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katnisspeetaprim · 7 months

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I'll Sort It out

Word Count: 1323 M.list

Warnings: Getting hate, crying, swear word. (P.S This is a bit of a mess and the ending isn't great!)

You and Jungkook had been together since early 2019 after meeting at the BBMA’s. It was both your first times at an American awards show, so you naturally felt a little out of place. Since you spoke a little Korean (having since improved greatly) you took a chance and introduced yourself to the group.

You and Jungkook stayed in contact after finding you had a natural connection and finally began dating in 2019, after a lot of pushing from each of your friend groups.

Whilst BTS only got bigger as the days went by, your audience mainly stayed the same. Not that you minded. You enjoyed playing smaller and more intimate venues. It allowed you to be closer to the fans and interact with them more easily, plus you could do meet and greats without all the pressure of disappointing people who couldn’t get in.

Jungkook always made it his mission to go to as many of your shows as possible, and cheer you on from the side or somewhere in the back of the crowd.

Ultimately, that’s how the two of you got found out. Him being spotted at one too many of your shows when he had no other reason to be in the city.

Neither of you had wanted to stay secret anymore, so with the go ahead from BigHit, you made the relationship public.

It felt good to be able to make posts with and about your boyfriend on social media after having to hide it for so long, you felt proud and wanted to show him off because you loved him... But then the hate started. On every picture you posted, even ones that had nothing to do with Jungkook, there would be hate. Even on posts promoting your albums, they would be accusing you of using him to stay relevant, since you needed all the help you could get, according to them anyway.

God forbid Jungkook dared to talk about you or your music on one of his live streams... That would only add more fuel to the fire. He would be blissfully unaware of the hate geared towards you, th chat moving too fast for him to notice.

But you knew.

They’d recently gone from just nasty comments on your posts, to messaging you actual death threats.

When that first happened, you stopped posting pictures with Jungkook and made private all the ones already up on your page. Jungkook was confused as to why you suddenly did that but he didn’t bring it up after all, he had stopped using Instagram so maybe you were going to do the same thing?

Recently, Jungkook had been in talks to collaborate with other artists from America in preparation for the release of his first solo album, and when he bought up the idea of the two of you also doing a song together, it caused you to hit your breaking point.

‘What do you mean, no?’ He’d cornered you in his dance studio during a break. All the backing dancers had gone out so it was just the two of you left in the room.

‘It means no, Kook. It’s not a good idea.’ He stared at you like he suddenly couldn’t understand Korean, and he couldn’t stop the hurt flashing across his face. It hurt your heart to turn him down like that, but you had no other choice.

‘You can’t just say no without giving me a reason!’ he started to argue, now getting more angry than upset.

‘We can talk later.’ You mumbled, gathering your things to leave, hoping to escape this conversation until later.

‘No! You can’t just leave like that- hey!’ As soon as he reached out to grab your arm to stop you, you span round and unleashed your emotions onto him for the first time since this all started.

‘You don’t know what it’s like!’ You practically screamed in his face. Your cheeks had become red with rage and fat tears stained your face. Jungkook flinched at your sudden emotional state and went quiet, his anger drifting away into confusion as you continued.

‘-To constantly have people telling me I’m not good enough, and I’m just using you to stay relevant! It’s going to be ten times worse if we do a song together! Don’t you see!?’ You span round and cried into your hands, embarrassed that he was seeing you like this.

‘Baby... I-I had no idea...’ How could he not have known something was wrong. He felt so stupid that he’d apparently been blind to this whole situation. Just then, a thought struck him.

‘Is this why you made all those pictures of us private a while ago?’ You nodded without turning round and sniffled. You heard him curse under his breath and suddenly his arms were round you, cradling you from behind.

‘Why didn’t you say something sooner?’ He spoke against the skin of your neck.

‘I didn’t want to put you in that position.’ You shook your head and tried to calm your sobs.

‘Hey, don’t talk like that.’ He circled round to stand in front of you, gently sliding his hands up your neck to cup your face.

‘You will always be my top priority, ok?’ You nodded sadly and subconsciously reached up to grasp onto his forearms, more to comfort yourself than anything.

‘please don’t cry. I’ll sort it all out.’ He wiped your tears with the pads of his thumbs and pulled you into a hug, flush against his chest.

‘We’re also definitely doing that song together, by the way.’ You pulled back sharply, almost in disbelief.

‘Have you not been listening to anything I said!?’

‘And I told you I’d sort it! Please... Just trust me on this.’ He pleaded, almost begging you to trust him with his eyes. You sighed deeply and rubbed at your sore eyes.

‘Ok... I trust you.’

What Jungkook meant by sort it, was to basically threaten legal action to everyone who sent you death threats or tried to defame you, in the form of a very stern letter released through BigHit.

Hello, this is BigHit.

Please find below a statement directly from Jungkook.

Hello.

First of all I want to say that this letter isn’t targeted towards the fans who have shown nothing but support for me and Y/N. Please know we both appreciate you all and are grateful for everything you do for us.

This letter is in direct response to the people who think it’s appropriate to send Y/N death threats and try to defame her, by claiming she’s using me for fame. Unbeknownst to me, this has been going on for a long time, which has caused Y/N a great deal of mental stress.

Death threats aren’t something we take lightly.

Np, Y/N isn’t using me for fame.

No, we aren’t breaking up.

Yes we are going to continue making public appearances together, and YES, we will be taking legal action.

We already have a large number of names and accounts which have been handed over to our lawyers. If the threats and accusations don’t stop immediately, then we have no problem taking whatever legal action is necessary.

In future, please understand that we don’t have to share out lives with you. We share what we are comfortable with being public, but when you act like this? It only makes us want to close off completely.

I hope my words have made you realise that actions and words can have consequences.

-JJK.

The statement Jungkook released caused a real storm online. Most real ARMY immediately rallied around you to create a support network and the threats mainly stopped. You guessed that most of them were probably just teenagers, scared of being caught out.

The song you and Jungkook released together was a massive hit too. It was basically a big fuck you to all the haters and you couldn’t wait to perform it live.

#bts #bts x reader #imagine #one shot #scenario #reaction #kim seokjin #min yoongi #jung hoseok #kim namjoon #park jimin #kim taehyung #jeon jungkook #idol!au

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i-care-4u · 2 years

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UN VERANO SIN TI | J.HARLOW

part one | part two | part three

pair: jack harlow x actress!reader

requests are closed | masterlist

A/N: i’ve been doing instagram au’s recently, and i haven’t written these types of fics in like a year, so it feels so refreshing writing them again. btw, apologies if there’s any grammar mistakes or any typos.

‘17-‘20

For the past five years, you’ve pretty much made yourself a big name in the entertainment industry. Since your debut, critics and the people were quickly mesmerized by your talent, which later contributed to your nominations at big award ceremonies.

While filming your second project four years ago, you discovered Jack and his music. However, it wasn’t until a year later when you first met him.

Jack was starstruck the moment he saw you. He couldn’t believe that one of today’s leading actresses is a big fan of his. Around this time, he was recording a new mixtape. You still remembered the conversation that occurred, which was now an ongoing joke between you and him.

“Hi, I’m Jack,” Jack introduced himself as you came up to him to give him a hand shake.

“I know,” you replied, letting out a soft laugh.

After the interaction, you exchanged numbers, and began hanging out together.

By early 2020, you and Jack started dating. Since Jack wanted more of a private life, you both agreed to keep the relationship that way, with the exception of close family and friends. However, due to one of his songs becoming popular, it pushed him to a more mainstream audience. Although you and Jack were celebrating for reaching such achievements, unfortunately, you both knew that going out together was going to be such a conflict.

‘22

With your upcoming project being the most anticipated film of the year, and Jack releasing his new album, it was going to be quite a year for you two.

You and Jack barely had the time to see each other, and the only interactions came through the phone. You didn’t like that feeling. The feeling that you were dating your own screen just felt weird to you. The next time you were going to see him again was during the MET Gala, which happens to be the same week Jack releases his album.

By that point, you had the thought to end things with Jack. It was an upsetting thought, but both of you were booked and busy if you really think about it. You were busy with your film, which was set for a summer release, and there’s also an upcoming press tour alongside it. Meanwhile, Jack had upcoming performances left and right, traveling from France to Australia. As much as it hurts to let go of someone, you believed that now was the right time.

MET GALA ‘22, MAY 2nd, 2022

You arrived to New York City a couple of days ago, which was nothing new for you. Tonight was going to be your first MET since 2019, and your first with Jack.

At the hotel, your stylist picked out a dress from (brand choice), while you were in charge of doing your own makeup. Considering the way people were dressed last year, you’d say that your team did a great job on their research and finding a dress that represented “gilded glamour.”

Before putting on the dress, you heard a knock on the door. You opened the door to see that it was Jack. He was already red carpet ready and he wanted your opinion of his look. He showed up wearing a silky brown suit from Givenchy, a little different from the regular tuxedos that a lot of men tend to wear at the MET.

“How do I look, baby?” Jack asked you as he was fixing up his tie.

“You look amazing, Jack,” you smiled, fixing the outfit for him.

“I knew I could rely on you,” Jack said, quickly giving you a kiss on the forehead before he closed the door.

After a few hours, you arrived at the MET Gala. Your appearance was the most anticipated tonight, based on past looks. It was exciting to see what you were going to wear next. Like every award ceremony, there’s cameras flashing, people cheering from all angles, and of course, the interviews.

“Y/N LOOK OVER HERE!”

“SMILE Y/N!”

“Y/N TURN AROUND!”

“I LOVE YOU Y/N!”

Everyone was obsessed with your MET look. You were the highlight of the night, earning the title of “best-dressed” alongside other celebrities.

Following the pictures taken on the MET stairs, you went to their dinner party, where you got greeted by Jack.

You and Jack went towards the food table. The food looked quite exquisite, having a Sofia Coppola feel to it. Jack grabbed a plate and asked, “You want something to eat or drink?”

“Not at this moment,” you nodded. “Thank you, though.” Before Jack put the plate back, he asked you again, “Are you sure?”

“Yeah, I’ll eat once the MET is over.”

You weren’t upset, but rather overwhelmed. The next thing you wanted to do was to leave the dinner, and stay at the hotel, but you just couldn’t. Instead, you rushed to the bathroom, which you quickly regretted.

By the time you opened the door, there was a group of celebrities attempting to take the MET Gala picture. Instantly, all eyes were on you, “Y/n, care to join us?”

Giving them an awkward smile, you tried to fit into the frame. For the next ten seconds, everyone was fixing their outfits and thinking of a pose. By the last second, one of the celebrities announced that they were taking the picture, “MET Gala ‘22, everybody say cheese!”

After the picture, you headed back to dinner where you sat in the empty seat next to Jack’s.

“Having fun?” you looked over to Jack.

“Yeah, I’m getting a little tired though. Are you tired yet?”

“Sort of,” You had a monotone voice, showing no emotion whatsoever.

“Let me take you outside for some fresh air, no?” Jack held your hand, but you refused, thinking about your private relationship with him. “Jack, we can’t. Remember?”

“Right.”

“Speaking of going out, I don’t think I want to attend that afterparty anymore.”

“That’s fine,” Jack kissed your cheek as you got out of your seat. “Do what you need to do, okay babe?”

“Okay. See you tomorrow morning.”

TUESDAY, MAY 3rd, 2022

The next morning, as you were getting ready, you received some text messages from Jack.

Jack: are you in your hotel room right now?

Jack: let’s talk

You: i’m here

You turned off your phone and continued getting ready. After doing some final touches to your makeup, you decided to order some tea for you and Jack.

"Room service. How may I help you?”

"Uhm, yeah. May I have two hot teas?"

"Which one?" You didn’t specify what kind prior, but you knew that Jack loves the hottest kind of tea.

"The hottest one. Just any of the—"

"You want black or green tea?"

"Green for both, please. Thank you. "

While you were waiting for your orders, someone knocked on the door. "It’s Jack," you thought.

You opened the door, and it was no surprise that it was him. As he walked into your room, he couldn’t resist giving you a hug. You missed that feeling, that rare feeling. You knew, however, that you and he weren’t destined to be together for this long.

"How’s my baby feeling today?" Jack asked you.

"Better than yesterday," you assured. "And by the way, I ordered some tea, which should be here any minute now."

"Very generous of you," Jack said sarcastically. He was glad to see you doing better and getting the rest that you needed after yesterday. However, it wasn’t the case for you. Instead, you felt nervous about having this talk, scared that you were going to slip up really badly.

"What if he doesn’t want to see me ever again?" you thought. The only goal here was for you and Jack to be cool as just friends.

You two walked together and found a seat at the empty table that was in the room. You relax for a few seconds, hoping that everything goes as planned. Afterwards, you began to talk to him.

"I’ve been thinking about this for a while now, but I think it’d be cool if we stayed as just friends," you began. "I feel like we’d become so distant this past year to the point where I’m just dating my own screen, you know?"

Jack got up from his seat, and you tried to question him, feeling startled that he was leaving immediately. Luckily, he opened the door and grabbed the two teas that you ordered earlier. He placed your tea on the table while he began to take a sip of his tea, "Sorry, the tea arrived. Go on, Y/n.”

You continued, "We’re literally at our prime right now, and I’m really proud of what you achieved. I truly am. I just don’t think that I’m the right person for you anymore.”

Silence, but not the awkward kind. Jack respected your decision. "I get it, our schedules can get packed like right now. Either way, I’d still be proud of you for what you've done to your fans and to my music as well. Thank yo-“

You interrupted him, "Jack, this is not a farewell."

"I still mean everything that I said earlier. I’m so glad that I met you, Y/n.”

“Thank you, and thank you for understanding where I’m coming from, Jack.”

After two years of dating, you and Jack officially broke up. It went smoothly like you planned, and you are now friends with Jack.

Things were going to be different, of course. Looking at the schedules, it was going to be a long year, starting with summer. It begins, a summer without Jack, a summer without you.

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seoul-bros · 11 months

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Han So-Hee in her own words.

I started writing this when I heard that Han So-Hee was rumoured to appear in Jungkook's upcoming MV for Seven. I love to explore the intersections between the world of kdrama/kfilm (which I have followed for some considerable time) with the world of music and BTS (which is a much newer love).

I haven't seen her in many roles but what I have seen convinces me she is someone who is working on her craft and constantly looking for ways to improve and deliver more for her audience.

After seeing her first in a supporting role in Abyss (2019), I've seen her with Song Kang in Nevertheless (2021) where she plays a sculpture student in a much more Bohemian world than we generally see in kdramas and then in My Name (2021) where she played a revenge seeking bad ass. She had to do a lot of physical training for the part and said that it was a habit that stayed with her.

"If I get hooked on something, I’m the type to do it no matter what anyone around me says. That’s one of the things I like about myself."

She isn't your average Korean actress. When she published photos of herself with tattoos she received a lot of public criticism in Korea but she has a clear philosophy to life which she is determined to stick to.

"I want to live youthfully while wearing, eating, and expressing what I like. As long as I don’t stray away from what’s ethical and moral, I want to live while expressing myself freely. Instead of being passive, I hope others also find their own spark and color to shine."

She loves and respects other women.

"There are so many cool unnis. I think people who live their life doing what they want are cool. ..........., since you only live one life, I want people to live while doing what they want. These days, I think people like that are the coolest."

She is serious about the people in her life and she is ready to express her love and support publicly. She is close to Song Hye Kyo and they often post for each other on Instagram. When Song Hye Kyo won the Baeksang Arts Best Actress Award for The Glory this year she was quick to post her congratulations on Instagram.

The two were set to star in the The Price of Confession together, that project seems to have been shelved but their relationship is still going strong. Song Hye Kyo recently sent a coffee truck to the set of Han So Hee's latest project Gyeongseong Creature.

Isn't it nice to see women supporting each other perhaps certain parts of the fandom could take a lesson from that.

I've seen people online compare Han So-Hee to Jungkook and having read her words, I don't think they are wrong. Both are unconventional individuals living in a strictly conformist society. Both are proud of what they call their stubbornness which I actually think is more about their being determined to live an authentic life on their own terms. Both seek to express publicly the love and support they have for the important people in their life. As such I think she is a good choice as a co-star for this music video.

It won't be her first time appearing in a Kpop MV. She appeared in SHINee's video for 'Tell me what to do' in 2016......

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.....and to be honest if she is appearing in JK's video I hope he gives her more to do. It seems such a waste of a good actress to have her just strike a pose.

Quotes taken from Allure Magazine Interview as reported online.

Post Date: 04/07/2023

#jungkook #jeon jungkook #seven #days a week #han so hee #my name #nevertheless #SHINee #tell me what to do #song hye kyo #The Glory

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seasurfacefullofclouds1 · 6 months

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hi sea, hope you're doing well!

so, i haven't really been here for a while because life happened but I found myself wondering recently, how is everything going here? from what I've seen louis looks really good and happy these days and he's joining a bunch of festivals? exciting things!

Hi there!

In terms of Louis’ trajectory— the general direction of his career— 2023 has been the best year for him ever. Including in 1D.

Louis released FITF, an album that went to Official Charts #1 in the UK, Billboard #5, and many top tens internationally.

After the 80-show world tour last year (2022), Louis then booked the biggest solo tour he’s done so far. FITFWT 2023 had 79 shows + AFHF. Louis played some of the same venues that 1D played at the height of popularity, and sold out the O2 Arena in London.

28 Clothing began selling products this year. The choice to partner with Hype Beast for the limited runs is on brand and very smart marketing. Using a separate marketing firm for 28 was also a great idea.

Louis will probably have one of the largest merch sales this year, all while keeping his prices average (for tour merch). At Matt Vines’ estimate of $38 per person on tour, he will have sold about (conservatively) $10 million in tour merch this year, not counting 28 Clothing. I estimate revenue for tour tickets to be around $14 million (assuming about 250k tickets for FITFWT 2023 at $55 per).

Even if these aren’t the biggest numbers, Louis’ cumulative achievement comes from many years of stop-and-start disruptions, much hard work and heartache, and— initially— some very hopeful, loyal, diehard fans who kept waiting for him and encouraging him.

The achievements also feel authentically won, as the biggest radio stations in the UK and USA are still blacklisting Louis from the airwaves. He might come on Jimmy Fallon and iHeart, but it’s rare to hear his music on radio— which translates to few streaming playlists. BMG UK also treats Louis like a catalogue artist and relies on fans’ word-of-mouth for promo. So for so many fans to show up for him at the concerts really means genuine interest, real love.

In addition, Louis is being nominated by some mainstream music media, like Rolling Stone UK and Billboard, for legitimate awards (Best Tour Act for RSUK, Best Music Documentary for Billboard). It reminds me of the start of his solo career in 2017-18, when Louis was up for awards like iHeart’s Breakout Solo Artist, Best UK/ Ireland solo act, and other awards, instead of simply being shut out as in 2019-22.

My opinion is that RSUK and Billboard have nominated Louis to harness the social media power of his fans and draw more attention to their awards (once again, free PR), especially since the Billboard award is fan-voted. However, attention to the awards also keeps Louis’ name in their publications.

Finally, yes!!! Festivals!

So far Louis has been booked in festivals only in Mexico, the UK, and Europe, but this is also where his audience has the highest concentration. The choice to do festivals with rock and indie acts makes sense, because Louis is already friends with many current acts (and has toured with several) and there’s potential for the audience to cross over. Listening to Faith In The Future, I would say that Louis can still go further in an indie sound. He loves his big pop choruses — bless— but he can convert them to rock, not just in instrumental arrangement but in spirit. To me, Back To You isn’t really a rock song and it doesn’t sound like a rock song no matter what, but it is fun. The festivals are a good way to test his music and go further. All around him are inspirations.

(It’s also inspirational to see people like The Snuts going out on their own label. Much food for thought.)

Also in terms of business structure, Louis and Matt Vines invested in OpenStage, a business that taps into direct-to-consumer marketing for artists via social media and texting. It’s too early to know whether this company is the “pirate” that bypasses big music labels, radio, and streaming services to sell to and connect to fans directly, or whether it will get bought out by a big PR firm or killed by competition. However, Louis has been doing independent festivals, playing at independent music venues, promoting smaller and indie artists, thinking about managing these artists and starting an indie label for years. These are early steps for Louis to establish a presence outside of traditional music industry.

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tomorrowxtogether · 1 year

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TXT Talk About Temptation, Identity, and New Album “The Name Chapter: Temptation”

The quintet's new project is both a homecoming and a new adventure for the South Korean group.

In 2019, Tomorrow X Together (TXT) captivated audiences by unveiling the concept trailer for The Dream Chapter: Magic. The mesmerizing video served as the introduction for their first official comeback. It showed the then-rookies executing gravity-defying choreography against an ever-changing backdrop, playing with perspective and illusion with only the help of a projector. The blank canvas was an instant hit among their dedicated fandom, known as MOAs, and the general public and foretold just how artistic TXT's journey would be. Four years later, the South Korean quintet revived the format with the concept trailer for their fifth EP, The Name Chapter: Temptation.

Two months before Temptation's official release on January 27, 2023, the trailer for the quintet's new chapter premiered on HYBE's YouTube channel, transporting viewers back in time with immediate callbacks to their beginning. Except this concept is different, and TXT are all grown up.

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"We really thought about how we could [best] express the theme of temptation in our concept trailer visually, and I think it [naturally] came out similarly to Magic during the process, with the projection mapping and everything," Taehyun, who does much of the talking for the group, tells Teen Vogue over Zoom from Seoul two weeks before the album's release. "Many people like our concept trailers, like in Magic and Freeze, because we add some really cool elements to them [so we think long and hard about them]."

Though similar visually, a thin line separates Magic and Temptation thematically. If Magic was an ode to innocence, Temptation is an ode to its loss. These two sides of the same coin kickstart a new chapter in TXT's ever-expanding book, the third after Dream and Chaos following brief pitstops for Minisode 1: Blue Hour and Minisode 2: Thursday's Child. "Story-wise, The Name Chapter is about a phase where you solidify your identity and your name as you grow into adulthood," Taehyun explains, noting the overlap. “We try to express that temptation where you just want to settle for now and don't want to grow up anymore.”

As a motif, temptation is a tale as old as time. In Greek mythology, temptation serves as the driving force for multiple stories, from the Sirens to Pandora. In the Book of Genesis, it's temptation that ultimately gets Adam and Eve cast out from the Garden of Eden. Beyond religion and myths, temptation has also been a familiar trope for playwrights like Christopher Marlowe, William Shakespeare, and many after. Temptation is everywhere, and it's perennial. In TXT's universe, "temptation means you choose something that is not helpful for the future," Taehyun explains. “Falling into that choice is the temptation.”

While it is true TXT go back to their roots with The Name Chapter: Temptation in more ways than other — going back to their tried-and-true "intricately interconnected" whimsical concepts and veering heavily onto theatrics and storytelling with Peter Pan-inspired elements — in other ways, they explore uncharted territory.

After just one listen, it's not hard to discern that The Name Chapter: Temptation is TXT's most experimental album, exploring new genres we haven't yet seen from the band. Kicking off the five-track project is "Devil by the Window," a song produced by BigHit Music's very own Slow Rabbit and mixed by Grammy Award-winning engineer Manny Marroquin. Heavy on bass, "Devil by the Window" traffics in extremes, incorporating snaps, claps, rocky hi-hats, and glitchy noise scratches with subtle whistles, murmured vocals, and layered harmonies. The push and pull share some DNA with last year's "Good Boy Gone Bad."

The track is TXT's second official release featuring all-English lyrics, not counting "Cat & Dog" and collaborations. Taehyun says that was still a challenge for the group. "As Koreans, it's really hard to bring out the right vibe because of the accents when you have to sing in English," he explains. “It's really hard to bring out the detailed emotions and the vibes. But I think all the members did a really good job in recording the 'Devil by the Window.'”

"Devil by the Window" acts as a prelude for the title track: "Sugar Rush Ride," Hueningkai's favorite. "We always like to challenge ourselves with new style and sound, and we did exactly that with this song. The song plays a line from the Korean traditional folktale 'Chunhyangjeon,'" the maknae of the group shares. He also explains how the performance, which includes a tsundere-esque killing point move involving their index fingers, also borrows elements from traditional Korean dance. "I really like the song. I think it shows different styles and genres in the most TXT-ish style."

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"Sugar Rush Ride" is the safest offering from the bunch. It's straight-up saccharine dance pop with instantly catchy funky guitar riffs and booming drum and bass. The real punch line comes with the bridge and chorus, with a whistle and echoed "gimme mores" that would be insidious if they weren't so sweetly tantalizing. Among the credits, there's one name MOAs will surely recognize: Salem Ilese. The group says the opportunity to work with the singer again arose naturally after sharing the stage in the U.S., Korea, and Japan last year. "She's a really good friend, a really good player, and a really good maker," says Taehyun. “She really has a knack for writing melodies and lyrics. She's the best.”

The official featured artist on the album, however, is Coi Leray, who jumps in on "Happy Fools." Also a Slow Rabbit production, like the previous two tracks, "Happy Fools" features writing credits from all the members. The track kicks off with a Bossa Nova-inspired elevator rhythm which quickly transforms into upbeat R&B with a camouflaged flute as the base. "I wrote the top line for 'Happy Fools' and all the members contributed to the lyrics," Yeonjun says of the track. "It's again, our story, so I think it expressed us well. I think it came out really well. When I listened to the song, I could see just how much our members have grown as artists and lyricists."

The next track, "Tinnitus (Wanna be a rock)," is the indisputable highlight of the album. It's TXT's take on Afrobeats, produced by Dystinkt Beats and Grammy-nominated Smash David, and features creative contributions by Taehyun and Yeonjun. After a suave kalimba intro, an engulfing bass-heavy drum beat and a distinct clave rhythm take over the sound, with the members' vocals layered over assorted adlibs for a fun element. On top of the percussion, the use of repetition in the bridge and chorus makes the track even catchier. Definitely a song that calls for headphones. Taehyun says the members were extra excited about trying out this new genre, but they were also extra careful, as a misstep could “ruin the vibe and the quality of the song.”

The closer for the album is "Farewell, Neverland," another explicit Peter Pan reference. "Farewell, Neverland" is a Latin-inspired ballad led by the strumming of an acoustic guitar and a cajón-style percussion swaying the beat, with heavier impacts and electric guitar joining the mix later on. Produced by Carson Thatcher, this track is the second "hitman" bang contribution on the album and also happens to be Soobin's favorite. "When I heard the recording for the first time, I got goosebumps because I could just imagine singing this song with our MOA at our show. I think MOA will feel the same when they listen to it," the group's leader shares.

"As we challenged [ourselves with] different genres for this album, I think all the members now have a more diverse spectrum [when it comes to] expressing ourselves," Yeonjun tells Teen Vogue. Beomgyu adds: “Since we try different concepts for every album, I think I'm more confident that I can pull off any concept now. I think that's what makes us grow, trying new things and taking on new challenges.”

The topic of variety rings true for the songs but also for the project's concept photos, which caused quite an uproar as they were revealed. "We usually share our ideas with our visual team and work with them throughout the process," Soobin shares about coming up with these concepts. Though very distinct from one another, all concepts are all intertwined in the music video for the title track. Still, each member has their favorites.

For Soobin, "Daydream" takes the crown. "It has a dreamy yet sexy aesthetic which I think suited all of our members really well," he explains. Beomgyu, on the other hand, favors "Nightmare" because "it's supposed to look like some kind of a beautiful nightmare that is colorful and sweet like 'sugar rush'" and that “captures the overall mood of 'Sugar Rush Ride' really well.” Yeonjun and Hueningkai do not share their preferences, but Taehyun does not hesitate to pick "'Farewell" as his favorite. "This concept is about the very moment of saying goodbye to temptation," he elaborates. “The concept clip had a lot of close-ups, and it was really important that we show the complexity of emotions on our faces when the video was shot. I think all of our members pulled it off very well.”

The Name Chapter: Temptation is the first notch in TXT's belt this year after successfully wrapping up their first world tour and landing a historic Lollapalooza performance in 2022, two feats they're immensely proud of. Their second world tour, Act: Sweet Mirage, is already slated for a March start, with 21 stops across Asia and the U.S. already locked and a "more to come" promise. "If the opportunity allows, I hope that many people recognize us and listen to our music in 2023," Taehyun shares. "Also, we were invited to the AMAs in 2022, but if we go again, I want to perform." That seems like the next natural progression for a group that likes to take it one step at a time.

#TXT #tomorrow x together #230127 #article #teen vogue #soobin #yeonjun #beomgyu #taehyun #hueningkai #The Name Chapter #The Name Chapter: TEMPTATION

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mim526 · 1 year

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Catherine's Statement Gown

Now that BAFTAs this year are over and the question many of us were waiting to see has been answered -- what will Catherine wear -- I want to comment on her white Jenny Packham evening gown which has shown up on two different BAFTA awards now.

h/t @the-empress-7 for this tweet pic

BAFTA 2019:

This and the James Bond premiere gold dress are Catherine's top regal looks IMO. I remember thinking she looked like an Empress walking with William up the red carpet but especially down into the auditorium. The Duke/Duchess of Cambridge were announced, the curtain at top of steps opened and the BAFTA audience went silent as she glided down the steps, head high. Why? #Empress vibes. William walked slightly behind her most of the way and just let her shine. Princess Grace of Monaco is the only other royal I can recall with this level of beauty/presence, and on this occasion Catherine out-Graced even Grace Kelly. Have a look:

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I watched some of their other BAFTA arrival clips to refresh my memory, and 2019 was different. BAFTAs were in February 2019, and as we learned early March 2019, rumors had been circling in society alleging William was having an affair. Catherine reminded everyone she was the one and only royal Duchess of Cambridge, with her Duke smiling beside her and at her back all the way.

BAFTA 2023:

This time Catherine wore the re-worked Jenny Packham white gown as Princess of Wales. Social media accounts concerned Catherine was spending too much on new clothing hopefully welcomed her choice. (Shoutout to @honeytothebee and @the-empress-7 whose Tumblr posts always manage to comment on Catherine's wardrobe and the Wales family with wit and wisdom without sounding like either critics or sycophants. Ladies, you are a pleasure to read.)

Her ensemble has been analyzed in other threads, so I''ll just note that Catherine's 2023 look reflected an evolving chic personal style and was on trend.

#Youtube #BAFTAs2023 #@William&Catherine

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ryanreynoldsfangirl · 1 year

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Ryan Reynolds' Career

Today's hot topic is.... guess who? Ryan Reynolds! (his career but who cares.)

The charming, affable, and boyishly handsome Reynolds has made his way through everyone's hearts. His captivating personality and his witty humor never fails to amaze the crowd, be it teenagers or people old enough to be his grandmother.

HIS DEBUT ROLE IN THE ENTERTAINMENT INDUSTRY

At the young age of 15, Ryan made his debut as Billy Simpson in the Canadian teen soap opera, Hillside, in 1991. The show lasted till 1993. Along with that, his journey in Hollywood began from the movie Ordinary Magic in 1993. He played the 15-year-old Ganesh who was born and brought up in India. Hinduism and Mahatma Gandhi's teachings highly influenced his character in this movie.

(WE KNOW WHAT YOU'RE THINKING. EVEN WE'RE LOSING OUR SANITY OVER THIS!!!!!)

(Look at our lil' floatie-floatie boy <3333)

Anywaaaaay.

Reynolds had a few supporting parts in films and TV shows. Because he no longer wanted to play an adolescent, he declined the role of Xander in Joss Whedon's Buffy the Vampire Slayer (1997-2003). (Terrible fate, we know.) Instead, he was cast in the ABC comedy Two Guys, a Girl, and a Pizza Place as medical student Berg (1998–2001).

His role in the comedy The In-Laws marked his entry into the world of high-budget entertainment. He had an appearance in The X-Files episode titled Syzygy. He also made an appearance as the letter 'A' in the A-Team, in the 4225th episode of the popular kids show Sesame Street.

(THIS IS OUR LITTLE ANGRY A-BOY.)

Now the more exciting part,

HIS MOVIES!

When it comes to effortless charisma and wry wit, it's hard to top Canadian charmer Reynolds. But even though the Vancouver-born actor is mostly unchallenged in those categories, it took a while for him to take off as a bonafide movie star. After a decade of hit-or-miss comedies, Reynolds eventually hit the bullseye with 2016's Deadpool, marking the perfect use of his naughty humor and comic delivery.

(Our top G Ryan as Deadpool *rock 'n' roll*)

Deadpool is regarded as one of the best superhero movies of all time and quickly became the highest earning R-Rated film ever, only beaten by Joker in 2019.

A few of his most adorable films include 'Definitely, Maybe' (2008), The Proposal (2009), The Change-Up (2011), and Just Friends (2005).

He's got many spectacular action movies under his belt. A few of them include, The Hitman's Bodyguard (2017) with top-rated co-star Samuel L. Jackson, 6 Underground (2019), Free Guy (2021), Red Notice (2021), and The Adam Project (2022).

Let's not forget his role as Harvey Kinkle (with the bad hair, ew, but he's cute so we'll take it.) in the movie Sabrina The Teenage Witch (1996).

And then there are a few movies which weren't very well received by his audience. These include R.I.P.D. (2013), Amityville Horror (2005), Green Lantern (2011), and Turbo (2013).

Moving on....

AWARDS HE'S RECEIVED OVER THE YEARS.

Our gorgeous superstar Ryan has received many notable awards as his career progressed. The first ever award he received was in 2003, it was the 'Young Hollywood Award for Next Generation - Male'. Then came an award for his role in Green Lantern - 'People's Choice Award for Favorite Superhero' in 2012, even though this movie was met with conflicting reviews, Reynolds managed to win different hearts by doing what he always does. Turn his charm on. (We AREN'T complaining at all.) A huge number of awards followed his movie Deadpool, which was a major box office hit. One for Best Entertainer in a Comedy Movie, and another for Entertainer of The Year.

Here's Ryan accepting the People's Icon Award at the People's Choice Awards 2022. (Look at his adorable smile, we all love him here at Ganesh Lovers' Community.)

Reynolds' has had a total of 60 nominations and 21 wins in his Hollywood career, which is actually quite a lot.

HIS PERSONAL LIFE

Childhood

Reynolds was raised in a Vancouver Irish Catholic home as the youngest of four boys. His parents were police officers and his mother worked in retail. Two of his brothers work in law enforcement, while a third is a member of the RCMP. From 1940 until 1944, his grandfather Chester Reynolds served as a legislator for Stettler, Alberta, as a member of the Social Credit Party.

Love Life

He was engaged to singer-songwriter Alanis Morissette from June 2004 to February 2007, when they called off their engagement.

Ryan with Alanis.

Shortly after, Reynolds started dating actress Scarlett Johansson, with whom he married on September 27, 2008, at a resort in Clayoquot Sound, close to Ucluelet, British Columbia. In December 2010, they divorced and filed for separation.

Ryan with Scarlett.

He started dating Blake Lively, his Green Lantern co-star, in 2011, and the two got married on September 9, 2012.

Ryan with Blake.

Children

Ryan and Blake have three daughters together: James (born in 2014), Inez (born in 2016), and Betty (born in 2020). Betty’s name was publicly revealed by a close friend, Taylor Swift in her song of the same name from the album Folklore.

Them with their three kids. (Our mini Ryan's and Blake's <3)

Personal Achievements

In 2008 and 2009, People magazine ranked Reynolds as one of the sexiest men alive. He was named the magazine's sexiest man alive in 2010.

He was inducted into Canada's Walk of Fame in 2011, but the event was postponed since he couldn't make it. (Kinda depressing, TBH.) The day of his official induction was October 18, 2014.

But in December of 2016, Reynolds was honored with a star of his on the Hollywood Walk of Fame.

(They're the cutest, seriously.)

Let's move on to....

HIS CHARITY AND ADVOCACY WORK

(This is kind of lengthy, bear with us.)

He's a humble and down-to-earth man, at least from what we've heard, and with the help of his super incredible wifey Blake, they make the power duo and set foot on Earth to save a few souls here and there. Here are a few of their contributions:

A half-million dollars were given to the Canadian nonprofit Water First Education & Training Inc. in March 2022 by Ryan Reynolds and Blake Lively.

In Vancouver, Canada, Reynolds also appeared in campaign videos sporting his recognizable "ugly" red-and-green sweater. By January 2021, according to the charity, $640,000 had been raised as a result of his fundraising efforts.

In March 2021, Reynolds and Lively gave $250,000 to a Canadian organization that mentored Indigenous youngsters, Influence Mentoring.

Reynolds and his wife had also matched donations made to Covenant House Vancouver and Toronto up to a total of $250,000 in a remarkable gesture of generosity to help youngsters who are homeless, victims of trafficking, or in danger, back when COVID-19 had first struck.

Reynolds joined The Michael J. Fox Foundation in 2008 when he participated in Team Fox's New York City Marathon run. Reynolds ran the marathon in his father's memory, finishing in under four hours and raising more than $100,000 for Parkinson research.

And lastly,

HIS ALCOHOL COMPANY AVIATION GIN

As we see his posts on social media promoting his gin company:

Let's give you a brief history on the company and his role in it.

The goal of Aviation Gin was to develop a democratic gin blend with juniper in the background. It was formed in 2006 out of Portland, Oregon. a gin that is suitable for every cocktail. For the next ten years, it would remain mostly unknown.

Fast forward to 2018, when gin use was growing more rapidly than that of any other type of alcohol. This led to substantial changes in the sector, such as Reynolds buying a stake in the Aviation American Gin. Reynolds is the creative director for the marketing campaign, and it is spectacularly successful (Aviation Gin is now the fastest-growing gin brand in America). How could it not? Reynold is a comic genius who conveys important messages about the quality of gin in the funniest, most approachable ways conceivable. Here's one of his advertisements for the company:

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Hilarious! Are we right?!

Ah, sadly we have to end this splendid deep dive into our favorite floatie-boy Ryan Reynold's life here, but! We're not signing off without blessing your eyes with a few photos of his ;)

Your welcome.

Anyway, signing off, it's the dream team, Ganesh Lovers (get it?).

Adios till our next blog!

#ryan reynolds #deadpool #free guy #blake lively #Youtube

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xomaleyaxo · 3 months

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R1 → Mini Album

Name: RAE

Release Date: February 20th, 2019

Message for Fans:

"To my wonderful blinks who have patiently awaited the release of my solo songs and album, this is for you. I hope that these songs bring joy to your hearts, and together, we can savor the happiness that music creates. Here's to living happily together forever. Thank you for your unwavering support!"

Track list + Visuals:

1- Motivation

The title track, released on February 2nd, 2019, captivated the attention of the entire world with its catchy tune. It marked a departure from Rae's previous works, showcasing a different and exciting musical direction alongside her dancing that surprised and delighted fans around the globe. This song earned Rae numerous awards and accolades. On July 20th, 2021, it achieved a remarkable milestone by reaching 1 billion views, a historic achievement for a female K-pop artist. Notably, it became the fastest solo song to reach this remarkable record, solidifying its place as a groundbreaking and record-setting track in the K-pop industry.

Outfits in MV:

Outfits When Performing:

Choreography: (Imagine this but not as much movement)

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2- Good days

Diverging from the energy of the title track, this song delves into the theme of self-discovery and finding inner peace amidst life's challenges. Featured as a b-side track in her mini album, this song swiftly climbed the charts, securing her second all-kill in Korean charts following 'Motivation.' Notably, Rae took on the roles of both the songwriter and composer, showcasing her multifaceted talents. Mirae takes immense pride in the overwhelming love that this song has garnered. As a testament to its significance, she has incorporated it as a special addition to her performances on tour. During these moments, she treats her fans to a more relaxed and laid-back performance, providing a contrast to the energetic vibe of her other songs. This deliberate choice allows her to showcase the versatility of her musical style and connect with her audience in diverse and meaningful ways.

Outfits When Performing:

#Youtube #rae #blackpink5thmember #blackpink #kpop oc #kpopgg #blackpink oc

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positivexcellence · 2 years

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Mark Pedowitz Saved The CW. As He Exits the Network, Greg Berlanti and Jared Padalecki Reflect on the Exec’s Legacy

When Mark Pedowitz first joined The CW as head of the network in 2011, he told “Supernatural” star Jared Padalecki that he was a fan of the series (which was then in its sixth season) and had seen every episode. At first, Padalecki assumed that Pedowitz’s comments were the kind of niceties that an incoming network president is supposed to say to their series stars.

“I didn’t think he was lying,” Padalecki said. “But I thought he was at least being kind. Maybe he hadn’t caught up yet or had seen two episodes. He was certainly supportive and friendly. But I came to find out, as the months and years progressed, that he actually was a big fan of Supernatural and had seen every single episode… When we talked this weekend, he said that he has seen every single episode of every show that he was president of, and will continue to watch every episode of every show. And I believe him. He hasn’t lied to me ever.”

As Pedowitz prepares to depart The CW after more than a decade at the helm (and following Nexstar’s acquisition of the network from longtime joint partners CBS and Warner Bros.), producers, stars and execs are all repeating the same four words: “End of an era.”

“He is a fan of great television and stories,” said megaproducer Greg Berlanti, whose tremendous CW output has included “The Flash,” “All-American” and “Riverdale.” “He’ll watch every episode, he’ll give you know every kind of note, and he wants to argue and debate things. He represents to me that legacy of network heads that love TV. He was always having to do more with less and navigate two different boards. And he still figured out a way to connect with the audience. A whole generation have now grown up watching all of these CW shows.”

Pedowitz wasn’t there at the birth of the CW, but he kept the network alive and thriving over the past 11 years thanks to the kind of crafty dealmaking that has been a hallmark of his career — including during his lengthy tenure at Disney/ABC.

At ABC, he was created business templates that helped evolve the way deals were made between networks and studios. He did the same at the CW, starting with the network’s landmark digital streaming deal in 2011 — in which the network, in concert with parents CBS and Warner Bros., struck a pact with Netflix for post-season access to The CW shows. That helped give The CW a new lease on life, by making it even more worthwhile for CBS’ and Warner Bros.’ studios to produce series for the network.

But it was also a tremendous factor in the growth and success of Netflix. When that deal came up for renewal in 2016, Netflix was willing to pay even more to maintain domestic SVOD rights to the CW’s output, which at that time had become even more successful under Pedowitz, growing to include a lineup of DC Comics-branded superhero shows, notably “The Flash” and “Arrow,” and buzzy critical darlings “Jane the Virgin” and “Crazy Ex-Girlfriend.”

The deal was ultimately valued at more than $1 billion, and that digital strategy helped turn series like “All American” and “Riverdale” into hits, thanks to their exposure on Netflix. The CW’s then-parents ended the deal in 2019 as they launched their own streaming services.

With the end of the Netflix arrangement (and a previous pact with Hulu), Pedowitz also eventually secured full in-season digital rights to all new CW scripted series for its The CW app and CWTV.com website.

In growing the CW, Pedowitz increased the network’s programming output, including more original scripted series, international acquisitions and unscripted series and specials. That led to finally programming a full seven nights a week, restoring Sunday in 2018 and adding Saturday for the first time in 2021. And although Pedowitz remained frustrated at the Television Academy’s lack of Emmy attention for the CW, the network was honored elsewhere, including an AFI Award, Peabody and Golden Globe (via star Gina Rodriguez) for “Jane the Virgin,” and Golden Globe and Critics Choice wins for “Crazy Ex-Girlfriend” star Rachel Bloom.

The CW under Pedowitz also earned high marks for its embrace of inclusive fare that represented people of color, the LGBTQ community and more. According to the network, last season around two-thirds of showrunners, writers and directors on The CW’s original scripted series were women and/or people of color, while nearly 50% of the series regulars were women and 57% were people of color. And according to GLAAD, The CW held the highest percentage of LGBTQ series regular characters among broadcasters for the fifth year in a row.

“If it was about a storyline or person’s life experience, or someone’s point of view, [Pedowitz] would say, ‘this is all I can bring to the table, please bring what you bring to the table,’” Berlanti said. “And he was encouraging that people be themselves, as long as they were hardworking and passionate. That was his goal to tell different kinds of stories. It was a great part of this character and a great part of the success.”

Pedowitz elicits fierce loyalty from his producers and stars, most of whom have a story similar to Padalecki’s of being wowed by how well exec kept close tabs of their shows and their lives. That’s a task for his underlings, they’d think — but Pedowitz not only watched every episode of every series on his network, but he’d spend several weeks every year visiting the shows’ sets (mostly in Vancouver).

“It goes a long way,” Berlanti said. “I can’t make a lot of sports analogies, because I don’t know a lot about sports. But I think of ‘Moneyball,’ and doing more with less, and figuring out ways to be just as successful with less. Great stories first, believing in younger showrunners or less experienced showrunners, diverse voices. He did that and built a real library of hits.”

Berlanti credited Pedowitz with saving “Supergirl,” which had originally premiered on CBS but couldn’t find an audience there, as well as “Black Lightning,” which had first been developed at Fox. And Berlanti said it was Pedowitz who inspired the creation of “DC’s Legends of Tomorrow” by pointing out how that some of the other DC series’ ancillary characters deserved more time in the spotlight.

“The whole DC world that we had to build, really took a lot of trust and faith,” Berlanti said. “In a landscape where it was pretty much all about movies. I think the audience really could tell they treated them with the kind of support and sensibility of as important as any feature film stories are getting told in the same kind of universe.”

Padalecki said he knows, without a doubt, that “Supernatural” wouldn’t have lasted as long as it did — 15 seasons and 327 episodes — if it wasn’t for Pedowitz. “If we didn’t know that we had Mark, driving the winds that blew the sails on our little boat called ‘Supernatural,’ we would have been canceled [long before then],” he said. “But we knew that [Pedowitz] really believed in us and because he believed in us, it was the rocket fuel to whatever spark we had.

“We knew that one way or the other, he cared about us as human beings,” he added. “That was even more important. I’ve been public about my relationship with depression and anxiety. And whenever I talked to Mark, he was always more concerned about that than he was about the show. He was always more eager to hear if I was willing to talk about, was I ok?”

Ironically, The CW’s success in building hits that succeeded in streaming helped lay the foundation for CBS and Warner Bros. to fully embrace their own full-fledged streaming services — which, in turn, eventually led to their decision to pull their majority stakes in the network and sell it to Nexstar (which owns most of The CW’s key affiliates, including WPIX New York and KTLA Los Angeles). Nexstar, which has a very different business model than CBS and Warner Bros., seeks to evolve the CW to make it a better fit for its station group, which will make it a different kind of network than it was under Pedowitz.

Padalecki now stars in and executive produces “Walker” (now entering its third season on the CW) and is also an EP on the new prequel series “Walker: Independence.” Despite the ownership change and Pedowitz’s departure, he remains optimistic: “I am aware that the only constant in this life is change,” he said. “My only job is to do the best damn job I can do. And so let the chips fall where they may. If I do the best work I can do, and it doesn’t work out, then I can sleep soundly at night going, ‘well, I gave it my all.’”

Berlanti said he believed The CW remains “oceanfront property” because of the unique status of being a broadcast network. “It takes people longer times to find shows now, no matter where you are. It’s a valuable place to be one of those pit stops along the way,” he said.

Meanwhile, as Pedowitz dusts off his Pine Street Entertainment production shingle, Berlanti said that it was “my sincere hope is that I can keep working with him, wherever he goes and whatever he does next. Because he’s such an important part of my life. He’s been such a mentor to me.”

Variety

#Jared Padalecki #Mark Pedowitz #greg berlanti

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bts-bangtanies · 4 months

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BTS at Mnet Asian Music Awards 🎙️ - 6 December 2020 in Paju as an online event with on-site audience 🎥📟📽️

Where they performed pre-recorded performances of “ON”, “Dynamite” and “Life Goes On” but with Suga absent due to shoulder surgery and rehabilitation, though he appeared as a hologram at the closing of the performance of “Life Goes On” 🌁🌉🌠

MAMA x 9 awards including all 4 Grand Prizes: Best Male Group, Best Dance Performance - Male Group “Dynamite”, Best Music Video “Dynamite”, Worldwide Fans’ Choice Top 10, 2020 Visionary (CJ E&M), Song of the Year “Dynamite”, Album of the Year ‘Map of the Soul: 7’, Artist of the Year and Worldwide Icon of the Year

Plus Best Executive Producer of the Year (Bang Si Hyuk), Best Producer of the Year (Pdogg - “ON”), Best Video Director of the Year (LUMPENS - “Dynamite”) and Best Art Director of the Year (MU:E - “Dynamite”) 📲🖲️🕹️

Winning Daesang x 21 (grand prizes) since 2016 - 🍐🍎🍉🍈🍑🫐🥝

Artist of the Year x 7 (2016 - 2022)

Album of the Year x 5 (2018 - 2022): ‘Love Yourself: Tear’, ‘Map of the Soul: Persona’, ‘Map of the Soul: 7’, ‘Be’, ‘Proof’

Song of the Year x 3 (2019 - 2021): “Boy with Luv”, “Dynamite”, “Butter”

Worldwide Icon of the Year x 6 (2018 - 2023)

#bts #bangtan #bangtan sonyeondan #mama

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sp-epari-digitalmedia · 5 months

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A Heist with Markiplier: A Narrative Overview

BLOG 1: NARRATIVE STRUCTURE IN INTERACTIVE MEDIA DESIGN

Playing video games, watching films, or participating in other storytelling mediums has always been my way to unwind after a long day. Even though I have spent quite a lot of time immersed in stories, I have only recently started to recognize the unique storytelling techniques used in some games. A familiar narrative rhythm was provided by games like God of War, Spiderman, and Ghost of Tsushima, but new uncertainty and suspense were brought in by games like Detroit: Become Human and Minecraft Story-Mode. I've always been interested in these intricacies, but the subject didn't grab my attention until I started learning about the theoretical side of interactive media. Realizing that the story structure of a game immensely influences the overall experience, I decided to conduct a more thorough investigation, utilizing different conceptual frameworks to establish connections and make sense of the topic. I will examine a piece of media called "A Heist with Markiplier" in this blog post. The subject lies somewhere between a traditional video game and a YouTube video.

youtube

"A Heist with Markiplier" stands as a notable piece of interactive media created by the esteemed YouTuber Markiplier, a prominent figure in the gaming community often mentioned in the same breath as top-ranking YouTubers like PewDiePie and Jacksepticeye. Mark Fischbach, the man behind Markiplier, took on multiple roles in the creation of this interactive film, serving as the writer, director, and lead actor. Produced by Jeff Guerrero, the project made its debut on Mark's YouTube channel, "Markiplier," in 2019 and has maintained accessibility since. The success of this interactive experience was evident as it garnered widespread acclaim from the audience, earning nominations for Show of the Year – Audience Choice and securing a victory in the Best Scripted Series category at the Streamy Awards. The sequel, "In Space with Markiplier," further solidified Mark's success with a Show of the Year nomination in 2021 and a triumph in the Best Scripted Series category. Notably, it also received an Emmy Awards nomination in the category of Outstanding Interactive Media. For the purpose of this blog post, the focus will remain solely on the narrative intricacies of "A Heist with Markiplier."

In "A Heist with Markiplier," the story becomes an exciting adventure in which the audience and Markiplier set out on a risky quest to steal an antiquated relic from a museum. But when the artifact's curse throws off a series of events that disturb the world's natural order, this seemingly simple heist takes an unexpected turn. As the main character, Mark brings humor to the plot by playing a character who is more of a tag-along for the journey. With an astounding thirty-one distinct endings, this interactive experience is unique in the vast array of possibilities it presents. Each ending presents a unique outcome, ranging from alien abductions to discovering hidden treasures, and the trajectory of the storyline is intricately shaped by the choices made throughout the experience. The interactive nature of the show allows for a highly personalized and varied viewing experience, making it a wholesome and replay-able adventure where the narrative unfolds differently with each playthrough.

Play, "A Heist with Markiplier"

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Academic Standpoint

Taking a scholarly approach to studying non-linear narrative in the context of "A Heist with Markiplier," I studied Hans-Joachim Backe's insightful work, "Narrative rules? Game structures and story logic." The awarded script for the interactive show was decoded using this theoretical lens, which is essential for comprehending the complexities of storytelling. I separated the analysis into discrete sections to aid in comprehension.

Backe distinguishes between three categories of game actions in the first section, which looks at catalysts and cardinal functions: random actions, actions that are necessary for gameplay success, and actions that affect the plot. These behaviors have a tenuous relationship to cardinal functions in linear texts, catalysts, and the flexible structure of non-linear texts. Here, the main goal is to determine whether or not these components are present in the interactive program and how they are portrayed. (Backe, 2012)

The second section delves into Microstructures and Macrostructures. Backe's substructural level narratological perspective reveals events and characters that constitute a kind of reality that may be infinite in boundless events. Using performance evaluation, outcome selection, and decision-making based on avatar assessment, the agency over the macrostructure is carried out. This intricacy affects both gameplay and narrative aspects and is especially present in role-playing games. The analysis seeks to determine the extent to which macrostructures and microstructures are present in "A Heist with Markiplier" and how they apply to the story. (Backe, 2012)

Two sets of motivations emerge in the third section, which examines playstyle and motivation using Caillois's theory: paidia (self-entertainment) and luadus (motivation to win or avoid losing). This investigation aims to ascertain how well the game engages the audience and where it fits into these motivational sets. Through the application of these scholarly viewpoints, a thorough comprehension of the theoretical foundations of non-linear narrative in "A Heist with Markiplier" emerges, providing a sophisticated lens for additional investigation. (Backe, 2012)

Critical Analysis and Dissection

It's crucial to comprehend the central idea of the story before getting into the narrative analysis. To put it another way, we must identify the catalysts that propel the whole narrative. It is not too difficult to determine the answer to this query. The initiator is Mark Fischbach's character, Markiplier. Throughout the duration of the play, Markiplier serves as the narrator. Not only does the character consist of him as a thief, but it also includes other alter egos. Markiplier is primarily responsible for introducing us to the game's goal of stealing the artefact from the museum at the outset. Fundamentally the interactions that the player does, makes the entire show an interactive experience and therefore the choices that Markiplier presents classify under both, actions that are necessary for gameplay success and actions that affect the plot. We can say that the cardinal functionality comes from the choices that the player makes. This makes every experience uneven and giving the entire narrative script a topology.

Given our discussion of the narrative's topology and structure, it seems appropriate to delve further into the intricate details of macro- and microstructures. The game is full of microstructures because there is always a new choice to make with each decision, but the macros are easily identifiable. Since Mark continues to be the face of the entire show, it is difficult to differentiate. However, we can identify the changes by the way the Mark responds. Given that there are 31 possible outcomes, it makes sense that the game is made up of a variety of thematic elements and components. The player's decisions are influenced by microstructures, which aid in differentiating between these macrostructures. For example, the game has a section where we enter and everything looks like an arcade game. The player was able to discern that the goal had changed from initially being to escape and leave the museum and get as far as possible to either escaping or surviving the prison and that visual shift had a lot to do with it. There are other instances where we witness a change in the personality of Mark, your partner who was loud and eccentric. He turns into a boisterous and peculiar figure who accompanies us on our adventures. Here, escaping the museum becomes less of the goal and the objective becomes, locating the sacred treasure.

Since everything about it is unclear, there is no clear way for us to categorize it under Caillois's Theory. The way each person plays the game varies greatly. Some may classify it under paida, where the objective is to simply explore different endings and determine the likelihood of specific events occurring. For others, it may be as straightforward as locating an ending that aligns with the original plan to escape with the artefact, which falls under luadus. In my opinion, this makes it one of the most distinctive types of content available.

Conclusion

In "A Heist with Markiplier," a compelling investigation into the domains of non-linear storytelling, Markiplier assumes a central role as the essential character directing players through an engrossing heist encounter. The story deftly combines macrostructures and microstructures, offering a wide range of possible outcomes and a deep variety of storytelling styles. Playstyle determines how interactive the experience is; players can customize the story to suit their needs, whether they enjoy finding out every possible outcome or would rather take a more focused, guided approach to the story. The program's charm is found in its ability to accommodate different playstyles and in Markiplier's captivating storytelling, which highlights the potential of non-linear narratives in video games. Intimate player interaction with the narrative elevates "A Heist with Markiplier" beyond conventional gaming experiences, leaving a lasting imprint on the ever-evolving landscape of interactive storytelling within the gaming sector.

References

Backe, H.-J. (2012) 'Narrative rules? Story logic and the structures of games,' Literary and Linguistic Computing, 27(3), pp. 243–260. https://doi.org/10.1093/llc/fqs035.

Markiplier (2019b) A Heist with Markiplier | Official Trailer. https://www.youtube.com/watch?v=trYqU6kShPA.

Markiplier (2019) A Heist with Markiplier. https://www.youtube.com/watch?v=9TjfkXmwbTs.

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the50-person · 2 years

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[Revolution of Our Times June 1st Worldwide Online Release!]

It’s been 3 years since 2019, the team of “Revolution of Our Times” and the protesters in the film share the same belief in letting the world know about our struggle through the documentary, and to witness the determination and courage of the Hongkongers in the pursuit of democracy and freedom.

Never forget why we started this journey, we hope the documentary will travel far, and reach out to more people. “Revolution of Our Times” has been recognised by world-renowned film festivals and awards, it was then released in theaters in various countries and community screenings were held everywhere. The team has been receiving numerous enquiries from audiences around the world who still have not seen the film, the team therefore decided to release “Revolution of Our Times” on Vimeo, the online streaming platform, on the 1st June, 2022, so the world can finally have the chance to see it . There will be two versions to choose from, “Chinese and English subtitled” and “English only subtitled” versions, more versions in other languages will be available in the future. Please spread this important news and continue supporting the distribution of “Revolution of Our Times” in different countries.

Pre-order links:

English only subtitled version - https://vimeo.com/ondemand/revolutionofourtimeseng

Chinese and English subtitled version - https://vimeo.com/ondemand/revolutionofourtimes

Debuted 2021 Cannes Film Festival.

2021 Golden Horse Award Best Documentary.

2021 Golden Horse Film Festival Audience Choice - No. 1.

2022 FIPACDOC Impact Documentary Grand Prize.

2022 FIPACDOC CNC Cultural Images Grand Prize.

#hong kong #cmovies #chinese #human rights #Movies #news #anti-extradition #and so the world spins

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cosmicanger · 1 year

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A 1/2 review of Once Upon a Time… in Hollywood 2019 review

By Sam B.; Rewatched Jul 24, 2019

To be at the end of an era is one helluva thing, and Tarantino’s Once Upon a Time In Hollywood almost feels prophetic now, coming at the tail-end of an age for cinema, a medium that has since been irrevocably altered, with no clear path forward. The film itself is the opposite of a eulogy, a ressurection of some falsified past. It is a vile motion picture.

The first two interimible hours are a sub-par hangout movie with some cranky metatext. Dicaprio plays Rick Dalton, a star who never quite gets his due, in a startlingly nondescript role that leaves Leo floundering to make any choices in performance. Brad Pitt is very good and very wrong for the role of Cliff, a happy-to-be-here wife-killer stunt double who offers Dalton ceaseless half-earnest validation (the better version of this Hollywood arrived during the film’s awards campaign, in Pitt and DiCaprio’s interview with Marc Maron). The male bonding here is witless and monotonous; Without the too-clever dialogue as a distraction, Tarantino’s just a hack who can’t structure a narrative.

It’s an ugly looking film, too; The cinematography is piss-yellow and lifeless, as if the colorist colorist were a drunk housepainter for a Days Inn. For a filmmaker so enamored with artificial pastiche, Tarantino gives the audience little to gawk at, the low-key energy of those long drives distending into uninspired boredom.

The relative absense of Charles Manson himself in the film is one of the less sinister, clearer creative decisions in the film, because the leader was already omnipresent in California in the late sixties, his hoard connected to every production and party. It’s been argued that this is meant to be emasculating, but the lack of an actual figurehead prohibits any demystification of the cult, let alone real insight into its impact on culture. Manson is made a ghost, breaking any warm delusions the film presents about old Hollywood. The camera explores Spahn Ranch and its inhabitants with the same mild curiosity and nostalgia as the Sunset Strip as if guided by that spectre, but Tarantino offers inconsistent answers to what, exactly, he’s haunting.

OUATIH is hyper-focused on cultures that oppress women, though to what end remains unclear for most of the runtime. Much has been made of Margot Robbie’s lack of lines, but I am less concerned with that metric (her hacky, maudlin setpiece remains the only scene in the film to achieve a childlike wonder) than the quesy evocations of engendered violence. The casting of Maya Hawke (whose mother, Uma Thurman, was critically injured in a car crash on the set of Kill Bill due to negligence and pressure from Tarantino) as Flower Girl feels like commentary, but whether it’s an apology, a brag, or an expression of guilt never gets explored, mostly out of formal ineptitude and cowardice. When Margaret Qualley asks Brad Pitt to suck his dick and he responds asking her age, she muses, “Nobody has asked me that in so long.” This is a heartbreaking line, and coming after the camera has lingered on her feet for several minutes, could be read as confessional, a feeling of complicity on the part of Tarantino. But he demonstrates zero understanding for how this widespread pattern of trauma reverberates and replicates into the present day, compartmentalized into some vague historical evil. It is a useless evocation of real tragedy reduced to an allegorical complication. There are startling few hints at Manson’s white supremacy. The film’s defenders have used the Manson family’s racism as a way of justifying the climax, but this doesn’t take into account Hollywood’s own skiddishness in displaying it. Tarantino has never before shied away from tackling racism’s intersection with misogyny (see: his film directly before OUATIH, the heinous, nonsensical Hateful Eight), and the avoidance here doesn’t read as maturity. If it’s still positing the girls’ white supremacy as justification for Tarantino’s leering, condescending, misogynistic lens, that’s no less infantile, privileged, and stupid than his past work. Pitting two forms of oppression against one another in some kind of quantitative system of value judgement isn’t just lazy semiotics, it’s reactionary political theory.

All decorum falls aways by the time Dalton uses a flamethrower on a screeching, bloodied young girl in a scene that recalls New French Extremity’s sadistic obsession with desecrating women’s bodies as an antipathic aesthetic act. Rick gets the flamethrower from the set of a Nazi-killer flick, just as Tarantino gets the ending from Inglorious Basterds. But unlike his previous flirtations with historical revisionism, there are no films explicitly *about* the Manson Murders’ ripple effect off of which Tarantino can riff, so the ostensibly optimistic ending has no clear path forward. What future is he imagining, besides one where Polanski career is unsullied in some hypothetical alternative path where he’s never caught? The titular fantasy, where Rick Dalton and Tarantino finally get to be the stars of a world where history has been subsumed by cinema, is childish. That very same history carries countless women’s stories of suffering at the hands of men in power, and with a single gesture Hollywood offers not liberation, but total erasure. In its wake remains a film that, despite any political or nostalgic pretense, delights in the evisceration the bodies of women to protect a philosophical status quo.

#quintin tarantino #tarantino #inglourious basterds #once upon a time in hollywood #brad pitt #article #theory #letterboxd

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joalpo · 2 years

Video

vimeo

Making MIND MY MIND from CinéTé Filmproduktie on Vimeo.

Shortlisted for the 92th Academy Award for Best Animated Short Film, Mind My Mind has come a very long way. The first idea originates from 2009, and production started back in 2013.

This making-of includes an in-depth interview with writer/director Floor Adams about the ideas behind the film, early artwork, shot progressions, behind-the-scenes footage of voice actors and foley recordings, and a selection of Floor's personal videos of key moments that happened during the production.

Join us on this trip of 10 years of work that went into the creation of Mind My Mind!

(Note: if you haven't seen the film yet, it is still safe to watch this video - there are no spoilers.)

Shortlisted for the 92th Academy Award for Best Animated Short Film

In Dutch and Belgian theaters now! ---> popup.film/mind-my-mind

WINNER Best Animated Film + Audience Choice Award at Salute Your Shorts Film Festival 2019 GRAND PRIZE WINNER at Indy Shorts International Film Festival 2019 NOMINEE for Best International Short at Tribeca Film Festival 2019 AUDIENCE AWARD WINNER at Anima Brussels 2019 AUDIENCE AWARD WINNER at Go Short International Short Film Festival Nijmegen 2019 AUDIENCE AWARD WINNER at Stuttgart International Festival of Animated Film 2019 AUDIENCE AWARD WINNER at Flickers' Rhode Island International Film Festival 2019 JURY'S SPECIAL MENTION Animated Encounters Grand Prix 2019 WINNER Best Animated Short at Ridgefield Independent Film Festival 2019 WINNER Best Animation at Kerry Film Festival 2019 WINNER Best Animation at San Jose International Short Film Festival 2019 WINNER Best Animation at Pittsburgh Shorts Film Festival 2019 WINNER Best Animated Short Award (24-50 minutes) at CINANIMA 2019 WINNER Audience Award Short Film at St Cloud Film Fest 2019 WINNER Best Animated Short + The Pat Hansen Award for Best Screenplay at Fargo Film Festival 2020 WINNER Best Use of Digital Technology in a Short Film at Flickerfest International Short Film Festival 2020 WINNER Best Film + Audience Award at Tenerife Shorts Festival 2020 WINNER Prix du Meilleur Film d’Animation at Festival International du Film d'Aubagne Music & Cinema 2020 (FR) WINNER Audience Award Best Animated Short at Spokane International Film Festival 2020 WINNER Best Animated Film at ÉCU - The European Independent Film Festival 2020 WINNER Best Comedy at Animayo International Film Festival 2020

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