Fugue
Fandom: Return to Eden
Characters: Jake Sanders, Stephanie Harper, Dan Marshall
Relationship: Jake Sanders/Stephanie Harper
Rating: Mature
"Return to Eden" is a 1985 TV series that I watched as a child. Now, having stumbled upon it on the internet, I have revisited the key points with pleasure. And even looked into the book on which it was based. In both the series and the novel, the most interesting character was Jake Sanders and his relationship with Stephanie.
And since this is a trope "from enemies to lovers", how could I resist?
Read on AO3
Or read below
‘Mr. Sanders will see you as soon as he is free.’
Stephanie nodded as she sat in a chair outside the new president's office.
Her eyes flickered to the folder she held in her hands. Bill McMaster sent a folder of papers this morning and Stephanie didn't need to go through them. Bill's voice on the phone told her everything. A new history of ‘Harper Mining’ has been written in stock quotes and the verdict for Stephanie – the end.
Stephanie leaned back wearily, leaning against the wall. It was dark in her eyes, a small ocean raged in her ears.
The thought of the ocean hurt. As if it wasn't enough for her what Sanders did with her company. As if there were not enough worries with the family and the rabid Jilly. Dan should have left her.
You lie, you lie, the ocean whispered.
The haze inside trembled, letting in the memories that she suppressed, filled with work, business, giving herself to the struggle. Dan left when Bill McMaster sent a plane for her so she could rush to the rescue of the sinking ‘Harper Mining’, breaking their retreat on a tropical island.
He didn't resist. He did not swear and did not begin to sort things out. Just said it's over. And left. And Stephanie remained, feverishly leafing through papers and stock reports.
Dan said you don't want someone like him. He said you need another, the ocean rustled.
Now that she had lost... When there was nothing left... What did it all matter... true, doubt, or lie?
The picture of farewell to Dan was replaced by another one – Stephanie rushes through the park on a horse in the early morning, and a man catches up with her trail after trail on a horse, laughing and enjoying the game. Enjoying the fact that he lost.
‘Mr. Sanders is waiting for you, Miss Harper.’
Stephanie got up. She looked at the secretary, smiled in response to her confused look. Then she turned to the door and entered.
It was like their first meeting. Here in her office. He stood then where he is now. He looked with the same wary squint as if he was waiting for something from her. Stephanie walked over to him.
‘You won.’ She pointed to the folder.
Jake just nodded in response.
‘That means I'm leaving.’
‘I told you, you can have everything.’
Stephanie shook her head.
‘I told you.’ He looked calmly and intently. ‘My offer still stands.’
‘Listen, Jake,’ Stephanie said. ‘You can get the company, but you can't get me.’
‘And become like your ex-husband?’
Stephanie winced.
‘What?’
‘Although your husband was not a shareholder of ‘Harper Mining’, he didn’t… have you either,’ Jake said looking her straight in the eyes.
She looked at him silently.
‘Why am I worse in this case?’ he added quietly.
Stephanie turned away.
‘Say just one word,’ came a voice from behind her. ‘Just one word – and it will be yours again.’
‘And you –’
‘No conditions.’
‘I do not believe. Do not believe you.’
Stephanie spun around so abruptly that the lapels of her jacket were pressed into the folds of his shirt. He looked at her seriously. Looked for a very long time. Then he turned and walked over to the table, leaning over it.
Cautiously, Stephanie watched him go through the papers, looking for something in them, then took a pen and signed the document in a flourish – one copy and the second.
‘Take it.’
Stephanie lowered her eyes.
It was a contract for the ownership of ‘Harper Mining’. Absolute control for Stephanie Elizabeth Harper, the complete package. No claims from the main shareholder. He hereby declares that his share in the firm belongs to her.
‘Why?’ She lifted her head, once again meeting the sharp gaze directed at her.
‘You know why,’ he replied.
And how she wanted him.
Years ago, Prince Amal told her, ‘Desires are like dogs. They will bite you to death if you can't tame them.’
Some dogs are never tamed.
Stephanie pressed her palms to her burning cheeks.
‘You want to destroy me.’
‘No,’ he said as he approached. ‘No more.’
***
Stephanie didn't know why she called Dan.
‘Seven years of marriage can’t be thrown away so easily,’ an inner voice reminded her.
Seven years of a successful marriage.
‘Dan, I feel so mean.’
‘Just because,’ the ocean waves rustled against the background of a warm voice, ‘that you are finally following who you are?’
Stephanie was silent.
‘Am I a predator? A woman who is indifferent to reason, conscience, and honor?’
‘Who speaks of indifference to conscience?’
I fell in love with him while I was married to you.
‘You just found someone who suits you.’ Dan always knew how to hear her better than herself.
‘When we met there, on Orpheus –’
‘– you were wounded, crippled. Physically and in spirit. Stephanie, you've been flayed in both ways.’ Dan's voice was deep and sad. ‘I've always understood that. I knew I shouldn't have... I was treating you. Pulled you out of the abyss you fell into, but let's be honest – I should have left you on the shore.’
She was silent, clutching the telephone receiver. How many times did she think about it? How many times has Dan tried to start this conversation? After the first hot months together, after the first happy years. When the charm of novelty faded, and it became clear to both of them that the relationship between the patient and the doctor could not last forever, and they as real people were too different and, in general, strangers?’
‘Sorry, Dan,’ she said. ‘Sorry, I was a coward.’
He laughed.
‘Not you,’ he said laughing. ‘Stephanie Harper, not you.’
But the ocean behind him added, ‘You, however, have every chance to become the one now.’
They said goodbye warmly and affectionately – and, after putting down the phone, Stephanie went into the dressing room.
She had to choose an outfit.
***
‘I didn't think you'd come.’
‘I owe you.’
‘Not true.’
Stephanie strode into the hotel room. She turned around. From his office at ‘Harper Mining’, she retreated as quickly as if she was being chased. Now, having already made up her mind, she suddenly realized that she did not know ...
‘I've been in charge all my life,’ she said, looking at Jake. ‘Always. With everyone. All my life. Do you know what it is – when around you are either servants or your employees, or ... And even your own husband …’
She didn't want to remember Greg Marsden. But it had to be admitted that the champion tennis player who tried to feed her to the crocodiles somehow also must have thought he had sacrificed his career because of her.
It had to be admitted that Jake Sanders was the first man who was in no way inferior to her – and it was not about money. It was not about his position. It was about him.
He stood in front of her and smiled slightly.
‘This is a warning?’
Stephanie felt something click inside her, a spring that had been compressed for many years.
‘That's an order. Change it,’ she said, pulling Jake towards her.
Stephanie thought it would be a battle. As in business, as in the past ten months, when their weapons were stock quotes, sharp gazes, and unbridled excitement.
She was waiting for him to play out – for teasing him, for defeating him, for refusing him for so long. But he just played instead. Played on her.
It was old music. Familiar, strong, the echoes of which Stephanie has heard all her life. Music, which she tried with all her might to drown out. Music that didn't culminate in an orgasm at all. Frightening her for so long, drawing her to it.
‘Kiss me, winner,’ Stephanie whispered with a laugh to Jake, who was hugging her.
… The announcement in the newspaper was strict and concise.
‘Miss Stephanie Elizabeth Harper and Mr. Jake William Sanders announced their engagement on December 15, 1985. The marriage will take place at the Harper family estate called Eden.’
‘Bill was screaming so loud I thought I was going to go deaf.’
‘I'm more concerned about the prince's possible reaction.’
Stephanie shrugged.
‘He's our main investor, remember?’
‘And my best friend,’ she smiled.
‘Should I start to get jealous?’
‘Try it.’
Somewhere far away, hundreds of kilometers away, the ocean chuckled softly.
0 notes
I am the poster:
Goatlings as time and time again refused to add the supposedly lesbian phobic "toothpaste flag" as most know it, most of the time they vouch it's because to steer way out of drama and wanting to listen to lesbians. They almost added it in the last major pride drop, but then turned around and changed the item's appearance last minute.
However they've added other "problematic" flags and even flags that were created because of ill-willed and wrongful drama. So avoiding drama my ass.
Additional, lesbians have little say in matters pertaining to gay men and gays, and should not speak over gay mens' voices. There is a difference between advocating for those voices and supporting them, and yknow. Speaking over them. Over and for us.
The "toothpaste" flag is NOT lesbianphobic. Letting the "drama" born of ill-willed nature drama baiting trolls win is not allyship!
Many of the reasons why they claim it's lesbianphobic:
It "steals" from the lesbian flag: it actually predates the redesign of lesbian, and the white stripe stands for the same things most white stripes in flags do: nonbinary people, abinery/not-binary people, gnc people, gender fluid, etc. etc. Additionally this is a hypocritical point as the lesbian flag borrows design traits from the cougar flag, whuch borrows from a gay man flag itself, the bear flag. This niche knowledge and not many know it however.
Additionally the lesbian flag isn't the only 5 or 7 stripe pride flag, while most flags are 3-4 stripes, the trans flag itself and the older aromantic flag have 5 stripes and both have a white stripe.
It's a "colorshift" of the lesbian flag: congrats you figured out how colors work! All colors are colorshifts of each other! Additionally, it should be noted as someone who has tested this in IBS Paint, the REDESIGN of the lesbian flag gets a color hue shift on the OLD toothpaste flag, which predates the redesign of lesbian flag, implying it's actually the lesbian that's an adjusted colorshift of the toothpaste flag, not the other way around. HOWEVER THIS IS NOT THE CASE BECAUSE THATS NOT HOW THE SUNSET WAS CREATED! This fact is often spread around by people who don't test this claim themselves btw.
Another point on colors people make is that's it's stereotypical green + blue = boy, the trans flags are baby blue and baby pink because gender reveal colors. Additional the lebisian flags have the same problem but I see it less discussed, yes it is talked about but the toothpaste flag gets trashed for existing.
As a gay man the toothpaste flag regardless of you want to call it is MY flag. I will not let lesbians will Ill will speak over me and say my flag somehow steals from them when no it doesn't. I find the fact goatlings rather give lesbians a voice over me gross and unwelcoming of them, and it doesn't help they let a transphobic goat design stay.
Goatlings is only on the surface level welcoming, if you want actually sympathy be prepared to ask for it with your fucking wallet.
♑
1 note
·
View note
Robin of Sherwood - Series Review
“Nothing’s forgotten. Nothing is ever forgotten.”
When the BBC decided to finally pull the plug on its (frankly rubbish) version of Robin Hood back in 2009, I decided to take a look back into the distant past, to the decade that style forgot, and rediscover another (far superior) take on the legendary bandit, Robin of Sherwood.
Forget what you think you know. This is the definitive interpretation of the popular English myth, reinventing all that came before and influencing everything that would follow. Even the BBC’s naff version, which basically just ripped-off the Kevin Costner movie that in turn ripped-off this series.
Created in 1984 by Richard ‘Kip’ Carpenter (creator of Catweazle), on the surface Robin of Sherwood seemed like just another run of the mill version of Robin Hood, chronicling the adventures of Robin of Loxley (Michael Praed) and his merry band of thieves, Marion (Judi Trott), Little John (Clive Mantle), Will Scarlet (Ray Winstone), Much (Peter Llewellyn Williams) and Friar Tuck (Phil Rose) as they robbed from the stinking rich and gave to the poor. Added to the mix was the Saracen warrior Nasir (Mark Ryan), not a traditional part of the myth, but the producers and cast were too amazed by Ryan’s performance not to keep him around. As a result, every future version of Robin Hood would include a token Saracen character (something that still irritates Carpenter). As always, the bad guys were the Sheriff of Nottingham (Nickolas Grace), his brother, the corrupt Abbot Hugo (Philip Jackson) and their ever so blond lackey, Sir Guy of Gisburne (Robert Addie).
Beside the inclusion of a Saracen warrior, what really set the series apart from all the other Robin Hoods through the years was the way Carpenter presented us with a world that was a perfectly balanced mixture of authentic medieval dirt and grime, historical fact and pagan mythology. This was a Robin Hood who, when not battling Norman soldiers or vengeful Templar Knights, nattered with ancient forest spirits, was the chosen one of Herne the Hunter (John Abineri), fought evil sorcerers, witches, satanic nuns, demons and even Lucifer himself. All with total conviction and sincerity, no room for hokum and cheese.
Amazingly, all the fantasy and magic never clashed with the series' medieval realism. Carpenter was eager to avoid all the usual clichés of previous Robin Hood series and show a realistic and historically accurate 13th century England. Unlike the writers of most Robin Hood films and series, Carpenter actually bothered to read a history book. In this series, Richard Cœur de Lion was not some kind and noble king, but an arrogant brute, more concerned with foreign wars and claiming territory than with the welfare of his own people. His return didn't end the merry men’s troubles, it only prolonged them. His death only allowed for his brother, Prince John, to became king. The series would later chronicle key events of John’s reign including the dispute over the throne with Arthur of Brittany, his marriage to the 12-year-old Princess Isabella of France, and the build up to the Welsh uprising of 1211.
Above all else the series was propelled by an exceptional cast. Michael Praed made for a heroic and decent Robin, trading cocky bluster for an ethereal grace. This Robin was not a disgraced nobleman nor a veteran of the Crusades, he was a simple peasant, an orphan of Norman tyranny. A genuine man of the people. Plus, unlike some other Robin Hoods he could speak with an English accent. Along with Praed's Robin there was never a Marion as gutsy and bewitching as Judi Trott, a woman who didn’t need to dress up as a ninja to prove how tough she was. Elsewhere, Clive Mantle, later of Casualty fame, made for a kind and gentle giant as Little John and Mark Ryan proved that less is indeed more as Nasir. But the real standout was Ray Winstone as Will Scarlet. Yes, that Ray Winstone! Winstone said he based his entire performance on football hooligans and you believe him. His Will Scarlet was a vessel of barely controlled rage, a borderline psychotic, one step away from snapping.
While the series had many great villains, including Anthony Valentine’s demonic Baron De Belleme, Rula Lenska’s satanic nun Morgwyn of Ravenscar, Phil Davis’s unhinged King John and Richard O’Brien’s bog-eyed Gulnar, it was Nickolas Grace’s deliciously Machiavellian Robert de Rainault, Sheriff of Nottingham, that reigned supreme. This Sheriff never became a hammy caricature or shameful scene-stealer, easily putting both Alan Rickman and Keith Allen to shame.
It may seem like a cliché to say this but you do get the sense that these people really did enjoy working together and took pride in making the series. Everyone plays it absolutely straight, no ham or cheeky winks to the camera. Despite all the mysticism and magic this felt real and genuine. Good people died. Episodes didn’t always end with a freeze frame of our heroes looking smug at having foiled another of the Sheriff’s plans.
Along with the excellent acting and some terrific scripts by Carpenter, the series was always brilliantly shot and directed. Just look at the opening scenes from ‘The Swords of Wayland’ as the Hounds of Lucifer ride out of the morning sun and prepare to be completely wowed. The soundtrack by Irish band Clannad may seem dated by today’s standards but a lot of it still stands up and is not as cheesy as some would have you believe.
Sadly all things must eventually pass. At the end of the second series Praed decided to depart for Broadway and, later, Dynasty. Rather than call it quits, Carpenter decide to incorporate the other myth of Robin Hood, that of the nobleman Robert of Huntington, into the series and introduce a brand new Robin. In a move motivated more by media buzz than common sense, Jason Connery (son of Sir Sean) was brought in to take up Praed's bow and arrow. The producers all but admit he was cast due to his famous name rather than thespian ability. Connery, despite his nice hair, often came across as more wooden that the trees around him. He was fine with the action sequences, but the romance scenes with Marion could be excruciating. Along with the inferior leading man the third series also suffered a downturn in overall quality. Carpenter took a backseat, handing much of scripting duties over to other writers. As a result the third series was more uneven than the previous two, dodgy episodes such as ‘The Inheritance’ and ‘Cromm Cruac’ clashing with classics like ‘The Sheriff of Nottingham’ and ‘Herne’s Son’.
After one series with Connery under the hood the show was cancelled due to Goldcrest, one of the key financers, being forced to pull out of the venture after one cinematic flop too many. But Robin of Sherwood remains a lyrical, elegant and emotional series. A true unsung classic of our times. It has not been forgotten, it will never be forgotten.
Mark Greig has been writing for Doux Reviews since 2011.
49 notes
·
View notes