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buzzdixonwriter · 3 years

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Our Regularly Scheduled Program Vs Binge Watching

Every now and then the little light comes on and I grasp an insight into something that previously stared me in my oblivious face.

I was watching episodes of a popular sit-com* from 35 years ago, not a huge hit but certainly a cult favorite popular enough to stay available on recorded media and now streaming.

Not having seen it in well over two decades, I plopped down and started watching episodes back to back.

I got tired by ep. three.

The problem, I realized, lay in how the material was originally presented.

It used to be we’d have to wait every week for a show to come back at its appointed time, and present us with whatever shenanigans the characters got themselves into that week.

Most episodes were standalones, there was little forward progress in the stories and the tiny bit that did exist was mostly in the backstory, not the main plot.

Every week they gave us the same thing, only slightly different.

Mind you, I can appreciate the diametrically opposed tension facing shows of that era -- I wrote and story edited for TV at that time.

The audience wants the same thing they liked the last time…

…only different.

With daily shows like G.I. Joe and Transformers and Jem, trying to come up with something new enough not to be a dull repeat but not so different to alienate the audience was a challenge.

Luckily, the Sunbow series were awash in Joes and Autobots and pop stars and Little Ponies, so we could always find some underused character to build a novel story around, or to add a fresh twist to our old standards.

But even there, I don’t think one can binge watch too many at a time without feeling a certain sense of sameness.

Modern streaming series take that into consideration, but for me that works against them: I like my stories done in one.

Your mileage may vary, of course.

I’ll watch a 3 hour epic movie without qualm, but I start balking at 7 - 13 - 26 episode story arcs.

I loved season one of Daredevil, never watched season two.

I loved season one of Luke Cage, never watched season two.

I hear people telling me how great The Mandalorian is and I believe them 100%.

No desire to watch it, however (though this may be more the fault of seeing too many Star Wars features films).

Likewise zero interest in any new Star Trek, or for that matter any of the various Star Trek imitators out there.

One and done ripoffs / parodies excepted, of course.

I have the same problem with old movie serials, a genre and format I adore.

Nowadays I tend to watch serials by viewing the first three and last two chapters.

Everything in between tends to be padding.

The Sopranos seemed to be the exception, but then the show lost Nancy Marchand, who played Mama Soprano, and with it the entire raison d’etre of the series.

I clung with it for several seasons past that before abandoning it long before the final blackout.

The Venture Bros. still grabs my attention, but like the Sunbow shows it has a large enough cast to give it the needed flexibility to keep the stories varied yet part of the same universe as well.

It’s reportedly coming to an end with season eight, and to that I say good: Better to go out at the top of your game than jump the shark and flounder.

. . .

Modern audiences -- at least modern audiences with cable / satellite / Internet access -- no longer have the tacit sense of an appointed time and often and appointed place to enjoy media.

Prior to the electronic age, few people could be entertained whenever they wished unless they or a family member sang or played music or read aloud or told stories.

There were kings and nobles who kept musicians on tap and theatrical companies close at hand but even they were constrained by time and space.

Today’s audience can just whip out a phone and listen / watch / read whatever they want.

As a result, the sense of being an audience seems vanish.

An audience used to be those who came to a performance of some kind, even if it meant simply showing up in their own living room on Tuesday at 8:30pm (5:30 Pacific) to listen to Fibber McGee and Molly.

Even in one’s home, it meant setting aside a time to come in and listen or watch as a production presented its entertainment.

One may or may not like what one experienced, but the audience placed itself at the disposal of the program.

Transistors started changing that.

Transistors made small cheap radios easily affordable and eminently portable.

People could take their listening pleasure with them, and that marked the rise of recorded popular music programs instead of live scripted broadcasts.

It proved the first technological step in a long line of dominoes that completely upended the relationship of audience to entertainment.

The audience used to come and absorb patiently.

Now the entertainment needs to break through a thousand and one distractions.

It does so by escalating the sensationalism -- and by sensationalism I mean anything that’s designed to grab an audience’s immediate attention, no matter how well or thoughtfully executed.

It undercuts the lower key / slice of life popular entertainment audiences enjoyed generations ago.

(And, yes, Shakespeare & co. are filled with blood and thunder tales, but again, those were things one committed oneself to experiencing as the performers intended; audiences didn’t walk out en masse and go to a neighboring theater in mid-performance.)

. . .

The problem with ongoing stories is this: At any point they can be upended by fiat, negating all that’s come before.

Go ask a comic book fan how many times DC has destroyed the universe.

My reluctance to enjoy open ended fiction is that I like being able to mull over a story once it is completed, teasing out the full measure and meaning of what I’ve just experienced.

I’ll risk a program like The Queen’s Gambit because I know it’s a limited series withn a finite ending.

I wouldn’t watch an open ended series based on Walter Tevis’ book.

My career as a writer and an editor enables me to see the gears turning behind the scenes in a story.

More often than not I’m already several plot beats ahead of any movie or TV episode I’m watching.

I bailed on a highly recommended current program recently just halfway through the first episode.

I got the joke.

I knew where it was going.

Nothing about it enticed me to keep following.

The classic sit-com mentioned above wore thin because it was the same damn joke every time.

It’s a funny joke, mind you.

And when seen the way originally intended, I’d have a week to forget about the details of the previous episode, to be hungry of that particular brand of humor for a bit, and be willing to take a repeat of material a week later.

But back-to-back-to-back?

No.

Legendary writer / producer Stephen Cannel sold the first story he ever pitched to a detective series called Ironside w-a-a-a-y back in 1971.

Cannel began his pitch thusly: “One morning Ironside wakes up with the worst toothache he’s ever had in his life…”

And instantly everyone in the pitch session paid rapt attention.

Why?

Because they knew that whatever came next, it wasn’t going to be something they’d heard a thousand times before.

I’d rather have one simple thing that grabs me than a million and one fireworks attempting to get my attention.

And I’d rather experience that one thing and be able to process it rather than see another installment that undoes everything set before.

. . .

As I’ve posted elsewhere, there’s a place for comfort food TV.

My wife and I enjoy Emily In Paris.

It reminds us of our trips to France and the stories and characters are just interesting enough to be amusing but not so demanding as to require full attention.

Nothing wrong with comfort food TV.

But the real nutrition is found elsewhere.

And for me, this applies to all modes of art and entertainment.

* No, I’m not going to tell you the title.The point of this post isn’t the particular show, it’s the manner in which televised stories are told now as opposed to how they were told the

#Emily In Paris #The Queens Gambit #Fibber McGee And Molly #television #radio #streaming #broadcast #cable #media #The Venture Brothers #The Sopranos

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dbh-is-a-crime · 4 years

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All Dbh Chapters

@kaydel your reply to my ask has inspired me to give my thoughts on each of the chapters.

Chapter 1: The Hostage

Is honestly a good first chapter, the tension and stakes are high, it pulls you in. There's a reason people who played the demo were hyped for the game. And regardless of what I think of Cage's writing, it's not the first time he's done a solid intro to a game. (Swiftly followed by garbage but I digress..)

We learn something about deviancy and how it starts, we get a sequence of dialogue based gameplay to set up how important it is to the story, and we get a taste of Connor’s somewhat underdeveloped investigation gameplay.

I will admit that there are several lines I kind of like in this scene (’You can’t kill me, I’m not alive’ I’d like this even better if Bryan didn’t love it so much) And most of the outcomes are very cool!

Chapter 2: Opening

Is not a chapter, it's the opening credits. It's not really interesting, but it's not as bad as Heavy Rain's, only because it's about half as long. Kara was robbed.

Chapter 3: Shades of Color

What a title am I right! And no, it's not just because of the paints. This chapter, title aside, isn't bad! We don't learn anything about Markus but it sets the world up nicely. It's one of the cooler open areas. It shows off the graphics nicely.

And all of that is promptly ruined by the overly heavy-handed scene with the protesters. With the follow up of the back of the bus! Also the preacher guy is weird what was the point of that.

Chapter 4: A New Home

Easily one of the most (if not The Most) boring chapters in the game. Mundane QTEs? We all looooooove those! At the end of the chapter you get some exposition to a very nice composition (this game really would be nothing without the music) and that part is actually ok. But the mundane housework gameplay doesn’t get a pass, even if it is to give context for what the life of an android is like. Would be 100% better if there was 40% less housework.

Chapter 5: The Painter

A solid chapter! Learning about Markus through his interactions with Carl? An actual good narrative device? Unbelievable. At surface level their relationship is sweet and Carl is so supportive of Markus growing beyond his programming. Though there is a darker undertone that mirrors the caged android birds. And that it’s all a gilded cage. And I like both of those interpretations, they’re interesting.

The music mini game is interesting the first time you do it but after that I’m never picking it again, chess it is from now on.

Chapter 6: Partners

Connor’s return after 5 chapters. I think that might be the longest break between appearances for any of them. Anyway this chapter is mostly fine. It sets up Hank and Connor’s troubled partnership and shows us what most of Connor’s gameplay is going to be. (Detective work and trying to reason with Hank) It would be interesting if there was an option to let Ortiz’ android go, seeing as there if a version of the scene where you don’t find him. But I guess it’s too early for Connor to be disobeying.

Chapter 7: Stormy Night

Classic David Cage has women being abused by men! Unfortunately this is one of Kara’s best chapters. The tension from the very first moment if real, and as soon as Alice runs up stairs, you just know what’s going to happen. Without fail, every person I’ve ever watched, immediately tries to follow her. Honestly? Solid way to make me care about the kid.

I know some folks have problems with showing child abuse on screen, but my opinion is that they kept the worst of it as implied, like in the failed ending of the chapter, you don’t see it actually happen. So I’m personally okay with it, but I can understand why some may disagree.

10/10 for the chase/escape scene. It’s stressful as hell but honestly the music just makes it...like idk the moment Kara deviates? I nearly, literally screamed the first time. The build up to it is so good, and you as the player are determined to protect Alice and will fight through the programming to do it.

Chapter 8: Broken

Gonna be honest, Markus’ deviating scene falls a little flatter for me. I’ve watched several people play for the first time and actively not want to break programming and retaliate. Which makes the fact that its a scripted event you can’t avoid frustrating to them. I guess we just haven’t seen any anger from him yet so it doesn’t feel like the reaction you expect? (I get that it’s supposed to be him finally cracking, the story just...doesn’t convey that very well.)

Also the fact that you get punished for staying silent with Carl dying is shitty.

Chapter 9: The Interrogation

Talk about fucking tense! This scene is a real challenge, in either difficulty. Unless you don’t care about the android self-destructing?

I don’t have much else to say, it’s not a bad scene but there’s not a lot of substance to it. The ‘the day will come when we will no longer be slaves’ line is...the start of the truly terrible writing choices in this game.

Chapter 10: Fugitives

Not a bad scene. Getting to choose to steal a bunch of stuff is fun, and the fact that you can steal all this shit and then go and sleep in the car is pretty funny. I don’t like the house or Ralph, just because it’s another chance to put a female character at risk from a male character. 7/10 I’m never picking the house. (Also did you know you can fail to steal from that guy in the laundromat and he wakes up lmao)

Chapter 11: From The Dead

Ok this is going to be kind of a controversial opinion...but I’m tired of this scene. While it’s true that no scene in the game holds up on the 20th watch/play, this scene lost most of it’s shock value on the 3rd watch. Now that being said, the sound design in the scene is brilliant. And putting the audio processor back in does still give me chills, but the rest of the scene? I mean, I guess cannibalising other androids is a pretty powerful story action. But the fact that you can take all of the things you need from dead androids if you search hard enough kind of ruins that for me.

Also idk why but everyone collectively thinks that Markus screams when he reaches the top of the slope and I have no idea why.

Chapter 12: Waiting For Hank

Boooooooring. Ok, getting beat up by Gavin after refusing to make him coffee is mildly interesting. But the fact that Hank just hates you in the scene is honestly quite tiring. Like, his opinion of Connor will inevitably go down at least once, you can’t avoid that. Also there’s nothing to explore in the office so...

Chapter 13: On The Run

Both versions of this scene are very tense. And not in...a super fun way. Like ok, Kara has that empowering woman moment where she cuts her hair, great, but the rest of the scene isn’t that good. (And the version with Ralph is downright disturbing.)

Chapter 14: Jericho

Oh god let’s players cannot do this part. And the amount of time I’ve spent watching people run around clueless because they weren’t paying even the slightest attention or follow the obvious path, makes me hate this chapter. I also hate it because the gameplay isn’t very interesting. Markus’ precog is mildly interesting, but that’s really it. (The end of this chapter has some pretty stunning visuals tho)

Chapter 15: The Nest

Ok, the opening conversation with Hank is cute if Connor is trying to be nice. Though the actual chase is pretty tense. The music is on point as always, because the composers for this game were very overqualified for the job. Also the fact that you get punished for not saving Hank both amuses and vexes me. You don’t catch the guy because you were a shitty partner. But what was the point of taking the risk with Hank if there’s no reward? (Yes I know he still ends up in evidence lock up but that’s hardly reward enough for risking your partner’s life)

I mean okay the pigeons flying through the roof is pretty funny, but the investigation in the apartment isn’t all that interesting. Also I’ve just realised I haven’t mentioned the Zen Garden once but honestly most of the scenes there aren’t that interesting anyway.

Chapter 16: Time To Decide

Wow where do I start on how uninteresting this chapter is. You learn very little about Markus’ companions, you get to have a conversation with a magical minority, and you get a line about an android being dragged behind the back of a car. (After reading the wiki about James Byrd I feel genuinely sick and could not be more disgusted that this was used so clumsily in the game.)

Chapter 17: Zlatko

His name sounds like a brand. Also this is my least favourite Kara chapter. They go to his place for almost no reason (just so they can get caught) and we get a 20 minute scene of Zlatko being a cartoonish monster of a man. Also this has been pointed out and now I can’t stop thinking about it. Why is Kara scared of Luther when she sees him? Like...??? Anyway re-finding her memories is boring, finding Alice is also boring, and hiding from Zlatko is just stressful. Nothing interesting to the story happens here, except that Luther joins Kara and Alice.

Chapter 18: Russian Roulette

Perhaps the shortest chapter in the game. It’s not like...super boring, but it’s not interesting either. Also don’t forget to notice the picture on the table or you’ll have no chance of getting the good ending later! Seriously, they should have made it a requirement for the scene to move on if it’s going to be that important.

Chapter 19: Spare Parts

The whole freerunning thing at the start is lame. And the fact that you have to grab the android and then release him to get the best outcome is confusing as hell. (I have seen many folks fuck this up.) The part where you sneak around in the guard house is actually kind of cool. Also North go down if you’re nice to people....I love this game.

Chapter 20: The Eden Club

Pity the lesbian sexworker androids!!! In all seriousness though this is a chapter I do not like. The endings are unfulfilling, the whole storyline is gross, poorly written and very Cage-esque. (Also why would you make the two android lovers the same model?! Just make one of them one of the other 8 female WR800 models you have!) I mean I guess I can say that the glowly design of the sexclub is nice or whatever.

Chapter 21: Pirate’s Cove

Ok this is a personal one but I don’t like this chapter. Something about the family dynamic between the three falls flat for me and so the whole scene being about them makes it...ehh. Also Kara under threat again! Woohoo! The scene on the carousel is kind of cute and the scene composition is nice, but the fact that all the Jerrys are standing around watching is a little weird. Also bait us with rA9 crap why don’t you! we’ll just never learn anything about this i guess

Chapter 22: The Bridge

I like this chapter to be honest. I know Pirate’s Cove is meant to be relaxed but I find this chapter more relaxing. Even if it ends with a gun to Connor’s head. I mean it’s not that hard to not get shot really. And seeing Hank start to care and question their mission is interesting. I don’t know, I guess I just like the visuals of the snow and the bridge. (Anyone notices that it goes from raining to snowing like three days later, wtf)

Chapter 23: The Stratford Tower

Now this one is complicated. Because I like the breaking in and getting up to the broadcast department part, I even like the pre-speech tension. Markus carrying the weight of history and knowing his words will shape what people across the world think of androids.

The music as he gets ready to start the speech is....just so good. But then he starts talking and.....mmmmm press x for civil right yes please! Press square to end slavery? Absolutely! God...the writing in this scene is Bad. Which is a shame! Because it squanders the carefully crafted tension built up until this point. I like the energy going into this scene, the idea that they’re about to take a stand, make history. But it is unfortunately ruined for the sake of a poorly executed racism allegory.

Chapter 24: Public Enemy

Ok, going to investigate the crime scene of what you just did as Markus is pretty good. Its not an original idea, that was the opening sequence for Indigo Prophecy, but it still works I’m not going to lie. Also the cop from the Hostage showing up to thank you if you saved him is cute. The fact that Hank is starting to question Connor and look for signs of deviancy in him is also nice! Also I hate it but going after Simon gives you a more cohesive storyline if you’re going for a deviant Connor route. (Can I get an F for Simon? He can die so many different ways)

Chapter 25: Midnight Train

Can’t believe that the chapter about the underground railroad is literally called Midnight Train. Yeah the dialogue in this? Shocking, terrible, absolutely unforgivable. Rose I am so sorry this happened to you. Also a cop arrives to....put Kara in peril at the hands of a male character again! Can’t go a chapter without that!

Chapter 26: Capitol Park

Hmmmmmmmmm. ‘We have a dream’? ‘I can’t breathe, but I’m still alive’? Hi, yes, hello? David Cage is doing it again, yeah he’s co-opting black history for his story about androids, somebody needs to stop him. Why did no one stop him.

Ok, most of this chapter other than that is ok. It’s not particularly good, but it’s ok. (wiLL yOu bE gOoD oR eViL?!?!1)

Chapter 27: Meet Kamski

Ok this man is so creepy and emotionally manipulative and as a narrative tool I’ve actually come to love it. Like the tone of this chapter is such a breath of fresh air. Maybe it’s just the fact that they added a new character after such a long time and that he knows more than he ever lets on. rA9 baited again...

Also this is Connor’s turning point in a way. You can still choose to change your path later on, but this is the real moment of truth where a character pushes him to reveal where he’s at. (Also the fucking MUSIC)

Chapter 28: Freedom March

Oh no. I’m so sorry Markus you deserve better. I hate this chapter if you can’t tell. The combo of the black history slogans and the jesus music is too much for me. Also the good ending is locked behind Simon being alive/Spare Parts success route??? Also F for that random android who’s name is John that we hear about twice.

Chapter 29: Last Chance, Connor

I usually keep a low profile with Gavin so I miss out on the beatdown unfortunately. But having the option is hilarious. If you don’t sacrifice at the march, Simon is alive, interrogation bad end, Rupert and the Tracis escape....can you even find Jericho?

Just a thought, anyway this is short but tense chapter. Don’t hate it.

Chapter 30: Crossroads

Kara’s part of this is dumb as hell. The Alice twist literally destroys the storyline but anyway...

Markus has very little to do until the end. His version is ok, but Jesse’s line delivery leaves something to be desired. (You’re one of us....)

Connor’s is easily the most interesting of the three concurrent stories at this point. Going in to capture Markus/North, chasing them through the hold if ur a machine..very good.

And....going deviant. Okay yes that still gets me, I did actually shout YES!! out loud the first time I witnessed it. The music’s slow build in the scene, and most of the dialogue (if you choose carefully) swells to this point and...and..it happens!!

Like idk I’ve only been slowly building up to this for 9 hours, sue me.

Chapter 31: Night Of The Soul

I like this chapter! Or Markus’ version anyway. Connor’s...well the Hank version is just sad. The Jericho version is fine.

But Markus? Visiting Carl’s grave or the man himself is such an emotional moment for the character. And the single humanising moment he’s had in several chapters. The conversation is so weighted with his doubts and fears and Jesse Williams gives a beautiful performance! (Also as I’ve said, the alarm system saying ‘welcome home markus’ kills me on impact)

Chapter 32: Battle For Detroit

Is a good chapter. What, did you expect me to say it isn’t? Cause it is. Or some versions of it are.

The tension in all three characters stories, regardless of which version, is perfectly hit at this point.

Kara’s....ah fuck idk I mean the border version is ok? The others....kind of suck? The guy letting them through with high public opinion and Markus doing a peaceful demonstration is kind of cute and sort of makes sense in a way.

Markus’ versions (both in which he is alive) are pretty cool. The revolution is hard, and I do like that it ends with him saying that they haven’t won, they’ve only started a war. The demonstration is kind of dumb, and I actually prefer them getting shot and then the news anchors suggesting that maybe androids are people in their own right that humans refused to acknowledge. (Feels more real, ya know?) Also black folk song!! Why??

Gonna be real, most of Connor’s versions of this scene are pretty good. Cyberlife tower is tense as hell but he’s a fucking badass. Machine Connor on the roof gives us the best line in the game. ‘What’s up lieutenant, ran out of whiskey so you came here looking for trouble?’

So that’s some of my thoughts on each of the chapters of dbh, I could go into more depth but my eyes hurt and I’ll probably hit post limit soon.

#dbh meta #ramblings #mine

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screamingatanemptyroom · 5 years

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Baby’s First Revenge Part 5

New part for the Baby’s First Revenge series!

Read Part 1 / 2 / 3 / 4 here!

Screams of excitement filled the normally abandoned warehouse as two fighters circled each other, looking for an opportunity to strike. The bloodlust in the air was palpable, as money quickly changed hands between the excited spectators. The cheers soared as a bell rang out and the fight truly begun. They knew they would see a good fight, see blood.

After all, this was the underground fighting ring, and anything could happen.

Peter stood in the corner, hiding amongst the crowd. His arms were tightly folded across his chest, his heart beating rapidly just underneath. His face was stoic, looking almost bored, but his eyes carefully followed the smaller of the two fighters within the ring.

Charlotte was tall, a good four inches taller than him, but even she was towered over by her enormous opponent. Outweighing her by a good 100 pounds of muscle, everyone in the arena thought they knew how this fight would end.

Peter knew differently.

He watched as the sixteen year old girl circled the larger man. Her movements were graceful, almost as if she were dancing across the ring rather than preparing for a deadly fight. Her hands were loose at her sides, her posture relaxed, and on her face was a bright, amused grin.

Charlotte had always loved fighting. It came naturally to her, as easy as breathing or walking to a normal person. It seemed like she was made to fight, to test her strength against larger foes. It was when she seemed the most calm, relaxed. Peter always felt that was when she was the happiest, as if she had found a purpose and was single-mindedly pursuing it. It made him feel jealous, uncomfortable.

Peter sighed as she leapt forward, landing a hard strike to the flank of the man in front of her. The man stumbled, quickly regaining his balance, but it was too late. He had already lost the initiative in the fight.

It’s already over. He just doesn’t know it yet. Despite having bet a good amount of money on Charlotte winning, Peter couldn’t but feel a bitter anger as he watched her in her element, shining brightly in the dark warehouse.

Within the space of a breath, Charlotte had clambered onto the fighter’s back, her arms tight around his neck. He bucked trying to throw her off, but she simply laughed, pressing her thumb against his windpipe, closing off his airway.

It was a dirty move, one that never would have been acceptable in any other fighting ring. But this was an underground fight. The crowd shouted angrily, upset with as the odds moved against them, but it was too late. His face turned pale and without a short staggering step, the fighter fell to the ground. Charlotte leapt free, brushing her short dark hair out of her eyes with a happy grin.

Her eyes scanned the crowd, finally meeting Peter’s gaze. Her smile widened and she gave him a thumbs up. Peter swallowed the bile rising in his throat, forced a smile, and returned the gesture.

I hate her.

He had been thinking it for a while now. Ever since they were children, Charlotte had been there for him, helping take care of him. She protected him at all costs, making sure he stayed safe, warm and well fed as possible under their circumstances. She was always smiling, always mature.

It was torture.

It made him feel useless, childish. Who told her to be outstanding, to shine so brightly it made him seem dim by comparison. Standing in her shadow, Peter felt his thoughts turn darker and darker.

Peter was older now, tougher. He didn’t need her protection like he once had before in the past. His eyes followed the celebrating girl carefully, his gaze cold, calculating.

I wonder what my life would be like without her?

“CUT! That was a great take, people! Let’s take a fifteen minute break before the next shot.”

The director’s shout broke Peter’s concentration, shattering the memory he had been immersed in like glass.

Peter shook his head, dispelling the remnants of his confusion, forcing himself to focus on the moment he was in, and not the past. He looked around the movie set, sighing with relief as he confirmed that no one had noticed his distraction. As his gaze settled on a young girl chatting with a small boy beside her, his posture stiffened. Peter struggled to keep the rage and disgust from showing on his face.

She didn’t look like the girl in his memories at all, Her hair was lighter, curled, her eyes a different color. She was shorter, more petite than Charlotte had ever been when they were kids. Even with her hair cut short, her clothes ragged, no one would ever mistake one for the other…

Then why does she remind me so much of her?

It couldn’t just be that they shared the same name… Peter sighed, leaning against the wall, still staring at the young girl. She was rolling her eyes at something her costar had said, laughing cheerfully. Her eyes strayed past the boy before her for a moment, locking gazes with Peter.

Immediately her smile vanished, replaced by a look of disgust. With a brief glare of hatred the girl turned away, not bothering to look at him again. Peter’s hands clenched into fists, his nails digging into the skin of the palms of his hands.

That was it.

No matter the differences in their appearance, there was something about the way she moved. Whether it was fighting men twice her size, laughing with her friends, protecting the young boy beside her, everything she did reminded him of Charlotte. Even down to her carefree smile whenever she was in a dangerous situation. Either way, despite the differences between them, this girl invoked the exact same emotion within him that Charlotte used to.

Peter hated her.

I don’t care that you’re someone different. I got rid of Charlotte, and I’ll get rid of you.

He smiled to himself, plotting silently in his mind.

“Hey you need to watch out for that author guy.”

Charlotte looked up from her script with a surprised expression at her costar’s whisper.

“Really? Why is that?” Charlotte knew exactly why she needed to watch out for Peter, but she was curious as to why Brandon was warning her.

Brandon glanced around uncomfortably before continuing in a very soft voice. “He stares at you a lot. And when he does he looks really angry, like he hates you.”

“Ok. Then I’ll make sure to stay away from him.” Shrugging, she turned her attention back to her script, almost missing Brandon’s mouth falling open in shock.

“Just like that?” In his astonishment his voice became louder, attracting the attention of the nearby crew members.

“Like what?”

Brandon threw up his hands in frustration. “I mean, I tell you some guy is a creep and you just believe me without asking any questions?!”

“Should I not believe you? I thought you weren’t going to lie to me?”

“Of course you should believe me… it’s just…” Stumbling over his own words, Brandon slumped down in his chair, his face tinged with red. “Never mind.”

She chuckled. “Not used to people trusting you after knowing the real you, huh?”

“Shut up!” His face now bright red, Brandon jumped to his feet and ran away.

Charlotte sighed, smiling and turning a page. “Kids these days.”

“…” Several of the filming staff heard the last part

But… aren’t you a kid?

No one was brave enough to say it out loud.

After finishing filming for the day, Charlotte was brought home by her mother, and sat down to eat with her family.

“Charlotte?” Her father was pale with shock at the sight of her. “What happened to your face?!”

Her mother sighed. “Dear, I tried to call you, I’m sorry. It was just an accident at work.”

“…” There was no movement at all, as her dad stared silently at Charlotte’s swollen cheek.

“It’s okay dad! It was just an accident and it doesn’t hurt at all!” Charlotte tried to smile brightly but winced a little as the movement hurt her face.

“…” Silently her father turned back towards the hallway closet.

“Dear?”

“Dad?”

“…” After digging around for a few moment, he found an aluminum baseball bat. Slapping it against his palm a few times to test the weight, he nodded with silent satisfaction before starting to don his coat and grab his keys.

“NO!”

Charlotte and her mom grabbed him and drug him back to the kitchen. They also confiscated his bat, which caused him to pout.

“I was just going to have a little talk to the person who did this!”

“Talk?” Charlotte raised an eyebrow. “With a baseball bat?”

“You never know how a talk can go. I just brought it in case we decided to… visit the batting cages together.”

“Dad…”

“Definitely wasn’t thinking of beating the jerk’s face in.”

“DAD!”

“What?!” He blinked innocently. “I said I wasn’t thinking about it!”

“…”

Charlotte sighed loudly, but couldn’t help but smile, no matter how much it hurt. To think I lived a life where no one cared if I lived or died, but now, for just a bruise on my cheek… She hugged her dad tightly, which calmed him down somewhat from his murderous rage.

Just as they had sat down to dinner, her mom’s cell phone rang. She stood up and answered it, speaking quietly for a few minutes before ending the call and sitting back down with a concerned expression.

“What is it?” Charlotte was worried.

“It’s… nothing dear.” She waved a hand as if dismissing the question, but Charlotte wasn’t satisfied.

“If it has to do with me or the movie, please let me know, regardless of how uncomfortable it is. I need to know what to expect when I return to work tomorrow.”

Her mother gave an odd expression. “You know Charlotte, I wonder which of us is the parent and which is the child sometimes.” She sighed. “I guess you’re right. There’s been a news story online about your role in the movie… it’s not very nice.”

Charlotte stretched out her hand. “Let me see.”

“Charlotte…”

“Oh, I’m sorry.” She smiled sweetly. “May I see your phone, please?”

“No… I mean, yes you should always say please, but that’s not… ugh, here, just read it.” She handed Charlotte her phone with a defeated expression.

Charlotte opened up the news story link that had been texted to her mother by the director and read it, her expression turning darker as she got further in.

“SEARCHING FOR SILENCE CAST SCANDAL, ACCEPTING BRIBES FOR PARTS?

‘Searching for Silence’ is the highly anticipated film adaption of the bestselling book of the same name. Fans have eagerly been combing reports of the casting and filming progress, but who could have known there was corruption behind the scenes? An unnamed source has reported that the director and other producers accepted bribes for the casting of the lead part, ‘Edith’. The young girl who did receive the part was described as ‘talentless’ by this source. They also noted a loud argument between author Peter McAllen and the director as the first time writer felt that the girl was ‘completely wrong’ for Edith. Fans are increasingly concerned…”

Charlotte skimmed the remainder of the article, which she noticed had posted her casting photo. The picture was of herself in a pink dress with long hair and curls. It definitely gave the opposite feel as the character she was playing. Charlotte scrolled down and looked at some of the comments people were making. She winced. The internet was not kind.

“What the…” Her father looked over her shoulder, his face almost turning blue as he looked at the comments with her.

“Dad… remember to breathe.”

He closed his eyes briefly, taking in a deep breath. “Excuse me.”

With that he shouldered his bat and started walking towards the door.

“Honey!” “Dad!”

“Don’t stop me! Did you see what they said about our little girl?” He hefted his bat with a vicious grin. “Don’t worry sweetie, I’ll take care of it.”

“What are you going to do, beat up the whole internet?”

“If that’s what it takes.” He turned back towards the door.

“GRAB HIM!”

His bat was confiscated again, and the grumbling parent was confined to the living room until he had renounced his vigilante plan.

Once they had calmed him down, Charlotte looked back at the article with a frown.

“Don’t read that garbage, it’s just nonsense.” Her mother tried to reassure her, but she shook her head in response.

“It’s not my feelings that are the problem. This isn’t good publicity-wise for the movie. If people get caught up with untrue stuff like this, it might affect ticket sales.”

“…” Her parents glanced at each other in confusion.

“So, what do you think should be done?” Her dad asked hesitantly.

Charlotte grinned, wincing a little as her cheek stretched.

“They think I’m not good enough for the part of Edith?” She laughed, a dark sound. “I just have to show them how wrong they are.”

#writing #short story #baby's first revenge #continue #revenge #reincarnation #second chance

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