#but I think it's a problem of the production more than the actor's delivery. He had it in him. We see glimpses
Text
I posted my thoughts on Playboyy on MDL, but I also wanted to get in on the discussion here :)
Playboyy, I think, is something quite special. Before I get into a review though, I want to clarify what Playboyy isn't because I feel this show is getting a bad rap from viewers who came in with false expectations and were disappointed by the reality:
This show isn't really "BL" in the traditional sense. While there is romance, it is not the focus of the show. The romantic relationships frequently take a backseat to the the personal development of characters and the relationships between friends. It is also nowhere near "an idealistic world free of homophobia" (or, as in more modern BL, a world where gay love triumphs over societal homophobia)--it is a very real and harsh world where the characters are hitting rock bottom. Finally, a lot of the NC scenes aren't trying to be sexy or titillating. They function as pieces of the plot and often depicting negative experiences.
I think going into the show with these expectations in mind makes it a better experience. But on with the review:
STORY:
I, personally, really loved the story of Playboyy. As someone who has experienced losing friends badly to drug addition, I found Nont's story particularly raw and effective (and, honestly, quite triggering). I thought the decision to use an ensemble cast and a weaving narrative was especially effective in creating a real sense of this disadvantaged and isolated community caused by societal prejudices. It was very satisfying to watch these narratives bump into each other, often in completely accidentally and tragic ways.
While I agree some of the story was over the top or hard to follow, I didn't find it particularly detracted from the quality of the show. I like getting a little exaggerated in my narratives and I think it fit with the highly stylized production. While it wasn't a water-tight plot, I think it was probably the strongest script in the past year in terms of really exploring the depths of the characters and their conflicts. None of the characters felt like extras or like they were leaning on tropes. Each individual had their own story to tell and had their moment to shine.
ACTING:
The acting in Playboyy is a bit hit and miss. As a stand-out star, Dech is absolutely untouchable. Nant/Nont are a monster of a roll that swings between camp, performative highs and truly raw, exposed lows, and he brought me along with him every step of the way. Really, really impressive work. Shell was a wonderful partner for him, matching him in almost every scene and developing a unique and intriguing chemistry. I also greatly enjoyed any scene with Parm and/or Aun, which always felt very grounded and warm, and was continually impressed by Korn, who managed to maintain a necessary friction between Zouey and the rest of the cast.
Beyond these actors, the performance were a little bit shakier. Some of the actors struggled with stilted line deliveries (and I don't mean the English, which I've never had a problem with) or unnatural body language. I was never quite sold on Jack/Chat or Jeffy/Fay as couples, though each actor shined in other areas (such as Chat and Korn's wonderful friendship). In particular, and unfortunately, I found Hymn took a stylized drama and crashed it into melodrama more often than he stuck the landing. That said, I still found this ensemble created a style that played to their strengths well and rarely rendered a scene ridiculous.
PRODUCTION:
Production is where this show really, really shines. The lighting is absolutely gorgeous, full of intentional color, harsh shapes, and neon texts. Each arc and couple has their own world and visual language that helps sort out the massive cast and is, quite frankly, beautiful. The highly stylized, theatrical sensibilities also help highlight the moments when humanity comes crashing in and we left very broken characters in plain framing. It's really, really beautiful to watch.
I know I'm in the minority here, but I love the costuming of this show. I think the underwear was a phenomenal way to juggle the desire for nakedness with the reality of film-making and the comfort of the actors. If you allow it to, the underwear becomes part of the style and lets the characters exist, naked and vulnerable, without becoming exploitative. I also loved the way fashion (especially Nont's) brought it's own sense of drama and feeling to the characters. Realism clearly wasn't the goal here, and this department delivered.
NC SCENES:
Finally, because it has to be talked about, I think the way the NC scenes were stylized were nothing less than brilliant. Playboyy telling a story about the human condition through sex, it is not making porn. When the characters are feeling good and feeling pleasure, the audience is allowed to find the sex scenes hot. But more frequently, the scenes depict a vast variety of other emotions. When Zouey is feeling awkward, nervous, and uncomfortable, the scenes are made awkward with clumsy blocking and…eccentric soundtracks. When characters are being hurt, the scenes are painful and brutal and shocking--escalating quickly and making you wish it would slow down or resolve to something different. It's incredibly effective.
I've been very disappointed at the way BL fans discuss sex in this show, as if the only purpose of an NC scene is to provide spicy fanservice for the viewer to get off on. The old Oscar Wilde "Everything in the world is about sex. Except sex, which is about power." definitely holds true here. For these characters, sex that is about their own pleasure is rare and the show mirrors that reality. But that doesn't make the scenes bad or "accidentally" ridiculous. It is an intentional part of the story and, in most cases, very effectively done.
In all, this isn't a show that I would widely recommend to everyone, largely on account of the seriousness of the subject matter. But I am infinitely grateful that this show exists and is pushing the boundaries of what stories are acceptable to tell in BL. I've genuinely enjoyed my time in this world, and I very much look forward to the to be continued. :)
#playboyy the series#tldr loved it loved dech got badly triggered like three times and would do it again immediately#production for the gods and i will fight to the death for the stylization of the nc scenes... one day this will be an essay...
21 notes
·
View notes
Note
LWA: That conspiracist "magic trick" document is...that's why I rarely interact with fandom spaces. S2 does indeed have a bunch of problems, a lot of which have to do with the material conditions of production and some of which are endemic to the source material. S1 was not a well-plotted or well-paced show, because the /novel/ is not well-plotted or well-paced. S2 didn't have enough material to justify six episodes, and only the Job minisode justified its length in terms of either character's characterization. Etc. Both seasons are flawed scripts saved by the leads.
The other problem here is that Gaiman has transformed a single season into a trilogy, and if there are going to be narrative payoffs we don't see them yet; it's as if PRIDE AND PREJUDICE ended with Lizzie Bennet rejecting Darcy's first proposal (which is, after all, what we got, except that Aziraphale and Crowley are both Darcy and Lizzie simultaneously). In an incomplete trilogy, there just isn't sufficient evidence to understand whether the author has missed a trick or if they're setting up a third-act resolution. For example, take Crowley's proposal, which insists that he and Aziraphale have spent their "existence" denying that they're a team. I know everyone got hung up on Tennant's intense delivery, which is great, but Crowley's narrative of their friendship in S1 ("How long have we been friends? Six thousand years!") doesn't track with anything dramatized for us on the screen, and neither does this. Is this another "Crowley is an unreliable narrator" problem, as Gaiman has confirmed he is about the Fall, retroactively constructing an emotional bond that neither character felt? OK, if so, what's the underlying narrative argument motivating this behavior? Or do Gaiman and Finnemore think that that's what the series is actually dramatizing?
Here's what I mean. In S1, there's nothing to indicate (in the script, the actors' performances, or even the score) that they have a genuine, mutual emotional connection until 1601, some centuries post-Arrangement, which is the first time that Aziraphale expresses concern for Crowley's safety and also the first time we see him successfully break out the puppy eyes. (Post S2, it's now "expresses concern for Crowley's safety as a demon.") Before that, they have unequal and fleeting moments of connection: Aziraphale is more interested in Crowley during Creation than vice-versa. Crowley is charmed by Aziraphale in Eden and pleased to see him again at the Flood, but he is guarded or hostile when they meet at the Crucifixion and again in Rome. S2 now adds that he isn't all that excited to see Aziraphale again during Job, either, although Aziraphale comes across as quite chipper about the run-in. Aziraphale is equally guarded at the Crucifixion, excited to see Crowley in Rome, and then mildly annoyed about running into him during the Arthurian period (and it's apparently still canon that the Arrangement won't begin until a few centuries later). In 1793, they've become attached enough that they've started the damsel-in-distress game, and in 1827 Crowley invites Aziraphale to Edinburgh for fun, suggesting that they are now actual friends and not just doing transactional job swaps. But in 1862 Aziraphale is cold again for reasons not explained by the 1827 minisode. (As an aside, S2 Aziraphale is just mirroring S1 Crowley in asking for big things--Crowley requests collaboration, a celestial nuke, treason, and child murder, all but one of which he gets, and the last not for lack of trying--and /Aziraphale/ is the only character making inappropriate requests for help?!) 1862 is the first time we see them seriously miscommunicating, as opposed to arguing--Crowley's approach to his request is bad and Aziraphale overreacts equally badly. And then we are shown that the emotional stakes of their relationship intensify after they reunite in 1941, when all the gazing and romantic music tell us that Aziraphale has fallen in love. Given that the script makes clear that Aziraphale and Crowley are having the same conversation in 1967 that they were in 1862, and Aziraphale still believes he's handing Crowley a suicide pill, Aziraphale's decision to yeet himself out of the car immediately when Crowley tries to ramp things up again is probably the /least/ codependent thing either character manages post-1941 in the first two seasons.
The fanon narrative in which they've been mutually pining for six millennia uncritically tracks Crowley's story, but it doesn't track the script. They /aren't/ a team or even especially attached until the Arrangement kicks in, and the first in-script signs of the codependency that will cause them to implode in S2 don't show up until the end of the eighteenth century. (In the novel, Aziraphale doesn't even understand that he genuinely /likes/ Crowley until they're thwarting Armageddon!) These are two characters who canonically get along just fine without seeing each other for years, decades, centuries, or millennia! But without the third part of the trilogy, there's no final evidence about how we should view Crowley's approach to relationship story-telling, let alone how we should judge whatever Gaiman (and Finnemore) are doing.
HI LWA✨!!!!!!
i mean first off, in general response to the entire thing:
i joke, but what you've said does really highlight, i think, a key detail that the fandom (including myself) get carried away with; that if we were to watch the show specifically with brand new eyes, without any influence of a surrounding fandom that has existed for the last six years (or 33, paying the book due consideration), the relationship between crowley and aziraphale would be regarded very differently.
but first re: Magic Trick Theory. i felt really bad for saying it at the time, but i was so full-body convinced that eps 1 and 2 were fake following the screening because they felt weird. i genuinely couldn't understand why people were saying what they were (obviously there were great moments, no questioning that), because all i could feel was a sense of unease. and that's not even because it didn't follow the tone of s1 (which i loved for its delicate balance of being the most ludicrous, dry-funny story with undertones of serious philosophy and subtle complexity), but because it felt like someone had taken a section of the story and stretched it out so forcefully across a frame that was too big for it.
i won't list off any particular issues i had for fear of causing offense, because my rather insignificant opinion is genuinely not intended as a means to shit on s2, but once i let go of the notion that this season was meant to do anything other than set up s3, have a couple of silly (but still potentially Important for s3) subplots, and just be a fun and wild ride in developing aziraphale and crowley as characters, i began to enjoy it. that was entirely to do with me and my expectations, because neil never really told us to expect otherwise. in any case, for me, this feeling kicked in around ten minutes into ep3; let go of expectations and just went along for the ride.
with the benefits of hindsight, i don't think that s2 was badly written; it was still subtly nuanced and clever, but just in a very different way to s1. it still asked questions. it still questioned the black, white, and in-between. it still had the undertones of a fairly cohesive plot. production quality, given the state the industry was in when filmed, was really commendable and honestly astounded me given the limitations that were in place at the time. david and michael's respective performances were amazing, there's no doubt, but i don't think they necessarily saved it, because in many respects i don't think it needed saving.
yes, there were flaws, but altogether it was a very enjoyable season. and whilst i realise that some people understandably watch shows for plot and thematic intricacy, artistic direction, particular acting set pieces, or anything that gives Depth (myself included on some shows), i just liked it simply because it entertained me. it made me laugh, cry, angry, bemused - whatever emotion you can think of, i can probably tell you a time during that fateful Friday morning (clutching my fourth coffee that night, having driven the m5 for a horrendously inappropriate amount of time, and in my 16-22nd hour of being awake - just setting the scene) where i felt it. i just enjoyed the ride.
(and by the by, still personally think the screenings were a mistake - fun, exciting, and communal in spirit, but a mistake)
but this brings me to the Theory. im sure this comes to noones surprise, but i love speculating. it's fun, it's self-rewarding, and frankly just helps my head Quieten Down a little. a form of self-care, if you like. i like that it's possible to look at the same scene, episode, season, and interpret it differently. to think that a character does something for one reason, but also for another, or that the plot could go this way, or it could go that way. ive personally tried to stay away from speculating based on anything but what the story has shown to us so far. yes, sometimes i joke that "haha, neil would definitely bait and switch us" etc etc., but ultimately im not the authority on what he will and won't do, and i don't try to assume that i have spotted an ulterior motive other than what has been shown to us in the show/book.
so when it came to the Theory, i loved the parts that referenced the show itself; because the interpretation and presentation of such was really well speculated. it has references, clearly had a lot of knowledge and research behind it, was eloquent and well-reasoned (however inaccurate it may turn out to be), and honestly was intimidating - in a good, awe-inspiring, jealous-of-their-intelligence way - in the depth of dedication the author had to writing it. but as i remarked in an ask from someone (@swansdreaming shout out!✨) that asked for my thoughts on it, the only real reaction i could give as to how valid i found it was that it was "A Lot".
s2 ended narratively on a problem (well, a couple of them), so it's not bold to assume that they will be largely resolved in s3. what i think was bold however is to be embroiled in how odd s2 was that there has to be a higher purpose for it narratively. i think a season can be written perhaps a smidge weaker just because it was, with no lofty reason as to why. it's entirely possible - as i got over myself - to just sit back and enjoy it for what is put in front of you, and not think much more than that in terms of the technicality of the show... just relax and trust that the loopholes, or the armoury chock-full of chekhov's guns will be explained. speculate about the future of the plot in terms of the material itself put in front of you? yes, cool. but justify the plot by way of "there's no possible way that the script/writing could be flawed?" - whilst a commendable notion and likely rooted in admiration, i think that's potentially a little audacious and even a little bit of unnecessary glorification.
but let's talk about the relationship itself. again, controversial and brave, and yet so inescapably true. i definitely think there is Something There right from the beginning, but my god, it is not love. curiosity and fascination, absolutely (to varying degrees). attraction and tension (in any form), i daresay so. but it's not love, not even friendship - frankly it's barely even respect. we see flashes of potential friendship and respect:
crowley's reaction to aziraphale giving away his sword and aziraphale being grateful for his platitude on his choice to do so
aziraphale lying to the archangels in job, and aziraphale's reaction to crowley's constant attempts to show job and his family mercy
aziraphale offering crowley dinner in rome, and crowley's stunned/amused reaction to "let me tempt you"
their mutual bemoaning about their respective roles during arthurian albion, and agreement that the weather is pretty miserable (incidentally but irrelevant - my favourite funny line from s1 is michael's damp comment, gets me each time).
but even then, all of these are rooted in other things too, if not in actual fact; the main one that immediately springs to my mind is self-interest. the overall tones of these scenes are not very warm, barely even tepid; they are just two supernatural beings, alone in their experience of being so and being on earth amongst humans (who do many problematic things that seem to confound them slightly which - fair), and relating to each other as a result. but there's not much else to it, to their relationship, when you step back and look at it as the big picture. as i said, other than a couple of lines, there's little if any genuine connection beyond relatability - and even then that's questionable.
edit bc important: reexamining crowley's line in the coffee shop re: "you only ever call me for three reasons...", this indicates that he's aware that aziraphale only contacts him out of self-interest which... whilst i think is slightly derivative to suggest at this point, it is also true and aziraphale doesn't negate it. whether crowley says this as a reflection on himself for not being worth aziraphale's time, or as a reflection on aziraphale himself (both?) is almost immaterial - but he is able to admit to himself that their relationship might not be as rooted in love and partnership as he would otherwise like to think.
the one thing i do think is correct is that they have been in a six-millennia-long dance, circling each other and mirroring each other, a constant give and take.. and aside from its overt parallels to jane austen/regency aesthetic, that's why i particularly like that the dancing in s2 was the dance it was - a quadrille (?) instead of any 1-1 dancing in the time period like a waltz was such a great reflection of this... mirroring each other in their sways and swings, circling each other, drawing together and retreating, and the occasional brush with each other (hands)... it was just so symbolically appropriate to represent this symbiosis they have been cultivating for millennia, rather than them be represented as fully cohesive together in the form of a partnered ballroom dance... incredible. and completely - once again - set up the dilemma for the Feral Domestic in ep6.
i realised this earlier today (i don't want to admit what number rewatch im on but i feel like i could get s3 greenlit singlehandedly at this point), but when i ruminated what feels like eons ago on aziraphale's tendency to place crowley on a pedestal? yeah, once again the mirroring theme continues. these two have such idealistic images of each other built in their heads, and to me (without going off for the thousandth time in Detail) it's aziraphale that starts to re-examine that image in s1 and 2.
to me, he starts to consider that actually his image of crowley was not true to reality, but still found that he loved the Real Crowley even more. but crowley ends up destroying that image entirely by the end of ep6 with his 'i love you but not that part/s, and so fuck it, "no nightingales""... i don't know if that was the intention of the script/narrative, but it's certainly how it looked to me - that aziraphale was almost fully accepting of who crowley was (bearing in he doesn't have the facts - *sideeye*).
crowley's image of aziraphale however is so inaccurate and, as with just about everything that is crowley and his story, he doesn't like or want to hear or accept the truth if it doesn't suit him. run away together? aziraphale is practically the shaking-chihuahua antithesis of running away from things. reject heaven because they're toxic? yes, but it won't change unless they perhaps try to change it themselves. we could have been us? aziraphale was literally offering this to you, and a chance (as aziraphale genuinely believes at that time, naivety notwithstanding) to actually be free and safe in being so. whether crowley clings to this narrative out of loneliness, a hope of true redemption, stubborn pig-headedness, or a combination of these and others besides, he really set himself up for disaster.
aziraphale has his hand in the issue too, there's no doubt - he's pretty incompetent about seeing things truly outside of his own comfy little world (bookshop or in his head, either works), and doesn't make any overt measures to try to infer and understand the things that are left Unsaid. whilst crowley is keeping things from him and hiding behind a mask, aziraphale by all accounts is a smart guy, and even without the full facts you'd think he'd at least be able to surmise why crowley cannot say yes to restoration... or maybe he does, but by the point that he's caught up enough to understand, crowley already lit the touchpaper and aziraphale retreats in his own hurt and sense of rejection.
the fact of the matter is that these characters, for having known each other for so long (in varying degrees of intimacy, granted), just do not know the first thing about what their respective cores are. it's very easy to focus on the star-crossed lovers element of the story (including myself in that number) and hyper-romanticise that aspect, than actually recognise the constant, problematic miscommunication and subsequent misunderstanding that - the way it's currently going - is going to lead them straight to their demise.
#it is now 0244 in the big brother house and i need to sleep#glad to see you back LWA✨#youve been missed (not even just by me but ive had others asking if youre sat in my inbox somewhere)#but it's very good to hear your voice of reason again#good omens#ask#flashback meta#crowley meta#aziraphale meta#s1 meta#s2 meta
22 notes
·
View notes
Text
Long-Range Water Pistols, Light-Beam Weapons : Toy Gun Makers See A New Hit
Which character said, "You're gonna want an even bigger boat"? Steven Spielberg the king of the blockbusters. To build suspense (and disguise the prop's flaws) Spielberg stored the killer shark offscreen for a lot of the film. Roy Scheider as Chief Brody is the primary to see the great white in all its glory and intones the now-famous "greater boat" line. Few movies are as beloved as Frank Capra's "It's an exquisite Life." Although it's Clarence Odbody, AS2 (Angel Second Class) who first tells us that every time a bell rings, and angel will get his wings, it is little ZuZu Bailey's enthusiastic delivery of the road that brings down the house. Robinson, you're making an attempt to seduce me. Robert De Niro stars as Travis Bickle, an unbalanced Vietnam vet who takes a job as a brand new York cabbie in 1976's "Taxi Driver." In one of the movie's most disturbing scenes, Bickle practices his fast draw within the mirror repeatedly asking, "You talkin' to me?" as he rehearses for confrontation.
In a signature function, Bette Davis stars as aging Broadway actress Margo Channing in "All About Eve." Channing gets greater than she bargains for when she takes opportunistic fan Eve Harrington below her wing. Margo delivers the well-known quote at a party the place Eve makes herself the focal point. Midnight Cowboy" is the story of an unlikely friendship between Joe Buck, a wannabe hustler, and Ratso Rizzo, a sleazy conman. Although the film's producers dispute it, actor Dustin Hoffman maintains that his line as Ratso, "Hey! Some Like it Hot" stars Jack Lemmon and Tony Curtis as musicians who go on the lam in drag after witnessing a mob hit. Within the movie, millionaire Osgood Fielding III falls for Lemmon's feminine persona which, when uncovered, leads the unfazed yachtsman to say "Well, no person's good. The Shining" to the screen as one of the crucial frightening movies ever. Jack Nicholson improvised his memorable "Heeere's Johnny!
The soldier holding us in his sights is sporting Russian army-type camouflage, but without any insignia. Two more run as much as us a minute later. One has a Kalashnikov assault rifle, the opposite can be laden with a sniper rifle and grenade-launcher. I believe they have slightly overestimated the threat posed by our digicam group, but I don't tell them that. It seems unattainable to refuse such an offer. We march on, previous a few trenches. The people sitting in them watch us, trying surprised. We enter a small, dilapidated brick constructing. There are some bullet holes within the walls. I say, making an attempt to be mild-hearted. The soldiers then smile and put their weapons down. Things get just a little calmer. We show what we filmed with the digicam and open a rucksack. That morning we have not recorded a lot - and clearly it is of no curiosity. But they ask us to wipe it anyway, just to be sur
Americans bought 19 million toy guns value $64.2 million last year, down 43% from 33.Four million toy guns value $eighty million in 1980, in keeping with MPD Group, a Port Washington, N.Y.-based mostly market analysis agency. LJN, particularly, is going after the toy gun enterprise aggressively. The new York-based company’s Entertech division sells water guns which are scale models of real submachine guns and different weapons. "The Entertech arsenal options the greatest assortment of realistically detailed and genuine-sounding guns, life-sized for enhanced fantasy motion play," in line with the company’s promotional materials. Leo Hoffman, director of promoting for LJN toys, said: "The motorized water machine Orbi Gun category is one that we think is going to develop. It hits really a broad age range. The product has really common attraction. "The play value is large, really. The product is actually harmless. The toys’ realism has caused occasional problems, nonetheless. Police in several cities have been summoned by individuals who thought that the toy guns being carried by youngsters or young adults were the actual factor.
LJN’s Entertech division is making life-dimension, accurate reproductions of the Photon Phaser. The battery-powered weapons are to be shipped in June and can value anywhere from $60 to $149.95, Hoffman mentioned. LJN and DIC additionally plan to tie in Photon with 26 weeks of children’s Tv programming, beginning in September. The prime component of Worlds of Wonder’s Lazer Tag is the StarLyte, a hand unit that emits a direct beam of protected, infrared mild used to tag the StarSensor, an electro-optical gadget worn by the opposing player. StarLyte tasks its beam up to a hundred toes and emits an digital sound indicating the unit has been activated. When a player tags one other player, he or she scores factors towards profitable the sport, says Worlds of Wonder, which also makes the high-tech Teddy Ruxpin bear that was a Christmas hit. When a player is tagged, the StarSensor emits a stuttered electronic tone and one of the score-holding lights will mild up. After six tags, the StarSensor emits a recreation-over sound and the rating-conserving lights flash in unison. There are various accessories for Lazer Tag, including a StarHelmet and StarCap, which add to the challenge of the game by growing the number of sensors worn by the gamers on different areas of the body. The helmet and cap permit tags from a 360-degree radius.
1 note
·
View note
Text
FCD Critical Reflection
My Role
I directed Miles, working with all departments to create my vision. I recently came across a Director’s Vision of mine document regarding Miles from the beginning of the module, finding some ironic details:
Through rehearsals with actors I hope to explore the layers of tension building throughout Miles until its final crescendo, in the end creating an exciting yet subtle film.
According to feedback from my classmates and tutors, our film was exciting, but perhaps my direction was too subtle in the end, as my messaging became unclear to many audience members – something to discuss in the reflection.
My Contribution
Our production got off to a slow start, with many voices calling for changes in the script, muddying its overall cohesivity. I decided to give our writer some clear notes outlining what I felt were the most pressing concerns with our narrative. After receiving our final draft from our writer with these implemented notes, I translated this through multiple drafts into a shooting script. Once this was completed, I got together with our DOP to tramline the script, getting a shot list together with plenty of time to spare. Meanwhile, myself and our producer auditioned roughly fifteen actors, casting two in the end. I conducted on set rehearsals with actors, preparing blocking and dialogue delivery in a free and open environment, while also making sure actors were comfortable with the physicality found in certain moments of our film. It was finally on to the shoot, during which I performed well, keeping morale high (as can be seen by our production photographs) and allowing us to achieve all the shots we intended on getting with time to spare. In postproduction, I oversaw both the video and sound edit every day, giving notes on anything jarring or needing polished. Although I’m not great with technical equipment myself, I have a keen eye for problem detection and their solving, and think I put these skills to effective use here. With our sound designer, I directing foley sessions, communicating with our actor to get the finest performances possible.
My role as director has never been more diverse than here, and I hope to collaborate with many different specialists in the future in a positive way like this.
Critical Reflection
Our film was met with much constructive criticism that will help guide us towards stronger films in the future. I’ve narrowed down these criticisms to those related to the films direction so I can answer them openly accepting responsibility.
“I found it hard to sympathise with Miles as a protagonist, and its jarring to see Aaron as antagonist with lighting as it doesn’t make sense for story but he is well presented as a villain.”
My intentions in Miles’ quandary is that he is to be married to Emma and yet his repressed same-gender attraction was revealed with Aaron when drinking too much at a party. Miles’ emotional distance from his fiancé Emma is intended to imply his true feelings after the fact, reaffirmed by Aaron’s line “Last night I met the real Miles.” These personal troubles of Miles are supposed to paint a sympathetic portrait of a man struggling with internalised homophobia, but are not motivated enough by the homophobic surroundings of the snobby upper classes, so I understand why it wasn’t that clear to some. In the second point, I’m glad Aarons villainous nature came across as that is the way Craig wanted the performance to be. Although, however manipulative of Miles Aaron is, deep down he does want to be with him, in trying to convince him into a relationship with him. However, this clearly didn’t translate to the screen as well, and I think its due to the hammy villainous approach of Aaron’s introduction on which many fixated.
“It seems as if Miles was sexually assaulted, is not addressed.”
I acknowledged this during the crit, but will go into more detail here. Its implied Miles was an active participant in the previous nights sexual activity in his line “It” was a mistake,” with Aaron’s response “You seemed pretty keen to me,” further establishing this. Miles acknowledgement of the interaction being a “mistake” on his part reveals his active decision to follow the act through at the time.
Feels as if Miles is taken advantage of, and that Aaron didn’t have any feelings for Miles.
The power dynamic is certainly in Aarons favour, however Aaron and Miles first cordial recollection of the previous nights events does indicate something of a personal connection – one that goes both ways. Aaron is shaken by Miles’ explosive reaction to his advances, seeming hurt as he is left alone. Despite this, the overwhelming sliminess of Aarons persona hides much of his better qualities, something I should’ve better considered through my direction of Craig.
“The Dad comment hints at something but doesn’t go anywhere.”
This is a simple and reasonable criticism, it is not re-interpreted and so weak as a point of focus in dialogue. In writing this, I wanted to imply that Miles was looking for a father figure in Aaron, as his own father, the distinguished Lord Nicolson whom Emma mentions in the first scene, is a cruel and abusive man. This was too much lore to be left unsaid, and so wasn’t well accomplished.
“Miles performance not as good, pressure of actors dual role is felt.”
Alex’s performance as Miles was criticised namely as he was also our cinematographer, which I admit is unconventional to say the least. Due to unfortunate casting developments our producer had no choice but to cast our cinematographer. It was a rocky start getting used to directing Alex on the camera with stand ins, before directing his performance in the shot, and this process was definitely detrimental in some way to his performance.
“Uncertainty in visual style, is this documentary or fiction?”
This is justified, our cinematographer in knowing the space to have large windows was keen to use natural light on set. However, as Andrew keenly pointed out in the crit, there is much more technicality to “natural lighting” than meets the eye initially, and we should’ve better prepared for this in preproduction, especially in using the URSA - a camera not well suited for low light conditions.
Onto the positives!
“Has an emotional impact.”
I am glad especially as the film’s director to have provoked an emotional reaction through the performances seen as they are my particular focus in the directorial field.
“Craig’s performance is very good.”
We were very lucky to get Craig: he brought a theatrical air to Aaron that was refreshing, and I encouraged wholeheartedly in our rehearsals.
“It is well framed.”
I framed a couple of shots, namely the “supervillain” one of Aarons introduction, something apparently of great controversy. Silva from Skyfall? In all seriousness, my intention was not to make him look like a villain, but to create tension and mystery to his reveal, in his intimidating sluggish silhouette.
Overall, I am satisfied with the response to Miles, I’m glad some people got something out of it. I’ve found where my skills as a Director are best applied, and hope to realise bigger and better films into the next semester.
0 notes
Text
Wizards and Writers Block: Analysing my Finished Film
Narrative
Wizards and Writers Block is a short character driven film about Maurice, an aspiring fantasy novelist who finds himself unable to write due to a lack of inspiration, otherwise known as writers’ block. Meanwhile Maurice’s cat, Mayx attempts to sleep on his laptop further hindering Maurice’s writing efforts.
Maurice’s inability to write is echoed in the fictional story he is writing (The Wandering Wizard). Like Maurice, the protagonist in his book, referred to as ‘the wizard’ is also unable to escape their predicament until Maurice can get past his writer’s block and continue to write the narrative.
In Maurice’s book, the Wizard has been chased up a tree by a ferocious beast. The beast is now patrolling the tree so the Wizard cannot escape.
After struggling to write for days, Maurice’s problems get worst when he discovers Mayx sleeping on his laptop and unintentionally deleting what he has already written. Maurice attempts to get Mayx off his keyboard but Mayx viciously refuses. From Mayx’s perspective, Maurice hasn’t even been using his laptop, therefore he doesn’t see why he cannot sleep on it.
Thinking on his feet, Maurice comes up with a clever solution to get Mayx off his laptop. He throws a scrunched-up piece of paper to distract Mayx. Being a cat, Mayx leaps off Maurice’s laptop to play with the paper and Maurice hurriedly undoes the damage that Mayx has caused.
This sequence of events inspires Maurice’s writing efforts, and he uses a similar solution to solve the conflict within his book. Similarly, to how Maurice threw a piece of paper to distract Mayx, the Wizard throws a Pinecone to distract the beast. This works and the Wizard escapes from the tree, thus resolving Maurice’s writer's block and allowing him to continue writing his story.
Self Analysis
This is my finished film for my Major Development Project. I am mostly happy with how the film has turned out, but I do still have some issues with the finished product.
What could be improved:
Voice Acting -
I made the decision to voice both characters in my film. I made this decision because it was more convenient for me to voice all my characters than to find and hire voice actors.
Although the voices of my characters are not terrible, they could be improved a lot. I would prefer if Maurice's voice was deeper and gruffer so it may have worked better if I could have found an older male voice actor for this character. Some of Mayx's line deliveries are unclear. These lines could have been redone, but this issue were only brought to my attention during peer review after the film had already been animated.
Pacing and Editing -
Some of the pacing in my film could be improved. Most of my character interactions happen too quickly in my opinion. Throughout most of the film there are no moments of silence between two characters talking. The characters also talk very quickly and I have not left time for the audience to process what is happening in the film from one scene to the next.
Backgrounds and Perspectives -
Some of the backgrounds in my film could be improved. A lot of my perspectives are unrealistic. Additionally, the colours in my backgrounds are inconsistent in some scenes (this issue is mainly present in the Wizard segments of my film)
Aspects I am happy with:
Character Animation -
I am really happy with the character animation in Wizards and Writers Block. The personalities of my characters are communicated clearly through their performances and expressions in the film.
The animation is quite dynamic and my characters look appealing. I have used a lot of animation techniques such as smear frames, squash and stretch and secondary animation in my characters movements. This really adds to the appeal of the animation in the finished film, although the animation could still be pushed further at points.
Storytelling -
The story of Wizards and Writers Block has been communicated effectively. Most of the people who have seen my animation really enjoyed my narrative.
The set-ups in my film work well, such as Mayx playing with a piece of paper near the beginning of the film setting up the solution for the conflict at the end of the film, which then sets up Maurice's resolution to his own narrative.
The parallels between the characters Maurice and Mayx and the characters in Maurice's book (The Wizard and The Beast) were also clear in the film.
Characters -
I am happy with how my characters come across in my finished film, particularly Mayx and Maurice. Maurice's journey is relatable and both Maurice and Mayx are entertaining and likable characters.
The dynamics of my two main characters is entertaining and the two have a good back and forth. The desires of my main characters also drive the events in my films narrative effectively.
Comedy -
Most of the comedy in my film comes from the interactions between Maurice and Mayx. I have also included some slapstick comedy in the film. The comedy works in my film and therefore was well received by audiences in the peer reviews.
The dynamic between Maurice and Mayx and their developed personalities in the film allowed me to come up with lines of dialogue and interactions that were amusing without distracting from my films narrative, and while staying consistent with their characterisations.
The comedy in Wizards and Writers Block really adds to the overall appeal of the film and contributes to the films marketability.
0 notes
Text
Death On The Nile 2022 (Live Reaction and Review)
Spoiler Alert, I guess, if you're into that kind of thing
Jeez here we go. Hercule Poirot is very pointedly NOT a soldier. He's a policeman ffs.
Oh hE gOt tHe MuStAcHe FrOm mOn CaPiTan Hyuck hyuck hyuck
CATAHRINE!
THE FUCK?? THE FUCK. "Simple, grow a mustache to hide the hideous scar where a whole CHUNK OF YOUR FACE GOT BLOWN OFF.
Cut to Poirot with NO SCAR WHERE HIS FACE SUPPOSEDLY GOT BLOWN OFF.
Ummm... I don't think that's what jazz dancing looked like. If you wanted to do that you just went to the back alley and fucked.
The fuck is with these dresses? That mylar baloon is not a 30's cut.
DOTN 04: he's big and boyish and deliciously uncomplicated!"
DOTN 22: HE SQUARE.
Poirot would never eat jaffa cakes. What a suggestion
This is either really cringe cgi, or really cringe color saturation
POIROT? HIDING FROM A CASE? POIROT, WHOSE LITTLE GREY CELLS WILL STARVE AND DIE WITHOUT PROBLEMS TO SOLVE?
Product placement. As if Tiffany & Co. Having commercials on hulu wasn't tragic enough.
French and Saunders are here!
NOW THAT RED DRESS? THAT'S MORE LIKE IT.
Jackie looks like she's about to jump Simon's bones right there.
Terrible cgi snake. Poirot playing Arstan Whitebeard.
"Jackie just didn't exist for me anymore". What an asshole
10/10 on the boat
Catahrrinnnn, mon amooooore *gags and coughs*
I miss bitter Rosalie
I miss Col. Race too.
Weird sex stuff on the side of Abu Simbel. Gross.
The fuck kinda physics was that.
Cannibal Hammer is so perfect for this role.
"Did you know the wives of dead Pharoahs were locked in with them?" They were?
Jeez Simon could you be hammer?
Russell Brand is crushing this look.
Rose Leslie is a great actress but I swear she lifted that line delivery of "enter or leave my cabin" from the 2004 version.
Can we start appreciating Russell Brand as a serious actor?
I can't take Poirot with a turned down collar seriously.
Are they dizzy yet?
What is this camera angle?
I love the irony of a "communist" hiring a private nurse
Aha! LESBIANS!
I do love Sophie Okonedo. Better thespian than Branagh ever was.
What is with this white female boat staff doing all the heavy lifting?
GUH-RUESOME!
That was a risky shot
Ah the return of action Poirot
Calling Kenneth Branagh's Poirot a pure cold detective. Risible.
Did they fridge bouc? They fridged him!
Was Simon walking unassisted with a shattered knee-cap? Please.
Don't think a shot from a .22 would go through both of their chests.
Love how the bodies are mummy wrapped.
This characterization of Salome Otterbourne and the talents of Sophie Okonedo were criminally under-used.
The fuck was that ending?
~~~~
Okay, so overall I have to say this was not half as frustrating as Orient Express. It changed some things, but there wasn't really much in this story to betray, so it bears the changes in a much less distracting way.
To start off on a positive note: this cast is so, so well chosen. Armie Hammibal was an excellent choice for Simon Doyle because being gross and pathetic comes so naturally to him. If I had to pinpoint a flaw I would say that his grossness is undercut by being just a scooch too obvious. Like idk for certain, but if I didn't know the outcome already I probably would have pegged him for a bad egg as soon as I saw that mustache. He's just such an obvious asshole.
Emma Mackey really knocked this out of the park, what an excellent Jackie. So unhinged and obsessive.
Sophie Okonedo, Russell Brand such magnetic presences (I hardly recognized brand), French and Saunders delightful as always. And Letitia Wright--what can I say, we love to see her.
Overall this is just such a better cast than Orient Express. Not to lay any disrespect on the Likes of Dame Judi Dench, Sir Derek Jacobi, Lucy Boynton or Olivia Coleman. But then you have choices that just sort of take you out of it like Penelope Cruz and Josh Gad. Daisy Ridley while not explicitly out of place is also a... let's be kind and say an actress of limited scope and while her performance was good, it wasn't outstanding or memorable.
Nile has a pretty even cast all around and unlike Orient Express with its Josh Gads and Daisy Ridleys no one feels like they were cast simply because that's who was in everything at the time.
With one exception.
I'm not gonna say that Gal Gadot was a pure Hollywood attention grab. To be honest I thought she gave the character of Linnet Doyle a lot of life. My big problem though is that Linnet Doyle is a young heiress (in the book she's American although I don't think that's ever explicitly stated in this movie so they probably wrote it out because she's very obviously not American here). Gal Gadot was 33 here. And I might not have as much of a problem with that if we weren't expected as an audience to believe that she went to school with Emma Mackey who is a full ten years younger than her. Letitia Wright as Rosalie sort of splits the difference, but is easier to buy as being In her early 20's than her early 30's.
I could go on a protracted rant about this BS backstory of Poirot fighting in WWI and getting his face blown off and that's why he has the bigass mustache, but I think my derision in the above reactions covers that pretty soundly. So let me suffice to say this:
Can we stop trying to force romance into Poirot? Please?
The
Katahrin
bullshit was bad enough in Orient Express and it's even dumber here and what's EVEN DUMBER THAN THAT is this whole palaver of whatever they were trying to sell us with Poirot x Salome Otterbourne. Please no thank you. First of all, it feels like such an afterthought. If you were gonna try and sell this you needed to spend a LOT more time on it. You needed to give Salome a lot more backstory and build up a lot more chemistry. Even then I would still hate it on principle, but I might have at least enjoyed it from a performance perspective.
Also I feel deeply robbed that I didn't get to hear Sophie Okonedo say the line "why is everyone so afraid of sex?"
I do have to say though there was a lot less of the ridiculous action Poirot (tm) routine with this and that can only be a good thing.
Overall I just think that this treatment, in the acting, the writing and the direction, fails to actually give Poirot any depth. At all. It's so torn between making him a comical fun character and a closed off cold detective who needs to learn to love again or whatever that it's all just sort of window dressing. There's no there there, just a lot of Branagh.
33 notes
·
View notes
Text
My Review of 长安十二时辰 / The Longest Day in Chang’an
The Longest Day in Chang’an is about a convicted murderer who is taken off death row to help a young security bureau chief prevent an attack on Chang’an, the vibrant and diverse capital of the Tang Dynasty.
I have mixed feelings about this drama. The Longest Day in Chang’an is a well-made drama, without a doubt, but it also didn’t live up to its godly reputation.
I was more in love with the style than the substance. The cinematography, costumes, sets, and overall production quality are amazing. Cao Dun is one of the most interesting directors in c-ent.
The drama gives you a shockingly realistic portrayal of the city of Chang’an. It doesn’t feel like an idol historical, nor does it feel like a serious drama. (By “serious drama”, I mean 正剧.) It has more of a film style.
Tbh it didn’t need to be 48 episodes long. The pace is slow, and that makes sense because there are a lot of overlapping storylines that come together to make one single narrative. But even though all the storylines were connected, I didn’t feel that they were all necessary.
Some of the supporting characters were two-dimensional or acted inconsistently. It often felt like characters were doing things, not because it made sense for those characters to act that way, but because those actions would contribute to the plot. Some examples include Wen Ran, Long Bo, and Xu Bin’s decision-making.
Some of the supporting characters became irritating to watch because of how incompetent or selfish they were. Sure, a lot of people in real life (and history) suck. But as a viewer, I don’t have infinite patience. I ended up accelerating through much of the drama. (This might sound insane if you’re watching the first episode and you find it confusing and complex, but once the story gets going, it’s actually really simple and easy to follow.)
Honestly...a lot of the characters just feel like plot devices.
The storylines aren’t always super continuous. A scene will often reach a climax and end without resolution. It’ll cut to some other characters doing something else, and when you return to the characters you were previously watching, they’ll have moved to a new location. Sometimes you’re shown the resolution of the previous scene in flashback format. Sometimes you’re left to assume that everything worked out.
Speaking of flashbacks...there are a lot.
I love the fact that the drama is undubbed. I loved it in Cao Dun’s Tribes and Empires and I loved it in The Longest Day in Chang’an. When you use the actors’ original voices, you get a certain rawness and sincerity that you don’t get from the more standardized work of voice actors. Of course, a prerequisite is that the actors have strong line delivery. And this was definitely the case here. Lei Jiayin’s line delivery was so good that he basically sounded dubbed.
YYQX’s line delivery was a weaker link. I don’t want to criticize his overall acting because it wasn’t bad for a newcomer. I think there’s a real difference that comes with experience (like the ability to emote naturally and subtly), but aside from that it was a solid performance. But I do wish he had been dubbed, even if it was himself doing the dubbing. There were parts where he did dub over himself (this happens in undubbed dramas when certain scenes have an audio issue), and it was really obvious because his in-studio voice sounded better than his on-site voice. In contrast, I didn’t notice where other actors dubbed over themselves because the quality of the lines was consistent.
I don’t think I was really convinced by any of the romantic storylines in this drama. Fortunately, romance doesn’t play a huge role anyway.
Overall I think the biggest problem is the script. I’m inclined to think that the pacing problems, plot holes, and characterization issues are mostly problems in the writing. On the other hand, the production quality and directing style were strong enough that I finished the drama and enjoyed it in spite of those issues.
I do think this drama is still worth checking out, even if you just watch part of it. So many ancient dramas are set in Chang’an, but this drama does the best job of showing what the city was actually like. It’s estimated that 1 million people lived within the city walls. Chang’an was massive, busy, divided, and extremely diverse.
73 notes
·
View notes
Note
I just watched the video from twiins iink and other youtubers about toxicity in the fandom and its super cool and better late then never but its a bit late? To confront the fandom i mean. Like i remember when v5 was airing that people where actually pissed that Jaune was touching Weiss... in the healing scene and that Ruby took his hands away so he wouldnt non con touch Weiss, not to you know see what is happening to the wound. Like it was a whole thing, it wasnt one person? And now we are at v9 so i just wanted to ask your opinion if there is some hope for this fandom i guess ✌
Short answer... No, I don't really think there's hope to fix this fandom. It's gotten to the point where the fans aren't even listening to writers like Eddy Rivas and pro-RWBY youtube streamers like Murder of Birds about maybe not wanting the r/rwby subreddit mods to ban all rwby criticism posts from the subreddit.
Long answer, every fandom is toxic to some extent, but the way the RWBY fandom is, is worse than anywhere else I've seen. Every fandom has ships and characters you're expected to like and get hated on if you don't, every fandom has at least one character that people have decided it's illegal to like, every fandom has at least one character that makes mistakes but is good that gets huge and unjustified hate, every fandom has writer-worshippers who get angry at criticism or dislike or people pointing out author bias, every fandom has characters who got assigned sexualities whether or not it's canon, that results in people getting attacked for 'not adhering to it,' every fandom has an evil/bad character that has fans who will get angry at anyone who doesn't feel sympathy for said evil/bad character, and every fandom has tons of people presenting their headcanons as accepted fact. I can't think of a single one outside of the most niche/tame fandoms I've been in that doesn't have these.
But in the RWDEdom, it's considered a rite of passage to get a hate anon, it's treated as 'making it.' Even after blocking likely over a hundred people, I still see the people posting in the RWDE tag that all RWDE posters are horrible bigots. I recently have gotten several messages from someone calling me - a queer woman - a sexist homophobe for criticizing the sexism and homophobia in a man-written show, and what seems like the same person has sent similar anons to tons of other RWDE blogs.
I've openly admitted that there are bad RWBY critics and I've even gotten in arguments with and wound up blocking fellow RWDE posters. I've also disagreed with several RWDE posters who I don't block, because disagreements are just that, disagreements. I also admit that there are tons of regular RWBY fans and posters who are very nice people, who are just trying to enjoy the show, who just like the show. I don't mind, I don't have any problem with that, we just exist on different sides of this fandom and I think that's good. And you know what? Lots of them have points, because there's lots of good in RWBY. But the toxic RWBY fans will never admit that there are lots of good RWDE posters, or that some RWDE posters have a point because there's lots of bad things in RWBY, and that it's okay to disagree on some things. The toxic RWBY fans have in the past harassed and insulted even the easiest on the show, most generous towards the show RWDE blog I've ever seen. And no matter how much RWDE posters try to avoid interacting with the general RWBY fandom and especially the toxic people, people still insist that we're trying to destroy the show and force others to hate RWBY - while they themselves try to bully people into dropping their blogs and demand that they like RWBY.
Honestly, I only have a couple of working theories on why this fandom in particular has gotten so bad. Peer pressure taking over and guiding the generally accepted viewpoints is common in fandom, but I think one reason why RWBY has it worse than usual is because the fandom is smaller than other, bigger works like ATLA or Harry Potter, so while fans are just as devoted, there's less 'subfandoms,' less variety, fan theories get around easier... I don't know, it's just a theory. Another theory is that first off, the starting fandom of RWBY was already loyal to Rooster Teeth and into their content, and the people involved in RWBY have this kind of 'friendly interactive' persona with their fans that make their fans feel a deeper and more personal connection. So they feel personally criticized or feel like a friend is being personally criticized, and get offended. And it doesn't help that people involved in Rooster Teeth and the making of RWBY like writers and voice actors sometimes insult or get angry at critics themselves and make it public that they feel that way, which just encourages the toxic RWBY fans. And sometimes it feels like they put their anger at critics into the show - making Nora (portrayed as in the right) yell at Ren (portrayed as in the wrong) that Yang and Blake definitely make sense as a couple, having Yang and Blake respond to Marrow asking if they ever do missions apart with anger and coldness, having Robyn drag Clover's name through the mud after people were angry at them over queer baiting Fair Game, and turning Ironwood into a comic book level pure evil villain after some people weren't siding with Team RWBY in volume 7 - which again, just fuels the toxic RWBY fans.
Toxic RWBY fans will often say that they're fine with criticism, just not hate and bashing. Ignoring the fact that bashing is also not illegal and is fine so long as proper tags are used, and how they should just block the tags if they don't want to see it since it's their responsibility to cultivate their internet experience... The goalposts for what they consider 'allowed and good' criticism is varied, always moving, and incredibly hard to follow.
1. Criticism is fine, so long as every post with criticism also recognizes the good things about the show. 2. Criticism is fine, so long as it's completely unbiased. 3. Criticism is fine, so long as it includes no insults, no rudeness, no sarcasm, and nothing that's less than the nicest delivery - despite any actual hurt or offense the show might've caused you. 4. Criticism is fine, so long as it only is for small things and not big complaints. 5. Criticism is fine, so long as it only is for big things and doesn't include any nitpicks or personal opinions. 6. Criticism is fine, so long as it doesn't have anything to do with the moments people have generally agreed 'no longer matter.' 7. Criticism is fine, so long as it's not criticism of the main characters or other characters people 'should like' and isn't in favor of characters that we're 'not supposed to root for.' 8. Criticism is fine, so long as you criticize the actions of characters and not the writers, actors, productions, etc. 9. Criticism is fine, so long as you're only criticizing technical things and not bringing up any mistakes the writers might make on things like the portrayal of women, their people of color characters, their handling of real world issues, ableism or toxic masculinity. 10. Criticism is fine, so long as the criticism only fits the exact ideas of every RWBY fan that might get offended, and adheres to every headcanon we should have come up with and immediately accepted.
It's an impossible struggle. And I think that at this point, the toxic RWBY fans have dug in their heels so deeply that even if Miles Luna himself came to them directly and told them 'hey, stop being so irrational and just block the RWDE tag instead of bullying people,' they would say 'Miles, I'm sorry but you don't understand that these people are of the devil.'
18 notes
·
View notes
Text
The Swan, Chapter 6
TITLE: The Swan
CHAPTER NUMBER: 6/?
AUTHOR: Losille2000
WHICH Tom/CHARACTER: Actor!Tom
GENRE: Romance/Drama
FIC SUMMARY: Sequel to The Ugly Duckling. Astrid embarks on a two-week trip to London to serve as her sister’s maid of honor, hoping against all hope she might miraculously run into her Hawaiian mystery man. When her sister and soon-to-be brother-in-law drag her to a production of Hamlet to meet the groom’s best man, Astrid gets the shock of her life. The situation, though, is anything but perfect.
RATING: M (sex, language)
WARNINGS: None in this chapter.
AUTHORS NOTES: So... what can I say? It's been a while. If you want the whole story, you can look through my blog or message me. I'm happy to answer. That said, it's been a good three years since I did any serious writing. My writing muscles need to build back up to what they were before. Please be kind... and let me know what you think. :D
Chapters: 1 - 2 - 3 - 4 - 5 - ALSO ON AO3!
Chapter 6 - Flying the Coop
Regret.
Astrid regretted ever stomping up those stairs to Tom’s bedroom. She regretted challenging him to make a move. She regretted letting him have his way with her. In the moment, it seemed right. Maybe if they slept together again, they’d find an incompatibility, especially now that the air of tropical mystery had dissipated and left in its place two broken flesh-and-blood people.
How wrong could she have been?
Now it was amplified, deeper, hotter, engulfing.
Only two weeks for whatever this fire was to fizzle?
It wasn’t, as the Brits say, bloody likely.
And here she was, smack dab in the position she didn’t want to be in; no matter how tangentially her current association with her mother, the family business, and Hollywood was, being connected to Tom in this way presented too many problems to even consider at this point. And fucking him—
“Astrid, are you even listening to me?”
Astrid jumped from the intrusion, letting out a slight squeak. She blinked hard and turned in her spot to look at her sister, who stood in the middle of the furnished but unoccupied flat. “Sorry?”
“Are you okay?” Tilde asked. “You’ve been spacey after the dress shop— and I’m just worried.”
“You don’t need to worry.”
“Let me worry,” she begged. “Let me be the big sister I never got to be.”
Astrid laughed ruefully. If only she could actually talk with Tilde about Tom. She wouldn’t understand, or at the very least, it could pose some very difficult situations in the coming days with the wedding right around the corner. But, Astrid guessed, Tilde meant the other elephant in the room... Astrid being the elephant, and their mother being a Class A narcissist. Because there was absolutely no way Tilde would know about what had happened at Tom’s home...
“It’s too late for that, Tilde,” Astrid said. “You know I love you. I just— there’s no changing her.”
Tilde grumbled and glided over to the couch in the living room. She dropped down on top of the cushions, barely displacing the pillow stuffing with her slight ballet-formed frame. “I should have never allowed her to do all this. I should have done it on my own, it’s not like Jim and I are so hard up. But I thought...”
Astrid held up a hand to stop her sister and sat on the couch more gingerly than Tilde, measuredly, so as not to displace any stuffing in the overstuffed couch, either. Something her mother had taught her, after all: If you’re not going to put in effort to look like a lady, you can at least act like one.
God, even that memory still hurt, down to the marrow in her bones.
“But you did.” Astrid shrugged and laid her head on the back of the couch. There, she sighed.
The sisters sat in silence for some time, listening to Duchess rooting around the flat for something to chew on. When the pug found nothing, she eventually jumped up onto the couch and snuggled into Tilde’s lap.
Astrid cleared her throat. “It’s not all Mom, either. I’m just tired from jet lag and getting everything together for the house party.”
And sleeping with the Best Man. She was pretty sure she’d read a romance novel or a hundred about this situation once. Did that make her a cliché?
“Oh, I meant to ask,” Tilde interjected. “How did that go? Tom was a total tool last night and I was worried about today.”
Astrid licked her lips subconsciously; she could still taste the sugar left by a bite of tiramisu Tom had given to her on a fork. If she concentrated hard enough, she was sure she could still taste the salt of his skin mixed in with it. She could certainly feel the tight muscle in her thigh that pulled every time she shifted, from the way he’d bent it and held it firmly in place as he’d had his way with her.
Frankly, it was a miracle they’d accomplished anything after they ended up in bed. But, she supposed, that was the weirdest part about the whole afternoon. They got out of bed, dressed without speaking and just... worked on what they needed to for the party. There was no discussion. No arguing. Tom stayed a respectable distance from her; she wasn’t sure if she had really wanted him to do it again, over and over, until they were both exhausted. They ate lunch quietly, they got everything organized and packed into his Land Rover, then Tilde showed up and they bade farewell, like it was something they did every day.
Nothing more was said about Hawaii, or a relationship, or lies, or having this end in two weeks. He seemed to be ignoring the topics all together, likely in the misguided belief that if he didn’t bring it up, then everything was fine. She ignored them because discussing WHY she refused to become a true part of his life was too painful.
Astrid pursed her lips and closed her eyes again. Isn’t that what she told him she wanted, though? To feel worshipped and then go about their lives, like nothing happened? Ignore all the elephants and enjoy the sex. No emotion, only sex. He was just following her demands, his need too great to put the brakes on their interlude in his bed.
The problem was that she did want more with him. She wanted emotion and relationships and rainbows and butterflies. When she had thought of him as some wealthy businessman she might once again bump into while visiting London, this had been possible. She had, after all, imagined a reality over the last eighteen months that included falling in love with him and living a life together.
But he wasn’t a businessman. He was an actor. He ran in circles she just couldn’t stomach anymore.
“It was fine. We finished everything and packed it all into his Land Rover for the drive up to Cliveden,” Astrid finally said. “The costume deliveries will be there when we arrive.”
“This really has gotten out of control,” Tilde said. “Part of me just wants to run to the register office and get it over with.”
Astrid shook her head violently. “You do that, and I’ll flip the fuck out. I put too much work into this.”
Tilde laughed. “Scared you, huh?”
“I’m serious, Tilde,” Astrid said, lightly smacking her sister’s thigh. Duchess popped her head up, and thinking it was an invitation for her, came over to her aunt. Astrid cuddled the dog close to her chest, breathing in her freshly bathed fur.
“She likes you,” Tilde said.
Astrid kissed Duchess’ head. “Small children and dogs, apparently.”
Tilde chuckled softly before letting out a long sigh. “I bet she would really like it if her Aunt Astrid were around more.”
“Aunt Astrid is a teacher and never has any time,” she replied directly to Duchess. Duchess reached for the hand that had stopped petting her and touched it with her paw. Her imploring buggy pug eyes asked Aunt Astrid for more.
Tilde huffed, but said nothing more for a long time. Then she cleared her throat. “How do you like the flat, anyway?”
“It’s nice,” Astrid confirmed. In fact, it was nicer than “nice.” This flat looked like one of those staged ads in a real estate magazine with lots of recessed lighting, soft gray colors, top-of-the-line furnishings and a ton of space.
“We’re trying to decide if we’ll sell it or keep it as an investment property,” Tilde replied. “It’s kind of a pain in the ass as a rental property, though.”
Astrid nodded. “You could just give it to Dad’s company to manage.”
Not that doing so was a great option, either.
If Astrid saw her mother irregularly, she saw her father even less. After their separation, he spent time in Las Vegas developing a new casino concept and then, when Astrid graduated from UNLV, moved his business operations permanently back to Sweden. Still, though, the relationship with her father was better than it was with her mother, simply by virtue that he was never around and didn’t have an opportunity to find the weaknesses in her armor like her mother. Tilde rarely spoke about either parent, but Astrid was certain their relationship was similar.
Tilde sat up and turned to look at Astrid seriously. “Or you could move into it.”
“Excuse me?” Astrid said, her heart skipping a few beats, from a sudden surge of anxiety and... something else.
“I’m serious, Astrid,” she said. “We don’t see each other enough and I want to spend time with you and make up for all those years we were apart.”
This wasn’t just some passing fancy. Astrid could see that as plain as day on Tilde’s face. Her sister was determined to convince her to move to London. But for what? She had no support system other than Tilde and James... and her career... well, that was back in Las Vegas.
Not that Las Vegas itself was the most amazing place to live and work.
“I’d never see you anyway,” Astrid argued. “You’re always rehearsing, or preparing to rehearse, or performing. And god knows James is going to be busy doing whatever.”
“Yeah, about that...” Tilde said, trailing off quietly. She picked at the dog hair on her sweater for a few seconds, then slowly looked back at Astrid. “I’m retiring at the end of this season.”
“What?!”
Tilde shrugged. “James and I want a family, and if I wait until it’s a ‘good time,’ it’ll never happen because of our schedules. And really, it’s getting harder and harder to come back from injuries and such. I just... I need a long break from being a performing ballerina. I don’t have the fire I once had, the same will to fight for every goddamn role.”
Astrid simply nodded. This was huge news. Ballet was Tilde’s life. She’d been doing it since she was a little girl, had impeccable skill and training and talent for it. The joke was that Tilde had come out of the womb in pointe shoes.
Which wasn’t that far from the truth, really. As soon as their mother could, she’d gotten Tilde into dance with the best instructors money could buy. Their mother, the failed ballerina, always lived through them. Which explained why she did not like anything about Astrid— Astrid did not have anything that would benefit her.
“Have you told Mom yet?” Astrid asked.
Tilde shook her head. “Of course not! And listen to her prattle on about how I’m a failure and she gave me so much and I’m just a terrible person? No, thank you. I’ll wait until she is permanently back in LA before I tell her.”
Even though Tilde had not yet told anyone else, it somehow eased the tension in Astrid’s shoulders knowing that Tilde would be in their mother’s crosshairs for a change. Typically, that wasn’t the case; their parents always treated Tilde like the perfect golden child. Of course, Tilde had always been one of Astrid’s fiercest allies… when she could. However, since Tilde spent most of her life in London studying at the Royal Ballet from a very early age, support and camaraderie had been scarce. Now, though? Now it felt like she and Tilde could weather the storm together.
Tilde continued, “Yeah. I’m thinking about opening up a dance studio and then after the baby thing happens, if I still have the performing bug in me, then I’ll start guesting. But I’m just so excited to start having babies.”
Stopping the smile from forming on Astrid’s lips was impossible as she registered the excitement on Tilde’s face. Astrid felt the enthusiasm coming from Tilde’s corner of the couch. “I’m excited for you, Tilde.”
And she was. She truly was.
Tilde reached out and grabbed Astrid’s hand. “I’m serious, though, Astrid. We never had a great family growing up, and I see this as an opportunity to right the wrongs of the past and create the family we should have had growing up.”
“I don’t know, Til.”
“James and I have both talked about it a lot and we both agree.”
“Tilde, even if I did move here,” Astrid began, “I don’t know the first thing about teaching in England.”
Tilde nodded. “I know. But James’ parents are retired teachers. I’m sure they’d be willing to help you make heads or tails of it.”
Astrid pursed her lips and turned to stare at the dormant fireplace sitting in front of them. Duchess, who had not moved, made happy dog purr noises as Astrid massaged the tiny velvet triangles of her ears. To be fair to Tilde, Astrid had often thought of moving to London to be nearer to her, but she never thought it would happen or that Tilde would actually need or want her here. The fact that she was wanted made emotion spring to her eyes and prick at them until they watered.
But then, there was the other issue.
The really, super, ginormous issue that came in the shape of a devastatingly handsome British man she met on vacation. If she moved to London, she’d certainly be seeing him more. No clean break at the end of two weeks like she hoped.
“And, you know,” Tilde said, “London’s arts scene is stupendous. We have the hook-up. I thought you could get back into it. You can hardly do that in Las Vegas.”
Astrid snorted. “Tilde, that part of my life is over.”
“Why? You’re amazing. I remember the video you sent of your college production of Othello. There wasn’t a dry eye in the place.”
While Tilde’s appreciation for her talent warmed Astrid’s heart, it didn’t take away the sting of her mother’s actions. Astrid couldn’t even bring herself to discuss it with Tilde when it first happened, much less in the intervening eight years since the incidents that led to her total disavowal of all things acting related. Her silence on the matter, though, had finally come home to roost. First with Tilde telling Tom she was still an actor, and Tom calling her a liar because she told him she wanted nothing to do with it. And now, with Tilde staring her down imploringly. Tilde wanted answers just as much as Tom did, except for very different reasons.
Astrid could not force her suddenly leaden tongue to move in her mouth. Tilde would just have to live with not knowing the whole story, for now. Finally, she said, “If I move to London, I’m not going to be acting.”
“Well, I guess I’ll take that,” Tilde replied. “As long as you’ll still consider moving here to be with me.”
A knock at the front door startled them all, sending Duchess barking and wheezing to the door. The door opened and James popped his head inside. “Knock knock.”
“Come in!” Tilde sang back to him, jumped from her seat, and nearly leaped over the back of the couch to get to him like he was a cold glass of lemonade on a hot day. She threw her arms around his neck and kissed him squarely. For a brief, possibly irrational, moment, Astrid was jealous of her sister and the relationship she had built with James.
Which wasn’t a great feeling to have if the plan was to spend more time with them. How could she uproot her entire life— leave her students and friends— and move halfway across the globe just to be consumed by the green-eyed monster?
“Babe,” Tilde said, “tell Astrid she needs to move to London.”
James laughed and turned to look at Astrid. “Astrid… you need to move to London.”
“Thank you!” Tilde pecked his cheek and pirouetted in place until she was facing away from him. She started walking back toward the bedroom. “Let me go get my purse and we can get going.”
When Tilde was gone, and the flat was mostly silent except for more of Duchess’ puggy wheezing as she calmed, James’ smile dropped into a stony seriousness. He stepped over to her and quietly murmured, “We would love to have you here, Astrid. But I understand if you don’t want to come. The decision has to be yours, and if you decide not to move, I will handle Tilde.”
Astrid was grateful for James’ level-headedness in the situation. In the short time she’d known the man, she found that he was a gifted reader of rooms. That was why he was so good with Tilde— a steady anchor in a turbulent sea. Clearly, he understood the anxiety twisting her stomach into knots.
She set a grateful hand on his arm and squeezed appreciatively. “Thanks, James.”
“And don’t let my association with Tom cloud your judgement,” James said.
Astrid withdrew her hand like he’d burned it. Her eyes snapped up to his, then focused outward on the rest of his features and body language. She didn’t know how he knew, but he did. Tom must have told James, despite that she asked him not to.
Unless Tom had told James last night…
“How do you...” She trailed off, turning her gaze and trying to hide her blush.
“He’s my best man for a reason. We tell each other everything,” James replied. “I had hoped that your work today would allow you some time to figure things out before more of this wedding commenced and caused a problem.”
Astrid gulped. “Does Tilde know?”
James shook his head silently.
“Good,” Astrid replied. Good for two reasons, really. The first, because it confirmed for her that the invitation to come to London wasn’t Tilde playing matchmaker. The second, because she still didn’t want anybody to know about it. “Wait… how much did he tell you?”
James stared back at her, a mischievous glint in his eyes and a slight curl at the corner of his mouth. “That would be breaking the Code.”
Her face now completely aflame, Astrid bent down and grabbed Duchess into her arms. She couldn’t even look at the man anymore without feeling embarrassed. Hopefully, it would pass quickly.
“Bad news!” Tilde called from the hallway as she came back into the room. Her thumbs moved rapidly over the screen of her iPhone. “Mother decided we needed an all hands on deck dinner tonight.”
Astrid groaned. “In addition to or replacing the one tomorrow night at Cliveden?”
“In addition to,” Tilde said. “Tom can’t make it tonight because he has the cast party, and Dad isn’t even in England yet, so that’ll be the official one. Tonight is probably just more nitpicking.”
“Do we have to?” Astrid whined.
Tilde sighed heavily and dropped her phone into her purse with agitation. “Strength in numbers, dear sister.”
Her sister's proclamation made the summons to dinner no better, but Astrid and James dutifully followed Tilde out of the flat and out to the car. The only saving grace was that Tom wouldn't be there. Astrid could focus on one problem, not two.
#tom hiddleston#tom hiddleston fanfiction#tom hiddleston fan fic#tom hiddleston fanfic#tom hiddleston fan fiction#the swan#actor!tom/ofc#tug series#swan#actor!tom
28 notes
·
View notes
Text
𝔹𝕣𝕚𝕘𝕙𝕥 𝕒𝕣𝕖 𝕥𝕙𝕖 𝕤𝕥𝕒𝕣𝕤 𝕥𝕙𝕒𝕥 𝕤𝕙𝕚𝕟𝕖
{This is a fanfic dreamed and desired. All I write about is my feelings, sensations and desires. TEXT BY: L.M}
Day 1 - Embark on the dazzle.
October 9, 2023, Monday.
I am exhausted, the recording will begin on Tuesday at 11 am.
I think I slept only 3 hours and 20 minutes or I’m just kicking it out loud. This was a very tiring trip I confess. Maybe because it was almost a change of two months and a week. On the bright side, the production has provided a nice apartment for me to live in. My new home is beautiful and comfortable, one block away from Crescent Street, here in Montreal - Canada.
Honestly, I can’t believe I’m finally having the opportunity to work with Xavier Dolan, I left my family in Brazil to embark on this dream, I already miss them. I should tell you that I have no idea of the cast that will be on this project, but the script looks fabulous. Before I embarked on this opportunity, I realized a portion of the dream. I and 7 other members of the team dined with Dolan last Thursday, debated the first decupagents and agendas. We had already read the script before the meeting, is it a low-budget experimental drama, and honestly? I lost my breath.
I’m not in the position of art director I’ve always dreamed of, but I’m in the position where I have full knowledge and experience. Curious, I am not trembling with nerves, I am completely at peace with this realization. However, very anxious. We’re less than two hours away from reuniting in Saint-Laurent with the cast of "A race by Joseph".
[.... ] - Less than two hours later.
Okay, I’m about to get my guts out from all the nerves. I’ve heard of some names on the list of actors, including Troye Sivan, Vincent Cassel, and Louise Coldefy. The team is sensational and fucking, Xavier is like a master for me. I need to make these days my best college.
I’m at home/rental number six, it’s wonderful. I can see two cars coming through the window, and "God bless me so that Suzanne Clément is in this cast" [Spoiler, I wasn’t, I had to accept], I think I’m going to have an anxiety attack, I need to splash water on my face.
I lost count of how many times I filled my hands with water and threw it in my face, I needed to understand that I was really living this moment. I came out of the bathroom apprehensive. Céline handed me a cup of tea mix of Sage, Eucalyptus, Lemon Peel and said "Hey, relax, I’ll see you in the living room.. ah, one more thing, don’t freak out".
I feel a chill creeping all over my body as I walk through the door frame. Everyone was waiting for me in the room so we could debate the first two weeks of the recording. I could feel my legs swaying to the point of not having enough sustenance to stand.
Timothée Chalamet was sitting on the arm of Dolan’s armchair in silence, reading what would be the 4°page of some document. Quickly he gets up and presents himself squeezing my hand gently. Silence has taken over the environment, I don’t remember my name. [I remembered! ] It was remarkable how difficult he was to pronounce it, it made it all very comical, in seconds we were all laughing.
At that time, other cast members performed, but my thoughts were so far away that I don’t know if I missed any important information. [Damn, how many questions are going through my head right now? I don’t even have control over them. Stop! Focus, your future depends on this delivery. ]
[.... ]
With the passing of the hours I was reasonably more relaxed and with an unparalleled feeling of gratitude for what was happening to me. We discussed the script, much of it together, the day was very productive.
I kept looking at him, he’s so funny and authentic, I feel comfortable now. Obviously we wouldn’t be friends, he wouldn’t notice an assistant director [even though I’m the director’s right-hand man]. The team will be dining with the cast soon, it’s 5:47 pm and I haven’t been able to confirm my presence at this dinner. What’s my problem?!
Celine: You’ll go, right? We’ll go home together and unpack.
Me: Oh Céli, I don’t think I will. I have a lot to pack, tomorrow starts the recordings and I want to do everything right.
Celine: No, you are not going to organize things by yourself. Nor has dinner there in the house, let’s eat please, I’m starving. Think you need to catch up!
Me: Relax Celi, I’ll do things in my time, have a wine while I cook something and sleep early. Look, Wednesday we won’t record.. We can go downtown and get a quick look at the city, what do you think?
Celine: You’re hopeless. Well, I’ll tell you about it.
Arriving at the apartment I opened all the windows, and went to cook thinking about what the following days would be like. I decided then that I should not intensify anything, it could disrupt me at work and I can’t let my impulsive Aryan side get out of hand. I decided to go to the disco and see what the last song the host of the apartment heard. Well, did you start playing Nick Drake’s Pink Moon and honestly? I can’t let the pink moon get me.
Fuck, I’ve never seen anything more beautiful in my entire life, it’s as fascinating as on screens or in photographs. [Stop! Concentrate. ]
[...]
00:01 am The wine bottle is 98% empty now.
I have not yet fallen asleep and Celine is already in her 8th deepest sleep. I need to sleep. She said that they were so energized, that the team’s relationship is great and that she ate a delicious Poutine, I found it very courageous for those who will spend the whole day recording tomorrow.
[I’m laughing alone while imagining a disaster]
I will sleep and tomorrow will be the first day of my life. I swear I was born now and suddenly everything changed. Things will be built from now on. Timothée Chalamet? I hear you’re a good actor, I don’t know you.
Good night and see you soon.
Part 2
Day 50 - And I’m probably happy, could it be different?
November 27, 2023, Friday.
There are times I do not write in this "virtual diary", my days are super busy. Today we finish the work a little earlier, we finish the movie! I think it’s 4:00 now.
Right, and why did I come back to write? Well, I wanted to forget the feeling that took me completely 50 days ago. But today something has happened that does not allow me to escape any feeling that exists here.
Louise is severely ill, Christ! We’re at the end of the shoot, she’s Timothée’s date, missing four takes of a kiss between them for her last acting scene. Dolan needed two different angles and he didn’t have a voice voice available so suddenly. Louise and I have very similar hair and what I feared went through Dolan’s mind. "Be the Double" he said.
Yeah, Chalamet and I kissed today, and, hell, there was no professionalism on my part or for a millisecond, I feel terrible! I felt like I had been thrown out of a plane and I was in a free fall. My heart had never accelerated so much. My fantasy almost made me believe that one of the butterflies in my stomach was coming out of my mouth 1 minute later. Holy shit!
[What if it was not reciprocal? Of course it was not, silly! We are friends. ]
I’m so pissed about it, I’ll tell them why.
All these days I’ve really become friends with Timothée, can you believe it? I’ve always been very afraid to talk to him because he doesn’t find me interesting enough. But we have an unusual tune. We had a lot of coffee together, a lot of claquettes I hit due to recording mistakes, we went out with the guys several times, even "alone" and that’s okay, we talked about Brazil and he made sure to go there anytime, I even smoked one of his cigarettes, even hating cigarettes.
We were talking about how funny Vincent is and how amazing he is, and we were talking about how they were both working for the first time with Xavier Dolan. We laughed at stupid things until the belly hurt and even bet race in the parking lot next to the location. [He won, of course, has huge legs].
One day we were together cutting fruit for the rest of the team on the set as we talked about Georges de La Tour, "That ordinary painter" I said, and he gave a delicious laugh. He’s much simpler than I thought he could be, carries an admirable humility. And I swear, it was fine, because I was fascinated by that friendship and I could feel that it would last for many years. I’ve learned to deal with your stunning beauty.
I liked the way he accepted me and had fun with me. He didn’t think I was silly.
I was working for a salary and a bright future, and suddenly I felt I had won the lottery until that moment after the kiss. I feel like I’m failing at my resolve.
To finish screwing with my mind, Celine told me something that made me much more sensitive about a feeling that, I swear, once again, I had managed to forget. Although I often fantasized that a mood was going on, I knew it was impossible. He definitely sees me as the cool girl makes him laugh and that he can truly trust.
Celine: Look. I, for recklessness, overheard Timothée talking to Troye about you. I did not hear enough but I must say that your tone of voice was of pure indignation... Troye said, "She’s the kind of girl you want so much, you feel sorry for".
Me: God damn it, did he hate my kiss?! I’m going to die, Celine! Troye clearly should be making fun of the situation. Who am I supposed to show up at Dolan’s tomorrow for dinner?
Celine: Calm friend, you are traveling.. I have noticed things and I will not open my mouth. Everything will be fine, seriously.. kiss the chalamet? How can you be angry about that? [laughed] By the way, tomorrow after dinner, I’ve arranged to spend the night at Julie’s, do you want to go?
Me: Oh.. I’m not in the mood to hear Julie talk all night about the new vegan recipes, sorry, pal.
Celine: Okay.. I won’t bring you nice things.
[My phone vibrated. I was reluctant to look, but it could be work.. ]
Text Msg Timothée: I hope you’re okay, you seemed strange going away. Want to talk? By the way, you did well in tonight’s performance, you should try harder.
Me: Says my angel, how are you? I am well, of course I am. [laughs nervously and it was noticeable] I was just nervous to have to act for Dolan and know that I will see myself on a movie screen, even if at closed angles. By the way, Mr. Chalamet, thank you very much. I have the seal of approval that interests me hahah
Msg of text Timothée: I like it. See you tomorrow?
Me: Yes, of course, until tomorrow!
Msg of text Timothée:
[video uploaded]
Part 3
Day 51 - Ecstasy, landscape of the soul.
November 29th, 2023, Sunday morning.
I don’t know how to write about how last night went.. I was upset, but I remember everything. I won’t be able to keep this journal after that I’ll tell.
We were all gathered at Dolan’s house, drinking and laughing a lot, toasting to finish this incredible project. I already felt completely dizzy and with the warm body, things kept spinning in my head, it was so beautiful. He wore a leather jacket over the green sweatshirt, had a golf cap (Odd Future) hanging on one of the pants straps where his belt was, the black jeans almost on his knee and a red vans, and that hair.. that hair! It’s like a restless ocean.
I was wishing to walk across the room and kiss him again with all the intensity that belongs to me, he would like it this time. My body was on fire, suddenly I was frozen, it’s coming toward me. I knew I could spoil any conversation by being totally random and awkward, I was dying of shame in advance.
Timothée: Are you happy?
Me: Sure, congratulations! You did a great job, I’m very proud of all of you.
Timothée: Thank you, but none of this would have been the same if you weren’t on the team, right?
Me: Right! [Cheers]
[Silence]
Timothée: What are you thinking right now?
Me: Who you are, Where you’re from, don’t care what you Did as long as you love me..[I started singing As Long As You Love Me by the Backstreet Boys, really?]
Timothée: Oh my God! [He laughed almost for the world to hear].
Are you going to Julie’s with Céline? There’s going to be a vegan class. I’d like a pizza, okay?
Me: Look.. I also wanted a pizza instead of vegan food.. But I’m getting dizzy and I think I’m gonna go home and do my drunken show in the shower.
Timothée: Ah.. Right, you’re dizzy, but you still know how many fingers you have here? [He did an 8 with his fingers]
Me: Yes, of course. I’m fine, man, I’m weak but not that weak. Give me a skateboard there! [I screamed, and they didn’t take me seriously]
Timothée: So.. we can go for a coffee to break the alcohol and fill the stomach with a piece of pizza, what do you think?
Me: Wooah! Come on, send world pizza!
[I couldn’t say no, I was completely taken. ]
We got to what used to be a kind of blinker-light coffee, it had a super-hot vibe. We sat down and made the request, we laughed drunk and said nothing that made sense, I felt our friendship alive again. However, the silence and the exchange of looks came, so we could hear the music that played in the background. It was "And I Love Her" by the Beatles”. Suddenly he began to sing.
Timothée: "She gives me Everything and Tenderly. The Kiss my Lover brings, she brings to me and I love her."
Me: Yeah.. beautiful music. You sing over and over again better than me. When did you start playing music? [My hands started sweating]
Timothée: [he laughed] Are you all right?
Me: Timmy. .ah.. I think I’m going home to take another shower, rest and call my family, I don’t know.
Timothée: Okay, I’ll accompany you, I can’t let you go back alone so late.
Me: You don’t need my angel. I’m a ninja!
[I made the shameful gesture of a martial coup and tripped. The truth is I wanted him to insist]
Timothée: Without that [laughed] let’s go!
We got to the apartment, he came up with me and put his coat on the couch. I offered him water, am I pathetic? He said he did not want to, but that if possible, he would like to stay. I felt as if we were talking by telepathy, I am not crazy. He feels the same. I said he could stay, even super apprehensive.
I took two cigarettes from Kumbaya that I made on Tuesday and shouted from the room "let’s get some air on the balcony while we smoke!?". Upon returning to the room, he had put Cigarettes after sex to play, silently.
Nothing but the music. Breaths. Another dose of silence. My body pumped blood with so much speed, [says something] I thought.
He touched my right hand and looked at me. Those green eyes made me feel warm inside as never before.
I got up the courage to pull him to the balcony that led to the fire escape. The sky was beautiful and the wind touching our faces was like a sky giveaway, I needed that fresh night air.
Timothée: Do you need me to say it? I can say it.
Me: I know what you’re going to say and I’m terrified. You want me too.
Timothée: I want to. You make me feel good. I feel my presence truly when I share a moment with you. "Sometimes I think I’ve felt everything I’m going to feel in my life. And from now on, I won’t feel anything new. "
Me: I promise that one day I will feel that everything is right. but it feels so wrong. Man, I feel like I’m living a fanfic, and I don’t want to wake up tomorrow and none of this ever happened, or worse, if it’s real, our friendship being compromised by what’s possibly going to happen here.
He put his hands on my face, kissed my forehead.
Timothée: The heart is not like a box that fills, L. It expands in size, the more you love someone. I’m different from you. It doesn’t make me love you any less. It actually makes me love you more. I want you.
Me: Right.. We are here only briefly, and at this moment I want to allow myself joy. I want that, Timothée. And I promise that one day I will feel like everything is fine.
He lovingly bowed to touch his lips to mine. Feeling those soft lips against mine, it was almost like an apocalyptic sensation, the world could end right there, would have no problem.
We kissed as we entered through the large window of the room, the first pieces of clothing filling the lonely floor of the room. The music Sunsetz conducted our intimate dance. The words "you have to do the right thing, do the right thing" started to disappear from my head.
I feel overflowing out of the body, sensitive, I am under the effect of exaltation, very intense feelings of joy, pleasure, admiration, reverent awe... Timothée. I truly love him.
We are lying on the living room floor, apparently wrapped in a curtain that has been disastrously removed. Timothée, his breath is hot, the sound coming out of his mouth shivers my body. We were like the painting of Egon Schiele - Gli Amanti (L'Abbraccio).
Blackout. Light. The voice of an angel reaches my ear. My eyes open.
He looked at me in silence, I could smell his mildly sweet citrus smell all over the room. Its aroma stimulates my sensations.
Timothée: I’ll make you a cup of coffee. I’ll be careful with the amount of sugar, it’ll be just the way you like it. Keep lying down, angel.
Geez, what happens now? I don’t know, he doesn’t know, you don’t know.
Anyway, I feel complete.
#timothée chalamet#tchalamet#timothee chalamet#timothee#fanfic#art#xavier dolan#cigarettes after sex#the beatles#nick drake#backstreet boys#movie#music#bright are the stars that shine
33 notes
·
View notes
Text
March 1, 2021: The Hobbit (Review)
Is “quaint” a good word here?
Maybe its the beautiful backgrounds, maybe it’s the stylized designs that make me think of Christmas specials, maybe it’s the faithful take on a classic story that I loved as a kid, but...I dunno. Quaint’s the first thing that comes to mind here for me, for whatever reason.
All I know is that I did enjoy this movie well-enough...even if it’s not my favorite. Don’t get me wrong, this is still a great story, and I do love the original Tolkien tale very much...but I don’t know if I can say this was my favorite adaptation or not.
Now, it got some things right that the Jackson movies didn’t, at last as far as I’m concerned. Thorin’s pretty good in this film, Gollum is great (as always), and it accurately sums up the story in a single movie without too much omitted (I do miss Beorn, though). But here’s the thing: the things that I think Jackson’s movies did wrong outnumber what this film did right.
You know, the weird addition of Tauriel and Legolas, the added Lake Town plot with fuckin’ Alfrid, the entire Azog thing, the fucking NECROMANCER thing, Rada...well, actually, I like Radagast. He was fun.
And that’s not to say that Jackson’s movies did nothing right. Quite the contrary! I mean, Martin Freeman is a PERFECT Bilbo Baggins, and basically everybody is perfectly cast, to be honest. And that includes what I think is the best part of the films: Smaug, as portrayed by Benedict Cumberbatch. And yeah, that motion capture footage is hilarious, but it pays the fuck OFF, what can I tell ya? I mean...come on.
Smaug in these movies is fucking AMAZING, and I genuinely love him. And...well, you know what, let’s actually get into the Review. Enough navel-gazing here. Here’s the Recap (Parts 1, 2, and 3), if you’d like to read that first! OK, let’s get this done and Reviewed!
Review
Cast and Acting: 7/10
Given that this is an animated film, this is an interesting category to grade. I’ll be doing so based on their vocal performances, and...eh. For a Rankin-Bass movie, the vocal performances are a little standard. However, that doesn’t mean there aren’t some standouts. Orson Bean plays a kind and contemplative Bilbo, and while I don’t know that I like him quite as much as Martin Freeman, I do still like his performance. John Huston is likewise good as Gandalf, although Ian McKellen is...well, Ian McKellen, even in The Hobbit films. And then...there’s Brother Theodore. And, boy oh boy, do I love his Gollum a lot! I think he’s legitimately fantastic as this version of the character, and specifically as this version of the character. Andy Serkis is still the better Gollum, I think, but I do think that Theodore handles Gollum’s last line in this film better than Serkis did. However, I can see Serkis becoming the devious little monster he eventually becomes a lot more.
Also, Hans Conried plays Thorin, and all I could hear was Captain Hook, like, the entire time. There are actually a lot of voice actors from the time period in here, like Don Messick, Paul Frees, and Thurl Ravenscroft, and they’re all fine. There’s also Richard Boone as Smaug, and...he’s OK. Not saying he’s great, but...he’s all right. His deep booming voice does work well for the role, and some of his line deliveries are pretty goddamn solid, but...I dunno, he just doesn’t bring the same gravelly gravitas that I expect of, well, a goddamn dragon, let’s be frank here.
Plot and Writing: 9/10
What can I say? It’s Tolkien! And they’re pretty exact with their adaptation of the original work, as adapted and written by Romeo Muller. And yeah, Muller does a good job...but he also writes this similar to how he wrote all of the other Rank Bass specials. If there’s any problem, it’s that. But even then...I don’t know if I can call that a real problem. Still, I’ll take a point off for it, even though it’s really closer to half a point. If anything, I’m upset that Beorn was completely absent. You coulda worked him in, Romeo!
Directing and Cinematography: 7/10
This is essentially judging the storyboarding, and how shots were positioned in the artistic process. And yeah, it’s...mostly good. Unfortunately, true to form for Rankin-Bass production, it often feels just a little too stiff in places. Makes sense since Arthur Rankin Jr. and Jules Bass are the directors. Not as bad as some of their other productions, but still definitely a notable quality of the film. So, points off for that, but the rest of it is honestly fine, especially for animation of the era. What came out from Disney that year?
Oh, damn, the Rescuers? Yeah...shit, yeah, that looked WAY better, and that wasn’t even one of Disney’s best looking film up to that point. Although, different budgets should probably be taken into account. OK, moving on.
Production and Art Design: 8/10
I like the backgrounds in this film a LOT, lemme tell you. They were done by Minoru Nishida, who’s done a hell of a lot of animation stuff, but was also the art director for Kill Bill Vol 1! Neat! But yeah, the backgrounds are absolutely gorgeous here. How about the rest of the art design? Characters were designed by Lester Abrams, then redesigned a bit by the Topcraft guys (specifically Tsuguyuki Kubo), giving it the very stereotypical Rankin-Bass style that the movie is known for. And does it work? I mean...kinda. The good news is that the different races of Middle Earth are pretty goddamn distinguishable from each other, and creatively designed at that. The bad news...sorry, I never did get used to Smaug, I genuinely don’t like his design in this. Like...why the dog head? By all accounts, Smaug was a stereotypical wyrm-style dragon, with the reptilian features and I. I just...I don’t get it. Sorry, but Jackson’s Smaug wins here, hands down. But that said...I do like Gollum. It’s different, yeah, but I think his design works pretty well. After all, according to Tolkien, we’re not really supposed to know what Gollum is. And I think it works pretty goddamn well!
Music and Editing: 7/10
Glenn Yarbrough. I love ya. I SWEAR, I do actually like you and your main contribution to this movie, The Greatest Adventure. But if I have to hear that song ONE MORE GODDAMN TIME in this movie, I swear...because they chop up the song and use it in EVERY AVAILABLE INSTANCE with Bilbo. And I guess it’s his leitmotif, but they use that song...A LOT. And not instrumentally, I mean with the goddamn lyrics. Just...tone it down a little, OK? But OK, what about the other music, by Maury Laws? I like it! There are some songs in here that are very catchy, and I might actually get “Down, Down, to Goblin Town” on my playlist. Not that it’s all great, but it works for the setting and for the tone of the movie. And what about the editing? Eh. Visual editing is pretty good, bu7t the sound editing is...it’s 1970s animation editing. Hell, even the Rescuers sound editing wasn’t amazing, when I think about it. It’s fine, but it isn’t great most of the time.
Y’know...I think I can gel with a 76% here.
Yeah, I know, it’s low, but that’s because this movie was...good, but OK. I’m not necessarily saying that it was better or worse than the Jackson movies, because I think they compliment each other in some weird ways. I like Thorin as a character more here, but Smaug MUCH more in the Jackson films. While there definitely don’t need to be three Jackson movies...I’ll admit that I think this one is too short, coming in at only an hour and 18 minutes. And I gotta say, I love the fact that it’s animated...but the live-action films also look fantastic, I can never fault them for how they look (except for Dain...ugh). I think they’re similar, but different, at least for me.
But OK, here’s a question: is it just because it’s a property that I really like, and I have my own internal vision of it, which might be influenced by the live-action films? Entirely a possibility. Watch this movie yourself, make your own score! See what you think. Meanwhile, I’m going to try an experiment.
Fantasy movie, same production company, same directors, same animators, also based off of a fantasy book. And, uh...I dunno, a unicorn, maybe?
March 2, 2021: The Last Unicorn (1982)
#the hobbit#the hobbit 1977#j.r.r. tolkien#rankin-bass#rankin bass#orson bean#bilbo baggins#hans conried#thorin oakenshield#john huston#gandalf#otto preminger#cyril ritchard#glenn yarbrough#fantasy march#user365#365 movie challenge#365 movies 365 days#365 Days 365 Movies#365 movies a year#userakaysa
22 notes
·
View notes
Text
Loonatics Reboot: Origins
The cousins of the world-famous Looney Tunes, the Loonatics are resident protectors of the progressive city-state, Acmetropolis. Currently there are seven members headed by their mysterious mentor, but for now let's dive in deeper into the origin story of the first six Loonatics. We'll get to number seven in the future! 💛💛💛
The story goes, the Loonatics came about by chance. You see, not too long ago six individuals volunteered for an experiment conducted by the city's namesake ACME (the business). As all of them needed the extra cash, they didn't mind being used as temporary guinea pigs if it meant having the funds to pursue their dreams or pay the rent.
Unfortunately the test did not produced the expected results and was marked off as a failure. While the group were paid they were disappointed & went back to their normal lives.
Until abnormalities started cropping up.
One volunteer, a college freshman named Lexi Bunny, began hearing things, increased migraines, and physically cringing at even moderately loud sounds. Such condition affected the way she moved and grooved to the beat (she was an avid dancer) and one day, she had passed out from the pressure and sent to the emergency room. While she recovered she began seeing everything in a pink haze. Lexi didn't know exactly caused her health emergency but she had a feeling that it had something to do with the experiment. But she kept quiet, she wasn't one to stand up for herself, remembering a horrid incident trying out for her school's cheer squad. She wondered what the other volunteers were feeling...
The second volunteer was an Acmewood stunt artist named Ace Bunny (yeah yeah he's related to Bugs now let him train in peace). Whenever Ace felt particularly confident, he saw his vision turn red...literally. His eyes burned no matter how much ice or eyedrops he used. During rehearsals he started to notice how every time someone went to strike him, he dodged them every. Single. Time. Many of the crew members lucky to see were impressed, shocked even (much to the displeasure of the lead actor) & leaving the Looney cousin embarrassed at the increased attention.
The fourth volunteer was a scientist named Tech E Coyote. Like Duck he also lost his job though unlike Duck he was on the receiving end of an angry coworker. The poor man was left to craft consolation contraptions in the solitude of his workshop. One night he noticed some pieces of metal clinging to his lab-coat. At first he brushed them off but they stuck to his hands. He made a note to himself to use anti-static softener; but after several wash days the problems persisted and very soon larger pieces of metal started clinging to his clothes, hands, all around his body - one incident he knocked himself out with a frying pan! He also took notes of lights flickering around him, computers and screens turning on and off whenever he walked near them.
The third volunteer was a young man barely out of his teen years simply known as Duck. Danger Duck. He worked as a pool boy ironically had a hot temper. To put it best he loathed his job, feeling not being taken seriously by the oh-so-macho lifeguards that picked on him constantly. One minute he was complaining about his job, and the next thing he knew, he was standing in the middle of a desert. Than back to the pool. Than an artic region! He also complained of tingling sensations in his fingers, as if he dumped his hands in a bowl of cut peppers. And after one particularly frustrating day, he got so made he raised his threw something at the lifeguard... something red-hot and round...which nearly costed the lifeguard his life yet ALSO caused Duck to lose his job.
Rev, a pizza delivery man with a sense of words and no sense of direction, was the onlt one whose problems weren't seen. Not at least externally. During his trips he was relieved to not miss addresses as much as he used to. Maybe a stroke of luck he guessed. But now it seems his brain was replaced by a GPS because days by he can verbally recite the location almost every place in Acmetropolis from the tallest skyscraper to the dingey of alleyways. Not even having to travel to these places.
As for Slam, his already phenomenal strength increased tenfold, and so did his speed. Such growth massively helped his wrestling career. Every time he spun however, he swore he felt and heard the crick-crackle-boom of lightning...which one day during a match he accidentally electrocuted his opponent, promptly suspended for the rest of the season. At least the guy was alive...a cooked steak but alive.
Eventually these side effects took their toll and the citizens finally had enough. Weeks after the test the group went back to Acme to report on what they were experiencing, hoping to get some compensation to pay off frequent trips to the hospital.
To their surprise ACME was pleased to hear the results of the experiment had been successful after all. The CEO, Otto Matthias, saw potential in the ragtag group of Tunes and offered them a deal: work for his company as sponsored superheroes. There was a mixed reaction: Tech was skeptical, as was Lexi and Slam. Ace didn't know what to think of the deal, he wanted to be recognized for his talents. Danger was the only one totally on board with the plan (no more finding lost trunks). Rev was also excited yet nervous at the prospect. Otto added that the offer came with free housing, access to any and all Acme products, and a lifetime supply of Scooby Snacks (much to Slam's fancy).
Duck didn't have to hear anymore before immediately agreeing to the deal. He did not want to go back to being a lowly pool boy or any other position to be laughed at and bullied, and saw the deal as a surefire way to success. The rest of the group & Scooby Snack Slam decided to wait a week before giving their answer. Acme signed Duck as Danger Duck, the Living Magma Extraordinaire! Cool name is it?
Throughout the week the remaining Tunes pondered long and hard about the company's offer. Would this deal really help them find meaning in their otherwise pitiful lives? Or was it all a glorified corporate tactic designed to keep them quiet? Danger Duck, Living Magma Extraordinaire seemed to be having a good time, so they might be missing out on a stable fulfilling lifestyle. Surely it wasn't an evil trick? Right? Right??
The answer to their dilemma showed uo at their door. Literally.
For five days, each person received a visit from a woman dressed in a simple lavender coat with the hood drawn up. From the shadows they could make out ruby-colored lips, yet her eyes seemed to lack irises as they were entirely blank-white.
This woman claimed that she was the creator of the drug and that is was not meant to be in mortal hands. She claimed that Acme stole her formula for personal gain, warning them the CEO was not who he seemed & that they shouldn't take his word. When the civilians asked about Danger Duck, the woman vowed she would do everything in her power to try to steer the young man from a terrible fate.
"How do you know I can trust you?" That was the sentiment shared by the five Tunes, in varying words.
The woman only smiled. "It's all up to you," she simply replied before handing out a shiny triangle with the familiar shield logo on it.
As each Tune took the metallic shape in their hands, they wondered how would this hunk ol metal help them decide their future? The lady's words echoed through their minds...maybe...the shield was a emblem of their roots. How did she know so much about them and so concerned about their lives?
By the morning of the last day, it was Ace who came to his decision first. "I'll believe you," he relented. "If only you'll tell me more about this drug you made."
The woman shook her head. "I'm afraid that'll have to come in a group meeting," she said a bit tersely. The truth is too much to bear on one man.
"Here." She scribbled a few words down on a piece of paper. "Meet me at this location later this afternoon. Don't bring anyone else."
"Okay," Ace said a bit skeptically. He was about to ask more but the lady quickly left with a hurried goodbye. Ace blinked his blue eyes before reading what she had wrote. "I hope this ain't gonna land me on a watchlist," he muttered before starting to prepare for his impromptu meeting. He prayed that he made the right choice.
I'm making this as I go along XD
My goal for this chapter and the next one is to give the team a better backstories and the why and HOW they got together. I know the show had an origin episode but it didn't show them their first mission or how they actually met, only how they got their powers. As this is a reboot there are a lot of changes so instead of being set in the future, it's set in modern era and they're cousins of the Looney Tunes. I'm also trying to give them motivations: Danger Duck seeking fame and fortune; Tech seeking recognition for his genius; Ace forging his own path out of his cousin's shadow. I haven't gotten to Slam & Lexi's motivations as much as that would be for when I get to writing Weathervane (who will be Lexi's foil) and Massive (Slam's foil). Rev's motivation will also be explored as him learning to be more independent away from his family's wealthy lifestyle. As for my OC Mikayla Jordan, she's going to appear in a future post pertaining to the Freleng Royal Family oop spoiled my own OC subplot XD
#fanfiction#loonatics unleashed#loonatics unleashed reboot#looney tunes#ace bunny#lexi bunny#danger duck#tech e coyote#rev runner#slam tasmanian#zadavia#crossover#warner bros#au
34 notes
·
View notes
Text
In Fair Verona︱Chapter 2
Synopsis: Jisung knows he is the Romeo to your Juliet. He could wax poetry about you all throughout rehearsal and even a little after. Except Hwang Hyunjin is the one playing Romeo in the school play, not him. Jisung is just another tech crew member that you don’t know, but he’s determined to win your heart... by any means necessary.
Warning: none... yet
Word Count: 2.2k
Pairing: fem!reader x Jisung; fem!reader x Hyunjin
updates every Wednesday and Sunday @ 11 PM PST︱chapter list
O Romeo, Romeo! Wherefore art thou Romeo?
Deny thy father and refuse thy name,
Or, if thou wilt not, be but sworn my love,
And I’ll no longer be a Capulet.
Jisung is waiting for fourth period to begin and homeroom announcements to be over when he overhears two girls discussing the play. He stops doodling in the margins of his notebook once he hears you being mentioned.
“She’s so lucky! She gets to kiss Hwang Hyunjin!” the one with the ponytail exclaims.
So that’s Romeo’s name. He makes a mental note to look him up on Facebook and Instagram later.
Her voice then drops to a whisper. “I heard they kissed during in-class rehearsal.”
Jisung snorts and quickly disguises it as a sneeze. Stage kisses in school productions are almost always fake; based on his experience, there’s usually a hand hiding obscuring the kiss, so the actors get as close as possible without actual contact.
“She’s so lucky,” the other girl sighs. “Oh, Y/N, Y/N! Why did you have to get the part of Juliet and not me?” she dramatically says.
Jisung silently agrees but for a totally different reason and goes back to drawing sunbursts when the conversation turns into a debate about who would be the second best choice for Romeo.
Jisung leaves his belongings in the green room after school and sits with Chan behind the soundboard while he waits for rehearsal to start. Chan is busy with testing new sound effects and new music choices, so Jisung scrolls through Hwang Hyunjin’s Instagram. He only finds food pictures and some videos of him dancing. Nothing incriminating.
“Hey, did you bring dinner today? Me, Felix, Changbin, and Jeongin were planning to go to the convenience store during dinner break,” Chan invites.
Jisung has a bowl of instant noodles and a thermos of hot water in his backpack. “I’ve got food already.”
“Ah, next time then!”
“Actors! To your places!” comes through on the loudspeaker, and Jisung hurries backstage. The balcony is being pushed back to the center of the stage already. He shimmies through the gap between the wall and the main curtain, trying not to trip on any cables. Changbin is sitting with his giant binder open and his headset on. He points to another headset on the table, and Jisung takes it and puts it on. The comms are already abuzz with bad jokes and the sounds of turning pages.
The side door opens, and you rush in, adjusting the circlet in your hair. Your lips close and part, and Jisung can only imagine the swears you’re mouthing. He wants to shout something encouraging, but that would only delay you. He also has no idea what he would say anyway. The floor lights for the cyclorama tint your whole body blue as you hurry to the stairs for the balcony. You make it to the top just in time.
Ms. Park tells Hyunjin to start from “She speaks.” To Jisung’s delight, Hyunjin has not improved from yesterday, and his delivery only is slightly better than monotone. Meanwhile, you look as crestfallen as you possibly can. You rest your cheek on one hand and gaze into the distance, which turns out to be the back of the auditorium where the soundboard and light board are. Romeo likens Juliet to an angel, and Jisung agrees — you’re beautiful, bright, and out of his reach.
Hyunjin ends his lines, and it’s your turn to say the most famous line of the entire play: “O Romeo, Romeo! Wherefore art thou Romeo?”
Your cries resonate with him; why did Hyunjin have to be Romeo? If he knew that you were going to audition for the lead role, he would have too. If the current Romeo managed to get the part, then he would have had no problem. He could have been the one looking up at you, telling the world how lovely he thought you were.
Though he’s far away and off to the side, he sees the way you glow as you recite your lines. Your passion radiates off of you, and Jisung gets a direct hit. He’s so enamored by you, he doesn’t even mind when Hyunjin poorly says his lines.
It’s like that for the rest of the scene. Jisung remains standing and watches you and Hyunjin flirt in Elizabethan English. Before the scene ends, Jisung detaches himself from the curtain and positions himself by the prop table. He pretends to be rearranging the props so that as soon as the lights go out and the tech crew members on stage left drag the balcony back into the wings, you speedily walk to the other wing where he is.
It’s strange to be excited by a mundane act, but that’s what love does, he supposes. He whispers, “Be careful of the cables,” at you.
“I know,” you whisper back. There’s no sharpness to it; it’s just a simple statement.
You brush past him, and your arm, raised from holding your skirt, knocks into his elbow. He stiffens, and you murmur an apology before leaving through the side door.
After a less than satisfactory scene four, the director decides it’s time for a dinner break. There’s a few cheers in the comms and an audible sigh of relief from the girl playing Nurse. Ms. Park reminds them that dinner will end at 6, so she expects them to be back in the auditorium by then. Changbin is already leaping out of his chair and running down the stairs on the side of the stage. Jisung imagines that Chan, Felix, Seungmin, and Jeongin are just as ready to eat; they were discussing what to buy for dinner right when the scene started.
Jisung follows the other members of the crew to the classroom for dinner. The room is just as crowded as before, and there’s a long line to use the microwave. Jisung squeezes through the groups of people and gets out his meal.
“That’s a smart idea,” a familiar voice comments. When he looks up from his water pouring, he sees that it’s you.
He looks at the glass container in your hands and realizes that you’re one of ones waiting to heat up your food. “Your dinner’s probably better though,” he lamely responds. His face begins to feel warm, and it’s not from the steam.
“It’s the slightly burnt fried rice I made three days ago,” you smile. “Wanna trade?”
He wants to say yes so badly. But it would be better to play it cool, right? The panic must have shown on his face since you laugh and say, “Knew it.”
The line shuffles forward and so do you. He turns back to his food, disappointed that he didn’t take you up on your offer. He likes fried rice.
(And you, but that’s only the tiniest bit relevant to his plight.)
He is halfway through his meal when the chair in front of him is pulled out. You sit and set your container down. He smells kimchi with a touch of smoke.
“Hi,” you say. The corner of your mouth quirks up. “Any chance you’re willing to trade?”
Jisung shakes his head, playing along. “I’m half way through mine already, sorry.”
“Darn.”
There’s a moment of silence before he decides to break it. “Your name’s Y/N, right?”
“Mhm.” You swallow your rice. “It’s kind of embarrassing to admit, but… I don’t actually know yours,” you slowly say. “And we’re eating together, which makes it doubly embarrassing.”
The way you say it makes Jisung’s heart pound. It’s like a date, but not really. “I’m Jisung.”
“The props guy, right?”
He shakes his head “I’m part of the floor crew. ”
“Oh! I saw you by the props earlier, so I thought you were. And you’re always watching the play, so I thought you were waiting for cues or something.”
A wide variety of curses appear in his mind. He can’t let you know the real reason why.
“No! I just really like Shakespeare,” he makes up. More unnecessary lies flow out. “Romeo and Juliet is a really great play. I love the plot and the characters. Speaking of, our play is going to be so great. You — I mean, the entire cast is perfect.”
You light up at the compliment, and Jisung swears he’s looking directly at the sun. “You think so?”
You’re far too amazing to be stupid, naive Juliet, but he nods his head anyway. “You’re a good actress.”
“How do you feel about Hyunjin then? Does he live up to your expectations?”
The brainless Romeo who only pursues Juliet out of lust? “Yeah. He’s exactly like Romeo.”
“Hyunjin will be happy to hear that,” you say. You glance at the clock, and Jisung does too. It’s only a few minutes away from six o’clock. “Dinner’s almost over. Darn, I need to get into costume, too.”
While you pick through the less appetizing portions of your meal, Jisung finishes the last of his noodles. Not a minute passes before you snap the lid back on the container and jump out of your seat. You hurriedly say goodbye and run out the door to the dressing room.
Jisung stays seated, processing what happened. Was it a friendly conversation or flirting? Did you eat dinner with him because you felt bad for him or because you were interested in him? He replays the last few minutes in his head. You started the conversation and chose to sit at his table, so it had to mean something. You joked with him and beamed at his compliment, but you also brought up Hyunjin and no one else. He sighs and leans back in his chair before someone yelling the time makes him jump out of it.
He helps set up the next scene before watching the play from stage right like before. He feels strangely betrayed when he hears how desperately you, as Juliet, want to hear Romeo’s message after getting his hopes up at dinner. His brain knows it’s not real, but his heart thinks otherwise. He paces in a small circle to try and get out his nervous energy. He stops after a minute and forces himself to think of something else. If he closes his eyes, he can pretend it’s him that you’re referring to; he’s the one you want to marry.
In his daydream, you stand in front of him in a white dress and a circlet instead of a veil. The bouquet of roses in your hand matches the glowing blush across your cheeks. You look up at him through your long lashes, and Jisung can barely hold himself together at the sight of you. His hand covers his mouth to stifle his soft sobs. You’re no different. With shaky breaths, you hold a piece of paper in front you and read your vows.
“... in sickness and health. I promise to love you until death do us part,” you manage to say through your tears.
The minister pronounces you husband and wife, and Jisung reaches out to cup your face. In reality though, he is only able to touch air. The pretty stained glass of the church is soon swallowed by the darkness of backstage. There’s no organ playing, only Changbin yelling at him in his ear to get ready for Act III.
The first scene of Act III features a poorly choreographed sword fight, two deaths, and not you. In other words, nothing of Jisung’s interests. Rehearsal ends after the scene is finished, and Jisung halfheartedly listens to the tech director’s notes. Like yesterday, he gets called out for not paying attention enough to calls. He once again promises to do better, but Mr. Gi and Changbin don’t look like they’re buying it. He really has to do better tomorrow.
When everyone is finally dismissed, Jisung goes back to the classroom in hopes of seeing you before he goes home. The actors are still receiving notes from the director, and it doesn’t seem like she’s going to be done soon. He tries to catch your eye while he grabs his belongings, but you’re fully listening to Ms. Park. To add to his disappointment, he notices that Hyunjin is sitting by you. Thus, Jisung “accidentally” opens his textbook, sending all his papers to the floor, hoping that you take notice. You do and give him a sympathetic smile.
He plays “Marry You” on the drive back home and sings along, thinking of you.
~ ad.gray
#stray kids#skz#han jisung#hwang hyunjin#stray kids han#stray kids hyunjin#stray kids au#theatre au#high school au#stray kids scenarios#stray kids imagines#stray kids fanfiction#skz scenarios#skz imagines#skz fanfic#skz au#stray kids x reader#slow burn#yandere#no you're not crazy#I do Sunday updates now at the behest of ad.gold#20200823
57 notes
·
View notes
Photo
“What do you think we're here to do? To make a difference?”
Photos: kodak_shootfilm IG
Quotes: Official Featurette
My first thoughts about Crisis. I tried not to be spoilery, but proceed at your own discretion.
I liked it quite a lot. I've not seen Arbitrage and I'm not familiar with Jarecki's work, but this has put him on the map for me now and I will continue to watch his work in the future. I like stories with a statement and something to say. The message in this is relevant for years, if not decades to come.
I hope it makes people think. I also hope it makes people act, to reach out. To feel for our fellow humans. Like Gary Oldman said in the Featurette: “We tend to look at the disenfranchised, the people on the fringes of society with drug problems and now it's crossing all walks of life.”
The way Jarecki, and his actors, described his working methods, makes me interested in following his career. I like the idea of a collaborative approach, where greater interaction between director and performers yields, I think, a more organic product, than a one-directional approach. Not that both can't work, but I think it's another skill of a director to evaluate the whole creation from multiple perspectives. Here the main cast is seasoned and accomplished, so it should be easy to trust that they know their craft, but another example of this style might be Luca Guadagnino, who also gives plenty of room for his first-time, and young actors.
Armie said: “Good thriller is something that the audience can't help but find themselves emotionally attached to. If it pulls you in and sucks up your attention, then you're there.”
I did find myself being unable to divert my attention from the screen and the story, although there were moments when the pacing got slower and couldn't hold my focus. That's normal for most movies I see. I found myself emotionally invested in Evangeline and Armie's characters the most. That sounds perhaps not surprising, but to me it was, as I was expecting to be more tuned into the struggle of Tyrone (Oldman), because it was his story which interested me the most when reading about the story line.
Similarly, I enjoyed Armie and Evangeline's performances the most. They both had the intensity I was expecting, and delivered it well. Both were believable, as were the rest of the cast. I liked Armie's physical delivery, the little gestures he chose for this character, and the way Jake moved, and carried himself. I feel he could still utilize his voice for more impactful effect. Evangeline's character was believably stiff, anxious and desperate, and I found enjoying the performance more as the movie got along. At first I was afraid that the role would be one-dimensional, but it did seem the creative licence she said Jarecki gave her paid off, and I ended up rooting for her toward the end.
The most emotional response from Oldman's performance for me was when he left the meeting with the CEO. The professor's internal and external struggles showed well the intent of the director to show that people and situations are not black and white. We can relate to people with flaws. Luke Evans, Indira Varma, Lily-Rose Depp, Greg Kinnear, and the rest did a solid job in their respective roles. Michelle Rodriquez and especially Kid Cudi (Scott Mescudi) I would liked to have seen more of, but I guess I'll have to wait for their lead roles next.
Nicholas Jarecki said: “I think a good film takes place somewhere between reality and the imagination. These elements together create something that is an enjoyable and thrilling cinematic ride.” I think Jarecki succeeded in taking me to that place in between. I found myself imagining what would happen next, the different possible scenarios the story could take, and enjoyable, although perhaps not thrilling, would definitely be the word I would use to describe my experience of this film.
All in all, I was really looking forward to seeing what Armie would do in this film, and I was pleased, thoroughly entertained, and proud. I wasn't sure what to expect from Lilly in this, and was slightly apprehensive, so I was pleased and happy by what I experienced with her. Gary Oldman was how I expected him to be and I do enjoy seeing him on screen. I agree with some of the early reviews saying this could've worked (better, I don't know, but alternatively) as a series. The story line could have carried it well, I think. Now I've seen it on the small screen and I am certain the cinematography and soundscape etc. have still much to offer and add to my first experience. I very much look forward to seeing it on the big screen, hopefully, likely, more than once.
#crisis movie#nicholas jarecki#armie hammer#gary oldman#evangeline lilly#michelle rodriguez#kid cudi
9 notes
·
View notes
Note
With every movie my love of sidney grows. She working for a crisis hotline ;-; fuc milton hes disgusting. also she is more immediatly prepared for FIGHT also i love how much more soft towards sidney gale is this movie. Thts ur surrogate baby sister now ma'am uwu
Also i loved gales weird friendship with jennifer lmao. One of my fave chars of the triology lol . Also can everyone in the seried leave MAUREEN ALONE D:< the poor woman is dead stop fucjing demonizing her jfc. Im glad sidneys come to terms with loving her despite her flaws and despite everyone trying to make her see otherwise (or thats what it came off as to me anyway) also. Sid verbally destroying roman GET IM!! GET IM!!
Yeah no I totally agree!
GOD, Sidney is my GIRL! I love her so much! The working at a crisis hotline to help women, and how thoughtful and kind she is doing it TuT, her big puppy. And god, she left. She did everything she could to make herself no one someone would have reason to kill, and it’s not enough, people still come. Her PTSD episode with her mom, and how scary and alone it all is. AH and I’m glad they brought her dad back and had him visiting and being worried about her being so alone. TuT
I loved Gale and Dewey getting back and the scene at the END??? “You’re a brave man, Dewey Riley.” “Yeah, well, I’m really scared right now.” I SOB it’s true love TuT my dumb otp. And fkn Jennifer is great! Fale—fake Gale. Love it. The Gale Fake-Gale duo kills me, and fkn Jennifer’s delivery of every damn line is superb. (Wild as shit to see her as the antag in Lost in Space. I was like *leans almost vertically forward in seat* FALE??? ). And yess!!! How sweet Gale is to Sid and how she’s like, no conflict Gale just Gale to kick ass time >:-] Gale said “Fuck Ghostface, all my homies hate Ghostface” and then came to finish the job. Love the Sidney-Gale-Dewey friend team. God, they need each other so bad. Best family!
Also fkn LovED Kinkaid. Baby Patrick Dempsey, lol. *Production Room Meeting*
Casting Director: Okay. So. We need a potential love interest for Sidney, but we’ve hit a problem.
Producer: What problem?
CD *whips out human sized printout* :
Look at her! We can’t find anyone hot enough to even be believable anymore.
Producer, sweating: Shit. What do we do?
PA with a eureka moment, already making mockup posters: Okay so I got /1/ idea.
And it was the best they could do. She’s a goddess on Earth it would be hard to cast a leading partner opposite her. But god bless. Fkn LOVE. Kincaid. He gets back up like four times and every time just gets the shit beat out of him. 🤣 *Kincaid, dragging himself up to go pick a lock with blood dripping down his shoulder from a stab wound to his chest bc he hears Sid screaming.* Me, screeching from the audience: NO! Baby go lay down you survived what looked like a fatal hit just stay down I want you to make it through the movie! 😭 *Kincaid: keeps going because it’s his duty to try to save them. Immediately laid flat and injured worse.* Me: :’-]
I love that he’s like a family member too (lol, if you survive Ghostface, you get adopted by Sid, Gale, and Dewey now) and watching movies at Sid’s house it’s so cute. Fun fact! Kincaid was supposed to be in 4 too, but couldn’t be bc of a preexisting shooting schedule conflict with Dempsey. But I’ve always taken that to mean they got/stayed together and he’s just not on the tour/at work during 4 (tbh, off screen is safer to characters who survived a film anyway so maybe it’s good 🤣), and are maybe married or dating, and if not interested that way are good friends who still check in & hang for movie nights a lot. TuT
And yeah! I think that’s how it was meant to read. Maureen made some mistakes, but it doesn’t mean everything about her was bad, and also, a lot of the shit she went through was done to her, not by. She had a really rough life and tried to do better, and backslid by cheating and hooking up with married men when Sid was a teen, but she wasn’t a monster. Just a sad woman with a lot of facets. Some good, some bad, some neither. But the lies didn’t mean the good Mom Sid remembered was a lie or she can’t still love her. Bad didn’t negate the good, and she loved her mom, and she should get to. TuT
(And for real, like, cheating is fucked, but everyone quit blaming your murderous rampages on the dead woman who never killed a single person frfr it’s you.)
And yes!!! GOD! That shoutout scene with Roman is maybe my favorite scene in the franchise! Roman’s my fave Ghostface because he’s funniest to watch, and also the most interesting. He a fucking bastard like the rest, but he’s the only one who ever shows even a second of guilt for their kills on-screen or off, and it’s when Sidney goes off on her “Fuck your bullshit Roman! You got no excuse you’re just terrible!” rant, and I love that like, not just does she say that, but you can see he knows she’s right. 👌 Ultimate victory. He’s as evil as the rest (except 4. >.> 4 takes the cake but I’ll say nothing else), but I think he’s the only one (mmmaybe one of two? : / ehhh, I’ll think on it) who still sees humans as humans instead of just things, so he’s more interesting to watch/more interesting as a villain. I also fkn love his stupid “Do you think this wasn’t a message?” With the broken award 🤣—the way his actor delivers lines is exactly how my best friend would have played the role, so it’s tripple funny to me to watch it. God, and Sid holding his hand while he’s dying, after everything he did to her?
Like. Obviously he did not deserve that kind of kindness, but it’s so fucking sweet and such a statement to Sidney’s character that she’d do that in spite of it all because he’s her brother, and she just doesn’t want even the worst one possible to die alone. I’m tearing up. Sidney is so good she’s so amazing I’m gonna weep. 😭
Also. Will any moment ever be more iconic than:
No! The answer is no! Shout this at all horror villains fuck y’all, blame whatever you want cry me a river, it’s you! You did this! I fucking LOVE Sidney Prescott!!!!
#ask#sleepy#heavy spoilers for Scream 3#spoilers#mega spoilers#scream 3#scream 2#scream#Sidney Prescott#Roman Bridger#Mark Kincaid
35 notes
·
View notes
Text
What hasn’t already been said: The Spanish Princess 2
Episode 3: GOOD Grief! (we finally have a good episode on our hands)
To all those of you keen enough to have come back for another segment of ‘what hasn’t already been said: TSP’, as opposed to have just been scrolling when you see this - welcome back! (Scrollers you too <3)
Drawing of Thomas More’s Son AKA who Margaret Pole at this point wants to be the step baby momma of ;).
To anyone who’s seeing this for the first time: what this is a list of observations, jokes, reactions and criticism which occur to me upon a rewatch. I wait every week until Saturday to do this so that I have had my fill of scrolling through the tag and aggregating what has already been said. I tried doing a whole spoof (here where I gave up 10% in) but tbh a) I don’t know the history well enough b) it’s more time consuming than I thought and c) this series is just not as funny or as crazy as TWQ, so it’s untenable. Having said that: This is not a hatepost. I’m not hatewatching this series and nitpicking on purpose but expressing my honest views and trying to find the good in it as well as the bad.
Without further ado...
First Scenes:
LMAO the way Wolsey suggests they break their alliance with Spain is freaking hilarious because the actor delivers the lines as if he were a high school girl making a personal attack by suggesting the prom change its theme to 70s disco to the chagrin of the peppy up-and-coming rival.
Also @ Henry VIII looking like the peppy up-and-comer’s bff and shy stan with that pencil bite and small smirk when Catherine loses her cool against Wolsey.
I’m sorry... who is Henry married to again?
Also what is Margaret Pole doing at the council meeting?? I’m not saying I don’t like it.
Margaret Pole warning against certain repetitive thinking creating madness :(((
Attempted Naked Twister:
Oh Catherine, what is with you and all the other STARZ protagonists and that weird politcky bedroom talk? Who actually finds this sexy?
‘Catherine you are unnatural’ ooof that line delivery was somehow haunting.
Was the whole ‘I can’t be rushed you are off-putting with your overpowering’ a callback to Arthur and Catherine? Apparently there’s another writer for this episode so I won’t put all subtly past them.
Scotland:
‘Shitey men’ asdkjashd
Look I’m tired of all this ‘my children won’t be safe’ line getting repeated. Look mate, murder of royal infants and children was not exactly a common occurence, even in cases of deposition. The Princes in the Tower are an exception to this but a very infamous case for that reason. Child murder was extremely taboo. In situations like this with an infant kid, no one is going to bother murdering the babies and taking their thrones, the lords will just vie for power and make themselves de facto rulers and oust the queen. It’s not a question of safety but a question of holding power. Stop giving all women characters perma mummy brains.
Maggie being all caring:
‘Barnaby’ *scoffs* ‘Such an English name’ - OH MAN 0_0 is Catherine mocking them for trying to adapt ? Like I know it’s meant to show her envy for Lina, but it’s coming out all messed up.
Our girl Maggie’s smile screams I’m beating your ass in chess.
Anyhow this is the least histrionic we’ve seen Catherine so far.
Chaplain vs Catherine:
I’m interested how Catherine will feel at Stafford’s execution given that I have noticed this show build up to a friendship between them.
Why is everyone laughing at the whole ‘will you delight us with new schemes’ line was not that funny?
LMAO at Thomas Boleyn’s attempted brown-nosing.
You know what? Ruairi is a decent actor. When he says ‘so you admit it? you lost the child because you tried to be a man?” the actor conveys Henry’s troubled mind, lowkey scare towards Catherine and bewilderment all in one. The way his eyes do not move but just widen emotionlessly also gives this sense that he is being manipulated (which I guess they are going for with Wolsey). Then the whole choir music in the background.. I don’t know.. I’m liking this, it’s creating a vibe of a king of haunted and increasingly paranoid Henry. I’m sure they are going for that, so good.
Ursula Pole and Mama:
Maggie Pole say ‘riches don’t keep you safe’ with tears in her eyes :’(. Please tell me how this is not her thinking on her parents and granddad Warwick and what befell them ;’(.
I find Ursula refreshing actually, don’t get those types of heroines often. But they are making her similar to a gold-digger, an exhalted marriage was first and foremost considered a thing of honour. Noblepeople wouldn’t speak in such mercenary terms regarding their marriages.
Post Mary Defiance:
I love the ‘horse’ nickname from Brandon n’awwww
Also just realised what made TWQ so atmospheric - that wierd ‘oooo’ sound effect in the background when a character was being paranoid or worrying. They are using it during Henry’s ‘How is it that I have no sons?’ and it is just... so effective.
Catherine calling them ordinary children... she just keeps striking me as more and more classist. Like ok, I know every royal was... but still, I thought she was meant to see Lina as a friend and equal despite her race and status. To add the race element, this kind of rubs me the wrong way.
Also it is so clear by the end when Catherine states how the king is upset with her, she expects Maggie to ask her about it.. but she doesn’t lmao.
Back to Scotland until Sexy boy fencing:
I love me this soft boi. Angus <3 <3
I like how they address that some men don’t really like killing and that violence isn’t inherent in a man’s nature.
Oh man, are we supposed to look at Lina’s house and deplore the impoverished conditions? It would go for at least 3,000,000 pounds in today’s property market?
Is Catherine being particularly classist again with ‘Why u not becoming a butcher Wolsey, ey?’.
Though I will admit the ‘but giving meat to the poor is also good’ was one of her only smart comebacks.
Just realised, Catherine’s pink dress pretty as it is, looks straight out of the 1570s... why?
Montage and After:
You guys are right, there is this weird longing between Henry and Wolsey lmao. It is actually insane.
So basically Catherine is officially depressed
OOOFF we have Stafford as regent instead of Catherine. (edit: I suppose it’s cause they go to France which they didn’t historically? Also if Stafford is at home then what is his son later doing in France, why would he be there without his father. This show didn’t think this through)
Meg Singing:
An impassionate speech is not too anachronistic. But despite the title of this post (what hasn’t been said) I will reiterate that 16th century and Medieval people’s problem wasn’t that they were ashamed of their grief and didn’t cry. In fact, crying was somewhat more socially acceptable then than it even is now! Even manly men like Arthur were written as crying in literature such as Malory’s Morte d’Arthur. Obviously you couldn’t go overboard, but in truth crying was indeed often too performative rather than hidden too much behind doors.
Pole and More UWUWU in France and after:
I LIKE THIS INTELLECTUAL FLIRTING
It’s nice to see a depiction of romantic feelings between mature and level-headed subjects.
God Mary Tudor is so beautiful in this scene jesus. and the music when she was being presented was also very beautiful.
Maggie Pole getting given ‘a modest income’ yeah... she was one of the wealthiest peers of her day.
Also Maggie’s lady cousin not lady aunt Frost!
‘shaking of the sheets’ lmaoooo
William Compton cracks the hell out of me. I love this guy. He is just so creepy and twisted yet super keen and friendly. ahaha He looks like a riot, I hope we see him more. lmao tiles.
Also this palace feels very anachronistic almost 18th century-ish.
I like the Louis and Mary sequence, it’s nice seeing him trying to make her feel less scared, but OMFG when he lay on that chair.. for one second I thought they were trying to kill him off already.
Scotland: ‘Love is an open doooooorrrrr’ + Last Scene:
I ship Meg and Douglas ahhhh this soft boi x strong woman match is everything Henry and Catherine could have been.
I wonder... why is Lina speaking in Spanish more than Catherine. hmmm Are they trying to foreshadow Lina’s eventual return home and how Catherine become a true englishwoman?
Conclusion:
7.5/10
I cannot in all fairness believe it. This was actually decent. I’ve given up on historical accuracy long ago so by this point I’m focusing more on how it stands as as drama. I mean, TWQ was also a flop when it came to grasping the complex issues of that era but why do I feel compelled to rewatch it every year? Because it had atmosphere when it came to acting, music, certain aesthetics (though the costumes let me down often). It felt adequately gothic and dark, yet bright and jewel-lish when it had to be, sometimes both at the same time. Some one-liners were also memorable etc...
So far TSP 2 did not have any of this. Everything felt way too off and anachronistic. But not even consistently anachronistic. The music was also often very meh (though I just noted the absence of the spanish stringy theme that kept playing in season 1 - I guess I understand why), the dialogue very clichéd (‘alright lads let’s throw in the words: king, crown, power, fight, battle + other buzzwords and we have ourselves Shakespeare’) and so on... but I saw a change in this episode and I couldn’t initially point out what it was.
Upon rewatch, I identified some of the improvements (noted above) but above all: The producer was different! Boy does it show. Unfortunately, I think she is only for this one episode which really sucks. Come back! There is more chemistry between the couples, less predictable interactions, pervy Compton, cinnamonroll Douglas, better music, more scenic shots (e.g Douglas and Margaret in church) e.t.c. I hope it will match the rest of the STARZ productions in getting better towards the end.
Look it’s no masterpiece. But I’ll give credit where it’s due because at least this time it didn’t leave me feeling wanting and unsatisfied (if that makes sense).
#the spanish princess#the spanish princess 2#lady plantagenet's series reviews#catherine of aragon#henry viii#mary tudor queen of france#margaret tudor#charles brandon#margaret pole
22 notes
·
View notes
Last Seen Blogs
poeticburn
Breathe deep and read
farminglesbian
[sad cat power song]
fawrins
FAWRINS
figurecollection
Figure Collection
