this movie is a masterpiece and i will not hear otherwise

Say No To This (M) – Best Friend!Hoseok

Originally posted by ohparkjimin

Summary: It’s been a while since you and Hoseok have spent time with each other, but he hasn’t forgotten how hard it is to say no to you.

Warning: Smut, oh my lord is there smut

Word Count: 3.4k

A/N: So I’ve had Say No to This from Hamilton stuck in my head for the past week and it somehow inspired BFF!Hobi sex.

Sequel: Ambiguous (M)

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OC x Yoongi 
Three Word Prompt: Photographs, Storm, Flowers 
Soundtrack (x)
13/ ? of my drabble game
(a/n) shoot this is not a drabble…. well… enjoy photographer yoongi loves.. insp by this post  … can you freaking see how biased I am? yeah you can….

Originally posted by jungkooksarms

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Halloween Nights

Request: “Hello! Could u please write a klausxreader imagine where he takes the reader on a date where they carve pumpkins and watch scary movies kinda like a fall date I guess? lol thank you so much if you write this! ☺️❤️”

Notes// I love this request, it’s so cute!! <3

You smiled as you got out of your car and walking up to the front gate of the Mikaelson home where Klaus was waiting for you, with his arms behind his back. You smoothed out your dress and fixed your devil horns that you had decided to wear as a joke despite having Klaus buy them as a present for you for tonights date. He smiled as he noticed you, pulling you in close for a kiss. You smiled and wrapped your arms around his neck pressing your body against his.

“Hello, love.” Klaus murmured against your lips.

“Happy Halloween.” You smiled, pulling away slightly.

“Yes, Happy Halloween. I thought we would start with the pumpkin carving, then watch the horror movies you bought yesterday.” Klaus wrapped his arm around your waist leading you into the kitchen.

You chuckled, “That sounds absolutely wonderful.” You replied noticing the decorations that had been put up, “Rebekah’s idea?”

Klaus nodded and chuckled, “Yes, of course.”

You kissed his cheek before entering the kitchen seeing two pumpkins sitting on the worktop with multiple tools and knives that were to be used when carving, “Now this was my idea. Who can carve the scariest pumpkin. Rebekah and Kol will be the judges.”

You raised your eyebrows impressed with the effort that Klaus had put into this date, “What’s the prize for the winner?”You ask, knowing that Klaus was not going to leave that part out.

“No prize, just a small competition.” Klaus smirked, going round and standing in front of his chosen pumpkin.

“Okay then.” You join him, turning your pumpkin away so he couldn’t see what you were going to do.

Klaus smiled before grabbing a knife and starting his masterpiece, “Don’t cut yourself, love. Be careful.”

“Always am.” You reply picking up a knife, and cutting a circle on the top so you were able to scoop out the seeds. Instead of throwing the seeds of, you decided to keep them aside for later use. You smirked, loving your idea but you were a little scared of what Klaus had in mind.

After half an hour or so the both of you were finished and ready to show your pumpkins to each other. You were hoping that yours was good enough to beat Klaus but you were sure you hadn’t.

You smirked, sticking the knife in the top of your pumpkin adding extra effect. You had chosen to stab the pumpkin with the pumpkin seeds spilling out of its mouth. You looked over at Klaus’ who had chosen a scary face. Scary enough to give you nightmares.

“Are you done yet?” Kol entered the kitchen before stopping and seeing both of our pumpkins, “Ohh look what we have here. This may be a close call. Rebekah! It’s time!”

Rebekah was here within seconds, “Wow.”

You smiled proud of your work still worried but you knew I had the trust of Rebekah but whether she would stick by her word was another question, “Would you look at that? Klaus can carve scary pumpkins.”

Klaus chuckled, “Well I had enough inspiration from the people that I have killed.”

You weren’t sure whether you should be disgusted or amused of such an answer.

Rebekah laughed, “I think you’ve killed enough people, that even Y/N’s pumpkin is disgusted. I choose Y/N’s pumpkin.”

Kol chuckled, “So do I.”

“Kol, did you choose Y/N because you like her or because of the pumpkin?” Klaus growled.

“The pumpkin of course.” Kol looked over at you and winked, sending Klaus over the edge. Kol had a tendency to flirt with you at every possible chance he got in front of Klaus but he didn’t mean any of it of course, or at least you hoped.

Klaus growled, stepping forwards to have a go at Kol but you just screamed, “Yes!!” and threw your arms up in the air glad to have been voted the winner of this small competition,

Klaus looked over at you, a smile creeping over his lips, happy to see your reaction, “Now for the movies.”

“Why don’t we go to yours love? Where we won’t get distracted?” Klaus murmured in your ear as the other two left the kitchen.

“Okay, but I want to watch at least one movie before anything else happens.” You smirked, turning around and pressing your lips against Klaus’.

Klaus returned the kiss quickly, wrapping his arms around your waist, pulling you in, “Fine, Love. How about we watch ‘Saw’ first?”

You smirked, “Perfect.”

You gasped, clinging onto the blanket while covering your face just beneath your eyes so you could still what was happening.

“I don’t understand why you are so squeamish about this? You’ve seen me rip off peoples heads and all sorts.” Klaus kissed the top of your head, while pulling you into his lap.

“Yeah but it isn’t as gruesome as seeing someone chopping off their own foot to escape.” You reply before buying your face in Klaus’ chest as you started to watch the next scene.

Klaus chuckled, rubbing his hand up and down your back continuing to watch the movie.

You groaned, opening your eyes seeing that the tv was switched off with the side lamp switched on. You pouted realising Klaus had left. You got up, looking to your side, seeing Klaus had left a note.


Surprisingly you fell asleep during the movie last night. Get some rest, and I will see you tomorrow morning.

Klaus <3 “

You smiled before going upstairs to wash your make up off, and get ready for bed properly. After brushing your teeth and drying your face, you exited the bathroom and crossed the hallway to your room.


You froze. What was that? Rather who was that? You cursed realising you had left your phone downstairs in the sitting room where you had fallen asleep on the couch. You groaned silently, before tip toeing downstairs, quickly grabbing a knife from the kitchen before picking up your phone from the couch. You took a few deep breaths to steady your breathing before ringing Klaus’ number. After a few rings, you became confused, thinking you could hear his ringtone coming from nearby.

“Klaus? Are you here?” You spoke stepping out into the hallway.

No answer, again. Before you knew it, you were pinned up against the wall, arms pinned up above you. You screamed, struggling against whoever pinned you, not knowing who it was. You just hoped Klaus was nearby.

The attacker soon released your grip, starting to laugh. You stopped screaming before looking up and seeing Klaus with a huge smile on his face, “You arsehole!” You groaned, throwing your phone at him, and threw the knife past his head into the wall. He was lucky that you were good with your aim otherwise he would have a knife sticking out of his head.
Klaus continued to laugh, before taking and pulling you close to him, wrapping his arms around in comfort, not realising how much this scared you, “I’m sorry, love. I didn’t mean to scare you this much. But your face was just priceless.”
You rolled your eyes, pushing him away before storming back upstairs, “I’m going to bed.”

Klaus sighed, “Goodnight then, love.”

“Come join me.” You smirked, shutting your bedroom door.

Spring Season | Final Impression

Spring Season is really over. I still remember how much I was waiting for this season and how I couldn’t wait anymore and now it’s really over. I have to say that the season was just as great as I expected it to be. So many great shows, so many suprises and yes some of my favorite anime were in this season. Since Winter 2013 I was following every season and this might not have been the best one but definetly the season I was looking forward to the most.

Hibike! Euphonium

And to start with my most favorite Hibike Euphonium was my number 1 of the season. Hibike was one of the shows I definetly wanted to watch since it’s from Kyoani but to be honest I didn’t expected much. I kinda expected something similair to K-On but rather bad. I also have to say that even though I like Kyoani I wasn’t really happy about their latest anime.

I mean what did we got ? Amagi Brilliant Park was nice but turned kinda okayish in the second half. Free… is Free, the second season of Chuunibyou sucked hard, Kyoukai No Kanata was okay, Tamako Market’s movie was better then the anime and yeah then we have the first season of Chuunibyou which I really liked. So it has been years since the last show I really really liked from Kyoani. So of course I didn’t had high expectations. But luckily I got suprised. Not only is it way different then K-On it ended up being a masterpiece.

First an anime about a bandclub is something which rarely happens and I think this is also the first anime about brass instruments. What I really liked about this show was the pretty realistic potrayal of the band. The personalities of the characters were really good and also rather unique. Sure you usually get stereotype characters in Kyoani anime but this time it was different. Every character was important and unique. Be it main character or only a side character. Also good to see was that they all had more sides to their personalities which many characters lack mostly. With Kumiko as the main character she definetly is one of my all time favorite character.

Her personal struggle, her attitude really everything was great. Let me not even start to talk about Reina.

The plot was really good. I expected a light plot for this anime and yes it kinda is at times but overall it can get pretty dramatic and shows us that life can be pretty hard. If you wanna make good music you have to work hard and even this is not enough sometimes as someone else can still be better then you. Here I have to praise Kyoani again. The love in the details. The way they are potraying the characters practicing was brilliant. The characters are practicing. Practicing at lunch, at home, at night basically when ever they can to improve.

The soundtrack of this anime was amazing too. The music was beautiful and even for some one who has no idea about music you could tell if someone was playing an instrument better then someone else even if it was only slightly better. Again the love in the details. You could hear every little mistake they made or if they improved and seriously I could talk the whole day about how great the musical aspect of this anime is.

Since it’s Kyoani of course I expected good no great animation. But holy cow this was beyond good. I think this is their best work in terms of animation and it was easily on movie level and definetly not something they would usually show on TV. The freaking love in the details lol. The way the water is animated, crickets, scenaries, body language everything works damn good.

Before I forget. Many people actually only watch the show because of Kumiko and Reina. Since Kyoani likes to show them together and makes the viewer feel the yuri between them . But honestly this is definetly not the reason why you should watch the anime. Watch it because it’s a masterpiece.

(the relationship between Kumiko and Reina is just a plus lol).

So yes definetly my favorite anime of the season.

Actually I planned to write only short opinions about the anime but this was kinda long lol.

Plastic Memories

If I would describe Plastic Memories in two words then it would be wasted potential. Now I don’t say Plastic Memories is bad. I actually really enjoyed it but the wasted potential is a fact you can’t ignore because it could have been so much better. The problem I had with Plastic Memories is that it didn’t know what it want to be. A story about the future and how androids would work in our society ? Something similair to Eve no Jikan ? etc etc. but Plastic Memories ended up chosing the weirdest route. The romance route. Now after the first episodes you would expect something way different. Sure I saw it coming a romance between them but dayum the whole setting didn’t mattered at all in the second half. The whole focus changed to the romance between them and this was something I found really dissapointing because Plastic Memories had the chance to be a very impressive anime. This way it’s still good and a cute story but far away from being as good as it could be.

Arslan Senki

Look I really want to like this but I can’t. I don’t know if my expectations were just too high or something else but it is very hard to make myself watch the latest episode every week. But when I’m actually watching it it’s not like I dislike it. I just find it very boring and incredibly slow paced. Let me quote ANN “The Heroic Legend of Arslan continues to be a bizarre mix of strengths and faults.” and this is exactly what I would say too. The concept is good, the story is interesting and the setting is nice too but so far it’s just not really exciting. The story is pretty similair to Akatsuki no Yona which I actually really enjoyed. Overall not a bad show but I do hope the second half gets better.

Yamada-kun to 7-nin no Majo

Yamada was just the way I expected it to be. A decent anime which is fun to watch. Not more not less. I kinda liked the concept and general idea of the anime. It’s unique and I honestly wouldn’t mind another season. I heard the manga is better though so let’s see maybe I read it.

Fate/stay night: Unlimited Blade Works 2nd Season

I say it again. I don’t understand what’s so great about this anime. The animation is awesome but I found the story rather boring and the only characters who are actually cool are Lancer and Saber. That’s it. But oh well I’m finally done with this anime. (That opening though. Epic as hell.)


Another decent anime. I don’t really have much to say about this one. You won’t miss anything if you don’t watch it but I’m happy I did. It had some great episodes and overall managed to be a nice anime.

My Teen Romantic Comedy SNAFU TOO!

This was one of the anime I have been waiting for in the Spring Season. I really liked season 1 so I expected this season to be just as good but I was wrong. This season is so much better then the first season that I started loving the whole series. This is after Hibike my favorite anime of the season. But why is this season so much better then season 1 ? First the animation. Now that I compare both seasons I realize how much better the new animation is. Every character looks better then before and also the general animation is more fluid and more detailed. The other aspect is the story. Some people were saying it’s too dramatic but I really enjoyed the drama. I liked the development of the characters and how their relationship kept changing. The ending was kinda mean lol so I hope we get more at one point but this anime really impressed me overall.


It’s all about Hestia. I think the most people know how much hype Hestia made in Japan and in the internet. Everyone loves Hestia but what about the anime itself ? It’s decent. At first I expected it to be a Sao clone. Sure it has nothing to do with gaming but the whole dungeon thing kinda reminded me of Sao. But it stands on its own feet and was an entertaining anime. Definetly wouldn’t mind another season.

Shokugeki no Souma

Not gonna lie I can’t believe how much I love this anime. I love it so much I actually started buying the manga for it. It’s entertaining, it has great characters and it keeps making you hungry lol. I’m gonna write more about it when it’s actually finished though. But so far fantastic.


Very very very dissapointing. I know that Nisekoi barely moves forward with the plot. Obviously otherwise it would have ended ages ago. And I actually don’t really mind those random chapters/episodes but this season was very boring. The whole season was a filler and a bunch of random episodes. And again I don’t really mind usually but the episodes weren’t really good either. First I don’t really like Chitoge so the episodes with her were okayish and there were quite a lot of episodes foccused on her. And the characters I actually like Marika, Tsugumi and Onodera didn’t really got that much screentime. I also had high expectations on Haru but she’s not really that great either.

Overall a very dissapointing and random season.

Danna ga Nani wo Itteiru ka Wakaranai Ken 2 Sure-me

Just as random as Nisekoi was the second season of Danna ga Nani wo Itteiru ka Wakaranai Ken 2 Sure-me. But if you liked the first season you will like this season too. I’m sad we didn’t got to see the baby though so bring on the third season.


Wow. The hell happened to this anime in the second half ? It suddenly started getting pretty good. Something I wouldn’t expect at all from the first few episodes. I mean it’s not like I enjoyed this anime a lot but it did got quite interesting in the second half and was actually worth watching. So if you dropped this anime after the first episodes you could give it another try. It’s not that bad actually.

Kyoukai no Rinne

I love Rumiko and I liked all her shows so far and Rinne is also one of them. The beginning was kinda weird (okay all Rumiko anime and manga are weird) but now after 12 episodes I’m really enjoying this anime as it’s really typical Rumiko. The characters and the dialogs are just as absurd as you would expect it and that’s what I want to see.

Ore Monogatari!!

Suprised Madhouse picked a romance anime . But what is not suprising is that the show is really good. Very entertaining and kinda different romance story. But just like Soma I’m going to write more about this after it’s finished.

Kekkai Sensen

Why is the whole Gintama cast (voice actors) in this anime ? After watching the first few episodes I know why. Because the characters are also a bunch of weirdos. And that’s the strongest part of Kekkai. The crazy characters are just hilarious. Specially Zapp is great. In every episode you will see the characters being in crazy situations and everytime when the City is exploding you keep wondering why the hell does anyone live there. The anime is still not finished since the last episode got delayed so I’m still waiting for it. For everyone else who didn’t watched this. This anime is pure entertaiment.

Owari no Seraph

It can’t get more generic then Owari no Seraph. But being generic doesn’t mean it’s bad. It just means it’s very predictable and has elements you saw in different shows already. So basically to stand out it needs to have something unique. It doesn’t actually lol but it’s still not a bad anime. I can see why people would love this but I’m not the biggest fan of this show. Still kept me interested enough to make me want to watch season 2.

Assassination Classroom

I’m really sad actually that this anime ended. It was a great anime and stayed good till the end. It had some good character development, it’s funny and the anime overall is unique. Can’t wait for the new season in the Winter Season. I’m not sure if I can wait this long though so I might start the manga soon.


My favorite anime returned do I even have to say something ?

Next week Shinigami Arc. Do I even have to say something ?


More anime I finished but I don’t want to talk about because I’m too lazy or it was too bad:

Hello! Kiniro Mosaic

Urawa no Usagi-Chan


Houkago no Pleiades

Mikagura Gakuen Kumikyoku



Vampire Holmes

Show by Rock

Triage X

Why *Josie And The Pussycats* Is The Best Movie Ever

Once in a generation a film comes along that so encapsulates its era, speaks to its audiences and permeates the collective cultural unconscious that it defies categorization. It is more than a masterpiece or classic, cult or otherwise. It lives beyond the reach of its creators, in the realm not just of art but of beauty itself, that distant dimension Plato spoke of where ideal forms exist. In April of 2001, such a film was released. It was called “Josie And The Pussycats”.

I would conservatively estimate that I have seen JATP between fifteen and twenty times, or, at least once a year since it hit theaters. And to put the following in context, I have also seen your favorite movie, okay? “The Royal Tenenbaums,” “The Wizard of Oz,” “Annie Hall,” “Goodfellas,” “Rashomon*,” “500 Days of Summer,” “Pulp Fiction,” “Schindler’s List,” “Blue Velvet,” “La Dolce Vita”…anything that might reasonably be considered “required viewing,” I have viewed. So when I tell you that JATP is as well-made a film as there is, I don’t mean in comparison to schlocky TV specials. I mean it is flawless like “The Godfather” is flawless. At the very least, it deserves to be ranked alongside “Animal House,” and “Blazing Saddles” as one of the finest comedies ever produced for American audiences.

     Because this is not a widely-held opinion (for reasons I will get into later), I am forced to put my mostly-dormant BFA into practice and analyze JATP in terms of, well, every conceivable metric by which a film might be judged. I did not undertake this quest lightly; it took six whole hours and five long days for, well, read for yourself.

Part One: Craft

(Background: JATP was written and directed by Deborah Kaplan and Harry Elfont, the team behind “Can’t Hardly Wait” (Ms. Elfont later married Breckin Meyer, a point that is not pertinent to this discussion but is nonetheless adorable).)

     There are a number of theories (& books & blogs & podcasts & pricey workshops) that claim to know the secret to a great screenplay, and they all have one thing in common: the hero. Our hero is Josie. Following Josie, we see all the Campbellian elements of a hero’s journey, from the Call To Adventure (@ the Starbucks with Wyatt) to the Abyss (scary clown sequence) to the Atonement (with Mel and Val backstage.) There’s even a Crossing the Threshold/Transformation sequence wherein Josie and her comrades enter the beauty salon Riverdale chicks and exit into a bustling metropolis (“the Unknown”) glam-ified stars. It is at exactly this point that the band’s name changes, setting Josie up as our megalopsychos (thanks, Aristotle).

Despite the lack of sex, death and prophecy, Josie does go through a distinctly Oedipal journey: her desire to learn the truth behind her success leads her to despair (“they’re selling stuff through our music!”). Over the course of the film, Josie grows from yet another spunky girl with dreams of stardom to a true artist who values her integrity above fame. Now, enter the supporting characters…

     Val and Mel truly are “good, solid back-up,” but they also have fully realized personalities (Val is a humanitarian, Mel sings in the shower). Mel is the heart. Val is the head. Josie is the singer. Like the Fellowship or the Power Rangers or the leaders of the Democratic party, the Pussycats are strongest when their individual powers are combined. The implicit message here - that lady friends will save the world - is powerful without being obnoxious, obvious without being cloying. Almost every scene passes the Bechdel test, yet at no point does anyone exclaim, “You can’t do that! You’re just a girl!” followed by the “Yeah? Watch me.” of so many so-called “strong female character” narratives. Even seemingly minor characters (Alan M, Alexander, Alexandra) have integrated story arcs: Alan M learns to speak his mind, Alexandra gets a love interest and Alexander frees himself from the shackles of consumer capitalism. That is so difficult to accomplish, and the film runs less than two hours. Do you hear that, Tarantino? Multiple interwoven storylines in an hour and thirty-nine minutes, including multiple song breaks.

     A hero is only as interesting as her villain, and JATP gives us two for the ages: nefariously insecure Fiona and devious henchman Wyatt. We meet Fiona during a scene of pure exposition to explain the central mystery, but she quickly evolves into a bizarro caricature of a corporate queen. Look at Fiona’s hair, makeup and costume color palette: she’s a funhouse mirror version of Josie. Like Darth Vader, Fiona represents the dark side of the path Josie has chosen to walk. She has what Josie wants (power, fame, position), and wants what Josie has (love, friends, self-esteem). She can’t help but compare herself to Josie (“Ha! I’m three pounds lighter than you!”). The ultimate reveal of her higher plan is both shocking and, in hindsight, satisfying. Who among us hasn’t had a moment of wishing to make themselves so powerful as to defy insecurity, only to find that embracing one’s flaws is the only way to move forward? It’s not out of nowhere; it’s called having a backstory.

     Wyatt, on the other hand, is more like a traitorous Obi-Wan. He’s Gandalf, leading them through new and treacherous territory. He’s the mentor, the goddess, the wizard with the ability to make the impossible possible (his magical amulet: the sound mixer). And then it turns out he’s playing them! Isn’t that better? Isn’t that more fun than another coach figure who, like, dies of a mild cough the day before the big game?

     The difference between a good and great script might lie in the attention paid to truly tiny parts. Ideally, each interaction moves the plot forward or enriches the world of the story. Well, JATP is a great script. DuJour and the fangirls (and boy) in the opening sequence introduce the world of the film before showing us the titular characters, much like the Capulet and Montague servants in the first scene of Shakespeare’s “Romeo and Juliet.” The guy outside the Steve Madden store (“they’re new; they’re orange”) sets the emotional stage for the Pussycats to jump at the chance to sign with Wyatt, believing they are, to the masses, unwanted. The punk girl at the megastore gives voice to the anti-pop eye-rollers in the audience, and her cameo later in the underground brainwash complex is not to be overlooked. The government guy puts a limit on Fiona’s power. After the bowling alley, one might mistake the Pussycats for a beloved local band, but the bully girls show reveal them to be the town joke…which only makes the girls’ return as faux-Pussycats/stalkers all the more of a payoff.

     While a well-told story can hold an audience’s attention for its duration, we don’t return to films again and again, allowing them into our inner psyches and deeming them “iconic,” unless they also speak to the world around us or within us in some profound way. This is where most people miss the single most obvious thing JATP gets right: it’s a biting satire of consumer culture, American capitalism and even - in fact, especially - of itself. It’s about subliminal messages, but makes its message overt. It’s about corporate branding, and it has the most obvious product placement ever seen on the big screen. It’s an update of a beloved comic book franchise that includes the line “I was in the comic book.” The “profit kills creativity” maxim is brought to vivid - and hilarious - life when Carson Daly tries to kill Mel with a bat after admitting that he is an integral part of a plot to destroy the youth of America through music. If you consider yourself a hardened anti-establishment alt-indie-hippie-vegan free-thinking spirit of the wind, this should be required viewing. It’s subversive. It attacks. It’s edgy, dammit. This is punk rock filmmaking. Andy Warhol would have approved of this movie. It’s an indictment of the monoculture. Just imagine the think pieces this film would spawn if it were released today!

     When Fiona asks why so many musicians die in crashes and overdoses and suicides, she’s setting up the idea that actually they’ve been murdered by their corporate overlords. Ha, ha. But…isn’t she kind of right? Didn’t the pressures of fame kill Kurt Cobain, didn’t the excesses of wealth kill Elvis? We burn up our celebrities not only with our scorn but with our worship, fandom as medicinal poison. And this is before tumblr. And it’s all done so subtly! Wyatt’s code-word for “crach the duJour plane” is “take the Chevy to the levy,” a nonsense line from American Pie…which is a song about musicians dying in a plane crash.

     The exhaustion of fame on hyperdrive. Media saturation as lifestyle. An X-Files-worthy government conspiracy. This movie was a thousand years ahead of its time. So, with all that in mind, can we please agree that, at least on paper, Josie And The Pussycats is a flawless masterpiece? Great.

Part Two: Execution.

     Let’s take a look at what there is to take a look at: cinematography. JATP’s cinematography, from a technical angle, is rather unfussy. There are no walk-and-talks, no winding Scorseseësque dollies through a space or pans across a striking vista. It’s your basic master/two-shot/over-the-shoulder filmmaking. There are fun graphics in the montages, notably the “climbing up the charts” gag, an accurate recreation of the era’s music video aesthetic when necessary, and a few amusing fisheye shots, like seeing the faux-pussycats through the apartment door peephole. The split screens were likely made in the editing room, not in-camera, but still, points for exciting visuals. One must remember that, at the end of the day, form is supposed to support content, not the other way around (some people disagree with me on this. Those people are wrong). The story is a deep dive into the psyche of mainstream America, so the directors chose a mainstream technique.

     Where the visual storytelling becomes crazy subtle is in the set and costume design. Hipsters can harp all they want about how, like, every single frame of Scott Pilgrim has, whoa, a number in it because, like, Edgar Wright is, whoa, a genius, but have you ever bothered to look at the background actors in “Josie And The Pussycats?” An ongoing joke in the film is that the subliminal messages in pop music change the trendy color (“orange is the new pink!”) for the sole purpose of encouraging wasteful shopping. Sure enough, the extras in every mall scene can be seen wearing variations of the same hue. In the bird’s-eye shot of the Riverdale suburb, every single house is the same, down to the make, model and color of the SUV in the driveway. Each Pussycat lives in a penthouse hilariously plastered in the logo of the brand “sponsoring” her (pre-Instagram, can you imagine?). At the Pussycat house, too, there’s an element of self-branding: the walls are speckled with spray-painted leopard spots and almost every home accessory has a cat motif. (There are also a few live kittens roaming around. One assumes they were adopted when the band moved away.) When the members of duJour return in full-body casts, their plaster chests have been sharpie’d with the insignia from the clothes they were wearing in the airplane (which is also, itself, covered in logos). This level of attention to detail makes the film an easter-egg-hunting joy to re-watch and complicates one of the themes: does what you like inside dictate what you put on your outside, or the other way around?

     The Pussycats would be nothing without their music, and the soundtrack is perhaps what elevates the film above other teen fare of the time. (It was certified Gold, by the way.) Every single track is a banger. “3 Small Words” is an angsty chick anthem; “Pretend To Be Nice” sounds like everything else on the turn-of-the-millennium radio, so it’s perfect as the Pussycats’ fictional hit; I dare you not to dance to “Spin Around”; “You Don’t See Me” is serviceable as a love song for Alan M but works even better as an ode to insecurity; “You’re A Star” is the opposite of the previous track, aka character development; “I Wish You Well” dips into riot grrrl territory and scratches my I Miss The Donnas Every Day itch, “Real Wild Child” is a cute cover, as is “Money”; “Shape Shifter” is pretty much the theme of the movie in a single song; “Come On” is, admittedly, the weakest track on the album but the guitar hook is kind of flawless. Onto the DuJour tracks: “DuJour Around The World” manages to use “DuJour” in every line. “Backdoor Lover” is a boyband song about butt sex. I rest my case. Finally, the Josie And The Pussycats theme. A non-ironic update of the original 70s cartoon theme. Why don’t other franchise reboots understand how simple it can be?

     And now we come to the most tired and pathetic complaint that can be lobbied against this or any movie of a similar nature: those girls aren’t really singing or playing their instruments.

     The first thing is fuck you. The second this is yes they are, in the scene, they are playing their instruments and singing, it’s just that the sounds they made weren’t recorded. Very, very few films feature live music. Do you have any idea how shitty the musical acoustics are on a soundstage? Boom mics were designed for dialogue, not electric guitars. So, no, at no point do you hear the vocal or musical stylings of Rachel Leigh Cook…but why should you have to in order to enjoy the songs? Not only would “real” music be antithetical to the giant meta-wink that is the entire film, but also, everything in a movie is a special effect. In a scene where “Josie” would have done her hair and makeup herself that morning, Rachel Leigh Cook didn’t; a professional did. Rachel Leigh Cook didn’t do stunts; a professional did. And no one expected her, though she played Josie, to write songs. Professionals did. Because creating an authentic character is a collaboration between professionals. They hired professional actresses to act the Pussycats and a professional singer to sing for them. And not just any professional singer…Kay Hanley from Letters to Cleo. You get to see a movie starring three starlets and hear Kay Hanley. This is the best of all possible combinations!

     The entire cast is pitch-fucking-perfect. Donald Faison, Seth Green, Alan Cumming, Parker Posey, Missi Pyle…comedy superstars, all of them. Cumming and Posey, especially, are let off their respective chains and are as deliciously insane as I have ever seen them. Tara Reid is so sincere as the all-loving vegetarian airhead Mel. Watch her explain all the things she could do if she could be in multiple places at once. Watch her fall on her ass in the living room. Rachel Leigh Cook, the star-next-door of 1999 thanks to “She’’s All That,” is recognizable enough to be a believable rock star and unknown enough to be a believable loser. She’s spunky and cute and the tiniest bit annoying, so you buy it when she turns into a bitch.

     But by far the MVP (Most Val-uable Pussycat) is Val, aka Rosario Dawson, aka pre-Rent Rosario Dawson, aka pre-skinny Rosario Dawson. She’s deadpan and cool and dorky and totally un-self-conscious in a way you never see in teen movies. Mel and Josie come off like girls. Val is a woman. She’s the moral center of the story and its most reasonable character. She doesn’t get many whacky showcase moments or punchlines. In fact, her main joke is that Wyatt keeps forgetting about her because yeah, isn’t Val a little bit boring? But also…yeah! She’s a rock star and she’s a little bit boring! She’s happy with herself and her decisions. She’s supportive and smart and does volunteer work. She’s just a cool, calm and collected cat. She’s Dave Grohl or Bob Gaudio or everyone in Bon Jovi or no one in Fleetwood Mac.

Then there’s the X-factor, the je news said quoits, the kitty-ness of it all. The monkey. Captain and Tennnille and The Chief. The Charlie’s Angels girls playing the Pussycats in the very movie you’re watching. The quite catchy melody of “Taking My Truck For Granted”. These are things that make the film an absolute joy to watch. They show how much time, care, effort, energy, talent and, yes, love went into making “Josie And The Pussycats.” When you love something that much and work that hard on it, I think the least you can expect is that audiences and critics give it a fair shot before casting an opinion. Unfortunately…

Part Three: Reception

JATP made fifteen million against a twenty-two million budget. It’s not that audiences didn’t like it; they didn’t even see it. Roger Ebert, the most influential critic of his time, basically panned it. And there’s only one reason, I think, why this film has not received the recognition it deserves: the patriarchy.

Calm tf down. I’m not accusing Ebert or any critic or any man or any penis of outright misogyny. What I am arguing is that there are many aspects of the movie that prevented it from being seen by male audiences who would otherwise be free to enjoy it, and that it hasn’t taken its place among the greats because of a systematic disregard for the things the film is fundamentally about.

     Take the title, for instance. It has the word PUSSY in it. How many guys, of a Saturday, would feel comfortable rolling up to the box office and asking for tickets to a movie with Pussy in the title and a glitter-covered girl gang on the poster? Most people of ticket-buying age have already been indoctrinated (by the very brain-washing society the movie mocks) that this is a chick flick. Dissuading men from enjoying “feminine” things isn’t reverse-sexism…it’s the patriarchy!, So while of course I am all for female-driven movies making bank on the strength of female purchasing power, the fact remains that it is twice as hard to turn a profit when half the population is getting signals from all sides telling them not to go.

     Beyond the title, the pink-and-purple poster and the lack of “bankable” leads (ie macho action stars or old-man-approved Award Winners), this movie was, frankly, scary to conservative America. Remember, the patriarchy is just another branch of authoritarianism and oppression. The Pussycats are the opposite of oppressed. They don’t exist within the sanctified, codified world of high school (see: the massive success of “Mean Girls” and “Clueless,” or “Legally Blonde” for post-grad institutionalization); they aren’t at a pre-prescribed stage in life as designated by a major milestone (“Bridesmaids”); they aren’t gainfully employed but looking for mates (“13 Going On 30,” “27 Dresses,” “How To Lose A Guy In 10 Days”). Instead, like Romy and Michele (again under appreciated, again starring Alan Cumming…are you sensing a theme?) they are semi-employed and okay with it, chasing their dreams instead of men, existing more in relationship to each other than to any structure from the outside world. They have their own Pussycat society, a society with its own rules and norms and boundaries. This is anathema to the patriarchy. The pussycat house may very well have been a brother for all that it completely rejects the heteronormative standard.

     Groups of liberated females have long struck fear into the heart of the establishment, and so the establishment tries to shut them down. Funny women aren’t supposed to tell you not to buy stuff. They are supposed to shut up and have babies. Well, Josie and Mel and Val are college-aged girls living on their own in a house full of cats, refusing to buy new clothes or listen to bland music, and the movie paints them as powerful, not pitiful. Talk about subverting the dominant paradigm. This movie was the revolution, people, and we fucking missed it!

     The movie was called “ridiculous” because men have always called women ridiculous for wanting the things they can’t have. What it comes down to is if this were a drama about a bunch of boys who liked to sing and play guitar and hated “the man,” and wanted a record contract anyway, Oliver Stone and Cameron Crowe would have been fighting over the chance to direct it and Leonardo DiCaprio would have been growing his hair out to take on the lead. But instead, the movie is - gasp! - a comedy about - omg! - friendship instead of drugs, centered on three - wtf! - cute girls instead of two guys and their shared sex object. Because at the end of the day, the establishment can make peace with men who fight the power with guns or whatever, probably something that the establishment sold them anyways. Not so for ladies.

Now, how am I so sure that the patriarchy is completely to blame? How do I know it wasn’t simply that this happens sometimes with movies, and maybe there were a bunch of other factors I don’t know about? Well, consider the closest thing we have to a “control” movie against which we can test my theory: “Zoolander.”

     Heard of it? It came out the same year as JATP and boasted a roster of comedy’s best. It also has…pretty much the exact same plot as JATP. It’s about an industry that brainwashes its stars to promote and preserve a capitalist way of life. They were made for around the same amount of money, even. Yet “Zoolander” grossed its budget back twice over, is quoted by film fans ad infinitum and, oh yeah, the star-studded sequel just came out. So what did Derek Z have that Josie M didn’t?

     Well, “Zoolander" was about a guy and made by guys. Ben Stiller stared and directed; Scott Rudin produced. Other guys could go to a Ben Stiller/Scott Rudin movie. “Zoolander” was about an adult, and society tells us that their stories are worth telling. Josie and her friends aren’t teenagers, yet JATP consistently pops up on “teen movie” lists, even thought it’s really clever. “Zoolander,” which has demonstrably juvenile humor, is never considered a teen movie, and adults went to it in droves. Again, the deciding factors are sexism and ageism which, yes, is part of patriarchy (establishment = conservatism). The original “Zoolander” trailer features, instead of Josie’s peppy music, a guy getting kicked in the face. And celebrity cameos. And an explosion. So Middle America was like YES PUT IT IN ME IT LOOKS LIKE WHAT I HAVE BEEN TOLD IS FOR ME.

     The other reason I know I’m right is…there is no other possible explanation. “Josie And The Pussycats” is so goddamn good that for it to have done as poorly as it did both commercially and critically, something must have been deeply wrong with the society into which it premiered. Like the work of Jane Austen, JATP was declared “chick stuff” and brushed under the rug, only to be discovered later by a more deserving audience. Well, the time has come. Rent it. Buy it. Watch it. Make like Alexander and hit the streets to spread the gospel of the pussycats.

*I have not seen Rashomon.

Trainwreck (2015)

Should I Watch this Show?: Only if you have an extremely dry, viciously sarcastic, inappropriate sense of humor. Or if you can appreciate an extremely dry, viciously sarcastic, innapropriate sense of humor. If this does not apply to you, save your money, because I guarantee you’ll think this movie is shit otherwise. 

What Should I Know?: Judd Apatow and Amy Schumer are the key and Sole driving force behind this Masterpiece. Bill Hader is evolving his career, and we’re really seeing that in this performance. Hella celebrity Ensemble. HELLA. 

Graphicness 1-10: 8. It might sound intense, but it’s all used in such a joking casual way, you don’t necessarily realize that you’re watching/hearing/snorting something extremely mature.

Awesomeness 1-10: 8.3. I’m favoring a little because I am 100% extremely dry, sarcastic, and inappropriate. And I think we’re all a little bit of Schumer ourselves.  So it was beautiful watching future self on screen, and empathizing FULLY. 

Writing: Quick and full of lethal comebacks. Wonderfully human. There’s not a single joke that goes unnoticed. This isn’t a film that fluctuates between heart and humor, with key moments that have you on the floor, with a cramping stomach from laughing so hard. Rather, this is a film that is constant heart, and definitely deals with serious matters, but uses very real comedy to move it along. It’s more of a constant median, in that way.

Cinematography: There were some really great shots. Nothing pretentious or putting in an Epic shot for the sake of putting in an Epic Shot. Lunch with Lebron was great, the love montage, but also, the repetition of certain shots, showing an evolving timeline (i.e. Amy in the Bathroom.)

Wit & Cameo Movements: 10/10. Just Beautiful. Go watch this masterpiece. This movie will be your workout because you will Laugh, your ass off. 

Performances: Schumer was BRILLIANT, but no surprise, as it’s not much of a far stretch from her personality. Hader made GREAT choices, of creating a character, but showing exemplary humanity. Lebron, Cena, also great. LET’S TALK ABOUT TILDA SWINTON THOUGH. DAMN. DAMN. I BET YOU DIDN’T EVEN KNOW SHE WAS INTHIS. Ezra, Randall, Brie, Everyone, is fantastic! But Tilda wins for Boss-Ass-Bitchiest performance and Chemeleoning for a role. Check out full cast Here.

Originality: So there. A modern messed up love story.

Other Things You Should Know: This, ultimately, is a love story. Even though so much happens outside of her love life. There’s a few moments that drag, but are necessary evils. 

Also, the Movie in a Movie, that happened, was genius. Thank you Team Radcliffe and Team Tomei. 

Seriously it is impossible to spoil the Utena movie. You can try. You can tell people spoilers. Like most of the time they don’t believe you, because how can they. And then even if they do believe you there is still zero way you can ever be prepared for actually watching it.

Why the Genocide Run of Undertale is so important. (Spoilers ahead obviously)

Yes. Its absolutely horrible. It spins the worst story imaginable and can only be attained at the cost of everyone’s happiness. Yes it corrupts your save file to the point that going back and getting the good ending is invalidated.

No one is above consequences.

Peeling away from the narrative of the story and looking past the idea that all RPGs have you grind monsters in a similar brutal manner, this route speaks more to the hearts of gamers in the deepest sense. We’ve all been guilty of trying to get every line of dialogue no matter the outcome, to get the 100% completion bonus. It goes without saying that it comes from our deepest determination to get those kinds of results. Chara said it themselves at the end of the genocide run.


Chara is the embodiment of those things. This is why they are able to take over your user controlled avatar. Its YOUR destructive nature that allowed chara to grow. You know what I think? I think Chara has been active for a long time and this is just the first you’re hearing of them. I think every time you played an RPG and ground your way up the ladder or any game for that matter, you fed that destructive intention. You sucked the life out of the world. That by trying to be the very best as soon as possible, you destroyed the heart warming experience you could have had by playing the game the right way. To the point that there is no reason to go back and play it again.

Developers constantly have to make fail-safes for these kinds of players. The ones that enter a dungeon and then just sit at the entrance constantly grinding to one shot the boss at the end. Its ruins the experience, but the chara in each player doesn’t see that. They just see points, score, their destructive determination creates a void in the experience of the game. And for what? To post to your friends on facebook how easy it was for you? To get that platinum trophy that equates little more then to a pat on the head? I think its good that you can’t get the good ending after completing the genocide ending first. Its to scare players. Haunt them to their core. To remind them that videogames…these outlets, are people expressions, dreams, creativity, and by simply grinding your way through it, you’re missing the whole point. For someone to open their heart enough to let you see their game and to just trample all over it. A person like that doesn’t deserve the real ending.

In other words, when you sell your soul at the end of the genocide run, you’re not letting chara take over frisk. YOU the player are accepting that chara is a part of you. That you, by nature, harbor that destructive determination And then when you do the pacifist run to let Chara free…They are just heading to another game…

And that you don’t care about it. But you should.

Kickstarter can be a real great thing. We’re getting Ukulele, Mighty No 9, that new Castlevania game and of course Undertale. This game never would have made it to us without backers help, but why? This game is such a masterpiece right? If a triple a company had gotten their hands on it think of how much crazier it could have been!? 

That’s the problem though.

We’re not getting a mainstream mega man again because developers don’t believe that genre sells anymore. We’re not getting a mainstream castlevania because marketing believes the genre is dead. Games have been trampled on, disregarded and flat out abused. This is why the video game medium isn’t being taken as seriously! Gamers need to shift away from the idea that games are just obstacles to be beaten, but experiences to be had. We all complain that new games don’t feel like old games anymore. That the wonder has been sucked out of them. That’s not the developers fault. (In many cases) Its YOURS. If you can’t put yourself in a place where you can see the wonder around you from a place far more spectacular than reality, then you’re looking at games the wrong way. Of course I don’t mean this about every game, I’m not going to ask you to role-play the quarterback in Madden 20XX but I mean…you bought the game for a reason right? Is your $60 really so invaluable that you’d throw it away by walking back and forth in front of an entrance for 4 hours just to make things easier? Do you see movies having the same problem?

My mantra in life has always been Adversity creates a story worth hearing.The challenge in games creates tones, atmosphere, it pulls you in and before long, you find that you are playing the game the way it was meant to be played, the way the developer wanted you to experience it. When the boss screams “NOOOO I CAN’T BE DEFEATED THIS IS IMPOSSIBLEEEEEEEE” there is supposed to be a sense of satisfaction that becomes little more than a joke if you just one hit everything in your wake.

Playing through the genocide route made me feel hollow. Alt tabbing until a monster encounter happened and then mashing the z key until they were dead. The music was muffled and I barely remember it (wasn’t it just a slowed down version of the normal song?) I didn’t read what the monsters were saying or the quirky little message box at the bottom. Nothing mattered but EXP and LV. If you’re tired of the same games happening over and over then you need to adjust your way of thinking and adapt.

Of course some of us grow up, the splendor of video games are lost and seem completely ridiculous. I get that, Tales of Zestria looks completely silly to me, but I see a lot of people pre-ordering it on steam to get the unlock bonuses so there must be SOMETHING to it. All I really aim to say here is that if you fall into this category, don’t drag things down for everyone else. In your DETERMINATION to create the wonder you had as a child, don’t berate games for not having the same wonder as Mario did when you first played it. This endless cycle of catering to nostalgia is what is killing the industry. Its much easier for developers to pump games of dead timeliness then ones that are live. Games that Chara can easily devour in their blind and endless quest for power. Games are about experiencing something larger than life. To gain perspective that would otherwise be unavailable to someone watching a movie. Its SUCH a powerful medium if used properly!!

I hope a lot of people play this game and get the pacifist ending. I hope a lot of people talk to asriel at the very end and take the advice he gives home with them. I truly think that a lot of what the pacifist ending had to offer could help a lot of people without making them feel horrible, or ashamed of themselves.

I’m living proof of my own words in any case. I can’t remember the last time a game has inspired me enough to write an essay about how great and important it is. To thoroughly analyze each component and apply it to real life. There may be games solely made to cater to a “chara” playstyle and others that cater to more of what I’m talking about but its up to YOU to determine that. YOU need to open you’re mind as you’re playing each game and recognize when you are playing a game, or when your trampling all over one. Kids who play games for sheer completionism…without even taking the tiniest bit of perspective or intuition…

Well. You know the jist.

((Theres a lot more I could say about both endings, but I think I’ll do that in a part 2 because its less about video games and more about the mind and emotion behind them))