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incomprehensiblelentils · 3 years

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Bering and Wells Reunion Panel Transcription (4/17/2021)

This is from the ClexaCon Virtual panel with Joanne Kelly and Jaime Murray, with Dana Piccoli as moderator and Mark as ASL interpreter. I spent around six hours on this and there were really only a couple of brief bits I couldn’t make out - I tried to make this as thorough as possible even though the audio quality was iffy at points and there was a lot of overlapping talking. I also included all of the ums and uhs in the interest of thoroughness so sorry if that gets annoying. Let me know if I’ve gotten any screen names wrong.

Content notes: brief discussion of on-set injury, allusions to homophobia from higher-ups, discussions of hostile workplace experiences due to gender, brief discussion of the ovarian cancer subplot, Jo misgenders Mark once and then corrects herself.

Dana: And I think we are live! Hey everyone, welcome, welcome, this is day 2 of ClexaCon Virtual. So glad to be here with you for our Warehouse 13 Bering and Wells panel. What a great video! I believe that was Mal that made that. Fantastic work! [They showed a fanvid prior to the panel on the stream.] Uh, I want to take a second to introduce Mark, our ASL interpreter. Thank you so much for being here, Mark. Well, I know that the Bering and Wells fandom is still going strong and, um, I’m so excited to be able to present this panel to you today, so without further ado, let’s get started. It’s been seven years since we last embarked on the wonderfully quirky world of Warehouse 13 and we’re thrilled to have not one, but two of the show’s stars here with us, Bering and Wells in the flesh, please welcome Joanne and Jaime!

Jo: [laughs] Hi!

Jaime: Hi guys!

Dana: Hi!

Jaime: Oh my goodness, I was tearing up watching that, that was just...

Dana: It’s so good, right?

Jaime: And Mal made it, of course, I mean just, the fandom is so amazing, that we have a fan who made that amazing movie, and I’m sitting here... were you tearing up, Jo?

Jo: Yeah... [laughs]

Dana: She’s like, I can’t talk right now!

Jaime: Aww.

Jo: Yeah, it’s, you know, it’s like, it’s like a, a wormhole, it’s like going in a wormhole, really, to see that put together in that way, and just, that somebody did that is, um, crazy, wonderful.

Jaime: Yeah.

Dana: When, when we are in person in, uh, in, in Las Vegas, I’m often backstage with the actors as they see these videos maybe f- for the first time, and your reaction is the reaction that everyone has. They all get teary, they all just like hold onto each other, it’s, it’s really sweet and wonderful.

Jaime: Oh my gosh, I, I wish I could go back in time and like, we film more of it and, and enjoy it more, because sometimes when you’re in it, you’re just going so fast and, you know, you don't even realize the meaning of, of, of what you’ve created until you see it through the eyes of the fans and what it meant to them, and then I, I wish I could lean into it more. [laughs]

Dana: Well, we’re certainly gonna get into that. [laughs]

Jaime: [laughs]

Dana: Alright, well, let’s kick things off! Uh, as of a we- a week ago, I was prepping to interview Jaime, and then suddenly the heavens opened up, and what was one became two. [they laugh] Joanne joined the party! How did this crazy kismet even happen?

Jo: I’m trying this new thing where I say yes. [laughs]

Jaime: [laughs] Well done!

Jo: Thanks. [laughs] Um, it’s a new thing I’m trying. Um, Jaime texted me and she’s like, I'm doing this thing, we had talked about it, I think the last panel we did at Dragon*Con maybe?

Jaime: Yeah.

Dana: 2018.

Jo: And she had told me about ClexaCon and I was like, that, because I really enjoyed that panel that we did, it felt, you know, I think one of the reasons, and I think that the work between us is, and I look at it now and I’m so touched because I, and I also just think the world of Jaime as an actor, I think she’s brilliant and her choices are so clean and-

Jaime: Ditto.

Jo: -full heart forward, like I, I’ve always been a fan of what she bought, and just personally on set I was in a, it was a very male environment, and Jaime came and I was like, oh my god, like, someone to talk to, someone who cared, and she took care of me, like she really - so I just, I don’t know, when she reached out I was like, of course, yes, yes.

Dana: Like it’s in two days, sure! Let’s, let’s go!

Jaime: We missed each other as well. It was also an opportunity to hang out, like, we missed each other!

Jo: Yeah.

Jaime: We had this flurry of texts of like, checking in with each other, and what-

Jo: What have you been watching? what are you doing?

Jaime: Yeah.

Jo: Where are you?

Jaime: Yeah, so.

Dana: Oh, that’s amazing! So you’ve maintained this really wonderful friendship since, since the end of the show.

Jo: Yeah, I mean, actors are nomads and we’re very sort of, I feel, Jaime, I don’t know if you feel the same way, but it’s like those friends that you have that you don’t see forever, but when you see them you fall back into a rhythm automatically, there’s never, it doesn’t feel push or pulled, it’s just, it’s just nice.

Jaime: I, I think also for us, um, I think there’s a sisterhood as well, you know, I think that, you know, Jo just touched on it. You know, often in a cast there’s, um, it’s changing and it’s evolving all the time, and this was seven years ago, and it was seven years before that, it started, so like fourteen years ago-

Jo: Oh my god. [laughs]

Jaime: But there’s, ninety nine point five percent of the people behind the camera are men, the majority of the parts are often men, or it’s, it’s male and women, but the men have the more heroic bits and the funnier lines and you’re kind of struggling with that and you’re glad to be working so you’re kind of making good and making it okay, but you’re kind of like, you know, getting feels, and, you know, as, as Joanne said, it, you know, you’re laughing at dick jokes when you don’t find them particularly funny- [all laugh]

Jo: Like wow! Oh! [sarcastic thumbs up]

Jaime: And so when I came in, I saw Jo - I had been on shows, like I was on a show called Hustle, I was the only girl in the cast, and then everybody, uh, behind the camera was, um, all men. Um, on Warehouse we had one female writer on some episodes, um, we never had a fe- uh, um, a female director on anything or a producer-

Jo: No we had, we had Tawn- [presumably about to mention Tawnia McKiernan] we had two fem- we had a few, but we were-

Jaime: No- no- not on my, not on my episodes.

Jo: Oh, on yours.

Jaime: But it was just like, I came in and I saw Jo and I understood, and I knew what her experience was, and so there was this kind of kinhood, this sisterhood, and I think it, it’s not a male-female thing, but it’s, it’s a minority and majority thing. When you’re in a minority and the majority is doing something, you either have to get down with the program and go with that flow, or you get kind of fe- you feel like you’re difficult or annoying to everybody. And I kind of came in and I just was like, oh like, I get it, it’s hard, and I’m gonna give this woman, like, my, my energy and my love and, so it was-

Dana: So you were like I- you looked at Joanne and you were like, that is someone I can smash the patriarchy with!

Jaime: [laughs] Yes.

Dana: Let’s do it!

Jo: No, I read a lot of books [laughs] when we weren’t filming. I would like get on my chair and just be like this. [mimes holding book in front of face]

Jaime: Yes!

Jo: [laughs] Like I’m doing this now, I’ll see you guys when we’re rolling again, you know, it was really- and, but also, you know, it’s so, and it is changing, it’s changing and evolving in a really, um, at a wonderful rate, but also I would get so excited to be in a scene with another woman that wasn’t about a man, you know, or that we weren’t- uh, it was just so nice to have girl-girl scenes. That never happens, it hardly ever happens. Like, the majority of scenes that you do are about love or acrimony with men, um, and it’s so nice to have a relationship with a woman that’s, um, sort of reflective of how relationships with women actually are. Um, I’ve been, I shifted into writing because of frustration with just not reading stories that I felt were reflective of our, my experience as a woman, you know, that sort of, um, and I think that Bering and Wells sort of in, I mean, that’s when that ship turned for me, as well.

Dana: Well ho- hold that thought, we are, we are going there!

Jaime: And, and also because it wasn’t, it actually wasn’t written. Um, there was, in a way we were able to steer that ship, and then we’d already kind of given a road map for the way this energy was, so it wasn’t written in the conventional way. Like, even like, when a, when a, when a, when a woman will have a love interest it’s, it’s often written by men and it’s o- often in a conventional kind of way, whereas our relationship, at a time before people were even kind of, uh, exploring this that much, um, now, now much more, thank god, it’s more, more inclusive. But it was more kind of, um, uh, complicated than, than maybe would’ve been written about, so it was given more nuance, yeah.

Jo: You mean like, do you mean like actual relationships? [laughs]

Jaime: You what? Say that again?

Jo: Like actual relationships! [laughs]

Jaime: Yeah, yeah, yeah. [laughs]

Jo: You know, that don’t come in and you have a “where they start and where they finish,” like that we, oh, we know where they’re gonna end up so we’ll just gonna-

Dana: Right, right.

Jo: -move them around like chess pieces. It was actually an energy that Jaime and I created, and the story sort of evolved from that energy as - it was inside out as opposed to outside in, which I think made it a real relationship.

Dana: Well, so my friend Dorthy Snarker, she once said that HG and Myka’s storyline has been main text pretending to be subtext, which feels really apt to me.

Jaime: Yeah!

Dana: So at what point-

Jo: Very smart.

Dana: What point in the show did it really click with the two of you that this connection that HG and Myka shared was something much deeper?

Jo: Jaime just had, Jaime, you just explained this very coolly in, in, um-

Jaime: One of our chats.

Jo: Yeah, yeah. Why don’t you speak to this, why don’t you take this?

Jaime: Well, well, first of all like I said, there was like kind of this sisterhood when I came in and, um, Jo, uh, Jo wasn’t like, like it wasn’t like I came in and she was like hey let’s be friends. I came in and she was behind a book, and she wasn’t particularly accessible, and she wasn’t, like, she was a bit grumpy, you know. And so I was like, my personality type is like, how do I crack this nut? [laughs] How do I make this woman love me? [laughs] This is the most unaccessible woman-

Dana: That explai- Jaime that explains a lot! [laughs]

Jaime: This is the most unaccessible women on the set, the mo- the most unaccessible human to me. How do I make her fall in love with me? So it’s like partly my narcissism-

Jo: [laughs] Jaime Murray in a nutshell, everyone!

Jaime: -and my ego, um, so I was kind of winning her over off set, and then, you know, as she was opening up to me and, you know, she was kind of telling me about some of the challenges she was coming up against, I was like, yeah, that’s, that’s not fair, and yeah, I completely get that, you know. So we were kind of like having that kind of journey, I’m like, like, I’m like, oh no, you’re not crazy, everyone else is crazy! Like, let’s smash the patriarchy!

Jo: [laughs]

Jaime: And then, and then unfortunately, um, Jo hurt herself really badly doing a stunt, and, um, you know, there’s no time to hurt yourself on a film set, and there’s no time to take time and, and kind of heal your back or anything like that. So she was taking some pretty strong painkillers and she was working through it, and I had spinal surgery, I, I know what back pain is like, it’s, it’s the worst. I mean, it’s literally everything, you know, you feel like an old person. And so I was, um, taking care of her as best as I could, and we had the scene, and it was the scene in the street where, I, I think it's the first scene that, where I get the grappler out-

Dana: Oh, the grappler.

Jaime: And I shoot it into the air and I put my arm around her and we shoot up-

Dana: We’re very familiar with this scene. [laughs]

Jo: [doing grappler motion] [laughs]

Jaime: Yeah, so, so it’s like, it had like, physicality, and also it was a really, um, we always laugh that Toronto has about five seasons in one day, so you’ll like start shooting the scene and then suddenly there’s a, like a snowstorm! Bright sunshine!

Jo: Then it’s sunny! Then rain!

Jaime: Torrential rain, wind - and it was one of those, and we had to move to a new location, we were really behind in the day, and she had this one pice of hair that kept on like blowing in her face-

Dana: Oh, I know where this is going, Jaime. [laughs]

Jaime: And she was, the thing was, she was like, also these painkillers-

Jo: I was like, I can’t even see with the hair, I was like, I was hopped up on so many painkillers...

Jaime: Yeah, she was hopped up, she was like, I can’t even get my hair out of the way!

Jo: I think I actually called that day, it was the only time where I was like, guys I can’t work anymore, like, I literally, the doctor was like, you need to rest and I’m like I can’t. And the first AD came over to me and he was like, you’re gonna have to say stop, because nobody is gonna stop the filming, and I didn't wanna do that because you don't want to be the person that, that loses the day.

Jaime: That’s part of it, isn’t it? You’re, you can’t be, you can’t have any vulnerability or be a woman in any way, any shape or form on a film set. [laughs]

Jo: Yeah.

Jaime: So I knew in the morning, and so I’d been like trying to take care of her and had, had like this experience of having spinal surgery, so I was like caretaking as much, as best as I could. I’m a Cancerian as well, so it’s in my nature.

Dana: Sure.

Jaime: And, um, and we‘re in this scene and we’d had to kind of cut so many times, and this hair just kind of-

Jo: [laughs]

Jaime: -came over her face like this, and I just lent forward and on my line I just moved the hair out of her, um, face and put it back, and there was this, this look of genuine-

Jo: [laughs]

Jaime: -surprise and shock in her face because we hadn’t rehearsed it and, and, and you know, we rehearse everything, and then, and then Joanne, what did you say that you-

Jo: I said I had this feeling, you know, when she did that I was like, oooh, um, what’s happening? [laughs]

Dana: [laughs]

Jaime: What are these feelings I’m having?

Jo: I did not expect all these feelings.

Jaime: Someone is being nice to me in this hostile world!

Jo: I was like this is so, it was like, pink light came up and there was glitter all of a sudden, and a unicorn in the back and, um-

Dana: Yep.

Jaime: They were really good drugs, you can’t, they’re illegal now, you can’t get them now cause they’re illegal now, but-

Jo: [laughs] No, no! But that point I’d say that the storyline really developed from inside out, you know outside, it was actually something, she did something that made me respond in a certain way, and as an actor you have those openings and you can choose to go, you either close them, like if, if I don’t like an actor [laughs] and someone does something, I might go like, no, I don’t wanna gonna go with that- [laughs]

Jaime: Yeah.

Jo: -and change the track, but because I love Jaime and, and that happened, I sort of just was like I’m gonna go with this energy and see where it leads. And so it was a very organic, and it took me completely, and I had not expected it, it took me completely- but I liked it, so I started, then that...

Dana: So you are the reason, you two are the captains of the Bering and Wells ship. You made that happen!

Jaime: Yeah.

Jo: Yeah.

Jaime: But also I felt like HG, you know, she came from an era when the suffragette movement was, um, happening, and she was active in that, however, she had to write under her brother’s name, um-

Dana: Yeah.

Jaime: And as a woman, you know, she couldn’t be even open about her brilliance and she had to let her dimwitted brother take credit for it, and then she was frozen. So she was an activist before her time and suddenly she’s waking up in a world where there’s this dynamic woman, gun-toating woman kind of using her wits and brainpower and like, god bless Pete [laughs] but he was a little bit, like, she was the brains and the brilliance, and often he would be kind of like, you know, taking the credit for it or like having the girls flirt with him, and I just felt like if I grow up, if I woke up from, you know, a dream of, of being a suffragette and I woke up and I saw Myka, surely I would be more fascinated-

Jo: [laughs]

Jaime: -by this woman who is everything that I had ever wished to be, so I started playing off this fascina- I was fascinated by her. Pete was just as stupid as my brother. [laughs]

Jo: And I do have to say, I do have to give the showrunner Jack Kenny credit here too, because Jack really let us run with it and started to lean into it, and the writers were all very accepting, so it was, and, and Jack particularly, you know, we had a lot, we had our creative differences, but he was really generous in this storyline with us, like I think, he gave us a lot of rope to play with-

Jaime: Yeah.

Jo: And it was interesting rope, because they never-

Dana: It was attached to a grappling hook is what it was!

Jo: Yeah, and they never, like what i really loved about it is the never like put it on the nose it was always very elliptical, we always had room to breathe, um-

Jaime: Well partly I don’t, I think that it was, it was, it’s funny to talk about it now because it doesn't seem that long a- long ago, but it-

Jo: But it was so long ago...

Jaime: -it was unusual-

Jo: For that.

Jaime: -for the genre and for the audience that we were going for to, to actually go there, um,

Dana: Yeah. Seven years ago, you’re absolutely right. Things have changed tremendously, and especially in the last five years.

Jo: Yeah, yeah.

Jaime: And, but I think that Jack and Drew, they were kind of excited about what we were doing, but actually, you know, we weren't sure what the network would say or what the advertisers might think, and so, um, you know, I’m really proud of the work that we were able to, to say-

Jo: Yeah.

Jaime: You know, being the first in some ways.

Jo: It’s interesting, you know, like Jaime texted me, she sent me this video and I was looking at it and I was just so proud-

Jaime: I sent you Mal’s video, I sent you one of Mal’s other videos.

Jo: She’s wonderful, so like shoutout to her!

Jaime: Yeah

Jo: That’s, yeah, it was gorgeous, and I was really proud of the work, you know, after, it’s, you create these things in a bubble and, I haven’t se- I haven’t seen Warehouse, I never watched it. [laughs] so I’m always very surprised to see these videos, it feels like I’m cracking open-

Jaime: And I want to say as well, you know, when we say we haven’t down and watched all the shows, or you know, in some peoples’ cases, many of the shows, you know, it’s, it’s not because we don’t love the show and we don't love the work that everyone else has done, done, it’s actually a lot of actors don't watch, um, their own work. It’s, if, if you’ve ever heard your own voice on an answer phone or something and you're like, who’s that? Oh my god, that’s me!

Dana: [laughs]

Jaime: Like, so when you see yourself on TV or screen it’s like that on crack, it’s absolutely terrifying, and, and you’re like oh my god, like behind a pillow, like-

Jo: Filled with self loathing and despair. [laughs]

Jaime: Yes.

Dana: That’s okay.

Jaime: Which is a work in progress, I’m trying to deal with that now.

Dana: Well, when, at what point did you realize that queer people were actually starting to flock to the show to support this direction with these characters?

Jaime: We, we didn't know, we didn’t know-

Dana: No?

Jaime: Well, we, um, I, um, Jo’s not on social media so I don’t know when she knew, other than maybe when I told her. I saw replies on twitter-

Jo: Comic Con.

Dana: Somebody didn’t like hire a plane and like, around the area with like, a Bering and Wells forever…?

Jo: I, I remember, I remember going to Comic Con, for me because that’s’ when I had the fan interaction, um, because I wasn’t on Twitter-

Jaime: Yeah, there were fans that told us.

Jo: And, and, uh, a lot of the women, I remember being asked some very specific questions during panels, and, you know, there's a lot of guys who like to talk at those panel so I didn’t get to talk a lot but I made it quite, I, I made it quite clear about how important that storyline was to me and it, it, I realized very quickly that it was important to a lot more women than me. I didn’t really realize, too, that storytelling wasn’t represented in that way, at that point, you know. I didn’t feel that. I didn’t feel like that was a groundbreaking choice, to choose to be attracted to a woman in a scene to me is life, it’s how I live my life, I, I’m you know, I don’t have those, I’m not in a box [laughs] and it so when I realized, it was a eye-opening moment. I’m like, I’m like, wait, wait, this is, this is something new that’s not being done?

Dana: You guys were kind of on, you were like right here [miming going up a hill or mountain] and then shortly after Warehouse, it started going like [woosh noise of going down the other side of the hill] and this wave of representation started happening.

Jaime: Well, ev- even in Warehouse, there was an openly gay character in, in Warehouse.

Dana: Right, yes!

Jo: Yeah, yeah, there was Aaron.

Jaime: But it’s been, it’s been incredibly, um, powerful for, for, for, for me, um, you know, I I, think that a lot of people, some people are like oh my god, you know, I wish I could go back to my childhood or my teenage years, I, you could not pay me anything for, I would not go back to my teenage years for love or money. It was, it was a incredibly painful time for me, um, and not a particularly happy time for me, and, um, you know, just awkwardness, you know, all the stuff that, you know, all the stuff people feel in their teens, all the bad stuff I felt in my teens, so when I’ve spoken to people at conventions, um, and they've’ spoken to me about, um, Warehouse having, and our relationship in Warehouse having a positive effect for them in their teen, in their painful teenage years, it’s, it, it, it can bring me to tears, because i- if I could have imagined having kind of that, some kind of impact when I’d been a teenager maybe I wouldn't have been so miserable, but, um, I’m really humbled by it. it’s really lovely.

Dana: Yeah, you, you most certainly have had a tremendous impact on a lot of peoples’ lives and I’m so glad that you are able to take that and keep it in your heart.

Jaime: Yeah.

Dana: Speaking of this kind of sea change of the last few years, do you think that if Warehouse had been airing now that things might have ended differently? Do you think that maybe that subtext really would have been pulled much more into main text?

Jaime: You’d know better, Jo.

Jo: I...don’t know the answer to that question, um, perhaps, actually, absolutely! It’s twenty twenty-

Jaime: If we were writing it, maybe.

Jo: I mean, that’s what I’m trying to do. [laughs] Um, yeah, I think so. Maybe we would have been able to lean more into that storyline, um-

Jaime: Maybe we would’ve had a, be a stronger voice in shaping the narrative there.

Jo: It, yeah, I mean, Jack was, Jack was great about it, but it, it was a different, it was a different era. I think now is, is really a beautiful time for storytelling in the sense that it is really becoming so much more inclusive and we have representation, which, I mean, seeing ourselves represented in stories is how we understand ourselves in the world, and that’s, it’s so important, you know, it’s so important where we’re going, um, and I wish there could have been more of that in Warehouse, but I’m glad there was what there was.

Dana: Yeah.

Jaime: I, I, I also think that, um, you know, it’s changed so much in just such a short space of time, but particularly in the last couple of years, like, women were always, um, portrayed like, like, women always had to be perfect and kind of cute, and, you know, there had to be kind of something attractive or charming about them at all times, you know, and so we always had to put a bow on a woman to make her acceptable. And one of the things that I’m really loving is, you know, that women can be flawed and they can still, you can still love them and, you know, one of the things that always stun- stunned me is that I’ve been so welcomed into a community of kind, inclusive, um, you know, powerful activist, um, women, uh, um, and I’m like, why do these amazing women even like my characters when I’ve played such, um, a bad character, and it’s like-

Dana: But, but we love that! Queer women love a villain!

Jaime: Well, it’s like, flawed characters, and it’s like, and then recently I watched this show called, um, I hate Suzie Pickles [actual title of show: I Hate Suzie], um, there’s a show called, um, uh, I May Destroy You. They’re British shows, actually, both are.

Dana: Oh, yeah, it’s so good.

Jaime: And they, these are complex, um, women who make bad choices, and they self sabotage and they do things that are kind of frowned upon in society, and yet I love them, these women, and it’s like, if I can love these women for all their flaws, then maybe I'm okay too. And I think that we, we have to allow women to be flawed and lovable instead of just being cute little heroines that kind of support men at all times. I mean, it’s changed so much, that’s kind of, like the old, the old order of what it used to be, like, but yeah, it’s exciting.

Dana: That happe- That was what was written in my yearbook! Just, Dana Piccoli, flawed but lovable.

Jaime: Ah! [laughs]

Dana: So I totally, I totally can appreciate that.

Jaime: Was it that? Was it- that would be the best!

Dana: [laughs] I love that.

Jaime: Flawed and lovable, not but.

Dana: Oh yeah, yes, flawed and lovable, sorry, sorry. That’s, that’s what, that’s where I went wrong in the yearbook.

Jaime: Exactly.

Dana: Uh, J- Jaime. A lot has been made of this, the apples scene.

Jaime: Yes.

Dana: Do you think I smell apples is basically saying “I love you”? Were you, what do you think that Helena was trying to express at that time?

Jaime: I, I, I think that it was, um, a sense of, uh, acceptance, and, um, and, and, and, and, and love, I mean, uh, because Helena had always been such a, kind of a troubled character in so many ways and she had kind of, um, these struggles and this darkness and these mental health issues and I think that “I smell apples” was a, a, a wa- wa- was, she, she’d kind of come to the light, you know, she, she had, had kind of accepted herself, and it was such an altruistic act of love, she was sacrificing herself in order to save the others, that it was true love, like she’d overcome the darkness. So it was, uh, I, I, I, I, love that, uh, moment, yeah, that kind of-

Jo: I know we wanted, uh, one of the most beautiful definitions of love onscreen is recognition of your soul in someone else.

Dana: Mhmm.

Jo: That’s really what happens, and I thought that when Jaime did that, there was a very beautiful, I mean it’s sort of like Romeo and Juliet. You see this moment of, and we talked about it earlier, that energy, that to me is that. what that is-

Jaime: Yes.

Jo: -the scene is, “I smell apples.” It’s these two people who see each other in each other and are profoundly connected, whether, in whatever way that it is, it’s just a profound connection, you know, and so often we find boxes to put these connections in, you know, as humans, we want to make sense, we want to make logic of them, you know, which is, I think, um, why storytelling suffers in the representation, because you want to define what a thing is and kind of, um, the most beautiful things about some of the most special relationships is they, they're beyond what you can say they are, they’re beyond categorization, they are, you know...

Jaime: I, I, I definitely think that, although it wasn’t written in that way, I mean, if you actually go back and look at the footage, I’m saying “I love you” to, uh, uh, HG is saying “I love you” to Myka and Myka is is let-

Jo: I only think that’s what she was saying.

Jaime: -letting, letting it land.

Dana: Confirmation, folks! Confirmation, um, everyone!

Jo: In here. [points to head]

Dana: Write it in your vows, write it now in your vows!

Jo: Dana, you’re funny! [laughs]

Dana: Thank you!

Jaime: But wh- when, when did I come back and I was like, married to, what-

Dana: You, you weren't married, you were with a gentleman, and he had a, a young child and-

Jaime: And he was a bit of a drip as well!

Jo: And the house was very suburban, that’s all I remember was, I like walked into this house and I was like-

Jaime: That was, was that, I don’t really know the chronological, um, ordering, but like, I had like a ponytail, and I had a, possibly-

Jo: You were probably like driving a minivan.

Dana: You were teaching, you were teaching, weren’t you?

Jaime: Cause wasn’t I [indecipherable]

Jo: It’s okay, Jaime, I [indecipherable]

Dana: You were like in Phoenix or something.

Jaime: Yeah so, so what was that, after a bit I, so like “I smell apples” was the ending of my character, right? So like that, was that after a bit-

Dana: Right, and then you got rev- you were brought back-

Jaime: Right.

Dana: And then you kind of disappeared for a bit.

Jaime: Yeah, yeah, yeah.

Dana: Yes. Yeah, um-

Jaime: Yeah.

Dana: The, um, the, the, uh, the fans [laughs] were, um, confused by that, were like what?

Jaime: I d- I’m confused, I’m confused! [laughs]

Jo: Not just the fans, not just the fans.

Jaime: Well, I actually, um, I, I, I really want to go back and see that scene, um, I, I feel like you came to, I don’t, I was living in like suburbia-

Dana: Mhm.

Jaime: And, and didn’t you come to-

Jo: I don't remember.

Jaime: -the house and I, I think you came to-

Jo: I remember that horrible house though, because it was like, it… [makes disgusted face]

Jaime: It was so weird and I was like hello, I’m kind of like a completely different woman!

Jo: It was like very Stepford, I like, I walked in and, I don’t know why Myka was so accepting, I would’ve taken a baseball bat to the house, gonna be like, we’re leaving!

Jaime: So, so, so, so, I, so I, Jack, so Jack, Jack-

Jo: Get out of here, you drank the Kool Aid!

Jaime: I remember Jack was there and I was like, um, uh, oh, like this, like, like this doesn't work because of this and this doesn’t work because of that, and I was having a little, kind of like a creative difference with him, and, and he left for the day, he left for the day, and I really want to go back and see that s- that, that scene, because I remember I was asking him if I could, yeah, I know it’s, it says this but could I play it like this? And I do- I remember he didn’t want me to for the storyline, but I remember he left. [laughs] So I’d love to go back and see, I, I remember think- feeling like I was quite naughty, that I actually got away with it, but, uh-

Dana: Oh, I am loving all the subversive shit that was happening behind the scenes. [laughs]

Jaime: Yeah. [laughs]

Jo: Do you remember the park bench as well? Remember that scene, it was-

Jaime: Oh, yeah, a bench.

Jo: Wasn’t that a bench?

Jaime: Oh, that was a love scene, that was a love scene.

Jo: That was a, yeah, we really went for that one. [all laugh]

Jo: Everyone was like, what? And I’m like, well, we’re doing it. Might as well!

Jaime: [laughs] And we’re in like, Toronto, and everyone behind the camera, like, they’re very blokey, and it’s not in the script, and then they're like, “oh I didn’t, they’re, they’re, oh I didn’t see that coming!” [laughs]

Jo: They were like, what are you guys doing? We’re like, we’ll figure it out! [laughing]

Jaime: Exactly! We’re just doing our own thing. [laughs]

Dana: Oh, a little, a little mutiny, a little bit! [laughs] Well we, we, we’ve ha- we’ve had such incredible conversation so far, and I have so many fan questions for you, and if we were onstage everyone would get to come up to the mic-

Jaime: Aw.

Dana: -and ask you questions, but I do have a bunch of questions that were sent in, um, so I do want to get to your fans, because your fans are so integral to keeping this like-

Jo: That’s why we’re here.

Dana: -story alive. Uh, let’s see here. Let’s kick it off. Alright, so wellsbering wants to know, what personality traits do you share with your characters?

Jaime: Well I think, I think that, um, I, uh, definitely always get cast as the baddie for whatever reason, but then I think that, um, really the quirky mess that I, I, I morphed into is basically me. [all laugh]

Jo: I like that answer, that’s great. Um, I, uh, am very A-type when it comes to certain things, and Myka very much, I’m very like, flowy, Myka wa- didn’t flow, but there are certain parts of my life where I’m not flowy around. My work is one of them, writing is another one. Um, and I’m very afraid of letting people down. I think that’s why I've been, I was te- telling a lot of the people that I was talking to today that, you know, the reason I didn’t do this a lot when the show was on, I couldn’t understa- i was like, why do people wanna meet me? They're gonna meet me and be disappointed.

Dana: Ohhhh.

Jo: Yeah.

Dana: I think everyone thinks that though, I think that’s very common.

Jo: I think tha- yeah, I think that’s the human condition, right?

Dana: Yes.

Jo: Um, but, but I think Myka and I share that sort of reserve, you know, that thing where you’re like I don’t, no, don’t get too close. I’m like a Monet, stay back. [laughs]

Jaime: And I, I think that was part of the chemistry as well, it’s like, you have that kind of like, you know, protectio- protective-

Jo: Yeah.

Jaime: -kind of like, edge. And so it’s like, if, I think that i- in a way, the gift that we had by it not being written for us is, if had been written we would’ve, the characters would’ve made each other, um, accessible to each other far too quickly. It was like the slow burn of, Myka could be quite prickly, and my character was completely messed up so it was kind of like, this kind of like energy between them where they were kind of like, you know, like working each other out, feeling each other out-

Jo: Is there? Is there an energy there?

Jaime: And then the laughs were well earned, and the smiles, and the deciding to work together was well earned. There was a, a lot of suspicion around each other, and when they opened up or they kind of let their guard down, it was hard earned, and and it was like, you know, something you would wanna rejoice at.

Jo: Yeah, aw, I love that.

Dana: Um, okay, so this is from mayberrycosplay, uh, you may remember mayberrycosplay, I believe one of them dressed as HG at a con, uh-

Jaime: Oh!

Dana: -but they wondered-

Jaime: I’ve seen a few HGs.

Dana: You’ve seen a few HGs.

Jaime: [laughs]

Dana: This is for Jo about, uh, Myka’s experience with ovarian cancer and, uh, like, how the awareness of this silent killer of women, like how that storyline, what that storyline meant to you and how it felt to portray that?

Jo: I was really nervous about that storyline, you know, anything that has affected people and their families and, and it’s always, I, you know, difficult territory to walk as an actor, especially in a show like Warehouse where there's so much happening on such a grand level that I’m like, are they going to pay attention to this? Are they going to really honor a storyline like this? was my concern, you know, like very often things like that are added like, uh, it’s like putting a robot arm on a story, and you're like oh, and by the way, there’s ovarian cancer! And so I was really, you know, concerned about showing up for that and, and, and and serving it in a way that people understood and, and could identify with that, you know, it’s such a catharsis, that’s what I think it’s supposed to be. Um, so it was, uh, I, the fans told me I pulled it off, that’s the only way that I know.

Dana: Well it meant a tremendous amount to, to mayberrycosplay and so that’s why they, they sent that in because it, it really affected them because of their own personal-

Jo: Yeah.

Dana: -you know, family journeys and such.

Jo: Well I’m so, so, thank you, I mean, I’m still wondering, you know, I worked really hard to make sure that was in there. We’ve all lost somebody to cancer, we all know what that’s like, we all know- I mean, I mean, I certainly have, to feel a lump and be like [does the Home Alone face] you know. I have two friends right now who are going through it, so I try to honor it in the best way. I- it’s one of the things that makes me want to be an actor, uh, that I think is so special about it is that you get to tell stories that people, it’s a group catharsis, you know, so I’m glad that, glad they think I, the only thing that, if they think I sh- I showed up then... [laughs] yes, good, good, good.

Dana: Um, let’s see here, cloxy813 wants to know what was your favorite, favorite scene to film together?

Jo: Probably the heaving bosoms scene. I was excited for the heaving bosoms scene, which was all like [mimes placing gun to forehead] kill me!

Jaime: [laughs]

Dana: Hashtag heaving bosoms scene.

Jo: It was so hot that day, I remember my tank top-

Jaime: So hot, oh my god, it was like-

Jo: It was like, my tank top, I would like look down and find, I was like, my boobs are out, um. [laughs] I just saw him sign, them sign, um.

Jaime: We were by that lake, I just wanted to dive in there. It was-

Jo: Yeah, yeah, yeah, but I loved, I loved, I loved doing that scene, I have to say. And, and the chess scene, I remember that.

Jaime: Oh yeah.

Jo: I remember that very well. Um, I really enjoyed my work with Jaime because I, as I said, you know, there’s not a lot of scenes that are two women just being women. It was so, it was like a breath of fresh air and so I, I wasn't, I was, uh, you know, a lot of the times Myka was there to witness Pete-

Jaime: Or, or, or to laugh, or to kind of laugh and sigh at his super funny jokes.

Jo: The funny jokes... um, so, so it was so nice to not ha- be in a scene from that point of view. So often women are are written as accessories-

Jaime: Yeah.

Jo: You know, and, and this was a storyline where I felt like she was a whole person and I could be like a whole, real person, I didn't have to be like-

Jaime: I, I, I, I, I was on a show called Hustle and there was a character on it called Danny Blue, and he had all the funny lines, and one of the refrains that I had was “oh Danny. Oh Danny,” where every time he said something cheeky or naughty or a joke I’d go “oh Danny,” and I remember just being so excited to get the job, but then after awhile like me saying “oh Danny” really wore thin, especially as off camera I feel like I was more witty! [laughs] In that space I was much more funny, but all the funny was written for him, and I was going “oh Danny.” So when I came in I really, I kind of, um, you know, I knew the frustration of playing the, kind of, you, you know-

Jo: Straight man.

Dana: The “oh Danny.”

Jo: -if you were playing, right, right, the brainiac, uptight brainiac, and Pete had all the funny lines, so obviously we were in a lot of scenes with the rest of the cast and keeping the story going, but I felt as though all the character stuff that we had as, as women came from the scenes when we were on our own, and obviously that first scene with the grappler, um, you know, was, it was kind of the first scene where I’d been playing kind of like a little, kind of kind of like sneaky little looks and curiosity and fascination with this woman-

Dana: Yeah, we noticed.

Jaime: And, but, but, I, but, it wasn’t until the grappler scene that I thought that, that i was starting to get this, kind of, this chemistry going, and then there was a scene, do you remember the scene where I didn’t know how to work a computer or open it, it was like a, I was like a monkey-

Jo: Yeah [laughs] yeah.

Jaime: I was like a, it was like, I didn’t know what this is, we were-

Dana: Well, I mean in, in f- in fairness you had been in bronze for a long time.

Jaime: -we were in like a stu- a student room, a student's room, it was-

Jo: Yeah, we were at the college, we were at U of T.

Jaime: And, and. and we’d, it was the first time we’d deci- you’d, you’d kind of begrudgingly decided that we could work together, and HG was kind of a little thrilled, and you were a bit begrudging and-

Jo: Yeah.

Jaime: There was all, we, we still had to, ‘cause like, in sci-fi there’s a lot of storyline and exposition and kind of fantastical stuff, which is super fun, but actually as actors you really get excited about the character stuff and there was always just this great character stuff whenever we were on our own with a scene-

Jo: Yeah.

Jaime: -um, because we didn’t have to worry so much about servicing all the other characters, we just serviced each other.

Dana: Well, you know, there are only two kinds of queer women. It is thrilling or begrudging, it’s one or the other. [all laugh]

Dana: They fit perfectly in there.

Jaime: I mean maybe that’s why it resonated so well, and maybe it was the reason it was so great, that it wasn’t written, because you had these two kind of like, kind of sli- slightly spiky kind of like flawed women, kind of like o- one, you know, one not particularly into the other at all, you know, so-

Jo: It was interesting, I still remember, I still remember receiving that energy and receiving that stuff and realizing, sort of plotting, cause I’m like, how long would it take Myka to figure this out?

Jaime: [laughs]

Jo: Seriously, I was like, cause, Joanne is not her,, I’m, you know, I’m wasn’t in the box that she, I always thought, Jack’s like, you’re exactly like that character, I’m nothing, I’m not- [laughs] I mean there’s a part of me that’s uptight but there's a part of me that’s most definitely not, so I was like how, and I really wanted to do the discovery of it within her, the like, this, the, this feeling started, and then her sort of, and M-Myka to me as a character as a whole was always somebody who was afraid, this is somebody who was always very scared of everything and presented themselves in this very [mimes acting stuffy and uptight] way because there was so much going on here [gestures to heart] and it was slow in the five seasons, I really wanted her to like, you know, relax and start laughing and not be so, and I was like, there’s a certain amount of wonder that was like-

Jaime: Endless wonder.

Jo: -ohhhh, ohhhhh, ohhhh, like you kind of see her, one of the things about that journey is you start to see her discover sort of herself and her own feeling surrounding that, which I thought was really special.

Jaime: And also you, um, you, you kind of ended up, you, you know, HG was kind of like a tricky character and she was always one step ahead, um for, that first season, but then when she started to fall apart, you were the one that kind of put her together, and then I felt like there was also this humor introduced, this lightness introduced to your character through the humor el- elements-

Jo: Yeah.

Jaime: -and the surprise, which was, um, really lovely for your character.

Jo: Yeah, I, I think for m- for me, you know, it was a decision I made like in season two that I k- she had to evolve and grow and sort of, um, I couldn’t, I was, I was, I was like, I can’t keep coming to work and putting a giant stick up my ass [laughs] like we’re doing, like I need just to like expand her and go towards her relaxing and really finding, I think for her the big thing was always finding connection, you know, this-

Dana: Sure.

Jo: -we, we see in the beginning of the show is, it’s very cut off, very isolated, very like, and I, she lost her partner, that was, when I read that script, immediately I was like, this is someone who’s so scared of losing people again that she’s never gonna let anyone else in, and that was sort of like my understanding of her. And when Jaime came on, it was such a great way to explore that, Myka opening, you know, as feelings developed, her opening, you know-

Dana: Well, that, the growth, the character journey that both of your, your characters went on, I think that is what makes the show still so enduring to fans, like why they feel so connected to it, because we do, we saw that journey, you know, both of you had your own journeys to go on and you somehow managed to cross, cross paths, and it may not have ended the way fans had wanted it to, but we still go so much out of it.

Jo: I’m so glad.

Dana: I wish it was endgame, but what can I do?

Jaime: We, we, we need a spinoff show for Jo and I, we, we need a spinoff show.

Dana: Okay, yes, the spinoff, okay! You need to talk about that because-

Jaime: Who do we need to talk to to make that happen?

Dana: I got in a lot of trouble on Twitter yesterday for not asking a spinoff question, uh, what, like, what would a spinoff look like between between HG and Myka?

Jo: I think it would be have, to be now, which we-

Dana: Yeah.

Jo: And we’d have to get her, there’s no ponytails in this story, there’s no suburbs, there’s no fucking ponytails, um, no-

Jaime: I won- I won- I wonder if, um, it could be now, but, or, I wonder if I, I had to come in for a mission and then I actually pulled you back into my time, that might be an interesting way to turn it on its head.

Dana: Ooh, Jaime Murray, there we go!

Jaime: If we both had to go back-

Dana: I love me some period.

Jaime: -into my time or you know what made me think that [she does the Jaime Murray hair flip™] what I-

Jo: [laughs]

Jaime: I saw that, I saw that ne- The Nevers-

Jo: I miss that hair flip!

Jaime: -the, the, the a- the adverts for The Nevers on HBO, and I’m like that is the HG Wells spinoff right there, and I was like super fucked that I wasn’t in that, and then I read that Joss Whedon was a consultant and I was like [inaudible] really bad, so, but, anyway I think that that’s what we should do. I, I’m also obsessed with that time period.

Jo: I mean, yeah, and also like it was real, yeah-

Jaime: It was the beginning of ps-

Jo: Yeah.

Jaime: -psychology, of like Tesla, of of like different thoughts, there was like, they were like spiritual, um, kind of scientists and atheism and there was all it this opportunity for change, which actually wasn’t taken, but it was actually, it’s super interesting right at the time, there was suffragettes-

Jo: Also a fish out of water for me would be so wacky, because I’m a fish out of water too, alright.

Dana: I’m curious if yo all saw the Saturday Night Live sketch the other, uh, last week with, uh, lesbian period drama-

Jaime: Oh!

Dana: -and how, how every lesbian, like anything that features lesbians now has to be- [laughs]

Jaime: Well have you e- have you ever-

Dana: -it’s like the Edwardian or, like the Edwardian times.

Jaime: Have you guys read Sarah Waters, do you know this?

Dana: Oh, of course!

Jaime: Like, so, and maybe that is actually what helped me get to HG Wells, but I loved those books when-

Dana: Oh, they’re so amazing.

Jaime: -I was growing up and I feel like we should make those o- we should remake one of those b- Jo, you’ve got to read those books, and then-

Jo: I’m writing it down! I’m taking notes!

Jaime: Oh, it’s amazing.

Dana: You two would be amazing in her most recent one.

Jaime: She writes these amazing Edwardian, Edwardian kind of wanton lust and then there’s like, like the vervain or whatever, that kind of drug that they used to take back then-

Jo: Opium?

Jaime: -so it’s like slightly, kind of like psychedelic, oh, it’s amazing, yeah, she’s amazing.

Dana: [laughs] Well, we unfortunately are out of time, and it’s been so much fun to talk to the two of you, and I, I love the love that you have for your characters, for your friendship, for the fans, uh, it’s, it’s so lovely to see, and thank you so much for making this work in your schedules, I know you’re both super busy doing your own projects, um, and I want to think Mark. Mark, you’re amazing, thank you so much for, for interpreting.

Jaime: Thank you, Mark!

Jo: Thank you, Mark!

Dana: Um, do you have anything you want to end with, to say to the, to the Bering lesbians out there?

Jaime: Well, first of all, I want to say that, um, if anyone sends me messages to, you know, pictures or anything that that Jo needs to see, I’ll make sure that Jo, Jo gets it, ‘cause she’s not on social media, and I’ll, I’ll share stuff with her so that she can kind of know the love from the community.

Dana: Yeah, great.

Jo: I think, um, I’m actually gonna try to put together a newsletter because I’m trying to get my shows made and I could use this community, you know, to help-

Dana: Oh, we will support you to the end! We will march off that cliff with you.

Jaime: I could help you make a Twitter account, just for our community.

Jo: I don’t wanna do Twitter, I wanna do a newsletter. [laughs] I don’t wanna, I don’t know how many characters are in it, but it’s not enough. [laughs]

Jaime: But Jo, Jo, you have to actually read some of the fanfiction. The fanfiction is epic.

Jo: I have a book that I got, somebody wrote a book-

Jaime: Unbelievable, oh my god.

Jo: -like a novel.

Jaime: They’re brilliant, these people are brilliant, like best fans ever.

Dana: There is some really incredible work out there.

Jaime: Well, do you want to-

Jo: I just wanted to say thank you to everyone, um, you know, I don’t do these very often, and just like, the outpouring of love, like just the connection, I really appreciate it, I’m so grateful, so thank you.

Jaime: Yeah, it’s such a beautiful community. I feel really proud to have been welcomed into it and, uh, very grateful.

Dana: Well, we’ll hope to see you another time, and thank you all who turned in to this panel. [Jaime blows kisses]

Jo: Thank you.

Jaime: Bye, guys.

Dana: Do you smell apples?

Jaime: Bye, Jo, I love you so much.

Jo: Do you smell apples? I love you too. [blows kiss] I’ll talk to you soon.

Jaime: Yes, I’ll see you later. Bye bye, darlings.

Jo: Bye.

#bering and wells #myka x hg #hg x myka #joanne kelly #jaime murray #warehouse 13 #clexacon #clexacon 2021 #myka bering #hg wells #helena wells #nerdsbians

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franniebanana · 3 years

Text

CQL Rewatch - Ep 19

Wow, Wei Wuxian looks so rough here. He’s spent some time under the knife (with no anesthetic), and then after that, he has just been waiting around for Jiang Cheng. It’s been seven days since Jiang Cheng went up that mountain. And of course Wei Wuxian is worried about him. What if something happened on his way down the mountain? What if he’d been captured or killed by the Wens? All the while, he’s basically defenseless here in Yiling (iirc). He’s sweating profusely, clutching at his middle—it’s possible he’s even suffering from an infection due to the transfer surgery. Seriously, the poor guy!

I love the visuals here: all these cloaked figures just filling this tea house, and not another soul in there other than the waiters. It’s both comical and heartbreaking the way that Wei Wuxian tries to immediately nope out of there, because he knows it’s a trap right away. Even with his Golden Core, I don’t know if he could have escaped them all—there were too many Wens, including the Core-Melting Hand. This part always really gets to me, because it truly is the first death of Wei Wuxian. It’s the death of who he once was: that smart, quirky, rascal of a youth, who made a very honest oath that essentially guided him to this point.

No joke, the first time I watched this, I was like, “Is that Lotus Pier? How tf did he get there?! How much did they change the story?!” And then a few seconds later, I realized this was a super sad dream/vision that Jiang Cheng was having and I channeled all my anger into sadness. This part is also super depressing. He has this vision of this happy family: his mother laughing, his father kissing his hand, just the picture of love. But it’s so far from what he had growing up, and you just realize that his greatest desire was really to have that happy family. But his parents are dead, he’s lost just about everyone at Lotus Pier—it’s so heartbreaking.

God, he just looks so broken! I’m sad now.

So even though I know the cost of Jiang Cheng’s happiness is Wei Wuxian giving up his own Golden Core, I still feel so happy here, seeing Jiang Cheng feeling like himself again. It’s because Wei Wuxian knows Jiang Cheng’s heart truly that he could offer up his own future so that Jiang Cheng could have a better one. I also just love this shot of Jiang Cheng kowtowing to the Immortal One, thanking her for healing him, and the camera pans past him, showcasing the beautiful scenery again. And then he walks down the mountain path with such a spring in his step! I love it!

I love that Wei Wuxian is still able to use his mind and play to their weaknesses. Wang Lingjao is extremely superstitious and fearful of the supernatural, and just the idea that he could haunt them scares the shit out of her. It’s just very cool to me that with all the abuse he endures, he still maintains a clear head and is able to fight back with his wit. This is yet another reason why I get annoyed when I see Wei Wuxian characterized as an idiot or someone who isn’t very smart. He proves his wit in just about every scene, so I don’t know why he gets this reputation in fanon. I feel like it’s derived from some overused yaoi/shojo trope where the “girl” has to be less smart than the “guy.” I don’t know how many things I’ve watched and read with a scatterbrained (but not charming) female lead—it’s overused.

This is so cool, because Wei Wuxian is scared out of his mind—he’s terrified of being left to die in the Burial Mounds. He’s heard all the stories: people don’t return, their souls get torn apart, etc. But what is cool is that he turns everything around and makes this place his source of power. He’s the man who conquered the Burial Mounds. It’s very satisfying to see that. FYI, I’m not going to talk about how he falls for like 20 minutes.

But I do think it’s really cool how the dark spirits catch him (and that’s all I’ll say).

This part still gives me major chills: you hear so many people calling out Wei Wuxian’s name, and then a “Wei Ying” breaks through. My breath always catches in my throat the first time I hear it. And then you hear it again, and the other voices have faded away before you hear it a third time. And that all feels nice until the screaming starts, which is hard to listen to, let alone hard to watch Wei Wuxian go through the mental turmoil.

Lan Wangji is back, bitches! He’s got a new title, a new headdress, and he’s hotter than ever. Jokes aside, though, this entrance is beyond epic. Other than that tiny glimpse of him in the last episode, it’s been ages since we’ve seen him, and it’s so satisfying that we get this great entrance, walking up this enormous staircase. Obviously by this point, I’m ecstatic to see him (it’s been way too long). Everything about this scene is great, from his entrance, to the way he uses his guqin as a spiritual tool, to the way he and Jiang Cheng are now a team. I don’t think there’s an awful lot of comradery there, but they have a common goal: find Wei Wuxian.

So we’re not really used to seeing a ton of emotion from Lan Wangji. Even when he’s annoyed, he doesn’t tend to show it. But, man, he is pissed here. Because of the magic of fiction, he’s probably heard the Wens’ conversation as he was walking up the stairs, so he heard them mocking Wei Wuxian (and the Yunmeng Jiang Sect), and he is not happy about it. He even uses the Chord Assassination Technique right off the bat against at least two of the Wen soldiers. Lan Wangji means business, and he’s not leaving until he gets what he wants.

The other great thing is that he doesn’t even need to come up all the way. He defeats them at a distance, while he’s still on the stairs. And the power and respect he commands is so great that they all know him by his face.

What Wen Chao does here is so relatable. His girlfriend is freaking out, having nightmares, convinced Wei Wuxian is going to turn into a ferocious ghost and haunt them until they lose their minds, and he, of course, rationalizes: they’ve sent so many people to the Burial Mounds and none of them have ever come back. In other words, “You’re being ridiculous.” But when he turns away from her, you can see the fear in his own eyes. When something spooky happens, my first step is always to rationalize—there’s a logical explanation for most things, right? And it always makes you feel better to rationalize it to someone else, but when you’re alone and thinking, your mind starts to wonder, your imagination starts to go wild. It’s easy to psyche yourself up in the dark and quiet of the night.

There’s this really gorgeous cello version of “Wuji” playing during this scene—it’s so beautiful, so moving, hitting me right in the feels. The look on Lan Wangji’s face when Jiang Cheng is telling him about how he and Wei Wuxian were supposed to meet in Yiling, how he thought Wei Wuxian had abandoned him to meet up with Lan Wangji in Lanling—he looks so defeated there. Defeated despite taking down the Qishan Indoctrination Bureau. Defeated because he hasn’t found who he’s been searching for. And then he holds Suibian so tenderly and lovingly—I’m emotional, okay?

It’s really cute and heartwarming to see Jin Zixuan starting to fall for Jiang Yanli. We’ve known for quite some time how Yanli feels for him, so it’s quite satisfying to see his walls come down as he starts to care more and more about her. He becomes protective of her. When she gasps at the hanging head at the gates of Qinghe, his instinct is to hold her—of course, he stops himself, but it’s very obvious that he wants to comfort her physically (and not in a dirty way, get your minds out of the gutter).

I love the dichotomy here: on one end, you have Jin Zixuan asking Lan Wangji where Wei Wuxian is, while you have Jiang Yanli echoing that on the other end with Jiang Cheng. Jiang Cheng can’t answer—he’s crying, trembling, emotionally responding to his sister without speaking. And Lan Wangji can’t speak either. His lips part, but no words come out. Again, you get this great sense of defeat from him—he’s completely at a loss, but he can’t or chooses not to show those emotions.

It’s also interesting how they kind of clipped the reunion between the Yunmeng Jiang siblings in favor of showing the conversation between Jin Zixuan and Lan Wangji. In my opinion, it’s to remind us of the reunion that isn’t happening right now—the one that should have been—the one between Lan Wangji and Wei Wuxian. And why isn’t it happening? The conversation reminds us that he’s still missing. I don’t doubt the importance of the Yunmeng Jiang siblings in this story—they are obviously instrumental to the plot and to Wei Wuxian—but it’s choices like this where the writers/scene directors remind us that the relationship to focus on is the one between Wei Wuxian and Lan Wangji. Lan Wangji, and not Jiang Cheng, holds onto Suibian, the only remaining item that is most spiritually connected to Wei Wuxian. Isn’t that interesting?

“A-Cheng, you’ve grown up. As your sister, there’s nothing I can do but worry about you.” Such a wise line—such a sad line. This really brings out how powerless she feels in the lives of her brothers. She’s a bystander, she has no influence. All she can do is watch and worry, and nothing either of them says or does will change that. It’s something we as parents and caretakers and guardians at some point have to admit: we can’t control our children’s lives, we can’t control those we take care of. Once they reach a point in their lives, it’s them who has to make their own decisions. They must thrive on their own, they must fail on their own. And all we can do is watch and worry and hope for the best. God, Yanli breaks my heart.

Me in bed when I watch a scary movie any time of the day.

She does crazy so well, though.

Other episodes: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 |

#cql #the untamed #wei wuxian #lan wangji #wangxian #jiang cheng #jiang yanli #jin zixuan #wen chao #wang lingjiao #mdzs #mo dao zu shi #cql rewatch #ep19

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lazarus-lazuli · 3 years

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Loki and Sylvie aren’t endgame and here’s why:

(SPOILERS FOR EPISODE 4 OBVIOUSLY)

The TL;DR version: The director herself confirmed that their relationship is not going to be romantic. I could literally just leave it at that. Please calm down and stop clogging the tag with outraged posts about something that’s not even happening, thank you.

But I also want to argue that the episode itself makes it ABUNDANTLY CLEAR that they’re not gonna be a couple. Hit the read more to learn why I think that. Or don’t, honestly the fact the director confirmed this should be enough to assuage you, I’m just actively choosing to be annoying at this point.

If you pay attention to the text of the episode, it’s pretty clear that no, Loki and Sylvie aren’t getting together. Heteronormativity in media may have corrupted us enough to jump to that conclusion (because in most shows a man and woman interacting for five or more minutes in a meaningful way = romance), but I don’t think that was the writers’ intention. Hell, if anything, the episode makes a stronger argument for Mobius and Loki getting together which I’ll touch on a bit as well. And while I do ship them I don’t think they’ll be endgame either since Disney is incredibly fucking homophobic and we’re lucky we even got bi Loki; the Pacific Ocean will be a desert before we get to see him with another man.

So a few ways the episode told us that Sylvie and Loki aren’t gonna get together:

1) Ravonna and Mobius have a VERY important conversation in her office, not just in the sense of Mobius realizing “Oh shit I’ve been lied to”, but in the sense that she talks about their relationship. She makes a point to define their relationship as a friendship several times, while also making it clear that they have a deep emotional connection to each other - one that transcends time and space. It’s a type of relationship that often gets skewed as romantic when we’re talking about tropes, but no, in their case it’s set in stone that their relationship is completely platonic. Character wise the whole thing gets thrown away since she was very much onto him and proceeds to stab him in the back minutes later, but writing wise it was a very important point they were trying to make to the audience. Like, it was important both in universe and for the audience but for different reasons, if that makes sense. Since they established this strong connection between Loki and Sylvie at the very beginning of the episode - strong enough to cause a fucking Nexus Event - they also wanted to sprinkle in the idea that a strong connection does not necessarily equal a romantic one.

2) The main thing people took away from the conversation between Loki and Mobius was that Mobius was jealous - which, yeah, that’s valid and I agree. I mean he was deadass acting like a scorned boyfriend who just caught his partner cheating on him. But another big takeaway that people need was not only did the show itself confirm that Sylvie x Loki is gross (I mean for God’s sake they’re the exact same person; Sylvie was literally confirmed to just be the AFAB version of him IN THE COLD OPENING), but the whole idea of them being together all came from Mobius. All we know is that Loki cares for her - the feelings he’s experiencing are confusing for him because he’s a loner who hasn’t had any friends at all until Mobius and her came along. The one who’s defining those feelings by insisting they must be romantic is Mobius. This is to get under Loki’s skin because he is jealous. Loki never once gives into the idea of their relationship being romantic, even when Mobius lies about Sylvie being pruned just to get a reaction. Loki may not know EXACTLY how he feels since it’s all new to him, but even he’s not obtuse enough to think that he’s actually falling in love with himself. Mobius is just angry at Loki in this scene for multiple reasons, thus all of the romantic interpretation falls on his shoulders. He’s literally just jumping to conclusions.

Also when he says Sylvie got pruned Loki just gets visibly upset for a moment, but when Mobius himself gets pruned Loki CRIES and is fucked up about it to the point that even Sylvie picks up on it. So make of that what you will (I will make of that that Loki and Mobius are IN LOVE).

3) Final point: people got REALLY IN THEIR FEELINGS about the scene where Loki tries to confess to Sylvie. And yeah at first glance, it is somewhat set up like a romantic scene - someone actually posted “what in the Y/N x Loki is this” and honestly I had to laugh at that one because I agree it kind of has that vibe, especially since he starts the whole thing off by saying he’s new to feeling the way he does. But based on everything we know about them and everything that happened up until that point of the episode, LOKI IS VERY MUCH NOT ABOUT TO CONFESS HIS UNDYING LOVE FOR HER. His feelings for sure, but not necessarily romantic ones. He even has his hands on her shoulders - a gesture of affection, but not one that can be read as exclusively romantic. He’s just grabbing her attention, holding her there (since she does seem freaked out - maybe in her mind she thinks he’s about to confess his love, which is actually pretty funny). While there may be a misunderstanding on the part of the characters, I think the text itself makes it pretty clear that no, Loki is not in love with this woman. He ultimately just wants to tell her he cares about her and wants to stick with her through whatever happens; that they’ll make it through together. If you’re cynical you can be like “It was at the very least set up to LOOK romantic to bait the audience” and yeah, I see it too. That’s completely possible. Granted, instead of baiting people with a “OOO, what’s he gonna say?!”, it more so rubbed salt in the wounds of the people who have been queerbaited by TV shows in the past because all they could see was “Bi Man Falls for His Female Self Then Dies” which is bad so I can’t blame them for being upset. But given the context of the show it’s also very much not what happened.

And hey, I’m just as affected by queerbaiting - I was a Magician’s fan for fuck’s sake. I know queerbaiting when I see it and as far as I’m concerned, if there’s any queerbaiting in this show, it is NOT coming from the interpretation of Loki literally wanting to fuck himself. We will be donning our clown wigs and big red noses for a different reason (that reason involving Disney being Disney). If you’re choosing to be optimistic about the possibility of Loki and Mobius getting together, I fucking commend you and hope you’re right. It would be really amazing and satisfying if they did. I’m not holding my breath, though. Sadly just because Loki x Sylvie won’t be a thing doesn’t mean Loki x Mobius will be, either.

Anyway, I hope this explanation helped to clear up the fact that no, Marvel is not advocating for selfcest and never was. This isn’t Johnny Test. I think it’s good to be critical of Disney and Marvel because they’re both very flawed, but that requires actually watching the content instead of making surface level assumptions based on what you saw at first glance, you know?

#loki #loki spoilers

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a-woman-apart · 4 years

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Watch "I'M BACK! WHY I LEFT YOUTUBE FOR TWO YEARS!" on YouTube

youtube

This scared me so badly, because this is EXACTLY what happened in my life, except it was all in The Reverse.

I graduated with an Associate Degree in Music Performance in 2018, but instead of running TOWARDS my dream/calling I ran hardcore AWAY from it. My pride in graduating only lasted a month before I declared myself Utterly Unmarketable and sought to go after a "real degree" and get a Big Girl career.

Between 2018 and 2020 I had major life changes.

My dad died of stomach cancer

I broke up with my neglectful boyfriend

I turned down a Full Ride to a major college

I hospitalized myself for Suicidal Ideation (Sept 2019)

I quit my job of 5 years

I started working for my best friend and became her Office Manager

I started dating the Love of my Life

I lost my friend group and peer support

I lost my mind and left college due to COVID-19 (but not before making one of my best decisions in taking a Screenwriting class because I WANTED not NEEDED it)

Started distancing myself from the toxic women in my life and definining Womanhood/Adulthood for myself

Visited my brother's grave after over a decade of waiting and got closure

Fully acknowledged my childhood trauma/abuse

Rediscovered my sexuality

Was disowned by who I erroneously thought was a close friend of 17 years over my political views

Joined and exited Unity2020

Turned in my car for repossession

Spent a week in the hospital after having a severe, paranoid psychotic break, but came out completely free of the vice of self-consciousness I was living under

You know what is nuts? I feel in many ways, I have completely reverted to who I was in the summer of 2011. I was off my meds, and it WAS mania, but personality-wise, the tempestuous, gum-chewing, cigarette-puffing, flirtatious, humorous, free-spirited ball of fire that drove all the way to Colorado on a whim wasn't rebellious, SHE WAS ME.

I just wasn't Me around the right people, and it wasn't the Right Time.

My inner Sagittarius moon would remain in a dormant state for almost a full decade. I would spend the next 9 years heavily sedated, sleepwalking through life, only alive at The Sound of Music.

It was Torture to feel so much but be afraid to express myself. I had to Hide while doing a major that demanded that I Command Attention. I am by nature "dramatic", "theatrical", "emotional", "expressive" but that part of me was so suppresed that I was frequently told I sang with excellence but without emotion.

Aside: During my 2011 manic episode, I spoke a lot about Doppelgangers. Without going into excessive detail, this is a German word that means "Double" and it is considered bad luck to encounter yours.

In the past 2 weeks, I have encountered people that look/sound like me (Josephine is Nigerian-Canadian and I am Nigerian-American and I kept thinking about her work even though I initially disagreed with her lot) and a woman with my name (different spelling) who was NOTHING like me and I also think might've had malice in mind for me.

I was DEFINITELY an agnostic atheist when I started this year, but as a result of undergoing so much weird shit I almost certainly believe in God, and yes, "God is a Woman." (More on that later)

Also, I realized that I really DID, as many teenage girls, "lose interest in math and science" but that was because of the terrible, unfactual way it was presented in my homeschool curriculum and by my mom, who was a Math major but whose disinterested detachment made every algebra lesson an excercise in torture.

I have always loved biolology and anatomy and I remember so much more chemistry than I thought. Geology class in community college was amazing and also helped me understand-- even more than the Theory of Evolution-- why young earth creationism was completely impossible.

As for math, I spent 15 years thinking it was my greatest weakness when I have had to use arithmetic in cashiering, my managerial work, and my monthly budget for the last 7 years. Also, as annoying as it was to hear constantly, my mom parroting "What you have to do to one side, you have to do to the other" (but in reverse) gave me the ability to do Algebra quickly and (mostly) effortlessly. I could never get A's, but I got a B in Quantitative Mathematics with no real help aside from occasional teacher input and the "Help me solve this" function of MyMathLab.

Here is where it Gets Weird. I am a Creative. I have been writing stories since I was 6 years old. I have loved Story all my life. My parents were in math and science fields and they completely lacked any creativity. COMPLETELY. It was part of why they were so religiously rigid, authoritarian, and draconian. There was no room for spontaneity or childish imaginativeness.

Looking back, I had major sensory and processing issues. I was likely speech delayed, I learned to read late, and I recently confirmed that when I am stressed my dyscalculia kicks in bad (it IS real). Numbers and symbols get really interchangeable (like an 8 and infinity symbol become kinda the same) which is why I had to recite phone numbers out loud to remember them or write them on colorful backgrounds so I can see them in my head as an image. Also explains my aversion to math but my ease with fractions (1/2 is half a sandwich, etc).

My spatial awareness is also shit when stressed. Before I turned in our car, I had earned the nickname "U-turn" from my boyfriend because on that Floating Death Machine left and right got completely crossed, frequently.

By the way, I struggled with right and left until I WAS EIGHT YEARS OLD. I literally didn't understand the concept of a mirror and 3D space, meaning that the basic understanding that my right is someone else's left didn't come into play until I had an argument with my [now-deceased] brother about it.

What is so weird, is that because of years of correcting for these issues, my sense of direction, ON FOOT is good, if not better than most people. Also, once I realized that, given the opportunity, I very much do whatever I can with my left-hand, and that my hearing is MUCH better than I even thought, I am far less clumsy. Depth perception is still crap, but that is probably also because I was forced to spend years without the glasses I needed (and got earlier this year after living with chronic eye strain)

When I talk about these "issues" it is in line with female autism, but you know what? If really do have adult autism, then I am a Complete Boss because I have pwned that ho.

After being rehospitalized, a kind nurse suggested I may have PTSD and suggested medicine for insomnia and nightmares. It was extremely helpful. I had been looking into C-PTSD for a while, because I didn't think I had "suffered enough" to have "real" PTSD. But that isn't how diagnoses work.

Btw, I still have Bipolar I, Psychotic Features. Another kind nurse told me I don't need anti-psychotics, and no, I don't. I was given Zyprexa by a bitch nurse and it was like getting drunk. I stumbled the halls, almost fell over (possibly did) and woke up with a neon "Fall Risk" bracelet. Anti-psychotics also fucked up my menstrual cycle for years and I have had lingering hormonal isssues. Haha no thanks.

Anyway, I digress. Of course I am fucked up. I lived under family members who questioned my reality, attempted to crush my dreams, threatened me with physical punishment any time I behaved in non-neurotypical ways, violated my rights and interfered with my treatment even though I was a full legal adult, undermined my relationships, tortured and socially isolated me, etc., all under the guise "of knowing best."

In minority cultures, our darkness hides in plain sight, and ESPECIALLY in the Bible Belt, with its supeestition and idolization of familial hierarchy/patriarchy, victims of financial, spiritual, emotional, and physical abuse have no where safe to turn. The Long Arm of the Law is often Short when it comes to "breaking up the family", and women and children are victimized openly with little to no intervention.

On top of doing my Creative Work, I plan to create legislation to make sure that what happened to me and my siblings isn't allowed to go unpunished. We lost my older brother, and I almost died, too, but Enough is Enough.

The Time is Now.

P.S. If Josephine is an Air Nomad I identify as a Water Bender. I basically have no water in my astrological chart, but water signs bring me great comfort in times of need (and make bad romantic partners for me obviously)

Also, this is one Bad Biyatch.

I also found out I am an ISFJ, not INFJ. Yep. Gonna be a Playwright and Director. I want to be a part of the action, not just writing about it.

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feminetflix · 4 years

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De atracos y ab*rtos - Of heists and ab*rtions or How women are being robbed.

⚠️ this contains major spoilers for LA CASA DE PAPEL / MONEY HEIST season 1, specifically episode 3!

Personally, I have experienced the series la casa de papel (original title) or money heist as progressive, realistic and not afraid to deal with certain topics like domestic violence which I will be commenting on in posts yet to be published, female trans representation and occasionally peppered with numerous feminist parentheses (see characters like Nairobi and dialogues around/involving her opinion).

However, there are certain aspects I did not enjoy to watch / do not support. That is normal and every show has its flaws, those resulting all the more dangerous however, as money heist is not just any show. The series is thanks to its popularity by now a relevant aspect of people’s opinion-forming and plays into the perception of many people all around the world, coming from different cultures and having experienced all kinds of upbringing. The target audience is not specified, yet crime drama (the genre) is estimated to target both females and males aged 15-40 years old. Means, also targeting minors and adolescents. Again, all cultures / religions / races / classes etc etc included.

I am fully aware that this kind of range was not expected and therefore not taken into account by producers, talking about the first two seasons that were solely meant for a Spanish audience, not an international one. (The series was initially intended as a limited series to be told in two parts. It had its original run of 15 episodes on Spanish network Antena 3 from 2 May 2017 through 23 November 2017. Netflix acquired global streaming rights in late 2017). The analysed / discussed scene is indeed part of this maybe not so carefully crafted content. Cough.

Let’s get right into it.

Characters interacting: Mónica Gaztambide (Esther Acebo), one of the hostages who was also Arturo Román's secretary and introduced as his mistress and “Denver” (Jaime Lorente), one of the robbers participating in the heist [Denver is an alias, all robbers being referred to with city names]

Context: Mónica has an affair with Arturo Román (Enrique Arce) -hostage and former Director of the Royal Mint of Spain- which leads to an unwanted pregnancy. Numerous factors influence her (for now) final decision: she doesn’t want the child. Shortly after, the robbery unfolds and she’s taken hostage among other people. She then requests an ab*rtion pill, which at some point arrives in the mint alongside other medical supplies. The scene analysed: one of the robbers (Denver) is supposed to hand her mentioned ab*rtion pill. Before that he holds an emotional speech on the subject, morally risen forefinger, accusations and tears included.

Here the dialogue without comments:

��———Now my opinion / the actual post:

“You need money, right?” One might think that the amount of money seen in this frame (20.000,-€ approx. $21.701,50 according to Denver) is an exaggerated, way too generous gesture. Let me tell you, it is not.

According to a 2017 report from the U.S. Department of Agriculture, the average cost of raising a child from birth [to] age 17 is $233,610. If that made your heart skip a beat, take a deep breath before you read on. Incorporating inflation costs, it will be more like $284,570. Since that’s based on 2015 numbers, we can expect the cost will be even higher, babies born since then.

[…] This average includes everything from housing, food and transportation to healthcare, education and childcare to clothing, personal care items and entertainment.

Let me now remind you that Mónica is a secretary, so she likely earns (barely) enough money to be financially independent herself (taking into account that she lives near or maybe even in Madrid, her workplace, the Royal Mint situated there, so housing alone is hella expensive) and can’t really expect reliable support coming from the potential child’s father, Arturo Román, either, who initially denied support himself, their relationship a secret to the family and wife he already has. Phew.

Btw: A University of California at San Francisco study found that women who were turned away from ab*rtion clinics […] were three times more likely to be below the poverty level two years later than women who were able to obtain ab*rtions. 76% of the "turnaways" ended up on unemployment benefits, compared with 44% of the women who had ab*rtions.

“Enough to get the kid diapers until he graduates.” The problem or let’s say points raised above are now also being ridiculed or not taken seriously to say the least.

She takes the money, sticking to her decision however. “So, what’s the problem?” Or “Then, what is it?” A million additional things, Denver, believe it or not a potential child is a big deal. That and none of your business.

Also, see the reaction? How he stares at her in disbelief (and possibly even disgust, see the risen corner of his lips?). How he looks at her as if she were heartless, selfish, a monster – the picture often painted in this debate when it comes to women who decide to terminate a pregnancy. How he doesn’t respect her “no, thanks” and continues. Continues influencing her, later on even starts to mansplain his way into her stone cold heart. Okay, then let me continue as well.

“That he’ll f*ck up your life? […] Your son. Better to have your life f*cked up by your son than any of these sons of b*tches. Or me.” Call it ‘f*ck up’ or not – that is entirely her perception, her decision and I’d dare to say…she knows best.

First, because regardless of the fact that she is a woman and you are not – well it is indeed her life and, uhm, excuse me Denver, you’re no sibling, no friend, no acquaintance, quite the contrary, you have known her for what? Three minutes and already jump to conclusions?

Take the privilege of explaining her how a child would f*ck or not f*ck up her life?!!

Secondly, what makes him assume the gender of this cluster of cells, this potential future life, this basis for a potential life that may later on develop into a life (it is not a walking talking baby boy already, my friend!).

Personhood begins after a fetus becomes “viable” (able to survive outside the womb) or after birth, not at conception.

Does it provide a smooth transition for that awfully funny and figurative “son” – “sons of b*tches” (org. Hijo – hijos de p*ta) line or is it literal propaganda?

Why does he say “your son”, although he cannot possibly know? I’ll tell you. In order to distract the audience from the fact that he is referring to a pea-sized basis for a potential life by painting the picture of an already existing male human being. Mónica, do you really want to murder your son? Mónica, does that cute little doe eyed baby boy really f*ck up your life? Yeah, propaganda at its best.

Also, another example for ridiculing the point “a child would destroy my life” by comparing an unwanted pregnancy to a literal robbery at gun point. Great one.

“This f*cks your life up. A kid doesn’t.” Do you see that raised gun, that is quite literally an extension of a raised index finger? Wow, the drama. On a different note, did you notice the symbolism? A weapon stands for death, murder and guess what is also often equated with murder.

“How do you know what f*cks up my life? What do you know?” Finally. Exactly. He doesn’t know her, like at all. He doesn’t know her situation and no, he’s also not the pregnant one or anyone who would have to worry about that.

What do you answer to that, hmm? Let’s make this whole dispute even more emotional and dramatic. That ‘a cute little son isn’t as bad as a robbery’ didn’t convince her?

Let’s try with an extraordinary f*cked up and tragic life story, nobody asked for. Its goal? Showing the oblivious, naive, little secretary what real ‘f*ck up’ means, despite the evident lack of any sort of knowledge when it comes to her life (story). Again, conclusion-jumping and wallowing in prejudice at its best.

Have a look at his expression while ‘lecturing’ her. How disrespectful, how belittling. ‘Oh please, what do you know about life?’. On a wider scale: ‘How could we possibly trust women to rationally and with a clear conscience decide such things for themselves – concerning life and death, if they have not the slightest idea, living in their bubble of security and stability and no real problems’ etc. This is everything but taking women and their reasoning abilities, their judgement seriously.

“My mother was going to ab*rt me.” Now the audience doesn’t only have the mental image of a potential cute little son, it is furthermore provided with the image of a living, breathing human being standing right in front of them. Just look at him and his pleading puppy dog eyes. No actual child actor could have done it better.

Thank god she did not go through with the ab*rtion, right? Oh thank god she was not allowed to.

Taking advantage of this frame to remind you of the fact that we are still talking about a POTENTIAL future life, not an existing one that is nevertheless put above the mother’s already existing life in this impudent, low and unfair debate.

“But first…she inhaled the heroin she had to sell to be able to pay for the ab*rtion. Then she was caught by the police. Between jail, drugs and the police, I was born. What do you know?”

1)Adding even more emotions, subtle accusations and drama to that oh so rational dispute? Check. Making his situation seem two thousand times worse than hers (which he, again, has no clue about)? Check. Subconsciously painting the picture of reckless, irresponsible drug addicts/ “lowlifes” or generally female members of “society’s margins” usually being the ones to abort and make it seem like the state’s or whoever’s responsibility to prevent them from deciding for themselves? Check.

2) Then he even tears her valid ‘what do you know (about my life)’ out of the initial context of being confronted with endless assumptions and prejudice and blows it way out of proportion in order to demonstrate the insignificance of … everything concerning her? Her background, her life, her reasons. Everything.

And FINALLY *drum rolls* the wild theories and hypotheses and presumptions she was dying to hear because since he, I repeat for the twelfth time, has no actual clue about her life, let’s make up one.

“Because it seems that you don’t have a very exciting job. And maybe outside of work your life is not that great either. Or what is it that you do? ‘Kilates’? And Friday night drinks, right? What a f*cking drag. Another plan ruined by the kid[…]” That and the entire following paragraph. Wow. All accusations thrown at women who decide to abort in one.

Because OF COURSE a middle aged, down to earth, intelligent, responsible woman like Mónica Gaztambide has no other reason for terminating a pregnancy than not being able to drink alcoholic beverages or party anymore. Because OF COURSE it is valid to assume a woman or any person for that matter one has known for half an hour and interacted with for literal five minutes has a boring enough life that would not be affected in any way by a pregnancy, birth and ultimately being forced to raise an unwanted child. Because OF COURSE Denver would know how much a pregnancy can affect somebody, especially one that is forced upon a person. Quite frankly he has no idea and no right. The audacity.

“Do [your friends who are also mothers] seem f*cked up? / Do their lives look f*cked up? No, right?” Because you know best. Not only regarding her life but on top of that also that of her friends. Because those pregnancies or motherhood in general did under no circumstances end a career or prevent them from pursuing one in the first place or cause the end of a relationship or force them to stay in a toxic or even abusive relationship or change their financial situation completely or rob them of their fragile financial independence and/or free time altogether or cause any (mental) health complications or … you get the point. Oh, and because their situations are completely identical to Mónica’s situation, that is additionally not half as dramatic as your life story. Of course, Denver.

Seeing the ‘rational’ argument doesn’t really work, let’s add yet another dramatic, emotional rhetorical question. As a precaution.

“Do you know how much a child can love you?”

How could she, being the heartless, cruel, selfish, irresponsible, ridiculous and impulsive murderess you’re ‘exposing’ her as?

⚠️ Another spoiler warning for seasons 3 and 4 and still 1.

Would Cincinnati - that’s her sons actual name, not alias – really love her like he does now?

Friendly reminder: his biological father (Arturo Román) let her know - right from the start - that he wouldn’t take on any responsibility whatsoever, regardless of his later statements about doing so. Why those statements don’t matter? Despite his awareness of her state, despite knowing she was pregnant he shortly after urges her on to steal the cellphone she is caught with right after the analysed scene, ready to risk her life and the potential life of his unborn child. Literally, because as soon as she is caught with it, Berlín orders Denver to execute her.

So to those of you who will now say “but- but Cincinnati is okay and has an amazing life and does love her” etc etc, first think certain things through. If Denver wouldn’t have spared her, if she didn’t just happen to get together with him and if the heist didn’t just happen to work out like that, what then?

Cincinnati would have a different name. What else? Well for one, he wouldn’t have a father (that is now Denver) like at all, resulting in possible daddy issues / issues in general. How I know Arturo, the biological father, wouldn’t be there for them, wouldn’t fulfill all his empty promises?

Did he canonically care about his son? Was he devastated that he was not given the possibility to see him or did he instead focus on that random book of his and his speeches about heroism and honour and so on? If he wouldn’t have called his wife by his mistress’s name and through that expose himself, if his family wouldn’t have left him all alone, don’t you think he would stick to them? Just to paint a picture of who the father is and how he behaves and what we can assume from that behaviour. So the probability was high she would’ve been left alone with I quote “all the love” and of course all the responsibility. It’s a thing, Denver.

Secondly, if she didn’t just happen to turn into a millionaire thanks to the heist working out, would she really be able to provide a life for Cincinnati? Would she really be able to remain financially independent? Would her life at her son’s side really be all peace and harmony if she wouldn’t just so happen to be able to live from heist money?

So many coincidences, so many risks and no security. Can we really blame her? Do we have the right?

With these questions I will end this seemingly endless post and leave you to think about it, reflect certain things and – if you want to – share your opinion(s) with me. Please don’t hesitate to do so, as long as those contain rational arguments and most importantly respect. Thank you for reading!

(Also: sorry for the extensive censoring, I had to, otherwise it wouldn’t appear in the tags.)

#la casa de papel #lcdp #money heist #choice feminism #why we need feminism

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its-chelisey-stuff · 4 years

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The tale of Nokdu: final thoughts

(SPOILERS AHEAD!)

I really fell in love with this drama for a variety of reasons. But I would say the main one is the two leads. Nokdu and Dongjoo. Separately and together. Man, did I had it bad for these two. I fell hard for Nokdu in the first episode, without any sort of resistence. He just gets to you instantly. And while Dongjoo was a bit of a question mark in the beggining, by the end of episode 7 she finally made her way into my heart and is now one of my favorite female leads of all time. She was just such a badass.

If I had to choose one thing this drama did perfectly, it has to be the way it treated her female characters. There was not one woman on this drama that wasn’t brave, empowering and confident. Oh, jeez. How I loved that. We had our fantastic heroine, but also female warriors, brave widows who wanted a better life and defended their right of getting just that, a wonderful queen and mother, and a little sassy girl who wasn’t afraid of anyone and always spoke her mind. It was such a blessing and a fresh breath of air amid the typical patriarchy we see often in kdramas (or tv shows in general).

The parental drama (and a crazy man’s battle for power)

I’m not one to cry while watching... anything, really. It’s not easy to move me to the point of tears. For instance, I don’t cry for romance (I love it, don’t get me wrong.��Almost every story I consume has at least, a bit of it). I cry for definitive and sad goodbyes, for the deaths of loving parents or siblings and for injustice. But with the story of Nokdu, and his desire to find out who he was, who were his biological parents and finding out exactly why he had been parted from them... oooff. It always made me teary eyed. And I have to thank, not only the writer, the script and the director, but also Jang Dongyoon for such performance.

That relationship Nokdu had with the King, his biological father, started out normal, when they met for the first time. Although neither had any idea of who the other was, they created a sort of friendship anyway. And it was so heartbreakingly warming, and the King seemed so human that for a couple of episodes I deluded myself into believing that maybe they could be father and son for real, once they knew their true identities. But yeah, I was so wrong. The King was so crazy, corrupted by power and the throne. And for a moment, Nokdu hated him for being blinded by that. But he was better than his father and he wanted to protect him and the mother effing throne in the end! He fought a whole day inside the palace because of that. And yet, the King believed he just wanted to kill him and take his place. Disgusting.

I enjoyed so much that last scene of the King when he finally realized that the shaman was right, but she was not talking about his own son. And when Yul Mu told him the prophecy was about him. Wow. The years he wasted, the life he could of have and the people he killed and how he was never able to trust anyone, all because of his greed for power and for a throne that wasn’t even rightfully his. What a bitch. I was so glad to see him go down with tears in his eyes.

In the finale, when Nokdu learns that he was indeed dethroned and killed, he say he wants to cry but at the same time he doesn’t want to. And his father, the real one, who raised him with love and kindness, tells him it’s okay to do whatever he choses to. So Nokdu ends up crying in his dad’s arms.

And then we have his mom. His first encounter with the queen, knowing exactly who she was to him, but her not knowing she was right in front of his son (who she believed was dead for 20 years) was heartbreaking. The relationship between these two characters was pure love, the kind only a mother and son can have, and you don’t know how happy I was in the end, when the queen and Nokdu finally saw each other after 9 long years and were now free to be together and be the family they always wanted to be. Especially the queen, who had to lose him as soon as he got him. And then, 20 years later, after finding out he was alive and finally being able to embrace him, lost him again without knowing if she would see him again. All to save him.

(This scene was so hard to watch...)

The blood-thirsty and child murderer second lead

Let’s talk now about a certain second lead who served as a villain too, imo, the best one, hahahaha. Yul Mu. I knew when I started this drama that the sweet and caring persona he presented in the first episodes was just a facade, because I did saw spoilers while it was being aired and the whole drama community lost its chill and went bananas when that plot twist happened. I never shipped him with Dongjoo, thank God, but I did not hate his character. He was crazy and hungry for power in a way that fascinated me and and greatly entertained me. I guess you can say that I loved him as a villain and when it came to pick a side between him and the King, I rooted for Yul Mu.

The actor was just great. Specially with those crazy eyes. And he made me believe that the vulnerability he had when he was with Dongjoo was real. Even if he is true self was a bastard, I think he was really in love.

The OTP

The romance was delightful. I did not go crazy for their chemistry (sorry!) but I did love their relationship. In the end, they saved each other because they were in love. Thanks to Nokdu, Dongjoo realized she could have another chance at being happy and that there was more to life than her revenge. After all, that’s why her mom saved her when she was little. She wanted her lo live. And what better way to feel alive than being loved and find meaning again?

And because of Dongjoo’s love, Nokdu’s life was saved more than once in the drama. Seriously, I think in the last two episodes she saved him at least 3 or 4 times, be it with words or with actions. How refreshing is it that the female lead gets to save his man time and time again?

Their happy ending was so well deserved and it truly felt like clousure. Well done, drama!

I’m really not a fan of saeguks (I have watched quite a few, though) but this one gave me everything I wanted and I adored it when it went the dark route, something that actually made me enjoy less these kind of dramas in the past. I think it was because Nokdu and Dongjoo, but if I’m being honest, mostly because of our main lead. He was not perfect but he made you feel with him and yearn for his happiness because he really was an innocent in all these games and battles for power. He was a genuinely good young man who just wanted to know who he was and where he came from.

I loved this one. And I think I did it as much because I binged it. I finished it in just a few days and it was just the right way for me, to see it.

Definitely a favorite of the year and a close second to another drama that took my heart away this year. Thanks for the memories, Nokdu-ah! Now be happy forever with your wife Dongjoo and the rest of your family at the island, you deserve it.

#the tale of nokdu #tale of nokdu #jang dong yoon #kim so hyun #kang tae oh #jung joon ho #kdrama #spoilers

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redspiderling · 4 years

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Imagine my shock to see the Russos in the credits of Arrested Development's pilot. Per IMDB they directed 10 episodes, which don't suck. They DO have tight character-based writing, a solid vision of specific locations, seasoned actors with other series under their belts who grok ensemble work, and an established fake-documentary visual language of quick cuts with camera motion and close-ups. Costumes, props, editors, narrator, even the music is on-board with what story they're all telling.

That’s an interesting piece of information.

I haven’t seen Arrested Development so I can’t really judge the quality of that project, but assuming they did do a good job directing episodes for it, that makes their work in the MCU even worse, in a way. Because if they were otherwise capable of creating good content, why mess it up this badly now? Especially since the MCU has a big similarity with TV productions: It’s, for the most part, the same group of people working on each film. So they’re all on the same page in terms of what they’re doing.

So why didn’t the Russos do their part? I mean, sure, there’s pressure to finish fast, there’s pressure to do things in a specific way, but how come other people manage? I could be unfair and compare them to Taika. And I’d say I’d be unfair not only because Taika is a talented director, but also because one could argue that solo MCU films aren’t as taxing as the group projects. Still, I look at the Winter Soldier and I look at Thor: Ragnarok and I can’t help but wonder.

The Winter Soldier is arguably their best work in the MCU. It had a decent script, (even though there are things that I’m decidedly dissatisfied with in that film). Looking at it in terms of film-making, it’s nothing special and it does have a lot of badly directed scenes, mostly the quiet/non-action heavy ones. Not to mention it suffers from the same bland lighting and locations most MCU films suffer from. I say most because the 2 films that have managed to make a space for themselves in the MCU (imho) are Thor:Ragnarok and Black Panther.

Those are 2 films that don’t suffer from lack of cinematic merit. And those are the films that dared to adapt elements of the comics in their language (the colours, the bold characters, the extra dramatic scenes, all that fun stuff we actually like from the comics). The Russos make grey film for the MCU.

Creative decisions (or lack thereof) aside, making films for the MCU comes with its special set of challenges. I’ve heard enough stories during VFX meetings and seminars, to know that most FX studios are not exactly happy with Marvel, given how often they end up remaking the same scenes for the most ridiculous of reasons (e.g. re-render the Endgame entirely, because Marvel suddenly decided they wanted some changes on a “watch” the characters were wearing). Usually those stories end with a “welp, that’s Marvel for ‘ya”.

But in spite of that dissatisfaction (and the ridiculous deadlines), those studios manage to produce solid work (except for Endgame, but that’s a disaster for another day). So do the other MCU directors, not to mention the countless composers, make up artists, costume designers etc. Solid, not necessarily noteworthy.

I see how it might look like I’m targeting the Russos, and while that used to bother me (they are people trying to do their jobs) I’m not feeling particularly bad about it anymore. It becomes more and more obvious that they simply didn’t care after a point, something that their more professional coworkers didn’t end up doing.

Plus, I look at all the female film-makers (and composers and actresses and costume designers etc) out there, fighting tooth and nail and praying to their Gods that they don’t misstep because that would be the end of their career. And I look at those dudes who made 4, 4 films for the MCU, of which 1 is somewhat good, whom the male part of the famdom has deemed untouchable for whatever reason, and I end up being particularly petty. Damn those Russos xDThanks again for the ask! I’m loving the discourse on the subject and I have to go watch Arrested Development now, from sheer curiosity xo

#handypolymath #you're a fellow miss Fisher fan right?!#I've loved that show for so many years and the fact that it had so many women behind the cameras makes it a particularly good way #to point out just how badly the MCU has failed #also #sorry I always end up writing ridiculously long replies #I get carried away so easily #asks

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thatssonano · 4 years

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Hey, remember the research paper about why TV fails to represent female muslims? Well here it is.

Hey guys,

So I'm finally gonna try to write a real little thing about how TV fails to write muslim women. I thought about doing a real research paper and I wrote the introduction and got really anxious because it reminded of my very stressful master degree lol so this is much more simple. Anyways, let's get to it.

As a kid, I was very hungry for representation on TV. Mostly because I had no models, no one to identify with. As a very introvert and self-conscious kid, I didn't know what to be or what to do. At some point, I started looking up to my sister, very beautiful, very intelligent and very ambitious girl. So I thought "I ought to be like that, that's what a muslim girl like me should be like.”

Thing is, I wasn't as smart as she was, my grades were not as good, I wasn't as pretty or as popular at school, and there was not a single box I could fit in. I ended up being the "weird but nice little sister". But I was so invisible everyone would nickname me "Sarah 2" (my sister's name being Sarah.) And you know what? For the first time, I felt like I existed. Because I was "the little sister". Dude, how sad is that?

I was too white for them, not muslim enough, too weird for them. So obviously, it was tough to pave a way for myself when I was the only girl like me.

The first time I was finally not nicknamed was when I got into college at the age of 17. Only because we didn't choose the same college. And I understood I didn't have to be as smart or as ambitious as her, I understood that I didn't have to get the life she had when I was 22. 22, guys.

I'm turning 26 in one month. And I chose my own life. But God, how much time it took me to realize that there wasn't only one type of "the muslim girl"? 22 years.

I'm not saying that to share about my life or whatever, I just want to show the consequences of not having representation on TV. And for sure, many people don't care about representation, my sister doesn't, my brother doesn't. But I do. Maybe that's because I'm hypersensitive, maybe that's because I believe art should mirror reality. All I know is that it's necessary for many.

I met Sana Bakkoush on a random fan video about several fictional couples on youtube. I didn't know Skam then but there was this second in the video where I would see Noora and William staring at each other or whatever, and there was this beautiful hijabi girl in the back. I had to know what this show was about. So I did my research and binge-watched it. With much luck, I got to the end of the whole show before episode 3 of season 4 came out. So I learnt to grow with Sana, I fell in love with her, and I just felt like I could understand her. I was her. I finally was validated with her. Up until episode 5, all was well. And then,… it just broke? Still today, I'm trying to understand how they could let that happen and I guess there's one obvious reason. The writing staff was white. Julie Andem is white. And to me, if you're not from that community, you should not try to write about this one.

As the plot thickened, you could feel like it was unbalanced, incoherent, and that many things didn't make sense. But that's pretty normal, because if you don't live the problem, you can't understand. Now I won't curse Julie Andem for not trying, but I guess what should have been done was to hire a muslim writer. And God, people can't tell me it's too tough to find. Even if it was not Iman Meskini's job, she could have asked her. God, this girl taught more about ramadan through her ig story than Skam ever did.

Now I'm not saying she didn't do us all dirty when she gave us 9 episodes instead of ten and it all broke us on June 17th 2017 (Yep, this day is a national holiday now). And honestly, I've got not one good explanation for this except they didn't feel her story was that important. Unconsciously, I hope, because it would be too evil otherwise.

The reason, to me, that Sana was so many people's favorite character was because Iman Meskini gave her so much realness. Sana was strong yet vulnerable. Everyone, muslims like non-muslims could understand her, and I think she inspired so many people. Her life is amazing, and she's what now? 22. I really hope she gets a Nobel Prize in the future, she deserves it.

Now let's talk about the others. I think it'd be a bit faster.

Imane Bakhellal. Uhm. Well the main issue is the same, she was written by a white man. So obviously, it was 1. wrong. 2. wrong. 3. wrong. The story barely focused on her faith and whenever we'd see her pray she'd be interrupted. Look, I've been praying for 13 years and the only times I've interrupted my prayer were because I had just realized I had not done wudhu. Or I was too jet-lagged so I was praying in the wrong direction.

Thing is, Imane didn't make me feel anything. And it was even sadder, because I am a muslim living in Paris. To me, her story wasn't focused on her, it wasn't even focused on religion or her struggle living between two cultures. I didn't learn a thing. And God, that hurt. That hurt even more when the director didn't acknowledge it was poorly written and was actually proud of it. It hurt that white people get the right to write our story and we're there, not having any voice. It sucked. But I guess, she had ten episodes, right, even if the last episode was within the same day.

It didn't really bother me that she kissed him. The speech she recited did though. I got really frustrated about it. How hard would it be to find a muslim writer? Honestly, I would have been glad to join them, even as a volunteer.

I'm not actually mad at the actress, I guess it was just a reflection of her relationship with islam. And I know many people got the representation they wanted, but to me, it remains poorly written. To me, it remains hypocrite because they don't get it. Being a muslim woman of color in France sucks sometimes. But having at least her story focused on her would have been great too.

Ok, let's move on.

Amira Mahmood. I love her a little less than Sana, but I mean come on, that's understandable, right?

Amira is strong, she's beautiful, kind, smart. And her season was going well, until it wasn't anymore…. Because, well, it ended. I keep on wondering why it happened and I came with no logical answer. So maybe it was lazy writing, maybe it didn't matter to them, maybe the writers were just tired. I don't know, honestly, I don't know. But it pissed me off bad. (Honestly it was the third character I was let down on, lol, it started to be a lot to handle). Also, the other seasons were so greatly written, they had depth and understanding, it was soft and beautiful. And to me, season 4 just felt… lazy? Sure, I loved Mohammed but the Australia plot wasn't even that important it actually got fixed over text? And how hard would it be to find exciting plot for a muslim character? What? Everything should be about kissing, hair and sex? Well, no. I mean, I would have loved to see her actually working, I would have loved to see her actually bonding with her dad, I would have loved to see her at a boxing game… The summer and fall after I graduated high school was a very hard time to me, mostly because it was a time of discovery and transition. Everything was changing. God, they should have explored that more. So I don't know, I just felt detached then, and I think that's more sad, actually.

But I do believe the actress did a great job, and I wish Tua all success.

Shall I give a little paragraph on Nadia from Elite? Hell yeah I'm going to. Well, the show is focused on sex so, I mean, are we even surprised the writers did this to Nadia? Not really, but we're still mad. Again, it was written by white people; who focused on all the stereotypes people spread about muslims. The strict dad? Check. The very quiet and invisible mom at the mercy of the dad? Check. The muslim girl who does not actually know why she's religious and only follows her parents' footsteps like a sheep because islam is just way too strict so no one in their sane mind would ever venture in such a religion? Check. The hunger for having white friends and doing the same? Check. Falling for a white guy and giving up everything she ever "believed" for him? Check. I hope the writers heard about what people had to say about it.

Honestly, I know some would say "there are muslim girls like this". Well, ok. But what about us? We've been invisible to society for years and years. I grew up without having a single fucking idea about who I was and I just always felt like I was the odd one out. Too white, too Algerian, too muslim, too girly, too boyish, too into traditions, following too much her parents' rules… Well, growing up I just decided, I will never be enough of something, because I’m a little of everything. So yeah, some muslim girls do that, but some others don't. And we want to see these girls too. We want to normalize their way of life, so they can just live. And we want them to have the same screen time than the rest of the cast. And we want them to have exciting plots too.

God, I've been smothered by the fucking veil debate in France for weeks and weeks and I couldn't breathe anymore. That's why we need visibility. To be acknowledged. To erase ignorance and hate. To create a homogenous society in this globalized world where everyone is different and it is okay. Because as long as your liberty isn't in danger, then the other can live as he wills.

To finish I guess some of you would be like “if you’re so eager to criticize the work of others, just write your own story” Well I did. I actually finished one scenario in French and I have just started one in English. But how can I actually make it into reality if I don’t know anyone in the business bold enough to work with me on it?

Honestly if you've read all of that, congratulations, thank you so much, love you all, peace out.

I didn’t write everything I wanted but I believe it’s long enough already lol. Be safe, well and kind. (that’s what Bob Morley says and he’s a king).

#love #islam #muslim representation #skams #Skam #Druck #skam fr #elite #nadia shanaa #amira thalia mahmood #sana bakkoush #imane bakhellal

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x0401x · 4 years

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hiii so i was going through the VE tag and saw your posts about how much you dislike anime gilbert compared to novel gilbert; im so confused though about how you said he was shallow and a dick because i didn't get that vibe when i was watching? i liked the anime gilbert, and then when i read the novel, i just liked him even more. but it didnt make me hate the anime version. so i just wanted a breakdown of what anime gilbert did so wrong, thank you!

Okay, this sure took up a lot of time to reply to, so I’m sorry for answering so late! I tried to keep it simple, so keep in mind that there’s a lot more to unpack from anime-novel comparissons when it comes to VE. I just didn’t want to turn this into an essay, because that’s what it would’ve become otherwise.

I’ve broken down five main reasons why anime!Gilbert is an asshole if you put him side-by-side with novel!Gilbert. And I want first to stress out that I know the intention of the adaptation wasn’t to make him an asshole at all. The studio really seemed to believe they were doing it right, but it turned out as the same old “so close yet so far” thing. The director did say before that he had made changes to the original because the source material was “too righteous and orthodox”, so I guess novel!Gilbert was one of the “too righteous and orthodox” things that he deemed in need of alterations. Apparently, loving someone way above yourself is just not realistic if you’re a man and the other person is a woman (totally okay if it’s the other way around, though).

Anyway, here are the main negative points about anime!Gilbert (long post in-coming):

He only ever did the bare minimum for Violet.

KyoAni is hellbent on insisting, not just in the anime but also in episode summaries, the starter book and the official fanbook, as well as other medias, that Violet loved Gilbert because he was the “first person to be nice to her”. It makes me want to rip my hair off, because this means it could’ve been anyone. The novel states time and time again that it was fate, because Gilbert was the only character in the VE universe who would watch this monster-child brutally murder five men and still take her blood-covered hand and try to protect her. She was a kid being led to commit crimes by fucked-up adults, and even though there was a chance she might kill him too, he still wanted her to live, because she was ultimately innocent. He also wasn’t just “nice” to her. He tried to defend her from his brother for real. The hotel scene is actually very important and not having it takes away a lot of Gilbert’s weight in Violet’s life.

Other than that, he wasn’t shown doing even half the stuff he did for her in the novels. He constantly protected her from harassment, threw shade at any lesser officer who badmouthed her, tried to make it so that she wouldn’t have to risk herself too much during battle, often attempted to convince her into less reckless stunts, and was always the first and only one to rush to her aid. He personally took her meals to her bedroom and ate with her, arranged for her to have a room for herself, took her shopping for civilian clothes so that she could wear them after the war, and requested that her personal needs were seen by officers from the female division. He quit smoking because it made her cough, gave her his old clothes to wear when she grew out of her pajamas, took care of her whenever she fell ill from overworking, and the list goes on.

All of this aside, I think the most important was that he was always trying to bring out the human side of her. He was always testing out her interests in mundane things, and always wishing that she would show signs of having a personality. It didn’t have to be girly stuff; anything that didn’t have to do with him was fine. He often tried to instigate the humanity in her, because she was unquestionably human to him despite not knowing what being human even meant, and this is the most essential part of Gilbert in the Great War arc.

He didn’t care about her that much.

I know this might seem like a drastic claim. I mean, he did show that he cared for her, just not nearly enough, and quite certainly not as much as he cared about himself.

It starts with the fact that he let her into the military simply because his brother had already told everyone about her. Anime!Gil didn’t see her kill five people in that hotel. All that happened was Dietfried throwing at him the vaguest-ever argument that “this isn’t a child; it’s a weapon”. Like... that was literally all it took for him to send a ten-year-old amnesic, orphan girl who couldn’t understand the local language to a war that had been dragging itself on for several decades. In the men’s troops, no freaking less.

The eptome of anime!Gil’s fake selflessness is when he gets shot at the end of the war. When Violet takes him by the arm, he just... lets her carry him. She gets shot and shit, and she could very well have died (anyone explain to me how they managed to hit him in the head but not her even though they were walking so slowly), but he still clung onto her. He literally put his own life above hers.

A++++ parenting.

He was dry with her most of the time.

In the novel, Violet and Gilbert have a bond of respect and trust. In the anime, this bond is wholly one-sided. We don’t see this respect or trust from Gil’s perspective, and neither do we see any bigger signs of affection other than occasional guilty faces that show him regretting something, but don’t exactly make clear what it is. Does he feel guilty that he took her to war? If so, then he contradicts himself during certain moments. He literally thanks her for “always fighting so well” at one point and only refrains from finishing the sentence because he sees the bruises on her neck. Meanwhile, while novel!Gil asserts that she should have former recognition for her deeds (like ranks, medals and people’s well-earned respect), she should also not be in the battlefield at all because she’s just a child and constantly berates himself for keeping her there.

The dedication and devotion to her is also basically all gone. We don’t see him vowing to raise her as someone worthy of a flower goddess’s name, we don’t see him doing his best to make this happen, and we don’t see it happening until Violet is out of the hospital. Novel!Violet had a fame of grim reaper, witch and god of war because she was an extremely fierce and skilled killer. Anime!Violet is all over the place when she fights, slamming rifles into people’s faces and choosing hand-to-hand combat instead of having the common sense to fire the weapon she’s holding. There’s no such rumors about her other than that she’s “dangerous”, and she’s always injured, with her hair perpetually disheveled. She’s an absolute mess, making it impossible to forget for a single minute that she’s just a little girl being made to serve in the frontlines, and yet anime!Gil still pulls bullshit like “you fought good”.

He abandoned her to sheer luck.

As if the fake grave weren’t bad enough, he apparently offed to the woods without giving much of a fuck about her. In the novel, we see that Gil keeps aiming for higher positions in the military and to have as much power as he can so that he’ll have all the means possible to protect her. He might have been contacting Hodgins in the meantime, but this isn’t nearly enough to ensure her safety.

There’s a lot he had to do when it comes to Violet. Covering up her identity and making sure nobody tried to use her for killing ever again are examples. He also needed to be ready for whenever he had to go for her rescue, like in the case of the hijackin, so staying in the army was of utter importance. It was also important to show that this was a sacrifice he did for her, because all his responsibilities were pushed onto him due to Dietfried running away from them.

He is portrayed as being the complete opposite of her.

You might be wondering what this has to do with anything. It’s very obvious in the novel that Violet and Gilbert are mirrors in the novel. This also has to do with the fate thing: they’re basically one soul dwelling in two bodies. The two had keenly similar life stories where they went through different situations that were actually alike in essence and brought out the same results. This is basically the reason why Gil empathizes so hard with Violet and why he’s so insistent in allowing her to experience what he didn’t get to have. It’s not because he’s “righteous and orthodox”. It’s because he sees himself in her. She’s him, and he’s her. They’re one and the same at the core. But apparently a guy relating so much with a girl isn’t realistic either.

This is it (or more like a condensed version of it)! I hope it cleared things up.

#violet evergarden #gilbert bougainvillea

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the-desolated-quill · 4 years

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Quill’s Swill - The Worst Of 2019

Congratulations! You’ve made it through another year! You’ve faced many obstacles and overcome many adversaries to arrive here, at the dawn of a new decade. So as we prepare to leave the 2010s and make our way into the 2020s, lets take a look back at the challenges and hardships of 2019. And by challenges and hardships, I of course mean shitty fiction and media.

Yes, it’s time for yet another edition of Quill’s Swill, where we mark the absolute worst stories that the industry had to offer over the past year and proceed to tear them to shreds. Think of it as like voiding your bowels before the New Year.

As always remember that this is my personal, subjective opinion. If you happen to like any of the things on this list, that’s fine. More power to you. Go make your own list. Also bear in mind I haven’t seen everything 2019 has to offer due to various other commitments. So as much as I really, really want to, I can’t put Avengers Endgame on here. I know what happens. It sounds fucking terrible, but I haven’t seen the film, so it wouldn’t be fair of me to put it on the list, even though it would most definitely deserve it.

...

Seriously, read the synopsis of Endgame on Wikipedia some time. It’s like fanfic written by a nine year old. It’s truly shocking. And now it’s the highest grossing movie of all time? Give me strength.

All In A Row

Don’t you just hate it when you’re expected to parent your autistic child? Like actually show love and care and consideration to your offspring. Look at him, expecting you to treat him like a human being. Selfish bastard! If only there was a play that explored the horrors of having to be a decent person to your own flesh and blood and how objectively awful it is. If you’re one of those people, then the play All In A Row will be right up your street.

Premiering on the 14th February at Southwark Playhouse in London, All In A Row was a total shitshow to say the least. The playwright, Alex Oates, claimed to have ten years of experience working with autistic children, which you wouldn’t have believed if you saw the play as the autistic child at the centre of the play, Lawrence, seemed more like a wild animal than a person. In fact two of the main characters compare him to a dog. And if you thought this wasn’t dehumanising enough, Lawrence isn’t even a child. He’s a puppet. Yes, it’s as bad as it sounds.

All In A Row seems to place all of the blame for the family’s predicament on the autistic child, who’s presented as barely functional, bordering on bestial. There’s no effort to really make an emotional connection with Lawrence (how can you? He’s a puppet!) as the play instead focuses on how this kid has effectively ruined this family’s life because of his autism and aggressive behaviour. Speaking as someone on the autism spectrum, I can say quite confidently that this play is fucking despicable. Badly written, badly conceived, insulting and downright mean spirited. I wouldn’t want Oates looking after my autistic children, that’s for damn sure.

Anthem

EA is back and this time they’re dragging the critical darling that is BioWare down with them.

Anthem was a desperate attempt to jump aboard the ‘live service’ bandwagon, trying to replicate the success of other video games like Overwatch, Destiny and Warframe. They failed spectacularly. The game itself had more bugs than A Bug’s Life, loot drops were often stingy and unrewarding, loading times were farcically long, and the story and worldbuilding was fucking pitiful. Oh yeah, and if you played it on PS4, there was a good chance it could permanently damage it. Thankfully I have a uni friend with an Xbox One and they allowed me to play the game on that. It was a crushing disappointment, especially coming fresh off the heels of Mass Effect Andromeda, which didn’t exactly set the world on fire back in 2017.

It didn’t help that EA’s reputation was in tatters thanks to the lootbox controversy of Star Wars Battlefront II and having to try and win back the trust of fans, but worse still reports began to service of what went on behind the scenes at BioWare during the game’s development. Apparently the game’s story and mechanics kept changing every other day as the creative directors and writers didn’t have the faintest idea what kind of game they wanted to make, and the developers were often forced to work obscenely long work hours in abusive crunch periods to get the game finished for launch. It got so bad that, according to an article on Kotaku, some members of the team had to leave for weeks or even months at a time to recover from ‘stress casualties.’

To think this was the same company that gave us Mass Effect, Dragon Age and Knights Of The Old Republic. Thank God that Obsidian Entertainment is there to pick up the slack on the RPG front because I think it’s safe to assume that BioWare won’t be around for much longer at this rate.

The Lion King (2019 remake)

Here we go. Yet another live action remake of a Disney classic. Excpet it’s not live action, is it? Well... it’s live action in the sense that Dinosaur was live action (remember that film? Don’t worry if you don’t. No one does). Real locations but CGI characters. Millions of dollars spent on cutting edge tech to create photo realistic animals... and the film ends up duller than a bowl of porridge that really likes trainspotting.

It’s not just the fact that The Lion King remake is yet another soulless cash grab from the House of Mouse, it’s also the fact that it’s done really badly that upsets me. The Lion King works as an animated film. Bright colourful images, over the top song and dance sequences and vibrant character designs. As a ‘live action’ film, it just looks awkward and stilted. None of the animals are very expressive, leaving it up to the poor voice actors to carry the film, and to cap it all off the CGI isn’t even all that convincing in my opinion. At no point did I look at Simba and go ‘oh yeah, he looks like a real lion.’ It’s so obviously fake. In fact it reminds me of those early 00s movies like Cats & Dogs or Stuart Little where you see the jaws of the talking animals moving up and down like some messed up ventriloquist act or something. And here’s me thinking cinema has evolved past this.

BBC’s The War Of The Worlds

Remember Peter Harness? That guy who wrote that Doctor Who episode about the moon being an egg? Yeah, he’s back and he’s doing an adaptation of H.G. Wells’ War Of The Worlds. And guess what! It’s fucking ghastly! :D

The three part BBC mini-series was without a doubt some of the worst telly I think I’ve ever seen. It’s staggering how clueless Harness is as a writer. For starters he managed to achieve the impossible and somehow made a Martian invasion of Earth boring. I didn’t even think it was possible, but somehow he pulled it off. Then he sucks all tension out of the story by revealing the ultimate fate of the Martians at the beginning of the second episode, so now any threat or danger has been chucked out of the window because we know that the main female protagonist Amy at least would survive. And then finally he takes a massive dump over the source material by having humanity weaponise typhoid to kill the red weed rather than just having the Martians die of the common cold like in the book. Because God forbid us Brits should be presented as anything other than heroic and dignified.

So what we’re left with is a poorly realised allegory with ineffectual horror tropes full of OTT progressive posturing in a pathetic attempt to make Harness and the BBC look more liberal than they actually are. There’s no effort to really explore the themes of imperialism and colonialism outside of casual lip service, and we barely get a glimpse of the dark side of humanity. Everyone is presented as flawed, but basically awesome or, in the case of Rafe Spall’s character, utterly gormless. Our TV license fees help fund this shit, you know?!

And if you think this was bad, just wait till New Year’s Day where we’ll get to see Steven Moffat and Mark Gatiss’ butcher Dracula. Can we stop giving these beloved literary icons to these hacks please?

Glass

I liked Split. It wasn’t an amazing movie, but it was entertaining with some good ideas, a great performance from James McAvoy and was a true return to form for M Night Shyamalan. That being said, I wasn’t keen on the idea of it taking place in the same universe as Unbreakable. I feared it would be a step too far and we’d end up having something like... well, something like Glass.

On paper, Glass isn’t a bad idea. The idea of superpowers being a delusion is legitimately intriguing and could have been a great post-modern deconstruction of the superhero genre. Except Shyamalan never actually does anything with it. The first act drags on and on with absolutely nothing happening, none of the characters really grow or change over the course of the film, Bruce Willis in particular is basically only here for an extended cameo as his character does pretty much nothing for the majority of the film, and then the entire film is undermined by that stupid Shyamalan twist. Turns out superhumans are real and there’s a big cover up. Oh great! So not only does it render the entire film pointless, it also undoes what made Unbreakable and Split so good. They’re no longer people capable of extraordinary feats via rational means. They’re just superhuman. They can do anything. Sigh.

Shyamalan... maybe it’s time to give up the director’s chair, yeah?

Cats

Oh come on! Don’t act surprised! Did you honestly think I wouldn’t put Cats on this list?!

Cats, without a doubt, is the worst film of the decade and, yes, the CGI is terrible. Not only are there these sub-human cat mutants running around, we also have mice and cockroaches with child faces, James Corden coughing up furballs, Taylor Swift trying to give the furries in the audience boners, Idris Elba looking disturbingly underdressed and Rebel Wilson being... well... Rebel Wilson. It’s a disaster of a film. And really, should we even be surprised? We all knew this was going to suck. And no it’s not because of the CGI. I thought the CGI in Pokemon: Detective Pikachu was creepy as well, but at least it had a decent script and good performances to back it up. No the reason why Cats sucked is because... it’s Cats. It’s always been that bad. No amount of ‘advanced fur technology’ was going to change that. It was still going to be a confused, plotless mess with one dimensional characters and bad songs.

The only consolation I had was that I didn’t waste money buying a ticket. A friend of mine snuck me into the premiere and we watched it in the projector room. The plan was to make fun of it and have a laugh, but we didn’t even do that because honestly there’s nothing to really make fun. There’s only so many times you can take the piss out of the CGI and honestly the film was just boring more than anything else. It doesn’t even have the distinction of being so bad it’s good like Sharknado or Tommy Wiseau’s The Room. It’s just bad, period.

I just hope we don’t see something similar happen to Starlight Express. Just think. Anthropomorphic, singing trains on roller skates. Shudder.

Star Wars: The Rise Of Skywalker

Finally we have yet another cynical cash grab from Disney.

I confess I didn’t exactly go into The Rise Of Skywalker with an open mind. I was never all that keen on a sequel trilogy in the first place, and neither The Force Awakens nor The Last Jedi ever convinced me otherwise. Admittedly they weren’t bad movies. Just derivative and painfully uninspired, and I was expecting more of the same for Episode IX. What I got instead was quite possibly the worst Star Wars film since Attack Of The Clones. Yes, it’s that bad.

This film is very poorly made, filled with plot contrivances and logic holes galore. I lost count of the number of times the protagonists got into a dangerous situation because of Rey constantly wandering off like a confused toddler lost in a shopping mall. Oh and we finally find out who her parents were and it was quite a twist, but only because it was really stupid. Of course we didn’t see it coming because nobody would have guessed it would be something that moronic. I feel JJ Abrams’ stupid ‘mystery box’ philosophy is to blame for this. It’s derailed countless franchises before such as Lost and Cloverfield, and now Abrams has fucked up Star Wars because he’s obsessed with mystery for the sake of mystery and Disney are so lazy that they couldn’t be bothered to plan an actual trilogy out properly beforehand. Instead they just wing it, making it up as they go along, which led to Rian Johnson ‘subverting our expectations’ and left Abrams desperately trying to pick up the pieces.

In fact a lot of The Rise Of Skywalker seemed designed specifically to appease people of both sides of the wide chasm The Last Jedi had created. The roles of characters of colour like Finn and Rose were significantly reduced, Poe and Finn don’t end up together because of homophobia, but we do see two women kiss in the background of one two second shot that could easily be cut out when they release the film in China, Kylo Ren gets his stupid redemption even though he hasn’t fucking earned it, Lando Calrissian shows up for no fucking reason, Rey is given ‘flaws’ relating to her parentage in order to combat those accusing her of being a Mary Sue, but they’re the boring kind of flaws that don’t have any real impact on her character, and that ghastly ship Reylo is made canon even though it makes no sodding sense in the context of this movie, let alone the whole trilogy. They even go to the trouble of baiting us with a FinnRey romance before pulling the rug out from under us. Then, just to add insult to injury, the film retroactively ends up making the entire original trilogy completely pointless. All because Disney wanted more dollars to put in their Scrooge McDuck money bin.

The Rise Of Skywalker, and indeed the entire sequel trilogy, should serve as a cautionary tale against the dangers of hype and nostalgia. The reason The Force Awakens was successful wasn’t because it was a good movie (because lets be brutally honest here, it really fucking wasn’t). It was because it gave gullible Star Wars fans warm fuzzies because it reminded them of A New Hope whilst tempting them with the vague promise that things might get more interesting later on. And when that didn’t materialise, quelle surprise, the fanbase didn’t take it very well. I would love to think that this will serve as an important lesson for the future when people go and see Disney movies, but who am I kidding? I guarantee at some point we’re going to get Episodes X, XI and XII and we’ll have to go through this sorry process all over again.

So there we have it. The worst of 2019. May they rot forever in Satan’s rectum or wherever it is stories go to die. Tomorrow we’ll take a look at the other end of the spectrum. Yes it’s the Quill Seal Of Approval Awards! The best of the best! Who shall win? The suspense is killing me! Ooooh, I can’t wait! You’ll be there tomorrow, won’t you? Of course you will. How could you not?

#quill's swill #quill's swill 2019 #worst of the year #review #opinion

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pjstafford · 4 years

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The Bad Boy/Good Guy public personality dynamic of David Duchovny

Written as a birthday gift (with her blog prompt) for Charmion @grungekid84

Dedication: Charmion and I are of different generations; separated in age by over twenty years. I was the age she is now, about, when the X-files was new and she watched it first as a child. Yet today we share similarities in thoughts related to our celebrity crush. To both Charmion and David Duchovny I say, I hope this blog does the love the justice it deserves.

Why are women 20 to 70 years of age fan girls of the 59 year old David Duchovny? Not simply fans! Fans might watch a movie because an actor is in it. They might rewatch a series a half dozen times. Fan girls like Charmion have an Xfile room and paint pictures. Fan girls like myself write blogs, fan fic and team up with fan girls like Cathy Glinski to present at academic conferences. Why do women who have no other celebrity crushes have this need to celebrate this one celebrity in these ways? It seems significant to me the age range of women who are fan girls. I have stood in an audience surrounded by women barely old enough to meet the 21 age limit who knew every word to each of his songs. I heard one such woman say that this is an experience she would tell her grandchildren about. I, also, know women closer to 70 who have traveled to a meet and greet or comic con because they wanted the opportunity to thank this celebrity for the years of joy. Just today as I start to write this a woman I do not know tweeted @hearteyes4david an open letter to the world with a life wish to meet and thank this man. There are so many of us who just want to say thank you. And I won’t say none of us are not, but most of us are not crazy. We are lobbyists, store managers, attorneys, emergency room nurses, church secretaries of different ages and nationalities, many happily married, most normal women ( and some men). So many of us eager, compelled almost, to meet a single specific man and say thank you.

Some of it, people will say, is lust. Yes, it’s possible that if he was a less attractive man we would wish to thank him in person less. Still, can you truly look at the picture at the end of this blog and say his looks are so much more Adonis like than any other man? To say it’s purely a physical lust for a handsome man is dismissive of the intelligent, thoughtful women so moved to want to thank him.

His talent? “Sweet baby Jesus” he gave us Mulder and if that wasn’t enough, Moody. Whether he is playing a man who has lost his wife in Return to me, a drugged out doctor in Playing God, or a Russian operative determine to see the US nuked in Phantomn he makes every character seem so real that he gets a reputation for only playing himself. He is so good of an actor playing such diverse roles that folks can’t believe is truly acting. Still, I think most of us would just be fans and not fan girls if good looks and talent was all he had going for him

He is multi-talented and many love the rock star with romantic, heart breaking lyrics. For me, as I have often said, he is my favorite living novelist with three novels published and a fourth to come out soon. He writes intelligent, funny, heart breaking novels with an unique style and characters that again seem real (even the talking animals). In a recent interview he said something to the effect that his kids could read these novels and know who he was a man. I think that’s why I love his writing so much is because lyrics or prose they are authentic expressions of an artist’s personality; which brings me to Charmion prompt...the personality of David Duchovny.

I have met the man briefly a handful of times. I like the man I have met, but I can’t pretend to know more anymore than his public persona. I know how he comes across in interviews, what others who know him say about him, and all I can possibly gleam from his public art...from the things he has acted in and from his written art- the XFiles the Unnatural, the movie “House of D”, the novels, the lyrics, the distorted selfies in the mirrors reflections he tweeted when he used to tweet. This is how I know what I know about the man...and the fact that the few times I met him he was soft spoken, polite, humble and kind; taking time to answer my questions intelligently, joke a little and write kind words.

I know he is flawed. It is impossible to be a fan and not know about some of the faults which have been well publicized. As he himself says in my favorite of his songs, “I got skeletons in my closet which time ain’t forgot...”. They will never be forgotten. They will be included 20 or 30 years from now in his obituary. His flawed character is a fact, it has been aired, it is part of who he is.

I have written that what I love best about his writing is the combination of darkness and despair with the lightness of the human spirit and resiliency (mmm...the ability to believe?) rising out of darkness. He writes about the most depressing subjects on earth realistically and the fairy tale quality which rises to fill our hearts, to make us laugh and cry, is as real. It is either or both n amazing technique and/ or a result of a world view. I choose to believe it is the latter.

David Duchovny is no saint, but God Damn, he seems like a remarkably good guy with enough of a bad/boy mischievous side to make his personality as sexy as fucking itself. See how I just got a little different in my language there. David puts fucking in a book title, god damn in a song, gets bleeped on air record breaking number of times. God damn, fuck you if you think this is a man who is afraid to swear. He is not really Fox Freaking Mulder but he is David Fucking Duchovny

He is a good guy. He is intelligent. His ability to reference the high brow literary comes across in all his works. His second album title is from a Shakespeare quote. Walt Whitman shows up throughout his novels (and his dog’s tweets). He is well read, it quite well known. If you don’t get that reference, he would, as a Dylan fan and a fan of many other musical artists. He is also happy to talk about and reference sporting heros.

He is a bad boy. Oh, but the lowbrow humor! Early interviews have fart jokes, bathroom humor. He has a knack for intermixing the profane and profound. His novel, Miss Subways, has the elementary teacher leaving the classroom in tears when an assignment (write a letter to a Shakespeare minor character) results in an innocent boy reading “My dearest Fellatio...”.

He is a good guy. He is a romantic. He gave the XFiles fans the shippy Mulder and Scully baseball scene. He believes in his heart that Californication was at heart a love story. He writes lyrics for his ex wife who loves the rain saying “ It will always be raining in this song.” In his novel are real people having real sex type of scenes...no great erotica with flowing hair and heaving bosoms for this man, but discussion of lights on or off or an older couple off screen and an adult son hearing and embarrassed.

He is a bad boy. The man has no fear of nudity. . In his first movie he was filmed completely naked. In the commentary to the rapture he admits that he told the director he thought the character slept in the nude. (Hence the balls shot). It was his idea to wear the red speedo. He improvised the moonshot in evolution.

He is a good guy. He believes in causes. He volunteers and donates to protect the planet, for animal rights, for music education and for planned parenthood. His was the only story in over 200 XFiles episodes that truly dealt with racial injustice and segregation.

He is a good guy. In House of D the thirteen year old boy’s best friend is a forty year old janitor with special needs. He is a bad boy. That boy and janitor told each other a lot of pee jokes.

I can go on and on and on about the bad boy/good guy public personna of David Duchovny, but I am going to close with a subject that might tempt fate and bring forth the haters. I want to end with thinking about David and women.

In Red Shoes diaries David was in the forefront of the soft porn explosion. In an interview this year Brigitte Bako describes her experience in filming the movie as the “worst experience of my life”; but has nothing but complimentary things to say about David, how sweet and nice he was. They became close friends and she later appeared in an episode of Californication.

In Californication, David was the star of one of the raunchiest series in television history. Tits and ass, fucking and punching. I love the show but it would likely not be made today although, to be fair, it demonstrates women having agency over their sexuality. Nevertheless, actresses who appeared on that show have recently been asked what it was like. Over and over again they talk about how comfortable the environment was and how polite and respectful David was.

Much has been made over Gillian Anderson being paid half of David Duchovny’s salary. This is hardly his fault and something he argued against once he was made aware of it, but, as a fan of the show, I love hearing him talk protectively of Mulder and of wanting to protect that relationship. I love that he was responsible for rewriting an ending to one of seasons 11 episodes which end not with Mulder objectifying Scully and not with him in his under wear, but with Scully opining the door and him standing there. As David said, Scully being in control of her own desires.

Finally in Miss Subways, I find a female character written with such realism and authenticity that I have to go back to the 19th century to find a female literary character so relatable to me. She is a reader, beautiful to some men, a little eccentric in some ways, vulnerable, strong but without a great belief in herself or her talent. She’s just fucking real in a fucking real world despite being in a surrealistic fantasy novel with Irish banshees and African spider goddesses, parallel timelines and phones that can alter reality.

We, the fan girls, love this celebrity, David Duchovny because of his looks, his talent and his personality; because he is a bad boy and a good guy; because he inspires us, because he is flawed as we all are and goes through his life trying to be present in the day. For all the fan women who have yet to meet you, Mr. Duchovny, I say thank you and we love you, until they can meet you and tell you themselves.

Happy Birthday, Charmion. If you should meet him someday when I am not there give him an extra hug for me.

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psycho-slytherin · 5 years

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Strangers ch. 37

You finally bite back– and walk in on Yoongi.

Pairing: Yoongi x (female) Reader

Word count: 1.5k

Genre: fluff, angst

|mlist|

<–– Prev Next ––>

You shrug on your coat, beyond relieved to be able to wear your layers again. Commercial filming is done for the day– you only have to show up tomorrow morning and hopefully be done in a few hours. God, you were cold, so cold, and tense. Your phobia has been messing with your head and keeping you on edge, and you’re so fucking angry that you’ve let yourself become weak. You’re a liar; you’ve always managed to bullshit your way around weaknesses. Letting a fear so illogical disrupt your life? You hate it. It’s pathetic.

Your phone buzzes as you wait inside the studio for Lisa to pick you up, and you check it– it might be Yoongi, and you could use a mood booster.

@captainkookie21: lol @yourname is such a royal bitch, amirite??

Ah, yes. Of course. Of course, why would it be Yoongi, when you’ve got such merciless hatred to keep you constant company? Why would it ever be Yoongi? You’re just friends, it’s not like he cares– why should he care? You’re typing before you realize it; you’re sick of taking all this shit.

@yourname: @captainkookie21 royal is right sweetie I’m such a queen <3 glad u at least know my name tho since I sure don’t know yours ;)

You send the tweet and shove your phone in your purse. The anger inside you has been temporarily assuaged, but you can still feel it bubbling beneath your skin. You’re pathetic, you’re weak, you’re a liar, and everyone hates you. You’ve spent so long in despair– god, when will you ever just get a break? Why can’t something just go right?

Your phone rings, and the caller ID tells you it’s your best friend.

“Lisa? Are you outside?”

“Hey girl! Sorry, I’m calling to tell you I can’t make it– an assignment I forgot about came up in class and I gotta pull an all-nighter to get it finished. I’m really sorry! Call a car back to yours, okay? Love you, mwah!”

You grit your teeth and sigh. You need to go home and watch YouTube until your eyes bleed. Usually when you needed cheering up you’d watch BTS crack videos or Run episodes, but even that seems wrong now that you know them for real.

Whatever. You take an Uber home and fall onto your bed. Maybe you’ll actually fall asleep early for once once.

~~~

@kceleb-updates: NEW! #MoonOverTheSea’s @yourname was criticized for replying to a Netizen anti’s tweet! Y/n’s had lots of controversy since becoming @BTS_twt’s #SUGA’s girlfriend. Stay tuned!

Hoseok sits back with a sigh. “She really can’t go a day without sparking some argument or another.”

“It’s not her fault,” Yoongi growls, scribbling rapidly in a beat-up notebook.

“She could’ve left well enough alone. After dealing with those haters for so long, I thought she knew that by now.”

“It’s only gotten worse since they made us pretend to date. I still don’t know why Manager-nim thought it would be a good idea.”

“Hyung, if you didn’t have the dating excuse to be together, they would’ve slut-shamed her or called her a social climber for being out with you at night anyways. The photo, remember?” Hoseok shrugs, sprawled on the bed of their Japanese hotel room. “Face it– there’s no winning when she’s associated with us; they’re always going to compare her to you.”

“Ugh! I should’ve– done something, I should’ve said something! Hobi, she was put in danger because of me!” Yoongi still doesn’t look up, only gripping his pen tighter. “She keeps saying she’s fine but she’s not, and I know she’s strong– stronger than I was, than I could ever be– but she was hurt, nearly killed, and she’s fucking traumatized because of it. Because of me.”

“Quit beating yourself up, Yoongi hyung. Y/n is a grown woman and she’s making her own choices. She’s trying to protect you– haven’t you noticed? Jeez, she probably knew this was how you’d react– no wonder she kept it a secret.”

“I don’t need protecting anymore.”

“Neither does she.”

“But the haters–”

“So do something about them then. Y/n already has,” Hobi nods at his phone. “What are you going to do?”

Yoongi stares at his notebook. “What I do best.”

~~~

“Y/n, please, darling, don’t make me beg! C’mon, eyes closed, you don’t even have to kiss his cheek, just get closer to him.”

You swallow nervously and nod, before taking a breath and leaning forward, your lips barely brushing Wonho’s smooth skin.

“Perfect… trail your hand down his neck, that’s it… Wonho, give me a lip bite, look right into the camera– yes, exactly! We’ll have the music swell, and add the voiceover right here. And… cut! I think that’s our take!” The staff applauds as the director calls out the end of the commercial shoot. You grin inwardly– if you hurry, you can make it to the boys’ apartment for dinner.

Wonho extends a hand as you leave the set. “It was nice working with you, y/n. I hope to see you around sometime.”

You smile and shake his hand. Wonho had really been the best part of this freezing, somewhat demeaning endeavor. “Same, it was a good experience. I’m sure we’ll run into each other again.”

Lisa hasn’t texted since yesterday, so you figure she’s still working on the assignment. So much for no more rideshare apps, you think dryly as you’re dropped off a few blocks from the boys’ place. You can’t wait to surprise them, and it’ll be a good chance to ask Jimin for another video for Lisa.

You pull your hood up to cover your hair– bundled in all your layers, and with the sunset’s last breath settling over the city, the crowd of ARMYs clustered around the building ignore you easily. You slip into the side door using the spare key Yoongi lent you when you stayed with them and tiptoe up the stairs.

Holding back a giggle, you knock on the door to the apartment, and… nothing. No one answers. You knock harder– still nothing. Maybe they’re watching a movie? Or was their flight delayed? Yoongi said everyone would be back by Saturday evening and they have a private jet anyways, so they should be home.

You try the door and find it unlocked. Huh. It’s not trespassing if you’re their friend, right?

Tentatively you enter the house. “Guys…?” It feels eerily empty– maybe their flight was delayed. No, wait! You hear a voice, and music coming from down the hall. Are they recording? You’ve never been into any of their studios, but you’ve seen enough pictures online to know all about them.

Maybe you should leave. You’re about to turn around when you hear a muffled, yet familiar voice.

“So when there’s someone new… no, that’s not it.”

Well, at least you know your Yoongi is home. You quietly pad closer to the famed Genius Studio– You’re just curious, like any fan would be. You’re about to knock on the door when you hear something that stops you cold.

“Ugh– y/n!”

You practically jump out of your skin. Wait, what? Does he know I’m here? How? Your every drop of blood turns to ice and you back away from the door in case it swings open. Instead, Yoongi only continues; perhaps he’s talking to himself?

“Okay, okay. Trying again. This is take, uh… sixteen? Seventeen? Aish, who cares. C’mon, Agust, gotta get it right.” Yoongi’s muffled voice shifts in tone as a beat starts, and you can see Agust D in your mind’s eye when he begins to rap:

“Here’s someone new, a challenger to drown and rue, but think about it, mull it over, she’ll talk until you’re drop-dead sober, dock some points, you’re so below her, do your best to fucking loathe her, love her, think yourself so much above her–”

You feel half-hypnotized. Her? Who’s her? Maybe you should knock, it almost feels too personal, too intimate to overhear but you can’t interrupt, not now–

“She’s stronger than I’ll ever be, so if you’re gonna hate, hate me.”

If Yoongi keeps executing these perfect rhythmic shifts and internal rhymes you might be in serious danger of falling in love with him for real.

“Calling people snakes on a verbal kill spree only exacerbates the pain, trapping us in our brains, until there’s one way out, goddamn.”

“Beautiful,” you whisper, barely noticing that you’ve spoken aloud. Yoongi’s words, his raps, his poetry… it’s beautiful. You’re entranced to the point that you don’t notice the beat has stopped.

“Did you say something, Jimin-ssi?” Yoongi calls from inside his studio.

Oh shi-

The door swings open before you can react and Yoongi steps out. His expression is relaxed, unguarded... until he catches sight of you.

“Y-Y/n?”

A/N: Sorry for the short chapter, lovelies! Hope you enjoyed <3 As always, thanks for reading, and please don’t forget to like, comment, and reblog!

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intothespideyverses · 4 years

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I have Thoughts on HSMTMTS

Overall I liked it. It's cute and I've said this before but basically a Disney-friendly Glee. I do have a couple picks with it though but for the most part I'm glad it didn't seem to rely so heavily on nostalgia which is what a lot of these modern spin-offs/reboots/remakes/continuations/etc do these days. This'll basically fill the Andi Mack shaped hole in my heart so 🙏🏿

Positives

-Teens being played by teens!! I'm just so used to all high school shows casting 25 year olds so this is extremely refreshing. While some of the background characters look old asf (EJ's athlete friends looked like they should be doing some damn taxes) most of the speaking role cast are babies.

-It's actually?? Funny?? I was mostly concerned about the humor before going in. I thought it was gonna be all super on the nose, cringe-inducing, trying way too hard to sound #Modern and #Hip trash or constant references to the movies but most of the jokes hit for me! The delivery of "Of course I support the arts, I have ad-free Spotify" was *chef's kiss* because that line could've been really corny but it wasn't! Ngl I found myself laughing during parts I'm pretty sure I wasn't supposed to laugh during ahssjskdh like Miss Nini looking goofy as hell posting that video for Ricky and him just going "....eaux" lmaoo and anytime someone overreacts but ya it's gonna be a very funny show I can tell.

-Everyone can sing thank GOD

-Nini is a lovely main character. And yes, I think she's the real main protagonist and not Ricky. I hope we don't have to create a ProtectNini2k20 support group the way folks usually have to do when it comes to female leads on Disney shows (esp the ones of color) because she's precious!

-Not to be an Andi Mack stan on main but seeing Nini with her moms and her Filipino grandma...the whole 3 generations thing AM had going on might be able to be rekindled with this show. There's a lot more cultural/generational things I wanted to see from that show that could finally be realized here. Also I feel like this is Disney's way of making up for not letting Bex have a girlfriend 🤧

-My fave characters tho are the two messiest ones: Gina and EJ. I already knew I was gonna stan Sofia's character but after that episode she left us no choice. I get why Gina was cast as the understudy bc Nini's voice is amazing but they could've at least made my sis Ryan or something damn. And EJ just seems so fake and lowkey nefarious ajashkshdyx literally everything he says is so extra I can't wait to see what his deal is.

Negatives

-The big negative is Kourtney. It's like the director told the actress to do her best Raven Baxter impression and they just went with it. "Oh snap"???? Luv it's TWENTY NINETEEN....why are we still using the sassy black best friend trope? And it's like they thought it would be less offensive if they "updated" it by making her #woke....lmao. They don't even show her DOING anything all they have her do is say buzzwords and roll her neck like good LORD. I know I called this Glee but it's been 10 years since we first got Mercedes...you would've thought we'd have progressed by now. I just want ONE show with a darkskinned plus size black girl where she isn't relegated to this tired ass trope. Where is the depth?

-The other best friend character is just kinda...there? I mean sure they show in the promo that he has something going on with the girl who plays Ms. Darbus but other than that sir what is your purpose...

-I...don't like Ricky lmaooo I know I'm in the minority on this but the whole thing still feels manipulative as hell to me. He's going through too much rn and should really work on himself before committing to Nini. EJ seems like a snake though so neither option is looking too good for sis.

Questions

-I wonder how much of Glee they intend on copying ahsjsksdh like how far are we going with this...Miss Jen isn't giving me Schue vibes YET but the second she does something that would get her fired immediately in real life I'm gonna scream.

-How much more mature is this show gonna be? It's Disney+ so they can get away with a bit more but at the end of the day it's still the name of their most profitable and popular DCOM series on the line here. The show could have some real drama but not if they're unable to push things as far as they could be.

-On that note I'm just gonna come right out and say it is EJ gay?? And using Nini as a beard?? Because that's the ONLY explanation I have for why he's Like That with her that doesn't involve him using her for more PG-13 related reasons. But even then would Disney allow THREE gay characters on this show (and that's not even including Nini's moms)? Carlos/Seb is already confirmed, so for them to make another character gay would be a huge deal.

#hsmtmts #hsm

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medea10 · 5 years

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My Review of Aggretsuko

Her one bright spot in this day-in, day-out hellhole is her mic, a karaoke business, a solo room, and blazing death metal. Once she’s singing some hardcore death metal and unleashes her fury of her hectic workday, she’s ready to take on the world again. And just like with the Hello Kitty world, this series has many animals with quite the interesting line-up of quirks. For example we’ve got a sly fox who monitors Instagram, a suck-up dog, a hygena who is into rock, a fashionable gorilla who’s friends with a bird, a hippo that’s a spy, and yeah, the chauvinistic pig who’s also the boss. BETWEEN THE SUB AND THE DUB: So this anime is sort of exclusive to Netflix in every aspect (that includes in Japan). I’m noticing a lot of popular anime titles are being exclusive to Netflix. I mean, if they’re able to air them weekly as they air in Japan, I have no problem. It’s just the waiting for something to air and then they decide to bundle everything so you can binge watch is where I have a problem. Believe it or not, I’m not a binge-watcher. Every now and then I can breeze through at the most 6 episodes in a whole day, but a whole series or season, no! Yeah, Medea has a life outside of anime reviews (shocking)! I only did that once and that was a good eight years ago. But I digress! I will say that Netflix got their shit together better than Amazon. Anime Strike was such a major fuck-up from day one. Thank God it’s dead. Anyways, this does include an English dub. By the looks of all the Netflix exclusive animes, they all seem to be dubbed by VSI in L.A. (I guess a smaller version of Bang Zoom productions) with Patrick Seitz doing a lot of the casting. This was a very well casted dub (which is more than what I can say about a certain redub they did recently). But I really do love this dub with Erica Mendez, G.K. Bowes, Ben Diskin, Ray Chase, and many others. And oh my God, Jamison Boaz is like the best with the metal Retsuko moments! With the sub, you will not find much info on the voice of Retsuko. Rumor has it that she’s married to the guy who does the screaming death metal for Retsuko (who is also the director of Aggretsuko). Here’s what you might recognize these folks from. JAPANESE CAST: *Retsuko is played by Kaolip *Retsuko (metal version) is played by Rareko (director of Aggretsuko) *Haida is played by Shingo Katou *Fenneko is played by Marina Inoue (known for Aria on Pokemon XY, Armin on Attack on Titan, Yoko on Gurren Lagann, Jessica on Umineko, Kyouko on Skip Beat, Wataru on Hayate, and Rei on H.O.T.D.) ENGLISH CAST: *Retsuko is played by Erica Mendez (known for Ryuko on Kill la Kill, Haruka/Uranus on Sailor Moon redub, Emma on The Promised Neverland, Nico on Love Live, Yuuki on SAO II, Tsuruko on Anohana, and Tsubaki on Your Lie in April) *Retsuko (metal version) is played by Jamison Boaz *Haida is played by Ben Diskin (known for Sai on Naruto Shippuden, Satoru on ERASED, Joseph/Jojo on Jojo’s Bizarre Adventure, Umino on Sailor Moon redub, and Numba 1 on Kids Next Door) *Fenneko is played by Katelyn Gault (known for Prof Badcock on Little Witch Academia) FAVORITE CHARACTER: I’m a Fenneko fan. What’s not to like? Her mischievous behavior, her social media activity, and that freakin’ laugh! DISLIKED CHARACTER: It’s hard to find characters to hate here! Believe it or not once you get past the debut episode of an asshole character, you see them for more than just an asshole and think, maybe they’re not that much of an asshole. Yeah, in all good conscience I can’t really add Ton even if he’s a sexist pig. And Anai just needed to be pushed in the right direction so he can succeed. I don’t fully hate Anai…I fear him. Wait a second and I’ll talk a bit below! Then there are those characters who still rub on me the wrong way and those characters are Tsubone, Tsunoda, and Komiya. But I’m laying off Komiya. I don’t know why! Maybe it’s because Todd Haberkorn plays this little brown-noser that it makes me laugh to a point where I can’t hate on him. Yeah, Haberkorn is that good! Tsunoda knows the game and does what she has to do in order to survive in the office and on social media. I’m not thrilled to witness females put on the charm at the workplace the way she does, but you know it happens. Tsubone just seems like such a bitch so for the moment I’ll leave her on my dislike corner. Okay, anybody else? Shit. Retsuko’s mother!

Yeah, as I mentioned recently in my Top 10 Worst Anime Mothers list, I had to put Retsuko’s mother on there. She was such a pushy mama that she did so much damage to her daughter’s life. Okay lady, lay the fuck off! Your daughter is not living with you at home, she has a stable job, and she’s making the most of her life. She doesn’t need you giving her embarrassing clothes to wear, hooking her up with random bachelors, flat-out lie to her with photoshopped photos, force her on speed-dating, break into her apartment, and just be a complete hypocrite! SHIPPING: Retsuko has had quite the romantic cycle throughout the 20 episodes. Let’s go down this list, shall we? Retsuko x Haida: Ah, the little ship that can’t even leave port. Haida has had this humungous crush on Retsuko throughout the entire series. However this love is unrequited. Retsuko just sees Haida as a workmate and a friend, nothing more. Haida has been friend-zoned so many times. Even when he tries to release his feelings towards Retsuko, most of the time it would fall on deaf ears or in the case of season one’s finale/Christmas special, a rejection. Then again, it came right after a break-up and no one wants a rebound! But I do find myself rooting for this little ship to one day set sail. I know one day they’ll be together and I will await for that to happen. Retsuko x Resasuke: I really don’t know what drew Retsuko to this pot-plant. Yeah, I call Resasuke a pot-plant because of his nothing phases him attitude, his abundance of plants at home, and monotone voice. IT DOESN’T HELP THAT HE’S VOICED BY SAITAMA! It was pretty clear that there were a lot of loose connections between this couple that despite both Retsuko and Resasuke having some things in common, not going to work. It was not the best of ships. Retsuko x Tadano: Tadano was the man in Retsuko’s life that could have given her anything her heart desires. Everything except a family since Tadano doesn’t want to get married or start a family. Retsuko always dreamed of having a sugar daddy of a husband so that she could quit her soul-crushing job (at least that’s what she wanted in season one). But in season two she realized that she likes her job and wants to be with someone that resonates with her. As for wanting a family, Retsuko kind of grew to the idea of one day becoming a wife and mother. But Tadano wants nothing to do with that. Retsuko x Shirota: Aw, this was kinda cute even though these two were totally hooked up because of their nosy mothers. Retsuko at the time was scared at the prospect of getting married and Shirota completely understood. But when Retsuko asked about Shirota after some time had passed, Retsuko’s mother said that he was hooked up with another girl and it’s going well. I felt that sting all the way over here. I know he was the right guy at the wrong time, but I felt for Retsuko. Second place for me in the shipping department. Retsuko x Anai: GOOD FUCKDOM NO! Who would ask for this to happen?! TWO THINGS THAT FRIGHTEN ME: Yep, two things frighten me quite a bit. First thing would be whenever Ton smiles. I know most of the time when he’s smiling, it’s one of those fake as hell smiles, but they are frightening to see regardless. And the whole floor agrees as seeing that scared the ever-loving crap out of everyone there. And second…Anai! When you first meet him, you think he’s a positive go-getter. But when he’s behind his cellphone, he is downright scary. He ends up cyber-stalking half the office including Retsuko, Haida, and even Ton. ENDING TO SEASON ONE: We all know how much Haida has a this huge crush on Retsuko right? Let’s add a new love interest to spice things up! An absolute space cadet by the name of Resasuke! Retsuko has seen him around the office and on the train when she’s on the way to work. The only problem is, no one is able to get through to him…he’s so spacey! So one night, Retsuko gets roped into going on a speed date with some of the girls in the office. And the men they met are also some men from the office. And Retsuko surprisingly wound up having a meaningful conversation with Resasuke. Through text messages. Even though they’re right in front of each other. Sighs in disgust because I really hate that in real life as to showing my real age. Actually, I probably shouldn't scold the boy as he could be on the Autism Spectrum and has problems communicating normally with people in social interactions. Unfortunately, Retsuko winds up drinking too much alcohol that night and forgets key parts of what happened. All she knows is that when she woke up, her heart was all pitter-patter. It must be indegest…no, it’s love! Retsuko definitely sees something in Resasuke that no one else can see. Not even Washimi or Gouri can see it! But the important thing is that Retsuko is on cloud nine that nothing gets her down and when nothing gets her down, she’s not going to go “metal”. However, the “metal” side was ready to peak out. It’s clear that Resasuke doesn’t know much about relationships or other social interaction for that matter. He can’t tell when Retsuko is in pain and isn’t that considerate to her. Plus he wasn’t really the one who wanted to go on the dates. He was always put up by one of his co-workers. Meanwhile, Haida (who has had a major crush on Retsuko from the beginning) has been super moody. He gets so drunk one night and ends up the hospital because dumbass injured himself accidentally. So the following day at work was hectic for Retsuko, Fenneko, and Ton. During that long day of work, Retsuko’s boss (while always grumpy and insulting to Retsuko) made a little sense to her today. His words kinda hit Retsuko in the terms of the relationship dilemma. I know he meant it in terms of the accounting job, but I think it struck a nerve with how Retsuko is in her relationship with Resasuke. “If you keep giving out more than what you’re getting back in return, eventually there ain’t gonna be anything left” So…Retsuko took Resasuke to karaoke and expressed it all out. In the end, Retsuko and Resasuke split up. But could there be hope for Haida now? Well, we close things out in Haida’s hospital room and Retsuko visits him. And surprise, surprise, it looks like a love confession! What will Retsuko say? Tune in next ti…end of the season now! CHRISTMAS SPECIAL: Unlike all the other episodes (which are 13 minutes long at most), this one is a full 22 minute special. We start the Christmas special with what Retsuko said to Haida. It was a rejection. So you know Haida was going to be a depressed basket case for a while. But let’s not worry about that now, it’s Christmas time! And the episode focuses on what everyone around the office is doing for the special holiday. Tsunoda’s going out with a guy (no surprise there). Kabae is spending it with her husband and three kids (and also hide the presents so the kids won’t find them). Before Retsuko could figure out what she wants to do, in comes Ton with paperwork that needs to be done by the end of the night. Retsuko still put up a brave front finishing her work and also fooling social media that she’s having a fabulous dinner. But Fenneko knew that was a lie when she saw the picture and told Haida that she’s at work suffering through paperwork. And being the hopeless romantic, Haida tries to get to the office to help her, but found she was no longer there when he arrived. After Retsuko finished, her friends Gouri and Washimi swooped in and treated her to dinner. But after dinner, Retsuko bumped into Haida…so Haida got a little lucky there. And he got to spend a few moments alone with Retsuko. SEASON TWO: After the success Aggretsuko made in 2018, strike twice while the iron is still hot! Season two dropped this June with brand new characters, new love interests, and so much METAL! Actually, not as many metal moments as season one, but still there. Retsuko had her hands full all through this season with her mother setting her up with “eligible” bachelors, work still giving her the business, a new guy at work who’s possessed by Beelzebub’s cellphone, getting her driver’s license, and possibly meeting the man of her dreams. And with all those, Retsuko’s going to need some time in the karaoke booth to let out this pile of rage. And this season we meet Retsuko’s mother (a different shade of panda than her daughter), a woman who is way too invasive of her daughter’s privacy and home life. Then we have Anai (a badger), a straight out of college newbie at work. If even one thing is said to him that even seems 1% offensive, he will break out his phone and cyber stalk that person and threaten them with a harassment charge. And then there’s Tadano (a donkey) who Retsuko meets in a driver’s education course. Oh, wait until you meet Tadano! END OF SEASON TWO: As it turns out, Tadano (the guy Retsuko meets at Driver’s Ed) isn’t really a slacker like she thought at first, but a multi-millionaire with his work in A.I. He’s a major celebrity in the tech world and Retsuko’s company wants to partner with him. Meanwhile Tadano has eyes for Retsuko…as a love interest! This could be it! This could be Retsuko’s chance at absolute happiness, where she can have anything in the world with this sugar daddy. There’s a drawback to this. Recently, Retsuko has been thinking if she’s really wife/mother material after seeing some of her coworkers (like Kabae and Ton with their families). Plus the whole marriage conversation with her mom probably got to her too. So she’s thinking more and more about starting a family. However… Tadano has NO interest in either marriage or having kids! For some time, Retsuko and Tadano were seeing each other privately. But somehow, someone got pictures of them together and it spread throughout the internet. And everyone, including Retsuko’s mother, friends, and co-workers were blown off their asses when they saw pictures of Retsuko with Tadano. Meanwhile, Haida got drunk and wound up on his back again! Retsuko tried her best to see the bright side of all this. But she kept running into hate-filled posts bashing her for dating Tadano. And the whole dilemma that she and Tadano aren’t on the same wavelengths when it comes to marriage and family is digging at her like a shiv. Add to that, Tadano wants Retsuko to quit her job since he believes her job will be obsolete once his A.I. business takes over. After some soul searching, Retsuko came back to work after a few days of being AWOL and was ready to hand Ton her resignation letter. Ton sat back and watched all this happen and wouldn’t accept this. He gives her shit literally every day of her job, even giving her the nickname “Calander” because her “days are numbered”. But he knows that all of this isn’t even her deciding. Tadano is doing all the talking and actions for her. Once again, Ton was able to reach Retsuko with his words. So Retsuko knows what she must do. Retsuko’s friends Washimi and Gouri put aside a heated fight they previously had in order to help. So they ambushed Tadano, had Haida take care of his entourage, and have Retsuko hijack his limo. Their destination, the karoke bar! And that’s when Retsuko released out everything through METAL! In short, Retsuko and Tadano split up. So she’s (once again) back at square one. But it was fun, right?! Wow, this is pretty…real to me. In fact, it’s almost on Bojack Horseman levels. Yeah, you can tell I’ve dived into Netflix. Cartoons with cute animals in it…but they deal with adult issues. Yeah, animation’s not always for kids (otherwise I would have watched a lot more Ralph Bakshi when I was 7). Anyways, this anime does speak to me and just about anyone with a job that causes you immense stress. Retsuko gets the shit-deal at her work which causes her to vent it out in a karaoke booth. A job that chips away at you every single day you’re there. Disappointment of every variety when some shred of hope pops through. Workers who take advantage of the hard work you put in. Drunk boss that stumbles into work late and passes out hungover. Working 10 hour days with no overtime pay! Having that drunk idiot boss always calling in sick because he’s hungover from the night before. Whoops, those last three were my bad experiences with a bad job. The working world can be cruel. I’m glad I left that nightmare job for the good old store that rhymes with Mole Goods. It has its ups and downs but it’s been kind enough to me for me to stay in the company for almost 12 years at this point and time. But everyone has their own reasons for staying at a job that abuses you. Mostly survival! Retsuko wishes that she could find a rich husband so that she could quit this horrible job. Don’t we all? Sadly things can’t be like the way they were in post-war era United States (or so I imagine). In my case, the middle class is a gangrene arm ready to be chopped off, cost of college is expeninential and I’m pretty sure I’ll be able to pay off my student loans 30 years after I die. Depending on what economic world you’re in, it’s almost impossible to quit your stable job to be a housewife. Unless you’re Marge Simpson or part of the elite 1% there’s no fucking way. And then Tadano shows up! But funny thing, money can’t buy you happiness! Sure it’s great if you could find a sugar daddy husband, but if there’s no real love or compatibility, it’s not gonna last. The love issues Retsuko had these last two seasons…I can’t really relate. Thankfully, my mother is not as neurotic about me finding a husband. As I have been butt-fucked in the relationship department, I don’t give a shit about finding a mate (at the moment) and my mother has accepted that. And I’ve never really felt anything for workmates nor have I ever met a young entrapeneur. I’m sure other people can relate to some of these issues, but not me. Thankfully we see different views on marriage from different characters. Fenneko believes people her age don’t even think about it and hopefully they’ll be the generation to kill the idea of marriage, Haida is still a hopeless romantic when it comes to Retsuko, Gouri will get back up after being heartbroken time and time again, Washimi thinks marriage isn’t worth it and even sheds light on an old marriage during the second season, Ton is married and has two kids (though he seems pretty put-off by them), and then you have Kabae who has a husband and three little kids and she’s happy with her family every single day! Back to the working world topic, Aggretsuko showed how much the working world impacts us. Without having a character say it, this anime brought out many thoughts when we see many of these characters. For example, Anai! Many fans hated this guy the second he started cyber-bullying Retsuko. But others see Anai as a guy with the adult world finally crushing down on him. An ugly glimpse at how life can be (particularly in Japan). He’s fresh out of college and sometimes college does NOT prepare you for the real working world. And as we all know this cruel statistic, Japan has the highest rate of suicides in several age brakets in the world. Including young teenagers! An atmosphere of failure can cause one to do that or act erraticly. Aggretsuko doesn’t necessarily say this, but it’s very much felt that it’s implied if you think about it. Yes, I still find Anai to be a bit of that millennial shit that feels offended by anything even when a co-worker is trying to help them. But if you think about it, all of this feels new and scary. I’m sure everybody in the office at the beginning of their job experience had felt this scary feeling before. Man, these shows really get me to think a bit! I do recommend this anime to just about anyone. Just note that this anime is NOT as depressing as Bojack Horseman. But it can get real at times that makes you step back and say, “Wow, I can totally relate.” And to anyone who is a total metal-head (like me) might enjoy those parts when Retsuko screams into a microphone. This anime is only available through Netflix. It shouldn’t take you too long to finish though as each episode is approximately 15 minutes each and there’s only 20 episodes overall (+ one special). Okay, now that Aggretsuko is done...what's next?

Little Witch Academia it is!

#aggretsuko #aggresive retsuko #anime review #retsuko #haida #tadano #resasuke #fenneko #director ton #anai

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