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#mayhaps an anne version
boobchuy · 2 years
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anne, my anne
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applejongho · 2 days
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missus anne applejongho,
CONGRATS ON 2K !!!!! (basketball noises idk) anw i've been meaning to send a req for like a couple of weeks now but i keep forgeting 💀 i just wanted to see your version of like the colors trend with your favorite music video/s (as in a set where you have gifs with all the colors of the rainbow, am i making sense??) or !!! if not !!!!! can we mayhaps get a favorite jjongfit for every (or as many as you can lmao) era 🤔🤔
AAAAAAAAA THANK YOU FOR BEING THE PILAR OF JJONGTINYBLR (or jjongpoblr ??) 🫡🫡🫡🫡🫡 we would be nothing without you, o, anneathan dusk queen of darkness 🧎‍♂️🧎‍♀️🧎‍♂️🧎‍♀️🧎‍♂️🧎‍♀️🧎‍♂️🙏
- choco chip :^D
@hongssami
HELLO CHIP my beloved my silliest jester ive been laughing at this ask ever since u sent it in november. it's sooo good 😭 anneathan dusk queen of darkness bounces through my brain on the daily and finally i can release it to the world. as always i am just a servant and a lever for jongho and i do his bidding as he pleases
i chose the jjongfits bc brainrot 👍 dont worry about the fact that theres two leather jackets, or two long coats, or whatever that fit was in pirate king bc it's fire. or jjongbear. it's all necessary and needed in the set. lmk what u think of these Choices and if my taste is adequate and i am infinitely sorry for taking almost five months to do this request 🤡🫣
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genesisrose74 · 3 years
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omg go watch emma its so worth it. then theres pride and prejudice which is an all time favorite bc elizabeth bennet has that queen energy. other period or historical shows/movies id high suggest:
+ anne with an e (3 seasons)
+ little women (both versions are good, but the 90s one is easy to keep up with),
+ ophelia (the book is 100% so good and the movie is immaculate)
+ becoming jane
+ sense and sensibility (haven't watched the movie yet but read the book; love it a lot)
to be honest i seriously just love the idea of subtly in romance and it makes me seriously excited to write this fic. my only dilmma i have rn is if i should make it a full on period au or just base off the relationship part from the period drama onto the subjects in question. so much to figure it out 😩
ANNE WITH AN E IS A MASTERPIECE OF A SHOW I LOVE IT SO MUCH AMGNWLNF ANNE IS ME AND GILBERT IS SO CUTEEE
I’ve read a bit of Little Women and seen the most recent film version, but I’ll have to check out the 90s one too! And all the other recommendations sound very pog ☺️ I’ll have to make a list
Also just food for thought to suggest in your decision for what a fic setting should be: mayhaps a Timetraveler! Karl Jacobs edition of Tales of the SMP, or something like that ;) or an old timey Victorian era AU with the SMP members as prestigious elites?
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garbagequeer · 5 years
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@highschoolmusical2isunderrated replied to your post “now let's talk about how the social network (2010) is homophobic...”
please elaborate
i’ve only known this for like an hour so. there’s loose ends everywhere BUT.
Clive Durham? known asshole. Mark Zuckerberg? known asshole. like in the book I’m pretty sure there’s this part where someone tells Maurice that Clive tends to get tired of his new friends pretty quick, plus he really says a bunch of shit people don’t understand (namely Maurice cause he’s a dumbass but you know) and he’s like pretty intelligent (not a computer genius but it’s 1910 so you gotta settle for The Classics or whatever) AND he’s always saying some shit that hurts people’s feelings obviously (when he said that thing about how he was going to hate having kids the first time Maurice was at his house like. can you maybe NOT tell your boyfriend you ARE going to leave him for a straight marriage mayhaps?? no?? okay! AND before he went to greece when he got into bed w Maurice and then said it’s no better here like. ouch). Then tehre’s Mark’s entire first scene with Erica (what IS he even talking about? Why does he keep insulting her? Why won’t he talk about anything other than his final club shit? known asshole antics). OBVIOUSLY two self-absorbed smart men.
ALSO back to straight marriage, Clive has to marry to keep his social position, his house, etc. MARK’s straight marriage thing would be to prefer to keep facebook and the approval of Sean (who would be something like Clive’s mom here, like the representative of his position in the portion of society he wants to belong in) who he idolizes (as Clive seems to take his mother and his father’s will as an authority on how to live his life, even though he doesn’t like his mom, although by the end of the movie Mark doesn’t seem to like Sean either, because these are the things that have ruined their chances at true happiness). so like social status, careers, etc. at the price of true love. ALSO let’s mention they both hate women cause they sure do!
NOW remember how in Maurice (written in 1913 published in 1971 film adaptation 1987) Maurice and Clive used to spend a lot of time arguing about religious concepts Maurice ultimately didn’t understand but he just wanted what? CLIVE’S ATTENTION. remember how in the social network (2010) Eduardo just believes in Mark’s idea even though he doesn’t seem to know that much about computer shit? and how ultimately he’s not the right cfo because he actually didn’t get facebook or whatever? And how he froze the account because he had to get Marks attention? dumbass gay people in love that’s what all of that was
And another thing is the expectations Mark and Clive seem to have towards Eduardo and Maurice, who are somehow supposed to make things better without any proper communication about what’s going on (Mark tells Eduardo he needs him, Eduardo still doesn’t magically know how to make things better so they fuck each other over / Clive has some obvious issues that show on the second and third parts of the book, which are never properly acknowledged, but he expects that on a night when he feels miserable lying next to Maurice will somehow make it go away, he falls out of love when it doesn’t). STUPID gay people who won’t talk about their issues. that’s what that is
on the other hand, Maurice and Eduardo never seem to properly fix those things and bring light to them or they just don’t know how, because they trust the relationship to be strong i guess, and they just. don’t know, cause life’s hard. here Maurice gets the letter Clive sends from greece and is convinced they can find a way to solve that he thinks he doesn’t love him or even like men anymore and he seems so patient about that until the moment Clive makes it clear it’s over, then he loses his shit. Eduardo drops everything and comes back to california after mark calls and says he needs him even though a second ago he was freezing accounts and putting out literal fires, and it’s only when it’s clear mark fucked him over that he loses his shit and smashes a laptop since his prada was at the cleaners along with his asshole hoodie and his fuck you flip flops. And hey, “what an ending” / “I was your only friend” same energy, and they both are in tears as they say that
OH also. what exists!! icons!! you better lawyer up asshole! I’m coming back for everything!! are you still wired in!!!! and Maurice’s calmer but incredible last conversation with Clive like attend to your own happiness I’m fucking your gamekeeper!! i cant hang my life on a little bit!!! you have been a shitty friend all year!!! it’s all very making clear any friendship there is over and they’d pee all over it too if they could. how Maurice tells Clive he spends five minutes with him between Anne and his career, how mark is so caught up in facebook and Sean. OH, OH. how Maurice tells Clive he won’t even see him all year but he lets him into his house and tries to get him to marry cause that gets rid of him... like mark was in california and Eduardo was in NY and they didn’t really spend any time together but they still had facebook together... and then they try to get rid of each other with a lawsuit instead of a marriage and i don’t know if this makes any sense outside of my head.
Also this is the dumbest thing yet, but! Mark wants Eduardo to come stay in california, Eduardo wants to stay in ny, do what he’s supposed to do with his career the way he’s supposed to do it AND influenced by his family. Maurice wants Alec to stay in England instead of going to Argentina for work and also influenced by his family. Both Alec and Eduardo are faced with the choice of stepping out of the line to make it work with someone they love. is love an emotion through which you can sometimes enjoy yourself or can it do things?
And then of course the reason i decided these two things are the same thing: the last scene. Clive at home with Anne, he’s kept all he has said he wanted to keep since the first time Maurice was at his house, he has politics and he has his status and his house. mark has facebook and is rich enough to get the guillotine and has changed social networking or whatever the fuck (i wouldn’t know cause i never had a facebook, which is a fictional website made up for the movie the social network (2010) dir. david fincher). However, mark’s trying to get Erica to accept his friend request, Clive’s thinking of Maurice at cambridge, they both want something they had back and aren’t happy. ALSO how Clive wants to keep his status and the symbol for this social status throughout the book is his house, and said house is kinda falling apart (because it’s like 1912 and the rural bourgeois in england are going down or whatever, but maybe also cause class status means shit when you wanna love and be loved and you’re gay in 1912 england), and facebook is basically getting sued the whole movie, it’s a lot of trouble and the movie never focusses on how exactly facebook has been so revolutionary and great, it’s about how it’s a lot of trouble and mark has fucked up, it’s literally a story told through mark getting sued.
And then there’s the reason the social network (2010) is the homophobic version. in Maurice, Maurice finds happiness and he’s with Alec and they love each other and it’s what he wanted. the key fact about the social network though?
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Eduardo did, in fact, not come out. as everyone in tsn is supposed to not be knowingly in love with their best friend they never get to find the thing that makes it all work out and makes shit worth it, which is love and friendship and understanding and submitting to the mortifying ordeal of being known (like, even Clive tries to submit to that and says a buch on incredibly tender shit in Maurice, come on), so they get hellbent on being right and suing each other. gay love does NOT save the day in aaron sorkin’s the social network (2010) :^(
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Tel Aviv 2019: Straight outta United Kingdom to Eurovision with a blatantly non-blatant Melodifestivalen reject
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Yes, obviously, Eurovision: You Decide might as well be the safest NF to ever exist. We get that you don’t want to even try, the UK, but can you please act like you’re not in Big 5 for a year and ATTEMPT to try your hardest with the song??? I doubt that, despite SuRie’s bubbliness, “Storm” would’ve pulled numbers if it were in semi, unless the anti-neo-Nazi stage invader were to butt-in there and people would then send sympathy televotes the Brits’ way or something. Unsatisfying. (The man, that is.)
And so we have gotten another safe as ever British entry this year, performed by an excited personality that got a side-dish song and now is tasked to sell the side-dish as greatly as he’s possibly able to - the first season of All Together Now winner, Michael Rice! The dish is “Bigger than Us” and I’m neither glad nor sad the song has not enough factor to eat up Michael as a whole if it’s that much BIGGER. Not even the fact that it’s a Melodifestivalen reject (yes, the title IS correct, one of the song’s co-writers, whom I’ll name later, has possibly said it at some point, and he couldn’t keep it to himself anymore so he sent it over to another country!) could help this poor number out.
If you strip the singer off, you just get a stereotypical Eurovision-y ballad you overhear when scavenging through foreign NF catalogues, wondering which kind of rent-a-songwriter-program person contributed to it. Well John Lundvik (yes THAT one) doesn’t sound like THAT kind of name you’d hear when you think of songwriters of such shtick but Laurell Barker is, so there you go. These are just the two masterminds behind this one, as there are more but icr their names and honestly idc to.
And there’s nothing wrong about these typical ESC NF shlocks. Only when you’re young and dumb enough to enjoy these kind of songs, but I had to unfortunately grow up and see just how “useful” they are... n’t. I mean, it’s great for the artists whose big dream is to taste Eurovision and NOT as a backing singer, but most of the time the singers that get these songs can’t even slightly relate to what they sing, and thus we get people like Bishara entering Melodifestivalen and Isaiah entering Eurovision.
Maybe Michael did get to experience the kind of love that’s BIGGER than him and his partner, idk. I certainly don't want to bother asking him. And frankly, it's only me overthinking this issue, because ain't nobody in the world really got time for that, definitely. Well, at least the relationship’s going on nice! (except for when Mike sings “‘cause I can heare the universe when I’m feeling you breathe”... spooky. o.I)
Anyway, time to get to talk more about the song. It's actually not THAT bad, just a little too typical and unextraordinary, where in the current times the Eurovision has to not be predictable in sound and to excite the viewer with... well, anything that can excite anyone. Be it the visuals OR the song. OR both. What's so special about "Bigger than Us" that can keep the viewer on toes? Probably just that keychange. I wish there were more things about it but not every commentator out there would have enough time to let them people know Michael works in a waffle shop, let alone the time that "HE WON A TALENT SHOW'S FIRST SEASON BUT THE SHOW ISN'T THE X FACTOR OR THE VOICE ZOMFG!!". Let alone people even listen to any Eurovision commenting these days, lol. It might be a charming little piece for some people though, but I don't see them voting for people selling their songs vocally much more than songs that draw in viewers with different ways. It's just a standart talent show winner song for a standart talent show winner that sounds like it's slightly too stuck in the mid-to-late-00s-early-10s rather than the 90s, which is warm and cool and all, but it's likely gonna not do the cool lad Michael the justice he'd need, just like SuRie's song for SuRie. Mayhaps a top 20-ish, or, in Lucie's case, even a top 15, is possible (although it's mostly thanks to the juries - they're the only ones eating up big voice ballads. And anything Maltese. And anything Australian. And anything Swedish... that only represents Sweden. Sorry Lukas Meijer), but when the British optimism levels are set in a deep deep ditch by default every year when the BBC comes with their platter of choices for EYD, what else could be there to raise them up after even Lucie hasn't done that amazing enough for everyone to believe that the UK are capable more than just always finishing last with 0 every year? Of course, a better than average song, but does BBC care about even pulling one out of a songwriting camp? These kind of songs are too shite for their taste, apparently, so with songs they send like these, it's probably yet another meander-er.
Which is a shame, because once again, it's not bad. It's just too plain Jane for Eurovision anymore. It's like everyone dressed up gorgeously for Miss Universe's National Costume event and you went with a cheap-ish designer dress that is decorated by small details that are notoriously known as the country's symbols just to count as something "national". It's like everyone brough their best baked (and dare I say extreme) dish to a dish competition and you only brought in a nice looking baked cod and circled the fries around it. It's like a prom night where everyone dresses casually and you come up all in a dull olive colored jacket and jeans with torn out knees. There might be something hidden in its niceness that can conquer (nice piano, nice chords, nice vocals, nice chorus, nice song formula, nice choir, nice keychange, nice message)... but with everything too nice, it just feels like that the UK are not feeling like getting a 'nice' result. Unless there's something that can make Michael do a 'male Lucie' and launch it around the 14th-19th place at best, but...
And here's the section where I repeat myself some more of what I think of the song as a whole and chances as a whole:
Approval factor: Eh I'll probably have to approve this but only reluctantly somewhat, maybe because I felt positive on the first listen unlike these people who wanted UK to dare to do something else than safe... yeah lol
Follow-up factor: It’s rather marginably favourable song than SuRie’s and only because I like it despite its ‘blandness’. “Storm” is just a song that I don’t really care about. Provided Michael gives all out personality-wise though and the revamp’s not gonna suck balls (if there’s one), this is a decent step in a decent direction for the UK... hope Michael’s not getting stage-invaded by anti-Israel people!
Big 5 factor: Thanks to all this pre-partying kicking in heavily as I put out these reviews (and actually having finished), it turns out that Michael is one of those people that clearly works his hardest to sell this typical British averageness (like he sells his waffles), with his live being so decent enough he was thought of to be a perfect EYD winner this year, so, if he keeps building up his vocal strenghts and rehearses a lot (and stays well and such), he’s actually likely to at least achieve something above bottom 7! Yes, yes, John Lundvik is still the master that will beat his pupil in the end, but that wouldn’t seem that excruciating for the UK anymore if they happen to have a place that’s not bottom 3 or anything. Just for the Michael to do his utmost best out there, and if he does, the UK won’t be in an extremely bad position this year - just not a very high reacher, because at the end of the day there are more nations that run straight with their A-game and therefore continue leaving the common-appealers in the dust. Only Sweden (and Australia until 2018 or so) usually excels at their safeness. The others must outstand to survive. And to wrap things up on this factor section, imo the UK just meanders in the safeness for another year - but at least the good enough safeness that might even be able to qualify if it were sent by a semifinalist country! (apart Sweden ffs, of course Mr. Lundvik would qualify with this one if he kept it to himself, jeez)
NATIONAL FINAL BONUS
Thankfully EYD didn’t really stink this year, because of certain key factors:
• There’s always this one or two act(s) that acts like a saviour each year. Bianca and Dulcima (or Darline idk) from 2016, Holly and Salena from 2017, Asanda (and maybe Jaz? or even Raya??) from 2018 and... ponder no more, Kerrie-Anne’s got you covered in that spot! Her version of the two one’s of “Sweet Lies” was arguably the greatest possible choice for the NF (or, in this case, the “very least bad”, and eventhough it’s incredibly reminiscent of Sigala’s “Sweet Lovin’” (vocals provided by Bryn Christopher, who - controversial opinion - is probably my fave male singer of all time), which makes it “dated” (to a 2012-2014 pop radio degree, yes), it still was a bop that I’d want to dance to in rollerskates (if I had any!!) and spray the colourful smoke things that... well idk what it is but the said video of “Sweet Lovin’” demonstrates the action. Get back to me to let me know what’s that, anyone reading this. K-A lowkey underperformed though (just like Asanda from last year) but the bop remained AND she was rightfully included in the British televote’s superfinal trio! ^^
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• The hosts were, yet again, the ever-so-loveable comedienne of Lithuanian roots, Mel Giedroyc, and the witty-ass Eurovision 2015 winner Måns Zelmerlöw. The duo is charming as usual and delightful to see on the Beebs when there’s the Eurovision case. If I didn’t know him better I’d even say Måns is a native English speaker. When there’s at least the drought of the ever-so-good entries in an EYD, we can look back at the hosts provided us some entertainment we’ve probably been missing while trying to find some on those competing entries. My favourite moment throughout that evening was the “next up is” jokes, all randomly stringed together, all in one row - all of those “next ups” were so hilariously random (until one hit the point - I think it was something about adverts or another performance being next up).
• The postcards were lovely too. With the format of EYD upgraded to make it as a three-song duel between two different versions of each one and the juries deciding on the best one for each (one vote per version), we got to see some nice friendships over there (I mean, a postcard for two people who did duel over whose version is the best - they had to listen and compliment each others’ versions) and some nice things the artists said themselves on separate postcards. Like the time when the only band of the competition of the year’s, MAID, named Buranovskiye Babushki as one of their girlband idols (a ‘so random yet glorious‘ answer) and the victorious Michael confessing that he’s “never been to Tel(iv) Aviv”... that’s true Michael, I believe ya. You’ve so never been there that ou struggle to even say it right! Not to mention that the postcard setups were cozy, too.
• Can we all just kind of agree that at least the jury for EYD made THE BEST CHOICES POSSIBLE??? I mean, yeah, it’s a biT cruel they’re the ones to choose the superfinalists without the audience’s interference, but they still made the best choices possible, at least imo. Anisa’s “Sweet Lies” was a godawfully dreary sex slow-jam (no really, I can’t not imagine a scenario where you can’t use it anywhere other than a sex scene in a movie, or a steamy hot shower scene. Call me crazy-minded but it’s true), MAID’s “Freaks” was godawfully too creepy, strange and unbearable, and Holly Tandy’s “Bigger than Us”... well... while much more chill and way less overbearing (also with not enough “BIGGER” memes potential), it would have probably not stood out all that much - just written off as a Kygo remix rented for a cheap price of half a pound (but still co-written by John Lundvik though!!). So thanks to Rylan and the other two for picking the superfinalists reasonably, unlike A Dal jurors this year. It still wrenches my gut whenever I think about it, ugh.
• What even would be an appearance of Måns if he didn't try to remind y'all of his enthusiasm for Eurovision. No one really cares he won Eurovision 4 years ago, if anything, I dread that he's only being remembered as the "male singer guy of Love Love Peace Peace song" by the newer fans. At least Pepperidge Farm I remember how Måns really wanted to get to Eurovision (even if he didn't participate in that many Melodifestivalen editions). So in this year's EYD he went all out to be a part of the Eurovision best (British?) songs medley (and we got Katrina and the Waves later in the show, performing the nation's last winning hit, 22 years later... and that wasn't even a fully British-branded win, if yanno what I mean!), and it's all courtesy of the Melodifestivalen's best known scriptwriter and an occasional Eurovision commentator (and Melodifestivalen's narrator too), Edward af Sillén. Or at least I remember it being written that he has written some stuff for Måns to do in EYD, IDK. Eitherway, it was kind of a fun thing, the interlude. Just remembering all the nice Eurovision entries out there, even including Gina G (whose ESC entry was also sung by another person in another NF whose review will be up next I suppose!).
• Heyyyyy, wasn’t it all kinds of nice to see SuRie doing an interval act and a reprise of her own run-of-the-mill entry “Storm”? I applaud her of doing a tremendous piano rendition of it, with even singing some notes a little higher than in the actual song. Maybe THAT version could have done so much better in Lisbon - showing off SuRie’s vocal decency, intimacy and... idk about the intruder part, hopefully he’d have had no way to wrestle the mic out of SuRie’s hands that time. At least SuRie had just enough support from Eurofans to be wanted to represent the UK one more year in a row, with a special EYD designed for her, where the songs could be mostly composed by her and not by the useless songwriting camp. While it’s a nice idea for some British and non-British people to get to know each other on these camps, the end results barely end up satisfying because the artists barely get involved in the songs they’re singing - not even a song line, not even a hum of contribution! Why can’t you at least take examples from German songwriting camps... (except for the time “Sister” was invented, that one could have been a perfect contribution for an EYD (not necessarily in this year’s format but still)
All in all, this may seem like an improvement of things, but I still am really hoping that BBC will give into a decent internal selection... afterall there are good names that are down to do Eurovision and didn’t even say it will harm their ‘reputation’ (*cough* Paloma Faith *cough* Hurts), and yet BBC refuses them somehow, not thinking that Eurovision is more than just a SONG contest (while ironically not even having their songs sounding THAT ‘great’, oops)? Or at least reformat EYD big time and make it exciting a la Australia Decides is (you know you suck when even your colony does better NFs than you). For now, I’ll just grit my teeth and nicely wish Michael Rice all the best in Tel(iv) Aviv. You’ll need it, chap! And in secret I hope that you’ll get it xx
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neveralarch · 7 years
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Yuletide reveals
Because the time to do these is after midnight several days late, right? 
Catch You When You Drop (6211 words) for perdiccas
Fandom: Rivers of London - Ben Aaronovitch Rating: General Audiences Characters: Beverley Brook, Oxley (Rivers of London) Summary: Draft message to Peter Grant look maybe i dont want to find myself in the country maybe i wanted to stay comfortable and happy in london maybe i wanted to keep fighting with the thames boys maybe it was kind of fun I wrote 11 total fics and you can read all of my thoughts about them on my DW. But here’s the short version!  (Also please give me Yuletide recs if you have any - I'm too overwhelmed to go diving, but I do love Yuletide and Yuletide fics and I want to read more than the three I've done so far.)
Victorian Office Furniture and Velvet Lace (503 words) for Quasar Rivers of London - Ben Aaronovitch, gen Summary: Varvara Sidorovna won't watch rugby and Molly's banned the Great British Bake Off, so Nightingale has to find a compromise.
The Perfect Crime (276 words) for underwooding Riveyonce Cuoknowles, gen Summary: Aubrey and Sufjan roleplaying again, because sometimes you need fluff.
In Good Days and Bad (2443 words) for Llwyden Johannes Cabal - Jonathan L. Howard; gen Summary: Johannes Cabal and Zarenyia get married. For immigration purposes.
Every Year Again (1842 words) for autumndynasty Johannes Cabal - Jonathan L. Howard, gen Summary: The Cabal Brothers Do Christmas, much to Johannes' disgust.
The Goat Shed (1041 words) for wnnbdarklord Thor (Movies), Discworld - Terry Pratchett, gen Summary: Loki woke with his head aching and his back uncomfortably cushioned by shards of splintered wood. If that wasn't enough, there was something trying to eat his hair.
(This is the fic where Loki recuperates at Granny Weatherwax’s cottage after the first Thor movie.)
Give an Inch (497 words) for Rosencrantz Discworld - Terry Pratchett, gen Summary: Queen Keli meets someone very useful.
(This is the Mort/Pyramids crossover.)
Life On Line (1082 words) for mayhap Baseball RPF, gen Summary: Salvy visits Lolo in the off-season. Lorenzo wishes he'd stop calling him that.
(Salvador Perez and Lorenzo Cain Being Friends)
Let Go of Everything (431 words) for Anndy Punic Wars RPF, gen  Summary: Hannibal and his elephants in the snow.
Tea and Trauma (490 words) for Shycraft Matthew Swift Series - Kate Griffin, gen Summary: Sharon, Rhys, and Matthew (the recently reunited Midnight Mayor) take a short break to recover. And drink tea.
Fact-Finding (557 words) for tonepoem Imperial Radch Series - Ann Leckie, explicit (sex comedy) Summary: Zeiat is determined to find out how humans reproduce. Sphene doesn't really help.
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