#hes allowed to be more flawed and adorably pathetic and sensitive | Explore Tumblr Posts and Blogs

hecksupremechips · 2 months

Text

To also go off of the point about cop!akihiko being annoying to me I gotta say that Akihiko as a character is very hit or miss with me because of how different adaptations of p3 will subtly alter his character. I felt like in portable with the femc route he comes off best, he’s a bit of a hothead with an obsession with fighting, but he’s overcompensating his strength so he doesn’t feel as weak and helpless as he’s been in many situations. He defines strength in a very literal sense, being physically strong and using that to protect others, but he’s lacking in emotional strength as a result. And in particular in this version I think he’s portrayed as a bit more goofy and sweet in a sense. He cares deeply for you as a friend and leader but he struggles with finding the words to describe how he feels. Hes kinda naive and gullible and has trouble noticing his surroundings. He has no clue what he’s doing but his heart is in the right place. I think he just comes off much more human and he has flaws, many many flaws, and that makes him all the more lovable

But then in other adaptations and spinoffs it’s like. They look at him through some hetero male bullshit filter and seem to view him as a lot more admirable and cool. Like in p3 dancing, theres literally an event where he’s talking with Junpei and Minato and they’re gushing about how perfect Akihiko is and how he doesn’t seem to have ANY flaws at all. And it becomes clear his inability to flirt with women just gets added as a way to make sure you, the Straight Male Player, don’t get insecure being next to such Perfection because at the end of the day, you’re still more charming and sexy than he will ever be because you’re better. It’s a “flaw” that’s only there to shield a sensitive male ego. And then in arena I mean, come on. He’s overly beefy and is a damn cop and travels the world and loves Protein™️ it’s his whole personality and he’s so clearly meant to be seen as hot but like, he’s just some shitty hetero male fantasy. Hes what the writers deem to be a Perfect Man that every guy wishes he could be, but don’t worry he’s still bad with women so you don’t gotta worry about him stealing your property- I mean, girlfriend!

And though I’ve not played reload and don’t really plan to anytime soon, judging from his social episodes they seem to have a similar problem. Akihiko comes off as a lot less approachable, like the year age gap is just too much of a barrier to get to know him properly. And he doesn’t have that dorky sweetness he has in portable, he’s just that perfect hetero male fantasy guy and don’t you fucking worry- he still has his protein powder with him

#persona #persona 3 #akihiko sanada #does this make sense like i feel like im going crazy cuz okay #akihiko isnt in my top 3 characters (shinji ken and fuuka lol) but hes teetering on the edge hes number 4!#i really loved him in portable i worked my ass off to get his social link i had him on my team the entire game #i found him really cute and endearing and hilarious but then like i played dancing #and er well i never got all his events cuz im bad at that game but i noticed that subtle difference #and then watching reload clips i felt it again i was like good god i hate this guy i wanna beat him up #which is so weird since hes one of my favorite characters so like what the hell is that #but i really think it is just this filter hes being presented with like when hes supposed to be a love interest #hes allowed to be more flawed and adorably pathetic and sensitive #like hes the one who wants to do the protecting but you end up protecting him you know?#so yeah this is what i mean when i say that if any straight person looks at akihiko sanada i will melt them with lasers #my mitsuru rant is a lot longer but its very similar just that ughh disgusting filter shes presented through I HATE IT I HATE IT SO MUCH #i think having kotone as the protagonist fixes most problems so i consider that the solution lol but i think Aki not getting a real social #link is a major disservice and creates that super annoying upperclassman divide that makes him unapproachable and idolized

27 notes · View notes

iyamaggies-blog · 2 months

Text

Paralysis

Some Sasori smut yall! I still haven’t finished shippuden but I’m much closer! I started writing this when I first started shippuden and just finished it now so sorry if it starts off stronger than it ends 😅

“You look pathetic.” Sasori sneered as he looked down at the woman before him. Your eyes met his, shimmering with defiance and unkept anticipation despite your vulnerable position. Kneeling on the floor in front of him you wear nothing but his akatsuki cloak open to reveal your naked front to him. “It’s beautiful.” He murmurs opening up the chamber on his abdomen and allowing the thick cable cord and stinger to slither out

“You think I’m beauti-ful?” You taunt, voice catching at the sensation of his cool metal stinger dragging against your wet cunt followed by thick taut cable.

“I think you’re mouthy.” He retorts as he continues to drag the thick cord between your sensitive folds. The cord begins coiling around your body applying firm pressure while coiling up your torso, trapping your arms, and inching up to gently constrict your neck until that impressive venomous stinger lingers outside your lips expectantly.

“Open” he commands. You hesitate, keeping your lips closed and attempting to tilt your head away slightly only to feel the pressure around your neck and torso tighten. Like prey caught by a deadly constrictor. “You don’t want to keep me waiting.” He reminds you. Sasori was infamous for his impatience…… You open your mouth and that formidable stinger pushes past your lips to press down on your tounge. Your panicked eyes dart up to his when sour liquid pours out of its tip, overflowing your mouth and dripping down your chin. “It won’t kill you.” He clarifies.

“Although this is exactly how I’d pose your

puppet. Capturing your filthy desperation forever.” He smirks. You begin to grind down on the coil between your legs desperately seeking frictions until he suddenly retracts his cord completely. The shock of the sudden loss has you tumbling on to your back, body suddenly feeling heavy. “Sasori…what’s..?” You attempt to question, but your words are clumsy and slurred.

“A special poison I made just for occasions like this. I don’t want your squirming to interfere with my work.” Smirking he kicks your legs further open and peers down from directly above you. He wastes little time attaching sturdy strings of chakra to your arms puppeteering your hands slowly down your chest to pull and tug at your own nipples. The progressively rougher attention causes you to gasp and pant. “Hush.” He manipulates a hand back to your face shoving your own fingers in your mouth to silence you while your other slides down your body to your pussy “let’s have a look at you.” He mumurs. His expert puppeteering has you spreading the lips of your sex, legs wide and knees bent, fully displaying yourself for him. The position is vulnerable and humiliating in a way that makes your whole body spark with arousal. His stare is lidded and unwavering while he towers over you in a heavy but comfortable silence. Laying there unable to move your limbs you bask in his undived attention. Sasori always had a way of making you feel special. Particular, picky and precise he is quick to change or adjust any preceived defects or flaws, but right now in this drawn out moment he stands there unmoving looking at you in pure adoration. A small

smile tugs his features before he briefly abandons you. Stepping over you and out of your range of vision. You can hear rustling at his workbench before his footsteps

return. Chakra strings removed, but unable to fight off the poison’s paralysis, your body remains frozen just how he left you. He now stands at your shoulders, directly above you. Gaze towards the ceiling you make eye contact with the lenses of a camera as he begins snapping photos. After one or two clicks of the camera he walks back around to stand between your thighs. A couple more photos before he kneels down and begins adjusting you. He pulls your now drool soaked fingers out of your mouth, a trail of spit follows coating the outside of your mouth as he lays your hand gently beside your head. he snaps another photo, a portrait of your face, before gently wiping your lips clean with his fingers. He leans in and gives you a chaste kiss but remains hovering above you while his fingers gently caress your jaw line. The two of you stay like that for a moment, his mouth inches from yours when he whispers “You’re so beautiful like this…”

He pulls away to shift his attentions downwards. Sitting between your thighs he gently sets the camera down. Pulling a small bottle of lube from his pocket he generously pours the contents over your spread cunt. Not that you need it with how drenched you feel. You hiss at how cold it feels against your flushed skin.

His fingers spread the lube around the outside of your cunt before pushing the tips of his two fingers just past your entrance. He slides his fingers in and out of you just up to his second knuckle, the pleasure

Is instant and electrifying but you want more you need more! Your body still feels heavy but you manage the slightest buck of your hips making him chuckle. He continues his teasing ministrations as he speaks. “Desperate thing aren’t you? Your body stricken with paralysis but you still find the strength to beg for my touch.” He plunges his fingers deep inside of you in slow calculated thrusts his other hand lays on top yours as you keep yourself spread and he uses his thumb to play with your clit. You cry out at the onslaught of pleasure but his eyes stay glued to his work. His thumb draws quick tight circles over you clit while each purposeful stroke of his fingers brushes against that sweet spot inside of you. All you can do is lay there and mewl while Sasoris expert fingers push you closer and closer to ecstasy. Sasori was generous with your pleasure. As a man who valued efficiency he reveled in how quickly and thoroughly he could break you. You cry loudly as your orgasm hits you. Sasori doesn’t give you a moment before he’s moving you again, knocking your hand away from your spread sex and sliding your one leg onto his shoulder as he leans forward to hover over you. Both of your arms lay limp beside your head as you gasp and whimper from the excitement. “Be quiet your disturbing my work!” He barks at you with a harsh smack to your thigh.

You hear a wet squelch when his fingers reenter you. His pace is much faster this time. Truly bullying you onto the edge of another fast approaching release.

You wail and squirm around his fingers when your pleasure finally peaks. Your movement weak and subdued as you soak his hand. He repositions you much gentler this time turning you to lay face down on the ground and lifting your lower half to stand propped on your knees. He tosses the end of the cloak over your hips to keep you exposed and lingers behind you for just a moment. Softly stroking your skin he gently spreads your ass cheeks apart to examine the mess he’s made of you before standing. It’s hard to see what he’s doing with the way your face is pressed against the floor but then you hear the familiar sound of his camera

Click

“Moments like this will be different when I finally get to turn you. Your puppet body won’t be as sensitive. But we can always look back at these together”

Click

“the perfect image of this intament moment forever.”

Click

“Everlasting beauty.”

#sasori #Sasori smut #akatsuki smut #akatsuki Sasori #sasori of the red sand #Sasori fanfic #Sasori fanfiction #sasori x reader #Sasori x you #naruto shippuden #akatsuki #akatsuki fanfiction

24 notes · View notes

vanessakirbyfans · 3 years

Link

There’s a singular vision that director Kornél Mundruczó had in constructing “Pieces of a Woman,” and he had the full trust of his actors, particularly Vanessa Kirby and Ellen Burstyn. The film had its world premiere at the Venice International Film Festival where Kirby won the Volpi Cup for best actress. Just ahead of its Venice bow, Oscar-winner Martin Scorsese joined the film as an executive producer.

The phrase “it’s difficult to watch” is often spoken in various cinephile circles when referring to dour, less-than-pleasant movie experiences. I can recall having those same conversations around films like “Requiem for a Dream” and “Son of Saul.” Similar words have been uttered about Mundruczó’s portrait of loss and grief.

The role of Martha, a woman whose home birth ends in an unfathomable tragedy, demanded a lot of the 32-year-old Kirby. She’s received rave reviews for her performance, planting herself near the forefront of this year’s best actress race.

Burstyn has been a staple of the cinematic industry for more than five decades. She’s managed six Oscar nominations over her career, winning best actress for Scorsese’s “Alice Doesn’t Live Here Anymore” from 1974. Her passion and vigor for her craft is as clear as any thespian working today. When discussing her character Elizabeth, and her daughter Martha, who is a third-generation Holocaust survivor, drawn from screenwriter Kata Wéber’s own family experience, she becomes visibly emotional.

“Pieces of a Woman” marks the English-language debut for Mundruczó, who gained a passionate following with his breakout film “White God.”

On Thursday evening, in collaboration with the American Film Institute, Netflix will be hosting a screening with industry professionals, critics, journalists and Academy members.

Variety sat down with both Kirby and Burstyn prior to the screening.

You have had an incredible career, and are still working consistently. Do you have a method to choosing roles at this point in your profession?

Ellen Burstyn: Whenever I’m asked a question like that, I have the impression that people feel I get a million offers and I pick my favorite and that’s not quite true. I don’t have to turn down many films. If I like the director, writers and the actors, I’m prone to take it because in fact, there aren’t many roles written for a woman of my age. So when I get one, I’m usually very happy to get it.

In this case, I saw “White God,” Kornel’s film, and I adored that film. And I have seen Vanessa [Kirby] play Princess Margaret [on “The Crown”] and I don’t watch television very much. When I saw Vanessa, I went “who’s that?” I could see right away she was a special, really accomplished, talented actress. Unusually talented. I was very impressed with her. So when I have a filmmaker I like, a script I like, and an actress like Vanessa where I get to play her mother. It’s a win-win-win situation. That doesn’t happen very often. The roles that are written for a woman my age aren’t plentiful.

This role demands a lot of you, not just as an actress, but as a human. Can you talk about your experience filming?

Vanessa Kirby: Well, firstly, Ellen is one of my heroes. I was so excited that she agreed to do it. She’s always had this trailblazing fire in all of her performances. I so looked up to that, like Gena Rowlands, the same kind of dynamism. I’m so happy to have her in my life now and she’s someone I love very deeply.

How demanding it was on paper, and the idea of knowing that I would need to understand, and go into the psychology of that level of grief, while trying to honor all of the women that I spoke to, and that went through similar things, it felt like a responsibility. I’m always looking for something that scares me and that is seemingly insurmountable, and that alone was the birth because I haven’t given birth myself. I knew I owed to women to try to portray as true-to-life as possible. I was very lucky to watch someone do it for real, which helped me incomparably and I wouldn’t have known how to do it without her giving me the gift of allowing me to be there with her.

The 23-minute one-shot sequence of you giving birth is incredible. How many takes did you do and can you talk about that experience?

Kirby: The actual filming of it was just exhilarating. It was the best film experience of my life. We did four takes the first day and two the second day. I think Kornel used the fourth one. It was like doing a play. Shia is also a real theater animal, so is Ellen, and we all understood what it would require. It was exciting setting up, preparing and then launching into it freefall. And then at the end, to slowly missing word? Out of it – taking a long time to come out of it – and then reset everything. We would blast music around the house and dance around the house just to clear what had happened. By the end of it, your psyche does know any different and you feel like you actually went through this.

Your character is deeply flawed but with a lot of love for her daughter. Did you draw on anything from your own life as screenwriter Kata Weber did?

Burstyn: I always draw from personal experiences. It’s just part of what we do. I don’t know how to not do that. She’s a funny type of character [Elizabeth]. The story Kata wrote about how she was born, with the Holocaust aspect of the film, is from Kata’s family. The idea of being held upside down by your feet and the doctor saying that if she picks up her head, she’ll survive. That’s such a…deeply moving concept how one comes into the world. With the will to live, despite the frail condition of the body. It’s so moving to me. It explains so much about her character and her drive forward. That wonderful introduction of the character that Kata wrote. It’s kind of a pathetic version of whatever it is, make it better, go for it, do it. Don’t be satisfied with blandness. I think she’s a very strong character despite her limitations. She’s not in tune with her daughter but sometimes mothers aren’t.

Talk about Kornel’s vision of the film and how it compares to other directors you have worked with in the past.

Kirby: I knew that the film would be special. I always feel like his movies have a lot of soul and I love movies that have lots of soul. I knew that this was a personal story for Kornel and Kata. He had such a clear vision, and it’s so relaxing when someone has it. He had such a burning vision of Martha and needing that story to be told. It’s not about the loss of a baby, it’s more of a character study of someone that this happens to. How someone reacts to trauma and how individual grief is and he allowed me to really shape that. I felt a lot of respect and trust because of that. It was really profound collaboration.

Burstyn: I just feel his sense of sensitivity and is such a dear human being. Kind and a visionary. I felt like he allowed me to give what I had to give. I never felt interfered with. Sometimes directors come up with an idea and they say “maybe she does xyz” and you say “what?” I deeply fond of him.

If nominated, Ellen Burstyn you will set a record as the oldest acting nominee ever at 88 years and 98 days old on nomination day. How does that feel?

Burstyn: That’s a wonderful thing. I actually have a strong desire to be the oldest person ever nominated. That’s an encouraging thing for me to say to the women of the world, keep on trucking, as long as you can. Don’t give up, don’t retire, don’t sit back and say “well I guess it’s over,” it’s not over, until you declare it’s over. I pray that I get to be that example.

Ann Roth, the costume designer for “Ma Rainey’s Black Bottom,” also a Netflix feature, who if she’s nominated, she will be oldest nominee, of any category, at 90.

Burstyn: I’m jealous.

How do you feel about the reviews you are receiving and the possibility of being in the awards conversation?

Kirby: The film felt so much bigger than any of us. This is a subject about neonatal death. The women I spoke that had stillbirths and multiple miscarriages and it’s still a subject that’s really hard to talk about. The fact that you’re saying this conversation is happening around this [film], that means so much to me. If that means that a few more people watch it or more conversations start happening, and that was everyone’s intention with it. The best moments of my working life was doing that birth. It’s hard to articulate. I’m unbelievably grateful and touched that it’s for this film. It’s my first lead role too and I knew I that was ready. I waited a long time. I watched other people do it and I absorbed everything and felt really ready.

Burstyn: Honey, you’re a glowing example of what a fine actress is. You studied well and you came up the right way on the stage, which as far as I’m concerned, everybody who ever wants to be an actress should learn what is on the stage. You’re an absolute glory as an actress, and as a person I might add.

I wish you were my mother.

Burstyn: I can’t tell you how many people say that to me. After “Alice Doesn’t Live Here Anymore,” I became some type of archetypal mother that people never had and wish they did.

“Pieces of a Woman” will stream on Netflix on Jan. 7.

#Vanessa Kirby #Pieces of a Woman #Ellen Burstyn #Interview #Articles

3 notes · View notes