, and desperate when she finally dies. Even after her resurrection, she still lacks the qualifications or experience for any full-time job, and has to keep doing lousy part-time jobs to scrape by. She literally has nothing going for her, other than the fact that she gets superpowers for a brief period of time at midnight...then it's back to being a failure at life.

Again, this is very underdeveloped. Why can’t she hold down a job? Doesn’t she learn? Is being depressed just part of her character? Alex refused to give Ayano a backstory, because he decided that if people didn’t like what he wrote for Luna, they wouldn’t like what he wrote for Ayano. Ayano has been given a few backstory prompts, sort of. The biggest being “Ayano can’t feel anything”, however people criticise Ayano’s character because it contradicts the very basis of her, she’s a yandere. It feels like Alex has just recycled the murderous intent from Luna, removed her backstory and stuck it into Ayano. There is no “deredere” to contrast the “yan” side of her, making her boring and dull.

People began saying Luna looks too generic, looks like Ryuko from Kill La Kill, Ruby Rose from RWBY, and Cassie Hack from Hack/Slash. People also though she looked too “edgy”, typical busty goth anime girl. When met with this criticism, Alex went around commissioning different artist to come up with a different design for his character. He asked the forum what they liked best. The designs presented were:

And this, is Ayano’s concept art.

Ayano’s first design shares some similarities to Luna. The red/black palette. Short hair. It seems as though Alex abandoned the original “having a distinct silhouette” and opted for having a plain design. Ayano is not easily recognisable, as she looks like any other Japanese middle school student. In the forum, he is constantly asking for harsh criticism. He says he want to improve the character. He often asks what other people would suggest instead.

As he’s met continuously with criticism about the practicality of this all, he states:

I'm totally aware of how ridiculously impractical it would be to use a scythe as a weapon...in real life. But this is a video game, where the Rule of Cool is the only rule I need. I'm willing to throw realism and practicality out the window for the sake of having the coolest weapon possible, and to me, that's got to be an energy scythe. An umbrella isn't a practical weapon to use in a fight, either, but that doesn't stop Parasoul. You can argue that Parasoul is using a special fantasy umbrella that shoots projectiles - and, likewise, my character is using a special sci-fi scythe with an energy blade rather than a solid blade, which opens up combat options that a grass-cutting tool does not.

I agree that the costume is impractical, but that doesn't matter to me very much. Once again, I'm willing to completely suspend my disbelief as long as something looks cool enough...or sexy enough. I'd rather have an impractical and cool-looking character than a completely realistic, practical, boring character. With that said, it may be entirely possible for her to be wearing a much more cool-looking outfit than her current corset / skirt combo...but whatever outfit I eventually decide on will definitely not be restrained by practicality. So, what would you suggest for the outfit?

It seems like this is what fuelled Alex to make Ayano so boring. Ayano seems like she’s just a huge “fuck you” to the people that criticised Luna. Ayano is very practical. Very realistic. To the point of boredom. People continually state Luna’s character is boring and too simple, his response:

The reason I wanted to give the protagonist a simple hairstyle is because I haven't been able to get cloth physics or long hair physics working in my game engine. But, of course, that's a personal failing, and shouldn't restrict the character's appearance. So, what would you suggest for the hairstyle?

Having short hair fits with the first design of Ayano. Perhaps his engine still was that bad that he couldn’t get physics working. Personally, I feel like Alex continuing to ask people for suggestions when met with any criticism becomes very passive aggressive. Every single comment is met with that. It comes off as “well if you think it sucks, tell me how I should do it then.” You cannot saying the hair is generic without giving an alternate suggestion according to Alex.

He also gets upset over someone stating there was no reason for having a young white female protagonist. Keep in mind Ayano too, is a young white female protagonist.

What's wrong with having a young, white, female protagonist? If this is a "social justice warrior" thing, I'm definitely not going to argue about that subject in this thread. The costume is my primary concern here.

Alex quickly abandons is old “please critique my work!” rhetoric and writes this rant defending his choices.

About the cleavage, midriff, and legs...well, there is a story-related reason why she desires to dress up in a sexy outfit when she fights, but even if there wasn't a plot-related reason, I'm going to fall back on the Rule of Sexy. I absolutely love sexy-looking femme fatale characters. ...aren't we on...the Skullgirls forum...?...

This goes back to Alex is making a game for himself. A character for himself. He is sexualizing this girl and is lying about having a story related reason for the sexy outfit. He does the same thing with the characters of Yandere Simulator.

I really hate over-designed characters with too many belts and zippers and random useless accessories hanging off of every limb...but I really don't think my character suffers from that problem. She's got a pretty simple outfit. There are some details, sure, but I don't feel the design approaches the DeviantArt level of ridiculous over-design. Everything about the character's design, however implausible it might seem at first glance, does have a justification. The reason she dyes her hair, the reason Death thought a scythe would suit her best, the reason she wears a sexy outfit - it's all worked into her backstory. Is that what you're talking about? I didn't really purposefully make the game's storyline dark for the sake of being dark - I just made it a story that appeals to me, and dark things happen to appeal to me, so the story came out really, really dark. I guess you could say that my over-abundant enthusiasm for impractical weapons, sexy outfits, and super dark-and-edgy plot elements is totally steering the design and direction of this game. (However, because the game takes place predominantly in LITERALLY dark environments, it may be a good idea to give her a brighter color scheme...) Maybe it's because all of these aspects of her design appeal 100% to my personal tastes, but I just can't imagine that choosing to go with this character design could actually result in "practically no revenue". Is that what you're really suggesting? Or are you just saying that every time I make a decision about a character's appearance, I should treat that decision, no matter how minor, as being a choice that could ruin the game financially? Because that doesn't seem realistic to me, either... Anyway, why even criticize the original design? I'm ready and willing to replace it with one of the new re-designs that I posted. So, please tell me what it is you like / dislike about the NEW designs.

The thread goes into gameplay a little more, and then Alex says this:

I'm starting to think I made this thread a little too soon. I mean, I'm TOTALLY aware that I could never, ever ship a game that plays exactly like that prototype you played. Obviously, the final game won't just be killing sets of 5 dudes over and over. Obviously, the final game won't have that lame death animation. Obviously, the final game won't have a special move that is just spinning in a circle. But since people are getting the wrong idea, I guess it was a mistake to post that prototype and call it a "demo". Maybe I should have called it a "proof of concept". Or maybe I should have called it a "programming test". Or maybe I shouldn't have posted anything at all just yet...

It’s quite similar to the pity party he threw himself when his game was critiqued by Mike Z. Alex posts more designs for his character at this point

We go back to Luna’s goal and backstory, and Alex just keeps stating that she hates bad people and wants to rid the world of them. He states a few times “you have to play the game to find out” A similar tactic used with core plot points in Yandere Simulator.

What I’ve gathered from looking at Luna and Ayano together, Ayano is Luna. Same sadistic side. Lack of empathy. Similar beta designs and motifs. Ayano just had Luna’s backstory removed because Alex didn’t want to face criticism again.

#yandere simulator #lunar scythe #yansim #yanderedev #yandev #yandere dev #articles

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theoldlesbianwithcats · 7 years

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Remember that French TV show (Dix pour cent) I told you about, that made their lesbian main character sleep with a man? Now that character is pregnant with him of course, but the creator of the show Fanny Herrero (a straight woman) has a very good reason, don’t worry!

“Andréa is gay but she’s liberated enough to, on a one-night-stand, have sex with a man and not have a problem with it, because her sexuality is mature and fulfilling enough that she doesn’t ask herself questions. From the beginning, I knew that this character would have a very rich, complex and liberated libido, and for me that goes beyond sleeping with women. I think Andréa is more modern than that.”

Did you hear, ladies? A modern woman with a rich, complex, fulfilling sex life = a woman who wants to have sex with a man! How progressive!

Anyway, for once a Buzzfeed article about lesbians isn’t completely awful, so @sespursongles and I translated it in English :

Why movies and TV have to stop making lesbians sleep with guys

Marie Kirschen, Buzzfeed France, 14th May 2017

Like recently in the TV show Dix Pour Cent (Call My Agent in English), it regularly happens that characters introduced as gay or lesbian eventually sleep with a person of the opposite sex... to the gay fans’ great regret.

Andréa Martel is a small revolution. The main character of France 2′s TV show Dix pour cent, whose second season just ended, is charismatic, stylish, loudmouthed, beautiful, touching, badass, funny and... a lesbian. A lesbian main character in a prime time TV show on a big national channel ? It’s never been seen before in the French audiovisual landscape, so timid about LGBT themes.

There were a few made-for-TV movies about female homosexuality, often quite badly done, a few secondary characters, sometimes a bit clumsy. But nothing as exciting as this at peak viewing time. Andréa is a multidimensional, very well-written protagonist. Her homosexuality is there, without it being a problem, without being hidden. The icing on the cake, Andréa is wonderfully played by Camille Cottin. THE star of Dix pour cent, that’s her.

Like many lesbian viewers, hungry for visibility, I was hooked immediately. And then there was the third episode of the second season, broadcasted at the end of April. Andréa is competing with her boss, Hicham, to seduce a model. During a party at a castle, Hicham ends up winning the game : he enters a bedroom with the model. But that’s without considering Andréa’s hurt ego who, a bottle in her hand, decides to join them. Her catchphrase : “You didn’t think you’d have her all to yourself?!” But, as this improvised threesome begins, Andréa and Hicham forget immediately about the pretty blonde, kiss passionately and roll on the bed. Reaction of the abandoned model (and our reaction) : “Seriously ? (sigh)”

After loving women openly for eight episodes, Andréa abandons a blue-eyed goddess for her cruel, manipulative boss? Some viewers were a bit surprised, even disappointed.

[Tweets embedded in the article :]

@RomainBurrel (journalist for a cultural magazine and a gay magazine) It sucks to see one of the rare and best lesbian characters sleep with a dude... @PrincesseYuyu LET US HAVE A LESBIAN IN A FRENCH TV SHOW, DAMMIT, STOP SHIPPING HER WITH HICHAM. It depresses me.

@keedz75 Of course the gay character can’t be happy being a lesbian and must answer heterosexual fantasy by becoming bi

“I received a few harsh remarks”, tells Fanny Herrero, the creator of the show, to Buzzfeed. “There are gay women who took it badly. I can understand it because it’s quite rare to have a lesbian main character on TV, so we shouldn’t make her sleep with a guy, I get it. The relation to sex is quite liberated in Dix pour cent, there’s a freedom of tone, I thought that freedom of tone was enough and that it would let us play with the codes.”

Fanny Herrero clarifies that, if she’s straight, there are two gay women in the writing team. Visibly upset by those reviews, she concedes that :

“Maybe I took it too lightly. At that moment, we didn’t realize it could hurt. Maybe we should have been more delicate, but we write characters, we don’t write for a cause. From a writing point-of-view, we have a chessboard of characters that we animate and sometimes we exaggerate a bit for dramatization. Maybe we’re going to push characters faster to places where, in real life, they wouldn’t go, where it would take more time.”

Beyond Dix pour cent, if that little twist made people angry, it’s because it adds to the long list of films and TV shows where a main character is introduced as a lesbian (we’re not talking of bisexual or questioning characters, but characters clearly presented as gay) to make her have sex with a man a few minutes after.

The film lesbians hate the most

One film in particular embodies this trope: Chasing Amy wins the Oscar for Most Hated Film of the 90s in the lesbian community. The hero, played by Ben Affleck, befriends Joey, beautiful and liberated. He asks her a series of stupid questions about gay women and wonders how lesbian sex can count as "real sex" since, he reasons, there can be no real penetration without a penis. When - wait for it - he falls madly in love with Joey, she tries to make him understand that his advances are inappropriate and that he doesn't respect her identity… before jumping into his arms, in the rain, like in the worst kind of rom-com, and deciding that she’s found "the one".

One night, after some (obviously amazing) sex, she tells him why she ended up falling in love with him, because he "gets her". Ben reacts with a joke: "Can I at least tell people all you needed was some serious deep dicking?" Needless to say, after watching this film I felt like throwing my computer on the floor and setting it on fire. A few other examples? In The Kids Are All Right, a lesbian mother played by Julianne Moore, whose sex life with her partner has gone stale, indulges in an affair with Mark Ruffalo's character (and unlike the boring lesbian sex, their hetero sex scenes are muy caliente). In Gazon Maudit, Josiane Balasko's character decides that she must have sex with Alain Chabat in order to get pregnant. When it comes to TV shows - the only lesbian couple in Queer as Folk faces a serious crisis when Lindsay cheats on her girlfriend with a particularly unlikable jerk (and again, their hetero sex is very sexy while Lindsay — literally! — falls asleep while having sex with her girlfriend.) Same thing in the American Skins, in which the lesbian heroine falls for a boy right from the beginning, or in the Netflix show Dear White People, where we discover that the teacher who refuses to marry her girlfriend to resist "heteronormativity" is having an affair with a young male student. This plot twist applies to the boys as well. In The Wedding Banquet, a closeted Taiwanese gay man ends up having sex with his beard. More recently, in Toute Première Fois, the gay protagonist, about to marry his partner, has to come out "in reverse" to his family after meeting a beautiful Swedish woman. On TV, Clara Sheller's gay best friend ends up sleeping with her, just like Hannah's in Girls, who suddenly becomes interested in the group's hottie for no apparent reason. The list goes on and on… Viewers always complain: why add an all too rare gay character only to straighten them up, even temporarily? This kind of storyline is criticised as an overused trope. The "lesbian sleeps with a guy" plot line is one of the three major tropes condemned by the website "LGBT Fans Deserve Better", that listed 46 characters in this category. "Did we have to do that?" fumes lesbian website Autostraddle about Dear White People. "Haven’t we been fighting against this ridiculous trope for decades?" With this trope, screenwriters also contribute to making bisexuality invisible. The idea that one must be either gay or straight is an example of casual biphobia. Screenwriters, if you feel like the character you are creating could be attracted to both sexes, why not just label them bi?

A cliché that echoes homophobic remarks

Of course, we could oppose to disappointed fans the fact that, in real life, those kinds of stories can actually happen. Homosexuality is not only about desire, it’s also a question of identity. It can happen that a person identifies as “gay” or “lesbian”, because they think it’s the label that represents their identity the best, but one night, they end up with someone of the opposite sex in their bed. Sexuality is sometimes more fluid than cultural identities we identify with. It’s not about banishing those stories from our screens. But we can question their recurrence : why are those stories present so often in fiction when, in real life, it’s frankly not the most common?

Also, in real life, it also happens for example that straight men, drunk or not, end up sleeping with another man. Again, sexuality is sometimes more fluid than the labels we use to define ourselves. But this story is barely told. How can we explain that the gay-who-goes-both-ways cliché comes back so often in fiction, when its straight equivalent is so rare among the ocean of straight roles?

Above all, if that trope is so annoying to concerned viewers, it’s also because it echoes those old homophobic tunes we keep hearing all day, and that it seems to validate : “You’ll find the right man/woman”, “How can you be so sure that you’re not straight? Did you try at least?”, “It’s only a phase”.

With that bonus point for the lesbians : according to some people, a relationship between women can’t be considered “real” sex, so they will end up sleeping with a men at some point. I can’t count how many endless discussions I’ve had with straight people who wouldn’t imagine that I could be not interested by males, even though I’m a lesbian. When I mention my love story, some people can’t help wondering what I do in bed. Of “homosexuality” they only remember “sexuality”, and for them “lesbian” means porn. If you type “lesbian” in Google, the first results you’ll find will be many porn scenes where people of the opposite sex make an appearance. So dudebros think it’s legitimate to try their luck...

[Tweets in the article :]

@BabascoGueria 1 lesbian character out of 1000 and even she has to sleep with a guy. How original.

@BabascoGueria Some homophobes harass lesbian women and are convinced that they can convert them. Thanks for perpetuating that cliché.

What if it was that old idea that gay men and lesbians are above all hypersexual beings, free from norms, with wild sex lives, that made the writers do with them what they’d never do with their boring straight characters? Would it be easier for them to imagine a rock’n’roll Andréa surprising us with her conquests, rather than the boring Mathias Barneville ou the funny Gabriel Sarda— even if, in reality, there are many Mathias who can also have sex with men...

Beyond hetero sex, motherhood

“Andréa is gay but she’s liberated enough to, on a one-night-stand, have sex with a man and not have a problem with it, because her sexuality is mature and fulfilling enough that she doesn’t ask herself questions”, thinks Fanny Herrero. “From the beginning, I knew that this character would have a very rich, complex and liberated libido, and for me that goes beyond sleeping with women. I think Andréa is more modern than that.”

The writer highlights the fact that, on the other hand, she would have never written that same intrigue for the character of Colette, way more traditional. [Colette is Andréa’s love interest. Andréa slept with Hisham after Colette dumped her.]

In Dix pour cent, the hetero sex especially permits to continue with the question of motherhood, since Andréa gets pregnant. “I wanted to confront Andréa with that question, because she’s more rough with her relation to motherhood. I wanted to make a portrait of a woman who becomes a mother differently from what we usually see, I wanted her to be upset by that pregnancy.” For the writer, there’s no question of making her plan an ART (assisted reproductive technology), to make her take a train at Gare du Nord to go have an insemination in Belgium, between two appointments with JoeyStarr and Juliette Binoche. Not the character’s type. It had to happen to her. Hence the “threesome” option.

And that pregnancy is also used to make Colette come back, suddenly moved by Andréa who’s lost in that situation. And that’s where Dix pour cent makes a quite clever move, which puts it, in spite of a few mistakes, lightyears away from Chasing Amy. Hicham being particularly hateful and Colette being adorable, the viewer ends up wishing that Andréa wins the love of her ex-lover back and that the boss of ASK, the biological father, leaves them alone. “I found that interesting to tell myself what the viewers would think : ‘no she’s not going to sleep with a man, we want her to go back with Colette’”, says Fanny Herrero, amused. “I like tickling that kind of emotion.” A plot twist that, for once, we hadn’t seen coming.

#frenchbian #lesbian representation #lesbophobia

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i-am-very-very-tired · 6 years

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January Cover Star Emily Ratajkowski Talks Feminism, Criticism & Being Controversial Emily Ratajkowski

Browbeaten for being beautiful and criticised for her self-expression, American actress Emily Ratajkowski is a twenty-first century conundrum. But her quest for liberty is one we should all respect. When Emily Ratajkowski answers the phone, the first two words we exchange are the kind of ice-breaker a journalist dreams of. “Nice name,” she laughs about our collective moniker. The customary awkwardness of a phone interview, where witty face-to-face repartee is lost to crackling phone lines and long-distance pregnant pauses, is replaced with a lucky common ground that sets the tone for an insightful and amiable telephonic tête-à-tête. Derived from Latin, Emily means ‘striking... eager... rival’, and I’m keen to know which might characterise her most aptly. “I don’t think all Emilys are born the same,” she proffers back. She has a point. Emily Ratajkowski (silent ‘j’, FYI) is a 26-year-old American A-list model-cum-actress with a side-line in design, living a charmed life in LA, with movie premieres, catwalks and 15.9 million Instagram followers. I, on the other hand, am a 39-and-three-quarters mum-of-one living the quiet life in Dubai, with Spinneys shops, nursery runs and 3,684 Instagram friends. Incomparable, I know. But what I learn through the course of our interview is that there’s one thing that binds Emily and I, something that transcends continent, age and social convention, and that’s a mutual and unwavering belief that women are awesome and that we should be allowed to be exactly who we want to be. Full stop. On this matter, Emily Ratajkowski is an unreserved feminist. A loud and proud campaigner, whose views are liberal and whose commentary is deliciously unfettered. Her Twitter account shoots straight from the heart, and she’s a no-holds-barred kinda advocate who gets up in people’s grill for all the right reasons. Her approach to feminism isn’t singular or particularly radical, in fact, in essence, it’s beautifully simplistic... Women should have choice, believing nobody, and certainly no man, should be able to dictate how a woman chooses to live her life, what she says, what she wears, or what she does. It’s a viewpoint she advocates and defends in equal measure, and often on a daily basis. You see, Emily came to fame in Robin Thicke’s controversial 2013 Blurred Lines video, in which a scantily-clad Emily rollicked around in a rather suggestive manner. Likewise, her @emrata Instagram account is strewn with semi-dressed selfies, including a provocative photo with Kim Kardashian West that went viral last year. It is a palpitating juxtaposition in which a woman wantonly flaunts her sexuality whilst fighting for freedom. Would Emmeline Pankhurst salute her spirit or fear for the female-driven future she fought so hard for? And it is here that the complexities of the discourse begin. Because, how can someone who labels themselves a feminist brandish their body so brazenly? Oh, the hypocrisy. I’ll let Emily explain... “I think a lot of people really feel that the idea of a woman being sexual or being sexualised is the opposite of feminism,” she says, “When I feel like, in some ways, that conversation itself can be oppressive to women, because you’re telling them how to dress and how to act, which is actually the opposite of feminism. The idea that you have to adjust because of society’s ideas of a sexualised woman or because of a patriarchal standard of beauty and sexuality is again putting pressure on women to change rather than the outside culture changing. However, if that makes a woman feel good, then likewise, who is anyone to tell them that they shouldn’t do that? Women should be able to do and say what they want without the burden of judgment from other people. Young women, in fact women of any age, shouldn’t have to feel judged or limited. However, I think younger women have this idea about feminism, that it’s like some kind of burden. It’s what Roxane Gay’s book Bad Feminist is all about, what does it mean to be a bad feminist? For example, you like a song that’s somewhat misogynistic, and the guilt that can be induced, especially in young women who are already under so much pressure, is awful. And that’s something I’ve made my cause about.” Having had an “interesting introduction into womanhood”, maturing physically far earlier than her peers, Emily has spoken openly about the additional pressures placed on her as a young woman. “I was a 12 year old [with D-cup breasts] but people looked at me as a 21 year old,” she explains. “It was really difficult for me to understand and to come to terms with – that identity, people’s perception of me... It’s hard for a 12-year-old girl, who is basically feeling like ‘Why don’t you just leave me alone’, because I don’t see men having to justify what they wear or how they express themselves.” “The fact that I didn’t feel I should have to change who I am for someone else” is down to her mother, who counselled Emily wisely. “She told me, ‘wear whatever you want, do whatever you want, it doesn’t matter, that’s just your body and that’s who you are so it’s not your issue.’ There was an acceptance there.” But naturally this scrutiny had a lasting effect, one which she describes in Baby Woman, an essay she penned for fellow actress Lena Dunham’s weekly feminist newsletter, Lenny, in which she writes: ‘Surprisingly enough, dealing with the world outside the [modelling] industry was the toughest part of my adolescence and young adulthood. Teachers, friends, adults, boyfriends were more often the ones to make me feel uncomfortable or guilty about my developing sexuality.’ That over-scrutiny eventually spilled over into her career, with a move into the entertainment industry where she found “a separation between being smart and being a woman who can talk about feminism, someone who is intelligent but also sexy and happy to flaunt her sexiness. That’s just sexism,” she resolves. “I think women should be able to be however they want to be with their body and their sexuality, and that shouldn’t be in any kind of opposition to what they want to say.” Being sensual is liberating, Emily says, explaining that she finds a certain beauty in being happy with who you are. “Absolutely. But I don’t think I’m an extremely sensual person every day. I’m just a human being and that’s something very personal. I feel all the different ways throughout the day – sexy, goofy, smart... And that’s the kind of life I would want for a young woman growing up. I would want her to feel all those different things in the span of 24 hours, and to feel empowered by that.” Not everyone agrees, of course, and when you’re in the public eye as much as Emily is, criticism is fait accompli. The more you post, the more you say, the more you open yourself up to criticism. Last summer British journalist Piers Morgan slammed Emily’s photoshoot in Harper’s Bazaar US’s August issue, which saw her riding a white horse sans vetements. Piers tweeted: ‘Do you want me to buy you some clothes – you look freezing.’ Emily’s acerbic retort... ‘I don’t need clothes as much as you need press.’ Likewise, in February this year, she spoke out against ‘slut-shaming’ when a New York Times reporter called America’s First Lady Melania Trump a ‘whore’. Taking to Twitter, she wrote: ‘Sat next to a journalist from the NYT last night who told me ‘Melania is a hooker’. Whatever your politics, it’s crucial to call this out for what it is: slut shaming. I don’t care about her nudes or sexual history and no one should.’ Emily won’t be silenced, but then again, why should she be? “Again, to me, women don’t have to or shouldn’t have to adjust their behaviour to make other people, men in particular, feel comfortable. Or uncomfortable. Women are doing their own thing, they’re not asking for anything when they dress a certain way or when they post certain things on Instagram. And even if they are, it’s their life, they have the ability to make those choices.” Her views on feminism are black and white. Choice is right, taking power away from a woman is wrong. “To me that’s what feminism is all about. So the idea of putting limitations on women is the opposite of feminism. Even if it comes from a place of trying to dismantle the patriarchy. If you’re telling women how they should dress or how they should be... I think that you’re making a big mistake.” We discuss the difference between the East and West, the history of cultural constraints, perceived societal suppression, and the preconceptions many have of how Arab women dress – or are forced to dress. She seems to understand the conflict, tweeting an illustration last September of a figure of a woman – on the left, the woman wears an abaya, on the right, a swimsuit – entitled, The Lottery of Indecency. “It’s about all the names that both of these women will get called, because I think to me, it’s very much the same,” she says of the illustration that calls out people that criticise a woman for what they wear, how they wear it and how they choose to portray their body. “A woman deciding to be covered up is ultimately as much a feminist choice as her choosing not to be,” Emily opines. “I think it’s different for every woman and that’s how it should be. Whatever you feel comfortable with and however you want to show your sexuality or not show your sexuality is empowering as long as it’s your choice. I just spent some time in Morocco and it was really interesting to see a wide gamut of women choosing different ways of dressing. I really respect that.” Last October Emily also tweeted an illustration of a woman in various guises of clothing – from a dress to a bathing suit to an abaya and so on. Underneath, the text reads: ‘Rape is never the victim’s fault.’ With the sexual assault allegations against Harvey Weinstein surfacing in October, the tweet was well-timed and impactful. “Nobody was surprised by these allegations,” she ventures, frankly. It’s a delicate subject, but I want to know whether she has ever been in a position where she felt uncomfortable or objectified? “Yes. I don’t know a woman who hasn’t felt that way in this industry. If you think about Salma Hayek’s op-ed in the New York Times last month where she talks about trying to make a movie and the sort of pressure and the position she was put in as a sexualised woman... She had a horrible time in the industry. But you know, as an actress, or anyone who’s worked in the industry, I feel the same way. We’ve all seen it... My male friends, who I think are feminists with great ideas about equality, they were very surprised [about Weinstein]. But none of my female friends were shocked. I think people need to wake up and realise there’s something deeply disturbing [about the industry]. I think that there are a lot of power dynamics that have been deeply sown from the very beginning of the industry, where there are very small things that even as a woman you are so used to, that you don’t realise how wrong they are. But I hope the culture is changing.” It’s a difficult time to be living in America, with the Weinstein allegations and Trump’s anti-feminist objectification of women both constant hot topics. “You know, I think it’s always been difficult, but now I think it’s just more visible. In some ways it’s a good thing when it is visible because you have to be really organised to really stand for the things you believe in and have something to rally against. I don’t think that the difference in a president changes cultural issues, because all these things were happening with Harvey [Weinstein] under other political reigns.” With her own rallying cry so emphatic, how else does she think the world – and entertainment industry – should move forward to a more inclusive and celebratory society that truly embraces women? “It’s really about women supporting women. But it’s more than just saying ‘me too’, it’s about saying ‘I believe you’, and really getting behind someone. We need to say, ‘I believe you, I believe your experience, your truth and your feelings, about what it means to be a woman.’ We need to take the responsibility off women to change how they have to act and behave, and instead look at how we can unite against the cultural issues that have lead us to where we are.” All this social injustice is just kindling that sparks even further rhetoric for Emily. While there’s this cause, Emily will take a stand. Of course, strong viewpoints elicit strong reactions. Haters gonna hate, so the saying goes. “I really try to live by the idea that other people’s reactions are not my problem,” she says. “But there are definitely times I would just love to lay in bed and hide under the covers and wish I didn’t have access to the internet, you know.” Do her critics fuel her still further? “Yes, I think so. I mean, I have moments of feeling really great about being outspoken and then I have moments of feeling really beaten down by it and misunderstood and misinterpreted, where things are taken out of context or in a different direction that I don’t believe in, and that can make me feel like, ‘What am I even doing?’” I wonder who it is that usually misconstrues what she says, men or women? “Generally men,” she says frankly. “I think a lot of women feel like that all the time. But I think if you don’t have haters or if you’re not somewhat controversial, then you’re not standing for anything in general and that’s something I think about a lot. So I’d rather be p***ing people off than just everyone liking me. I feel strongly that I’m right about a lot of the things I’m saying and that eventually the world will come around to that, and to me, and that’s worth all the frustrations that come with being criticised and being in the public eye and having people say that you’re basically full of s**t.” Well, you don’t want to be vanilla after all, I say. “No,” she smiles. “I’ve got no interest in that.

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caredogstips · 7 years

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Are funny parties sexy … or are sexy people funny? | Dean Burnett

Dean Burnett: Humour is often considered a very attractive mannerism in a potential spouse. But does the science subsidize this?

In a recent client pole, Girl On The Net looked at the assumption that females desired a bad son, the clich that females are attracted to more rebellious, undisciplined, aloof personas who play by their own regulates like treat them mean, keep them keen etc.

But never mind the bad guy, what about the entertaining guy? Its an equally common clich that wives are often charmed by a guy who can draw them laugh. It certainly pops up in the media often enough. How many sitcoms have you discovered where the at-best-average-looking bloke purposes up with a woman whos clearly out of his conference, exclusively because hes wacky, or witty, or cuttingly sarcastic?

Real life isnt short of lessons either. The acronym GSOH is essentially mandatory for dating charts. In his brilliant( if psychologically horrifying) autobiography Becoming Johnny Vegas, Vegas gathers no pierces when it comes to criticising his own physical appearance and drawbacks, but highlights how his increased comedy success lead to similarly particular attention from females( much to the exasperation of the more typically-attractive blokes watching, a phenomenon that has been scientifically preserved ).

And for those with a strong constitution, theres Dirty British Comedy Confessions, a area where people profess their sexual fictions about British( and beyond) comedy wizards, in often eye-watering item( thanks to Richard Herrings Leicester Square Theatre Podcast for pennant this up, and the Greg Davies and Nick Helm episodes in particular ).

Ken Dodd has been shaping innumerable parties laugh for over half a century, but still isnt considered a sex symbol for some reason. Photograph: Gary Calton for the Guardian

The link between witticism and sexual attraction has a lot to back it up, as the bishop said to the nun. Humour is widely regarded as a complex anatomy of communication, allowing people to communicate sentiments and information in an pleasant and engaging mode. If youve ever seen a seasoned speaker become jokes( or at the least, attempt to) youve realized how prevalent this notion is. So humour is a complex and valuable tool for modern humen. Nonetheless, when you render a usual human anything at all, one of the main responses will unavoidably be how can I use this is something that get sexuality? And lo, humour has already become profoundly are enshrined in what is questionably refers to as human mating, and in a variety of ways.

At the most basic rank, it constructs sense that united was becoming increasingly drawn to someone we find amusing. We encounter someone, they shape us find amusement by making us laugh, we form a positive association with them, and have more positive pities towards them. Basic associative see, the genu Pavlovs bird-dogs demonstrated. Clearly, its a lot more complex than that; people can find novelty coffee mugs funny, doesnt means that they want to have sex with them( although no doubt people who work in A& E could support evidence to the contrary ).

Another theory is that the ability to stimulate laughs and entertain parties is a sign of mental health and fitness, as it requires ability, speedy believe, versatility etc. All these acts hint the person is a good copulate, from a health and genetics perspective. So maybe puns and wordplay are the oral equivalents of a stags antlers, or a peacocks posterior; undue showings of biological health and fitness.

Again, its clearly most complex than this. Extremely few wives will look at a husband who forms her laugh and think Phwoarr, Id cherished some of his gametes. Also, the assumption that funny= psychologically health isnt a definite judgment; theres attest to suggest that numerous people determine excessive witticism as a clue that someone is psychologically unwell, hence the whole tears of a clown clich.

Depressingly for those who accept being funny can compensate for being physically unattractive, that seems to only work up to a moment. An interesting analyse by Cowan and Little , which looked at humor and attractiveness found that physically attractive people were be considered to be funnier than less attractive parties when the subjects could see the speaker. When presented with audio simply, this impact wasnt so pronounced.

Why would attractive parties be considered funnier? Surely thats not how humour efforts? One interpretation is the halo gist, where our initial notion of person or persons makes a bias in all our other assessments of them. So if you look at a man and think he is attractive, when he makes parodies youre more likely to think he is funny because you already have positive feelings about him due to how he gazes.

Its technically possible to mark witticism from physical figure, but it takes “youve got to” strange lieu. Photo: Alamy

In contrast, because the humour-attraction connection is well established and manifests in various ways, numerous might consider attempts at humor as synonymous with flirting. And if a person you dont find attractive tries to flirt with you, most people certainly dont like that, so you know a negative reaction. Overall, it hints attractive people have a much simpler time of it when it comes to obligating beings laugh. At last, the physically beautiful eventually catch a transgres!

All this come here for many caveats. The style of humour and romantic intent plays a role, because people are complex and arent limited to binary entertaining/ unfunny or sexy/ unsexy judgements. You also cant certainly filter out the countless cultural forces on our sensings.

For example, the study mentioned above shows that humour is linked to attractiveness for both men and women, but the effect is stronger for women. Is this some deep-rooted advanced mechanism, or research results of everyone around us assuming that women arent supposed to be the amusing ones? Any that are are daring convening, so receive negative responses for the purposes of our. Its nonsense of course, but then most women who exposes positive attributes seems destined to be attacked for it. We live in a world where even the most physically flawless maiden can be criticised and mocked in major pamphlets because a photographer with a strong camera viewed some cellulite between 2 adjacent scalp cells.

So its assumed that men should be the amusing ones, and women are the ones who choose funnier guys. But theres no regulation saying it has to be this mode. And this( and nearly every analyze into the region) concentrates solely on heterosexual relationships. Theres nothing to say lesbian interaction doesnt use comedy in same courses, but the stereotypical culture characters would now throw everything off, so cause even more headaches for scientists.

Overall, while it seems clear that humour and sexual interaction are strongly associated, the idea that amusing people are sexier isnt quite so evident. Parties who ever attractive often get perceived as funnier, because the people attracted to them crave them to be, even if it is at a subconscious level.

This isnt an absolute of course, what with humen being as messy and complex as “they il be”, specially when it is necessary to fornication. Some parties certainly are irresistably drawn to someone who prepares them laugh, irrespective of examines. Other beings have no interest in dating a wannabe comic at all. But, with everything that in mind, if youre wondering why so many current comics seem to be attractive young men with trendy fuzz , now you know.

Dean Burnett will be attempting to be funny on stage with Robin Ince at the Guardian Live event about his introduction journal The Idiot Brain, taking place in London on June 2 nd .

The Idiot Brain by Dean Burnett( Guardian Faber, 12.99 ). To guild a imitate for 7.99, going to see bookshop.theguardian.comor call 0330 333 6846. Free UK p& p over 10, online orders only. Phone guilds min. p& p of 1.99.