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liesoverthec · 3 years

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OG 911 Character Details from Canon Pt 2

Hi y’all I’m back! I just wanted to say thank you to everyone who reblogged the last details post - I sort of just thought people would like it and it would die, so to see it travel and hopefully reach more writers was so great so thank you again!

Details under the cut since I went a little crazy 😅 and if this is your first time seeing this, the first part, and any future parts, can be found under this tag here!

Quick note before I get to the details - always, ALWAYS take details from dialogue or plot over details from the set or props if they contradict each other. The writers have the ultimate say over what happens on the show/for the characters, so whatever they say goes, even if it goes against something props has already laid down (eg, Chim’s birthday, sorry Libra crew. He’s an Aries or a Pisces). So keep that in mind for the future in case some of these details I have which are from props/set are changed in the future, or if you’ve noticed something yourself!

Also if you have questions, I am MORE than happy to answer them, although if you leave them in the tags on this post I’m probably gonna lose them, so if it’s something you’d genuinely like an answer to, drop it in my inbox! Besides my standard “ask” tags, I’m also tagging asks about canon details with this tag here. Every time I make a big post like this, I’m going to link all the asks I’ve gotten since the last post, but if you’re looking for more info in the mean time, that’s the other spot to look!

Buck has a grill on his patio.

Eddie doesn’t hang Christopher’s art on the fridge - instead it is either hung on the corkboard in Chris’ room to the left of the door, or Eddie puts it in an actual frame and hangs it using a hammer/nails in Christopher’s room. All the Diaz family has on their fridge is a bunch of bendy people magnets. (I absolutely ADORE him putting all this effort into treating Christopher’s art like it’s something you’d buy from a professional artist).

Info on everyone’s ages can be found here. (Little more discussion of Chim’s situation here).

Albert has a bachelor’s degree! I don’t know in what though, except that it’s some field for which is a Master’s is useful.

Athena was in a sorority in college, Delta Sigma Theta. Their website describes them as “ ...a sisterhood comprised primarily of Black, college-educated women ... [that] considers the issues impacting the Black community and boldly confronts the challenges of African Americans and, hence, all Americans ”, which I love for Athena, and feel is very in-character for her at that time in her life!

Chim is an aviators dude. When he wears sunglasses, they’re always aviators.

Athena also wears nothing but aviators.

Bobby wears square aviators.

Eddie, on the other hand, always wears Wayfarers.

Buck either doesn’t really like sunglasses or he constantly forgets he owns them, since we’ve only seen him wear them once in 60 eps, in a move I’m pretty sure was ONLY for dramatic effect.

Hen’s sunglasses change style over the seasons like her regular glasses do, but she tends to like browline sunglasses.

Info on Christopher’s school can be found here!

There are two colors of dispatch polo, and there doesn’t seem to be any rhythm or reason for who wears what. Maroon - Maddie and Linda. Blue - Josh and May. Jamal has actually worn both maroon and blue, so it doesn’t seem to be TOTALLY set in stone although I’ve never seen anyone else switch. Sue is too badass to wear a dispatch shirt.

Both Bobby and Eddie drive 4 door pickups. Bobby’s is navy. Eddie specifically has a black, 2020 GMC Denali 1500 pickup truck (in case you want to specifically look up what the inside of it looks like or what features it has 😂)

Info on the 118’s medical certifications can be found here.

Correction to Eddie’s living situation from last post: no next door neighbors, but instead UPSTAIRS neighbors. (Pointed out by Abigail in this ask). Also since someone else was wondering the notes of the last post - no, there is absolutely no discussion on the show of whether or not Eddie rents the apartment or owns it. But based on the fact that it’s 1) LA and 2) an apartment, my guess would be he rents it.

When Maddie isn’t feeling like herself, she tends to straighten her hair rather than curl it. It seems to be more when she’s uncertain about her place in her own and other people’s lives, rather than just when she’s simply worried - eg it’s straight in 2B, when she’s uncertain if she wants to continue working as a dispatcher/is unsure about her relationship with Chim.

For work, Chim, Eddie and Buck all use black duffel bags with a LAFD patch on the top. Hen uses several different cute bags, and Bobby seems to have a plain black duffel bag.

Watches - Bobby, Athena, Chim, Hen and Buck all wear their watch on their left wrist (but Athena ONLY wears hers for work, she takes it off at home.) Eddie wears his on his right wrist, and Maddie doesn’t wear one.

Chim (and Maddie by default) literally still have the exact same couch as in the pilot. (Which means that Chim has cuddled Tatiana on that couch, AND Albert has had sex on it. TIME TO GET A NEW ONE, BUCKLEY-HANS 😂)

The 118 has five different rigs - the engine (E118), the ladder truck (T118), two ambulances and the captain’s truck. 95% of the time, when the team is chilling in the cab of a rig and chatting (eg the ‘stuck under a live telephone pole’ scene in Jinx), they’re in the engine, not the truck. (Which I personally learned recently are NOT interchangeable terms!)

Athena and Michael got married when Athena was 37.

If you’d like to give Maddie a full name beyond “Maddie”, you should use Madeline. (I know, I know, in 4x04 she says Maddie is the name on her birth certificate, and that you should never use props details if they contradict script details, but I always thought that was a super weird exchange in 4x04 which could be explained by Maddie getting a nickname since she was born when Margaret and Phillip, you know, actually loved their kids and showed it, so of course Buck doesn’t get one, and in 4x04, Maddie was trying to avoid the entire issue of why she got one and Buck didn’t. But! Do what you want, and use Madeline as the full version of Maddie if you’d like, since that’s what’s on the BOLO in 2x13 😂)

Athena’s call sign is 727 L30, but she doesn’t have a specific squad car - the number changes throughout the series.

Chim really likes chewing gum, but he’s the only one out of the entire family!

The station has an Xbox One S, and it’s white.

In the real LAFD, there are stations 1 through 114. To avoid confusion while filming on the streets (I’m assuming), our fictional LAFD never uses the number of a real station. So if you want another station for a fic, and you want something that would be real in OUR universe, use the numbers 115 and above. They’ve gone as high as 221 in our universe.

Battalions - station 118 is in Battalion 7, which is also not a battalion in real Los Angeles. The 118 has interacted w/ Battalion 1, which is a real battalion, but other ‘non-real which makes them more likely for our universe’ battalions include numbers: 3, 8, 13, 16, 19 and above.

S1 Buck knew the term Jedi, but based on context, didn’t understand AT ALL the context provided by Star Wars, so there’s another edge of his pop culture limits for you.

Chim is the most tech-savvy out of everyone, hands down.

Athena has a VERY active Twitter account.

Abuela’s house number is 8902. I don’t have a street name for you unfortunately though. :/

Athena’s favorite flowers are white roses. None of the other women are really flower people.

Michael likes to wear purple.

When they’re at a call, Buck does pretty much all of the stuff with the hammer and the saw. Eddie does all the work needed with the drill.

Harry goes to Meadowbrook Elementary.

Buck lives on the fourth floor of his apartment building, across the hall from Apt. 416. The lovely @lovelessmotel found this listing for what is more or less the apartment. What happened was: the set crew rented this apartment for the one episode at the end of s2 when Buck moved in, and then over the summer before s3 built their own set of it, and changed some things - eg giving him an island, and moving the sink to a second counter against the far wall, you can see the changes here in this amazing gif set by the awesome Austen, but the listing should let you click around a little more upstairs and figure out dimensions better than what the show provides!

When Athena and Hen go out to eat together, it’s always fast food burgers and fries.

Waffles are Athena’s favorite food, and tiramisu is her favorite dessert.

Every takeout we’ve seen Buck eat has always been in a Chinese food takeout container, and we know he likes Thai food the best. EXCEPT! The one time we see him eat takeout with Eddie and Christopher, they have pizza. So take from that what you will......

Eddie has a cell phone and a landline.

Chim is a shameless multiple texter.

Chim and Bobby sleep closest to the door in their respective bedrooms (both right side of the bed if you are standing at the foot, facing the headboard), and Athena and Maddie sleep furthest away from the door (left side).

Some canon last names for other firefighters at the station in case you wanna add more people to a fic - Mitchell, Sanchez, Serrano (woman), Porter, Meyers (woman), Maxwell, Voyta

Hen and Karen really love decorating their house with dark/red wood.

Karen is Mommy and Hen is Mama.

Bobby has a brother, and a grandmother, and that’s literally ALL we know about his family outside of Marcy and the kids.

Evidence points to Eddie being the oldest child in his family.

Karen has multiple brothers (no sisters), but no idea how many - just that one of them is named Trey, and one of them lives in LA and has kids. They might be the same brother and they might not be.

Both Hen and Athena are only children.

Athena has been on the police force for 30 years.

Christopher and Denny are the same age (born in 2011), and Harry is two years older than them.

Michael lives in apartment 308.

The bank in this universe is CalAm.

Hen and Karen have a picture of Denny, May and Harry on their fireplace mantel.

Eddie having a black thumb + a lot of plants in his living room = him buying fake plants bc he likes the aesthetic ™ or someone (cough Carla cough) is taking care of them for him.

The COVID timeline in OG’s universe is fucked up compared to the real world’s, so it shouldn’t be used as a way to measure time! They just throw it in wherever it makes sense for the story they want to tell (eg the vaccines in s4 ep 8), since s3 was both done before COVID hit but also airing while it was happening. It makes absolutely no sense for May to graduate in March nor for Chris to be going to what is specifically labeled summer camp, and the vaccine plotline was INCREDIBLY early, even for real life, so don’t use anything from that as a measure of time. I’ve found except in specific examples, eg the two tsunami episodes, it’s very safe to say every episode covers a week - fall holidays on the show line up with their real life counterparts, indicating about the same amount of time is passing for us and them.

On that note - Jee-Yun was born in late January, early February 2021. (Conceived in Pinned, which was end of March/beginning of April, meaning Maddie was around a month along at May’s graduation in May ➡ 42 weeks + 3 days from then = late Jan/early Feb. Which unfortunately means we most likely won��t see her birthday celebrated on screen. If we assume she was conceived on the date Pinned aired, aka the very sexy hotel scene, then January 21st or 22nd would be Jee’s birthday, depending on if she was born after midnight or not.

Buck has had at least one other Jeep between the one Maddie gave him, and the one he has now, which means that when he needs a new car, he is purposefully choosing Jeeps.

I hope this was all as interesting/enjoyable to you as it was to me! And just to repeat - I love answering questions so pls let me know if you have any at all ❤

🐝🐝🐝🐝🐝

Tagging: @buckbuckley

#911 fox #911 canon character details #athena grant #bobby nash #chimney han #hen wilson #maddie buckley #evan buckley #eddie diaz #bathena #madney #henren #buddie #userac #hey yall if anyone else wants to be added to these tags let me know #im happy to do so #I feel like I have v little for Bobby here sorry :/#I’ll work on getting lots for him next time

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gar-trek · 3 years

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I review killing time (or whatever)

Okay, yes this review has taken me forever and that’s because there’s so much I want to say, and most of it has very little to do with the plot of the book. I cut down a lot of this so you guys could just get to the main point of what I’m trying to say, so I apologize if this is a little brief or incomprehensible to those who haven’t read the book.

And also, before I get into it, I would like to say rest in peace to the author Della Van Hise, who passed away in march of this year. She contributed a lot to the fandom, especially in regards to K/S fiction, as well as publishing a lot of non-trek related work during her life.

First of all, if you have heard of Killing Time, there is probably one specific reason for that. It’s the same reason I picked up the book in the first place and why it’s really even a topic of discussion on this site. To put the story quite briefly, Killing Time was recalled during its initial release on account of the book having too many slash elements (aka, the relationship between Kirk and Spock could be read as sexual/romantic). I first heard about the book here in this post where the history of it is worded to sound like one very dramatic mystery. One user (no shade intended here) even goes as far as to say the book was recalled by old Gene himself! Now I’m always one for drama and such, but after reading the book I looked into it a little more, and I don’t think that’s exactly how it went down.

Here you can find multiple statements from the author herself, in which she tells the whole story. According to her, the book publisher accidentally released an unedited manuscript that was never supposed to make it to the public. So technically the publisher did not recall the book because it was “too gay”, they recalled it because they printed a version that was never meant for the public to see anyway. These were the edits that were specifically requested by Paramount, who the publishers were supposed to go through to get the final okay on all material. And like, yeah, all of Paramounts edits were pretty much to delete any sentence where Spock and Kirk are tender to each other, they were trying to make is less homoerotic, obviously. I understand why this slight distinction may not make much of a difference to you guys, but for me it’s important to note that the book wasn’t recalled because it was too gay, it was just never supposed to be gay in the first place. It doesn’t make that fact any better, but it does make it less dramatic, in my opinion. I encourage you to read the statements from the author on this topic though, because she gives the whole story a lot better then I just did.

Now to address the main question at hand, does Killing Time depict a romantic relationship between Kirk and Spock, or is it all just hype? (in layman's terms, is the book gay or not?) and to answer quite plainly, yes it’s gay. of course it is. but then to answer less plainly, no. What the fuck do i mean by this? well let me try and explain.

I read the second edition of the book, aka the censored version, but I also followed along with the first edition (using this great article). The changes made to the book did not effect the plot at all, and were really only minor things. Notably, in the second edition they just kind of left out any part where Spock and Kirk touch each other (and I don’t mean in a sexual way). For example, there is a scene where Spock and Kirk are having a serious conversation in the ships garden. In the first edition, at the end of the conversation Spock places a hand on Kirks shoulder, which Kirk covers with his own hand. In the second addition, all mentions of this simple contact are deleted. The differences between the two are mostly little things like this. There is no secret sex scene or love confession hidden in the first addition. You see, in my opinion, the changes made to the second edition of the book do very little to censor the romantic undertones between Kirk and Spock. That’s because they are ingrained in the plot line itself.

One very important aspect to this book is that Kirk and Spock share a mental bond. This is something that can only happen between a Vulcan and another when they are extremely close. The mental bond that Kirk and Spock share is so strong in this book, it’s even present when they enter an alternate dimension where they are strangers to one another. There is a romance in this book between two original characters, and their relationship is constantly being paralleled by that of Kirk and Spock. And, maybe most telling, Spock refuses a female Romulan who is very interested in him over and over again simply because Kirk exists. And no, that’s not an exaggeration, here is a line from when the Romulan woman was begging Spock to be in a relationship with her:

“I need you. The Empire needs you, what more can there be?”

“James Kirk” the Vulcan murmured without hesitation.

That line is in both versions of the book. What I’m trying to say is yes, there are K/S elements in Killing Time. There are many tender moments and lots of talk about Kirk and Spock’s devotion to each other.

So now you’re asking yourself, Gar, why did you just say earlier that “no, the book is not gay”? Well, that’s because it’s not. This isn’t a K/S book. This isn’t a piece of Spirk fanfiction. Because for as much as this book is about Kirk and Spock’s relationship, it’s even more about Romulans (and more specifically, that one girlboss Romulan Commander from the Enterprise Incident.... bet ya didn't see that coming!) That’s right, the most controversial Star Trek book ever published is at it’s core quite plainly just a Star Trek book. There is weird alternate dimensions, time travel, espionage and lots and lots of Romulans!

Alright, alright, what I’m really trying to get at here is that yes, if you read into Killing Time there is K/S elements. I mean for god sake the author was a known K/S fanfic writer, that wasn’t a secret by any means. If she wrote their relationship a little more tenderly than most authors would have, can we really be surprised? But writing a K/S story was not her intention here, and that’s not what this is. I think the author put it best herself, so I’m just going to put that here:

“If people chose to see overtones of K/S in it, maybe it’s because there were overtones of K/S throughout Star Trek itself.”

People will hype up killing time as some secret confirmation that K/S is real and canon, and I really get that. Like, it would be really nice to have some canon acknowledgment of K/S, and I really don’t blame people for acting like that’s what this is. But that really isn’t what this is. And even if there was some kind of love confession, I really hate to break it to you, but the Star Trek novels are just fancy fanfiction and are not considered canon by any stretch (excluding the one Gene wrote himself, which let’s face it, perhaps has the most K/S elements of all).

If you are looking for a nice story about Kirk and Spock being in love, then I very much urge you to look at Ao3 or similar sites. Skip this, if you want a K/S story, because that’s not what this is. Now, if you’re a huge fan of the Romulan commander from the Enterprise Incident, then my GOD you have to read this. I think this was a pretty solid Trek book. It was no piece of literary genius, but it got the job done. There was a lot of it that I think could have been left out, because it the later half it started to drag horribly, and we got a few plot threads that went absolutely nowhere. I’m not sure I’m much of a fan of alternate universes, as I really really enjoy the established dynamic of the characters, but it didn’t bother me too much. But I mean hey man, there was defiantly parts where I was so invested I couldn’t put the book down. Give this one a read if you’re looking for a pretty interesting Trek book with a little bit of cheeky K/S sprinkled here and there.

If you have given the book a read, or just have thoughts in general, I’d love to hear them!

#here it is people #as always sorry for any grammer or spelling mistakes #i know there are prone to be some so just uhhhhh #ignore it if you can #star trek #killing time #kirk #james t kirk #spock #kirk/spock #k/s #spirk #the original series

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tobiogf · 3 years

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𝐚𝐜𝐢𝐝

suna

word count: 1632

warnings: drugs?????

from the moment suna’s tongue pressed a tab of LSD onto your tongue, you knew this was going to a night like no other. five hours later, the two of you were perched atop his window sill, suna lazily leaning back with his eyes staring up at the ceiling while you rested your chin atop your folded arms and stared at the swirling lights of the city beyond the window. they blinked and glowed like halos, but also danced and swam like tiny fireflies. your heart was racing, so blissfully aware of how beautiful the city looked from this angle, and underneath the black curtain of the night sky.

the clarity sent a smile upon your lips and your eyes shifted to look at suna. he had been staring at the ceiling for the past hour. you, curious as to what was so intriguing about it, followed his gaze and felt your jaw fall slack at the sight above you. the cemented designs that were engraved on suna’s ceiling were moving. they swayed this way and that, like white paint diluted in water. it was breath-taking and alluring.

“y/n,” suna said and the sound was like a melody once it touched your ears. neither of you removed your gazes from the ceiling. “ever thought about how materialistic we are, like as humans. we’re always chasing something.”

you sucked in a deep breath, spreading your suddenly sore knees so that your feet rested atop suna’s lap. “i think this is where we’re supposed to be,” you told him with a dazed smile. “indulging in the little things and finding meaning in things that don’t make sense.”

suna nodded in agreement, twisting his body to retrieve the joint he’d pre-rolled and the lighter that was sitting right next to it. “we think too much about it, like what is our purpose here... why can’t we just be.”

“right,” you said with a chuckle, watching suna this time like he was some beguiling scene in a movie; the way he placed the joint between his lips, the way he dipped his head down to light it, the way those warm, chocolate strands of hair fell over his face and you were mesmerized by the sudden spark of fire that lit up those mellow features of his.

“because just being doesn’t make you money and money makes this world go round,” suna murmured, lifting his head now and smiling at you as rhythmic slurs of smoke fell past his lips. “when’s the last time you’ve felt happy?”

you extended your fingers as suna handed you the joint and blinked at him while inhaling sharply. you could feel the smoothness, the fluidity in the way the smoke traveled past your throat and warmed up your lungs.

“probably when you invited me over and cured my boredom,” you answered your friend with a giddy grin.

suna shook his head, you entranced by the way his hair rippled around his head as he did so. “no, i mean truly happy.”

your response was an instant shrug. you didn’t want to think about something like that -- it felt like some tangible thing that you could see if you looked closely but was impossible to reach.

“i don’t know, suna... when have you been truly happy?” you questioned him, the room between you two hazy and lucid at the same time as you two passed the waning joint back and forth. suna grit his teeth and you blinked at him as he stared down at his lap.

“i-i’m not sure either,” he said lowly and you hummed, feeling the need to take a look out the window again. the sight was practically dragging your attention toward it, with the flickering lights dancing in colourful, psychedelic motions.

“i guess that’s why we end up doing things like this,” you stated, your words encompassing the comfortable silence that hung between yourself and suna. you felt his fingers trace the shape of your calf and shivered at the delirious provocation of it all. “getting to see life in a different perspective... overthinking, like you said, but in a different way,” you continued, sighing contently as your brain began sinking away from the city before you and became more focused on the pads of suna’s fingers, touching you so delicately.

“in a good way,” suna whispered. “i could be happy with this; the lack of inhibitions anddd...” he sighed and bit his lip. “the rush that comes with it.” you smiled, languid and at ease and when you traced suna’s gaze, you came upon the mildly surprising discovery that you’d been rubbing suna’s hardening length between his legs with your foot this whole time.

you gulped. “i-i didn’t notice.”

“don’t stop,” suna groaned softly, eyes falling closed momentarily before shooting open. “you know, there’s peace that comes with the unfamiliar... how you know when something doesn’t make sense and it’s out of your control so...” he leaned toward you, “so you ride with it.”

“yes,” you breathed, even though you had no idea what he was on about. suna exhaled and a crest of smoke fluttered past his parted mouth and slipped between your lips before they were unstoppably connected with his own. “suna rintarou, what are you doing...?” you said, pulling away from his wet lips and grinning at him like this was the funniest thing to ever happen. in fact, giggles were threatening to spill past that bubble in your throat and suna’s narrowed, silver eyes seem to flash with ecstasy.

“kissing you,” he purred, lips grazing yours and your hands seemed to magnetically find the amicable ridges of his chest beneath his shirt. it was like heaven to touch and the space between your legs suddenly felt warm and... inviting?

“wait, wait... you’re my best friend,” you told him, dragging your knees toward yourself and pushing your legs together. suna grinned.

“and?”

“it’ll make things weird.”

“how?”

you shrugged. “i’m-i’m not sure... i know friends aren’t supposed to kiss.”

“supposed to,” suna repeated with a nod, his body still hovering over yours, one hand meeting the dip of your waist and sending wild sparks of excitement all throughout your system. “why do you care? you could live by each and every rule you’re accustomed to... or you could shut the fuck up and enjoy what i’m about to do.”

you weren’t really thinking. he’d given you options but, like raindrops on glass, they’d both blurred into one another once they’d left his lips and god, those lips were beautiful so you decided you’d choose later and kiss him now.

you wouldn’t be able to describe the taste of his mouth pushing down on yours, his lips, and the captivating intrusiveness of his tongue... if you looked back, you wouldn’t be able to describe how perfectly his body fit with yours, how his chest was nice and stiff and almost made your own ache, how his slender fingers gripped you in ways you couldn’t imagine, or the feeling of his dick right between your legs like a missing puzzle piece that you’d finally unearthed.

“i-i don’t wanna hold back,” suna’s stammered right into your ear and you shook your head as your hands already reached for his belt.

“then don’t...” you assured him, moving to sit upright while removing your own pants and underwear. suna licked his lips, raw yet simple temptation in his otherwise indifferent expression. “lack of inhibition, right?” you said and suna smiled, fingers pressing into your hips, lips on yours before pushing his way inside of you and holy fuck, there’s a fucking rainbow exploding right against your closed lids.

“ohmygod,” suna gasped against your mouth and you felt the same way, out of breath and totally in a different dimension. every movement of his hips seemed to ignite fireworks inside of you, everywhere.

it feels so fucking good. you hadn’t said the words but they danced around your brain like some kind of tame impala song as you threw your head back and let out a dream-like moan. suna’s lips were beside your ear, making wonderful sounds that you swore you were able to taste, sounds that had you starving for more.

every thrust was profound and seemed to transcend the plane of reality that you’d always been familiar with. no, suna was right; having no control was an entirely different peace in itself. mind-blowing was an understatement -- you were becoming one with the phenomena of simply existing and suna was right there with you through it all.

“i’m...” you weren’t sure what you wanted to say, each thought was moving so rapidly before you had the chance to verbalize it. you wanted to cry out -- maybe you already were -- you wanted suna deeper inside you than physically possible -- even now, he seemed to be setting every cell of your body aflame and it was so fucking good.

“d-don’t stop...”

“y/n.. fuck... you’re gonna fucking kill me....”

“harder...” “faster....” “deeper...”

“you feel-- you feel fucking amazing.”

“suna... i-i love you...”

“i fucking love you too...”

it wasn’t long after that. you’d never orgasmed so quick in your god-damn life, you felt helpless but in the best way possible. something about suna right then, after coming inside of you, seemed so otherworldly. he was exhausted, face-flushed, and hair sticking to his forehead but he looked like an angel. and the way he looked at you... he must have thought you were one too.

twenty-four hours later, in separate bedrooms at your own houses, you and suna both cringe at the sudden remembrance of saying “i love you” in the heat of a moment that would be imprinted in your heads forever.

awkward and unforgettable? perhaps.

would you do it all over again? fuck yes.

damn i almost got high flashes writing this god damn. i kinda wanted to do this to a boy once on acid but life isn’t a fanfiction and he probably would’ve felt violated and im no sex offender.

#haikyuu #haikyuu smut #anime #anime smut #suna #suna rintarou #suna rintaro oneshot #suna rintaro fluff #suna rintaro x reader

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cassandraclare · 4 years

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Jessa/Wessa ship wars

teenagefunbouquet said:Isn't it enough Tessa&Jem got a wedding comic, two kids (and you say more), a lifetime as the only mates for each other and your most explicitly written sex scene After the Bridge? Wessa are the most popular and we get nothing, every wessa moment is shared with Jem while Jessa get to be alone, Wessa fans got no "anticipation" like jessa fans are getting now everyday you give them a book in jem's pov or a short story or a new kid. it feels like wessa is dead.

I’ll be interested in people’s thoughts on this. (I left the username as is since it’s a blank account, probably created to ask this question, so no one’s really getting hurt in this minor drama.) Most of my long and somewhat crabbish post is under the read more.

First, let me reply with the obvious, which is the Jessa rebuttal: “Isn’t it enough that Will gets to be Tessa’s first love and Jem only gets to be her second? Isn’t it enough that Will and Tessa had sex when they thought Jem was dead? Isn’t it enough that there’s a whole series about Will and Tessa’s kids but we only find out that Jem and Tessa had a kid in a short story? Isn’t enough that Jem and Tessa have spent half their relationship looking for a kid who’s related to Will, not either of them? Isn’t it enough that Will and Tessa got two biological kids they got to spend eighteen years raising and Jem and Tessa only get like two years with Kit? Jessa are the most popular, but half the stories in Ghosts of the Shadow Market happened while Will was still alive! And now Wessa fans are getting content every day and have two more books of Wessa being married and doing cute stuff to look forward to. Every day they’re getting a special edition of a book with a whole short story about their wedding. It feels like Jessa is dead.”

Not that I believe any of that either: I think both complaints are equally silly and selfish. But they are complaints rooted in the same logic, which is “My ship is the best and most popular, and every time I see something that in my mind supports the ship I hate I feel angry and diminished, and rather than perhaps examining those feelings I’d like to vent them on other fans and the creator.”

So. My feeling about this is: I am sad to see there is still some kind of a ship war here. As far as I am concerned...

the Wessa/Jessa ship war ended in 2012 when we found out Tessa loved both boys equally and would spend a lifetime with both of them. The end. Quibbling about irrelevant details like how many kids each couple has subsequently or examining closely the explicitness of their sex scenes seem bizarre and pointless. It has nothing to do with how books and stories are made, or how they work, or what functions they serve. At this point it’s like you decided your favorite football team could definitely beat another team, and you spend all your time obsessing about it even though they will never play against the other team because the other team is a hockey team.

When I see people say that “Wessa got” something or “Jessa got” something, it makes me cringe. It reduces stories that are about other things, often friendship, to being about a ship war I am not a part of. (Not every story or book in which a couple appears is a story about that ship. Sometimes they’re just grouting their shower or fighting a demon.) Wessa and Jessa are not dueling pop stars fighting over who gets to perform on the Tonight Show. In fact, they are not fighting at all, which is part of the underlying problem. People are used to love triangles where two guys are fighting over a girl and are jealous of each other. Will and Jem are not jealous of each other. They are not fighting over Tessa. To believe that it lessens Will and Tessa’s relationship that Jem is around and alive, or that it makes Jem and Tessa’s relationship better that Will is dead, is a fundamental misunderstanding of these characters and the story they are in. You are trying to shove a square peg into a round hole, and it will cause you endless misery and frustration.

For instance, claiming that “every Wessa moment is spent with Jem.” Well, that’s ridiculous. Obviously, Will and Tessa spent an enormous amount of quality time alone together in TID. (Otherwise, you would have no investment in this relationship in the first place. There’s a reason you’re attached to it.) Jem did not attend their wedding. He is around in Chain of Gold mostly in his role as a Silent Brother: tending the sick, helping James, bringing news. He is not around during the scene where Will and Tessa make love, or when they kiss and cuddle in the drawing room, grossing out their kids. (I had to fight very very hard to retain even one scene of Will and Tessa alone: in a normal YA book, you would never see a sex scene between the parents, from their point of view.)

The problem is not that there is no “Wessa content” to “anticipate.” The majority of Wessa fans are happy to enjoy stuff like the wedding story or the Wessa moments in TLH. The problem is that the person asking this question will only accept a TLH book in which Jem isn’t mentioned at all as “Wessa content,” and since that would be a fundamental and appalling betrayal of the story and characters — something I would never write and never consider — they will forever feel they are not getting what they deserve.

Asker: if you think that it’s somehow better for Jem and Tessa that Will is dead, that they “get” something that Will and Tessa don’t by having had something awful happen to them, then I do not even know how to begin to speak to you. What has always been meaningful to me about Will, Jem and Tessa is that they all loved each other equally. If that is not the case, then they are not people I am interested in writing about. If that being the case makes you not want to read about them, then you are free to stop — please do — but the story is not going to become something other than it is because you feel your ship is the “most popular.” (Which it is not in my experience, the ships are about equal, and I don’t know why it would matter if it was.)

In After the Bridge, which is not an explicit sex scene but rather a short story that contains sex (they exist!) Will is mentioned thirty-two times. Here’s an example:

“Jem swallowed, running his fingers up and down the blade. “He had only just died,” he said. She didn’t need to ask who he was. There was really only one He when it was the two of them speaking. “I was afraid. I saw what happened to the other Silent Brothers. I saw how they hardened over time, lost the people they had been. How as the people who loved them and who they loved died, they became less human. I was afraid that I would lose my ability to care. To know what this knife meant to Will and what Will meant to me.”

If you think Will isn’t present in Jem and Tessa’s relationship just because he’s dead, you’re wrong. He’s mentioned constantly. (And if someone thought that made it not Jessa content, I would have the same discussion with them: If Jem and Tessa didn’t care about Will, I wouldn't care about them.)

As long as there has been fandom, there have been ship wars. Social media has added a new dimension to that, which is what you’re doing here: the ability to run to the creator and complain, hoping they’ll side with you or give you what you want.

Here’s the problem: it’s really really toxic to have been involved in a clearly vicious ship battle for years. It will destroy utterly your ability to read or enjoy the canon you’re arguing about. I’ve been there, I’ve had friends be there. If you think it’s a point for Jem and Tessa that Will is dead, if you went into Last Hours thinking Jem wouldn’t be in it, that is a sign of a profound detachment from the actual reality of the canon books. You are not interacting with what I am writing or the characters as they are. You are interacting with the fight you are having. That is why your discourse has spun so far off from the books it no longer resembles what is actually happening in them, and demands such extreme gestures to be appeased — like leaving Jem out of Lost Book when he’s actually from the city the characters are visiting, or cutting him from Last Hours even though it would be unrealistic, cruel, and a disappointment to the vast majority of readers.

Dismissing every single moment Will and Tessa have together in TLH because Jem is alive somewhere and it’s bothering you is a recipe for you to be miserable. Clearly you didn’t enjoy the Wessa wedding, or the Will and Tessa love scenes in Chain of Gold. Clearly you consider Jem and Tessa having children not to be a reason for happiness but rather bitter rage even though it is totally irrelevant to Will and Tessa’s past relationship. The only thing that would be satisfactory would be a rewrite of Clockwork Princess in which Jem was run over by a tank and Will and Tessa didn’t care and were happy and got married and we never had to hear about Jem again. But because that would require time travel and a rewrite of Will and Tessa as vile assholes, that is not a thing you are going to get. If you are determined to always be miserable about the reality of what this story is, than the only result of that is that you will always be miserable.

There is never going to be a winner of this love triangle. It isn’t that story. No amount of anything I do is ever going to change that: no short stories I write, or content I produce, or books or sex scenes or longform poems about either couple will change the fact that both Will and Jem ended up with Tessa and she loves them equally. If you want a “somebody wins” kind of love triangle, there are other books that will provide that for you. These will never be those books.

So why did you write this long screed, Cassie, the rest of you might be wondering, and fairly. Three reasons. One is that there are other questions that are carbon copies of this one (as in, written by the same person/small group of people) cluttering up my inbox, and I want to put a stop to the idea that this kind of thing is going to be acknowledged as a valid comment or complaint. It’s not. Second, we have all been driven bananas by quarantine and I am no exception. The third is that this is the last time I am going to address this kind of ship-fight-disguised-as-question. Any further demands for me to favor one Tessa ship over another will be responded to with a link to this post. In the end I’m hoping this will be a time saver once we’re all allowed outside again.

#jessa #wessa #tid #tlh #gotsm #screed

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filmmakerdreamst · 4 years

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Xena: Warrior Princess Review

During Pride Month 2020, I finally got around to watch ‘Xena’. A show that had been in my to-watch list for years, but never got around to start. And when I finally did, I was pleasantly surprised. It was not what I expected and it was everything I think my 11 year old self would have loved.

The one thing that surprised me about the show, was the lack of packaging. Even though it was a fantasy, it also played with different kinds of genres too. I’ve talked about this before in my other review - ‘Xena’ was made at a time when TV had very few rules/rarely had a set audience, since there were parts of the show that were clearly for kids and there were other parts that were clearly for adults (therefore had much more flexibility). I admired how they weren’t afraid to break barriers and touch on deep themes such as religion, morality, redemption, spirituality, motherhood, forgiveness etc - even more than shows of today are able. I also loved how they played into the idea of ‘murder’ and how much it can damage a person - not just the person who commits the act, but the many people affected afterwards. I wasn’t expecting it to be that extreme. It made me think that this must of been the inspiration for ‘Game of Thrones’.

I see a lot of comments here and there, saying how ‘cheesy and terrible’ it was but to just accept it because its part of the fun. And while like any show it does suffer from the occasional spell of bad writing (the whole of season 5) but it was also shown to be very aware of that fact and never took itself too seriously - unlike some shows I could mention.

And regarding the ‘cheese’ factor (what 90s show wasn’t) It definitely can be, but I would call it ‘camp’ and ‘experimental’ more than anything else. (Don’t diss the poor use of CGI - I’m personally sympathetic to what was avaliable to them at the time) The style of humour reminded me of Taika Waititi’s filmmaking. If you’ve watched any of his films such as ‘Hunt for The Wilderpeople’ or ‘Jojo Rabbit’, then you know what I’m talking about. I liked how little they cared about being accurate or logical, which added to the ‘bonkers’ element in the show - which you can see in all of Taika Waititi’s films.

In all seriousness, a show centered around two women in their late twenties, who are realistic sizes (not trying to play teenagers). One of whom is a reformed mass murderer, who has lived a life experience, trying to do good in the world for the first time, picking the other one up who has no life experience prior (after they bugged them until they said ‘ok fine’) in their path to redemption. Just two women who become friends travelling the world together, fighting crime, having a laff, learning from one another without any toxicity - when suddenly when the stakes are raised - they realise ‘oh I'm actually falling in love with this person’ I have watched a lot of badly written shows in my childhood enough to know that, that’s not ‘cheesy’. I’ve never seen a story like that in my entire life. I’m not at all surprised that Russel T Davis was inspired by it while writing the Doctor and Rose’s relationship in ‘Doctor Who’ since he’s gay himself.

What’s more amazing about their love story is how they’re both develop as separate people as well. There was this video essay explaining ‘Why you should watch Angel’ the spin off series to Buffy; how ‘Buffy The Vampire Slayer ‘was all about growing up and ‘Angel’ was all about being an adult. With Xena: Warrior Princess, you have both of those stories at the same time.

Xena’s character was such a multifaceted experience to watch. And I can’t imagine anyone else who could play her as well as Lucy Lawless. What planet did they get that actress from? She's flawless! The amount of skill she has to put herself into a very physical role is astonishing. I personally had a love/hate relationship with her character all series long. Not in the way that I hated her, just that I couldn’t trust if she was all good or bad, which I know was intentional on the writers part. I haven’t seen a character quite like her before. She felt very much like a fallen angel; almost like the villain of her own story. Some of my favourite episodes come from fleshing out her character and dark past (‘Locked up and Tied Down’ is one of them) which reminds the audience that's she's not the stereotypical hero everyone expects. I loved her transformation from being this incredibly stoic warrior to being content and happy with who she is in season six, all because of a woman she fell in love with along the way.

I’ve always thought of Gabrielle as the real hero and narrator of ‘Xena’. She’s the prime example of ‘a normal person becoming extrodinary’. Gabrielle’s coming of age story starting out as an innocent girl from a poor village dreaming of adventure, and ending as this vicious warrior who realises the ‘adventure’ wasn’t how she made it out to be is honestly the best character arc that I’ve ever seen. I loved how travelling with Xena made her realise her passion for writing (which was never going to happen in her home town, given the ‘sexist’ and ‘heteronormative’ ideas) and that she became a amazon princess like Xena. In regards to her sexuality, which is more up for debate than Xena’s (which I think we can all agree is bisexual) I personally interpret her as gay, just in terms of how she was written. Theres this moment in season 4 where she's being held up her hair, and Xena “symbolically” cuts it off ‘freeing her’. And she never really gets with a man afterwards, unless she’s being ‘possessed. It reminded me of a moment in one of Hayao Miyasaki’s films ‘Laputa, Castle in the Sky’ where the bad guy Moska shoots Sheeta’s ‘princess hair off’ which symbolises her transition from child to adult.

The cinematography was breathtaking. There was some great utilisation of New Zealand as the scenery. So was the soundtrack. You could tell it was made by experienced filmmakers. One of my favourite things about the show was the domestic elements - moments in the show where time seemed to stop - which made the world around the characters seem very real and magical. Even though it was a show that featured a lot of action/adventure, there was also this gentleness to it as well. For example, you could feel the wetness of the rain, the warmth of the sun and the clashing of the waves. This technique is used in Hayao Miayasaki’s work a lot .

The technique is referred to as ‘MA’ 空虚 meaning emptiness in Japanese. ‘Miyasaki describes this as the time between a clap’

“If you just have non stop action, with no breathing space at all, its just busyness. But if you take a moment, then the tension building in the film can grow into a wider dimension” - Hayao Miyasaki

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The episode ‘A Day in the Life’ in season two is a really good example of this technique being used.

To my understanding, they used a lot of the local actors in New Zealand, which according to Lucy Lawless, consisted of ‘African immigrants and other different ethnicites’. It was so refreshing to see such a diverse show (despite some slip ups) especially in the 90s. I appreciated the idea that if the actors or extras couldn’t do an ‘american accent’ people could just talk in their natural speech which was also very refreshing.

The LGBT representation was surprisingly amazing. I never expected so many queer characters in one show - especially under the censors. There was this one episode where they had a trans woman - played by an actual trans actress - win a beauty contest. It made me cry. Not to mention the actress was an aids activist. It was actually Lucy Lawless’ idea to kiss her which was incredibly controversial at that time considering how everyone thought you could catch aids just by kissing. I can definitey see how it validated people back in the 90s.

When people told me that Xena: Warrior Princess was one of the greatest love stories, I thought they were exaggerating a little. But no, watching the show in context, I found out that it really is. Despite its obvious restrictions, It made me realise (regarding token gay couples today) how often television writers rely on physicality and drama to convey a ‘love story’ and how much of it is actually pandering the audience. One of the reasons why Xena and Gabrielle’s relationship felt so genuine is because it was built on mutual respect/compassion and they were also best friends. I felt like I was witnessing something very real and private. It didn’t need kissing scenes or drama to make it interesting.

It really helped that most of the writers were queer also. There’s this opening scene in season 4, panning over to Gabrielle giving Xena a massage (metaphor for sex - because they weren’t able to show that on screen) which I consider to be one of the most iconic scenes in media - considering how I wanted to sick up my supper when I watched the 10 minute ‘empty’ explicit sex scene in ‘Blue in the Warmest Colour’. The difference when something is written by a queer women vs a straight man.

Because the creators weren’t allowed to write their love story in the normal way, due to the studio forbidding them to, they found creative ways to showcase that love on screen - which made for a very magical/sensual experience. And I can safely say, if anyone has doubts about watching ‘Xena’, whenever I expected to be queer baited at a few points in the show, I was proved wrong time and time again. It’s the most romantical show I’ve ever seen in my life!

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nyxshadowhawk · 3 years

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An Analysis of The Ninth Gate

I finally got around to watching The Ninth Gate after it was recommended on Occultism with a Side of Salt. Seriously, why did it take me so long to watch this film? This is pretty much everything I like! It’s a film from 1999 (incidentally, the same year as Eyes Wide Shut) starring Johnny Depp as an expert on rare books called Dean Corso. It’s based loosely on a novel by Arturo Pérez-Reverte called The Club Dumas, and was directed by Roman Polanski (who’s the man behind Tanz der Vampire, but who is extremely problematic and we do not stan). Corso is employed by a rich book collector named Boris Balkan to authenticate his copy of a grimoire called The Nine Gates of the Kingdom of Shadows, which may be the coolest title for a grimoire ever. The book is supposedly designed to summon the Devil himself, and was copied from another mysterious book that the Devil was said to have written. Corso compares the grimoire with the two other existing copies to find out which one is the real one, but there are mysterious deaths and other unsettling events around the book, and he has a mysterious girl helping him.

The film is very spooky and has a wonderful Dark Academia aesthetic. What’s most interesting to me about it is, although it isn’t authentically occult, it feels very authentic. The grimoire is clearly modeled after real ones. The engravings in the book also could easily be mistaken for real ones if I didn’t know better. I think that the pentagram on the cover is a little too on-the-nose, especially since pentagrams weren’t associated with Satanism until relatively recently — I think the Sigil of Lucifer would be a better fit, since it’s reasonably well-known (for example, the Mother Superior of the Satanic Nuns in Good Omens wears one instead of a cross) and it comes from a real grimoire. That’s me being very nitpicky, though. Although this film follows some tropes of Hollywood Satanism, its portrayal of that is still more realistic than normal. Real-life occult ritual groups are more like book clubs or potlucks, but the actual ritual part can in fact look something like the one in the film. (Sure, it wouldn’t be in a mansion with cool-ass gargoyles, but this is certainly more realistic than Eyes Wide Shut.)

This film feels authentically occult becuase a lot of real occultism is pouring over old books and analyzing symbolic images. I do a lot of that! Right now, I’m reading a dictionary of alchemical symbolism. I hope to eventually be able to look at all the weird images in alchemical manuscripts and make some sense of them. This film is basically about doing exactly that. I noticed the tarot symbolism in the engravings immediately, and I felt a little like I was trying to decipher them right alongside Corso. It reminded me of solving Nox Arcana puzzles, and that just makes me incredibly happy. The approach this film takes is also realistic — (slight spoilers) it could have gone the classic Hollywood route of summoning Satan to destroy the world and all that, but it doesn’t. Instead, the end goal is more abstract and spiritual, much more in-line with occultists’ actual goals in real life. Just as in alchemy, the goal is not to make gold or live forever, but to experience spiritual transcendence, and this is encoded in alchemists’ notes and artwork.

So, I want to try my hand at deciphering the engravings’ secrets, and test my own knowledge of occult symbolism in the process. Everything that follows involves major spoilers, so I will dispense with the exposition and assume that you have already seen the film.

I’ve seen it argued on YouTube that the engravings represent actual events in the film, and some of them seem to. Bernie is murdered and hung upside down, the collapsing scaffolding is the “danger from above” arrow, Corso is hit in the back of the head in one of the film’s most chilling scenes, and the Girl (who is implied to be Lucifer) ends up… well… “riding” him in front of the burning castle. But come on, that is way too easy. For one thing, the related events don’t seem to occur in any specific sequence, either the engravings’ numbered sequence or Balkan’s rearranged sequence. It would make sense if Corso would have to experience every engraving and “pass through each gate” — that happens a lot in films like this one, where an eerily coincidental series of events plays out just as in the book/prophecy/whatnot. But that doesn’t really happen, or if it does, it’s not obvious enough for the only interpretation of the engravings to be literal. What impresses me the most about The Ninth Gate is that it goes for that more figurative, spiritual dimension. That is really what makes it feel realistically occult.

The real solution to the engravings seems to be spiritual growth or enlightenment, which is the goal of most occultists. Balkan sort of understands this, which is why he disdains Telfer and her coven being edgy and playing dress up instead of really making an effort to understand Lucifer’s secrets. And yet, Balkan also fails, because he is after power, not enlightenment. It seems as though both of them misunderstand Lucifer, believing him to be the kind of Lucifer that you usually see in these movies. (That would fit in well with his name and his role in the Eden story, if you interpret it that way.) If we assume that the Girl is Lucifer, then she is more benevolent an influence than anything else. Hell, Corso doesn’t even suffer any “temptation” consequences from having sex with her. Corso wins in the end because he actually puts in the effort, and the Girl helps guide him toward enlightenment. Maybe Lucifer is a good force in this film’s world. Lucifer’s own versions of the engravings seem to emphasize that s/he is genuinely invested in helping his/her followers towards enlightenment.

When Balkan assembles the engravings in the proper order, this is his interpretation of the riddle:

To travel in silence, by a long and circuitous route, to brave the arrows of misfortune, and fear neither noose nor fire, to play the greatest of all games and win, foregoing no expense, is to mock the vicissitudes of fate and gain at last the key that will unlock the Ninth Gate.

First, I want to say that this riddle reminds me a lot of the Emerald Tablet. It’s similarly cryptic, and I only sort of have it figured out. I love that something like that is real and authentically ancient. Anyway, moving on. I’ll go through the engravings in the order that Balkan puts them in (as opposed to their numbered order), and see if I can make sense of them.

The first engraving shows a knight traveling towards a castle. In the AT version of the engraving, the castle has four towers, while in LCF’s version, it has three. Balkan’s interpretation is “To travel in silence,” while the caption is “Silence is golden.” That immediately reminds me of the common occult maxim, “To Know, to Will, to Dare, to Keep Silent.” I’ve never been much of a fan of keeping silent, which is why I post things like this on the internet, but in general occultists tend to be secretive folk. According to this article, another translation of the caption is “Only one who has battled according to the rules will prevail.” I’m not sure whose rules are being referred to here. Lucifer’s, maybe?

This is one of the only engravings in which there is no obvious tarot symbolism. There are four Knights in tarot, one for each suit — wands, swords, cups, and pentacles — but this knight doesn’t have a symbol of any of the suits or anything that could suggest that. The difference is in the castle towers — three in LCF’s, four in AT’s. In traditional numerology, three is a number symbolizing perfection and creation, as in the Holy Trinity, while four is the number of the solid and material and unlucky. (Source: Richard Cavendish, The Black Arts). Sets of three are especially common in fairy tales and mythology — three siblings, three tasks, three encounters, three magical objects, three questions, three trials or tests, repeating an action three times with the third time being different or conclusive, etc. Lucifer’s castle at the end also has three sets of towers. The most obvious interpretation of this is that your destination will be either material gain (AT) or spiritual advancement (LCF).

In the tarot, the threes represent the completion of the first stage of a venture — the Three of Wands represents a successful enterprise, the Three of Cups represents celebration and fulfillment, and the Three of Pentacles represents recognition for your achievements. All of them have something to do with attainment except for the Three of Swords, which represents loss, heartbreak, betrayal, etc. The fours aren’t bad, representing stability and structure — the Four of Wands is joyful and peaceful, the Four of Swords takes time to rest and recoup, the Four of Cups is bored and listless, and the Four of Pentacles receives material abundance. All of them are a bit more grounded and material, so I think it makes the most sense to interpret the difference in this engraving as being the spiritual three vs. the material four, and leave it at that.

The fourth engraving, which is second in Balkan’s sequence, is of a jester standing at the entrance to a labyrinth. In LCF’s version the labyrinth’s exit is open, while in AT’s it is bricked up. Balkan interprets this as meaning “by long and circuitous route,” while the caption reads “Fate is not the same for all.” that seems fairly straightforward — Balkan and Corso have different fates. Corso is able to find his way out of the Labyrinth, but Balkan’s exit is bricked up. This is because he never properly experienced the journey the way Corso did, he just wanted the payoff and tried to take shortcuts.

The Labyrinth is a very old symbol, and it carries the dual symbolism of a death trap in which there is a Minotaur, and a path to spiritual enlightenment. It can represent the Underworld or the darkness of the subconscious mind, with the Minotaur being your Shadow. Either you are trapped in the Labyrinth and eaten by the monster, or you find your way back out into the light having gained some self-awareness. The jester is probably meant to represent 0 The Fool, who, in the Tarot, is the naive adventurer who sets out on a spiritual journey over the threshold and into the realm of the subconscious and symbolic — i.e. the Labyrinth. As for the dice in the foreground, this seems to reinforce the caption’s point about fate. But dice, like tarot cards, can be used as both a game and a divination tool — it is the assumption of the diviner that random chance is always meaningful. And indeed, the visible faces on each die add up to 6 — 666.

The third engraving depicts a traveler walking towards a bridge. In the clouds above him, there’s a Cupid-like figure with an arrow pointing down at him. Balkan’s interpretation is “to brave the arrows of misfortune,” and the caption is “The lost word keeps the secret.” AT’s version is pictured here; in LCF’s version, there are two arrows, the other one pointing upwards in the quiver.

This traveller looks much more like the traditional Tarot depiction of 0 The Fool than the jester. The Fool is happy-go-lucky and doesn’t notice the danger he might be walking into. TV Tropes describes The Fool trope as referring to a person who, despite having no idea what they’re doing, doesn’t come to any harm because of their luck and innocence. So, the traveler will probably not be hit by the arrow, the same way Corso avoids the collapsing scaffolding. The two arrows in the LCF version seem to reinforce the idea of there being two possible outcomes. The arrow pointing up and the other one pointing down could also reference the famous occult maxim, “As above, so below,” adding another spiritual dimension to it. Balkan’s interpretation of the engraving reminded me a lot of a certain famous soliloquy: “To be or not to be, that is the question: / Whether ’tis nobler in the mind to suffer / The slings and arrows of outrageous fortune, / Or to take arms against a sea of troubles / And by opposing end them.” In this scene, Hamlet is considering whether or not to take his own life. But when applied to this engraving, these lines seem to once again suggest the two possible outcomes — you can suffer and die, or move on towards your goal.

And then there’s the caption. “The lost word keeps the secret.” Well, it’s pretty obvious what that refers to — the ninth engraving, replaced with a forgery that changes the meaning of the entire thing. The missing engraving contains the secret. But that caption seems completely irrelevant to this engraving, except that the face of the archer doesn’t look remotely like a baby’s, as putti usually do — it looks like an old man’s, specifically, the Ceniza brothers’, who removed and replaced the missing engraving.

The sixth engraving, fourth in Balkan’s sequence, depicts a man hanging upside-down by his ankle, and an arm with a flaming sword reaching out of a castle tower. Balkan’s interpretation of this is “and fear neither noose nor fire,” which proves he knows fuck all about tarot. No wonder he got the riddle wrong. This one is so blindingly obvious. The man isn’t hanging by his neck, he’s hanging by his foot. He’s the Hanged Man.

XII The Hanged Man is a strange and disturbing card at first glance, but it has become one of my favorites. The Hanged Man is almost never depicted hanging by his neck; he hangs by his foot, and has a serene expression, indicating that he wants to be there. He represents going through a period of tribulation, suffering, surrender, or introspection in order to obtain wisdom, enlightenment, self-awareness, and insight. He goes through a metamorphosis, just like the caterpillar that hangs upside-down in its chrysalis to become a butterfly. He’s a Christlike figure, evidenced by the halo around his head in the Rider-Waite deck, and the fact that he willingly suffers for a higher purpose. He even wears the same colors as Jesus in Da Vinci’s The Last Supper in the Rider-Waite deck, although I’m not sure if that’s on purpose or not.

The caption to the engraving is “I am enriched by death,” which is a million times more meaningful than Balkan’s interpretation. If you’re an occultist, that line is probably self-explanatory. Pretty much everything mystical involves that theme of (symbolically) dying and being resurrected. The alchemical process has three stages — nigredo, which is death, albedo, which is the ascension of the soul, and rubedo, which is returning to life in a “purified” body as a more spiritual being. The Hero’s Journey follows this same pattern — the hero entering the Underworld or the Labyrinth and facing trials that allow them to spiritually ascend and achieve apotheosis (or something close to it). It’s everywhere in books, movies, and video games. It is the initiation ritual. Most occultists figuratively go through it in one way or another. And in tarot, XII The Hanged Man is at the rough midpoint of the Fool’s journey through the Major Arcana, and immediately followed by XIII Death. “I am enriched by death.” You cannot be reborn as a new and better version of yourself without first having died.

The difference between AT’s and LCF’s engravings is that AT’s has the Hanged Man hanging by his right foot, while LCF’s has him hanging by his left foot. I don’t think this changes the meaning of the engraving too much. In Rider-Waite, the Hanged Man hangs by his right foot, but in the Tarot de Marseille, which is older, he hangs by the left foot. The only significance to this that I can see is that the Latin word for “left” is sinistram, and the word “sinister” has its current meaning because left was considered Satanic. Left-handed people were discriminated against for this reason, until as late as the mid-20th century. In occultism, the “Left-Hand Path” is an approach to magic that involves rejecting tradition and dogma and generally being edgy. I think that the right-hand and left-hand paths are a false dichotomy (you use both your hands, don’t you?), but anything Satanic is considered part of the Left-Hand Path. Jung associated left with the unconscious, so we’re back to the Labyrinth.

I don’t have much to say about the flaming sword. It could be foreshadowing Balkan’s death (more on that later), or it could represent the flaming sword of the angel of Eden (i.e. guarding spiritual knowledge).

The seventh engraving, fifth in Balkan’s sequence, is of a king and a peasant playing a chess game. Two dogs are fighting in the background, and the moon can be seen through the window. In AT’s version, the board is black, and in LCF’s, the board is white. Balkan interprets it as “to play the greatest of all games,” and the caption is “The disciple surpasses the master.”

The tarot symbolism that I see here is that of XVIII The Moon, which has dogs baying at it in the Rider-Waite deck. The Moon represents the subconscious, imagination, and dreams, but also nightmares, madness, and illusion. The illusion here is probably still the missing engraving being replaced by the forgery. The themes of the subconscious get reinforced. Underneath the Moon, a black dog and a white dog fight each other, almost seeming to create a yin/yang shape. This brings the dark and the light into balance, the same way the Moon spends equal times dark and bright as it goes through its phases. The game is chess, which is played with black and white pieces, and the board is either black or white. The game seems to be a draw, making the peasant and the king equals, just as the dogs are unable to defeat each other. So, this engraving is all about reconciling dualities.

There’s another layer to this. God is the “King of Kings,” so this could demonstrate a human becoming God’s equal. This is basically the goal of occultism — to become like God, in some form. Left-Hand Path’ers in particular seem to like the idea of becoming gods themselves, or even “surpassing” God. Since the book was created by Lucifer, this could tie in to Lucifer’s desire to become God’s equal that got him cast out of Heaven (but I’m not the biggest fan of that story, so I won’t go any further with that). To the occultist, man is God, just as God can become a man — as above, so below. That’s also a form of reconciling the duality of human and divine.

The caption, “The disciple surpasses the master,” probably refers to this, but it could also refer to Corso surpassing Balkan and succeeding where Balkan failed. Any good teacher wants their students to have learned so well that they surpass them. God (or Lucifer) intends for his disciples to surpass him, but Balkan tries (and fails) to prevent Corso from surpassing him.

The fifth engraving, which is sixth in Balkan’s sequence, depicts a man counting coins while Death stands behind him with a pitchfork and hourglass. Balkan’s interpretation is “and win, foregoing no expense,” while the caption reads “In vain.” Balkan is an idiot. Exactly like the man in the engraving, he is focused entirely on the money and completely misses the literal shadow of Death standing behind him. How does one overlook the significance of that? There’s a big difference between “I won the game so now I get money” and “in vain”! Of course, this means that Balkan is too focused on material pursuits and misses that he is about to die. In AT’s version, the sand is at the top of the hourglass, while in LCF’s version, it is at the bottom — the man has run out of time. The expression “you can’t take it with you” comes to mind. Money and material goods don’t ultimately matter compared to spiritual growth. “In vain.”

In tarot, XIII Death almost never represents physical death. Instead, it represents change, usually a change for the better. Death is about letting go of old things so that new things can come, stepping through a threshold into another life or state of being. This can be difficult or emotionally painful, but it is necessary and ultimately beneficial. If The Hanged Man is the chrysalis, then Death is the emerging butterfly (the Greek word psyche means both “soul” and “butterfly,” because butterflies represent the souls of the dead). Once again, Death is a required step towards spiritual advancement. And if you refuse to acknowledge this, it isn’t going to go well for you.

The checkerboard floor probably continues to reinforce the theme of duality. As for the pitchfork, maybe the reason Death has a peasant’s pitchfork instead of a scythe is because pitchforks are associated with Satan, or it could be a representation of peasants taking revenge on rich people. Or it could be a reference to American Gothic. I think it’s the first one.

The eighth engraving, which is seventh in Balkan’s sequence, depicts a praying man about to be bludgeoned by a knight with a mace, with the Wheel of Fortune in the background. Balkan’s interpretation is “to mock the vicissitudes of fate” and the caption says “Virtue is defeated.”

The Wheel of Fortune is a medieval motif that shows how fortune is apparently random. Some get to be kings, others are serfs, and your fortunes can turn at any moment. Just when you think everything is great, someone hits you on the back of the head. In tarot, X The Wheel of Fortune means exactly what you would expect it to — a twist of fate, a change of fortune. Whether it’s for better or for worse depends on the context and the cards around it. Life is full of ups and downs, so enjoy what you’ve got while you have it, etc. Sometimes when it shows up, it can mean that you should trust in fate.

But that’s the background. What to make of the foreground? Honestly, this is the most disturbing engraving to me, especially with the accompanying scene where Corso gets hit in the head. By whom? It’s probably Telfer’s lackey, because the knight in the engraving kind of looks like him. And if the caption is “Virtue is defeated,” the praying man hasn’t been defeated yet. The knight is about to hit him, not already standing over his body. It could be an example of “bad things happen to good people” — being virtuous won’t stop you from suffering. Since Corso is the one who gets hit in the back of the head, maybe that indicates that he’s the most virtuous character (which is saying a lot, since he’s not exactly an upstanding person). In LCF’s version of the engraving, the knight has a halo — does that mean that defeating Virtue is a good thing? I guess that would make sense if the artist is Satan? Or does it mean the knight is protecting the praying man? I don’t know. I genuinely am not sure how to interpret this one. What I do know is that Balkan is still an idiot. Nothing about this suggests mocking fate. If anything, this is an example of succumbing to it.

The second engraving, eighth in Balkan’s sequence, shows an old man with a dog, holding two keys in his hand. In AT’s version, the keys are in his right hand, and in LCF’s, they are in his left hand. Balkan’s interpretation is “gain at last the key,” and the caption is “Open that which is closed.”

This is another obvious tarot image. This is clearly The Hermit with his lantern. IX The Hermit represents withdrawing into solitude for contemplation and meditation, to gain spiritual wisdom and awareness. Like the Hanged Man, he indicates a need to be passive in the service of introspection. He’s the archetypical guru on a mountain, and he holds the keys to enlightenment. Keys represent access to information, and the ability to pass between worlds. “Open that which is closed” is pretty obvious — unlock the gates, receive spiritual insight. LCF’s version having the keys be in the left hand just reinforces everything I said about left earlier.

Also, that Hebrew symbol next to him is the one for the number nine. That suggests that the Hermit is right in front of the Ninth Gate. In numerology, nine is a magical number, being three times three. It represents completeness, spiritual achievement, and initiation. So, that’s self-explanatory. In tarot, tens are the ultimate state of completion, so the nines are the penultimate step — the Nine of Wands gives you the strength and willpower to overcome obstacles, the Nine of Cups represents success and contentment, and the Nine of Pentacles represents celebrating an accomplishment. (Once again, the Swords are the outlier, representing fear and despair.) Nines in general are good, the perfection of three multiplied by itself. (The Hermit is also the ninth card of the Major Arcana, if you noticed.)

And finally, we come to the ninth and final engraving (that Roman numeral should read “IX”). This depicts a woman who looks suspiciously like the Girl reading a book, ostensibly The Nine Gates of the Kingdom of Shadows, and riding a dragon with seven goatlike heads. There is a castle in the background, and the castle is a real place. There are three versions of the engraving — this one, which is signed by AT and has the castle as-is, a forged LCF engraving that shows the castle in flames, and the real one. Balkan’s interpretation is “that will unlock the Ninth Gate,” and the caption is “Now I know that from Darkness comes Light.”

The woman is apparently an image of the “Whore of Babylon” from Revelations, who rides a seven-headed dragon. I’m not really sure what she’s supposed to represent, beyond being generally Satanic. Of course, Crowley recasted her as a sex goddess. The seven heads of her dragon are significant — seven is the number of secrets, mysteries, magic, introspection, and searching for inner truth, which have been running themes this whole time. It also signifies creation, completeness, and rest, since God created the world in seven days. In tarot, the sevens present a new challenge after the perfection of the sixes — the Seven of Wands brings new obstacles that require determination to overcome; the Seven of Cups represents imagination, dreams, and illusions, so back to The Moon again (and the illusion of the forgery); the Seven of Swords also represents deception or a con artist (like the Ceniza twins, or maybe Balkan); and the Seven of Pentacles represents a threshold or a new opportunity, and reflecting on one’s achievements. That all aligns scarily well with the situation here.

The critical illusion is that the “LCF” engraving with the burning castle is a forgery. So, Balkan sets himself on fire for no reason other than egomania. This image is similar to XVI The Tower in Tarot. The Tower is one of the scariest cards to get. If Death is a difficult but beneficial change, The Tower is a dramatic turn for the worse, complete destruction and devastation. It is struck by lightning and destroyed, going up in flames. I drew this card shortly before the pandemic hit. That was The Tower — destruction, upheaval, devastation, but with the promise of rebuilding. I also had to deal with a lot of emotional turmoil because of an unrelated thing that happened around the same time, and it shook me to my core. So, obviously the forged engraving leads to Balkan’s destruction.

The true ninth LCF engraving shows the sun shining from behind one of the castle’s towers:

Replacing The Tower with The Sun is a drastic difference. If The Tower is one of the worst cards to get, XIX The Sun is one of the best. The Sun is a good omen in every capacity. It represents everything that these engravings have been working towards — spiritual growth, fulfillment, success, enlightenment, revelation of secrets, good fortune, etc. It fits right in with Lucifer’s status as the Light Bringer, and it is the solution. (The true engraving is also very reminiscent of The Star, which directly follows The Tower, and represents hope and the light at the end of the tunnel. I drew it recently, signifying the end of my emotional turmoil.) The jagged rocks at the bottom of the castle in the other two versions are missing here, and the castle is more accessible, with a visible path. The woman gestures directly to it.

The rest of the scene is much more shadowed in the true version, which fits right in with the caption: “Now I know that from Darkness comes Light.” I, in my obsession with Shadow work, interpret this as confronting the dark parts of oneself and bringing them out into the light to become a whole person, and to grow spiritually. This goes back to the Labyrinth, needing to enter the dark Underworld or the realm of the subconscious in order to gain spiritual wisdom and finally achieve enlightenment. Everything in the engravings seems to point back to that — needing a period of introspection, reconciling of duality, obtaining safe passage through the various trials until you see The Sun, which is followed by Judgement (resurrection) and The World (fulfillment). The Nine Gates of the Kingdom of Shadows are like the seven gates of the Underworld that Inanna must pass through (and that eight-pointed star is a symbol of Inanna). Corso passes through the Ninth Gate, out of the Kingdom of Shadows and into the light.

Balkan’s interpretation is clearly off. So, let’s rearrange the engravings back into their intended order:

Silence is golden. Open that which is closed. The lost word keeps the secret. Fate is not the same for all. In vain. I am enriched by death. The disciple surpasses the master. Virtue lies defeated. Now I know that from darkness comes Light.

If you, who seek after secrets, wish to unlock the gates to wisdom and enlightenment, be wary of potential dangers and missing pieces. You can either suffer and die, or move towards your goal. You will either find a way out of the Labyrinth or find that your path is blocked. Do not pursue material gains, and miss the shadow of Death hanging over you. Face Death, and you will be enriched by it, gaining spiritual insight that will allow you to surpass your superiors and become God’s equal. After a final challenge, test of virtue or twist of fortune, you will emerge from the darkness and into the light.

Am I reading way too deep into a spooky movie? Maybe, but come on! How could I resist? Do any of you have interpretations of your own?

Sources:

https://slapphappe.wordpress.com/2009/03/22/symbolism-in-the-ninth-gate/#%3A~%3Atext%3DThe%20fire%20at%20the%20Ninth%2Cof%20the%20Kingdom%20of%20Shadows.

https://davidjrodger.wordpress.com/2011/08/24/the-ninth-gate-occult-and-tarot-like-symbolism-in-the-engravings-by-aristide-torchia-and-lucifer-plus-wider-meanings-of-the-movie/

#the ninth gate #the ninth gate film #johnny depp #johnny depp movies #occult #occultism #occult symbolism #tarot #tarot symbolism #occult symbols #movie analysis #spooky #dark academia #dark acadamia aesthetic #occult films #lucifer

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beneaththetangles · 3 years

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Review: The Stranger by the Shore (Movie)

Good Morning, Good Evening, Good Afternoon! Josh here! You know, I’ve been an anime fan for a little over 20 years now, and over the course of those 20+ years, I’ve watched shows or movies where I’ve said to myself, “I really don’t think I’m the target demographic for this one.” When I heard the premise of The Stranger by the Shore, I originally thought, “Meh, this just looks like one for specific fans of this genre. Probably not for me.” But this past Sunday, I saw Twitter go crazy over this movie, heaping prodigious praise for this rather short film, so I figured “Meh, why not? I need to watch something to wash the tastes of Girlfriend, Girlfriend out of my mouth” and checked it out.

Three viewings later, and I can honestly say that I was, in fact, exactly in the target audience for this one. Why? Because it’s about love. And after watching the farce of Girlfriend, Girlfriend, I kinda needed to be reminded what pure, genuine love looks like, and how this particular kind of love has many challenges both internal and external.

So what makes this movie so good? Let’s get into it. I’m Josh, the Cajun Samurai, and this is my review of The Stranger by the Shore...and interestingly enough, this is my very first review of an LGBTQ+ anime!

Okay guys, time to be a bit serious here. I know, it’s weird coming from me, but don’t worry, it won’t last long. I am duty-bound to let you guys know that this movie is rated “TV-14” on Funimation’s website, and honestly, were I in charge of the rating scale, I would probably rate it a little more mature as it does feature talk about sex and features characters engaging in intimacy. While nothing is seen, much is implied. If you decide to watch this film, but are put off by this sort of thing, it starts at 47:00, and ends at 49:30 if you’re streaming on Funimation’s website. Okay, end of disclaimer. Let’s get into it.

The Stranger By The Shore is based off a manga series by Kanna Kii. It begins with Shun, a writer living in Hokkaido with his aunt after running away from home. Why would he run away? Simple. Shun is gay and would not enter into an arranged marriage with his childhood friend. His parents were naturally upset over this revelation (How dare you not marry the bride we picked out for you?! And how dare you have other preferences for who you love?!) and so Shun hot-footed out of there to his aunt’s house to work on his book.

One night, Shun sees a young man making like Otis Redding and sitting on the dock of the bay watching the tide roll away. Shun’s aunt explains that the boy, named Mio, is now an orphan after having recently lost his mother (his father died earlier). Shun decides that he wants to try and befriend the boy, but Mio is having none of it, misinterpreting Shun’s advances as pity over the loss of his mother. However, this misunderstanding is quickly cleared up and Mio apologizes, saying that he was actually glad and didn’t mind if Shun was trying to flirt with him. After a day of unsuccessful fishing and a delightful dinner of curry, Mio reveals that he’s being sent to an orphanage on the mainland of Japan, and would only be able to communicate with Shun by phone once he arrives. Shun is pretty down about this.

Time passes and Shun’s cousin is moving out to live with her girlfriend, leaving an open spot at the house. Who could possibly fill it? Why, it’s Mio of course. Our boy is now 20 years old and is able to make his own decisions in life, including but not limited to love. Mio is fully ready to start up a relationship with Shun, not caring what society thinks, but Shun, having been on the receiving end of rumors and teasing about his sexuality, tries to get Mio to think twice about his decision, not wanting him to be ostracized as he was. This results in a couple awkward moments where Mio really wants to take their “relationship” to the next level, but Shun dragging his feet, just barely able to say “I love you” to Mio.

Oh, and if that weren’t enough, later on, Shun’s former fiancé, Sakuraku, comes to the village with some news: His father is gravely ill and wants to see his son before he punches his ticket on the Midnight Train to Georgia. Naturally, Shun is not too excited to see the parents who shunned him, nor is he excited to see the woman who he was once engaged to (albeit through an arrangement). Mio meanwhile is showing some signs of jealousy and a little insecurity at this new arrival. Is this new girl going to take Shun away from him? Will Shun actually go back to the girl that he left at the alter? Find out next time on DragonBall Z!

So yeah guys, I really and truly like this one. As I mentioned, I’ve watched it three times so far since it came out. The first time I watched it on my own just to see what all the commotion was about. Then I watched it a second time to take screencaps and offer up Twitter commentary as I typically do, and the third time…well…it was because the movie is just that freaking good.

It’s awesome just viewing a romance play out over time and watching two people deal with their respective issues to find one another. That’s part of what drew me to shows like Toradora, Kare Kano, Yuri on Ice, Wotakoi: Love is Hard for an Otaku, and Horimiya. Watching a romance from the very beginning and see it work itself through to its inevitable conclusion is beautiful, and that’s what you get with this one.

I also love the fact that this just isn’t a typical high school romance story. Yes, I know how ironic that sounds after the last sentence where I praised a bunch of high school based shows, but still… sometimes you just want a story with two mature adults instead of two crazy kids who are probably operating more on hormones than true love…even though there are times when Mio, young lad that he is, REALLY wants to make his relationship with Shun more physical, bless his heart.

Another thing that I really loved about this story are the differences in how Shun and Mio see the world with regard to their sexuality. While Shun sees their relationship through a somewhat wary lens, and doesn’t want Mio to be hurt like he was, Mio is much more of a free spirit, not allowing anyone or anything deny him from what he really wants. Part of me feels like the differences between these two are because of the times they grew up in. Shun is older than Mio, and no doubt grew up in a time where being LGBTQ+ was something to be scorned, mocked and bullied for. Mio, being a more modern and in some ways a more mature young man, understands what he’s in for and yet has no problem with it because he knows he loves Shun and in his mind, that’s all that matters.

One other thing that I find refreshing with this movie is that it doesn’t have any complex or mystical story lines. While I enjoy movies like Weathering With You and Your Name, sometimes those movies can just be too complex for their own good, adding mystical elements to a story that can at times clouds the waters. In fact, there are two moments where the characters seemingly pass out at different times during the movie after highly stressful situations, and I couldn’t help but think, “Okay, here comes the magical mystical stuff…these two are the reincarnation of some long lost, Feudal Era star crossed lovers that are bound by fate by the red string of something-or-other and they have to find the mystical key of the twilight or something…” But to my great surprise, these dorks were just TIRED. No magical journey, no mission they have to accomplish, just…tired. That is surprising. The Stranger by the Shore pretty much makes the characters the standout elements. These guys don’t have mystical powers, there’s no legend they have to figure out in order to save the world, there’s no time travel or dimension portals… it’s just a love story like any other.

Speaking of things that aren’t a big deal… I feel the need to address the elephant in the room. Yes, the intimate scene between Shun and Mio. Honestly… it’s a non-issue, as it should be. It’s two characters that are of age sharing an intimate moment with each other and they just so happen to be two males. It happens in loads of different anime and it’s not a big deal. Honestly, I found the way the moment was executed to be very realistic, gentle and tastefully done. If you avoid BL anime entirely, (and no judgement whatsoever–it’s not for everyone; watch whatever makes you happy) I suggest you check out our recent articles examining yuri and yaoi anime and see if those give you some food for thought, and maybe make you more likely to try out The Stranger by the Shore. Yup, I’m a true southern gentlemen–offering up Food for Thought. You always offer food to your company, thought or otherwise. Now go and get your grub on.

If I could find any faults with this movie, it’s probably that it’s too short and doesn’t give the characters enough developmental time. There’s just so much more I wanted to know about these adorable dorks: What was Shun’s life before the arranged marriage? How did he end up becoming a writer? What was Mio’s father like? How was Mio’s time in the orphanage? At just under an hour including credits, it feels like this movie could’ve explored so much more and expanded this beautiful world it created. This movie does a great job giving us endearing and lovable characters, but not enough time to fall even deeper in love with them.

Also, as a somewhat unrelated complaint, Funimation, please do the streaming anime community a favor. Please, please, PLEASE fix your video player! It’s just a mess! Sometimes the volume bar would be stuck on the screen long after I adjusted it, thereby ruining any screen captures I wanted to get. Also, please add closed captioning to the English dub video. It’s really a drag that the hearing impaired can’t enjoy the writing in the dub like everyone else, and it also sucks when bloggers like myself don’t have the text at the bottom of screen captures for context of a particular scene. You are partially owned by Sony Pictures… you can do better than this! But, I digress…

Speaking of Funimation, this movie was dubbed and released by Funimation Entertainment with director David Wald in the director’s chair. Honestly this was quite a shock to me as I would’ve expected Sentai Filmworks to put out a title like this, as they have never been shy to license and dub anime with LGBTQ+ themes. Yes, Funimation has put out a few here and there, the most famous being Yuri on Ice, but in my eyes, Sentai has always been THAT company to go to for movies and anime series like this. In fact, Hi Dive, Sentai’s streaming service, has an entire section devoted exclusively to LGBTQ+ anime and movies. Funimation? Not so much. But I digress.

Director Wald does an amazing job with this production, getting outstanding performances out of Josh Grelle (Shun) and Justin Briner (Mio). These two are just AMAZING in their roles, and captured these characters perfectly. Just try not to think about that when watching the English dub of Dr. Stone, as these two guys also play the bodyguard brothers Kinro and Ginro respectively. Speaking of Dr. Stone, listen closely and you’ll hear Senku Ishigami (Aaron Dismuke) as one of Shun’s classmates in a flashback.

So where does that leave us? Simple. This movie ranks a prodigious 9/10 for me. A must see. The Stranger by the Shore features a story that’s simple yet beautiful, adorably awkward and engaging characters, and acting that is just top notch in the English dub. The only thing that you may find a problem with is that there isn’t more of it. By the time the ending credits roll, you’ll want more of this one. Trust me.

Yes, I know that the story of two guys starting a romantic relationship might not be in everyone’s wheelhouse and the intimate moments might be something that gives you pause, but honestly, wherever you fall in the sexual identity debate or however you feel about it on a religious level, I can’t stress enough that you owe it to yourself to give this movie a chance. Because, at the end of the day, A has much to say about love and acceptance, things we ALL know a thing or two about and long for—gay, straight or otherwise.

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The Stranger by the Shore can be streamed through Funimation.

#Anime #Anime Reviews #Anime Movies #The Stranger by the Shore #Umiibe no Etranger #Yaoi #LGBTQ #Articles #Author: Josh #Author: The Cajun Samurai

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rhodochrosite-love · 4 years

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WOW everyone who commented on my Wirt birthday post are amazing!

Here’s the au I’ve been working on where it started off as just a Ford Pines self insert, but turned into very interesting idea!

Stanley is kicked out and Ford goes to Backupsmore, while Penny stays in Jersey to help pay off her childhood home’s mortgage. All in the early 1970s.

Ford is awarded a doctorate 3 years ahead of schedule, and prepares to move to Gravity Falls, Oregon in 1973.

In the same instant, Ford gets a call from his parents and after he tells them he’s moving to the northwest, they inform him of Penny living with them. Shocked, Ford is conflicted. Should he go to his sweetheart? He couldn’t imagine what could’ve happened that made her stay in his parents home… After consulting with Fiddleford, he quickly travelled back to Jersey to confront Penny.

Penny explains that she couldn’t take care of the house like she thought she could, what with her book-keeping job as well as her secretary position AND the pressure from it all really weighing her down. She couldn’t help her home anymore so she turned to the only people she knew left in Glass Shard-- Filbrick and Caryn Pines. She had been pulling her weight with buying food, despite Caryn’s pleas to rest whenever she could and her job offers.

Ford listened and took her side. He said he was moving out West to Oregon and had wanted her to come with him. He missed her dearly and could clearly see she needed to get away-- Jersey is no place for a princess.

She accepts in a heartbeat at the thought of living out there, alone with her sweetheart amongst the wood.

1972-1979 Penny and Ford start a life of adventure in Gravity Falls up in their cabin in the woods, catalouging new anomalies every day! After such a hard time, Penny adores the relaxing atmosphere and spending time with her boyfriend after 3(ish) years.

C. 1976 Penny can’t help but begin to think about the future with Ford, and tries to decide whether or not they should marry. In her heart she knows she wants to, but in her mind she feels as though Ford wouldn’t be as on board for whatever reason. After speaking with Susan (Lazy Susan) and Lana (Wendy’s mom), her newfound friends, she decides she has to speak with Ford!

After being avoided most of the day by her beloved (due to him being very distracted by the mystery of the Hide-Behind, and eventually their unavoidable run-in with it. emotional scenes with Penny’s annoyed tone) At the end of the day, Ford admits over dinner that he was avoiding her for the whole day due to his nervousness. After being asked why, he tells her that… “I’ve been fascinated by anomalies my whole life-- the Hide-Behind, the Gnomes, the Eyebats, that UFO theory I’ve still got stuck in my head--” “Stanford, please.” “--Even I, as normal as I may seem, my six fingers made me who I am today! … But… “ Ford reaches in his coat’s pocket, and pulls something from it and places it on the dinner table. “You, Penelope Wright, have been the one thing that’s done both for me-- Fascinated me, baffled me, cherished me, twirled me ‘round and ‘round again ‘til I was dizzy with delight.” “Ford, what’re ya sayin’?” “Penny, dearest... “ He reveals the item, it being a ring with the sweetest red gem in its center shaped like a rounded heart. Penny sniffled, “The apple… Stanford, you’re such a prince!” Before he could utter those four simple words, Penny kissed him breathless. When she pulled away, he was flushed from his ears to his nose and asked her then, whispered against her lips. She said yes, and then many times that night.

C. 1977 Bill realizes his plan is being challenged by this engagment! He had never thought of Penny to be a true problem until now, what with the now foretold probability of the wedding and children as a distraction! Bill makes a deal with Lana to guide Ford to the cave in which Bill was scribed by the natives in exchange for a long life. Ford summons Bill and to no avail, nothing happens until Ford falls asleep.

It was then Ford dreams about Bill and begins to work with him to open his dimension to study the weirdness of Gravity Falls and beyond.

With the new development in the mysteries, the wedding is delayed and Ford and Penny become very busy in their new findings with Bill’s help.

C. 1978 Fiddleford McGucket is employed as the head engineer in building the Portal to the other dimension. Upon hearing the news of Stanford’s engagment, he hoorah’d and congradulated his old roommate.

C. 1978-1979 The portal has been built, as well as the bunker and the second level of the basement. Fiddleford begins to despise his creation and begs Ford not to follow through with his plans and instead publish his findings and settle down properly with Penny. Ford declines and they move to test the portal the next day, Jan 18th 1979.

Jan 19th 1979. Fiddleford gets sucked into the portal, but then gets rescued by Penny and quits the whole she-bang.

Jan 20th, 1979. Bill sees that he has to manipulate Penny, too. She’d been taking Fidds’ side, and since she’s very close with Ford, it’s necessary. He enters her dreams and states that if she make a deal with him, he can make him see reality again. To Penny’s knowledge, Ford’s been driven to madness with his paranoia and struggles to see the light. Bill says that he can fix everything. If he ensconced a baby in Penny’s womb, one that’s both her’s and Ford’s completely, he will see the light again. In return, she has to take a hike. She makes the deal, and he ultimately sends her away. Confused, she cries. But when Bill explains that he basically makes her pregnant with a baby of a man that ‘doesn’t love her anymore’, and literally told her to ‘take a hike’. Embarrassed and humiliated, she flees into town and stays there, leaving Bill to torment Ford to his isoceles heart’s delight.

Sometime in October, before the 22nd, 1979. Penny gives birth to little Walter in Sacred Hirsch Community Hospital. At this point in time, Ford has been thrown into the portal by accident and Stanley has taken his place, in the process of making money for the new Murder Hut.

1980. Penny interrogates this new so-called Mr. Mystery, thinking he’s Ford. She rips at him, accusing him of neglecting her and hurting her. A lot of anger comes out, as well as sadness and despair and raw misery when she says that he no longer cared about her, and she doubted he ever had in the first place. When Stan pulls her to the side and finally looks her in the face clearly (before he was frantically looking around the room, his hut full of customers), he recognizes her faintly as Penelope Wright, the girl Sixer was in kahoots with back in Jersey. He sees her and the now crying baby she’s holding and connects the dots, and is flabbergasted that he’s an uncle! Well, he was already an uncle but that was for Shermie! Penny argues that it was a mistake. Little Walter was the making of a demon named Bill Cipher, and she never should have trusted him. Stan then takes her down to the basement and shows her what he’s done.

1981. Penny gets a job as a waitress at Greasy’s Diner with a little help from Lazy Susan.

1982. Penny needs to start fresh. Despite the fact that she’s got a job and is living with Stanley with a 3 year old Wirt (despite being named Walter, his first word was an attempt at ‘squirt’, which was a nickname given to him by Stanley. Everyone simply calls him Wirt now), she misses all the adventure from when she had Ford. Realizing she’s missing Ford, that son of a bitch that fell into a hole so deep he couldn’t climb out, she needs to get away. She saves up money from her Greasy’s job and now the Mystery Shack (unofficially hired. Stan just says that she’s always rearranging and flipping stuff over and it happens to look nice so he gives her some funds. She’s tried to refuse the money before, but he intensly insisted that she take it.) and moves to Arizona. Teary goodbyes are made and she hugs Stan the tightest of all, telling him to keep in touch.

1983-1994. Walter “Wirt” Wright is living in Arizona with his mother, Penelope Wright.

C. 1985. Greg Universe visits town and performs a live gig and seduces Penny. After a couple of succesful dates, they end up having unprotected sex. Not long after, he leaves town for another gig in Delmarva, doing gigs along the way. She ends up falling pregnant and struggles to comprehend the consequences.

C. 1986. Gregory Wright is born.

C. 1994. Halloween night, Wirt and Greg experience an adventure in The Unknown.

1999. Mason and Mabel Pines are born from Randy Pines and Kathy Pines

(2003. Steven Universe is born from Gregory “Universe” DeMayo and Pink “Rose Quartz” Diamond. Everything that happens with Steven is seperate from Dipper, Mabel, Wirt, and Greg.)

Update - Summer 2012. Penny takes a vacation to Gravity Falls and visits the Mystery Shack. She marvels at Dipper and Mabel and exclaims their cuteness. Mabel likes her when she’s given a butterscotch, but Dipper can’t help but question her motives. She seems awfully close with Stan and gets along well with everyone! Is she hiding something?

All is well until Dipper catches Penny trying to steal Journal #3, and he fights with her over it in his bedroom. Penny falls down and cracks something, making her scream. Stan rushes upstairs and takes Penny away, giving Dipper a nasty stinkeye. He tries to argue that she was trying to take his Journal, and Stan reacts by taking it himself.

Stan and Penny argue in the basement, saying that Dipper should have the Journal back. Stan tries to argue that he shouldn’t, but gives in. After making photocopies, Penny gives it back to Dipper. At first Dipper is skeptical, but awes when she tears up in front of him about it.

“Wow… You really care about the author, don’t you?” “Yeah, we were close…” She sits down beside him, opening the Journal to the Gnomes. “I remember the first time we saw the gnomes together… They tried to take me as queen!” “No way! They took Mabel as queen two weeks ago!” DIpper interjected, to which Penny laughed. “That explains this, then!” She pointed her crooked finger to the words; “Weakness: LEAFBLOWERS!” They both laughed.

At the end of it all, Dipper trusted Penny infineitly more. He was also more curious, as she knew the author. She wouldn’t give him a straight answer, however. Just saying he reminded her of her own son, Walter.

Penny stays in Gravity Falls until the Twins’ Birthday is over and they’re heading off to California.

August 22-25 2012. Weirdmageddon takes place. Penny serves as a scavenger and is found by McGucket and taken back to the Mystery Shack to be protected. She joins in the fight to defeat Bill Cipher, and when everyone’s in the Fearamid, it’s the first time Penny’s seen Stanford in nearly 33 years. He begins by saying hello, and saying he missed her. Before he can say anything further, she hugs him tightly, saying that he can apologize later. He prepares to retort, but when seeing Fidds’ face in response, he quietly hushes and hugs her back.

August 28 2012. Ford apologizes for how he acted and what he had done to her, like he always should have. She tells him about their son Wirt and he’s shocked. She tells him the deal she made and how she moved out of the state. After that conversation he hugs her tight and says she never should have gone through that. If he were a better man back then, she wouldn’t have had to make a deal to have a baby.

The same day, Mabel secretly arranges a wedding for her Grunkle Ford and new ‘Grauntie Penny’. Stan is on the sidelines for the whole occassion, but finally takes his brothers side as the Best Man. Mabel is the flower girl and Dipper bares the rings, while Susan is her maid of honor. Stanford promises to protect and cherish her for as long as he lives. Penny promises to care for him and heal him when the times arise. They smooch after some crazy heartfelt vows, thus they are married.

October 15 2012. Penny and Ford celebrate Wirt’s 33rd birthday. Wirt still isn’t used to his dad but comes around when he sees just how quizzical he is. They’re so alike it’s crazy!

November 2012. Penny joins Stan and Ford on the Stan ‘O War II.

(just to keep track-- in 2020 Wirt is 41, Dip and Mabs are 21, Greg is 34, and Steven is 17)

Mans that’s what I have! I’d love to hear anything from y’all about this!

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nerianasims · 3 years

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Billboard #1s 1969

Under the cut.

Tommy James And The Shondells – “Crimson And Clover” -- February 1, 1969

There are barely any lyrics to this thing, and they don't make any sense. Why crimson and clover over and over? And over and over and over and someone make it stop. Also it's musically attempting to be interesting and failing miserably for me. This song is apparently a critical darling these days. I don't get it. It bores and irritates me.

Sly & The Family Stone – “Everyday People” -- February 15, 1969

A funk song about how people are bad at accepting outward differences, and that we should stop with that nonsense. With a line about "For bein' such a rich one that will not help the poor one" as well. It's got a lot of oomph and musical interest, and it's a sentiment that people will probably always need to hear. Great song.

Tommy Roe – “Dizzy” -- March 15, 1969

The music of this song, with the constant key changes, does make me feel dizzy. They lyrics are the normal stuff about wanting a girl ever since the narrator saw her, except for this line: "I want you for my sweet pet." Um, what? That's off even for the day. Not something I like.

The 5th Dimension – “Aquarius/Let The Sunshine In” -- April 12, 1969

Was this song taken seriously at the time? The tune is a good Broadway show-stopper, but the lyrics are just... seriously? "Mystic crystal liberation." And the "let the sunshine in" part is unbearably repetitive.

The Beatles – “Get Back” (Feat. Billy Preston) -- May 24, 1969

Billy Preston injected some needed inspiration back into The Beatles. The lyrics are pretty much nonsense. It's an okay Beatles song but with a great bassline.

Henry Mancini – “Love Theme From Romeo And Juliet“ -- June 28, 1969

We watched Franco Zeffirelli’s version of Romeo And Juliet in high school, with one caveat: The geometry teacher/boys' swim team coach had recorded a sunset over the football field over the part of the balcony love scene where they get all hot and heavy, apparently thinking it was just too much for 13 and 14 year olds. They left the sound though. Which made it way dirtier than it would have been with the images still there. So anything associated with that movie is hilarious to me. This is a Henry Mancini instrumental, which means it's good and I really shouldn't be cackling.

Zager & Evans – “In The Year 2525″ -- July 12, 1969

On a musical level, I hate this. It's a tidge too slow, it's a lot too bland, and something about the far future should sound futuristic, and this doesn't at all. Also the lyrics are dumb. It's not all of us who have fucked up the environment; it's the powerful. And I refuse to be morally scolded by someone who says in total seriousness, "In the year 4545/ You ain't gonna need your teeth, won't need your eyes/ You won't find a thing to chew." Dull and annoying.

The Rolling Stones – “Honky Tonk Women” -- August 23, 1969

The Rolling Stones are English. They don't know honky tonks. But then they sort of do. Music, alcohol, and sex, not exactly complicated and pretty universal. In the song, Mick's supposedly trying to fuck and drug his way out of heartbreak, and not just with women. There's a verse about "charming" sailors in Paris. It's actually still hard to find the whole thing online even today, but that's the version on the "Get Yer Ya-Ya's Out!" album. The single version that became the hit doesn't have that verse, of course. Anyway, it's a good party song.

The Archies – “Sugar, Sugar” -- September 20, 1969

It's a song for a cartoon. It's the most bubblegum of bubblegum pop. I hate it.

The Temptations – “I Can’t Get Next To You” -- October 18, 1969

The Temptations can do absolutely anything, such as make ships sail on dry land, but they can't get next to you. It's like a god singing to a goddess. Motown could do that. Great song.

Elvis Presley – “Suspicious Minds” -- November 1, 1969

Elvis has entered his Vegas era. The rhinestone suits, sunglasses, all of that. But of course he pulled it off. In the song, Elvis complains to you about how you're so suspicious, and it's hurting him, but he can't walk out because he loves you too much. The way he sings it, though: Bullshit. He knows it's bullshit, you know it's bullshit. Dude's cheating. I mean, he's Elvis, of course he's cheating. He's putting everything into a performance to keep you, though, even though he knows that you know he's lying. And by the end, I'm thinking it would be better to have a guy with that much charisma and talent who cheats on you than some nothing schlub who's faithful only because no other woman would have him.

The 5th Dimension – “Wedding Bell Blues” -- November 8, 1969

This kind of song is why I really need to keep an airplane barf bag by my desk. The narrator's whining about how she loves this dumbass "Bill" so much, and has done everything for him, but he still hasn't proposed, so "Marry me Bill." If the lyrics were acceptable, I'd say the song was a nice bit of pop fluff. The lyrics are not acceptable. Also I have an uncle named "Bill" AND my mother's husband is named "Bill" and I just cannot.

The Beatles – “Come Together” -- November 29, 1969

The bassline is this song, and damn it's a good one. Apparently this song's lyrics confused people so much at the time, people thought it meant Paul was dead. I have no idea how they got to that. I thought it was about Jesus, or a Jesus type. Or something. I dunno, it doesn't matter, the riffs are the point. The Beatles were breaking up, but this was one hell of a way to go out.

Steam – “Na Na Hey Hey Kiss Him Goodbye” -- December 6, 1969

So this is apparently supposed to be about a man trying to get you to leave another man because he'll never love you the way the narrator will. But I can't hear it as anything other than a sports chant. I do not advise trying to listen to the full four minutes.

Peter, Paul & Mary – “Leaving On A Jet Plane” -- December 20, 1969

"I'm leavin' on a jet plane/ Don't know when I'll be back again/ Oh, babe, I hate to go." This song was originally intended to be about a traveling singer who'd been unfaithful a lot. But authorial intent doesn't matter. It became about the Vietnam War. And as such, it's heartrending.

Diana Ross & The Supremes – “Someday We’ll Be Together” -- December 27, 1969

According to the lyrics, this is about the narrator regretting having broken up with her boyfriend, and promising that someday they'll be together again. But authorial intent doesn't matter. And hearing this during a pandemic which is keeping everyone apart, well. Rather changes things.

BEST OF 1969: "Come Together" WORST OF 1969: "Sugar, Sugar"

#billboard number ones

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someplace-that-is-else · 4 years

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“Shaking It Off...?’: Is the Magicians Surviving Post-Quentin in Season Five?

Editor’s Note: Spoilers for the current season of The Magicians lie ahead. Read at your own risk.

I still can’t listen to it.

Every time I was at work, the radio loved to drop in Taylor Swift. I admit it. I love Taylor Swift. It was earned respect so I won’t knocked it. However, when I heard ‘Shake It Off,’ I changed the station. Why? Because I was reminded every time.

The Magicians Episode 4, Season 1…Quentin Coldwater in the mind asylum. Him singing it. It was a turn left moment in a somewhat serious scene that was hilarious.

But I was always reminded when I heard the song. Now…

Quentin Coldwater was dead.

In case you missed it, the fourth season of The Magicians went out with a bang. In order to save the world and his friends, Quentin Coldwater sacrificed himself. It was a heartbreaking moment and yes, there were tears at the gang’s tribute to him with a cover of ‘Take on Me.’ It was also shocking because who would have thought a show would kill off their main character, the character that viewers are brought into the show by. Even ballsier? Leaving the main character dead, confirmed immediately after the episode aired that night by way of internet interviews from the producers.

That was the world viewers were coming into walking into Season Five. Unlike Supergirl which I dropped in Season Four due to the on-the-nose political writing, I was curious to see how the writers would play the death of their main character.

So how was it?

Did Someone Order an Apocalypse?: Raising the Stakes in Season Five

After a season where magic was rationed out, this season was different. Now there was too much magic. How much? So much that people were exploding for crying out loud.

As a result, there were plot threads being introduced. You had Penny being made a professor at Brakebills and dealing with the presence of a signal that one of his Traveler students was hearing. You had Kady struggling with being the leader of the hedgewitches while being in the middle of a mystery involving the disappearance of a book depository. Most importantly, there was a Pig running around, encountering Julia and saying an apocalypse was coming.

Hm…the end of everything. While the Magicians has had moments that were life and death, I do not think it has actually dealt with an apocalypse. It sounded so Buffy the Vampire Slayer. And it was during one of these moments of too much magic that the apocalypse was supposed to happen.

And this was all in light of the fact that Quentin was only dead a month. Alice, Julia, and Elliot were the ones who were hit the hardest by his passing. Julia was Quentin’s best friend. Alice was Quentin’s girlfriend. Elliot was his woulda, coulda, shoulda. But as usual, the world as they knew it needed saving.

And there were casualties on the way to the apocalypse. Penny lost his ability to control his Traveler abilities so much so that he could accidentally kill himself now. Dean Fogg was lost to a whole dimension in Kady’s pursuit of the book depository. In the gang’s attempt to stop the apocalypse, they succeeded. But there was a BUT.

WRONG apocalypse.

All that struggle. Encountering goddesses with agendas. The return of evil hedge witch Marina who was behind the depository mystery. Kady almost was killed by an assassin. Elliot and Margo got stuck in a time loop.

It was all for the wrong apocalypse. You see the Pig was talking about a whole other apocalypse that was coming. One that appeared to be tied into another plot thread from last season involving Elliot and Margo being trapped at one point in the Narniasque land of Fillory 300 years in the future and its future ruler the Dark King.

Oops.

The Power of Three: Character Development in Season Five

Magic comes from pain.

Eliot said that to Quentin in the first season. Over the course of the seasons, that has truly held up quite well. Going into Season Five, there was still plenty of it. And that brought me to the character development for Julia, Alice, and Eliot specifically. Their pain. Their grief over Quentin’s death.

I loved Julia’s Season Four arc. The ‘is she or isn’t she still a goddess?’ arc. She had been practically redeemed in Season Three. She had sacrificed her being on a higher plane for her friends. And where did she go from here? From here led to a new relationship with Penny, getting to get close with her best friend Quentin again, and have a chance to be a full goddess again. However, that was snatched away from her by the Monster and so was Quentin. She was human again with no magic…until her pain over Quentin’s death, bringing her magic back to the surface.

And that miracle was what was driving Julia this season. She was determined to not have Quentin’s death be in vain. She was going to stop those apocalypses. She was so determined that it was revealing cracks in her relationship with Penny. In fact, they broke up…just in time to find out that Julia was pregnant. So would Julia keep focusing on stopping apocalypses to honor Quentin’s memory, or would she focus on herself and her future which may or may not include Penny? Oh, the dilemma…

And then we had Alice…

Honestly, I haven’t liked Alice since Season 2. She was cute. She was brainy. She wore glasses. And Niffin experience, while a great plot twist for those of us who hadn’t read the books, really tainted her. And any sympathy she got for her pain was destroyed by betraying the gang by helping the Library at the end of Season Three. I enjoyed everyone giving her the business in Season Four.

So I was saddened to see Quentin take her back. Especially with someone better hanging in the wings.

That said…the pain that Alice felt for Quentin dying. The staying in her room. Her wearing his clothes. Her trying to resurrect him. That felt real. And for the first time, Alice felt like a person again. She felt like Alice. And as the current season has progressed, a new persona has taken over: old Alice. The last few episodes had brought back the brainy, the problem solving, and dare I say it the cute Alice from the early seasons. From the darkness, she had come back into the light.

And finally, there was Eliot. Eliot spent the majority of Season Four possessed by an ancient Monster. A Monster who was on a mission to resurrect his even more dangerous sister. In the process of Eliot trying to find a way to contact Quentin, Margo, and the gang, it was revealed that there was a scene not revealed to the audience. Back during the Season 3, Episode 5 episode “A Day in the Life,” Quentin and Eliot were trapped in a time loop of sorts and lived a whole life together. Fell in love. Had a child together. Died. In the end, quick thinking brought them back. And it was over…right?

Wrong.

It turned out that Quentin and Eliot had had a talk. Proof of concept. Most people took a chance when they got into a relationship. Here they had a whole lifetime and saw they worked together. So…Quentin wanted to make it real. The debatably straight character wanted to give it a go…but Eliot pulled away. Being trapped in a Monster gave Eliot that push. The push he needed to get free and tell Quentin that he was ready to give it a go.

So of course…Quentin died.

And just like that…they became Buffy the Vampire Slayer’s Tara and Willow. They became like The 100’s Clarke and Lexa. What did I mean? I meant that the ‘Bury Your Gays’ trope struck again. You know, the trope in literature and tv where two people of the same sex cannot be happy and if they found happiness it usually ended in tragedy. And the fact that Quentin got some form of closure with Alice in terms of their relationship while he did not with Eliot was quite the tragedy for fans.

While I personally would have liked to see some closure for those two (called Queliot by their fans) due to the relatability of their situation (which happened more in real life than people thought), I was pleased to see that in the latest season that Eliot was definitely dealing with his unsolved feelings about Quentin. Not only did he find some closure to it, he even got to some closure with Alice as well since they had quite a bit to deal with between each other. Bonus, Eliot had been bantering with the Dark King, this season’s potential Big Bad who happened to be flirting with Eliot.

A happy ending for our resident gay man? This is The Magicians. So…iffy. LOL!!! Especially after that reveal in Episode 9. So time would tell how the relationship between Eliot and Sebastian the Dark King would resolve itself.

Speaking of…

Pieces of a Puzzle: Using Plot Threads that Work Well in Season Five

While a lot of the seasonal plot arc had to do with the gang dealing with apocalypses, there was also the arc having to do with the Dark King who usurped Margo’s rule of Fillory. Fans got to meet him in a clever introduction during Alice’s and Eliot’s quest to give closure to Quentin. Thus, the tension between Sebastian the Dark King and Eliot began.

In another blog I did ( https://someplace-that-is-else.tumblr.com/post/183733192088/well-fuck-how-i-fell-into-syfys-the ), I mentioned that protagonists were only as good as their antagonists. The more complex the antagonist, the better. And if the Dark King was to be the main villain this season, the writers did him right. On one hand, there was the burgeoning relationship between him and Eliot and the fact that Fillory worshipped him for his ability to push back the invading Takers. On the other hand, it was revealed HE was behind the Takers being in Fillory in the first place and was immortal to being killed. Add on to that the reveal in Episode 9: Sebastian was one of the Chatwin siblings, brother to the Beast…

...still the best villain in this series. His goal: to resurrect his lost love. Given the gang was dealing with the aftermath of Quentin’s death, how could they not relate? How could we? Things were more murky.

Meanwhile, there was the mystery of the signal. As mentioned earlier, the increase in magic meant there were a lot of new traveler magicians coming into their abilities with no one to guide/teach them. Enter Penny the only Traveler alive to tell the tale. At first Penny was reluctant, but he attempted to. That was how he met Plum, one of his students who was hearing the mysterious signal. In the process of hearing the signal, Penny lost his abilities. And to add on to the mystery…Plum...

... was ALSO a Chatwin. Whom daughter…Jane, the Beast aka Martin or Sebastian…remained to be seem.

And then there were two.

Finally, there was the world seed. I had greatly enjoyed seeing Alice morph back into her brainy persona that I remembered from the first two seasons. At the same time, she had started a bantering friendship with another magician who was some expert in possibilities. And from some notes left around by Quentin, Alice and this student had been creating a world seed. The belief…that it could create a whole new world. Leave it to Quentin to be gone, but NOT forgotten.

How that would come into play with Plum, the Dark King’s plans, and the Fillory apocalypse was too early to know. It was recently announced by the SyFy Channel that they had cancelled The Magicians. Insert eyeroll here given my colorful history with SyFy. However, the producers of The Magicians have always mentioned that they wanted to adapted the last book in the series The Magicians’s Land for one of their seasons. And all signs of what I knew to happen in the book revealed this current season was loosely based on that book (in the book Quentin was still alive for example). So it would be interesting to see how it all ended for everyone.

With a bang…or a whimper?

#themagicians #syfychannel #syfy #whoorderedanapocalypse #buffythevampireslayer #buffyreference #glory #seasonfive #taylorswift #quentincoldwater #shakeitoff #aha #takeonme #apocalypse #supergirl #raisingthestakes #plotthreads #characterdevelopment #grief #queliot #writing #narnia #darkking #magic #buryyourgays #powerofthree #puzzlepieces #signal #seed #withabang #withawhimper

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disbander-of-armies · 4 years

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What my tumblr means

I was tagged by my wonderful friend @hiddenlookingglass! I’ve just done one of these and usually I try to space these out but this gives me the opportunity to address some things that I’ve been wanting to talk about for a while so here we go.

Header image: It’s a photo I took two years ago at a small beach in Sicily. I chose it because I think it looks really nice and it fits with my blog title (”thalatta” means “sea” in ancient Greek). Also, it sometimes looks distorted on my tumblr app, I don’t know why, it’s just tumblr being weird I guess.

Icon: A photo of me blowing bubbles. I wanted my icon to be a photo of me because this blog is very personal to me but at the same time I didn’t want to do a face reveal so that’s why I chose this one.

My content: Well, mostly anything Classics/ancient history. I sometimes share unrelated posts that I tag as “self care” because I also want to spread positivity on my blog. I usually try to stay out of politics (I want all sexualities, genders and religions to feel welcome on my blog so you can draw your conclusions where I stand politically). Lately I’ve been struggling a bit because I don’t know what to post. When I started my blog I wasn’t an ancient history student yet and I just used it as a place where I could dump all my thoughts on ancient Greece and my God, it shows! Since I’ve started studying ancient history and have gained a lot more followers I’ve become a lot more careful because I don’t want to spread any misinformation. I also feel that right now I’m in a weird “intermediate” position. I know a lot more about ancient history than I did when I started this blog but I’m by no means an expert in anything yet. There are a lot of things that I would love to write about (like, making ancient Greek more accessible) but I just don’t have the knowledge yet and/or the time to do proper research. And the things I do know feel kind of, I don’t know, generic? Like I assume everybody already knows that (or maybe that’s just what it seems to me because I’m living in the Classics bubble).

Background color: I just chose a color that I thought fitted in with my images, there is no deeper meaning to it.

URL: “disbander of armies” is the translation of the ancient Greek name “Lysistrata”. Lysistrata is one of the comedic plays by Aristophanes. It’s set during the Peloponnesian war and it’s about a group of women (lead by Lysistrata) who organize a sex strike to force the Athenians and Spartans to make peace (which the also accomplish by the end of the play). I love the play because a) it’s hilarious and b) it often gives an insight into the lives of those people who weren’t that well off and whose lives are often overlooked. And that’s one of the things I love most about ancient history, learning about the ordinary people.

Also, I just really love the name, it’s really powerful and yet peaceful. Obviously Aristophanes chose the name because of the content of the play but (and this is just a theory but I would love it to be true) he might also have chosen it because of the priestess of Athena Polias (who was probably the most powerful woman in all of Athens) whose name was Lysimache, which means “disbander of battles”. Joan Breton Connelly writes in her book Portrait of a Priestess:

“If it can be shown that the Lysistrata similarly draws upon the lives of historical Athenians, in this case priestesses, our view of the public role of women and their name recognition within the polis can be greatly enriched. Indeed, we might even understand these women to be insiders, part of the “men’s club”, so to speak, and thus fair game for public comedy.” (Connelly 2010: 63)

Blog title: “Thalatta! Thalatta!”. It’s a famous quote from Xenophon’s Anabasis and it’s very personal to me. The Anabasis is a work by the Athenian historian Xenophon who lived during the 5th/4th century BCE. When he was around 30 years old, he took part in an expedition in Asia Minor by the Persian prince Cyrus. It turned out that this “expedition” was actually just a ruse for Cyrus to gather mercenaries in order to overthrow his brother, the Persian king Artaxerxes II. They fought a battle at Cunaxa (in modern Iraq) in 401 BCE which was won by Cyrus but since he himself was killed, the victory was pointless. Now thousands of Greek mercenaries, including Xenophon, were trapped in a foreign country. A large part of the Anabasis is the story of how they fought their way back to Greece.

The “Thalatta! Thalatta!” (which means “The sea! The sea!”) quote appears when the Greeks, after months of fighting off enemies and trying to find their way back, see the sea for the first time (in this case it’s the Black sea). This was a huge milestone for them because it meant that Greek colonies were near.

Xenophon vividly describes how, since he was travelling further back, he first heard a commotion and it was thought that they were being attacked but when they heard that the others were actually shouting “thalatta!”, everybody just broke down in tears because they were so happy.

The Anabasis is my favorite book of all time (I actually got super emotional again just writing about this scene!). I love it because you learn so much about how the ancient Greeks saw their world and especially, how Xenophon saw the Gods guiding him (before he went on the expedition he had asked the oracle of Delphi to which Gods he should pray to to successfully complete his journey and the oracle replied that he should pray to Zeus Basileos (Zeus the King) (Xen. an. VI, 1, 22). To quote from the article One Man’s Piety by Robert Parker:

“Xenophon, then, was very close to Zeus Basileus. And the god did not let him down. (...). There is self-glorification and self-congratulation in all this, no doubt; but also a picture of one sense in which a Greek could feel himself especially close to a particular god.” (Parker 2004: 151)

It also had a huge impact on myself and the things I struggle with. Like a lot of other people, I struggle with mental health and there were times when I’ve been in a very dark place and thought that I would never get better. Xenophon and those soldiers must have felt like that too sometimes (though I by no means want to compare my experiences to those of the ancient Greeks!). It shows me that people can go through incredible hardships and still come out victorious. This doesn’t mean that you will never have to face difficult times again. The “Thalatta” scene is by no means the end of their journey and they had to face many more obstacles after that. But in the end, there was a happy end (of sorts) for Xenophon. After living many years as a soldier, he settled down, had a family and died at the age of around 75. Here is another favorite quote of mine of him describing his home (he speaks of himself in the third person):

“Here Xenophon built an altar and a temple [for Artemis] with the sacred money, and from that time forth he would every year take the tithe and of the products of the land in their season and offer sacrifice to the goddess, all the citizens and the men and women of the neighborhood taking part in the festival. And the goddess would provide for the banqueters barley meal and loaves of bread, wine, and sweetmeats. (...). The temple itself is like the one at Ephesus, although small as compared with great, and the image of the goddess, although cypress wood as compared with gold, is like the Ephesian image. Beside the temple stands a tablet with this inscription:

“The place is sacred to Artemis. He who holds it and enjoys its fruit must offer the tithe every year in sacrifice, and from the remainder must keep the temple in repair. If anyone leave these things undone, the goddess will look to it.” (Xen. an. V, 3, 9-12, transl. by Carleton L. Brownson)

Sources:

Joan Breton Connelly, Portrait of a Priestess. Women and Ritual in Ancient Greece. Princeton University Press 2010.

Robert Parker, One Man’s Piety. The Religious Dimension of the Anabasis, in: The Long March. Xenophon and the Ten Thousand, edited by Robin Lane Fox. Yale University Press 2004, 131-153.

#xenophon #anabasis #lysistrata #artemis #zeus #personal #long post

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writing-prompts-for-friends · 4 years

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Notes from Robert McKee’s “Story” 14: Idea vs. Counter Idea, and Striking a Balance

(I highly recommend that you check out my previous post where I spoke about determining your Theme [referred to as “Controlling Idea” by McKee] and its values and causes, as that post’s content is necessary background information for this one.)

Idea Versus Counter-Idea

For the sake of this section, let’s pretend that we are writing a typical action/adventure story in which the Controlling Idea is “Good triumphs over Evil when the good person’s intentions are unselfish.” Here we have the values of “Good/Evil,” and the Counter-Idea of “Bad triumphs over Evil when the bad person is willing to resort to any means to win.” Basically, pretty much any recent Marvel film haha.

“A story progresses by moving dynamically between the positive and negative charges of the values at stake in the story.

Sequence by sequence, often scene by scene, the positive Idea and its negative Counter-Idea argue back and forth, creative a dramatized dialectal debate. At climax one of these two voices wins and becomes the story’s Controlling Idea.

This rhythm of Idea versus Counter-Idea is fundamental and essential to our art. It pulses at the heart of all fine stories, no matter how internalized the action. What’s more, this simple dynamic can become very complex, subtle, and ironic.”

I think the first Iron Man movie really illustrates this well. Tony Stark starts out as a selfish weapons maker who by the end of the film has become willing to sacrifice his own life for the safety of others, and the film has scenes of the Baddie Obadiah progressively making more ruthless, evil decisions in order to defeat Tony and obtain the arc reactor.

Of course, because this is a super hero movie, the audience goes in with the assumption that the hero with triumph. This is one of the genre rules, after all. However, each time Obadiah grows stronger and Tony is further challenged, the audience is left to wonder which idea will win out in the end.

The Importance of Balance

Let’s say that you have a very, very important message to instill in your readers. McKee uses the example, “War is a scourge, but it can be cured by pacifism.”

No matter how strongly you believe in something, you must make the effort to build the power of both sides of your argument.

“As a story develops, you must willingly entertain opposite, even repugnant ideas. The finest writers have dialectical, flexible minds that easily shift points of view. They see the positive, the negative, and all shades of irony, seeking the truth of these views honestly and convincingly. This omniscience forces them to become even more creative, more imaginative, and more insightful. Ultimately, they express what they deeply believe, but not until they have allowed themselves to weigh each living issue and experience all its possibilities.

Make no mistake, no one can achieve excellence as a writer without being something of a philosopher and holding strong convictions. The trick is not to be a slave to your ideas, but to immerse yourself in life. For the proof of your vision is not how well you can assert your Controlling Idea, but its victory over the enormously powerful forces that you array it against.”

I think that a lot of “hero vs. bad guy” stories fall flat because they fail to develop the counter-idea of “evil triumphs when it is smarter/more powerful/more determined than good.” I am certain you can think of at least three works where the bad guy was just...a bad guy intent on doing on bad things. There is also poor character development of the antagonist at work here, but because the audience isn’t shown enough of the counter-idea, we are left looking at our watches and waiting to see when the good guy saves the day, because we can foresee no other outcome.

“A great work is a living metaphor that says, “Life is like this.” The classics, down through the ages, give us not solutions but lucidity, not answers but poetic candor; they make inescapably clear the problems all generations must solve to be human.”

The Three Categories of Story: Idealist, Pessimist, Ironist

McKee divides all stories into three categories based upon the emotional charge of their Controlling Idea.

Sorry for the poor-quality picture. I’m just too lazy to recreate this graphic. From top to bottom we see the change in charges of the controlling idea from start to finish, for Idealistic, pessimistic, and ironic controlling ideas, from top to bottom.

Idealistic Controlling Ideas “’Up-ending’ stories expressing the optimism, hopes, and dreams of mankind, a positively charged vision of the human spirit; life as we wish it to be.”

Pessimistic Controlling Ideas “’Down-ending’ stories expressing our cynicism, our sense of loss and misfortune, a negatively charged vision of civilization’s decline, of humanity’s dark dimensions; life as we dread it to be but know it so often is.”

Ironic Controlling Ideas “‘Up/down-ending’ stories expressing our sense of the complex, dual nature of existence, a simultaneously charged positive and negative vision; life at its most complete and realistic.

On Irony

Ironic Controlling Ideas can be either positive or negative.

Positive Irony The compulsive pursuit of contemporary values--success, fortune, fame, sex, power--will destroy you, but if you see this truth in time and throw away your obsession, you can redeem yourself.

Negative Irony If you cling to your obsession, your ruthless pursuit will achieve your desire, then destroy you.

This is one of my favorite sections in the book, so I’m going to liberally quote McKee here.

“The effect of irony on an audience is that wonderful reaction, ‘Ah, life is just like that.’ We recognize that idealism and pessimism are at the extremes of experience, that life is rarely all sunshine and strawberries, nor is it all doom and drek; it is both. From the worst of experiences something positive can be gained; for the richest of experiences a great price must be paid. No matter how we try to plot a straight passage through life, we sail on the tides of irony. Reality is relentlessly ironic, and this is why stories that end in irony tend to last the longest through time, travel the widest in the world, and draw the greatest love and respect from audiences.

This is also why, of the three possible emotional charges at climax, irony is by far the most difficult to write. It demands the deepest wisdom and the highest craft for three reasons.

First, it’s tough enough to come up with either a bright, idealistic ending or a sober, pessimistic climax that’s satisfying and convincing. But an ironic climax is a single action that makes both a positive and a negative statement. How to do two in one?

Second, how to say both clearly? Irony doesn’t mean ambiguity. Ambiguity is a blur; one thing cannot be distinguished from another. But there’s nothing ambiguous about irony; it’s a clear, double declaration of what’s gained and what’s lost, side by side. Nor does irony mean coincidence. A true irony is honestly motivated. Stories that end by random chance, doubly charged or not, are meaningless, not ironic.

Third, if at climax the life situation of the protagonist is both positive and negative, how to express it so that the two charges remain separated in the audience’s experience and don’t cancel each other out, and you end up saying nothing?”

McKee makes it clear that Irony is god-tier writing. Notice that he does not provide answers to the questions he raises. If you want to learn more about Ironic films done well, here are the films that he mentions in this section:

KRAMER VS. KRAMER, THE WAR OF THE ROSES, ANNIE HALL, MANHATTAN, ADDICTED TO LOVE, THE PAPER CHASE, THE DEER HUNTER, AN UNMARRIED WOMAN, AND JUSTICE FOR ALL, TERMS OF ENDEARMENT, THE ELECTRIC HORSEMAN, GOING IN STYLE, QUIZ SHOW, BULLETS OVER BROADWAY, THE FISHER KING, GRAND CANYON, RAIN MAN, HANNAH AND HER SISTERS, AN OFFICER AND A GENTLEMAN, TOOTSIE, REGARDING HENRY, ORDINARY PEOPLE, CLEAN AND SOBER, NORTH DALLAS FORTY, OUT OF AFRICA, BABY BOOM, THE DOCTOR, SCHINDLER’S LIST, JERRY MAGUIRE.

Source: McKee, Robert. Story: Substance, Structure, Style, and the Principles of Screenwriting. York: Methuen, 1998. Print

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badgirlsinterviews · 4 years

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Camila Sosa Villada: "My intention was to bring travestis closer to having a mythic status, and reflect on them in a spiritual way" [Interview]

Published by Tusquets, Bad Girls can be read as a rite of passage, a chronicle which reflects the desire travestis have to become mothers, and the possibility they have to do so. The novel also demonstrates that travestis are not limited to sex work, and it can be read as a manifesto which brings a mythical dimension to the trans community, and weaves the metaphysics of a culture away from contempt.

29/08/19

Source: Telam.

Sosa Villada studied Communication and Theatre at the National University of Córdoba. She created “Carnes tolendas”, the on-stage portrayal of a travesti, a fusion between the poems of Spanish poet Federico García Lorca and entries from her blog, La Novia de Sandro [Sandro’s Girlfriend]; on screen, she starred as the protagonist of “Mía” [“Mine”], and in TV series such as the “La viuda de Rafael” [“The Widow of Rafael]. She has also written an autobiography, “El viaje inútil” [“The Useless Journey”]

Actress and writer Camila Sosa Villada from Córdoba, who is currently visiting Buenos Aires to promote her recently published novel, Bad Girls, received positive reviews from literary critics. The author stated her aim in writing her debut novel was to “allow travestis to be reflected on spiritually. We aren’t merely bodies: travestismo is a kind of faith.”

According to Sosa Villada (La Falda, 1982), the community of travestis she belonged to in Sarmiento Park, in the city of Córdoba, would travel together with each individual making up a part of one single organism. By keeping their heads down, they were able to put the gift of invisibility they had acquired into practice. They also had their own magical healer: a witch who baptised the girls who had been recently born, cleansing their body and soul.

The novel, originally titled ‘Strange Girls’, came about as a result of Juan Forn’s request for works to be included in his Rara Avis collection, and was written by Sosa Villada while she was developing “The Difunta Correa Cabaret”, the theatre show in which tells the story of how her parents prayed to the Difunta Correa for her to leave sex work.

- Télam: How did you begin writing Bad Girls?

- Camila Sosa Villada: Blindly, without even realising I was doing it. I felt it wasn’t exactly clear what I was writing about, I just made it up as I went along. My intention from the start was to bring travestis closer to having a mythic status, to reflect on them in a spiritual way, to show that we aren’t merely composed of our bodies, but also our spirits, that we have a faith. I believe travestismo is type of faith; that’s why Machi appears in the book. Of course, the travestis that I met didn’t experience any of the magical encounters where Machi healed a woman who’d been assaulted or baptized a child. Still, I thought it necessary to take the opportunity to speak about spiritual ethics.

- T: Are there instances in the novel that are linked to your personal memories?

- C.S.V: They say you have to betray your memory in order to remember. I have flashes of images, of a few images in particular: us going down the street together, going to McDonalds for breakfast, arguing with each other in the street, rescuing a girl when she (or I) had been assaulted by a client, what happened between me and my clients at my apartment. I’d go on like that, taking snapshots which I later moulded into another story altogether.

- T: How close is the hostile world depicted in the novel to the world we live in?

- C.S.V.: It’s been ten years since I lived on the wild side of life. I’m very middle-class, and so I experienced violence very sporadically. However, travestis continue to be murdered, it’s still extremely difficult for them to find a job, and, on average, they don’t live longer than 35 years old. This life expectancy is a national embarrassment, and it has remained the same ever since I began dressing as a woman 25 years ago.

- T: The experiences of formal study portrayed in the novel are raw and degrading - do you think that this has improved?

- C.S.V.: Policies on Gender Identity brought some change and, above all, presented us to the world, let us out onto the streets - we introduced ourselves, we said, “I want to study and you’re going to have to teach me because if you don’t, I’ll cause a scene you’ll never forget.” It gave us a bigger presence in the education system, not to mention the development of Mocha Celis, the only high school for trans people in the world, which set the bar very high.

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tenorbox0-blog · 4 years

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Modifying the world will take heart.

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#video games #video game #games #mobile games #android games #pc games #online games

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