#major props

GIF by mostlyfate

GIF by dingyuxi

Reasons why ki seon gyeom is an autistic icon:

difficulty recognizing and expressing emotions or desires

doesn’t show emotions on his face the way other characters do

uses literal language often, can be blunt

communication issues

overlooks “unspoken rules” or nuances in social situations 

enjoys routine and structure

sometimes his movements are rigid and asd can be characterized by reduced fine motor skills

running could be a special interest from childhood

the way he gives his conversation partners undivided attention! While aversion to eye contact is common, I remember a kid with autism in my hs was teased for “staring”

I can’t speak well to this since I don’t speak Korean but irregular speech patterns like atypical tone are associated with asd 

Love seeing how seon gyeom learns to communicate better over time and especially that a potentially neurodivergent character can also be desirable and have complexity beyond their abilities. People on the spectrum are valid no matter the severity of their symptoms and deserve love, happiness, and success too!

Theres one in sals left eye, the bowl, the goats horn, the flipphone, super gearbox, one very small one on the bologna sandwhich, one on the journal from packertons desk, one big one across the journal and phone, one on the bottom left hex disk thing, and the last big ones in the bottom left corner :)

( if you want proof, I lightly drew on your drawing but I hated doing itjdbsbs)

Same anon from the last 2 hehe <3

if anyone can put me in contact with sanjay leela bhansali’s cinematographers, lyricists, screenwriters, costume designers, set designers, location scouts, production assistants, editors, and financiers, i’d greatly appreciate it. i want them to work with me instead.

he has so much great talent at this disposal, and despite being awed by his film’s, i’m always let down by his direction. this is a subjective comment, but it’s based on objective things.

for example, blocking and staging. he could use the blocking to give depth to the story. use it to display power dynamics! use it to really highlight the differences between khilji and ratan singh (i think he attempted this, but it was just so... underwhelming)! he opted for wes anderson-y main-character-in-the-middle-of-the-shot thing. i hate comparing directors from different industries because i think they should be assessed in their own context, but i bring up wes anderson because at least his staging has purpose. he creates tableau shots. they all have symmetry but they’re quite distinguishable, and they exist to let you know that you’re no longer in reality, you’re in wes anderson’s world. and often the tableau heighten the humor of his films. in this, so many of the shots just look so similar that i wouldn’t be able to tell you which part of the movie they were in, or if the shots were from bajirao mastani instead. i can go into more depth about this, but let’s move on.

his direction of the actors. okay. so. a certain level of suspension of disbelief is to be had when watching slb movies. i’m willing to accept that alsmost all of his characters exist as extremes. for example, his “good” characters like ratan singh or padmavati or gora singh are purer than white doves. and his “evil” characters like all the khilji’s except malika mehrunisa are at a scar-level of depravity (i refuse to believe that scar wasn’t an inspiration for khilji’s character). i accept his characters in all their extremity. slb really wants us to know that there is a clear divide between what is good and what is bad. and you wanna know what is bad? the way slb directs his actors. his pure characters display no depth. they have beautiful dialogue, but the delivery is always said either 1.) resolutely, 2.) resolutely with very red eyes, or 3.) resolutely with “passion.” resoluteness, sorrow, angst, worry, passion, and so on and so forth are very different emotions. let the actors say them the way that is most realistic. that would make the dialogue more impactful. and i know these actors are capable of doing that. watch udta punjab! watch ram-leela (which is one of the few slb movies with great acting all around)! deepika and shahid can act like no one’s business, so i know that the direction of this film is the reason their acting was so stiff. you know why ranveer is getting praise? because he was allowed to inflect, move around, and embody the energy of a narcissistic ruler in order to convey how evil his character is. give the other actors that chance too.

the cinematograhy and world building of slb films is always excellent. always. but while he plays a role in the beauty of the world in his films, he cannot take all the credit for it. especially when his direction lets the world down. the point of creating a world that is somewhat your own is so you can send a message about your beliefs. if you look at ram-leela, the world he created in that movie is pretty thorough, despite being extreme. the message he’s sending by making the setting a violent town is that nothing good comes from violence. i geniunely don’t think there was any message in his version of chittor. you can argue that he was saying that mewar is magnificant/regal/blahblahblah/kiss up to the region the movie takes place in. but literally anyone who has been to the chittor fort could tell you that it’s magnificent. if you’re going to take creative liberties anyways, you might as well add some meaning into those liberties.