but this film was not what i expected

Mudbound dir. Dee Rees (2017)

What a rare and wonderful feeling it is to see a film that you’ve been anticipating for months and have it not only live up to your expectations, but surpass them. This was the spirit in which I watched Dee Rees’s Mudbound, a an emotionally rich, visually sumptuous American epic. 

The movie is based on a novel by Hillary Jordan that I found frankly disappointing, but whereas Jordan’s novel shortchanged her black characters, screenwriters Virgil Williams and Dee Rees expand their point of view to make them full-fledged human beings with desires and lives of their own. 

Spanning roughly a decade, the film follows two families living in Mississippi pre-, peri-, and post WWII. The McAllans are a white collar middle-class family descended from plantation owners. The Jacksons are upwardly mobile tenant farmers descended from slaves. Their lives intersect when Henry McAllan (Jason Clarke) buys the farm that the Jacksons work on and uproots his refined city wife (Carey Mulligan), their two children, and his widowed father to the dirty broken-down farmhouse on the land. For Henry, the land is something he’s entitled to, replacement for the legacy he was cheated out of when his father sold the plantation that his grandfather once owned along with the slaves who worked it. For the Jacksons their connection with the land is a connection with their history and themselves. Walking in the fields he toils Hap Jackson (Rob Morgan), the family patriarch, muses on the fact that his family has lived and worked and died there for generations. They may no longer be slaves, but Hap knows that his family’s present and future is incredibly fragile and that any ill wind, including the whims of powerful white men, could set his family back for years or for life.  

I suppose, given the subject matter, the film could have easily come across as didactic or heavy handed, but Rees is a filmmaker of insight and imagination and under her direction Mudbound becomes an ode to family, friendship, legacy and love. It is a slow-winding piece and while I’ve seen some describe it as the unlikely friendship between two WWII veterans, one black and one white, to me Mudbound is very much about what it is in its first half, the struggle of two opposing families who want to establish their legacies and secure their futures.   

While a lot of praise must be given to director/co-writer Rees, she is matched every step of the way by some truly stellar collaborators, from her cast (not a weak link among the principle seven, and though I’m sure everyone will have their individual favourites, Rob Morgan, as the Jackson family patriarch, was mine), the cinematography which is lush, sweeping and impartial, capturing violence and beauty with the same steady gaze, and the score which is chillingly good and helps imbue the film with a nauseating tension that only dissipates in the final frames.  

What Rees has created here is a masterwork that is richly textured and incredible to watch and one I can’t wait to revisit again and again.   

I just came back from seeing Coco…THE BEST ANIMATED FILM OF THE YEAR! 

Now I mean what I say, because I have not seen many animated films this year, not even the previous Pixar film Cars 3, because I have not seen the first two films and I never really wanted to see them. But Coco certainly went beyond my expectations for a new Pixar film, especially since this a new film based on an original story rather than a sequel in a franchise. Not only did I enjoy it because of its unique storyline, which I love for many Pixar films, but because I liked learning about Día de los Muertos and Mexican culture.

Now I do not want to give serious spoilers to my followers on here if they have yet to see it, but I will admit that this film has a serious plot twist that involves the main antagonist. And this film seems to follows in the footsteps of previous Disney animated films over the past five years by having a surprise villain, which may be the very first for a Pixar animated feature.

I’m going on about Coco that I almost forgot to mention Olaf’s Frozen Adventure…which I also loved! Much like when I first saw Frozen Fever, I enjoyed seeing the Frozen characters so much in this new film that I was disappointed that its running time went so fast and before I knew it, it was all over. But that doesn’t mean that I won’t get to see it again before it leaves the theaters, and I know I will, and even to see Coco!

So go see both Olaf’s Frozen Adventure AND Coco when you have the chance! I promise, you will not regret it! Also, if you haven’t yet, please take a look at the new gif set I made today to commemorate the release date of Olaf’s Frozen Adventure!

Candice King Talks Joseph Morgan Reunion on ‘The Originals’: ‘Klaroline Fans Will Be Very Happy’

Klaroline fans, rejoice! As Us Weekly previously reported, Candice King is set to appear on the season 5 premiere of The Originals, but it sounds like her appearance may be longer and juicier than expected.

“They’re still filming, and I may or may not be heading to Atlanta one more time,” King told Us exclusively at the Pediatric Aids Foundation’s A Time for Heroes 28th Annual Festival on Sunday, October 29. “So I’m just as much in the dark as all the fans are. It’s been really fun to continue that storyline, knowing how much it meant to everyone that watched the show.”

While she did play coy on what Caroline does on the show, she gave a little teaser. “I can say that I worked a lot with Joseph Morgan,” the 30-year-old actress said. “The Klaroline fans will be very happy.”

Klaus and Caroline fans got their first look at the reunion when King shared a photo with Morgan last month. “Had fun playing with this hooligan over the past couple of days,” she captioned the Instagram photo on September 27. “Thanks for having me Originals! #onefortheKlarolineShippers”

Caroline has had quite the history with the Mikaelson family, especially Klaus. Druing the series finale of The Vampire Diaries, Caroline and Alaric opened a school for gifted children, thanks to a huge donation — $3 million huge — from Klaus. Then, in the season 4 finale of The Originals, Klaus’ daughter Hope was attending said school.

Klaroline fans will never forget the line Klaus once said to Caroline when she was with Tyler: “Tyler was your first love, I intend to be your last.”

The Originals returns to The CW with its final season in 2018.

Read the entire article here.

Things I think about at 2:35am apparently -

The original High School Musical is the most consistent in terms of plot, characters, and story structure.

High School Musical 2 is the most fun to watch with the best overall soundtrack (even if its existence adds nothing to the overall trilogy).

High School Musical 3 is the most polished with the best production design and the best choreography of the trilogy thanks to a better budget.

All 3 films have their strengths and weaknesses, and honestly??? What an iconic trilogy???? Also, all 3 films pass the Bechdel test and have a diverse cast. Lord of the Rings who?????

One Thing (Among Many) That I Really Appreciated About Wonder Woman

I was ready to go into Wonder Woman, fully expecting Steve Trevor’s story Arc to be “I’m sexist, and by the end of the film Diana will prove me wrong, but until then I’ll be a smarmy jerk boy.”  I was waiting for a “Woman can’t do X” joke or Steve being incredulous at her abilities and having it be played for laughs.  I was waiting for it, to clench my teeth and get through it.


becuase from the moment Steve “Ride or Die” Trevor washes up on Amazon Island of Buff Chicks he is 100% there for Diana.  He treats her as an equal, is supportive of her power, follows her into battle, and is only critical of her when he’s concerned for her safety, and even then does what he can to help her push forward anyway.  I wasn’t expecting to leave the theater having a lot of feelings about Steve Trevor but HOOOOO DOGGY. 

Like Steve is such a breath of fresh air.  After sitting through film after film of of stubborn, borish, snarky, sarcastic men that we’re supposed to revere as heroes, I’m so so thankful that we get Steve Trevor, who is a warrior who believes in the best of people, who willingly embraces vulnerability and the Lasso of Truth, who believes in self-sacrifice and that human beings are inherently good, who above all believes in, supports, relies on, follows, and loves Wonder Woman. 



Everyone is really excited—but at the same time, there’s an audience of people who are waiting and expecting Season Two to live up to the first season. But pressure’s also good, you know? When you’re backed into a corner, you’re forced to sink or swim, and I think people will like what we came up with. The new people we brought into the mix are some unbelievably talented actors. Paul Resier, Brett Gelman, Sean Astin… you list those people’s names, and you think about the films, and experience, and all the things they’ve worked on. I was sitting next to Sean Astin at the table read, and I was like, “I can’t believe I’m sitting next to Rudy.” It’s the craziest thing. - Joe Keery for GQ 

I’m seeing comments and posts about Tom Holland’s Spider-Man being too weak and unreliable, but that’s the whole point of Homecoming? Peter is new to the whole superhero business but y’all expect this fifteen year old to be a full fledged Avenger in his first movie? I loved seeing him run into fences, watching him make a fool of himself, and crying for help because he’s a dumb kid and that’s what they do. They are naive and immature and they make stupid mistakes. He’s still learning and we really get to see how vulnerable and weak this Spidey is. Spider-Man: Homecoming isn’t as epic and heroic as the previous Spidey films but that’s why it works so well. We get to really see a grounded and unskilled Peter Parker grow and I’m so excited to see him become the greatest hero in the MCU. 

  • what i expected going into see Logan: a bloody gory action packed Wolverine film with zero chill and maximum violence
  • what i got: a father/ son father/daughter roadtrip flick through children of men stylescape of dystopian heartbreak that deals with issues of human trafficking and the exploitation of women of color's bodies and genetic engineering ethics that made me cry multiple times

Bee Movie is on netflix so I watched the whole thing

  • Bees in the movie live in a western-human-style society, complete with two-parent households and college etc, but they still make constant jokes about what bee societies are like in real life
  • References are made at the beginning of the film to the fact that bees have very short life spans and the main bee characters in the movie are expecting to live for another week at most, but then the movie itself takes place over several weeks or possibly months and they don’t seem to age or die
  • yes. yes, the bee presumably fucks the human woman
  • she’s, like, into him, sexually
  • I know that the weirdness of that is like a central part of why this movie has become a meme but listen: you can’t understand how truly off-putting that whole plot point is until you’ve actually watched it play out in front of your own eyes
  • the woman is married, too, so like, she has an emotional affair with a bee that drives her husband away in a scene where she tells him that “he’s the nicest bee I’ve met in a long time,” implying that she’s, like, known other bees on a personal level, to which he responds, “what are you talking about?” and you think he’s going to point out the obvious absurdity of her statement but instead he continues with, “are there OTHER bugs in your life?!”
  • all the bees are heavily coded as Jewish, and there’s a scene where Jerry Seinfeld’s bee parents are like, “do you have a girlfriend? I hope she’s bee-ish! She’s not a wasp, is she?” because… you know… wasp… WASP… get it
  • there is a Bee Larry King, who is played by Larry King and is, like, literally Larry King but a bee
  • did I mention that in the bee’s society, all the bees choose/are assigned honey-production jobs that they will work every day until they die, except like, there is evidence that other jobs exist - there is bee television, for instance, which would presumably require like, bee camera crews and bee producers and bee actors etc etc, so like, which bees are working those jobs? how does that work??
  • apparently in the world of this movie all you have to do to sue the entire human race is mail a letter
  • the whole court case comes down to the fact that no human being who isn’t a bee keeper has ever heard of a bee smoker and they all find it barbaric and horrifying
  • bee smokers in this world contain, like… nicotine and tar? like all the ingredients of actual commercial cigarettes? 
  • beekeepers in this world all hate bees, there is a scene where two beekeepers are making conversation with each other and their whole conversation is just about how much they hate bees, interspersed with manic cackling
  • instead of deliberating and coming back with a verdict the jury concludes the court case by just chanting “FREE THE BEES!” until the judge yells, “I FIND IN FAVOR OF THE BEES!!!!” 
  • AND THAT ISN’T EVEN THE END OF THE MOVIE there’s still like 20 minutes of plot I just
  • I can’t go on, I’m sorry
  • I may never be the same

aaj ki chai is from this scene in tapan sinha’s ek doctor ki maut (1990). shabana azmi’s understated but poignant performance as seema, the wife of a brilliant doctor whose single obsession with his research brings selfishness and callousness to his marriage is so visceral, especially in small moments like this one. seema fries puris and make two cups of tea as she waits for her husband to come home, a familiar scene in the homes of many, especially within india. her husband talks about his research, the people he met, and lists all his complaints for the day before being cajoled into sitting at the dinner table. she serves the tea and the plate of puris and sits by his side, shoulder to shoulder, as a companion. then she talks about her conversation with her sister while gently reprimanding her husband for never calling those relatives back. he agrees to please her and then quickly grabs his cup of tea and two puris to leave for his lab. and seema! shocked and baffled, she tells him she’s not yet finished with her tea only to hear that familiar indifference–”then finish it”. and shabana azmi with all the subtlety she’s know for, moves from shock to bitter acceptance and then quickly back to the briefest expression of hurt. 

and she drinks her cup of tea alone.

one thing i like about tapan sinha’s work in this film is that seema is her own person, not the archetype of a wife in indian films (even noncommercial ones) who only exists to mutely support and share the burden of her husband’s dreams. later in the film she expresses how that callousness feels and affects her, especially against the expectations of what she thought their marriage would be like–one in which she is cared for, one in which there is companionship. i feel like i know too many women in marriages who drink their cup of tea alone. or put too much hope into what differences a cup of tea can bridge. 


“My action scenes tend to overshadow my acting. It’s come to the point where people feel that if they watch a Donnie Yen film, there must be some high-impact action. It’s unfair, but I’ve learnt to accept it… To be fair though, I’d probably have the same expectations if I were the audience. I mean, if I go watch a Ben Stiller movie, I want to laugh! I’d like to be perceived as an actor that does action movies, rather than an action star, if you know what I mean.” –Donnie Yen for Baccarat Hong Kong

the foxes at the gym

part 2

  • people are always asking about the foxes’ gym routines now that they’ve gotten to be such big contenders in the game
  • nicky takes it upon himself to make a film and upload it to the internet
  • it’s all crack
  • what did you honestly expect
  • he zooms in on kevin on the treadmill at a decent pace, on like setting 7 or 8, and he’s sweating like crazy
  • “i fucking hate running”
  • then the camera jerks to the side where neil is running on the treadmill next to him on the highest setting with his arms pumping insanely fast like
  • ZOOM
  • dan over by the weights doing arm curls and matt standing next to her grinning at the camera
  • “this is my girlfriend. she could kill you. she could kill me. look at those biceps”
  • everyone expects renee to be doing something cutesy and tame but
  • nicky catches her pounding into the punching bag with her fists and elbows and knees like some kind of muay thai artist
  • her teeth are bared and her hair is sticking to her face like she’s ready to murder someone
  • the bag is t h i s close to flying off the chain
  • then she turns around to see nicky and just gives this surprised little “oh!” before smiling at the camera and fluttering her fingers
  • allison on the mats doing clap push-ups while the foxes gather around her and count
  • “33…34…35!”
  • everyone goes crazy and nicky drops the camera
  • andrew and aaron on the bench press taking turns spotting each other
  • every time one of them goes they add a weight
  • it becomes an unspoken contest of who can bench more
    • ((they tie. neither one of them will admit defeat))
  • kevin doing The Thing where he lifts up the hem of his shirt to wipe the sweat off his face and every one of the foxes turn to the camera and swoon
  • neil refuses to leave the treadmills so matt slings him over his shoulder and dumps him in the pool
  • during a break andrew reaches into his gym bag and pulls out a cupcake. he shoves the entire thing in his mouth and walks away while staring directly into the camera
  • the whole video is a trip
  • the fans appreciate this more than workout routines
A white guy’s thoughts on “Get Out” and racism

This weekend, I went to see a horror movie. It got stuck in my head, and now I can’t stop thinking about it—but not for any of the reasons you might think.

The movie was Jordan Peele’s new hit Get Out, which has gotten rave reviews from critics—an incredible 99% on Rotten Tomatoes—and has a lot of people talking about its themes.

First of all, I should tell you that I hate horror movies. As a general rule, I stay far, far away from them, but after everything I’d read, I felt like this was an important film for me to see. This trailer might give you some inkling as to why:

Creepy, huh? You might know writer/director Jordan Peele as part of the comedy duo Key & Peele, known for smartly tackling societal issues through sketch comedy. Get Out is a horror movie, but it’s also a film about race in America, and it’s impressively multilayered.

I left the theater feeling deeply disturbed but glad this movie was made. I can’t say any more without revealing spoilers, so if you haven’t seen the movie yet and you don’t want to have the plot spoiled for you, stop reading now and come back later.

Seriously, this is your last chance before I give away what happens.

Okay, you were warned. Here we go.

Our protagonist is Chris Washington, a young black man who has been dating Rose Armitage, a young white woman, for the last four months. She wants him to meet her family, but he’s hesitant. She acknowledges that her dad can be a little awkward on the subject of race, but assures Chris that he means well.

After unnerving encounters with a deer (echoes of The Invitation) and a racist cop, Chris and Rose arrive at the Armitages’ estate. On the surface, the Armitages are very friendly, but the conversation (brilliantly scripted by Peele) includes a lot of the little, everyday, get-under-your-skin moments of racism that people of color have to contend with: Rose’s dad going on about how he voted for Obama, for instance, and asking how long “this thang” has been going on. Chris laughs it off to be polite, though he clearly feels uncomfortable.

There’s a fantastic moment here, by the way, when Rose’s dad offhandedly mentions that they had to close off the basement because of “black mold.” In the midst of the racially charged atmosphere of the conversation, it’s nearly impossible not to take this as a racial remark, and Chris certainly notices, but what could he possibly say about it? Black mold is a real thing; his girlfriend would surely think he was crazy and oversensitive if he said it sounded racist. Chris never reacts to the remark, but that one tiny moment is a reminder to the audience of a real problem people of color often face, when racism can’t be called out without being accused of “playing the race card” or seeing things that aren’t there. (Incidentally, it turns out that the basement is actually used for molding of a different sort.)

There are other reasons for Chris to be unsettled: The only other black people on the estate are two servants, Georgina and Walter (Rose’s dad says he knows how bad it looks, but that it’s not what it seems), and something is clearly “off” about them. Later, more white people show up—and one more black character, and he, too, feels “off.”

By the end of the film, we learn the horrible secret: Rose’s family is kidnapping and luring black people to their estate, where they’re being hypnotized and psychologically trapped inside themselves—Rose’s mom calls it “the sunken place”—so that old or disabled white people’s consciousnesses can be transplanted into their bodies. The white people are then able to move about, controlling their new black bodies, with the black person’s consciousness along for the ride as a mere “passenger.” In a shocking twist, it turns out that even apparently-sweet Rose is in on the plot, and Chris must fight her and the rest of her family to escape.

This isn’t a “white people are evil” film, although it may sound that way at first, but it is a film about racism. I know many of my friends of color will connect with this movie in a way I can’t, so I won’t try to say what I think they’ll get out of it. I do want to say how I connected with it, though, because I think what Jordan Peele has done here is really important for white audiences. 

If you look beyond the surface horror-movie plot, this film actually gives white people a tiny peek at the reality of racism—not the epithet-shouting neo-Nazi kind of racism that white people normally imagine when we hear “racism,” but the “Oh it’s so nice to meet you; I voted for Obama” kind of racism, the subtle othering that expects people of color to smile and get along and adopt white culture as their own whenever they’re around white people.

So many of the moments in Get Out are clearly intended to work on multiple levels. When Chris confronts Georgina about something being wrong and she smiles and says, “No, no no no no no,” with tears streaming down her cheeks, the symbolism is blatant. How often do people of color have to ignore the subtle indignities they face and hide their true emotions in order to avoid coming across as, for example, “the angry black woman/man”? How many times do they find themselves in social situations—even with their closest white friends!—where people make little comments tying them to an “exotic,” supposedly monolithic culture, where they have to respond with a smile and a laugh instead of telling people how stupid and offensive they’re being? 

I can’t tell you the number of these stories I’ve heard from my friends, and I’m quite sure that the stories I’ve heard are only a tiny fraction of the stories that could be told. So there’s something in that moment that speaks volumes about the experiences of people of color in America.

The same is true for so many other moments. The black characters Chris meets at the Armitages’ have all symbolically given up their identities and conformed to white culture; when Chris meets one character, he turns out to be going under a new name, with new clothes and new mannerisms; when Chris offers him a fist bump, he tries to shake Chris’s fist. Again, within the story, there’s an explanation for all this, but every moment here is also about assimilation and culture differences. 

For me as a white audience member, all of these moments did something remarkable: They showed me my own culture—a culture I’m often blissfully unaware of because it’s all around me—as something alien. They reminded me that I, too, have a culture, and that expecting everyone else to assimilate to my culture is just as much an erasing of their identities as it would be to expect me to assimilate to someone else’s culture.

And that’s a big part of what Get Out is about—the erasing of identities, and the power of racism to destroy people. I think it’s really significant that racism is portrayed here very differently from how it’s normally portrayed in movies written by white people. In most Hollywood movies, you know a character is racist because they shout racial epithets or make blatant statements about a certain race’s inferiority. That allows white audiences to say, “I would never do/say that, so I’m not racist!” We really don’t want to think we are.

But notice something important about Get Out’s treatment of racism: This is a film about the literal enslavement of black people—racism doesn’t get more extreme than that—and yet Peele doesn’t go for the obvious by having the white characters admit that they think black people are inferior; instead, they subjugate and dehumanize people by claiming to admire things about them. They turn them into fashion accessories. 

When Chris asks why only black people are being targeted for this procedure, the response is telling: It’s not (supposedly) because the white characters think African Americans are bad, but rather, because they like certain things about them and they want “a change” for themselves. They want to become black—it’s trendy, we’re told!—but without having had any of the actual life experiences or history of African Americans. White people need to see this: to experience the ways in which Chris is othered by people who tell him all the things they like about him—isn’t he strong? Look at those muscles! Does he play golf like Tiger Woods? And he must be well-endowed and have such sexual prowess, right, Rose?

The white people in the audience need to be reminded that just because you’re saying positive things about someone doesn’t mean you’re not being racist, that turning someone into an exotic “other” may not be the same as shouting an epithet, but it’s still taking away someone’s identity and treating them as a commodity.

The film is filled with these kinds of moments. When we realize that Rose’s white grandmother has inhabited the body of Georgina, the fact that she keeps touching her own hair and admiring herself in the mirror takes on a whole new level of significance. (White people, please don’t ask to touch your black friends’ hair.) When Chris connects with a dying deer on the side of the road and later sees a deer head mounted on the wall at the Armitages’ estate, the symbolism is hard to miss. Black people are being turned into trophies in this house. And, oh yeah, they’re being literally auctioned off—as they were in real life in the not-too-distant past.

One day, I’d like to see the film again to pick up on all the ways things read differently the second time through. I noticed several things in retrospect that gain new significance once you know the ending, and I’m sure there’s a lot I didn’t notice. For example, Rose’s dad says he hired Walter and Georgina to care for his parents, and when his parents died, “I couldn’t bear to let them go.” The first time you see the film, it sounds like the “them” is Walter and Georgina. But in retrospect, it’s clear the “them” he couldn’t bear to let go was his parents, so he sacrificed Walter and Georgina for them. Which, again, is an example of how the supposed care of the white characters for the black characters (his care for Walter and Georgina, Rose’s care for Chris) is really all about caring for themselves and treating the black characters as completely interchangeable objects.

The message of the film isn’t simply that the black characters are “good” and the white characters are “bad.” There are presumably—hopefully—many good white people in the world of this film, and many others who wouldn’t do what the Armitages are doing but also probably wouldn’t believe Chris or make the effort to stop it. Peele’s mother and wife are both white, so he’s clearly not trying to paint all white people as villains. 

But I admit, as a white guy, I really, really wanted Rose to be good. I’ve been the white person in an interracial relationship introducing my black boyfriend to my family. I’ve been that. So I related to Rose, and I really wanted to believe that she was well-intentioned and just oblivious; even though she misses the mark on several occasions, there are times that she seems like she gets it and she really does listen to Chris. When a cop asks to see Chris’s ID early in the film even though he wasn’t driving, Rose stands up against the obvious racism, showing us all what it looks like for white people to do the right thing. “That was hot,” Chris says to her later, and I thought, yeah, that’s who I want to be.

So I have to admit, it was really upsetting to me to see Rose, the only good white character left in the film, turn out to be evil. But I realized that part of that is that I really wanted her to represent me, and that’s really the point. Just think how often horror films have only one black character who dies early on, and how many films of all genres have no significant black characters for audience members to look up to or identify with. I think it’s really important for white audiences to experience that.

As I’ve reflected on the film, it seems to me like there are three kinds of popular movies about people of color. There are those that feature POC characters that are essentially indistinguishable from the white characters—as if they just decided to cast Morgan Freeman instead of Tom Hanks without giving any thought to the character’s race. Then there are the movies that deal with racism, but in a way that allows white people to feel good about ourselves, because we’re not like the characters in the film. (This is especially true for movies about racism in the past; some of them are very important films, like Hidden Figures, which I loved, but we need to be aware that it’s still easy for white America to treat it as a feel-good film and think that we’re off the hook because we no longer have separate restrooms.) And finally, there are movies that focus more directly on the lives of people of color but tend to draw largely audiences of color; not many white people go see them, because we think they’re not “for us” (even though we assume films about white people are for everyone).

Get Out isn’t any of those. It’s drawing a broad audience but it’s not afraid to make white people uncomfortable. And if you can give me, a white guy, a chance to have even a momentary fraction of an experience of the real-life, modern-day, casual racism facing people of color in America, I think that’s a very good thing.

kookminsbf  asked:



Anon: sajeon-nim i hope you’re doing fine after watching that golden closet film in tokyo💕

I’ve been busy with some freelancer work today, was a bit behind on fandom stuff until I saw Korean fans freaking out. I went in not knowing what to expect and I think, more than anything, I was emotionally caught off guard. I know that I joked about “knowing better” than to expect anything from Jungkook, but I was wrong. It was like a punch to the gut. I was awestruck. And just…

First thoughts? This is a labor of love. The production in this is amazing; every individual frame is beautiful. The details, down to the choice in song, are stunning. And in the center of it is Jimin.

Another Korean fan said this (and I’m sure it’s obvious to everybody), but I want to repeat it. KM may have the same theme in both their videos, but the key difference is their focus. Jimin’s focus was “us.” Jungkook’s focus was “you.”

And I think that was what was why it was so emotionally charged. You can feel Jungkook’s love for Jimin. This entire video is through his eyes, and at the end of each important shot was what - or who - mattered the most. This trip wasn’t just to see the sights and have fun. It was about spending precious time with a loved one. And Jimin is so loved.

casablancamarina said: Share with us how km shipper there holding up. Its been rollercoaster week for us ji/kookies ❤️                  

Nobody is sleeping. It’s a mess in Korea right now. Group hugs and tears all around.

Anon: sajeon-nim are you officially down            

I’m throwing in the towel, anon. It was a good fight.                 

“I speak to a lot of Star Wars fans. A lot of them are friends, but everyone says to me: ‘Okay, Rey is the Jedi. Eventually, she is going to defeat Kylo Ren. Finn is a Rebel. Together, they are going to win and they are all going to have a nice day.’

With that in mind, I feel like we have to be super careful to not fall into the line of what the other films have done. We have to take a risk, and I really do believe that that is what Rian is doing.“

John Boyega on what to expect in The Last Jedi

Say It (Jungkook/Reader)

Originally posted by sugutie

Genre: Smut - Inspired by a fic written by Admin JP + Say It by Tory Lanez.

Words: 7.2K+

Author: Admin Kaycie

Summary: Honesty was a trait you had always prided yourself in being strong in possession of, something your friends and fans all admired you for; so the day you announced you did not like Jeon Jungkook, they knew your words were true.

Tags: Dance room rendezvous, slow and sensual sex against the dance studio mirror wall, etc. 

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It (non-spoiler) Pros & Cons


- The effects are top notch.  There wasn’t one scene where I thought “……well that was a choice.”

- All of these kids are ACTING.  Where did they get these children?  I want to see everything all of them have ever been in, especially the chunky one and the girl.

- The shitty parts of the story were cut (book readers know what I’m talmbout)

- Splendidly paced.  I didn’t even realize the film was so long until after I’d left.


- A little disappointed in the reliance on jump scares.  I expected a little more tone and unease throughout.

- I have literally never cared about this story, and I always forget I don’t care about it until I try to read or watch it again.  If you’ve ever watched or tried to watch (or tried to read) It in the past, this probably won’t change your mind, so save your coin for Netflix.

- I’m serious.  I hate the plot so much and halfway through the movie I was still like “I just don’t care.  I’m only sitting here for the performances.”

EXO'rDIUM [dot] Live Album: Members’ words to Kyungsoo and vice versa

Please say a word for the members who safely finished EXO’rDium [dot].


D.O. has been smiling a lot more these days, so it’s nice to see. He’s one that always cares a lot and accommodate the other members. A very righteous person. He has concurrent EXO and acting schedules, so it’s very exhausting, but he’s never shown it. But D.O., even if you’re tired, please say it, it’s alright. Right now, I just hope that you’ll learn to show us your exhaustion. 


Xiumin hyung, thank you for always taking the role of the eldest. 


Because you like me, that’s why I always joke around with you, I know, haha. I will always support your life. Support your perspiration and tears (hard work). 


Suho Hyung, thank you for always receiving the jokes pulled by the members. 


D.O. is a friend of strong principles. He’s a friend that has strong conviction in his own beliefs - it’s great to see. In the future too, I hope you live without forgetting your heart’s center, just like now. D.O.-ya, it would be great if you live believing in yourself. Regardless what the others say, what you believe in will be the right answer.


EXO mood maker Baekhyun, thank you for encouraging the members and making them laugh.


D.O. is really a trustworthy friend. Whenever I am having a hard time, if D.O. says a word, I feel better. And so, even without realising myself, I end up relying on him a lot. 


Chen, whom I really loved, thank you for always showing a bright image and sharing good energy with the members. 


D.O. and I found a common interest. We game together, and recently we went golfing together too. I don’t expect anything more from D.O. Even now, he’s a reliable friend too. D.O.-ya, it’ll be great if we can continue to get along well just like we do now.


Chanyeol, thank you for always playing the guitar by my side. 


D.O. hyung, while preparing for the concert, you’re also working on filming, it must be tough. However, you still always find time for the members and do your best, it’s really amazing. No matter what, I’ll always love you, hyung. You know that I love you the most right?


The leader of the practice room Kai, thank you for putting on with the member’s laziness. Kai is usually the laziest of us all but when practicing you’re the most diligent. 


And there’s D.O. hyung. Although D.O. hyung has a cold personality, if you approach him first, he’s not one to shun away from you. I approached hyung first, and hyung let me. Recently, D.O. hyung has even joked with me. 


And lastly for our loyalty man, Sehun ah thank you for uniting the members solidly, just like an elder brother.

Cr: EXO'rDIUM [dot] Live Album Interview (2017.10.26)
Chi Trans: weibo @
Eng Trans: twitter @dyororo_, @lollipollipop, @enthralleddd
In partnership with: IG @channel930112


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