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gatutor · 2 years

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Warren Mitchell-Derek Sydney-Janet Munro "El ojo. La criatura de otro mundo" (The trollenberg terror) 1958, de Quentin Lawrence.

#Janet Munro #Warren Mitchell #Derek Sydney #Quentin Lawrence

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raynbowclown · 2 years

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The Crawling Eye

The Crawling Eye (1959) aka. The Trollenberg Terror, starring Forrest Tucker, Warren Mitchell, Janet Munro, Jennifer Jayne The Crawling Eye – classic sci-fi horror starring Forest Tucker. Something is going on on the mountain. Hikers are getting decapitated! And … (more…)

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#alien invasion #Andrew Faulds #Derek Sydney #Forrest Tucker #Janet Munro #Jennifer Jayne #Laurence Payne #Warren Mitchell

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letterboxd-loggd · 1 year

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Crosstrap (1962) Robert Hartford-Davis

December 15th 2022

#crosstrap #1962 #robert hartford-davis #laurence payne #jill adams #gary cockrell #zena marshall #bill nagy #robert cawdron #derek sydney

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indieboysarehot · 2 months

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should i start up another blog for movie imagines ? mainly like….characters from scream because im obsessed with that movie right now….

#scream movie #scream 2 #sydney prescott #billy loomis #stu macher #slasher imagines #derek feldman #randy meeks #tatum riley

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whileiamdying · 1 year

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Review: Michael Curtiz’s Casablanca Gets 80th Anniversary 4K UHD Blu-ray Edition

It may be without any new extras, but Warner’s 4K UHD release of Casablanca features a strong enough A/V presentation to make the set worthy of your double dip.

by Jeremiah Kipp & Derek Smith November 10, 2022

By the time we arrive at Rick’s Café Américain, a certain paranoia and vivacity has been set—and then comes romance, in the form of piano player Sam (Dooley Wilson) and his rendition of “It Had to Be You” as the camera makes a slow dolly toward him through the bustling crowd and wafts of cigarette smoke. It’s easy to fall into the rhythms of Casablanca, long before the appearance of the star-crossed lovers and their damaged idealism, or most of the great character actors who populate the world of Michael Curtiz’s film make their presence felt—such as Sydney Greenstreet’s bemusedly sinister Signor Ferrari and Peter Lorre’s nervously sweaty Ugarte.

The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed. Audiences make generalizations about Casablanca because of how all those little particulars add up. Film lovers discuss it with a starry look in their eyes, as if they were describing their first kiss or a lost love, because something in the film touches them, perhaps its theme of dignity and decency, of rediscovered idealism. Men seem almost instinctively drawn to Humphrey Bogart’s Rick because he’s a man of integrity, while women seem to dig him because he’s a man of mystery.

There’s also something else to Rick, and it’s visible in his hangdog face. When we first see him he’s playing chess by himself, and the light picks up on a small glimmer of spittle on his lips. Bogart was always a sputtering actor, which made him so great as a B-movie villain cowering for his life before getting shot to death by the hero. But his sudden stardom revealed something incredibly human, and as such relatable, about him. He seemed more like a real man than, say, the frequently idealized characters played by Errol Flynn. The fact that Bogart was a movie star says a lot about his particular charisma—the kind that’s earned by an actor who’s paid his dues and figured out who he is. Rick is his own man, and like those refugees at the start of the film who watch a plane fly above Casablanca, his life experience is written on his face.

Rick is first seen with his back turned to a local who’s had too much to drink. “Rick, where were you last night?” the man says, to which Rick replies, “That was so long ago, I don’t remember.” Even though there’s no overt sex in Casablanca, it’s constantly implied. When Rick orders his bartender to take a girl home in a cab, he asks him to come right back. In the scenes between Rick and Captain Renaud (Claude Rains), the men talk about women as if they were baubles to be admired, then dropped. Renaud also fawns over his friend with the most extravagant, slightly ironic hero-worship, and in a classic line from the film, Rains’s classy, debonair captain tells Ingrid Bergman’s Ilsa Lund that if he were a woman, he’d also be in love with Rick.

It’s astonishing when Bergman materializes some 30 minutes into the film, after Ugarte has whimpered for his life and been shot dead, and Rick has proclaimed that he “sticks his neck out for no one” and came to Casablanca “for the waters.” The shot that first captures the glamorous Bergman doesn’t call attention to itself, or highlight her in the frame, and yet we can’t take our eyes off her. It’s strange, because the shot is very wide, the dress she wears is plain, and she looks nervous and hesitant. How can a woman be so luminous when she’s moving her face back and forth like a deer transfixed by car headlights? When the audience finally sees Ila in close-up, sitting at a table in Rick’s Café with her husband, Victor Laszlo (Paul Henreid), her face is somewhat round, her eyes are sharp, and her voice has a certain breathless quality. Bergman, like Bogart, captivates us because of that ineffable thing we call presence. In this moment, the audience instantly understands Rick and Ilsa through the actors’ faces.

If audiences are to admire Rick and Bogart, then we’re meant to adore Ilsa and Bergman. Victor is set up as a great freedom fighter, yet he feels more like an abstract idea or plot point, not unlike the letters of transit that allow people safe passage out of Casablanca. Ilsa, like Rick, is a full person, with vulnerability in her eyes and a magnetism to her presence that goes beyond gauzy lenses and classical three-point lighting. Naturally they’re drawn to one another. She has a lot of big moments in the film, but a lot of small ones too that are just as memorable, such as that tiny, mischievous gleam in her eyes when she asks Sam to play some of the old songs.

There are, of course, the close-ups of Rick and Ilsa when they see each other for the first time as Sam plays “As Time Goes By,” but there’s also the furtive glances that they throw at one another before their eyes flicker back to the table, as they sit chatting about precedents being broken with Victor and Renaud. Casablanca is about striving for something meaningful. But it’s also a tale of sacrifice in the name of greater good, set in a world of shadows, booze, cigarette smoke, and memories. The love story at its center of allows heroes to tap into something special within themselves, and if they lost it in Paris, somehow they got it back in Casablanca. The film is all of those things at once, but it’s also about these people, these faces, and all the little moments between them. It reminds us that when we’re in relationships, we learn more about who we are reflected in others, and when we go to the movies, the great ones can do the same thing.

Image/Sound

Warner Bros. has always rolled out the red carpet for Casablanca before on home video, so it’s no surprise that this 4K UHD release is top-notch. The image quality on their 2012 Blu-ray was already fantastic, but this new transfer gives a noticeable boost in contrast, particularly in the moodier interior scenes in Rick’s Café Américain, where the blacks are now deeper and the varying shades of gray are more clearly defined. There’s also tighter grain levels, which means that there’s new depth and dimensionality to the image. The audio is also flawless, with a well-balanced and robust mix that greatly benefits Max Steiner’s legendary score.

Extras

The extras on this two-disc special edition, all ported over from Warner’s 2012 release, are included on a separate Blu-ray disc in order to maximize the bit rate of the film on the 4K disc. Most noteworthy are the two nicely complementary audio commentaries, one by film critic Roger Ebert and the other by film historian Rudy Behlmer. Ebert and Behlmer each discuss Casablanca’s historical context, behind-the-scenes drama, and the actors’ backgrounds, as well as provide expert critical analysis, and without undue redundancy.

Also included are a pair of feature-length documentaries on Michael Curtiz and Humphrey Bogart that provide in-depth overviews of their respective careers and struggles with the studio system. In another, shorter documentary, Casablanca’s rocky production is the focus. Also stressed is the fact that this was just one of 50 films that Warner Bros. released in 1942, and that no one at the studio or any of its stars expected it to be so acclaimed.

The remaining extras are more bite-sized, including a brief intro to the film by Lauren Bacall, a slick puff piece called “A Tribute to Casablanca,” deleted scenes, outtakes, and an interview with Bacall and Bogart’s son Stephen Bogart and Ingrid Bergman’s daughter Pia Lindstrom, who discuss the enduring legacy of the film. Lastly, there are audio-only features of the scoring stage sessions and a 1947 Vox Pop radio broadcast and a handful of Looney Tunes shorts.

Overall

It may be without any new extras, but Warner’s 4K UHD release of Casablanca features a strong enough A/V presentation to make the set worthy of your double dip.

Score:

Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, Dooley Wilson Director: Michael Curtiz Screenwriter: Julius J. Epstein, Philip G. Epstein, Howard Koch Distributor: Warner Bros. Home Entertainment Running Time: 102 min Rating: NR Year: 1942 Release Date: November 8, 2022 Buy: Video

#Casablanca #Slant Magazine #Jeremiah Kipp #Derek Smith #Humphrey Bogart #Ingrid Bergman #Paul Henreid #Claude Rains #Conrad Veidt #Sydney Greenstreet #Peter Lorre #Dooley Wilson #Michael Curtiz #Philip G. Epstein #Howard Koch #Warner Bros. Home Entertainment #4K UHD #Julius J. Epstein

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theletterunread · 2 years

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Books in 2021

So, after the madness of 2020, the world went back to normal. Some of the time. For non-consecutive intervals. Interrupted by flashes of familiar old madness as well as brand new madness. (Do you remember the first time you read the term “NFT” and realized, with dread, that was just something you were going to have to deal with now?) And obviously, “normal” in this case only means “what our society has chosen to accept as normal.”

But at least the libraries were up and running. And even though my selections from them yielded a pretty typical ratio of winners to losers, the experience of returning to something typical casts a warm glow over all of these books. This might have been the best year of reading since I moved to LA.

The Body: A Guide for Occupants, Bill Bryson (Jan. 7-17)

This may turn out to be Bryson’s last book. It’s a good one to go out on. The history of physiology, the explanations of the body’s functions, and the stories of the scientists behind our developing understanding of our own species are all neatly told. I found it intelligent and was always compelled to keep reading, but I did recommend it to a doctor who found it unengrossing, so it may be a book for dummies.

The Kids in the Hall: One Dumb Guy, Paul Myers (Jan. 18-24)

A history of the comedy troupe from their formation up until the present. It’s weighted too heavily to their five years of stage shows at the expense of their five years on television. But there are lots of good behind-the-scenes anecdotes, and I was touched by love they obviously have for each other. Bruce McCullough, who, as a kid, I always thought of as “the grouchy one,” turns out to be the sweetest.

Is This Anything?, Jerry Seinfeld (Jan. 29 - Feb. 7)

I, naturally, had already heard and committed to memory most of the jokes in here, but the book is so exhaustive that there was lots that was new to me. And his method of formatting jokes like poems occasions a fresh look at even the familiar stuff. I was also happy to see him use the word “existential.” I’m sure that Seinfeld would taunt anyone who applied a ponderous word like that to his silly career, but I really think that the existentialism that’s just under the surface of his comedy is crucial to its intelligence, and probably accounts for why it’s resonated so much with the public.

Lodger, David and Maria Lapham (Feb. 7-8)

A crime and revenge story of a woman tracking down the drifter who wrecked her family years before. It’s well drawn and the plotting is okay, but it needed more depth and originality to the characters. The personalities of The Avenger and The Killer never get beyond level one.

A Pale View of Hills, Kazuo Ishiguro (Feb. 7-11)

His first book. A Japanese woman living in England tries to sort out the difficulties that life has presented her with, but is hampered by a difficulty in being emotionally honest, even with herself. It presses a lot of the same buttons as The Remains of the Day and is never quite as good as that one, but taken on its own, it’s very moving and haunting. I have been likened to an Ishiguro protagonist before, which is a real red alert, but maybe if I keep reading his books, I’ll find a way out.

Area Code 212, Tama Janowitz (Feb. 12-22)

These essays show the version of Janowitz’s life that I wished for her when I read Scream the preceding year: frivolous adventures in New York City, where everything goes wrong, but everything works out. There’s a lot of social satire and self-deprecation in the book, which you’d expect, but Janowitz is also capable of surprises, like in her recollection of a trip to MoMA that turns bloody. I believe this is also the collection where she sheepishly admits to once declining payment from Andy Warhol in the form of an original painting.

The Eternal Smile, Gene Luen Yang and Derek Kirk Kim (Feb. 13-15)

Three separate stories by two different authors. What connects them is the nearly identical twist that ends each story. I won’t spoil it, but I’ll say that I was not very moved by it in the first story (a medieval fantasy), but I was in the second (a greedy anthropomorphic frog starts his own religion) and the third (an office drone lets a scam email incite dreams of a better life). I’m not convinced the stories gain much by being bound together, but there’s enough good material here to easily recommend this collection.

This One Summer, Mariko Tamaki and Jillian Tamaki (Feb. 20-22)

Two girls coming of age during a summer at a beach house. (It’s always at the beach in these stories, isn’t it?) You’ve seen all the elements before – two friends diverging, the terror and allure of older teenagers, the dawning awareness of one’s parents as flawed people – but it’s still perceptive and touching. The book is often challenged or banned from libraries for the usual moronic reasons, so do the authors (cousins, by the way) a favor and check it out.

Waiting, Ha Jin (Feb. 23 - Mar. 2)

In the 1960s, a doctor in the Chinese army seeks legal permission to divorce his wife, so he can remarry a nurse at his hospital. I’m not sure how to convey how good this novel is. It’s effortless and simply told, but very deep and very beautiful. Ha Jin uses this extremely specific story to draw out broader questions about how to be happy, or even how to just satisfy the challenge of being a human being at all. I was very moved by the last pages of the book, when the doctor’s sorry appraisal of himself is given a little nudge by his daughter that casts everything in a brighter light. The doctor’s reaction was mine: “He was upset and touched at the same time.”

Uzumaki, Junji Ito (Feb. 23 - Mar. 3)

In every chapter of this book, people suffer some spiral-related horror: hypnotized by the evil shape into unspeakable acts; drained of energy by curls in their hair that have grown and taken on a life of their own; transformed into giant snails with spiral-shells. In the third act, there’s an explanation given for what has caused this curse, but I was less interested in that than in seeing how many new horrors Ito could come up, keeping to his limited theme. He racks up quite a few, and they really are freaky. One terror in particular kept me awake one night.

Last Look, Charles Burns (Mar. 4-9)

A trilogy of mind-bending comic books, all ostensibly creating one story. There are dreams and flashbacks and recurring symbols and nested narratives. I can’t say I understood any of it, but I enjoyed reading it.

Slumberland, Paul Beatty (Mar. 6-21)

The weakest of his four novels, but still very, very good. Who else is funny right from page one? I just went back and checked, and his first paragraph has, at a conservative estimate, three you’ll-never-see-them-coming lines. Though I was slightly underwhelmed by the plot (about an American DJ in Berlin – maybe the European location threw him off his game? Maybe descriptions of music are a little too elusive to be the backbone of a novel?), I was totally satisfied by the endless original sentences. Read it, read his other three, and count down the days until Beatty publishes a fifth.

The Thrilling Adventures of Lovelace and Babbage, Sydney Padua (Apr. 2-6)

An alternate history in which the title mathematicians’ theoretical work on computers was actually realized in their lifetime. In these stories, they’ve successfully constructed a primitive, but working computer (The Analytic Engine, to be precise) and show it off to various historical Victorian characters. It’s cute and educational, and it does make you think about how astonishing it is that human beings successfully devised anything as complicated as the computers we use today, but my enthusiasm is sort of muted. I may just have a tin ear for steampunk and efforts to make history cool.

The Moviegoer, Walker Percy (Apr. 8-15)

This is the book I read while getting my COVID vaccination. Percy deserves our thanks for getting A Confederacy of Dunces published, but as far as his own writing goes…the book’s not bad, but it’s dated: a young man drifts through life, unable to find meaning in the conventions of society, for they are inadequate to the spiritual needs of humanity. That’s all well and good, but at this point, we’ve seen it all before, and we’ve seen deeper iterations of the premise.

Through the Woods, Emily Carroll (Apr. 9-10)

Five spooky, fairy tale-inspired stories. They’re not much more scary or sophisticated than the tales in those Short and Shivery anthologies of horror stories you’d read in middle school, but the art is very good. Gift it to your precocious child, and flip through it yourself.

Monsignor Quixote, Graham Greene (Apr. 16-23)

A small-time Catholic priest and the communist mayor of his town go on a Quixote-like road trip through Spain. Innocent fun, and some ready-for-TV scenes where the two characters compare and contrast their ideologies. Not anywhere close to the best of Greene, though. Salman Rushdie lamented that this book was marked by “Don Camillo-like flatness.” Yeah, okay, well: whatever that means.

Play It as It Lays, Joan Didion (Apr. 24-26)

The only fiction of hers I’ve ever read. Not very much happiness in this story of a woman who finds people who disappoint and abuse her wherever she goes. But the misery isn’t lurid or pornographically presented – in fact, it’s hard to even call it misery, because the sharpness of the heroine and the sharpness of the style keep the story from every seeming desperate. I was dismissive of unornate writing when I wrote about Get Shorty, but the way Didion uses it works.

Three by Box, Edgar Box (Apr. 28 - May 8)

Three formal mysteries written pseudonymously by Gore Vidal while he was blacklisted: Death in the Fifth Position, Death before Bedtime, and Death Likes it Hot. Totally traditional in format, but with just enough specificity in the set-ups and characters to let Vidal slip in some individuality. My favorite was Fifth Position, about a murder in a ballet company. (Has there ever been a bad backstage story?) I was reading these while traveling on the Metro Gold Line, and was so engrossed that I ignored the “Hellos” of another, increasingly angry passenger. He was looking for friendship, I guess, and when I didn’t respond, he called me an asshole and loudly hoped that I would “die slowly.”

Don’t Look Now, Daphne du Maurier (May 9-15)

Nine spooky stories, all of them good. I particularly liked “Don’t Look Now,” where a father lives a waking nightmare in Venice, and “Kiss Me Again, Stranger,” a story of a weird meet cute that reads very modern. Even when she deploys a now-familiar trick (“My god, she was dead all along!”), du Maurier makes it elegant and satisfying. Maybe it’s the pristine edge of her style. You feel that if you don’t resonate with the story, it speaks more to your own shabbiness.

Show and Tell, John Lahr (May 28 - June 6)

Profiles of a dozen people in show business. The best one is about Roseanne. Seriously. She comes off funny and tenacious – you want to cheer when reading about how she pushed back early and hard against producers and executives trying to soften her show – but there are strong indications of the thoughtlessness and anger that would eventually bubble over into…well, whatever. It’s also interesting the way Lahr gushes over Frank Sinatra. I’ve got nothing against the guy, but it’s fascinating to see how seismic an impact his music had on people of a certain generation. They go into a kind of religious trance talking about him.

The Mask, John Arcudi and Doug Mahnke (May 29-31)

Jamie Kennedy released a set of admirably candid YouTube videos talking about the experience of making his widely despised, career-killing film Son of the Mask. Those sent me down a rabbit hole that led to digging up these original comics. They’re okay. The drawings are awfully frantic, and the antics that the mask inspires in its wearers are gruesome and cruel, much more so than in the Jim Carrey movie. It veers towards tasteless territory, but I think it stops short. With just a little generosity (maybe a lot of generosity), you can read this as a legitimate “cursed object” story, and take away from it the old-fashioned moral not to let base motives consume your soul. Look, I’m not saying it’s the best version of that story, but I’ll say it works.

The Adventures of Tintin, Hergé (June 9 - Nov. 24)

After winning an Amazon card in a drawing, I splurged on this beautiful box set and read all the adventures over the next five months. (All but one. This collection doesn’t include the one early book that all Tintin fans, including Hergé himself, wish had never been written…) It was my first time reading them since I was a child, and I had to do some reappraisals: Tintin in America is much lamer than I ever realized, while The Red Sea Sharks, which I had always undervalued, is stupendous, building to one of the best action sequences in any comic ever. It was great to see the development of an artist across a career. (And also easy to see, since it’s totally contained within one series). First is his early shedding of casual racist attitudes in favor of a global view of humanity – maybe a little sentimental and simple-minded in execution, but sincere and emphatic. Then there’s the development of craft, both in the increasingly beautiful illustrations, and in the increasingly sophisticated writing. And lastly there’s the self-reflection, as Hergé, after sending Tintin to the moon, realizes the only place left to explore is the interior life. The last quarter of the series is dedicated to dismantling and reinventing its own formula, so in the phase when most artists rest on their laurels, Hergé was pushing himself into uncharted territory. Rereading these was a pleasure. I should treat myself more often.

Proceed With Caution, Patricia Ratto (June 10-15)

There were a couple stories in here that worked – “Black Dog,” about a nosy neighbor, and “Chinese Boy” about a bullied kid – but the collection was mostly too obscure for me. This book was originally written in Spanish, and I wonder if stories like this (surreal, elusive) don’t translate well. Maybe that process adds one layer too many to penetrate.

Mr. Palomar, Italo Calvino (June 25-28)

There’s an ingenious mathematical structure to this book that I only subconsciously grasped and won’t even try to explain, but trust me: it works. And leaving that aside, the observations and ideas presented in the book are as smart as ever, whatever format Calvino puts them in. He writes about the world of objects and the world of ideas with equal clarity and originality, and he finds a tidy, comfortable box for everything.

Timbuktu, Paul Auster (June 29 - July 4)

“It’s told from the perspective of the dog,” is a joke in a comedy bit I’ve performed a few times. It’s also the hook of this novel. A dog accompanies his dying master on a trip to Baltimore, and then must find himself a new life. It’s not really about being a dog, it’s about existentialism and death and what happens inside one’s mind…but since I’ve seen all of those things grappled with in Auster’s other books, this one is, for me, the one about being a dog. It’s still good though. There’s a lot to be learned by considering things from an animal’s perspective. As Leopold Bloom observes in one of the few parts of Ulysses I appreciated, “They understand what we say better than we understand them.”

Kafkaesque, Peter Kuper (July 4-5)

When I complained about that other Kafka adaptation I read in 2019 being too obvious, this was what I was stacking it against. Kuper’s drawings are more expressionistic and inventive, and his interpretation of the text is less flat. There’s still the question of whether anything has been gained – or even could be gained – by affixing drawings to Kafka’s words (it’s the Fantasia question), but this is a good effort.

Stiff Upper Lip, Jeeves, P.G. Wodehouse (July 13-16)

Somehow, I found a Jeeves novel I’d never read before. I felt a little hurt by the jokes about vegetarians, but enjoyed it all the same. Lots of laughs when Bertie has to hide behind a sofa and listen as Jeeves tactically slanders him as a kleptomaniac to his unwanted fiancé. When she sees the statuette Bertie has allegedly stolen, she exclaims, “But that belongs to my father!” and Jeeves sorrowfully responds, “If I may say so, nothing belongs to anyone if Mr. Wooster takes a fancy to it.” Well, it makes me laugh, anyway.

The Golden House, Salman Rushdie (July 17-23)

A rich man and his three grown sons come to America, and through the eyes of their neighbor, we witness the changing of the family across a decade. It’s kind of like some ancient story retold in an extremely contemporary setting. There are good scenes and characters here, and the golden house itself, tucked into a secret courtyard in Greenwich Village, is a dream dwelling. But the ripped-from-the-headlines details are a little tedious. Rushdie tries to manage Trump’s presence artfully, but like pretty much everyone, he struggles to come up with anything original to say about the man, and it’s just the same bleating we’ve all heard and expressed ourselves since 2015. Trump imposed himself on our lives, and it’s natural to want to express our feelings about that, but I think everyone’s going to be pretty frustrated in a few years when we look back at this era and see how monotonously we dealt with him in art, how we allowed him entry even to the places where we could have kept him out.

Aurora Borealice, Joan Steacy (July 22-26)

A sort of memoir in which a Canadian woman embarks on a long education, both formally and privately. I liked the personal details and was excited when the main character made it across Canada to Victoria (it’s fun when you a place you’ve been appears in a book), but things kept grinding to halts for Steacy to praise seminal figures in her education, like Marshall McLuhan. I’m not arguing that he doesn’t deserve the praise, but it’s not obvious to me that it adds anything to the book.

Gothic Tales, Arthur Conan Doyle (July 26 - Aug. 8)

500 pages of gold. Lots of proper, well-behaved Victorian characters coming upon ghastly terrors: unexplained disappearances, mummies, hasty surgery, booby traps, man-eating cats. It’s formulaic, but what’s not to like? I suppose some of these stories here must have interested me less than others, but I don’t remember ever being bored. It reads as though Doyle believed all of these ghoulish things to be true, but wished that he didn’t. The idea that the author was being haunted by his own silly stories makes the whole collection funnier, but also more worthy of serious consideration.

Cartwheel, Jennifer duBois (Aug. 11-16)

Some reviewers knocked this novel for being too close to its inspiration, the Amanda Knox case, but I hadn’t followed that story, so it was all fictional to me. The story of the accused murderer is told in chapters from the perspective of her family, her friends, and the prosecutor working on her case. Everyone’s pretty well observed (particularly the sad, smarmy rich boy next door, who inspires first annoyance, then weary pity) and the plot moves along efficiently. But it’s a greenhouse book: there’s no fresh air getting in. It’s very formal, without much of a unique voice. The sort of thing you can admire, but wouldn’t love.

The Golden Age Is in Us, Alexander Cockburn (Aug. 18-23)

Diary entries, essays, and articles from the late grouch. He includes lots of angry letters from readers who didn’t like what he printed in the newspaper, which is great. Writing by non-writers is worth preserving, and I don’t mean that in a derisive way: there are original sentences that can only be written by a totally unconscious and undeliberate mind. What Cockburn has to say is good too. Mostly he argues (quite well) for conventional socialist ideas, but he’s also capable of surprising you with some heterodox ideas. He lays out an economic proposal for a flat tax system to aid the poor – arguing that progressive outcomes are more important than progressive methods – that I found uncomfortably convincing.

The Human Comedy, William Saroyan (Aug. 27-30)

Saroyan was an author recommended to me in 2009, as reference material for my first decent script, but it took me until last year to pick him up. A nice young man works as a messenger boy in his small California town. We see him at work, at school, and at home, where’s he’s obliged to be the man of the house. It’s all sweet and sentimental, but never cornball, because the book is smart enough to present all this goodness as a choice that a person can make, and not always an easy one. It’s a nice miniature novel. Even the edition I had was pocket-sized.

Shake Girl, The Stanford Graphic Novel Project (Adam Johnson and Tom Kealey, Editors) (Aug. 27-30)

A collaborative project. A handful of Stanford students wrote and drew this story of a Cambodian smoothie seller trying to escape poverty and being mistreated by corrupt and disgusting elites. Page by page, there are startling moments and thoughtful images, but nothing too impactful. Probably the collaborative nature of the project had the (unintended but unavoidable) effect of flattening any depth that might have come from a more individualized approach.

Commute, Erin Williams (Aug. 31 - Sep. 1)

My gut reaction is to give it a thumbs down. To be dismissive of the drawing style. To say that the self-aggrandizing scenes needed to be cut with deeper introspection. To point out that the author’s efforts to convey the wrongness of being reduced to an object are undercut by a number of offhandedly reductive insults towards others. But I think that sort of criticism winds up being a way to avoid addressing the real experience of reading the book. It’s a book about harassment and addiction and trauma, and Williams conveys her feelings about those things honestly, and does a fair job of forcing the reader to grapple with those feelings. To stand back and suggest that this could have been expressed more “effectively” seems to miss the point, because what is the “effect” being sought? I can feel the ice cracking beneath my feet: this type of appraisal could render any piece of art immune to all criticism. And yet, applying any other type of review here would seem inadequate.

Last of Her Name, Mimi Lok (Sep. 1-5)

This one’s easier. It’s a fine collection of short stories. The first seven average out to be pretty good, and the last one, “The Woman in the Closet” is better than the rest put together. It’s about an old woman who’s removed from her home and finds new lodgings…well, in a closet, but there are specific details beyond that to make it a very rich story. It’s natural and breezily written, and I can’t think of anything else like it.

The End of the End of the Earth, Jonathan Franzen (Sep. 6-10)

Franzen is always better than the internet would have you believe (although some of that hostility seems to be abating, doesn’t it?), but never quite as good as you’d hope. Every essay in here is good: well written, readable, sincere, sufficiently intelligent…but there’s never anything surprising, and by the end, you’re starving for even a single, fleeting moment of humor. Look, I’ll read any future essay collection he writes (eventually…within ten years of its publication), and I do like his advocacy for birds, but wouldn’t it be more fun if he wrote about some left-field, totally bananas subject? Like an anime convention? Just put that brain to use on something new and see what comes out. He wrote The Discomfort Zone, so let’s see him face it.

Gabriel’s Gift, Hanif Kureishi (Sep. 21-24)

Surprisingly warmhearted. Also pretty conventional. Gabriel, a teenager who aspires to an artistic life, has a hardworking mother and an immature washed-up father. He tries to keep them both happy. There’s also a famous rock star character (the dad used to play in his band) who’s reminiscent of David Bowie, though it doesn’t really matter. It’s decent, and I did feel fondness for Gabriel when he managed to swing a happy ending for everyone, but it’s nothing special.

The League of Extraordinary Gentlemen, Vol. 2, Alan Moore & Kevin O’Neill (Sep. 21-24)

Finally got around to continuing this series. This one draws heavily on The War of the Worlds, though my favorite part was a subplot involving a visit to the animal village populated by Dr. Moreau’s critters. There’s a lot of fun here, but there’s also a scene of a horrific, disproportional, and distasteful violence (I know, Alan, I know: “That’s the point”), and I have to reduce its score for that. It’s just so needless.

The Clasp, Sloane Crosley (Sep. 25-29)

Three college friends who’ve drifted apart reunite at an acquaintance’s wedding. One of them leaves with a family heirloom, sparking a ridiculous adventure that spans America, and eventually France. Intentionally ridiculous, that is. It’s a little sluggish, and one of the three leads was too conventional for me (confident and successful on the outside, rife with doubt and fear on the inside, hiding these feelings behind rote sarcasm…there’s a guy like that in every Millennial novel), but overall, the book is a success. What I liked most about it was what I most expected to like: it’s comfortable being funny. It’s not laugh-out-loud hilarious, but it doesn’t have to be. It’s steadily wry and willing to let its characters be silly, and how often do you get even that much humor in a novel?

Eleven Hours, Pamela Erens (Oct. 1-4)

The eleven hours is the time that one character is in labor, tended to by a coincidentally pregnant nurse. The book flits between present and past, filling in these women’s backstories. As you might have predicted, there’s a reason these two characters wound up in each other’s lives: their experiences complement each other and ulitimately illuminate something or other for the reader. I don’t mean that to sound dismissive. It is a good book – smart and evocative and good at dodging melodrama – but it ended too suddenly for me to fully understand what I had been reading.

Things Fall Apart, Chinua Achebe (Oct. 5-8)

I meant to pick up his other book, No Longer At Ease, but got the titles mixed up. It worked out for me. First in his village (in what would become known as Nigeria), then in exile, then returned to a home he no longer recognizes, the hero Okonkow can’t ever put a foot right. Sometimes, he commits despicable acts, but you feel more pity for him than anger. His choices are shaped by anger towards his dismal father, by the rigidity of his fellow villagers, and by the thoughtless destruction the European missionaries bring. It’s the story of a sad, failed life, but told so empathetically that what you’re left with isn’t gloominess, but a sense that we must not let ourselves or each other have lives like this.

Crash, J.G. Ballard (Oct. 9-13)

Not the feel-good movie about American racism, but the feel-bad novel about car crashes. The narrator is in an accident and is subsequently drawn into a creepy world of fetishists who are sexually excited by car crashes and their aftermaths. There are endless, lascivious descriptions of wreckage and broken bodies. It’s pornographic, except that it doesn’t resemble any kind of sex you’ve ever encountered before. Ballard gives you no quarter. He even names the narrator after himself, removing a layer of fictionality that might have given you a little comfort. It’s an unpleasant and challenging read, and I can’t say that I enjoyed it…yet I am glad I read it. It’s masterfully written (there couldn’t be any better way to render this material), it’s unlike anything else I’ve read, and I was transfixed the entire time. If you asked me point-blank, I would recommend it, although I should report that its overall reception was mixed. When Ballard submitted it for publication, one reader returned it to his or her boss with the note, “This author is beyond psychiatric help. Do Not Publish!”

Love Is an Ex-Country, Randa Jarrar (Oct. 14-17)

This memoir is aimless, tedious, and full of endless self-affirmations. Those are fine in and of themselves, and I am sure that writing these words was healthy and helpful for Jarrar personally, but there’s nothing in here for a reader.

Everybody into the Pool, Beth Lisick (Oct. 18-27)

NPR-ready essays about the funny things that can happen to you when you’re a human. So you’ll smile more than you’ll laugh, but you will be entertained. Lisick describes herself as being too weird for her suburban upbringing and too normal for the fringe worlds she discovers later, but I think it’s the opposite. I think she’s normal enough for the mainstream and strange enough for the rest. She seems to slot in comfortably enough in either venue, which means there’s not too much at stake in her anecdotes. But they are amusing and well-written, particularly the one where she volunteers at a Catholic fundraiser and steals from the nuns to pay for a punchline I won’t spoil.

On Ajayi Crowther Street, Elnathan John and Àlàbá Ònájìn (Oct. 24-29)

A Nigerian melodrama. Various secrets and betrayals and crimes and upheavals play out through a large, intertwined cast, at the center of which is an evil patriarch. It’s a bit shallow, but not from any lack of intelligence. More that there’s so much to get through that everything is spread a bit thin. It’s engrossing, even if I never took it too seriously.

The World According to Garp, John Irving (Oct. 27 - Nov. 6)

A good balance of realism and outrageous invention. T.S. Garp grows up, goes to school, gets married, has children, and has a career, but every moment, from his conception to his death, is marked by something ridiculous. Sometimes there’s a bizarre supporting character, sometimes a sequence of events is wild. Putting it that way might make it sound like it’s overly satirical, a book about human relationships that sneers at human relationships (I’ve seen it criticized on those grounds), but I didn’t find that to be so. Garp’s relationship with his mother and his experiences of fatherhood are very moving.

‘Salem’s Lot, Stephen King (Nov. 7-21)

The first third of the book introduces a couple dozen characters living in a small town. The rest of it has almost all of them turning to vampires, one by one. There are good action set-pieces, some nasty humor, the pulpy fun of seeing bad people get what’s coming to them, the dime-store tragedy of seeing the innocent suffer, and some surprises in the fates of the main characters. This is only King’s second published book, but it’s one of his best. It has everything you like about him, and none of what you don’t.

The Metamorphoses of Tintin, Jean-Marie Apostolidès (Nov. 25 - Dec. 4)

After I finished the 24th and final Tintin album, I picked up this academic appraisal. It was too academic. It’s a psychological study of the symbols at play in the comics, and of the archetypical roles (father, foundling, bastard) the characters fulfil. I liked one observation: Tintin’s metamorphosis from being specifically Belgian to being rootless and international was a transformation that allowed Hergé to discard any limitations to his hero and turn him into a mythic figure. But the rest of the ideas were rigid and not particularly illuminating.

Shovel Knight, David L. Craddock (Dec. 27-30)

A book about a video game. Unlike Earthbound, the only other book I’ve read in this series, this installment doesn’t bother with any artistic interpretation of its subject; it’s a straight-up history of how Shovel Knight was made. That’s a fair choice. Shovel Knight is a great game, but it’s so formal and deliberately designed that I’m not sure there’s much to analyze. It’s inspiration was only other video games, so that’s the only lens through which it can be viewed. The upshot is a book that’s interesting, but more like a press kit than a piece of criticism.

***

Here’s a story about Boss Fight Books, the publisher that released Shovel Knight. I submitted a book proposal to them. I wanted to write about the N64 platformer Banjo-Tooie, and how that sequel fit into and represented the angry, adolescent era of video games and video gamers. My proposal was turned down.

Many months later, I was talking to somebody about video games developed by Rare. When the conversation turned to Banjo-Tooie, I said, “I have something embarrassing to tell you about my serious interest in that game.” She winced and said, “Oh no…you didn’t read a book about it, did you?” I had to tell her that my life was even more undignified than that.

To have visited the libraries freely and to have been embarrassed by my own passions: yes, 2021 was truly a return to normalcy.

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cityofdreamsrp · 2 years

Text

UNFOLLOW (INACTIVE FOR 5+ DAYS)

Bang Chan ( @chbangie )

Cody Bellinger ( @cityofbelli )

Derek Discanio ( @cityofsteez )

Miles Teller ( @mixteller ) *EXPIRED HIATUS

Camila Mendes ( @camicmendes ) *EXPIRED HIATUS

Sydney Sweeney ( @sydsweeneyx )

Florence Pugh ( @flxssiepugh ) RECLAIMED!

Madelaine Petsch ( @madelcines )

INACTIVE FOR 3+ DAYS OR INCONSISTENT ACTIVITY (DO NOT UNFOLLOW)

Pete Davidson ( @hqdavidson )

Penelope Mitchell ( @penmitchell )

Maya Hawke ( @hawkehs )

Jacob Elordi ( @jacobelcrdi )

Elizabeth Gillies ( @lizegillies )

Sabrina Carpenter ( @cityofbrina )

Joe Jonas ( @jcesjcnas )

Vanessa Morgan ( @vcnessamorgcn )

Kim Namjoon ( @namjoooooning ) *NOT FOLLOWING SEMI-HIATUS GUIDELINES

Elizabeth Olsen ( @lizzieolssen )

Zendaya Coleman ( @zendayacolemvn )

Alexa Demie ( @dvmieco )

Pedro Pascal ( @pedrospvnk )

Lee Hoseok ( @leewcnho )

Park Jimin ( @bvbymochii )

Hwang Hyunjin ( @hwnghyvnjin )

Jennie Kim ( @jvnnierubyjane )

Min Yoongi ( @mnyocngis )

Sadie Sink ( @dreamingofsadie )

Alycia Debnam-Carey ( @ajsmins )

Hunter Schafer ( @hunters-hqs )

BUBBLE WARNING (DO NOT UNFOLLOW)

Pete Davidson ( @hqdavidson )

Penelope Mitchell ( @penmitchell )

Maya Hawke ( @hawkehs )

Alexa Demie ( @dvmieco )

* = reblogging memes, photos, videos, music, musings, OOC posts, social media & answering asks do not count towards activity.

Inconsistent activity = only doing replies once or twice a week, continuously going 3 or more days between replies, or doing only 1-5 replies. Inconsistency is also about overall activity patterns. For more clarification, please read our activity guidelines.

You have 24 hours to request your role(s) back after being unfollowed. When doing so, please approach us politely because we’ll be more than happy to give you your role(s) back! If you need a hiatus, do let us know!

#cityofdreamsunfollow #cody bellinger #derek discanio #miles teller #camila mendes #sydney sweeney #florence pugh #madelaine petsch #bang chan

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miley1442111 · 18 days

Text

tortured poets department masterlist

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

fortnight (featuring finnick odair)

tortured poets department (featuring spencer reid)

my boy only breaks his favourite toys (featuring aaron hotchner)

down bad (featuring jj maybank)

so long, london (featuring robert 'bob' floyd)

but daddy i love him (featuring rafe cameron)

fresh out the slammer (featuring aaron hotchner)

flordia!!! (featuring bucky barnes)

guilty as sin? (featuring aaron hotchner)

who's afraid of little old me? (featuring spencer reid)

who's afraid of little old me? (featuring carmen berzatto)

i can fix him (no i really can)- (featuring carmen berzatto)

loml (featuring peter parker)

i can do it with a broken heart (featuring sydcarmy)

the smallest man that ever lived (featuring derek morgan)

the alchemy (featuring jake 'hangman' seresin)

clara bow (featuring emily prentiss)

the black dog (featuring spencer reid)

imgonnagetyouback (featuring bradley 'rooster' bradshaw)

the albatross (featuring steve rogers)

chloe or sam or sophie or marcus (featuring sydney adamu)

how did it end? (featuring aaron hotchner)

so high school (featuring spencer reid)

i hate it here (featuring luca from the bear)

thank you aiMee (featuring natasha 'phoneix' trace)

i look in people's windows (featuring robert 'bob' floyd)

the prophecy (featuring aaron hotchner)

cassandra (featuring rafe cameron)

peter (featuring pope heyward)

the bolter (featuring spencer reid)

robin (featuring carmen berzatto)

the maunscript (featuring bucky barnes)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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springtyme · 11 months

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𝐒𝐚𝐠𝐞'𝐬 𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭 ♡

The Bear

Sydney Adamu

Richie Jerimovich

Carmen Berzatto

Michael Berzatto

Video Games

141 + König

Joel Miller

Arthur Morgan

Criminal Minds

Spencer Reid

Aaron Hotchner

Derek Morgan

Emily Prentiss

Stranger Things

Steve Harrington

Eddie Munson

Succesion

Roman Roy

Kendall Roy

Shiobhan Roy

Peaky Blinders

Tommy Shelby

Arthur Shelby

John Shelby

Saltburn

Farleigh Start

Felix Catton

Marvel

Miguel O'hara

Matt Murdock

Wanda Maximoff

Natasha Romanoff

Steven, Marc & Jake

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ki-irke · 1 year

Note

Reader dated Derek in high school and got pregnant. She didn’t find out until after he left for college years later her daughter/son ends up in Seattle grace and mark know or knew

Derek shepherd x fem reader

You left me

Paring: Derek Shepherd x fem!reader

Summary: If you knew, that the father of your daughter is one of the surgeons at Seattle Grace, you would force her to choose another hospital.

Words: 1054

A/N: Sydney is a name for your daughter. I tried, okay?

You had a weird feeling that something was going to happen today.

Your daughter was going to be an intern at Seattle Grace, and it was her important day. Of course, you were a supportive mutter. She was dreaming about being a doctor, so you couldn't stop her.

A long time ago, you wanted to be a doctor too. And you find this man, named Derek, who had a similar dream to you.

You met in your biology lesson in high school. The teacher ordered a change of seats for the start of the new school year, and so Derek Shepherd became your good classmate. You were sitting in the back of the class, so you could chat a lot.

First, you become good friends. You werestudying together, sometimes you were meeting at lunch.

Then, you become somewhat like best friends. You started meeting at home and going out.together, going to a party together.

And finally, you become a classy couple.

Everyone liked you, and they cheered for you. You were happy. Everything was great; you were planning a future together, looking for college and some cute apartments.

And then he just left.

"What do you mean he left?" you asked Mrs. Shepherd, standing with her in their kitchen. She sighed and wiped her tear-stained cheeks. Mr. Shepherd was standing next to her, slowly drinking his alcohol, but he was visibly sad too.

"I'm sorry, Y/N." She passed me the note that Derek left.

'I'm leaving for college. DW about me. Tell y/n that I'm sorry.'

"How could he?" I started, but I stopped and just cried. Mrs. Shepherd moved to me and hugged me, letting me cry. Soon Mr. Shepherd came to us, and we were all just sitting in their kitchen, crying about their son.

And then it started.

Morning sickness, mood swings, and tiredness.

Pregnancy took you by surprise. You didn't want to be a single mom, but you kept the baby.

It was the only thing that kept you alive.

Your parents and Derek's parents helped you out, so you could give birth to a beautiful girl. And because of her, you let go of your medical dream.

And now you were sitting at home, feeling more anxious by the second. Your best friend, Bonnie, was sitting with you. You met her at a "course' for single moms. And it immediately clicked. Her son and your daughter are nowstarting their work as interns at Seattle Grace.

"Something is off, Bonnie," you said, sipping your tee.

"It's because your baby girl didn't text or call you yet." She smirked, looking at you.

"Don't make fun of me. They are at work, and you know how hospitals are."

"Yup. Craaazy," you nooded. "You want something stronger than a tee?"

"You know what? Fuck it," you said, loosening your hair. "Gimmie some beer or whiskey."

"And now it's getting better!"

You are much calmer now. You weren't drunk,

but alcohol kind of calmed you. And you have this amazing idea to come to Seattle Grace and talk to your friends. You knew Bailey, Cally, and most importantly, your other best friend, Mark. He knew you in high school and also knew about your kid. But still, he hadn't told Derek.

"So how's Sydney on her first day?" You asked while giving Mark his coffee.

"She's doing great. Make some new friends, you know."

"That's good. I was kind of scared, to be honest," I said, taking a sip of my coffee. "All morning, I had this weird feeling that something was going to happen."

"Maybe I know what it is," Mark said, stopping in his tracks. "Just don't be mad, okay?"

"Just tell me what it is, Mark."

"Soo," he started, looking at something behind my back. "Derek is here. And now I am taking your daughter."

"He's what?" I asked, a smile dropping from my face. I quickly turned around, just to see that Sydney was really talking to Derek. "He knows?"

"God, no, I'm not like that," he answered loudly, which made Derek turn around. He sent Mark a small smile. Sydney finally noticed me, and when she did, her smile grew bigger. She didn't say a word to Shepherd; she just ran to us.

"Hi mom, hi Mark," I smiled to her.

"Coffee?" She nodded, so I gave her my cup. "Jeez, you look good in that."

Sydney laughed. Derek slowly came to us but didn't say anything. I talked with her for a minute. Well, mostly she was talking. It was good seeing your kid this happy. But then her pager went on, and she sent me a sad look.

"Go, Sydney. You're at work, remember?" I asked, smiling. She nodded and kissed my check, then ran off.

And then there were just you three. You looked at Mark first and then at Derek, and you immediately knew that he recognized you.

"I think someone needs me right now," says Mark, trying to leave. "Yup, definitely someone needs one. Bye, Y/N!" He said he was quickly moving away from us.

"So, hi," Derek said, sending you one of his charming smiles.

"Your smile doesn't work on me anymore. Not after you left me," I said. He said this and ran his hand through his hair.

"Look, I'm sorry—" He started, but I was too angry to let him talk.

"Don't sorry, Derek, you left me with—" You paused. "You left me! We were supposed to go to college together, to get married, and to have a family together, but you just left me and didn't even say goodbye." You said that, feeling the tears in your eyes.

"Y/N, I—" He sighed. "Sydney. She's mine, right?"

"She would be, if you hadn't left me." You said it quietly, rubbing your eyes to wipe away the few tears that had fallen.

"I'm sorry, baby. I'm really sorry." He moved and hugged me tightly. "I know it was hard for you, but please, just give me one chance to try to fix this."

"You can't fix it." You said you were moving away from him. "But I can give you one chance. Just one." You added it, making him smile. Still, you smiled slightly.

"Thank God." He moved and kissed your forehead. "I'll fix this, I promise. I'll make a proper family with you".

Maybe his charming smile was still working for you.

#greys anatomy #greys anatomy imagine #derek shepherd x reader #derek shepherd imagine #derek shepard #derek shepherd

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yourdarlingness · 7 months

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✦ Our Life: Beginning & Always ~ themed　NPT

╰　DAY 5 of @rumblepumm ' s event !

NAMES ︙　cove . seashell . shoal . shoaliette . sholiene . ocean . oceanide . lake . river . riverine . aqua . aqua(mu)rette . aquamarine . coralle . coralette . creek . everett . evelyn . eve . teary . tearie . tweary . tearfall(e) . teardrop . poppy . popp(i)ette . poppeine . lee . lily . leslie / lesley . lynn . francine . jackie . ari . aria . arielle . claire . elizabeth . liz / lizzy / lizzie . lizette . elyssa . elysia . reagan . noe . lain . macy . baxter . bax . baxley . barley . oakley . alexander . oliver . ollie . spade . mono . vince . victor . vincent . vinny . chester . derek . darren . dylan . daryl . darcy . darlene . devon . jaime . jamie . james . jay . taylor . harper . ash(e) . paula . pamela . pauline . miranda . randy . marissa . margot . sage . faith . melissa . terry . alex . robin . radley . marshall . max . chase . jeremy . archie . jayden . jonathan . misery . miserine . miser(i)ette . kyra . kyla . kylie . kyrelle . kier . sydney . chantel(le) . eleanor . shiloh . scout . asher . willow . adam . scott . jude . jade

PRNS ︙　sea . wa / wave . sea / shell / seashell . sea / foam / seafoam . sea / bun / seabun . wae / water / waterfall . pud / puddle . su / surf . ae / aqua . tea / tear(y) . shy . cry . fi / fish . swi / swim . co / cor / coral . pop / poppy . li / lily . da / dance . ste / steps . rhy / rhythm . mo(e) / mono . wa / waltz . fe / fetch . fri / friends . mie / mis / misery . si / silly . lo / love . ado / adore . he(a) / heart . 💧 . 🌊 . 🐚 . 🦈 . 🦑 . 🦞 . ⛴️ . 🚢 . ⛵ . 🎹 . ♠️ . ♣️ . 🖤 . 🎧 . 🎵 . 🎶 . 🎼 . ⚽ . 🏈

TITLES ︙　the alluring mermaid/merman/merperson . the heart of the sea . the [x] / prn who was washed ashore . prns graceful/tidal wave . prn whose soul is pure . the [x] with a peaceful life . prn who surfs . the lady / maiden / [x] of the deep sea . the one who sets sail . the [x] in the sea of stars . prns aquatic adventure . the [x] in coral reefs . prn who swims with fishes/sharks/etc (any aquatic animals) . the [x] of the blue waves . the seashell collector . the master of waltz . the born dancer / prn who is a born dancer . the ballroom dancer . the divine dancer . the charming dancer . the Victorian-era emo man . the one of all smiles . prn who is monochromatic . prn who moves flawlessly . the dancer of arts . the one with conflicting feelings . the [x] whose story begins . prns prologue . prns beginnings . prns start of dreams . prns opening acts/chapter . the [x]'s new beginnings . prns new chapter . prns divine plot twist

[x] — any nouns　;　examples below

the angel who was washed ashore

the ghost whose story begins

the boy of the blue waves

sorry that its long :3

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harrisonstories · 1 year

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George Harrison turns his amp back on after police attempt to stop the rooftop performance. (Get Back, 2021)

George Harrison v.s. the police

“In Cleveland, without asking us, two senior police officers marched on stage and stopped our show completely because they said the crowd was getting out of hand. The safety curtain was pulled down, and we were ordered to our cars. With the cops shouting, ‘The show’s over, fellows, this is where we take over.’ It’s never happened to us before. But that’s the trouble with American cops – they’re over-enthusiastic, whether it’s for stopping shows, hurling us into cars, baton charging the crowd or just asking 30 autographs at a time." - George's column in The Daily Express (1964) [x]

"We've been and played here in Sydney, and it was the biggest drag of all time. The stage revolves every three minutes and we have to walk right down the aisles like boxers to get to the stage. At the first house I punched a policeman because he was shoving me like mad and some kids had a hold of me all at once and I was trying to get off the stage. I was swearing my head off at one policeman (sorry), and later the chief came and apologised to me." - George in a letter to his parents (1964)

“I noticed a police car. It says, written on the door, ‘To serve and to protect’, and that really sort of buzzed me. I was starting to wonder like, who are they serving, and who are they protecting? I mean that’s where it’s really at because maybe they do serve and protect, but you know…themselves or? Like, who? […] That’s the trick you see. They say, ‘It’s not me. It’s somebody up there telling me what to do,.’ and you can never find like, who is the guy at the top? Because they shift the load, you know? Take a load off Annie.” - George interviewed by Don Hall and Charles Laquidara (1968)

“George arrived home, with Mal Evans and Derek Taylor in tow. All the detectives instantly leaped from George’s settees to converge upon their quarry as he stormed, ranting and raving, into his kitchen. 'The foxes have got their lairs,' George shouted, 'and the birds have their fucking nests, but man doesn’t have anywhere he can fucking go without people breaking into his house!' Ignoring this tirade, the Drug Squad, charging him with possession of cannabis, produced two pieces of incriminating evidence. 'That one’s mine!' George snapped. 'But I’ve never seen this one before in me fucking life! You don’t have to bring your own dope to me house, I’ve got plenty meself! And you didn’t have to turn this whole fucking place upside down, I could have shown you where the stuff was if you’d asked me!' Their only response was to ask George to accompany them to the police station. 'Well, I don’t care where the fuck we go,' George retorted, 'just so long as you get all these fuckers out of my house!'" - Pete Shotton on the 1969 drug bust at Kinfauns [x]

"The prosecution had stated then that Harrison drove his car on to the busy junction of Wigmore Street and Orchard Street blocking traffic. When stopped by the Pc, Stephen Gardner he drove the car forward with the constable walking alongside and twice refused a requestion to drive to the offside of the road. Pc Gardner walked forward and stood in front of the car and Harrison advanced the car slowly and it hit the officer's knee. He drove against the officer three times. Police spent 15 minutes trying to get his name and address, but Harrison, who was heavily bearded, was finally recognized. Mr. Polden told the magistrate yesterday that Harrison was trapped in the boxed area. He was driving his wife's Mercedes, and drove slowly forward. He heard a hammering on the car roof. ‘Mr. Harrison's lot has been to find people hammering on the roof of his car and he did not associate it initially with police action.’

The policeman believed the driver was taking no notice of his signal. Harrison had the car radio on and did not hear the officer speak to him. When the policeman ran in front of the car Harrison realized for the first time he was being requested to stop ‘for reasons quite obscure to him.’ He decided to pull in to the near side and started to turn not realising he was being discourteous. ‘He should have stopped, but it stemmed from a misunderstanding. That is why he pleaded guilty.’ ‘Mr. Harrison's nature is such that the arrogant level of driving does not really enter into it. As far as a man in his position can have, he has a sense of humility. He is not capable of deliberately driving into a police officer, causing him to hurt. He took the whole business impassively rather than arrogantly.’” - Guy Rais, Ban on Harrison (1971) [x]

"George gives me a souvenir as I leave -- a baton belonging to the Chief Constable of Liverpool, which GH took off him at the Liverpool premiere of A Hard Day’s Night!" - Michael Palin, Halfway to Hollywood: Diaries 1980–1988

"I was 15 and then uh...had some little run-in with some policemen, and he told the policemen to fuck off. And that was when I realised he was actually cool, on my side, and not just a scary dad, y'know?" - Dhani Harrison, Living in the Material World

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creativesaturn · 3 months

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୨୧⋆｡˚ ⋆ ✧ Sydney * 19 * they/she * Aries ✧ ⋆ ˚｡⋆୨୧

masterlist

What I post: I post Criminal Minds exclusively! And I'll try to post when I can but I make no promises -- and for that I'm sorry!

Writing: You'll probably see me mostly post fluff, will write smut 100%, angst will be rare but would love to write it if I get requests. Honestly any character, but mostly Emily, Spencer, Hotch, and Derek.

Writing guidelines: Will write -- male!reader , gn!reader , fem!reader with any character. Won't write -- cnc , age play , etc.

Requests: Requests would be absolutely amazing. Don't hold back! I love to see everyone's ideas, especially making them <3 -- Please refrain from sending me requests you already sent someone else though!

Request guidelines: I'm not incredibly picky. I would say don't be weird but a lot of people think something is weird when it's not, so I'll just say stay respectful :) I will simply not write something for a range of reasons, so don't take it personally.

General guidelines: Constructive criticism would be nice as long as you're nice about it... I won't lie when I say I'm kinda sensitive..!

#welcome <3 #syd's spencer fics #syd's emily fics #syd's headcanons #creativesaturn #masterlist #criminal minds #spencer reid #emily prentiss #spencer reid smut #emily prentiss smut #criminal minds smut #smut #fluff

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teenwolfrarepairevents · 2 months

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January Round Up: Scott McCall

lets pretend this isn't late

Assuming I have done my maths correctly, we created 45 new works of Scott McCall Rarepair goodness over the month of January (plus a little bit in February...) across 29 ships! There were 23 written works and 23 art works! Links to them all below!

Remember, if you post on Ao3, please add your work to the collection!

Collected Works on Ao3:

you’ve got a friend in me by idc_chan (scribeoffate on tumblr) Scott and Meredith: All friendships look a little different, Scott's friendship with Meredith looks a lot different than most. Both of them are willing to try and be there for the other when it counts. It will take a while to make you smile by iammyownsavior (same on tumblr) Scott and Melissa: Melissa's heart hurts when she sees the smile on her beautiful son's face is replaced with tears every day since they talked to him about the divorce. Lost in the woods by TalesoftheEnchantedForest Scott/Lydia: Lydia sends Scott a risky text mid-ride. Not Myself Tonight – Friday by trinipedia (trinitorettomadrigal on tumblr) Scott/Jackson: Scott hosts his best friend Stiles's stag night, and a quirky friend hires a stripper. To Scott's surprise, he becomes infatuated with him. With the guidance of Stiles's groom-to-be, Derek, Scott undergoes a journey of self-discovery, exploring unexpected emotions and learning more about himself amid the chaos of the celebratory night.

Other Written Work:

Scott/Cora Moodboard + Drabble by iammyownsavior Scott/Erica Moodboard + Fic by jjsstars Scott/Hayden Fic by jjsstars Scott/Hayden Moodboard + Fic by jjsstars Scott/Lydia Sketch + Drabble by raybyanothername Scott/Jackson Edit + Fic by scisac Scott/Kira/Isaac Ficlet by impalachick Scott/Deucalion Ficlet by scribeoffate Scott/Deucalion Ficlet #2 by scribeoffate Scott/Cora Ficlet by scribeoffate Scott/Lydia Ficlet by scribeoffate Scott/Lydia Ficlet #2 by scribeoffate Scott/Stiles/Cora Ficlet by scribeoffate Scott/Malia + Mason Ficlet by scribeoffate Scott & Sydney: Ficlet by scribeoffate Scott & Cora Ficlet by scribeoffate Scott/Malia/Kira Ficlet by scribeoffate Scott/Kira/Theo Ficlet by scribeoffate Scott/Kira/Theo Ficlet #2 by scribeoffate

Moodboards

Scott/Nemton Moodboard by scribeoffate Scott/Boyd Moodboard by silent-snake7 Scott/Lydia Moodboard by softranswolves Scott/Hayden Moodboard by softranswolves Scott/Cora Moodboard by softranswolves Scott/Nolan Moodboard by wolfboy88 Scott/Parrish Moodboard by silent-snake7 Lydia/Scott/Malia Moodboard by softranswolves Scott & Tracy Moodboard by thiamsxbitch Scott/Liam/Theo Moodboard by wolfboy88 Scott/Deucalion Moodboard by scribeoffate Scott & Lydia Moodboard by iammyownsavior Scott & Melissa & Deaton Moodboard by thiamsxbitch Scott & Braedon Moodboard by thiamsxbitch Scott/Hayden Moodboard by thiamsxbitch Scott/Tracy Moodboard by softranswolves Scott/Mason Moodboard by softranswolves Scott/Danny Moodboard by silent-snake7 Scott/Erica Edit by softtranswolves

If I missed yours, please send me a DM or an ask!

#teen wolf #teen wolf rarepair #twrp character of the month #scott mccall

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gllrimes · 9 months

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𝑾𝒆𝒍𝒄𝒐𝒎𝒆 𝒕𝒐 𝑬𝒍𝒊𝒐’𝒔 𝒃𝒍𝒐𝒈!

𝑹𝒖𝒍𝒆𝒔:

I will be writing smut, fluff, comfort, and angst. I'm not experienced with writing as much as other writers are, so don't expect the best.

No sa or rape of any sort because we don't tolerate that.

No piss/shit/fart kinks ya dirty fucks.

No pedophilia. Age gaps only can consist of five years apart in my story's when 18+

No human servitude.

I write for any sexuality and any gender.

I do write drabbles and hcs.

I don't write agere/little space on this blog, I'll set up another blog for that!!

I don't care how old you are I can't stop you from reading my stuff 😕🙏🏻

Requests are open!!

𝑭𝒂𝒏𝒅𝒐𝒎𝒔 & 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓𝒔 𝑰'𝒍𝒍 𝒘𝒓𝒊𝒕𝒆 𝒇𝒐𝒓

The Walking Dead:

Rick Grimes

Carl Grimes

Daryl Dixon

Negan Smith

Glenn Rhee

Ron Anderson

Enid Rhee

Maggie Rhee

Michonne Grimes

(Bonus: I might write for others too. Maybe Shane idk.)

The End Of The Fucking World:

Alyssa Foley

James (last name unknown)

Heartstopper:

Charlie Spring

Nick Nelson

Tao Xu

Elle Argent

Darcy Olsson

Tara Jones

Sahar Zahid

Issac Henderson

13 Reasons Why:

Clay Jenson

Hannah Baker

Justin Foley

Alex Standall

Jessica Davis

IT:

Bill Denbrough

Richie Tozier

Beverly Marsh

Stanley Uris

Mike Hanlon

Henry Bowers

Patrick Hockstetter

Victor Criss

Belch Huggins

The Flash (IMDb):

Berry Allen

Cisco Ramon

Caitlin Snow

Harry Potter:

Harry Potter

Hermione Granger

Ron Weasley

Fred Weasley

George Weasley

Draco Malfoy

Tom Riddle

James Potter

Remus Lupin

Sirius Black

Mattheo Riddle

Theodore Nott

Regulas Black

Stranger Things:

Mike Wheeler

Will Byers

Jonathan Byers

Nancy Wheeler

Lucas Sinclair

Dustin Henderson

Steve Harrington

Henry Creel

Eleven

Eddie Munson

Criminal Minds:

Spencer Reid

Aaron Hotchner

Derek Morgan

Penelope Garcia

Jennifer Jareau

Twilight:

Bella Swan

Edward Cullen

Jasper Hale

Alice Cullen

Rosalie Hale

Carlisle Cullen

Emmett Cullen

Jacob Black

Seth Clearwater

Esme Cullen

Thirteen:

Tracy Freeland

Evie Zamora

Mason Freeland

Melanie Freeland

Anne With An E:

Gilbert Blythe

Anne Shirley

Dianna Berry

Cole Mackenzie

Jerry Baynard

The Goldfinch:

Theodore Decker (older and younger)

Boris Pavlikovsky (older and younger)

The Turning:

Miles Fairchild

Kate Mandell

Flora Fairchild (NO SMUT)

When You Finish Saving The World:

Ziggy Katz

Lila

American Horror Story:

Tate Langdon

Violet Harmon

Kit Walker

Lana Winters

Zoe Benson

Kyle Spencer

Cordelia Goode

Fiona Goode

Jimmy Darling

James Patrick March

Elizabeth/The Countess

Kai Anderson

Winter Anderson

Ally Mayfair-Richards

Austin Sommers

Mr. Gallant

Edward Mott

Rory Monahan

Shameless:

Fiona Gallagher

Lip Gallagher

Ian Gallagher

Mickey Milkovich

Mandy Milkovich

Carl Gallagher

I Believe In Unicorns:

Davina

Sterling

Tokio Hotel:

Bill Kaulitz

Tom Kaulitz

Georg Listing

Gustav Schäfer

Slashers/Halloween movies characters:

Max Dennison

Billy Loomis

Stu Macher

Sydney Prescott

Bo Sinclair

Lester Sinclair

Vincent Sinclair

Jason Voorhees

Freddy Kruger

Michael Myers

Jason Dean

Patrick Bateman

Brahms Heelshire

BONUS singers/actors/youtubers:

Sam Golbach

Colby Brock

Jake Webber

Albert (flamingo)

The Sturniolo Triplets

Finn Wolfhard

Noah Schnapp

And finally... ALEX TURNER 😋😋 (he's so husband material)

!!PLEASE USE THIS RESPECTFULLY AND WISELY!!

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