turf home

Trinity #9 by Francis Manapul


Written by FRANCIS MANAPUL • Art and cover by FRANCIS MANAPUL • Variant cover by BILL SIENKIEWICZ
“ALL ALONG THE WATCHTOWER” part one! The Trinity is trapped in the Justice League Watchtower, and there’s a traitor in their midst! No one is what they seem as our heroes fight back against their own home turf!
On sale MAY 17 • 32 pg, FC, $3.99 US • RATED T

Written by DAN JURGENS • Art and cover by BERNARD CHANG • Variant cover by MARTIN ANSIN
Retailers: This issue will ship with two covers. Please see the order form for details. Includes a code for a free digital download of this issue.
“RISE OF THE DEMON” part three! Having only recently taken back the mantle of Batman and far from his familiar home turf of Gotham City, Terry arrives in Tibet on a dangerous mission to rescue Bruce Wayne from the League of Assassins. But when he finally gets an audience with Ra’s al Ghul, he’s in for the shock of a lifetime…
On sale MAY 24 • 32 pg, FC, $3.99 US • RATED T

CYaRon! vs. The Sea
  • CYaRon! vs. The Sea
  • CYaRon! (Takami Chika [CV. Inami Anju], Watanabe You [CV. Saitou Shuka], Kurosawa Ruby [CV. Furihata Ai])
  • Genki Zenkai DAY! DAY! DAY!

FULL DRAMA TRACK HERE (Timestamp: 10:02)]

Chika + Ruby: ꉂヽ(இ Д இ ) ノヽ(இ Д இ ) ノ

You: Don’t falter, you two! Face the waves!

Chika + Ruby: Yeah! ( ` -´)ゞ
You: Let the winds blow! Let the seas rage!
You: The seas are the home territory of You Watanabe!
You: No matter what storms roll my way, I shall not fear!
Ruby: I knew You wouldn’t let us down!
Chika: You can do it, You!
Chika: We shall cross this interminable sea, and head off to lands yet unexplored!

You: YOUSOROOOOO!!!! (੭ ᐕ)ゞ*⁾⁾

Batman Beyond #8 by Bernard Chang


Written by DAN JURGENS • Art and cover by BERNARD CHANG • Variant cover by MARTIN ANSIN
“RISE OF THE DEMON” part three! Having only recently taken back the mantle of Batman and far from his familiar home turf of Gotham City, Terry arrives in Tibet on a dangerous mission to rescue Bruce Wayne from the League of Assassins. But when he finally gets an audience with Ra’s al Ghul, he’s in for the shock of a lifetime…
On sale MAY 24 • 32 pg, FC, $3.99 US • RATED T

anonymous asked:

how about young mchanzo!

The moment Jack sent the Shimada brothers his way, Gabriel knew they were nothing but trouble.

As per the UN’s request, Jack had a handful of agents keeping tabs on the Shimada Clan at all times. One too many reports came across Gabriel’s desk that detailed the many charges stacked against the group – drug dealing, arms trafficking, money laundering, and countless assassinations, to name a few. They were one hell of an elusive organization, always a step ahead of their enemies due to the politicians, local authorities, and businessmen they kept in their pocket. Having powerful friends in high places made the Shimada Clan tricky to pin down in their home turf, but Overwatch pursued them nonetheless.

All their efforts seemed to pay off once Hanzo and Genji Shimada fell right into their lap. They were young, desperate, and looking for protection after abandoning their clan. By Overwatch’s standards, they were easy pickings. It should have been a breeze to get information out of the two, but it was apparently proving to be more difficult than expected. Hence why the brothers were being dropped onto Gabriel, much to his chagrin. 

Despite the fact he’d cut a deal with a no-good, smart-ass kid just a few years prior, Gabriel wasn’t interested in giving anyone affiliated with the Shimada Clan a second chance, least of all the heirs of the whole damn organization. They weren’t like Jesse, who was nothing more than a troubled kid caught up with the wrong crowd. Jesse, though a pain in the ass at times, was on his way to making up for his past mistakes. After three years with Blackwatch, Jesse wasn’t doing too bad under Gabriel’s watchful eye.

The Shimada brothers, on the other hand, were bred to be ruthless assassins, concerned only with serving and protecting the clan they were destined to command. They had no place in any division of Overwatch, including Blackwatch – which was saying something, considering Blackwatch itself was a fairly shady place. 

The Shimada Clan was nothing but trouble, and any heirs to an organization that vicious had no place in their ranks. Of course, that didn’t stop Jack from all but begging Gabriel to take them on – after all, if Gabriel could kick Jesse’s ass into gear, he could do the same with the Shimada brothers.

The only way they could get information out of the two was if they guaranteed them some form of safety, and the only way they could guarantee them safety was if the brothers became members of the team. So against his better judgement, Gabriel took on the task and begrudgingly agreed to place them among his ranks. At first, they didn’t seem too troublesome; Hanzo kept quiet for the most part and Genji only blabbered about how “cool” it was to be on the team. Overall, nothing Gabriel had to instantly worry about. 

The real trouble came once he was forced to introduce them to the rest of Blackwatch. Everyone else handled it just fine, mostly brushing off the brothers once they’d been introduced, but Jesse…well, he was entirely different story. His eyes lit up like a goddamn Christmas tree when he spotted the Shimadas, and Gabriel knew this couldn’t possibly lead to anything good. 

Keep reading


Herjólfsbærinn (Herjólfur´s farmhouse), Heimaey, Vestmannaeyjar, Iceland.

via Jack and Petra Clayton on Flickr

Description provided on Flickr:

“The farmhouse in Herjólfsdalur is a prototype of what might have been the oldest human habitation signs in Iceland.

The remains of the farm was discovered in 1924, when the first director of the National Museum was doing excavation work in Herjólfsdalur valley. He discovered 3 ruins; one long-house and two smaller houses. It seems like it was the long-house of Herjólfur Bárðarson, the first settler of Vestmannaeyjar islands. So the old remains might date back to the early 9th century.”

Segment of the Grœnlendinga saga, Chp. 2:


  1. Description from Flickr (see link above)
  2. Old Norse and English text from Grœnlendinga saga in Jesse Byock’s Viking Language 1: Learn Old Norse, Runes, and Icelandic Sagas, Lesson 1, pg. 46.

“Baby don’t you want to go…”

Astronaut Karen Nyberg captured this lovely image of this author’s home turf on July 4, 2013. The Chicago and Milwaukee metro areas stand out on the western shores of Lake Michigan, while clouds obscure part of Northwestern Indiana.
I spent longer than I want to admit trying to track down Thornton Quarry on the South Side, but I think it’s barely covered by the edge of the clouds. That thing just has to be visible at this scale on a clear day.


Image source: https://twitter.com/AstroKarenN/status/352901600165113856/photo/1

Thornton Quarry: http://en.wikipedia.org/wiki/Thornton_Quarry

Welcome Home - Pentagon Yuto Smut Scenario



The first thing you did when you got off the plane after your long flight was take a huge breath of the air, unwinding in the familiar smells of the city you’d lived in for the past three years. After spending the past month visiting family in Toronto, you were glad to at last be on home turf, in a city you could easily recognise and navigate. Travelling to foreign places could be stressful, and being home meant you could finally relax.

The next thing you did was wait. And wait. And wait.

The airport was far from a peaceful and empty place that afternoon. Families, couples and solo travellers swarmed the terminal, weaving around each other in an unofficial rhythm that had left you bruised and confused after trying to follow it. There seemed to be more people about than tiles in the floor, and the crush of bodies at the luggage collection bay had you standing and waiting for the most part of an hour for it to clear.

Your phone beeped. An incoming text, most likely, from the boyfriend you were supposed to meet thirty minutes ago. Sure enough, you unlocked your phone and there was a message from Yuto.

Yuto 💕: where are you??

You smiled, knowing you weren’t the only one missing the long cuddles and numerous tiny kisses that had been a regular evening occurrence. Your fingers were a blur as they tapped out your answer.

Y/N: the luggage area is really busy right now :/ you might have to wait a little longer

Barely a minute passed before two more texts came through.

Yuto 💕: I miss you though

Yuto 💕: I don’t want to wait

You found the messages to be rather sweet, nearly giggling aloud in flattered amusement. It was rare that Yuto allowed himself to appear cute in this way; he preferred to maintain a ‘cooler’ persona around you, despite you knowing already that deep down he was really just a huge cuddle bug.

The crowd around the luggage collection area finally began to dissolve, the lull between arrivals when no large flights were landing. You clicked off your phone and slid it into your pocket, darting between people. Yuto may have wanted an immediate response, but he’d have to suck it up and wait if he wanted you home sooner over later.

With your luggage now recovered, you followed the signs to the exit, rushing for the taxi bay. Admittedly, you were rather eager to get home to your apartment. But of course, the taxi bay was busy too. It looked like there’d be another long wait in store.

Sighing in defeat, you fetched your phone back out of your pocket, shooting back a couple of texts to Yuto while you started the second round of standing and doing nothing.

Y/N: you should’ve come to pick me up if you wanted to see me sooner

Y/N: taxis are busy too, don’t expect me home any time in the next hour at this rate

Yuto 💕: but I need you now :( it’s been so long since I got to touch you

Oh. Of course, he wasn’t just flirting. The tone of his comment, though written and not spoken, sent evil tingles wandering through your stomach. No innocence was featured in his words. Or, at least, you hoped it was that way.

Thirty minutes and forty rounds of Angry Birds later, you felt a tap on your shoulder. Turning around, you were hardly surprised to see Yuto standing behind you.

“Hi,” he smiled, taking in your interesting fashion choices. You’d barely had time to get ready before your flight that morning, so your outfit was a mishmash of whatever you’d picked up first. You feigned nonchalance, shrugging to hide your embarrassment.

“Hi,” you said back, twinkling your fingers in a gentle wave. There was a short silence, as neither of you knew what to say, and then he leant down and kissed you.It was only for a moment, but the brief contact had you biting your lip to restrain yourself as he pulled back. He winked at you, but immediately busied himself with scooping up your luggage from where it rested on the filthy concrete at your feet.

“I’ve come to take you home,” he said. An arm wrapped around your waist, pulling you into his side, and he led you away, never once dropped his easy grin. It was more casual than you expected, the action telling you nothing more than a simple ‘I’m glad to see you’.

You started to doubt your original thoughts of his intentions. Perhaps he’d just been missing you, and that was all. You’d probably imagined the sexual tension in your text conversation earlier, and he only wanted to see you.

The uncertainty continued to cycle through your mind the whole journey home, leaving you with nothing to say and a silent car ride. Every few minutes, Yuto would glance over at you with that same smile he’d had since the airport, but he didn’t seem to pick up on your quiet mood. He seemed more focused on the outline of your figure, but you hardly noticed, staring sullenly out of the front window.

The apartment block loomed ahead, and you sighed in relief, glad to finally have an opportunity to escape the uneasy atmosphere of the car. Yuto still remained oblivious to your current feelings, blinded by his happiness at being near you again. Before the car even stopped, you were reaching for the handle, and once you were free you stormed to the trunk to pull out your bags. You strode away, not really sure why you were rushing, or even why you were upset, but figured it was just that you were tired.

It was only now that Yuto realised you weren’t particularly happy with him, and he almost forgot to lock the car in his hurry to catch up to you. The smile had vanished by now, replaced by a concerned frown, as he drew level with you.

“What’s wrong?” he asked, gently taking your wrist to stop you.

“I don’t know,” you sighed. “I think I’m just tired.”

He nodded in understanding. “Let me take you to bed, then.”

You blushed furiously, wondering if he’d caught his own innuendo. He showed no sign of such, instead kissing your forehead softly and leading you away to the apartment with his arm once more around your waist. It felt like his hand was lower this time though, and you wondered if this was intentional.

He brought you inside, taking your bags from your hands and dropping them on the couch. You barely had a moment to breathe before he whisked you into the bedroom, laying you down on the covers. But as he moved to stand and leave, you grabbed a fistful of his shirt and yanked him down so your faces were mere millimetres apart.

“You’re not going anywhere,” you growled, the tone sending an electric thrill through the air between you both. You hadn’t meant to sound so desperate, but seeing the way Yuto’s eyes flashed in response, you felt yourself lifting towards him against your will, like someone else had control of your movements. But whether it was you or a foreign being directing your body, you still ended with your back arching upwards and mouth pressed to him.

For the first few seconds, the kiss was little more than a meeting of lips; that brief moment of indecision before the self-restraint snaps. Then Yuto nearly fell on top of you, trying to taste every square inch of your mouth as you opened up to him. You lay back, smirking. This is what you had wanted. You knew that now.

Two strong hands held your face as he hovered over you, propped up on his elbows. The kiss seemed to get deeper and deeper by the instant, intense to the point where it nearly hurt. You didn’t care for the pain though, in fact, it made the whole experience that much better.

Normally, he’d be taking it slower, but today Yuto was all over you, sitting back on his knees so he could wrench off your jacket, nearly tearing your shirt as it followed suit. There was a hesitation as he gasped for air, staring at your half-exposed chest with swollen lips parted, before he dove onto you again, swiping hair from your face as he joined your mouths again. Teeth clashed; it should’ve felt awkward, but really it just didn’t feel like enough. You needed more.

Yuto seemed to agree, pausing again but only to pull his own coat and shirt over his head. Again and again he attacked your lips with brutal kisses, the feeling made greater by the way his hips kept accidentally brushing against yours. He was too close, yet never close enough, and there was only one way to get him fix that.

You bucked your hips up into his, creating that special friction you craved. The noise he made then was something akin to a shriek, so surprised yet satisfied was he by your sudden courage. He read the movement as what it was – an invitation – and returned the favour, grinding smoothly against you with quiet gasps.

“I thought you were tired,” he smirked, stopping to catch his breath. You looked into his eyes, at the dilated pupils, and shrugged.

“Not if you’re sleeping with me,” you winked in response, using the moment of separation to reach between you and pull at his jeans. He didn’t stop you, groaning as you flipped him over to slide them off. He was in nothing but boxers now, panting as he gazed up at you. This was it, the moment before you lost control of yourselves; whatever happened from now couldn’t be stopped.

Swinging your leg up and over him, you unclasped your bra, throwing it to the floor with zero care for where it landed. Nothing else mattered but you, Yuto and the way he touched your bare breasts. You ground into him heavily in response, marvelling at the way he looked with his eyes scrunched shut and mouth flung open in a strangled moan.

And the only thing going through your mind was that you needed these clothes gone.

A minute of anxious fumbling later, your wish was fulfilled. You were silent for a moment then, forgetting to take the initiative because all you could see was him and he just looked so beautiful. Impatient, Yuto took hold of your hips and flipped you back over again, hovering over you like before, but now it felt even more intimate. He closed his eyes, bracing himself for his next action.

The first thrust was the most gentle, as he allowed you to adjust, and the second was only a little rougher, but after that it was like he gave up holding back, and it was push after push of violent indulgence. It didn’t matter how exhausted your body was from your trip; you’d missed Yuto and his warmth since your departure. You couldn’t believe you’d survived so long without him.

His breaths were laboured as he drove into you over and again. With every thrust, he repeated the words “I missed you”, but you could barely hear him over the cresting waves of pleasure washing through every nerve in your body. For such a long buildup, you could almost taste the end already.

Your vision flashed white as every fibre of your body gave in to the heat, toes curling and hips rising in the explosion. Your climax triggered Yuto’s own, and you both fell apart in the same moment, sighing as the energy left your body in that last burst of pleasure.

Now I’m tired.”


- Ellie ♡



Looks like they’ll be starting fresh on Viktor and Yurio’s home turf to begin preparing for the new challenges that will lie ahead.

And while they don’t know what may happen along the way, they’re love for each other will most likely continue to serve as their guiding light.


The Fighting Cholitas

In Bolivia, there are a group of female lucha libre-style wrestlers who perform in multi-layered dresses and who wrestle, sometimes in intergender matches, for hundreds of paying fans each Sunday. They’re known as The Fighting Cholitas. The Cholitas are part of a group of wrestlers known as Titans Of The Ring, which are wrestlers of both sexes whom are indigenous to El Alto. When the group takes the show on the road, they guarantee hundreds, but when they’re on their home turf, thousands flock to see the Colitas in action.

Tickets to the shows are roughly $1 (American), and often, the Cholitas are paid $13 per match. Because of this, wrestling is merely a side hustle for the group, who take on other tasks in daily life.

However, come Sunday, the luchadoras gather in El Alto to put on professional wrestling shows, trading punches and flying through the air whilst adorned in petticoats and shawls. The women involved operate through a system founded in 2011 to ensure that everyone be paid fairly and equally, which was created after a promoter who had an idea to put the Cholitas in the ring to attract to public. Once the gimmick was spotted as becoming a monopoly, the Cholitas created their own brand, and it’s found them incredible success!

The Cholitas were highlighted in an award-winning 2006 short-subject documentary, The Fighting Cholitas, available at this link. It’s only 20:00 long, so be sure to check it out!

Look Finns - about speaking Finnish in Estonia.

Estonia is Estonians home turf. You come here and you will get Estonian hospitality because if Estonians are anything, we are hospitable. Making our guests comfortable is of utmost importance of Estonians.

Don’t abuse it by yelling at young Estonian customer service people who most likely have never learnt Finnish even for a day, because they don’t understand you.

The days where Finnish TV was easily obtainable for Estonians and also important to watch are over.

If you have to use Finnish, please for the love of god, slow down your speak, use easy words (not slang, because we won’t understand) and be patient if the customer service asks you to repeat what you said, asks for different wording or asks for the same thing twice - after all, if customer wants service in Finnish, they must get it in Finnish.

'Kong: Skull Island' Unleashes Exclusive First Look at the Movie Monster
by C. Molly Smith

It’s on like King Kong.

The gargantuan ape returns in Kong: Skull Island, which arrives in theaters March 10 and stars Tom Hiddleston, Brie Larson, Samuel L. Jackson, and John Goodman. And while fans have been eager to catch a glimpse of the reimagined Kong, he hasn’t been too eager to be seen. After all, just look at the welcome he gives the explorers in the 1970s-set film, led by Hiddleston as a British Special Forces vet and Larson as a war photographer who unwittingly stumble into his home turf.

Here, director Jordan Vogt-Roberts (The Kings of Summer) unpacks that momentous scene as well as the look of the imposing figure, addressing his vision artistic vision, similarities and differences with previous versions, conveying emotion through eyes and facial expressions, playing with scale and the ultimate reveal, and much more. The beast, certainly, roars again in this upcoming monster-movie reboot, so all hail the new king of the jungle…

ENTERTAINMENT WEEKLY: What was your artistic vision with this beast going into the film, and what was the process like of bringing him to life?

JORDAN VOGT-ROBERTS: With Kong, there’s been obviously so many different versions of him in the past and ours needed to feel unique to our film. I had a mandate that I wanted a kid to be able to doodle him on the back of a piece of homework and for his shapes to be simple and hopefully iconic enough that, like, a third grader could draw that shape and you would know what it is. A big part of our Kong was I wanted to make something that gave the impression that he was a lonely God, he was a morose figure, lumbering around this island.

We sort of went back to the 1933 version in the sense that he’s a bipedal creature that walks in an upright position, as opposed to the anthropomorphic, anatomically correct silverback gorilla that walks on all fours. Our Kong was intended to say, like, this isn’t just a big gorilla or a big monkey. This is something that is its own species. It has its own set of rules, so we can do what we want and we really wanted to pay homage to what came before…and yet do something completely different.

There’s subtle nods. [The ’33 film] was black and white, so it’s really easy to assume that the fur on the monkey is black, but there’s actually a lot of forums and things that you read and there’s some real poster artwork where Kong’s fur skews more brownish, so we actually pushed his fur in more of a brown as opposed to the traditional black. It really was trying to create this feeling so that when these humans look up at him, they hopefully have a visceral response, saying to themselves, ‘That’s a God, I’m looking at a God.’

Can you expand on the loneliness about him, how you made him this isolated figure through his appearance?
Kong’s always been a little bit tragic. You can’t tell exactly from the still, but the way that he walks on the island, the way that he goes from place to place, I wanted to communicate something about his headspace and about the way that, in certain ways, he’s the protector of this island and then in other ways he’s killing time. The way he lumbers, the way that he drags himself from place to place, there’s an exhaustion to him. There’s obviously a huge power to him, but there’s a sadness contained within his animation. The way that he walks and his facial capture fused with this very energetic, young Kong at the same time.

You mentioned the color of the fur and this Kong is one of the biggest to appear on screen. Can you speak to the similarities and differences beyond those, in terms of the look of your Kong compared to previous versions?
If anything, our Kong is meant to be a throwback to the ’33 version. I don’t think there’s much similarity at all between our version and Peter [Jackson]’s Kong. That version is very much a scaled-up silverback gorilla, and ours is something that is slightly more exaggerated. A big mandate for us was, How do we make this feel like a classic movie monster?

[Kong] was a movie monster, so we worked really hard to take some of the elements of the ’33 version, some of those exaggerated features, some of those cartoonish and iconic qualities, and then make them their own…We created something that to some degree served as a throwback to the inspiration for what started all of this, but then also [had] it be a fully unique and different creature that — I would like to think — is fully contained and identifiable as the 2017 version of King Kong. I think there are very modern elements to him, yet hopefully he feels very timeless at the same time.

How did you convey emotion through Kong’s facial expressions and eyes, in particular?
The eyes are hugely important, not just with a creature, but with a human. The eyes are obviously the window to the soul. When you watch any actor, half the time…you’re watching their eyes as opposed to anything else, so that was incredibly important and also we’re playing a tricky game with Kong where you have a tragic hero and you have to slowly pull the rug out in terms of who this person is.

The other thing with our Kong is, much like the ’33 version, right away he is not necessarily seen as a protector. He’s got a job on this island and at first he might be perceived as a negative or villainous force, and then you need those eyes to guide the audience and take them on a journey where you slowly pull the rug out and develop empathy for this being, for the plight and the day-to-day struggle of what it is to be this [thing]. We actually have a lot of extreme close ups in this movie of Kong and his eyes to sort of plant the audience in his headspace.

Speaking of, what’s going on in this first-look image? Is that people perceiving him to not be this protector, like you were just saying?
That sequence comes from a point in the movie where you’re not quite sure who Kong is, what his purpose is, how people should be perceiving him. Through the folly of man, where our initial instinct is to attack anything that is not a known quantity, both sides jump the gun, Kong and the humans, and it kicks off a relatively messy engagement. At first, of course you’re going to perceive something like that as a terrible threat and monster — the physicality of him alone.

A huge part of the movie was designing him and creating the creature so that when you did see him it sort of short circuited your brain and was divisive to people, where certain people immediately say ‘That’s a threat,’ certain people immediately say, ‘That’s a God,’ certain people immediately say, ‘That’s a savior.’ Visually and instantly, what happens when you see this thing towering over you and what is your sort of emotional and intellectual response?

With this Kong being one of the biggest, how did you play with scale and the reveal of his impressive size?
Well, the reveal you can wait for in the film itself, but you’ll see, I shot this on anamorphic lenses, which a lot of people said, ‘You’re crazy, you’re taking away more space to show how big he is!’…It seemed like a bigger challenge to communicate scale in that way. We’re also fundamentally not playing the same game that Gareth Edwards’ Godzilla did and most monster movies do, which I’m sort of sick of the notion that a monster movie needs to wait an hour or 40 minutes until the creature shows up. Kong traditionally does not show up in these movies until very, very late, and the monster traditionally does not show up until very, very late in a monster movie, so a lot of these movies tend to have this structure that’s a bit of a slow burn. Something about this movie made me want to reject that and play a very, very different game.

It was honestly a great and interesting challenge, trying to find scale cues for something that big. How do you frame him in the sun? How do you frame him in mountains? How do you find low enough angles that communicate the scale next to these people without just shooting into a blank sky? It was important that you understood the dichotomy between the scale of him and the majesty of him, and yet the horror and fear associated with something that big. That fine line between looking up and saying, ‘This is the most beautiful thing I’ve ever seen, and I might be looking at a God’ and also ‘I’m absolutely terrified right now, I may have pissed my pants, and I think that thing’s going to kill me.’ What is that threshold and that fine line? So finding ways to shoot him and the island and all the creatures in a way where it’s slightly more reflective and the scale makes you hopefully think everything in between those two ideas.

Kong has remained a huge presence in pop culture. Why do you think this is a story that continues to be told and continues to resonate, and why is this something that you personally wanted to pursue?
Kong is a very tragic and relatable figure, like Kong just goes to A) The idea of being misunderstood, which everyone can relate to, and B) That humans have a fascination with apes and where we came from and things that we don’t understand. The reason that I was particularly interested in taking on this story is not only those elements of Kong and the fact that he is film history, but in particular in this instance, in our time period which is 1973, I was really interested in exploring the idea of the need for myths — why we need myths, why myths exist in our life. Right now, in our modern society, we are destroying myths through all of our technology and we have access to everything with our cell phones, which is amazing and it’s also taken away some of the wonder of the world.

I wanted to tell a movie about what happens when people are re-confronted with myths and put back into the food chain and how that makes them react and behave and I think that Kong is a myth that we have been telling now, so if you’re going to re-engage with that myth I think it’s important on a larger scale, but also on a franchise scale that you make it [a new myth]. Every other Kong movie for the most part has essentially been — yeah, there’s been Son of Kong and King Kong Lives and things like that — but the main sort of Kong stories throughout time have been remakes of the same beauty and the beast story, and this movie is not the beauty and the beast story. It’s sort of fundamentally a new telling within some of the mythos of this world and some of the imagery and ideas within this world.

In the same way, I think that we as people need new stories throughout time. If you’re going to engage with Kong, you need to do the same thing — you can’t keep telling the same story. As someone who grew up loving early creature features and movie monsters and things like that, one of the things that attracted me to it beyond telling a story that’s also about people and how a place makes them react to the otherworldly and around God-like creatures it’s, What happens when they’re presented with things that should not exist? What does that do to people? How does it make them behave? Who breaks? Who becomes stronger because of it? Who rallies together? What individual journeys do each people go on?

Is there anything else about the look of Kong that we didn’t talk about that you want to mention, either about your process or the final results?
It was a very, very long design process. Before we had a script, before we had a production designer or a visual effects team or much of anyone, we immediately dove into the look of Kong, which we knew was going to take a long, long, long time to finalize. I liked the idea of, you get the sense that he’s simultaneously very young, yet very old. Like I said, there is a lumbering quality to him and I wanted to find that threshold of having him feel aspirational, like ‘Ah man, wouldn’t it be great to be him?’ and also really tap into the underlying plight and sadness that his life contains.

From a design perspective…you go in one direction and end up with the Hulk and you go in another direction and you end up with Planet of the Apes, and then Peter obviously did such a good job with his version, so you’re left with a very narrow target of how you create something that pays homage to what came before it. With the 1933 film, which was important to me because I love that design, I love the fact that he feels like a movie monster and not just a big gorilla. So how do you make something that feels real, yet also is a throwback to movie monsters, and then takes on that very larger-than-life, God-like quality, and then be able to pull back the layers from it and peel the onion to throughout the film find out more and more and more about him and his backstory, and hopefully kind of lock you into his emotional state and invest you with him?

It was a really great process and a fun process, but it was a long process, finding ways to show the daily life and struggle that he goes through. I think there’s a lot in the movie that hopefully almost feels a bit Planet Earth at times in terms of…this is the struggle that this guy goes through, this is what his daily life is, and some of it’s great and exciting and some of it’s bad and hard and this is what he is and who he is.

Okay, but really. 

This means that Viktor knew the whole time that Yuri had something very powerful, very sexual, hidden deep inside under the insecurities. He knew it, because he had seen it and had already fallen just a little bit in love with drunk Yuri. You could see it in his eyes, the way he just… changed. I think that was the moment, when drunk Yuri was just hanging off of him waggling his ass and drunk as a skunk, when Viktor realized that Yuri stole a little piece of him.

Of course he looked upset at the Tokyo Worlds. Yuri wasn’t there. He was on Yuri’s home turf and all he could no doubtedly think about was the drunk Japanese man from before, and how he was so devastated that he didn’t even want to take a photo… 

Viktor wanted that photo…

No wonder he looked so… off. He had a lot of shit on his mind…. including Yuri. 

(Don’t get me wrong, but the drunk night happened before he bombed, right? Imagine what a mess Yuri felt… not only did he do something so shameful, but he also messed up his skate later on. If it happened after, it is still super awkward because no doubt Viktor was confused as to what he did wrong and then he has his hands full of drunk Yuri.)

I remember Viktor saying how he could see Yuri. None of us knew why, but now we do.

He always saw Yuri… Even before Yuri knew it. 


Of course he dropped everything the minute he saw Yuri skate. He knew it, then and there. 

This was what he was missing.

Viktor fell in love first… is canon, now?