100 Portraits Training | Part 1 In autumn 2021 I started a series of practice portraits to get a better feel for different kinds of facial features. I wanted to get better at drawing people of colour of all kinds and variations and also at different variations of skin colours. My plan was to do a more fully rendered image from reference and then try to draw it a second time in a more simplified comic style to find the essences of what gave each face its own characteristics. The series didn't progress continuously (I hope to finally do 92 to 100 until the end of the year) and, as you will see, went very obviously through my reference folder for various Stormlight Archive characters :D This first page is still a vague starting point it features:

1) Brenda Myers-Powell from the documentary Dreamcatcher which follows her work of assisting sex-workers in Chicago

2) Iranian actress Shohreh Aghdashloo in the role of Chrisjen Avasarala in The Expanse

3) East Asian female presenting model from a fashion photography on Behance…

4) The incredibly fashionable Billy Porter

5) A young woman that was interviewed for German documentary series in an episode about Uzbekistan. Sadly I could not find out retrospectively which ethnic group she is part of, since I could not find the episode online.

6) Chinese-American actress Ming-Na Wen as Melinda Quiaolian May from Agents of S.H.I.E.L.D. 

7) Kavinthida, a young woman from Thailand that appears in the series of portraits at the airport by Mustafa Çankaya, a photographer from Istanbul  (link to the series , Kavathinda is number 8) Also on the side I tried to collect links and articles that discuss representation of PoC in media in a broader scope. I might share some of these in case other people find them interesting, too. If you have any good sources, please add them in the comments, reblog or tags :D Hmm, let's start with this wonderful and extensive article about understanding how to light and paint darker skintones ------------------ Part 2 – Kaladin Part 3 & 4 – Adolin and Renarin Part 5 – Dalinar Part 6 & 7 – Shallan and Jasnah Part 8 & 9 - various people and skin tones Part 10 – a little bit for The Lopen Part 11 & 12 - Wit and Navani Part 13 - ofmd und Dev Patel :) Part 14 - more ofmd and Patel

GAY ICONS ANNA MAY WONG

As a young child living in Los Angeles during the early 1900s, Wong Liu Tsong dreaming of being an actress (Liu Tsong meaning "willow frost"). At the age of nine she pestered film crew to hirer her… so much so that she gained the nickname "C.C.C." or "Curious Chinese Child". Two years later she came up with her own stage name (Anna May Wong) - a combination of her original Chinese name and the Angelisized name used in school.

Despite her father’s objections, she was cast as an extra in The Red Lantern (1919) - her film debut. Soon, this and other extra roles motivated her to quit high school and pursue acting full time. She later said of her decision:

"I was so young when I began that I knew I still had youth if I failed, so I determined to give myself 10 years to succeed as an actress."

Her first screen credit came in 1921, when Wong was cast as Lon Chaney’s wife in “Bits of Life”. The next year she appeared in “The Toll of the Sea”, one of the first movies filmed in color. Variety singled out her performance as being “extraordinary”.

But unfortunately, despite her talent, Wong was primarily cast in stereotypical Asian roles. And if a film with a well rounded Asian character was available - Hollywood cast a Caucasian actress in “Yellow Face”.

For a time Wong had better success when she movie to Europe. There she befriended Marlene Dietrich and (pre-Nazi Propagandist) Leni Riefenstahl.

When Wong returned to Hollywood, she costarred with Marlene Dietrich in “Shanghai Express” in 1932. Although it was a supporting role, she played an important and heroic character.

During WWII, Wong focuses her efforts on raising money to help the Chinese cause against Japan.

In 1951, Wong starred in “The Gallery of Madame Liu-Song”, a 10 episode TV series where she played an art dealer turned detective - a major breakthrough as the first US television show starring an Asian-American.

Wong had planned to appearing in the film musical “Flower Drum Song” (1961) but died of a heart attack before production began.

The United States Mint announced in 2021 that Anna May Wong would be one of the first women depicted on the reverse of the quarter coin. This made her the first Asian American depicted on American coin.

Anna May Wong never married. When asked why not, she would answer:

“I am wedded to my art.”

She lived in an era when gay men and lesbian women dare not reveal themselves. But rumors persist that Wong was a lesbian. She has been linked to Marlene Dietrich, Leni Riefenstahl, Alla Nazimova, and Cecil Cunningham.

Whether Anna May Wong was a lesbian or not, her story deserves to be told.

UPDATE: Mattel released an Anna May Wong Barbie doll in May 2023!

A sort of follow-up to my recent post about Cameron Diaz as Sonya Blade, and how I can see myself shipping her with Robin Shou's Liu Kang.

While Talisa Soto was fine as Kitana, part of me can also really see Jennifer Connelly as the character.

Obviously, it can't happen now since she is much older (she still looks great though), and most of the modern depictions of Kitana often portray her as looking Asian.

With that being said, I do feel Jennifer would have been a solid pick for Kitana. Not only is she both extremely beautiful and talented, but I feel that she kinda resembles Kitana in Mortal Kombat II, especially in her ending for that game.

The only real concern would be if she could handle the Martial Arts training, and be able to perform the skills needed for the role. But then again, there have been instances where we saw regular actors train in Martial Arts to the point where they truly came off as believable on screen (for example, Keanu Reeves in The Matrix).

It also helps that whenever I draw Kitana, I usually base her likeness on Jennifer and other actresses like Talisa Soto, Kelly Hu and even Adeline Rudolph (since she is playing Kitana in the upcoming sequel to MK 2021).

That is all for now. Could you have seen this happening back in the 90s, or do you have other choices in mind?

Modern Family review of just the Tucker-Pritchetts' ending

...

Being a college football coach is not a once in a lifetime opportunity. Being the first openly gay one in Missouri, yeah, but take a seat for a second. Think. It’s in the midwest, but also a bit southern and Cam’s consistently fluctuating/questionable/homophobic/racist backstory makes me think it’s not a great place for a gay couple with Asian kids even in 2020/2021 (the ever changing years/ages is another rant). Being near Cam’s family is not a good excuse. Nope. Not buying it, but also where did Pam go? She kinda just disappeared and the upstairs unit was magically available. Even if she returned to Missouri, she has beef with Mitch. She’s manipulative and more toxic than Cam. Barb is awful. Horrible. Nothing against the actress, I’m sure she’s sweet or at least decent, but Barb is depraved and Cam only enables her. I do not want Mitch or the kids near Barb. WHO THE HELL WROTE THIS?! WRITERS, WHY DID YOU THINK IT WAS OKAY FOR BARB TO KEEP ACTING THIS WAY AND CAM TO TREAT IT LIKE IT WAS A MITCH BOUNDARY ISSUE?! WHY DID JESSE AND ERIC THINK THIS WAS OKAY?! I get you’re the actors and you can’t do much to sway the script, but seriously? Why was this considered okay? Why was it passed off as a recurring ‘joke’ that she touches him every time she sees him and then kisses him on his wedding, idc if 'because she got drunk', Mitch should’ve exposed her to her husband who was RIGHT THERE even if they divorced. Also, Jay saw that and Mitch could’ve had the opportunity to tell his father. Cam, if ‘private parts are private’ why aren’t boundaries respected?

Some of Reddit seems to think Cam stayed for Mitch like he wasn’t here since at least 1997. Based on his age if he was 18 when he graduated from hs in 1990 and if he went to a four year college for music, ending in 1994, he could’ve moved between ’94 and ’97 in which Mitchell would be in law school. Not sure when he made the Greensleevers or the year of the LA Times article, but he went on a date with Pepper in ’97 and he knew Pepper. Cam knew Pepper longer than Mitch and enough to know he’s from Lubbock, Texas and his grandparents grew up in a trailer park. I feel like Cam stayed because of the gay community that Pepper was building/expanding. Cam and Mitch didn’t even meet until 2004 at one of Pepper’s game nights. And Mitch probably still uncomfortable and reluctant to be public with his relationships and Teddy probably recommended the friend group for a while until Mitch and Pepper met. Why do I feel like part of the reason Nathan Lane wasn’t in the finale was that they couldn’t come up with a reason Pepper would be fine with the move? I feel like Pepper would remind Cam of how much he’s gotten used to the city and how much he loves it. 

Sal being the ‘final reason’ they moved is BS. Dump her. Seriously, she made two death threats against baby Lily and is antagonistic towards her the entire series which cannot be healthy for Lily. They should’ve dumped her years ago. Elizabeth Banks is awesome and funny and Sal had her funny moments, but a grown woman having beef with a baby for existing is pathetic. Luke jealousy when he was 10, I get it. It didn’t even last past Joe’s birth and he was fourteen. Still a kid, still reasonable. Also, Lily had friends and she was popular ‘there are nine girls who will freak if I don’t go to Jenna’s party’. I feel like there are a couple things she exaggerated so she could get her dads’ attention, but I doubt she would actually be okay. And what she said was concerning about dyeing her hair and getting an emotional support pig. She seemed to be saying sarcastically ‘no I wouldn’t be okay with it’. The writers mess around with her academic intelligence, like she’s smart, motivated, and popular enough to be cool with skip a grade, but later too lazy to do a proper project or start an assignment?

The same day they brought their baby home, they finalized the move into the new house. They had their house a month. A month and they decided fancy house that Mitchell feels good in doesn’t matter. Who has it out for him? Which writer screwed Mitch over? He was just starting to feel like the house is encouraging his talents and he painted a mural that’s just gong to get taken down by the next residents. It’s not like Cam was falling off, he got promoted to vice principal season 10, he can be relied on for school theatre productions, so he has things to do that encourage his talents. And wasn’t the whole chicken thing just enforcing Cam not liking even small farm work? They went to that store so they could have a taste of farm life while not going there entirely.

I get wanting to have the whole ‘separate ways’ thing, but why not leave that to the newer adult generation aka Dunphy kids and Manny. And it’s not like Jay and Gloria were moving to Colombia, just going to the summer (maybe so Colombia doesn’t come to Jay). Haley and Dylan just moved 10-ish minutes from the Dunphy house, they all lived in the same town. Despite Lily being 11/12 and probably in seventh grade, they could’ve had her mention an interest in a college in another state and tell her she still had high school to think about it which implies that she’ll go her own way eventually. I refuse to let Cam, who was called Jay’s son for the first time in six years, go off to Missouri and cause his family to be miserable. I hate that Jay and Claire didn’t even try to reason with or talk to them, just-next scene. The ending felt a bit rushed. I feel bad for hating on it because the actors loved the series and they did eleven years of it, but not all endings are great. Sarah Hyland didn’t feel ecstatic about her character’s ending and I can see that. 

It’s a sitcom, I get it, but they do tackle serious/darker issues sometimes and for all the rightful bashing Dede gets, they give Barb none. She admits what she did was wrong, then continued to do it. Dede blamed medication/Gloria’s existence, but at least didn’t kill her when she saw her pregnant and allowed Gloria to come to her wedding. Barb gets no excuse. Why does Cam recognize Dede’s toxic behavior and comment on it but allows his mother’s behavior to thrive? And why can’t anyone tell Merle? Do Barb and Merle just operate separately as if they’re parents but not a couple? Is Nana Tucker his mom because he was absent in both of her appearances, the second being her death, like where was he? He appeared once in s3, then in the wedding. Barry Corbin is still alive, so what happened? Was he busy for Nana Tucker’s funeral episode? We get zero actual time for his character and his last line, I can’t-he sounds like a muppet…seriously, “If he’s doin’ it, I’m doin’ it. You comin’ Barb” takes me out of the emotional scene for a moment. It still would’ve worked if Merle didn’t say anything and just went to walk his son down the aisle and Barb silently followed, it would’ve been just as sweet of a gesture to their son. Even though frick Barb. I’ve killed her off in three stories so far. I’m sure Celia Weston is at least a decent person even though the first close up wikipedia pic of her is a jumpscare, I don’t hate her, I hate Barb Tucker.

Drama Accountability Pinned Post!

EDITED April 24, 2024: Hello! Thank you for landing here. This blog is devoted mostly to Asian drama and movie reviews and meta analyses, along with your random fashion post and maybe a floating meditation on parenting along the way. This pinned post will help me keep track of where my scattered brain is at with what I’m watching, what I want to watch, and what I have watched.

My major focus regarding dramas is in completing what I’m calling the Old GMMTV Challenge (OGMMTVC), where I’m learning about the young history of Thai BLs through an expansive list of GMMTV and non-GMMTV dramas, to learn about the genre’s fumbles and improvements, as recommended by @absolutebl in their original post on the topic. I’m also inspired to learn about the development of Thai BL as an art form, complete with tropes, frameworks, and responsive commentaries, as described by @miscellar in an analysis post on Bad Buddy the Series. 

I’m also catching up in general with other classic and/or essential QLs of all other Asian countries, reviews of which you can check out on this tag. 

I tend to go down actor/actress rabbitholes when I’ve watched a drama of theirs that I have fallen in love with; I don’t always watch things chronologically; I LOVE SHOWS ABOUT FOOD AND/OR COCKTAILS, and I’m still new to Tumblr fandoms. But this is my space to absolutely just dump and analyze thoughts, so please, welcome, and thank you for reading!

What I’m watching!

Living With Him (J, BL, Thursdays) (my thoughts here) My Precious the Series (T, Thursdays) 23.5 (T, GL, Fridays) (my thoughts here) Cherry Magic (J, BL, anime), and fast-forward rewatches of Cherry Magic (J, BL) and Cherry Magic Thailand (T, BL) The Eclipse OGMMTVC Rewatch to Reexamine “Genre BLs” and Internalized/Externalized Homophobia in GMMTV Shows (T, BL) (2022) (The Old GMMTV Challenge)

Past Big Meta

Pain, Suffering, and Narratives in Some Asian Dramas (Our Skyy 2 x Bad Buddy x A Tale of Thousand Stars, Our Dining Table, He’s Coming To Me, Double Savage, Dark Blue Kiss, and more)

Pain, Trust, and Separation in Some Asian Dramas (Bad Buddy, Still 2gether, A Tale of Thousand Stars, Until We Meet Again, I Promised You The Moon, and the movie version of Cherry Magic: 30 Years of Virginity Can Make You a Wizard?!)

What’s on deck (generally speaking):

Make a Wish (T, BL)

What’s on deck (The OGMMTVC Project and historic/significant Thai BLs): 1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here) 21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) Manner of Death (2020-2021) (review here) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 27) Lovely Writer (2021) (review here) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here) 29) I Promised You the Moon (2021) (review here) 30) Not Me (2021-2022) (review here) 31) Bad Buddy (2021-2022) (thesis here) 32) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (Links to the BBS OGMMTVC Meta Series are here: preamble here, part 1, part 2, part 3a, part 3b, and part 4) 34) Secret Crush On You (2022) (review here) 35) KinnPorsche (2022) (tag here)  36) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist (part 1 and part 2) 37) Honorable Mention: War of Y (2022) (for the sake of an attempt to provide meta BL commentary within a BL in the modern BL era), with a complementary watch of Aam Anusorn’s documentary, BL: Broken Fantasy (2020) (thoughts here) 38) The Eclipse (2022) (tag here) 39) The Eclipse OGMMTVC Rewatch to Reexamine “Genre BLs” and Internalized/Externalized Homophobia in GMMTV Shows (watching) 40) GAP (2022-2023) (Thailand’s first GL) 41) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 42) Moonlight Chicken (2023) (tag here) 43) Bed Friend (2023) (tag here) 44 La Pluie (2023) (review coming) 45) Be My Favorite (2023) (tag here) (I’m including this for BMF’s sophisticated commentary on Krist’s career past as a BL icon) 46) Wedding Plan (2023) (Recommended as an important trajectory in the course of MAME’s work and influence from TharnType) 47) Only Friends (2023) (tag here) (not technically a BL, but it certainly became one in the end) 48) Last Twilight (2023-24) (tag here) (on the list as Thailand’s first major BL to center disability, successfully or otherwise) 49) Cherry Magic Thailand (2023-24) (tag here) (on the list as the first major Japanese-to-Thai drama adaptation, featuring the comeback of TayNew) 50) Ossan’s Love Returns (2024) (adding for the EarthMix cameo and the eventual Thai remake) 51) Dead Friend Forever (2024) (thoughts here) 52) 23.5 (2024) (GMMTV’s first GL) (thoughts here) (There are many, many more on @absolutebl‘s wonderful compilation lists that I’ll want to check out eventually, and will adjust this list accordingly.)

What’s on deck (the Jojo Tichakorn/pre-Only Friends playlist):

Gay OK Bangkok (2016) (review here) Gay OK Bangkok 2 (2017) (review here) 3 Will Be Free (T, 2019) (review here) Mama Gogo (T, 2022) The Warp Effect (T, 2022) (review here) Dirty Laundry (T, 2023) (tag here)

What’s on deck (the Fluke Teerapat/Tanachot Prapasri playlist):

YYY (2020) (review here) My Ride (2022) (T, BL) La Pluie (2023) (T, BL)

What’s on deck (the JamFilm playlist):

Khun Chai (To Sir With Love) (2022) (T, lakorn) Laws of Attraction (2023) (T, BL)

What’s on deck (essential non-Thai BLs and other shows): The Gifted (T, 2018) Blacklist (T, 2019) Let’s Fight Ghost (T, 2019) The Gifted: Graduation (T, 2020) Takara to Amagi/Takara-kun to Amagi-kun (J, BL, essential BLs)  Seven Days (J, BL, essential BLs)  Ototo no Otto/Otouto no Otto (My Brother’s Husband) (J, 2018) Summerdaze (Singapore, BL) Guilty: Kono Koi wa Tsumi Desuka? (J) Nee Sensei Shiranai no (J) Kimi wa Petto (2017 version with Shison Jun (J)) Ingredients (T, BL)

What I have watched that I recommend you MUST MUST WATCH FOR YOUR SOUL:

Kinou Nani Tabeta (J, BL) (my writing on KNT) Old Fashion Cupcake (J, BL) (my writing on OFC) Cherry Magic Japan (J, BL) (my writing on CM) Cherry Magic Thailand (T, BL) (my thoughts) Bad Buddy (T, BL) (my mini-thesis on BBS, and my BBS tag) Moonlight Chicken (T, BL) (my writing on MC, my manifesto on khao man gai/Hainan chicken rice/nasi ayam, and my master list of MC Big Themes) A Tale of Thousand Stars (ATOTS) (T, BL) (review here) Our Skyy 2 x Bad Buddy x ATOTS (T, BL) (my OS2/BBS tag, my OS2/ATOTS tag, and my OS2/BBS/ATOTS tag) He’s Coming To Me (T, BL) (review here) Make It Right seasons 1 and 2 (T, BL) (review on season 1 here) (review on season 2 here) The Eighth Sense (K, BL) (my writing on T8S) Life as a Girl (Joshi Teki Seikatsu) (J) (my writing on LAAG) She Loves to Cook, and She Loves to Eat (TsukuTabe) (J, GL, seasons 1 and 2) (thoughts here) The Makanai: Cooking for the Maiko House (J) (review here) Love For Love’s Sake (K, BL) Drive My Car (J, movie) His (J, BL, movie) Tonbi (2013 version with Uchino Seiyou) (J)

What I have watched that I highly recommend:

Unknown (TW, BL) (my thoughts) (final review coming) I Cannot Reach You (J, BL) (my thoughts) I Feel You Linger in the Air (T, BL) (my thoughts) Be My Favorite (T, BL) (my thoughts) Our Dining Table/Bokura no Shokutaku (J, BL) (my thoughts) The Eclipse (T, BL) (my writing on The Eclipse) KinnPorsche (T, BL) (my writing on KP) Semantic Error (K, BL) (review here) Minato Shouji’s Coin Laundry (J, BL) (review here) Utsukushii Kare/My Beautiful Man Season 1 (J, BL) (review here) Utsukushii Kare/My Beautiful Man Season 2 (J, BL) (my UKS2 tag) Kabe Koji/Kabe-Koji-Nekoyashiki-kun Desires to be Recognized (J, BL) (my writing on Kabe Koji) Eien No Kino (Eternal Yesterday) (J, BL) (my writing on EY) Kieta Hatsukoi (J, BL) (review here) Extraordinary Attorney Woo (K) (my writing on EAW) Silent (J)  Okaeri Mone (J, asadora) Life: Love on the Line (J, BL) Mozu (J) Wakako Zake (J) (seasons 1-4) XX: Blue Moon (K) Shinya Shokudo (Midnight Diner) (J) Crash Landing on You (K) Like Father, Like Son: Soshite Chichi ni Naru (J, movie) After Life (J, movie) What I really want to watch, but I’m in not a huge rush:

Home School (T) Raise de Wa Chanto Shimasu (three seasons and SP) Kim Ji Young: 1982 (K, movie) It’s Okay to Not Be Okay (K) Again My Life (K) Run On (K) The Tale of Nokdu (K) Little Women (K) Thirty Nine (K) Nora From Queens (US) My Liberation Notes (K) Doom At Your Service (K) Ishiko to Haneo: Sonna Koto de Uttaemasu? (J) Sotsugyo Time Limit (J)

What I have watched, in no particular order (besides the OGMMTVC shows above):

Marry My Dead Body (TW, movie) Ossan’s Love Returns (J, BL) (my thoughts) Cooking Crush (T, BL) (my thoughts) Wednesday Club (T) (my thoughts) Double Savage (T) (my thoughts) Only Friends (T, ended up being BL-ish, BLOOP) (my thoughts) Cutie Pie (2022) and Cutie Pie 2 You (2023) (T, BL) The Promise (T, BL)  (my thoughts) SOTUS S (T, BL) Bed Friend (T, BL) (my review of the finale) (my Bed Friend tag) Love Sick and Love Sick 2 (T, BL) (review here) Our Dating Sim (K, BL) A Shoulder To Cry On (K, BL) Jack O’Frost (J, BL) (thoughts!) The End of the World, With You (J, BL) (my writing on TEOTWWY) SOTUS (T, BL) (thoughts here) 10 Years Ticket (T) (review here) The Novelist: Playback (J, BL, movie) (review here, spoilers) Ameiro Paradox/Candy Color Paradox (J, BL) (review here)  Dirty Laundry (T) (my posts on DL here) Individual Circumstances (K, BL) (review here) The New Employee (K, BL) (review here) Three Star Bar in Nishi Ogikubo (J) (review here) Cafe Minamdang (K) (review here) Hiru (J) (review here) Ase to Sekken (Sweat and Soap) (J) (review here) Big Dragon (T, BL) (review here) Ichigeki (J) (review here) The Director Who Took Me to Dinner (K, BL) (thoughts here) Two Office Workers Who Are Too Poisonous for One’s Eyes (Me No Doku Sugiru Shokuba No Futari) (J, BL kinda) BL Metamorphosis (J, quick review here) Why Her? (K) Let’s Eat (seasons 1, 2, and 3) (K) Where Your Eyes Linger (K, BL) Kodoku no Gurume (J) Chef wa Meitantei (J) Crisis: Special Security Squad (J) Meitantei Akechi Kogoro (J) Teppachi! (J) The Novelist (J, BL) Mood Indigo (J, BL) Izakaya Shinkansen (J) Sayonara Itsuka (J, movie) Fullmetal Alchemist: The Avenger Scar (J, movie) Hatsukoi (2020) (J, movie) Rinjo (J) To Heal Wounds of the Heart (Kokoro no Kizu to Iu Koto) (J) Hoshi to Lemon no Heya (J) My Husband Got a Family (K) Tony Takitani (J, movie) I'll Still Love You Ten Years From Now (Juunen Saki mo Kimi ni Koishite) (J)

What I tried to watch, but couldn’t finish:

Alice in Borderland (J) (I couldn’t do it, I can’t do violence, but Machida Keita’s Karube is really wonderful, and Yamazaki Kento was also fabulous of the bits I watched. Please don’t take my inability to watch this as a judgment of the show, it’s clearly a FANTASTIC show for people who can handle blood and games and killings and fights and stuff) (I will try this again considering so many people like it!) <3

On hold/dropped (permanent or otherwise)

Playboyy The Series (T, BL) (my thoughts) Bake Me Please (T, BL) The Sign (T, BL) Shadow (T) Gokushufudo (J) (on hold) Keishicho Outsider (J) (this is such a good show but I don’t have capacity to watch it, but Nishijima is FABULOUS IN IT, I will watch it at some point) A Boss and a Babe (T, BL)  All the Liquors (K, BL) UMG (T) Wakako Zake (season five) (J) Banshaku no Ryuugi (J) Tokyo In April Is... (J, BL) Minato’s Laundromat/Minato Shouji’s Coin Laundry, Season 2 (J, BL) (my thoughts so far) (on pause) Dangerous Romance (T, BL) Absolute Zero (T, BL)

What I’ve watched that I recommend you please do NOT watch, it’s not worth the expenditure of energy:  The Unusual Family (K) TharnType (T, BL) Step By Step (T, BL) (my thoughts) My Husband Won’t Fit (J) (I could go on and on and on about how I think this show was particularly irresponsible, but I might have a Western bias about my interpretation, sigh) Super Rich (J) (maybe this is necessary if you’re a total Cherry Magic/Akaso/Machida stan, but this show was unbelievably bad and a total waste of their talents -- if you really need some fan service, zoom through episodes three to five and SKIP THE REST)

Sandra Oh’s Sense of Purpose

The actor discusses Hollywood survival skills, winning the lottery, and her interest in telling “messy” Asian American stories.

Sandra Oh wanted to talk to me, first, about the Monterey Park shooting. The attack had taken place a week earlier, not far from her home in Los Angeles. She was still working through her feelings about it. Seeing her face fill my laptop screen over Zoom, I thought about her ability as an actor to externalize emotion with the camera up close. For our interview, Oh had set up her computer in her back yard. A fire pit, with cushions and an L-shaped seating area, was behind her. As she discussed the shooting, Oh stared at a point off to her right; her eyebrows sloped upward, and her brow furrowed. She radiated dismay.

After we discussed the tragedy for a few minutes, she asked if she could start recording the conversation. She wanted to keep a copy of it for herself. Perhaps it was her age, she told me––fifty-one years old. She had been feeling the urge to gather her thoughts and “put them all together one day.” (She told me that she’s kept journals going back to the fifth grade.) She’d been dwelling on the shooting, turning over its meaning in her head––particularly the fact that the perpetrator turned out to be an Asian immigrant himself. The reflection is, in some ways, part of her work. Last October, during a panel I moderated at The New Yorker Festival, on “identity and craft,” Oh said that in the past the characters she played hadn’t “necessarily had their history, their family, their race, their culture explored.” Now, she added, her overriding interest was in “telling Asian American stories.”

Oh is still revered by fans for her decade-long stint as Cristina Yang, the unapologetically ambitious cardiothoracic surgeon and devoted best friend on “Grey’s Anatomy.” More recently, her portrayal of the world-weary British intelligence agent Eve Polastri, in BBC America’s breakout hit “Killing Eve,” earned her a raft of awards and critical plaudits. It was during the pandemic, however, as violence against Asians surged, that Oh’s artistic choices seemed to coalesce into a sense of purpose. She was at her farcical best as Ji-Yoon Kim, the pathbreaking English-department chair at Pembroke University, in the Netflix series “The Chair,” released in 2021. Last summer, she began production of an original Hulu comedy movie with the comedian and actress Nora Lum, otherwise known as Awkwafina. Oh is now filming a miniseries adaptation of “The Sympathizer,” Viet Thanh Nguyen’s tragicomic novel on the Vietnamese refugee experience, which won the Pulitzer Prize in 2016. The project is slated for HBO, and one of its creative visionaries is the South Korean filmmaker Park Chan-wook.

In March, 2021, Oh was in the middle of production of “The Chair,” in Pennsylvania, when a white man went on a shooting rampage in Georgia, killing eight people, six of whom were women of Asian descent. Afterward, Oh made an unexpected appearance at a “Stop Asian Hate” rally in Pittsburgh. She took the megaphone and delivered a rousing speech that culminated with her asking the crowd to join her in repeating a mantra, which could have been a credo for her Hollywood career. “I am proud to be Asian,” she said, thrusting her hand high, and then pointing it at the ground in front of her. “I belong here.”

In the span of more than two hours on a Friday last month, she spoke about identity, opportunity, winning the lottery, and why she’s no longer waiting for the “white dudes” of the industry to call.

Dafina Hoxha

From Wikipedia, the free encyclopedia

Dafina Bora Hoxha (born 17 March 2000)[1] is an albanian actress. She gained international fame portraying Kierra Boothman in The Daughter from across the sea from 2015 until 2018.

Dafina Hoxha speaks fluently four languages including: albanian; English; Japanese and Italian. She also know some Korean and Spanish. Is also said she started self teaching herself Turkish.

Early Life

Dafina Bora Hoxha was born on 17 March 2000 in Tirana, Albania,[2] to Aida Hoxha and Ardit Hoxha. Her dad is from Tirana and her mother from Duress.

Pyramid of Tirana, Albania

Hoxha was raised in Tirana in her early years, and later moved to Glasgow. She began boarding at Hyndland Primary School at age six, moving to Caldercuilt Primary School at age eight.

Dafina started acting at age six after her first school staged a show for the end of the year.

Career

Early work (2006-2014)

While still getting background roles, Hoxha began appearing on the big screen thanks to Mike Navelle[3] rom-com movie Cupid’s Little Helpers (2006) for Scotland BBC.

She appeared in one episode of Doctor Who[3] “Whispers in the Sanctuary”[4] (2007); she was a guest star in a couple of episode of Game of Thrones[5] (2011-2014).

In 2013 Hoxha appeared in Only Lovers Left Alive[5] in a guest role. But it was in 2014 and early 2015 that she started getting some popularity thanks to KidUlt[6] (2014) and Hello, Hi-tech[7] (2015)

Breakthrough and worldwide recognition (2015-2018)

Dafina Hoxha on the set of The daughter from across the sea

Hoxha is well-known for his portrayal of Kierra in the 2015 TvShow The daughter from across the sea. She was invited to audition by Lei Hoire the show’s director, after he had heard nice words about her. Hoxha said about Hoire “He changed my personal life and my career. At first the Korean team didn’t want me because of my basic knowledge of the language but he managed to change their minds.” [8] Dafina Hoxha was given eight weeks to improve her korean, so she started as soon as she left the audition venue to study the language. It took her only six weeks to get on a good enough level for the production team but never told them until she brought it up during an interview. Empire magazine ranked Hoxha’s portrayal of Kirra as the 20th Greatest Show Character of All Time.[9]

While in Japan she started putting together a couple of ideas which ended being the plot for A love so fragile[10] and She is called Mythology,[11] two of her most famous screenplays.

In Japan Hoxha had her debut as a magazine model, posing for Cosmopolitan[12], BAZAAR[13], GQ Japan[14], Dazed[15] and Vogue japan.[16]

She got overnight recognition in Japan being the first western celebrity with an Asian fanbase bigger than her western one.

Her fanbase in 2016 was composed by the 10% of Japanese and Korean celebrities, BTS[17] and Bigbang[18] are part of that percentage that knows and supports her.

Varied roles and further success (2019-present)

After coming back from Japan, Hoxha started working more behind the scenes as a screenwriter.

Her first project A love so fragile aired the 14th February 2019 and was praised by the critic, making Hoxha the youngest successful screenwriter in Hollywood.

Between 2019 and the end of March 2020 she kept a low profile as an actress and kept on working on writing from the big and small screen, creating a tv show called She is Mythology based on greek, Roman, Norse Egyptian mythology and more. The pilot, Freya’s Day, Cats’ day[19], was very successful. The critic said “Serafina Hoxha is a young mind, taking risks and bringing integrity on screen” as she pushed the casting directors to cast albanian actors for the show. She is called Mythology casted 20 albanian actors both in leading and supportive role.

2021 and 2022 were the years she went back into acting working on two movies, that expanded her western fanbase, Ephemeral Echoes[20]and Whispers in the Shadow[21]

Dafina Hoxha on the set of Ephemeral Echoes

In 2021, while in Australia, Dafina Hoxha, met Chris Hemsworth. The two bonded over their appreciation for sharks. Hoxha was able to follow Hemsworth around during the shootings of Shark Beach with Chris Hemsworth.[22]

The 3rd January 2022 another one of her screenplays, Killer Nights, was aired and got nominated for 2023 BAFTA’s Original Screenplay[23] which she won.

Upcoming projects

Late 2023 Hoxha announced she was going to host the 2024 Oscars Awards.

In October 2019 it was announced that she is will be starring in Disney+ limited series Unrequited friends.[24]

In May 2022, it was announced that she is set to star in Netflix remake of Only Lovers Left Alive.[25]

Personal life

Hoxha resides in Los Angeles as of 2021

She is a huge Canucks[26] fan and was spotted a couple of times at some games of the team, mostly in America until 2023. Between 2023 and 2024 she started attending their home games as well.

She dated Hailee Steinfeld between 2018-2020

She was rumored to have dated Dove Cameron.

Halfway through the hockey season of 2023 some rumors started going around about a relationship with hockey player Quinn Hughes. Hoxha and Hughes got photographed a lot while together.

Charity work

She has supported several charities, including Shatterproof, Mental Health Services Administration (SAMHSA), The California Wolf Center, The Shark Research Institute, American Civil Liberties Union (ACLU), The Lesbian, Gay, Bisexual & Transgender Community Center, National Indian Child Care Association,  Indigenous Roots, Polished Man Campaign.[27][28][29[30][31][32][33][36][37]

Acting credits and awards

Main articles: List of Dafina Hoxha performances and awards and nominations

According to Rotten Tomatoes and Box Office Mojo, Hoxha's most critically acclaimed and commercially successful films and shows are Cupid's Little Helpers (2007), Game of Thrones (2011-2014), The Daughter from across the sea (2015-2018) and Hello, Hi-Tech (2015)

Hoxha has received a Golden Globe Award and an Oscar Award among other accolades.

中国🇨🇳古装剧之明朝女子服饰 Chinese Drama“锦心似玉/Jing xin si yu 2021”: Songyun Tan as Luo Shiyi. Chinese actress Songyun Tan (谭松韵) with Hanfu in Ming Dynasty. Chinese Drama: 锦心似玉/Jing xin si yu The Sword and the Brocade (2021) Storyline🍃 Luo Jia daughter, birth mother Lv Shi, Lady Yongping Hou, Xu Lingyi's second wife. She believed that women should be free to pursue a life outside of home and hoped to someday use her embroidery skills to secure her freedom. But destiny had something else in store for her. The Sword and the Brocade takes place in China somewhere in the distant past, but the story could take place any time. Simple love, simple conflicts, nothing you have to dig for to understand. #中国风 #傳統文化 #Chinesestyle #Chinesehistory #hanfu_challenge #traditional #elegant #traditionalculture #Chineseculture #hairstyle #goodvibes #photographylovers #Chinesedrama #asian #Actress #setdesign #beauty #ancientchina #MingDynasty ‎#هانفو #ฮั่นฝู #ชุดฮั่นฝู #Cdrama #中華風 #Romance #锦心似玉 #TheSwordandtheBrocade #TanSongyun #谭松韵 #谭松韵seven https://www.instagram.com/p/Ci-hr6CJpcv/?igshid=NGJjMDIxMWI=

A Review of Adele Lim’s ‘Joy Ride’ (2023)

Joy Ride (2023) is a comedy movie directed by Adele Lim, who is making her directorial debut. The film follows four Asian-American friends, played by Ashley Park, Sherry Cola, Stephanie Hsu, and Sabrina Wu, traveling throughout China searching for Audrey’s biological mother. Audrey was adopted by American parents as a baby, leaving her no recollection of her birth family and heritage. Along the way, they encounter various challenges, including a drug smuggler, a Chinese businessman, a famous actress’s fiancé, and a basketball team down for fun. The movie is a funny and candid exploration of identity and self-discovery, highlighting the universal truth of accepting and loving oneself.

Let me be honest; I do not directly relate to the main characters. I am a white male who was not adopted by parents who lived in another country. But I still appreciate the movie’s story and find the comedic situations hilarious. I always value it when I can walk into a viewing of a film with the intent to be entertained with a good story and be given exactly that by the time the end credits begin to roll across the screen. This movie accomplished meeting my expectations.

Behind the scenes, Joy Ride is helmed by Adele Lim, an accomplished Malaysian-American screenwriter and producer who has made quite an impression during her tenure in Hollywood. Her notable contributions include co-writing the groundbreaking romantic comedy Crazy Rich Asians (2018), which broke a 25-year record by being the first American-based film to prominently feature an Asian cast, a feat previously achieved only by The Joy Luck Club (1993). Lim has also contributed to the screenplay for Disney’s Raya and the Last Dragon (2021), an animated fantasy adventure inspired by Southeast Asian cultures.

With her background in journalism in Malaysia, Lim boldly pursued her dream of becoming a television writer and has worked on several successful shows such as One Tree Hill, Private Practice, Lethal Weapon, and Dynasty. Lim is passionately committed to sharing authentic and diverse stories that reflect her personal experiences and heritage and is dedicated to mentoring and advocating for aspiring writers of color in the industry. Her work has earned several well-deserved awards and nominations, including a Writers Guild of America Award, a Critics’ Choice Award, and a Hollywood Film Award.

part of the reasoning for bullying the first asian voice actress for Ada Wong ever is 1 she's not sexy enough (literally how) 2 she is not emoting enough holding the cards to her chest (RE4R Ada is my personally my favourite Ada because she is here to do a job and not flirt and her moment at the end is something she never actually got in the og games from what I remember) basically Lily Gao was so overly criticised for everything (nothing the white va for Ada ever got) which devolved into bullying and her leaving the internet

basically I am enjoying Nicole play the game however it is at times very hard to not fixate when Suzi is there talking as Village was 2021 and RE4R was this year

jesus christ.

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From the r “joke” to blackface, I’m so fucking tired. I love how people keep apologizing and saying they didn’t know when it’s 2022 AND it’s happened before and they had to apologize before. Gmmtv keeps fucking up and I’m starting to believe their take is the ridiculous notion of “any publicity is good publicity.” But even when their actors are shocked and try to avoid blackface it’s bad. Companies and their actors make it so hard for their non Thai fans of color to actually be fans. It hurts to see my hair and skin color as a joke to other people. I’m sad and I just wanted to vent I’m sorry

to be honest, I'm not surprised. I've talked about a thai equivalent of blackface being used in thai dramas in my colorism video. in this case though, while yes thai people have social media & likely have heard of blackface, for them smearing black (not brown) paint on their face has no historical meaning like it does in the US & europe with minstrel shows. I'd argue that fair-skinned actress getting put brown skin on to look "uglier" in the movie & shows I've discussed in my video, the last show being released in 2021, is way worse than this bc here the thought process behind it is the same as if they were smearing blue paint on their faces to look like smurfs. NOW, though... when you had the curly hair wig the guy with "blackface" had on... that's when I really don't know how to feel anymore. but in that case, I don't think gmmtv wanted it to happen, I genuinely think this is an oversight. gmmtv is already the most criticized (while also being the most beloved) thai entertainment company bc they cater so much to international fans, and so then things they're doing that would be more likely to be overlooked by a thai audience are not by their inter fans. so anyways, not defending anything, just always trying to take things with nuance & understand cultural differences in a country with very low non-asian immigration. that being said, it still looks terrible, especially only one day after the r*pe "joke." gmmtv needs to hire an international fan (me) to veto their content, that's all I'm saying. and they should definitely have stopped safe house at season 3 with the song the guys wrote bc it was great send-off, and now this is tarnishing the good vibes of the show prior to this disastrous season.

xxx

Rookie-Critic's Top 25 Films of 2022: #1: Everything, Everywhere, All at Once (dir. Daniel Kwan & Daniel Scheinert, a.k.a. Daniels)

We now arrive at the finish line of the Top 25 Films of 2022. I mean, could it have really been anything else?

There was no reality, no multiverse, in which my #1 pick for 2022 was going to be anything other than this sweeping, zany, beautiful masterpiece of comedically bizarre, but oddly dramatic storytelling. I actually have a really fun history with this film from before it was ever even officially announced. Back in September of 2021, I was newly single out of a 6-year relationship and had started going to a ton of films as a way of spending this massive influx of free time I had just come into. A lot of which, at the time, were free preview screenings of things that were about to come out (generally, my idea of it is they are press screenings that they open up to the public in order to fill the extra seats and word-of-mouth buzz). However, one day I get an email from one of the mailing lists I'm subscribed to asking if I'd like to come to a screening of a new film that hasn't been announced yet. After looking into the details further, it would be a sci-fi film starring Michelle Yeoh and directed by Daniels, and I would have to take a survey before and after the film, as well as sign an NDA and agree to not speak to anyone about it until the time when the film was officially announced and a release date was set. Those were literally the only three pieces of information I was given on the film. I was a fan of the Daniels' previous film, Swiss Army Man, and I generally like Michelle Yeoh, so I decided to give it a go. Why not? I like sci-fi, at worst I will have watched a bad film for free, oh no. So I reserved my spot, signed that NDA, and went to theater the following day for my screening. The movie, as you probably guessed, was Everything, Everywhere, All at Once, and let me tell you I hated that NDA with such a passion those next three months. I discussed in a very limited capacity with those in my immediate circle of family (I believe all I told my little brother that there was a scene where the characters turn into rocks and talk to each other through subtitles and that scene had made me cry), but really I just had to sit on the knowledge of this until it was officially announced in December 2021. I went and saw it opening weekend and remember thinking it was even better than I remembered it being in the test screening.

As far as a review, what is there really to say? The acting is superb across the board, especially from our central three cast members: Michelle Yeoh, Ke Huy Quan, and Stephanie Hsu (in my opinion, as much as I love Jamie Lee Curtis, Hsu should have won the Supporting Actress Oscar). The effects and editing are out of this world (universe? multiverse?). The humor never misses and never cheapens a more heartfelt or tender moment between characters. In fact, most of the time the drama and the comedy of everything is weaved in so naturally in a way that's hard to even describe. The entire movie almost defies genre or categorization and refuses to be pinned down into any one box. Ultimately, though, what I think really sets this film apart from everything else that came out in 2022 is that, behind the zany, at times unbelievably off-the-wall beats and gags, is an incredibly small story of a family and their struggles, both with the world and with each other. It's a film that analyzes what it means to be a mother, a father, a husband, a wife, a daughter, a granddaughter. It's a very uniquely Asian story with an Asian identity at its core, but there are things in the film, especially in the way it analyzes the cyclical dynamic of a dysfunctional family, that can ring true for anyone. It's a film that dares you to dream big, but also a film that asks you, gently, to not take the little things for granted. It's a film that asks you to be kind, and that it's ok to give people space when they need it, but even with that in mind, asks you to never give up on those you love. Most of all, this film asks you to love, to give love and accept love in all its forms, because anywhere will be home, anywhere will be enough, if you're surrounded with those that you love. Not only is this my #1 pick for 2022, this is also just, in general, one of my favorite films of all time.

Currently streaming on Showtime.

You can read my original review of Everything, Everywhere, All at Once here.

[TRANS] 230328 Kwon Yuri Star News Interview (Part 1)

Tears after three-wins in AAA, rewarding feeling after arduous activities

People say that, "If you chase two rabbits, you will not catch either one.", but Kwon Yuri have done it. Through Girls' Generation 15th anniversary activities, she looked familiar as 'singer Kwon Yuri'. Then she stood as 'actor Kwon Yuri' through dramas. At this point, it seems like she does not need any other modifiers. Kwon Yuri, who completed her career solely through her own name, stood in front of the camera again.

Kwon Yuri, who debuted as a member of Girls' Generation in August 2007, rose to prominence as a main actress after appearing in supporting roles and special appearances in dramas such as <Unstoppable Marriage> and <Fashion King> while also promoting as a singer. She later appeared in OCN <Neighborhood Hero>, SBS <Defendant>, MBC <Dae Jang Geum is Watching>, MBN <Bossam>, ENA <Good Job>, and many more. In particular, she met actor Jung Ilwoo in <Bossam> and <Good Job> in 2021 and 2022, and they showcased a strong acting cooperation.

Since she has a solid acting career, it has become natural for her to receive awards as an actor. Kwon Yuri, who won the Best Acting Award at the 6th Asian Artist Awards (AAA) in 2021, received three awards in the 7th Asian Artist Awards in Japan (AAA) in 2022 for ‘Best Asia Celebrity-Television’, ‘Best Actor’, and ‘AAA Best Achievement’ categories. Kwon Yuri, who has been doing personal schedules since 2022 AAA, recently spoke with Star News about the award.

Kwon Yuri, who shed tears after winning the Best Acting Award at 2021 AAA, said, "I cried a lot again this time. This award wasn't just for me; it was for our entire team. I was grateful because it was an honorable award given to the actors (on the projects), company employees, and management teams who worked hard," she explained. "I'm just thankful that there are people who support me and that I can enjoy this moment of honor."

When being asked if she is used to winning trophies as she receives awards every time as a singer or actor, Kwon Yuri said, "The feeling is always new because each award and the timing of receiving it are different." She said, "Especially last year, we did a lot of activities in a tight schedule. So it was physically very tasking. The weight of Girls' Generation's 15th anniversary activities and the responsibility of leading the drama <Good Job> felt heavy. I felt like I was being rewarded by such a big award.”

In particular, <Good Job> is a work that has been filmed for quite a long time. The script was changed in the middle, and there were also difficult shooting sessions. "Honestly, everyone who shoots the drama has one heart and one mind," Kwon Yuri said. “We hoped that this drama would go well, and while the pre-production process can be difficult, we want (the drama) to be well-conveyed in some way. We all discussed a lot fiercely. I am grateful that the writer, director, and production company all completed it well.”

Original source :

Interview by Ahn Yoonji reporter from Star News (Link to the original interview is available below)

Buddy Holly" is a song by American rock band Weezer. The song was written by Rivers Cuomo and released as the second single from the band's debut album, Weezer (The Blue Album) on September 7, 1994, which would have been Buddy Holly's 58th birthday. The lyrics reference the song's 1950s namesake and actress Mary Tyler Moore. It reached number two and number 34 on the US Modern Rock Tracks chart and the US Mainstream Rock Tracks chart, respectively. The song also reached number six in Canada, number 12 in the United Kingdom, number 13 in Iceland and number 14 in Sweden.

Rolling Stone ranked "Buddy Holly" number 484 in its list of "The 500 Greatest Songs of All Time" (2021), raising it 15 spots from number 499 (2010), and raised from around 19 years prior, being ranked number 497 (2004).[5][6] The digital version of the single for "Buddy Holly" was certified gold by the RIAA in 2006.[7] VH1 ranked it as one of the "100 Greatest Songs of the 90s" at number 59 in December 2007.[8]

Songwriter Rivers Cuomo wrote "Buddy Holly" after his friends made fun of his Asian girlfriend.[9] He originally planned to exclude it from the album; he felt it was "cheesy" and perhaps did not represent the sound he was pursuing for Weezer. Producer Ric Ocasek persuaded him to include it. In the book River's Edge, Ocasek is quoted saying: "I remember at one point he was hesitant to do 'Buddy Holly' and I was like, 'Rivers, we can talk about it. Do it anyway, and if you don't like it when it's done, we won't use it. But I think you should try. You did write it and it is a great song.'" Bassist Matt Sharp recalled: "Ric said we'd be stupid to leave it off the album. We'd come into the studio in the morning and find little pieces of paper with doodles on them: WE WANT BUDDY HOLLY."[10]

An early demo of "Buddy Holly" recorded by Cuomo in 1993 has a different feel, as the song is played at a much slower tempo than the version that appears on the album. This version appeared on Alone: The Home Recordings of Rivers Cuomo. The liner notes for Alone explain that the chorus, in its most primitive form, originally was sung as: "Oo-wee-oo you look just like Ginger Rogers / Oh, oh, I move just like Fred Astaire". The rest of the chorus stayed the same as the Blue Album version.

True.

this image should bring me peace…..best actress finally has an overwhelming front runner. i can relax. and yet it fills me with dread because now i officially have to make a decision as to which outcome i prefer: do i go with my gut and then, in the case that yeoh wins, feel bad for being overly cynical, yet relieved that yeoh has finally broken this barrier for asian actresses and finally topped this peak for herself personally; or, do i go against my gut and then, in the case that blanchett wins, feel fucking stupid for doing that and have the same shocked and annoyed feeling that i had in 2019, 2020, and 2021……😭