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pale-silver-comb · 4 years

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So I know absolutely nothing about Leverage except what I've been seeing you post lately and I have to admit you're making it look tempting to watch! Can I ask what are some of your favorite things about the show/reasons you would suggest people watch it? And is there really a poly relationship that is canon?

Okay. Okay, okay, okay, okay, okay. I am going to do my best not to just “asdfghkjl” at you and answer coherently.

In a nutshell, Leverage is about 5 people. 4 are criminals (Parker, Hardison, Eliot and Sophie) with different and unique skill-sets and 1 is an ex-insurance investigator (Nate) who, at one point or another in his career, has tracked down (or at least attempted to) the other 4. The whole show is essentially: man reluctantly reforms 4 criminals to use their criminal powers for good and 4 criminals move into man’s life and stubbornly refuse to leave because, goddammit, now they have morals.

I’ve got a lot of favourite things about the show but the main ones are as follows:

1. Found family. And I’m not talking about loners who come together to fight crime and happen to co-exist to the point where they realise they happen to have found themselves a family. I mean, Nate and Sophie are the Drunk Uncle and Wine Aunt who somehow become Mom and Dad to 3 beautiful criminal children. Mom and Dad love their criminal babies and the kids love them (as well as each other, but we’ll come to that in a moment). You get amazing family moments such as: Mom and Dad packing the kids lunch before sending them out to kick corporate greed’s ass; Mom and Dad giving the kids ridiculously expensive and personal Christmas presents causing their most Grumpy Kid to go very very quiet and soft as he runs off to gleefully play with his new murder toy; the kids interrupting Mom and Dad’s big Movie Style Kiss to ask if they can please keep their new underground layer and huffing and puffing when Dad tells them no.

2. Found family: the OT3 edition. To answer your question, the OT3 is indeed canon, confirmed by the creator. Now, usually, “confirmed by the creator” infuriates me because most of the time it’s a way for a creator to be seen as “progressive” without doing anything to actually be progressive. That isn’t the case here. The OT3 are built up carefully and while it is obvious the creators didn’t originally intend for all 3 of them to become a relationship in the romantic sense, by mid-season 5 we are given a very clear picture of where Parker, Hardison and Eliot are heading in their relationship. There aren’t any kisses at the end to signal this but there are solid marriage vows in not only one but two episodes. (And by marriage vows I mean literal equivalents of marriage vows: “for better or worse” and “’til death do us part”. I’m not even exaggerating). The OT3 also doesn’t need explicit romantic narratives to convey how much they love each other. Their love is laced through the whole show, from the way they teach each other things to the way they respond to each other and work as a unit. The way they fiercely protect and admire each other. Like someone once said, if you need characters to kiss or say I love you to let the audience know they love each other, you are writing them wrong.

Aside from that, each of the parings in the OT3 are just. Gah. They are so well done, with friendship being the solid basis for them all. The creators never expect the audience to assume anything about them or fill in the gaps. They give us their relationships on screen and reference many things off-screen to show us how these relationships continue to build in between episodes.

Hardison and Parker are a canon couple and date in the show: it’s approached slowly and they are so goddamned sweet. They are basically every fluffy slow-burn trope with a healthy dash of mutual pining in the mix. They are basically that quote “love is patient, love is kind”. (I would like to add their romance never becomes the focus of the show or overrides the importance of any other relationship they have with the other characters, especially Eliot.)

Hardison and Eliot are the Old Married Couple and from day one are already bickering and looking at each other/making comments that are found in every UST fic ever (not to mention Hardison has a very good knack for making Eliot grin like a little kid, when usually he’s basically an Angry Little Chef Man). They argue, they play, and love each other plain as day.

Parker and Eliot are more subtle but every bit as wonderful. They have an unspoken connection and understand each other on a level no-one else can. Parker and Eliot are not good with giving themselves over to affection for different reasons (and Hardison plays a central role in helping them realise it’s okay to want it and have it- that boy has endless patience) but there is something so beautiful in the way the two of them come together on their own and develop their own special bond that works for them. Parker and Eliot are that trope where the characters don’t need to speak to understand each other perfectly. They just do. Their love language is a lot of the time non-verbal but speaks volumes. (Parker also likes to annoy the hell out of Eliot and Eliot....just.....lets...her. Because he’s soft. The softest, grumpiest boy.)

I could go into so much depth for each pairing and their dynamics as a 3 but that's for another post.

3. Subverting stereotypes. There is the occasional hiccup in the show regarding stereotypes but ultimately, Leverage gets an A+ when it comes to writing characters and making them 3 dimensional people who are not defined by certain characteristics or events. Nate could so easily fall into the White Man Pain trope where he uses the trauma of losing his kid as a reason as to why he is entitled to act like a dick. Nate is a dick but he doesn’t use his pain to excuse it and I appreciate that. Hardison is a black man who is soft and nurturing. Easily the most empathetic and patient of the group. He’s nerdy, an actual genius, and has the biggest heart of all the characters. Nate is maybe the glue but Hardison is definitely the heart. Media’s usual aggressive, amongst other, racist stereotypes can fuck right off. Parker is canonically autistic (I am sure this was confirmed by one of the creators) and she is not defined by it. It’s not written as some kind of singular personality trait. It’s part of what makes up Parker but it’s only one facet of who she is and not once is her actions, thoughts or feelings treated like a joke. Sometimes people don’t understand why she does and says the things she does but it’s met with patience and fondness over the course of the show. Equally, it’s not met with over-caution. Parker is just Parker. No-one tries to change her. The other nice thing is Hardison, who always makes sure Parker knows she’s amazing because of who she is and not in spite of it. Finally, Sophie is in her 40s. She’s not treated like she’s past her prime. Ever. She’s sexy, smart and never is she pitted against or compared to Parker (who is younger) for anything. Sophie is amazing and there’s never even a conversation of “I may be older but I am still *insert adjective typically associated with younger women here*”. Sophie is possibly the first female character I’ve ever seen who isn’t just unapologetic about her age but has never had to apologise for her age. It’s a non-issue and that’s that. The women on the show are written so well, right down to secondary characters and it’s beyond refreshing.

4.) It’s just fun. The show has a “monster of the week” type format. Except instead of a ghoul or a ghost, the monster is some corrupt wealthy and powerful individual or organisation. The show draws on real-life individuals to do this and therefore closely parallels real-life people and events. It addresses important political, economical, social and environmental issues while at the same time remaining fun and light-hearted. The characters constantly get the chance to play dress up and by GOD do they have fun with it. You get to watch Eliot beat up bad guys in the most delightful of ways, usually after a witty non-sequitur and with a weapon you’d never think could be a weapon. The dialogue and back and forth between the characters is everything. And finally - my favourite thing- the team can never resist striking a dramatic pose after they’ve taken down the bad guy, making sure the bad guy sees them. I mean, they COULD just walk away, satisfied they’ve taken the person down, but nope. They gotta be dramatic bitches 24/7 and pose like they are models for every single month of this year’s Criminal Calendar.

5.) Competence Porn. So. Much. Competence Porn.

Honestly, I could list a thousand reasons for why Leverage is amazing but to list them would to be spoiling so many amazing moments you’d get to discover for the first time on your own if you do choose to watch it. It’s the kind of show you can watch with an eagle-eye and sink your teeth into. But it’s also the kind of show if, you would prefer, put on in the background for something entertaining while you do something else. Each episode is about the job at hand but it’s made up of so many moments between the characters that show how much the creators and writers care about them. You’ll laugh, you’ll cry, you’ll do whatever it is you do when something Soft and Wonderful happens that makes your heart melt. I am so beyond grateful for Leverage. It’s everything I always wanted in a show. Nearly every show I’ve watched in the past 10 years has disappointed me in some way, usually either because the writers run out of steam or characters who I love are treated poorly or given some kind of unnecessary “shock value” arc. Leverage doesn’t do that. Leverage is what it says on the bottle. Fandom isn’t something I joined because I needed canon fix-its. Fandom only enhances and celebrates an already excellent canon.

#leverage #leverage ot3 #parker #alec hardison #eliot spencer #sophie devereaux #nate ford #talk leverage to me

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ganymedesclock · 3 years

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These are questions I've had for some while and it's hard to find someone who'll answer with grace. This mostly relates to disabilities (mental or physical) in fiction.

1) What makes a portrayal of a disability that's harming the character in question ableist?

2) Is there a way to write a disabled villain in a way that isn't ableist?

In the circles I've been in, the common conceptions are you can't use a character's disability as a plot point or showcase it being a hindrance in some manner. heaven forbid you make your villain disabled in some capacity, that's a freaking death sentence to a creative's image. I understand historically villains were the only characters given disabilities, but (and this is my personal experience) I've not seen as many disabled villains nowadays, heck, I see more disabled heroes in media nowadays.

Sorry if this comes off as abrasive, I'd really like to be informed for future media consumption and my own creative endeavors.

Okay so the first thing I'm going to say is that while it IS a good idea to talk to disabled people and get their feedback, disabled people are not a monolith and they aren't going to all have the same take on how this goes.

My personal take is biased in favor that I'm a neurodivergent person (ADHD and autism) who has no real experience with physical disabilities, so I won't speak for physically disabled people- heck, I won't even speak for every neurotype. Like I say, people aren't a monolith.

For myself and my own writing of disabled characters, here's a couple of concepts I stick by:

Research is your friend

Think about broad conventions of ableism

Be mindful of cast composition

1. Research is your friend

Yeah this is the thing everybody says, so here's the main bases I try to cover:

What's the story on this character's disability?

Less in terms of 'tragic angst' and more, what kind of condition this is- because a congenital amputee (that is to say, someone who was born without a limb) will have a different relationship to said limb absence than someone who lost their limb years ago to someone who lost their limb yesterday. How did people in their life respond to it, and how did they respond to it? These responses are not "natural" and will not be the same to every person with every worldview. This can also be a great environment to do worldbuilding in! Think about the movie (and the tv series) How To Train Your Dragon. The vikings in that setting don't have access to modern medicine, and they're, well, literally fighting dragons and other vikings. The instance of disability is high, and the medical terminology to talk about said disabilities is fairly lackluster- but in a context where you need every man you possibly can to avoid the winter, the mindset is going to be not necessarily very correct, but egalitarian. You live in a village of twenty people and know a guy who took a nasty blow to the head and hasn't quite been the same ever since? "Traumatic Brain Injury" is probably not going to be on your lips, but you're also probably going to just make whatever peace you need to and figure out how to accommodate Old Byron for his occasional inability to find the right word, stammers and trembles. In this example, there are several relevant pieces of information- what the character's disability is (aphasia), how they got it (brain injury), and the culture and climate around it (every man has to work, and we can't make more men or throw them away very easily, so, how can we make sure this person can work even if we don't know what's wrong with them)

And that dovetails into:

What's the real history, and modern understandings, of this?

This is where "knowing the story" helps a lot. To keep positing our hypothetical viking with a brain injury, I can look into brain injuries, what affects their extent and prognosis, and maybe even beliefs about this from the time period and setting I'm thinking of (because people have had brains, and brain injuries, the entire time!) Sure, if the setting is fantastical, I have wiggle room, but looking at inspirations might give me a guide post.

Having a name for your disorder also lets you look for posts made by specific people who live with the condition talking about their lives. This is super, super important for conditions stereotyped as really scary, like schizophrenia or narcissistic personality disorder. Even if you already know "schizophrenic people are real and normal" it's still a good thing to wake yourself up and connect with others.

2. Think about broad conventions of ableism

It CAN seem very daunting or intimidating to stay ahead of every single possible condition that could affect someone's body and mind and the specific stereotypes to avoid- there's a lot under the vast umbrella of human experience and we're learning more all the time! A good hallmark is, ableism has a few broad tendencies, and when you see those tendencies rear their head, in your own thinking or in accounts you read by others, it's good to put your skeptical glasses on and look closer. Here's a few that I tend to watch out for:

Failing the “heartwarming dog” test

This was a piece of sage wisdom that passed my eyeballs, became accepted as sage wisdom, and my brain magnificently failed to recall where I saw it. Basically, if you could replace your disabled character with a lovable pet who might need a procedure to save them, and it wouldn’t change the plot, that’s something to look into.

Disability activists speak often about infantilization, and this is a big thing of what they mean- a lot of casual ableism considers disabled people as basically belonging to, or being a burden onto, the able-bodied and neurotypical. This doesn’t necessarily even need to have an able neurotypical in the picture- a personal experience I had that was extremely hurtful was at a point in high school, I decided to do some research on autism for a school project. As an autistic teenager looking up resources online, I was very upset to realize that every single resource I accessed at the time presumed it was talking to a neurotypical parent about their helpless autistic child. I was looking for resources to myself, yet made to feel like I was the subject in a conversation.

Likewise, many wheelchair users have relayed the experience of, when they, in their chair, are in an environment accompanied by someone else who isn’t using a chair, strangers would speak to the standing person exclusively, avoiding addressing the chair user.

It’s important to always remind yourself that at no point do disabled people stop being people. Yes, even people who have facial deformities; yes, even people who need help using the bathroom; yes, even people who drool; yes, even people whose conditions impact their ability to communicate, yes, even people with cognitive disabilities. They are people, they deserve dignity, and they are not “a child trapped in a 27-year-old body”- a disabled adult is still an adult. All of the “trying to learn the right rules” in the world won’t save you if you keep an underlying fear of non-normative bodies and minds.

This also has a modest overlap between disability and sexuality in particular. I am an autistic grayromantic ace. Absolutely none of my choices or inclinations about sex are because I’m too naive or innocent or childlike to comprehend the notion- disabled people have as diverse a relationship with sexuality as any other. That underlying fear- as mentioned before- can prevent many people from imagining that, say, a wheelchair user might enjoy sex and have experience with it. Make sure all of your disabled characters have full internal worlds.

Poor sickly little Tiffany and the Red Right Hand

A big part of fictional ableism is that it separates the disabled into two categories. Anybody who’s used TVTropes would recognize the latter term I used here. But to keep it brief:

Poor, sickly little Tiffany is cute. Vulnerable. How her disability affects her life is that it constantly creates a pall of suffering that she lives beneath. After all, having a non-normative mind or body must be an endless cavalcade of suffering and tragedy, right? People who are disabled clearly spend their every waking moment affected by, and upset, that they aren’t normal!

The answer is... No, actually. Cut the sad violin; even people who have chronic pain who are literally experiencing pain a lot more than the rest of us are still fully capable of living complex lives and being happy. If nothing else, it would be literally boring to feel nothing but awful, and people with major depression or other problems still, also, have complicated experiences. And yes, some of it’s not great. You don’t have to present every disability as disingenuously a joy to have. But make a point that they own these things. It is a very different feeling to have a concerned father looking through the window at his angel-faced daughter rocking sadly in her wheelchair while she stares longingly out the window, compared to a character waking up at midnight because they have to go do something and frustratedly hauling their body out of their bed into their chair to get going.

Poor Sickly Little Tiffany (PSLT, if you will) virtually always are young, and they virtually always are bound to the problems listed under ‘failing the heartwarming dog’ test. Yes, disabled kids exist, but the point I’m making here is that in the duality of the most widely accepted disabled characters, PSLT embodies the nadir of the Victim, who is so pure, so saintly, so gracious, that it can only be a cruel quirk of fate that she’s suffering. After all, it’s not as if disabled people have the same dignity that any neurotypical and able-bodied person has, where they can be an asshole and still expect other people to not seriously attack their quality of life- it’s a “service” for the neurotypical and able-bodied to “humor” them.

(this is a bad way to think. Either human lives matter or they don’t. There is no “wretched half-experience” here- if you wouldn’t bodily grab and yank around a person standing on their own feet, you have no business grabbing another person’s wheelchair)

On the opposite end- and relevant to your question- is the Red Right Hand. The Red Right Hand does not have PSLT’s innocence or “purity”- is the opposite extreme. The Red Right Hand is virtually always visually deformed, and framed as threatening for their visual deformity. To pick on a movie I like a fair amount, think about how in Captain America: The Winter Soldier, the title character is described- “Strong. Fast. Had a metal arm.” That’s a subtle example, but, think about how that metal arm is menacing. Sure, it’s a high tech weapon in a superhero genre- but who has the metal arm? The Winter Soldier, who is, while a tormented figure that ultimately becomes more heroic- scary. Aggressive. Out for blood.

The man who walks at midnight with a Red Right Hand is a signal to us that his character is foul because of the twisting of his body. A good person, we are led to believe, would not be so- or a good person would be ashamed of their deformity and work to hide it. The Red Right Hand is not merely “an evil disabled person”- they are a disabled person whose disability is depicted as symptomatic of their evil, twisted nature, and when you pair this trope with PSLT, it sends a message: “stay in your place, disabled people. Be sad, be consumable, and let us push you around and decide what to do with you. If you get uppity, if you have ideas, if you stand up to us, then the thing that made you a helpless little victim will suddenly make you a horrible monster, and justify us handling you with inhumanity.”

As someone who is a BIG fan of eldritch horror and many forms of unsettling “wrongness” it is extremely important to watch out for the Red Right Hand. Be careful how you talk about Villainous Disability- there is no connection between disability and morality. People will be good, bad, or simply just people entirely separate from their status of ability or disability. It’s just as ableist to depict every disabled person as an innocent good soul as it is to exclusively deal in grim and ghastly monsters.

Don’t justify disabilities and don’t destroy them.

Superpowers are cool. Characters can and IMO should have superpowers, as long as you’re writing a genre when they’re there.

BUT.

It’s important to remember that there is no justification for disabilities, because they don’t need one. Disability is simply a feature characters have. You do not need to go “they’re blind, BUT they can see the future”

This is admittedly shaky, and people can argue either way; the Blind Seer is a very pronounced mythological figure and an interesting philosophical point about what truly matters in the world. There’s a reason it exists as a conceit. But if every blind character is blind in a way that completely negates that disability or makes it meaningless- this sucks. People have been blind since the dawn of time. And people will always accommodate their disabilities in different ways. Even if the technology exists to fix some forms of blindness, there are people who will have “fixable” blindness and refuse to treat it. There will be individuals born blind who have no meaningful desire to modify this. And there are some people whose condition will be inoperable even if it “shouldn’t” be.

You don’t need to make your disabled characters excessively cool, or give them a means by which the audience can totally forget they’re disabled. Again, this is a place where strong worldbuilding is your buddy- a handwave of “x technology fixed all disabilities”, in my opinion, will never come off good. If, instead, however, you throw out a careless detail that the cool girl the main character is chatting up in a cyberpunk bar has an obvious spinal modification, and feature other characters with prosthetics and without- I will like your work a lot, actually. Even if you’re handing out a fictional “cure”- show the seams. Make it have drawbacks and pros and cons. A great example of this is in the series Full Metal Alchemist- the main character has two prosthetic limbs, and not only do these limbs come with problems, some mundane (he has phantom limb pains, and has to deal with outgrowing his prostheses or damaging them in combat) some more fantastical (these artificial limbs are connected to his nerves to function fluidly- which means that they get surgically installed with no anesthesia and hurt like fuck plugging in- and they require master engineering to stay in shape). We explicitly see a scene of the experts responsible for said limbs talking to a man who uses an ordinary prosthetic leg, despite the advantages of an automail limb, because these drawbacks are daunting to him and he is happier with a simple prosthetic leg.

Even in mundane accommodations you didn’t make up- no two wheelchair users use their chair the exact same way, and there’s a huge diversity of chairs. Someone might be legally blind but still navigate confidently on their own; they might use a guide dog, or they might use a cane. They might even change their needs from situation to situation!

Disability accommodations are part of life

This ties in heavily to the previous point, but seriously! Don’t just look up one model of cane and superimpose it with no modifications onto your character- think about what their lifestyle is, and what kind of person they are!

Also medication is not the devil. Yes, medical abuse is real and tragic and the medication is not magic fairy dust that solves all problems either. But also, it’s straight ableism to act like anybody needing pills for any reason is a scary edgy plot twist.

(and addiction is a disease. Please be careful, and moreover be compassionate, if you’re writing a character who’s an addict)

3. Be mindful of cast composition

This, to me, is a big tip about disability writing and it’s also super easy to implement!

Just make sure your cast has a lot of meaningful disabled characters in it!

Have you done all the work you can to try and dodge the Red Right Hand but you’re still worried your disabled villain is a bad look? They sure won’t look like a commentary on disability if three other people in the cast are disabled and don’t have the same outlook or role! Worried that you’re PSLT-ing your main character’s disabled child? Maybe the disability is hereditary and they got it from the main character!

The more disabled characters you have, the more it will challenge you to think about what their individual relationship is with the world and the less you’ll rely on hackneyed tropes. At least, ideally.

Ultimately, there’s no perfect silver bullet of diversity writing that will prevent a work from EVER being ableist, but I hope this helped, at least!

#disability #writing ruminations #readmore

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donutdrawsthings · 3 years

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NO THIS POST IS NOT A DISCUSSION FORUM. EITHER KEEP SCROLLING OR VIBE WITH THE REST OF US

I thought I had already been clear on what my stance was on the matter, but after today I feel like I need to yell it off the top of my lungs. I SUPPORT ROETVEEG PIET AND BLM. LISTEN TO BLACK VOICES AND ACKNOWLEDGE YOUR WRONGS.

(Information about the Dutch holiday and why it’s racist under the cut! includes extern sources and images!)

Summary

Sinterklaas is a Dutch tradition that starts at the first Saturday after 11 November and ends at 5 December. A figure called Sint Nicholaas comes on a boat from Spain to the Netherlands to celebrate his birthday on the 5th with his little helpers, the Zwarte Pieten. The Zwarte Pieten give candy to the kids and on the 5th kids get a gift from Sinterklaas.

The Racism (Black Pete)

All sounds fairly innocent, until you see what the Zwarte Pieten look like.

These are the traditional Zwarte Pieten (it translates to Black Petes btw). These individuals are usually played by white people and are purposely darkened to black with red lipstick, black curly hair and sometimes golden earrings. I have always been told the dark skin was to represent “soot” from the chimneys, however, up until recent years there was no effort made to actually appear as smeared. In fact, a lot of effort was put into making sure not a single speck of light skin was visible because that could ruin the illusion. (the illusion being, hiding your identity behind blackface.)

These characters are also played to be playful, hyperactive, carefree, happy to do their work and often praise Sinterklaas himself. Which are all traits often depicted alongside the “happy slave” stereotype from way back when and the S*mbo stereotype.

other racist depictions are also on display in stores and houses (often on display near a window for kids to see) in the form of little Black Petes, most of them resembling the G*lliw*g. (first image is a common window prop during Sinterklaas, the second image is the racist G*lliw*g)

This very outdated depiction of black people only really started being questioned in the early 2010′s. However, support for questioning Black Pete only started to become somewhat acceptable around 2016/2017... And even then the public has been largely Pro Black Pete until 2020, after the Black Lives Matter movement also started to become a valid topic of discussion in the Netherlands.

The Transition

Between 2010 and 2020 a lot happened since Black Pete officially got taken into question and talk about whether or not Black Pete should be changed started to become a genuine topic of discussion. When the question first rang, the majority of the Dutch folk were against the change. I was against this change as well. I think I should note that I was around 13 at the time and it is a very common phenomenon for kids to mimic the opinion of their parents and teachers. But this indeed a genuine opinion I had at some point and I acknowledge that with full responsibility.

The main reasons everyone was against this change was because we did not see it as racist and were convinced the “goal” with this movement was to entirely remove Pete from the holiday or remove the holiday as a whole from the list.

I would also like to note that the Dutch folk’s opinion on what is and isn’t racist is very outdated as well. (As I write this now in 2020 it is still not a whole lot better but around the 2010′s it was definitely worse.) As this topic gained attraction, jokes about black men having huge dicks (the m*and*ngo stereotype), “watering the Africans” and much more were made to me and other people regularly enough to be normal or at the very least, were seen as a bit of a cheeky thing to say. And despite being a multicultural country, Asian people were still referred to as “Chinese”, Native Americans as “Indians” and Islamic women as “Penguins” as well.

But back on the topic. As the years went on, more and more protests against Black Pete gained attraction and by now parents started to use these protests as another reason to be against the change because “they are ruining it for the kids” White parents would also start to praise the word of their 1 black colleague/friend for being against the change as well.

When the topic started to become more prominent, people made the attempt to change the Black of a Black Pete to another colour. This created the short lived bizarre creation of Rainbow Pete. (also seen in the picture above)

Rainbow Pete was a very short lived idea and was considered weird by many. However, I personally do believe this was an important step in the transition. Rainbow Pete took the depersonalisation tied to Black Pete and quite literally, showed its true colours. It’s ehhh hard to explain what “A Pete” is in English. But growing up I never considered them as human, nor were they ever explained to me as ACTUALLY being human. They are just described as a Pete, and a Pete is all they are. They aren’t people who can have other jobs in Spain or can travel the world to find something else to do. They are a Pete, and therefore they will always be with Sinterklaas in Spain, making toys for us, giving us candy and then going back to Spain with Sinterklaas again.

And that’s why I think this odd colour change was so important. Because by making them green or blue or pink it properly showed how ALIEN Petes felt. Like a whole other species. It tied a certain uncomfortable environment to the depersonalisation and after it’s short lived appearance, Soot Smudge Pete was a much easier step to make

Soot Smudge Pete, or in Dutch known as Roetveeg Pete, is the most recent and most inclusive variant of the Petes. This Pete only requires a few dark smudges to mimic actual soot and can be played by all races.

in 2018/19 Soot Petes started to become more present in the official parades, which a lot of parents were rather disgusted about. I personally think this is the period in which a lot of people just straight up outed themselves as racist, actively being against “White Pete” and actively longing for the “Real Petes” to return. Even with these Petes slowly becoming more popular, it is still not safe for most people who are against Black Pete to discuss the matter with Pro Black Pete individuals in this time period. Pro Black Pete individuals (often family or coworkers) more often than not become very heated when the topic arises and I cannot say I’ve ever seen the same attitude from people who are against Black Pete.

Present Day

In 2020, thanks to the Black Lives Matter movement, it has become way more socially acceptable to support Soot Smudge Pete. Parents who are still Pro Black Pete are still vocally voicing their disgust every time Soot Petes are present instead of Black Petes and much like what happened to me back then, their opinions also seep through onto their children. With these people still present in Sinterklaas spaces it also sadly occurs they press their believes on Soot Petes by giving them too much soot and still giving them a black, curly wig.

However, with the way things are going right now and the positive, multicultural depiction present in the media, I believe we are finally on our way to a more positive environment for kids of all kinds of backgrounds!

Afterthoughts

This whole post sparked after I dealt with a nasty situation myself while playing a Soot Pete at my old Elementary school. I really wanted to play this role to tie a more positive view on Soot Petes with all the parents creating such a negative environment around the Sinterklaas times and thought I could take matters into my own hands. However, I was Sooted up by a Pro Black Pete mother and thus, nearly got as dark as my brown hair. (besides that I also have gender issues and despite the school knowing I’m called Josh, put me in a dress outfit,, but that’s a more personal issue) I was able to wipe most of it off by the time the kids came in, but not without sharing some discouraging words with my mother, who told me to “just suck it up”.

It’s really important to me for people to know how Bad stuff like that still is in this country and I just... don’t understand why people would still support Black Pete after all this time. These people are either friends, family, or just kind people I know and love who around November open their mouths to say the most vile things and create such a sour situation for everyone involved. And after Black Pete is proven to be racist time and time again, still supporting it... It makes me wonder if this has to do with pride more than anything.

No one wants to be called a racist, but is it really that hard to acknowledge some of the shit you said and did was just plain wrong to the point that you’re taking your opinion to new extremes and decide to die on a sinking ship..?

I’ve said racist things. I have compared the curly black hair of a Black Pete to black classmates. I have compared Black Pete to black classmates. I have joked about them not needing to be face painted to be just like Black Pete. I have made those connections and I’m ashamed I did. But you do what you can to deal with it and become better for those around you. You listen to black voices, support black artists and black businesses and become better as a person. We need to start acknowledging how much our society is actually structured to belittle and undervalue black people and you can’t do that when you’re THAT far up your own ass.

phew... anyways. Black Lives Matter! Don’t use tradition to defend racism! Fijne Pakjesavond!!

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lesbianrobin · 3 years

Note

What do you think are the good and bad aspects of each season of ST?

ok 1. thank u for this question omg and 2. this answer may or may not be a mess, but either way it’s long (almost 7k words lmao) bc i’m insane, which is why it’s under a cut. it’s still by no means an exhaustive list but these are the things that just kinda came to mind.

also i realize you asked “good and bad” and i wrote this whole post as “strengths and weaknesses” which um. is not Exactly what you asked. but close enough <3 i also ended up including a lot of au ideas ksjdckmn bc like i personally hate when people say a certain plot or whatever was bad without suggesting anything that could have improved it yknow so whenever possible i tried to provide Some idea for fixing the issues i had with the show!!

season 1

strengths (this is probably gonna be the longest section but that’s because a lot of these strengths also apply to s2/s3 by default)

nostalgia and authenticity

this one’s pretty simple, but i think that season one did a good job of blending classic eighties media homages (such as the many many e.t./el parallels) with explicit pop culture references (such as mike’s yoda impression, mentions of the x-men, etc) to create a show that’s essentially dripping in early eighties nostalgia without it feeling too forced. before st, i think the most popular depiction of the eighties in mainstream media was that overly exaggerated neon scrunchie aesthetic from the mid to late eighties, and it was usually done in a comedic sense first and foremost. st took a different approach, instead focusing on the early eighties, a time that’s often ignored in favor of going either Full Seventies or Full Eighties, and i think that this choice likely resonated with adults who lived through the eighties and hadn’t yet seen something that felt quite so accurate to their own adolescence. a lot of young people who watched st were totally unfamiliar with this period of time, unfamiliar with books/movies like “stand by me” that st borrows from heavily, and i think st lent more seriousness to the eighties than most young people had experienced so far, and this was refreshing and interesting!

the use of dnd in the show is also quite genius in a way i’m not sure i can articulate?? it isn’t something Everyone would have played at the time, but it’s something that existed within a different context back in the eighties than it does today, and it really lent a sort of authenticity to the naming of the show’s sci-fi elements. like, of course these kids would name parallel dimensions and monsters and superpowers after these similar things in their favorite game! it just feels so real and it grounds st in our reality moreso than you might expect from the typical sci-fi or horror universe.

utilization of existing tropes

almost every single character in st clearly originates from some popular trope. the plot itself is riddled with classic eighties movie tropes. almost every single element of stranger things can be clearly traced back to some iconic eighties film or just to, like, overused horror/sci-fi/mystery/coming-of-age movie tropes in general. this might sound like a bad thing, but it really works in st’s favor! starting off with familiar tropes gives st the ability to easily create a lot of complexity and make a big impact by selectively deviating from those familiar, comfortable tropes!! while el’s whole plot, hopper’s character, etc, are all examples of this in action, i think the steve/nancy/jonathan plot is the greatest example. even from the start, the fact that good girl barb dies while nancy is off having sex with her asshole boyfriend is an incredibly thorough inversion of the most well-known horror movie trope in the book. how often do girls in horror movies have sex for the first time, walk home alone in the dark of night, and live to tell the tale? nancy and jonathan’s dynamic at first glance is a sort of classic “good girl meets boy from the wrong side of the tracks, discovers he’s actually got a heart of gold” thing, but instead of following this well-trodden path, st diverged. nancy is brash, impulsive, and at times downright insensitive. jonathan is angry, bitter, and actually a bit of a creep at first. while they have the capacity to emotionally connect and support one another, they can also bring out each other’s darker side, which is not what we’ve come to expect from that initial tropey dynamic.

in addition, steve, the popular rich asshole boyfriend, is actually... a human being! unlike the cartoonishly evil jocks that we’ve come to expect (especially from eighties movies), steve has complexity. despite his initial immaturity and selfishness, he’s also kind to barb, he backs off when nancy says no, he’s gentle and sweet when they sleep together, his first big Dick Move of the season is in defense of nancy, he realizes the error of his ways after the fight and does what he can to fix it, he’s worried about nancy when he sees that she’s hurt at jonathan’s house, and to top it all off, he ends up saving both nancy and jonathan’s lives when he could have just walked away, and the three of them all work together to fight the demogorgon. like... steve began as the most stereotypical character of all time, and by the end of the season, he had one of the most compelling and unique arcs among the whole cast!

finally, at the very end of the season, instead of dumping steve for jonathan as expected, nancy ends up getting back together with steve, and they’re both on friendly terms with jonathan. i realize that i just kinda. summarized s1. but my POINT is that i don’t think the dynamics between the monster hunting trio would be nearly as fun and interesting had the characters of nancy, steve, and jonathan not been set up to follow certain paths that we already had charted in our own heads. like, within the first couple episodes of s1, it’s pretty obvious that nancy and steve are gonna break up, nancy will get with jonathan, and steve will either die or go full evil or just never be seen again. like, duh! you’ve seen this story a million times! you know that’s how it’s gonna go! so, when the story DOESN’T go that way, the impact of each character’s arc and the relationship dynamics become stronger due to their unexpected complexity and authenticity.

distinct plotlines separated by age group

this one’s rather obvious, but the way that the adults in s1 were essentially in a conspiracy thriller while the teens were in a horror flick and the kids were in a sci fi power-of-friendship story and all three converged at the end... wow. brilliant showstopping etc. not only was it just really well done and unique, it also gave stranger things near-universal appeal. like, there’s genuinely something for pretty much everyone in season one!

casting

obviously this applies to every season sorta by default, but when i think about what made season one So successful, i always think about the cast, and not just winona ryder. yes, she’s absolutely amazing in the show and it’s very doubtful that st would be as big as it is today without her name being attached to it from the start!! however, i think the greatest determining factor in st’s success is the casting of the kids, particularly millie bobby brown. like... el is just absolutely incredible. she’s amazing. this has all been said many times before so i won’t harp on it, but millie and the other kids are all So talented and charismatic and i think their casting has been instrumental to the show’s success.

strong visuals

the way that multicolored christmas lights which have been around for decades are now kinda like. a Stranger Things thing. jesus christ. those lights are probably the biggest stroke of stylistic genius on the show.

atmosphere and setting

this is probably like. the least important one here for me sdjncdsc because i think s2 and s3 both had like Even Better atmospheres and shit but s1 was good too and it laid the groundwork!! i know a lot of people would have preferred st be set somewhere more Spooky with lots of fog or giant forests or whatnot, and while i do enjoy thinking about alternate st settings and how they might alter the vibe, i think hawkins indiana was a good choice. as the duffers have said, placing stranger things in a fictional town allows them more flexibility than if they’d gone with their original plan of using montauk, new york. besides that, i think the plainness and like... flatness... of small-town indiana just Works. like, the fact that hawkins is never really scary on the surface is a big part of the horror in the lab’s actions and their impact. hawkins isn’t somewhere that people just disappear all the time. it isn’t somewhere known for strange occurrences (prior to s1, that is). it isn’t somewhere shrouded in mist and secrecy. hawkins on its surface seems like the sort of place with no secrets and nothing to fear, and that’s the point! the lab is out in the open! it’s right there! everything is so close to the surface, yet so far out of the public eye, and i think that really works.

the byers family’s whole deal (specifically the joyce/jonathan dynamic)

this is going here bc i miss it so bad in s2 and s3. i’m not one of those people who believe The Byers Are The Whole Point of the show, because st is and always has been an ensemble, and el, hopper, and the wheelers are just as instrumental to the plot as the byers, but ANYWAY, i do think the byers were one of the most interesting aspects of s1. joyce’s difficulties with supporting her sons as a poor and (implied mentally ill) single mother, jonathan’s stress as a result of having to earn money, care for his brother, and keep the house in order when his mother is unable to do so, and the resulting tension between them when will’s disappearance and supposed “death” brings the situation to a tipping point? holy shit! it’s so good! that argument after they see will’s “body” is just incredible and gut-wrenching. their relationship feels so real and messy and i think it’s just... good. also winona ryder REALLY acted her heart out and she carried a lot of s1 which i think people often forget to mention so i’m saying it here.

weaknesses

pacing/timing

ok so pacing is probably going to go in each season’s weaknesses, to be honest, because i think they all had a blend of some good and some bad pacing. good pacing is invisible pacing, though, so i probably won’t be putting it in any of the strengths sections and will only be focusing on it in the weaknesses. i’m also probably not going to talk about weird day/night cycle things, just because i don’t want to get nitpicky on timelines because that would require going back and rewatching things to double check timing which i don’t wanna do at the moment lmao. anyway, when i think of bad pacing in season one, i primarily think of two things: nancy’s little trip into the upside down and subsequent sleepover with jonathan, and the sort of staggered nature of the climax in the final episode. the latter is simple so i’ll explain it first: while i understand that each group’s respective climax is like part of a chain reaction and that’s why each big moment happens separately and at different times, i think that st is strongest when the whole group is together, and i think that makes the stakes feel higher too, so i’m not In Love with the way s1 separated everyone and gave each group their own climax.

okay, now on to the nancy/upside down thing! idk if i’ve ever talked about it before, but i think the worst decision made in s1 by far is the inclusion of nancy’s brief trip into the upside down, wherein she dives headfirst into another dimension with absolutely no backup, watches the demogorgon chow down, freaks out and runs around for a minute, and then leaves. like... what the fuck? even putting aside what an idiotic decision this was (because i do think nancy’s tendency to rush into things headfirst is an intentional and consistent character trait), it just kind of destroys any remaining suspense surrounding the demogorgon and the upside down, and it accomplishes basically nothing besides scaring nancy enough to have jonathan sleep over, which is lame. i will break it down.

like, first of all, nancy just getting to waltz in and out of the upside down and get a good, long look at the demogorgon makes the entire thing far less mysterious, and by extension far less scary. like... before this scene, we the audience haven’t got a good look at the demogorgon. we’ve seen its silhouette briefly and we’ve seen a blurry picture of it, but nothing more, and i think that is far more effective at building fear than this jaunt nancy goes on which gives us a full view of the thing and makes it into less of a horrifying nightmare and into more of a humanoid animal. like, maybe this is just me, but i found the demogorgon far less intimidating after that scene than before. it also lets nancy and jonathan know For Sure that they’re right without providing any crucial information that they need to fight the demogorgon (aka it’s unnecessary to the plot), which removes a very compelling story element (the faith nancy and jonathan need to have in order to keep going against a vague and poorly understood enemy, the doubt they might have about each other and their own sanity, the possibility that they might be wrong, the trust they need to have in each other) a bit earlier in the plot than i believe is ideal. at the end of episode 5, nancy goes into the upside down and jonathan doesn’t know where she is and it’s intense!!! you’re thinking like, oh fuck, not only is nancy missing and fighting for her life now too, jonathan might be implicated in her disappearance!! some people already think he’s the one who killed will and people know that he took creepy pictures of barb and nancy before they both disappeared, maybe this is gonna cause some serious problems for him!! maybe nancy will find will in the upside down and she’ll help him survive!! fuck, maybe she’ll actually die!! this is huge!! and then episode 6 starts and they’re immediately like oh nevermind jonathan found the tree and got nancy out and she’s fine. my point with all of this is that nancy entering the upside down could have done A Lot in the grand scheme of the plot, but all it did was just... get jonathan to sleep over so he and nancy could have some awkward romance moments and steve could see them together and pick a fight. which could have honestly happened at Any point while nancy and jonathan were working together to hunt down the demogorgon, without ruining the demogorgon’s and the upside down’s mystique. so yeah <3

weird behavior and dumbass decisions that make no sense (aka the whole camera thing)

gonna go off about the teen plot again sorry but: why was nancy so unbothered and quick to forgive jonathan for taking those pictures? girl what the fuck are you doing? why wasn’t that a bigger deal? why was jonathan’s motivation for doing it so weak and why did they just kind of forget about the whole thing? why did nancy TRACK HIM DOWN AT THE FUNERAL HOME while he was PICKING OUT HIS BABY BROTHER’S CASKET to be like hey can you tell me what’s in this creepshot you took? it’s insane. it’s so insane. i mean i think the funeral home thing is hilarious and i don’t mind it being in the show necessarily but like my point here is that i think a lot of character decisions in s1 just kind of.. happened because they Needed to happen for the plot. like, they wrote this plot that required jonathan to be secretly taking pictures of the party and required him and nancy to work together after seeing something odd in the pictures, but they didn’t like... really consider what that event would mean for their characterization and relationship. the whole thing was sort of just dropped with minimal discussion and i think it did both nancy and jonathan’s characters a disservice and was really mishandled.

lighting and saturation/color grading

i am literally begging horror/sci-fi shows to let me see shit. i GET IT okay i understand that when you’re doing cgi effects it helps to keep the lights down and i’m not mad at any of the lighting in the demogorgon/upside down scenes!! i’m really not i think the demogorgon scenes in s1 all look sick!! but like... dude. the colors. where are they. why does everyone look like a vampire. i know blah blah this was probably an intentional stylistic choice intended to mimic film at the time blah blah but dude a lot of old movies are very colorful!! please just let people have color in their faces so everyone doesn’t look like a sheet of paper!!! also i’m white and not a professional lighting designer so yknow grain of salt but i think lucas was kinda poorly served by the lighting sometimes in s1. not Hugely so, not to the degree that i’ve seen poc be poorly served by lighting in other shows, but there were some times where it felt kinda like the lighting setup was just not designed with darker skin in mind.

horror

i just personally don’t find s1 very scary like... ever. i don’t think they were really Trying to be extremely scary yknow so i’m not counting this as a big deal, but i do think that each season has improved on the horror aspects. i think s1′s horror lies more in the mystery and the unknown than in what’s seen onscreen, and as i’ve said already, i think s1 kind of fumbled that suspense ball.

season 2

strengths

the possession plot

i’ll warn u rn this whole s2 strengths section is probably gonna be really short bc idk like. how much there is to really say i feel like it’s all so self-explanatory skjncmn. anyway yeah the possession plot!! eerie as fuck, and noah OWNED. so did winona tbh and finn and sean etc but like. noah. wow! i think the possession plot helped the show maintain a good amount of tension and suspense throughout the season, and a lot of scenes with possessed!will are flatout disturbing to watch. in a good way. i think the mindflayer and will’s possession were far more genuinely frightening than s1′s demogorgon, and it provided a new layer of depth and intrigue to the antagonist besides just “bad monster want eat people.”

tone and aesthetics

halloween season... literally halloween season. halloween season. that is all.

actually i will elaborate a bit and just say that i think s2 did a good job of having the sort of foreboding vibe that s1 was often going for, but without the annoying darkness and desaturation. so points for that.

also st2 is like one of the best Autumn pieces of media ever like it just. like steve and dustin on those train tracks with the fallen leaves all around them.... god. god the vibes are unparalleled. all of the halloween stuff also really contributes to the nostalgia st runs on yknow it makes you think about childhood and trick-or-treating and you kind of get transported like damn... i remember going to the rich neighborhoods to score the good candy..... idk i just think the whole thing is incredibly effective.

“babysitter” steve

by sending nancy and jonathan off together, the show created a problem: what to do with steve? this problem pushed them to create the unconventional and unexpected duo of steve and dustin, and the world is so much brighter for it. seriously though we all know steve and dustin are great i don’t need to argue that point. all i’ll add is that i think allowing steve to grow in this way, serving as a mentor figure and becoming genuine friends with someone so unexpected, really took the originality of his character to the next level. no longer content just to defy his archetype, in s2 steve begins branching out in ways that never would have been considered in s1, creating an incredibly complex and interesting person from the sort of character that most shows would have simply written out or killed off for convenience’s sake. and it works and steve and dustin are such a joy to watch and i love them. <3

the lucas/max plot

so first of all max mayfield is the most perfect baby girl on god’s green earth and idk what i would do without her but anyway. i think lumax is the best romantic relationship in the show and not just because they’re the only ones with like an age-appropriate approach to the whole thing. it’s also because their relationship accomplishes more than just putting the two of them in a relationship!! lucas and max spending time together motivates billy to do his evil shit, providing more conflict in the narrative, and it also helps establish max as part of the group in a relatively natural way while giving both her and lucas a great subplot. lucas (and dustin) has a crush on the new girl, they start spending some time together, and lucas ends up needing to decide whether he’ll keep the secret of the upside down and lose her, or risk both of their lives by telling her the truth. that’s a pretty big, character-defining decision that he gets to make!! max has to choose whether to trust this boy she barely knows and endanger herself, or to walk away and stay safe, yet another great character-defining choice that also contributes to the sense we get as an audience of max as somebody who’s incredibly lonely and desperate for love and connection. this post is way too long already and i have a ton more to say so i’ll stop now but yeah i think lumax really Works in the show without ever distracting or detracting from the overall plot and narrative in the way that some other ships (coughjancycough) often do.

balance between the normal and abnormal

s2 i think did a pretty solid job of melding daily life with more fantastical sci-fi horror elements. i enjoyed seeing so much of the kids at school in the first few episodes!! you really get a strong sense of where they’re at in life, what their daily lives are like, and you get a sort of gradual shift into madness that makes everything feel more grounded than i think it would if they had just leapt straight into the horror shit, yknow?

the el and hopper dynamic

go back and rewatch s2 and tell me that’s not one of the most moving portrayals of parenthood and trauma and growing up that you’ve ever seen. you can’t. or well you can but i won’t listen. i really can’t imagine stranger things without el and hopper’s relationship, and it’s my absolute favorite part of s2. their whole dynamic is so beautiful and complex, and gives them each amazing personal arcs in addition! the black hole scene is literally one of the show’s greatest moments of all time. any given scene between the two of them in s2 is just guaranteed to be heartwarming as well as heartbreaking, and i think that makes for an incredible show.

weaknesses

flashbacks

okay this applies to Every season they All have too many flashbacks but in s2 specifically... please stop showing me shit from season one. i watched it. i know what happened. you don’t need to spoon feed everything to me!! flashbacks can be a really helpful way of delivering information to an audience, but st has a bad habit of not only being kinda demeaning in how often they flash back to shit that the audience already knows, but they also have a bad habit of using flashbacks almost as a crutch to avoid having to deliver information subtly and naturally.

you know i gotta say it... the lost sister

this is so sad. the lost sister really is like a great concept for an st episode, and i’m not mad about the idea of st taking a break from the normal action to focus on one story for a full episode, but the execution of it was just dreadful. kali and her crew feel very over-the-top and stereotypical, and its placement in the season totally kills the tension and excitement that was built in “the spy.”

i think the lost sister honestly could have gone over far better, even with the stereotypical fake-feeling gang kali has, if they had just swapped it with “the spy” like... ok, the end of episode five has el setting off to find kali and will collapsing on the ground seizing. right? imagine if, instead of immediately following will to the lab, we’d followed el. we don’t know what’s happening with will, but it’s a very simple cliffhanger that leaves us on edge without making us feel cheated by the show cutting away. we follow el on her little journey, everything happens much the same as canon, and then at the end, el sees hopper in scrubs. she sees mike, screaming, sees that they’re both in danger. holy shit!!! what the fuck!!! what’s happened since we left will seizing on the ground??? we feel el’s fear and confusion. she decides to go home. and then... boom. “the lost sister” is over. now, we rewind, right back to will seizing on the ground, and “the spy” commences. we learn how they got into the danger that el saw in the end of “the lost sister,” and we sit on the edge of our seats all through “the spy” and “the mind flayer,” KNOWING that el is on her way back to save them but not knowing when she’ll arrive!! idk i don’t think that would have necessarily saved lost sister but i think it may have alleviated some of the issues that i and many others have with it, timing-wise.

the nancy/jonathan sidequest

once again, the idea of nancy going off on her own little mission to find justice for barb after s1 is like. amazing. genuinely i love that plot for her and i can’t imagine anything better for her to have focused on in s2. unfortunately though i think her and jonathan’s little trip to see murray was just kind of... lame. the whole thing just felt like an excuse to get the two of them alone together, yknow? which is fine i guess people contrive all sorts of situations to get characters alone together for romance reasons but in this case i think it just really doesn’t work for me because of what it’s juxtaposed with. like, will is POSSESSED, and jonathan is just off on a mini road trip and sleeping with his bestie, and jonathan never seems to communicate to joyce/will that he left town, and joyce never like... thinks to tell him that will is like sick and fucked up and they’re looking at him in the lab??? like it’s so weird i know joyce always forgets about jonathan when shit’s happening with will but jfc you’d think at some point in that like... 72-ish-hour period where jonathan was out of town she would have thought about him. like at least once. maybe i’m forgetting something and she mentioned him sometime and i missed it but even still, i hate the juxtaposition of nancy and jonathan just like cheers-ing at murray’s place and sleeping together and whatnot while everyone else is dealing with possession or trying to hunt down dart yknow? it feels really boring in comparison and i think it could have been done far better. like it was SO insanely easy for them to get into the lab and get an admission of guilt and escape with it!! i think it might have been a lot more engaging if maybe someone from the lab tailed them to murray’s place and they had to like lose the tail and race to get the recording out to as many news outlets as possible before they got caught, or something like that. the tension in their plotline is completely resolved in episode four!! episodes five and six are just them screwing around and addressing envelopes. while there were a lot of strong ideas in this plotline (i really enjoy nancy going out of her way to get justice, and the fact that they have to water down the story to make it believable), i just think the focus on nancy and jonathan getting together hindered it a lot without adding a ton to the plot or their individual characters.

season 3

strengths

starcourt mall as a setting

while i don’t think the mall was utilized quite to its full potential (something i could make a separate post about if anyone’s interested), i do think that starcourt was a genius addition to the series. i’ve said this before, but building a new mall is a literal Perfect in-universe justification for a significant leap forward in fashion and aesthetics, and it provides a great location for characters to just... be characters. idk how else to articulate this i just think that the mall is a great setting to let people interact with each other and to bring people together who may not have been otherwise (i.e. scoops troop). not to mention how sick it was to see the mall get wrecked toward the end kdjncdkm like they were able to do so much more with the mall in terms of like The Finale than they could with just the byers house or the cabin or the school or even the lab. i love all the back tunnels they run through it’s such a fun like acknowledgement of how this glitzy eighties mall is just a real place where employees get shipments and take out the trash and shit idk it’s all about the perfect facade and what’s hidden what’s underneath what’s hiding in plain sight etc etc i’m just saying words now. anyway.

willingness to experiment and go against expectations

gay robin. neon aesthetics. giant fucking meat monster. i know some people hate both the neon and the meat monster but i personally think they were kind of amazing and like. yknow regardless of personal tastes i think it’s impossible to deny that s3 had a lot of incredible visuals, and they’re all visuals that just wouldn’t have been possible if the show were too afraid to stray from its s1 aesthetic. robin being canonically gay (and her resulting friendship with steve) and the season’s striking visuals are two things that most everyone (besides like homophobes skjncdknm) can agree were great, right? and they were both departures from where the show began and what we all expected!! so yeah i think while some of the experimentation in s3 wasn’t ideal it was also that experimentation that allowed for some of the season’s strongest elements to come about.

the hospital sequence (and the season’s action/horror scenes in general)

this one is fairly self-explanatory. while they may have underutilized the “body snatching” element of the season, the hospital sequence with nancy and jonathan fighting off their possessed bosses did an amazing job of building tension and creating a genuine sense of really intense and personal danger.

in general i think that s3 melded action and horror rather well, particularly in the sauna test, the hospital, and when the mindflayer busts through the roof of hop’s cabin. horror can come from many things, and in this case, st elicited horror largely from the feeling of helplessness, and it was really effective for me personally. i think it worked better for me than s1′s brand of horror because it doesn’t rely so much on a lack of knowledge or a sense of suspense that inevitable disappears upon a second viewing.

the body horror we got in s3 was also really fun! that’s it i just think all the blood and guts and slime were fun and i would like more of them. once again, the impacts of body horror are less dependent upon the viewer being in the dark or unsure as to what’s happening, and as such i think it tends to be a little more effective at eliciting reaction in the long term.

timing and mechanics of the battle of starcourt/finale

i think the battle of starcourt is just fucking awesome, and beyond that personal opinion, i think it’s the most high-stakes and intense finale of all three seasons, and this is for two main reasons! 1. el is out of commission, and 2. (almost) everyone is in the same cental location. this means that (almost) everyone is in danger all at once, and they are all working together at the same time to fight the same threat. s1/s2 have their groups more fragmented for the finales, and while i understand why in each case and i wouldn’t call either season’s finale necessarily weak, i do think the centralized nature of the s3 finale just Works on another level. in s1 and s2, large segments of the cast are already perfectly safe by the time el dispatches the primary threat. in s3, however, everybody save for dustin and erica is still in danger up until the last moment, and el is seemingly (you can def debate how much power she still had in her when she peeked into billy’s mind and whether the memory broke the mindflayer’s hold on him or if she was actually controlling him to some degree) completely vulnerable. this increases the tension and raises the stakes, making the finale a real crescendo to fortissimo as opposed to a series of little mezzo forte moments. i hope everyone reading this knows music idk how else to phrase that my brain is stupid.

emphasis on friendship and adolescence (but in a different way than s1/2)

this is definitely a controversial one but i think that s3 really did like... show a side of friendship that had been more or less unexplored thus far in the show. el and max were amazing, and i think it’s really nice that we got an opportunity to see the kids have some growing pains as well as see them support each other through Normal Adolescent Stuff like boyfriends and breakups instead of just like. death and trauma. this is maybe just a personal preference, but i think it can be really enlightening and provide a lot of depth when you get to see how characters respond to normal everyday conflict and not just how they respond to giant world-ending conflict!! letting el use her powers for goofy teenage shit like spying on boys and messing with mean girls at the mall is not only fun for her and the audience, but it also really emphasizes just how much those powers are a part of el, making it that much more devastating when she loses them at the end of the season.

weaknesses

tonal dissonance

so this is like. obvious. but it must still be said! i won’t go on and on about it since we all know this so i’ll try to like talk about it from an angle people don’t usually? anyway. it seems to me like they were maybe a little worried about s3 being too dark. while the choice to really lean into humor was definitely driven by the sorts of eighties teen films from which s3 drew inspiration (like fast times at ridgemont high), i think it was also done in an attempt to alleviate the more troubling implications of some events in the season, particularly the russian bunker plot. like, yeah, st can be incredibly dark, but if they’d played the whole “children being stuck inside of a foreign military base, tied up, tortured, and drugged” thing completely straight without the humorous elements that exist in canon, it had the potential to be like... disturbing on a new level. steve and robin don’t have powers like el yknow their kidnapping/torture doesn’t have any sci-fi elements to sorta soften the blow. they’re just innocent teenagers being brutalized and traumatized by grown men. so anyway yeah i think maybe the writers were concerned about this storyline coming off as too dark and they wanted it to be a little more whimsical but they ended up pushing way too hard in that direction and creating extreme dissonance at times. this goes for joyce/hopper/murray/alexei too, but to a lesser extent. i think the ridiculousness in that group felt a lot more like... realistic. but still.

newspaper plot

once again i feel like i don’t even need to say this skjdncmn we all know it was insane how the show basically ended up delivering the message “while misogyny is a serious problem poverty and classism are not” and i’ve said it on this blog a million times so i don’t need to repeat myself. i’ll focus on another weak point of this plot: the fact that it completely separates nancy and jonathan from everyone else. once again, the show’s preoccupation with j/ancy held them back! like... can you imagine a version of s3 where nancy and jonathan both worked in the mall? i have a lot of ideas about this possible au and like how the plot could play out differently if they worked in the mall but first of all it’s just more realistic, second of all it further utilizes the mall as a central setting, and third of all, it would bring everyone together. as it is in canon, nancy and jonathan were unnecessarily isolated from the rest of the group, and this isolation was detrimental to both of their characters. like, they only ever get to interact with each other! if they’d gotten summer jobs in the mall, they could have had more interactions with the kids/steve/robin, and they absolutely still could have had a similar argument! maybe in this case, nancy notices the rat thing (or something else odd) herself when taking out the trash behind the mall, and she wants jonathan to ditch work with her to check it out bc she thinks it may be related to the lab. jonathan doesn’t want to ditch work because he needs his job, nancy argues that they’re working shitty mall jobs anyway and who cares if they get fired, and we get more or less the same thing as s3 without the cartoonishly over-the-top misogyny. i mean honestly i think the rat shit could have been cut entirely it didn’t rly... accomplish much of anything. in my opinion. like imagine s3 without the rat plot you literally would not be missing anything except it would be more surprising when the dudes melted into goo at the hospital. so yeah i think it would have been better if nancy and jonathan had jobs at the mall, weren’t isolated from everybody else, and were maybe absorbed into the party’s plot or the scoops troop’s plot from very early on, allowing them to interact with more characters and have a less... dumb.... plot. like god splitting up nancy and jonathan between the party/scoops troop would have been So Much better i just. sdkjcnksdmn anyway yeah.

briefness of group reunion/separation of groups

remember in s2 at the beginning of “the gate,” where mike and hopper had a confrontation and max and el met for the first time and el hugged everyone and steve and nancy had their sad little moment together outside... where’s that energy? obviously the s2 reunion wasn’t that long either, but it made space for some significant emotional moments to take place. s3′s reunion had some hopper/el/mike resolution, but besides that... there was nothing, really. i just think that the whole group getting together in s3 was SO exciting and powerful the way they did it (with both the scoops troop and the adults having their own Big Moment reconnecting with team griswold family), but the emotional potential was more or less squandered.

i also think in s3 at times they were really stretching to keep everybody separated even though it made no sense. and like... in s1 the separation worked bc nobody else knew that (x group) was experiencing weird shit too, and beyond that, each group (as i mentioned in the s1 section) was sort of operating within their own genre and bringing something unique to the season. they’ve stopped doing that though! now, the groups aren’t separate bc each plot is tonally/structurally different, the groups are just separate bc... they need to be, because it’s a big ensemble cast and you can’t just have them all be together for a whole season or it would be way too difficult to coordinate things and keep the show dynamic. all this is to say that i’m excited for s4 because the location differences make it so there’s a Reason for each plot to be separate at the beginning, and i think that’ll work better.

general ridiculousness

i dont mean like i think it’s bad that they made jokes this is just me lumping in all the dumb shit like hopper not worrying about el and not wanting to check on the kids, him and joyce bickering long after they both know they and their children are in danger, max seemingly forgetting that billy is a racist abuser, etc etc. i think many of these are just a symptom of the show 1. trying desperately to keep the groups split up a certain way even though it may not make any sense, and 2. trying to fit into a certain genre/trope mold when their actual characters are more complex than the tropes they’re imitating. this is so fucking long already i am not gonna elaborate further rn but i trust u all know what i mean.

soooo... yeah, that’s about all! i mean it’s not all there are definitely many more things i could talk about and i know i focused sorta disproportionately on the teens which is my bad :/ but i’m done for now. thank you for asking, and apologies for the delay in responding!! i’m sure some people reading (if anyone read this far) will disagree with some of what i’ve said and that’s alright like i’m not The Authority on st or anything i’m just trying to talk about like my own thoughts yknow? so yeah luv u all i hope someone enjoyed reading this!!

#asks #em talks #lesbianrobin.canon #stranger things #if u actually read all this i love u and im sorry #these r just my opinions!! and im sure i misremembered some shit my brain is swiss cheese #i did my best tho

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renaroo · 3 years

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Other History? More Like Other MYSTERY

as in it’s a MYSTERY how the hell this got past an editor the week before Pride Month are you fucking kidding me?

I was kind of hoping for more than like... a week of being back on tumblr before I breathed fire and ripped a comic book to shreds. But we all know why I’m here.

There are so many preemptive things to get out of the way before I rip into this thing...

John Ridley as a writer in other forms of media has been incredibly accomplished and an important additional voice to entertainment industries. I do not wish to take away from that or to minimize the impact of voices like his.

But, you know, he’s a voice in media. Not the end-all, be-all to all marginalized people worldwide who can substitute his perspective for any nonwhite straight male voice. And I don’t think that has ever been more apparent than the continued spiral down the drain that has been every issue of The Other History of the DC Universe since the first.

DC’s “new” approach to everything being canon and everything mattering is dumb and filled to the brim with ways it’s going to backfire and reveal itself to be the eye sore of publications that it’s aiming for, but I was curious to see how they would try to incorporate these characters’ long and contentious histories in the comics with the real world issues they often were billed to tackle, and try to fit it into the current pop culture landscape. That was the whole reason I had my eye on this comic to begin with.

By the second issue we were getting some stark warning signs because as much as I appreciated hearing an authentic perspective on how the Teen Titans brand carried on while neglecting its landmark Black teen heroes (Mal Duncan and Karen Beecher), there was a note of cruelty added to the issue that felt otherwise misplaced and uncharacteristic of the tone being set.

There was no reason to have a significant portion of that issue dedicated to Mal and Karen’s monologues taking some aggressive words out on Roy Harper specifically for being an addict.

Perhaps it was a quirk of writing from a flawed perspective or a show of how righteous upset and anger could be turned outward to other people suffering in a vy for your own empowerment.

I’m now pretty sure that wasn’t it at all. I’m pretty sure because it kept getting worse every issue and it’s culminated in today’s issue where the retelling of Renee Montoya’s story managed to be petty, cruel, shockingly pro-police brutality int its adulation of Jim Gordon and especially Harvey Bullock, and managed to make a well-rounded and very beloved Latina lesbian and just retrofit every stereotype she never had before to her without regard for what it did to her story or to the stories of people around her.

Honestly, lapsed faith and a poke at the damage that Catholic guilt can have on especially queer believers is kind of my jam, so it’s not that I wouldn’t be down for a story with that perspective. I could even understand exploring that with Renee. But not at the expense of her established history.

Which is a question all of its own. Here we have the skeletal structure of Renee’s life events that we have read before (in much better stories), but they are surprisingly out of order and also shockingly twisted in a way to make EVERYONE as unpleasant as possible.

And in a way that has convinced me that either John Ridley has never read comics featuring Renee, or that he was mandated to change things that had no business being changed.

According to this issue Renee hated Batman and other superheroes? Which, ah, I don’t even know where that could come from. Ever since the animated series where she got started, Renee’s whole bag has been “the acolyte of Jim Gordon, only other cop who supports Batman”. Like I don’t even know how you get around that.

But according to Ridley she’s hated them all along as an extension of her internalized homophobia and self-loathing. Great.

What follows out of that is that apparently? Renee and Batman specifically butted heads over wanting to rehabilitate Harvey Dent? As in Renee wanted to help him and BATMAN was the one flipping out and saying Harvey was a sociopath and couldn’t be helped.

Like. I’m starting to question if Ridley has read Batman comics before. I don’t know where that interpretation could possibly come from? Bruce and Harvey were friends? Bruce has always held out hope for saving Harvey from his psychosis? It’s like. THE storyline for Two-Face.

The cop stuff... I don’t really know how to talk about the cop stuff to be completely honest. If you mention the LA Riots on one page and a few pages later try to frame it so that over policing and methods of brutality weren’t a thing until 9/11... I don’t know what to say to you.

I’d say maybe I was being ungenerous here except there were two characters who got entire full page spreads about what good cops they were. And one of them was goddamn Harvey Bullock with the explicit commentary that Renee USED to be uncomfortable with his torture methods and general brutality but figured it was “okay” because he knew how “innocent people screamed different” and that he “never collared someone and it didn’t stick” because. Y’know. Police violence and falsifying evidence never go hand in hand. what the actual fuck ever right?

The timeline for Renee and Kate’s relationship is also completely changed which means that we get to add a trope I just LOVE as a lesbian personally, which is that lesbians can’t keep relationships and can’t keep from cheating on their loving partners. Especially when they are butch.

And I’m not talking about Renee cheating on Kate. Oh, no. Ridley decided Kate was the Other Woman during Renee’s relationship with Daria.

And just.. the cruel commentary that Renee had about both Kate and Daria throughout. It made my skin crawl. The way she talked about other women in general made my skin crawl. “Uncomplicated women” “Broken souls” “Can’t be with someone better than yourself”

So I actually planned to go into a full rage post about just the queer content because 1. my lane and 2. it honestly affected me so bad I was shaking and tearing up in anger a bit. Every single friend I know who loves Kate and Renee, see themselves in Kate and Renee, have been the same kind of mess I am after this.

The NASTINESS of the internal monologue. I don’t know how to explain it more than this is how poorly men think of flf and to have one use a character so meaningful to the community to spout this hatefulness has revolted me in a way I... haven’t had happen to me for a while.

I was going to talk about the weirdness of just... randomly deciding to retcon Renee’s parents into being undocumented when that’s never been a thing before and just doing NOTHING with it the whole while after. Or how it’s pretty questionable how Renee suddenly became so adherently Catholic when it’s never been portrayed like that before (that’s Hel B’s bag, JPV if you squint) but it’s entwined with any of her commentary on her ethnicity p sus too but I don’t have the nuance for that discussion right now.

Rena Rants are back and what a fucking JOKE this comic was.

I didn’t pay for it and neither should you.

P.S. bringing back Tim Fox and calling him “Jace” is dumb as fuck too

#VICTOR #CHARLIE #Rants of Unusual Size #Rena Rambles #Wednesday Spoilers #The Other History of the DC Universe (2019)#Renee Montoya #the Question #Kate Kane #Batwoman #character assassination #for who?#take a pick #I didn't even touch on her calling Vic instead of #In the name of the moon fuck you my dude

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petersasteria · 3 years

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What You Don't Know Won't Hurt - Tom Holland

Tom || Main || Taglist

Pairing: Tom x Chalamet!Reader Requested? Nah 4,289 words

* * * *

“Happy five-month anniversary!” You whispered in Tom’s ear as you hugged him from behind. He smiled and turned around to pull you in for a short, but sweet kiss.

“Happy five-month anniversary to you too, babe.” He said softly with a bright smile on his face. “I spoke to your brother.”

“Oh?” You raised your eyebrows before pulling away from him to prepare breakfast for you and Tom. “What did you talk about?”

Tom shrugged, “Nothing important. He greeted us, that’s for sure. He’s inviting me to hang out with his friends, actually. Should I go?”

“Do you want to go?” You asked and he nodded slightly. “Then, go for it. When is that supposed to be?”

“Tomorrow after lunch.” Tom answered and you nodded. Both of you prepared breakfast and ate breakfast. You didn’t eat that much because you knew you’d puke it all out later. You’re two weeks pregnant and you wanted to tell Tom later tonight.

You and Tom haven’t been confirming your relationship to the public despite being seen together for a bunch of times. That’s about to change, though.

You and Tom were caught by the paparazzi and it was normal for both of you, but what you didn’t know is that you two were caught kissing and that caused so much reaction from the media. When you two got home from your shared flat, you were surprised that your relationship was outed by the paps. It was something that surprised both of you. You had no problem with that because you didn’t want to hide anymore. Tom, however, was fucked.

Tom’s phone rang and he glanced at the caller ID and quickly went to your shared room to answer it. You didn’t even have the time to ask who it was because he just bolted straight in the room. You didn’t mind, though. It was probably his manager or publicist or someone important from his team.

It was his girlfriend, Nadia.

Tom answered the phone immediately. “Na-”

“When were you planning on telling me that you’re cheating on me? Did you even want to tell me?” Nadia asked. She was mad and rightfully so.

“I was planning on telling you, but-”

“Cut the bullshit.” She said angrily. “It’s so unfair that you and her have gone public, but you haven’t gone public with me and we’ve been together for a year.”

“I was planning on leaving her, I swear!” Tom hissed.

“You leave me with no choice, Tom. Goodbye.” She said before hanging up. Tom let out a frustrated sigh as he sat on the bed. He rubbed his face with his hands and just sat there.

A few minutes later, his phone’s blowing up with notifications from Instagram. He clicked on it and was shocked to see Nadia’s post about her relationship with him. He scrolled through each comment and he was hurt that everyone started going against him.

Timmy saw the post and sent it to you. You were confused as to who Nadia was but when you looked through the pictures and read her caption, you realized she was Tom’s girlfriend. His real girlfriend. You went up to your shared room and saw him sitting on the bed with a shocked face.

“You didn’t have the decency to tell me that you were taken?” You whispered as tears streamed down your face. You didn’t have the energy to speak loudly. “All this time, I thought you were single when we met because that’s what you told me. Everyone’s going to think that I’m the snake who took you away from her, don’t you realize that?”

“That’s not my problem.” He said before getting up and grabbing a suitcase to pack his things. “We’re done, Y/N. I lost her because of you.”

“Wait a second.” You grabbed his arm and he looked at you. “Why are you acting like it’s all my fault? There’s two of us in this relationship! It’s your fault too!”

Tom went back to packing and said nothing. You watched as he moved around the room to grab his things. You suddenly felt sick to your stomach when you realized that you’re carrying this man’s baby.

“You came on to me!” Tom shouted and you flinched at the sound of his voice. He was angry.

“No, that’s not true and you know it! Don’t twist this!” You shouted back. “How dare you blame me for something I didn’t know! If I knew you were taken, we wouldn’t be where we are right now!”

Tom was finished packing his things when he stared at you one last time. He took in your features. Like your older brother, you had a face that made you look like you came straight out of a renaissance painting. In truth, Tom was lucky he was graced to wake up next to a beauty such as yourself.

“Look, I’m sorry. I have to go.” Tom sighed as he grabbed his suitcase and left your shared apartment. You knew he was going to try and get his girlfriend back. You stared at the man you loved as he left your shared flat without another word.

News broke out and Tom defended himself saying shit about you and that he was working on apologizing to his true love which he did. He even got her back and vowed not to do it again. He still got his job and because of all the attention he got, he was being asked to take on roles left and right.

You got the short end of the stick, though. Everyone thought you were a liar and the few people who defended you were facing backlash for being on your side causing them to leave you. Your parents had no say and your sister just dismissed you. Timmy stayed by your side and he never left. He even defended you when no one else would.

This caused a rivalry between Tom and Timmy. Timmy took it personally because even he didn’t know that Tom was taken and Tom promised him that he’d care for you and love you. Tom, of course, didn’t let it faze him. He was still a jackass.

Meanwhile, your pregnancy was going well. The baby was healthy and Timmy has been very supportive. He’s the best uncle in the world, in your opinion. You still get casted for some roles, but you asked them to hide your pregnancy and you were thankful that no one said a thing.

The media still wasn’t so nice to you, though. Since they didn’t know you were pregnant, they assumed that you let yourself go after Tom left you. They made rumors about you having breast implants, you gained so much weight after Tom left, and so much more. This pissed Timmy off because he kept asking you to clear the rumors and just tell them you’re pregnant.

“I don’t want to, okay?! I want this baby out of the spotlight! You saw how the media treated me and I admit that it’s shitty, but can you imagine how the media will treat my baby?! They won’t be so kind and we both know that.” You frowned. “I don’t want Tom to know either.”

“Fine.” Timmy nodded. “Don’t stress yourself, okay? How’s the baby?” He asked as he sat next to you.

You smiled and looked at him, “The baby’s fine and I know the gender.”

“Spill!” Timmy said in excitement. His eyes sparkled and he was happy.

“I’m having a boy.” You grinned.

“Ahh!” Timmy screamed in joy. “Tu as un fils! (you are having a son)” You laughed and nodded as he pulled you in for a hug.

A son. You’re having a son. He’s the center of your world.

A year later, Beau Julien Chalamet is now turning 1. He was very playful and he was always laughing. It brought you joy despite having a tough work life. You were thankful that Beau took almost all your features which made him really look like a true Chalamet. In short, his name suited him well.

Today is Beau’s 1st birthday and you were celebrating in your flat. Your sister will come over later and Timmy won’t be able to come because he was halfway across the world to attend an awards show. You were now waiting for his call while Beau watched Sesame Street in the living room.

You were looking at Beau with an amusing smile as he danced around to the song Elmo was singing on tv. Your phone rang in your hand and you glanced down to see that Timmy wanted to FaceTime you. You smiled and quickly answered, “Hi, Timmy!”

“Hey!” He grinned. “Where’s the birthday boy?”

“Il regarde la télé! (he is watching tv)” You turned the camera to Beau and he was watching while dancing. Timmy laughed and you turned the camera back at you. “I thought you’re at an awards show.”

“Yeah, it was. It’s the after party now and I’m in the men’s room so that it’s quiet. Everyone’s having fun out there and I figured they’d be too busy to go to the bathroom.” Timmy explained.

You nodded, “Tu es intelligent. (you are intelligent)”

“Merci beaucoup.” He said with a playful smile on his face. “Anyway, I want to speak to the birthday boy!”

You grinned and called over your son. You pulled him on your lap and he instantly smiled when he saw his favorite (and only) uncle in the whole world. “Who’s that?” You asked Beau.

“Timmy!” Beau said with a cute smile which made yours and Timmy’s heart soar. Timmy was his first word and your brother will never not let go of that.

“Hey, buddy! I miss you so much!” Timmy pouted. “When I come back there, I’ll give you lots of presents. Okay?”

“‘Kay!” Beau smiled. He can repeat the last syllables of words, but he can say ‘mama’ and ‘Timmy’ really well. It was weird, but hey, every kid is different.

You, Timmy, and Beau kept talking for a few minutes. On the other line, Timmy didn’t notice Tom entering the bathroom. Tom has never seen Timmy ever since the incident and seeing your brother made Tom nervous. He noticed that Timmy was talking to you and he hid in one of the cubicles to listen.

“Y/N, you don’t have to worry about me giving gifts to him. He’s my nephew! I’m allowed to spoil him. Plus, that’s mom and dad’s first grandchild.” Timmy said.

“I know. I’m just telling you not to spoil him. I can’t afford those things and he might go looking for them.” You told him which made Timmy sigh.

“That’s why I’m here and that’s why I’m his godfather. Besides, who else is going to do that? His deadbeat dad? No fucking way, Y/N.” Timmy shook his head. “I swear I’ll beat him up, but at the same time I’ll thank him for giving you Beau.”

“Don’t beat him up, but thank him for me too.” You said. “Well, I have to go. Pauline is coming over in a few minutes and Beau is making a mess in the living room right now.”

“Alright. I’ll talk to you later before you go to bed.” Timmy said.

“Okay. Bye! Beau, say goodbye to Timmy.” You smiled as Beau walked over to you and showed his face to Timmy. He gave Timmy a toothy grin and said, “Bye!”

“Bye!” Timmy smiled and flew him a kiss through the screen. “Bye, Y/N/N. Take care.”

“You too.” You smiled before hanging up.

Timmy put his phone in his pocket and washed his hands. Tom emerged from one of the cubicles and stared at Timmy. Timmy looked up and saw Tom through the mirror. They stared at each other and Tom cleared his throat and said, “H-How are-”

“Skip the formalities and tell me what the fuck you want.” Timmy hissed. He turned around to face Tom and he crossed his arms.

Tom gulped and took a deep breath. “Y/N has a son?”

“Why does that matter?” Timmy raised an eyebrow.

“Is he mine?” Tom asked.

“Everything related to my sister and my own sister will never be yours. Excuse me.” Timmy said angrily before leaving Tom in the bathroom.

Tom looked at the door where Timmy left and he pulled out his phone to call Sam who was back at home and because he conveniently lived near you.

“Hello?” Sam answered. “I thought you’re at an awards show.”

“That doesn’t matter.” Tom said quickly. “You live near Y/N, right?”

Sam was silent on the other line before speaking again, “Why? Are you planning on getting on with her again? Because if you are, at least break up with Nadia first. What you did was fucked. You’re lucky mum and dad love you.”

“That’s not it, Sam. I think she’s hiding something from me. I overheard her brother saying something about having a nephew and the kid having a deadbeat dad. I’m the deadbeat dad, Sam. I think she hid that from me.” Tom said.

“Are you drunk?” Sam asked in concern. “You know, I think you’re an alcoholic.”

“I’m not fucking drunk, Sam! Just check. Please.” Tom begged.

“I can’t just show up at her place a year later! That’ll be weird. What will I say?” Sam shrieked in panic.

“Tell her that I told you to get something of mine that’s still there and then look around. Tell her that I must’ve left my jacket there.”

“Are you hearing yourself?!” Sam shouted. “That’s fucking weird! You left your jacket and you want it back a year later??? Do you know how suspicious that sounds?! Just straight up ask her!”

“I don’t have her number!” Tom hissed.

“Grow a pair and ask her brother! I won’t help you do your dirty work. Besides, if she did have a child that she hid from you, she has a reason for doing so. If she wants to keep the kid away from you, then she has every right to do that.” Sam told him.

Sam had a point. A minute later, Tom hung up and exited the bathroom to find Timmy. He looked around and he couldn’t find him anywhere. When he asked Timmy’s friend, they told him that he left. It devastated Tom.

A week later, Timmy flew to London to stay with you for a couple weeks. Because he hasn’t seen Beau in a while, he decided to go on a roadtrip with Beau to somewhere far away so you can have some alone time. Your alone time was ruined when someone knocked on your door. You looked through the peephole and furrowed your eyebrows when you saw Tom.

“What the fuck.” You said as soon as you opened the door.

“Hey, Y/N.” Tom said with his hands in his pockets. “May I come in?”

“No.” You said and closed the door, but Tom stopped it with his foot. You inwardly groaned and opened the door again to face him. “What?”

“Where’s my son?” Tom asked.

Inheriting your great acting skills from your older brother, you acted like you didn’t know what he was talking about. “What the fuck are you talking about?” You asked.

“Don’t bullshit me. I overheard Timmy talking to you last week. He was talking about a nephew and a deadbeat dad.” Tom snapped.

“Why are you listening to conversations that don’t concern you?” You asked angrily. Tom shook his head and invited himself inside your flat. You rolled your eyes and sarcastically said, “Sure, come in. Be my guest and make yourself at home, will you?”

You closed the door and walked to the living room as Tom walked around the flat in search of a little boy that he hoped would resemble him. He found the room he once shared with you and saw a crib there. He went back to the living room and asked, “Where is he?”

“It doesn’t concern you.” You simply said.

“I have every right to know because I’m his father!” Tom shouted.

“You just gave me your sperm and I did all the work with the help of my brother. You’re technically a sperm donor, Thomas.” You said with your arms crossed. “Besides, you went back to your girl. I didn’t have the time to tell you.”

“You could’ve-”

“No, I couldn’t. Do you know how that’ll turn out? It’ll be messy! You have a relationship to prioritize and I can’t imagine how she’ll feel when finds out that the girl you cheated on her with is having your baby! That would totally suck! I was thinking of her more than you because she’s been through so much hurt. I wish I could apologize to her, but she probably hates me.” You admitted.

“Fuck that shit. You could’ve told me! When was I supposed to see him? Huh? You took him away from me! I want my son and I have every right to have him! You're so selfish!" Tom yelled angrily.

Tears streamed down your face as you looked at him while you sat on the couch. You took a deep breath and calmly said, "You got your girl back. You got all your dream roles and you are constantly wanted by directors for their movies. You have friends and family who are supportive of you. You have parents who love you and cherish you because according to them, you're the best thing that's ever happened to them. You have all the money in the world to support yourself and there's no doubt that you'll be financially secure for the next ten years. You have everything that I've always wanted."

"Tom, I don't have anyone by my side; I'm single. I've been single ever since you left me. I never got my dream roles and I rarely get casted for anything and if I do get casted, I play either a whore or a mistress because that's what the public sees me as. My whole reputation is now tainted as 'Tom Holland's side chick' and the media will forever portray me as that. It wasn't even my fault because you never told me that you were in a relationship that was hidden from the public."

"Ever since news broke out about you cheating on your girlfriend with me, I lost all my friends. They're all disgusted with me now and everyone thinks I'm a liar when I tell them that I never knew you were taken. My parents? They don't like me; they never did. I may be the youngest, but I was a mistake that they decided to keep because my siblings wanted me. My parents never loved me and they never supported me. I'm the worst thing that's ever happened to them. I don't have all the money in the world because like I said, I rarely get casted for anything. I don't want to live off of my brother's money because he worked hard for it. I struggle to make ends meet and I struggle to find work and I'm doing my best at that while being a single mother for MY son."

You sighed as you wiped the hot tears that never stopped falling from your eyes. "My son is the best thing that's ever happened to me and he's the ONE THING I did right. He's also the one good thing that came out of our little mistake. I don't know what I'd do without him. He's the only one I have and you want to take him away from me? Hell, he's the reason why I'm alive right now. When I look at him, I want to be better so he can have better. You don't understand that, Tom. Just because you're a hot shot doesn't mean you can get everything that you want."

"I just want to be with him. I want him to live with me for a while." Tom said.

"Over my dead body, Thomas." You said sternly. "You can't just strut in here like you own the place. I'm sorry you had to find out through someone else, but I won't let you take him from me."

"Were you planning on telling me?" He asked and you shook your head.

"You told me that being with me was a mistake and that you didn't want anything that has to do with me. So, I kept my mouth shut when I found out. I hid it well and when I did an indie film where I was, you guessed it, a mistress, I was already 5 months pregnant. But I hid it well."

"I just want to help you because I was absent in this child's life."

"I got through it with the help of my siblings, especially Timmy, but I did most of it alone. If I can do it alone now until the rest of my life, I'll do it. I don't need you."

"The kid needs a father and that's me."

"No, he doesn't. You're just thinking that because it's like a trophy for you."

"That's not true." Tom shook his head. "My parents want grandkids and he's my son. I want them to know him."

"They can have grandkids the right way. My son was born out of marriage. I'm sure they'd want their grandkid to be a legitimate child." You told him before getting up from the couch and walking to the kitchen to get yourself a glass of water.

"Lock the door on your way out, Thomas." You called out from the kitchen before drinking water. Tom sighed before leaving and slamming the door on his way out. ‘The audacity of that man.’ you thought as you shook your head.

Tom went to the pub with the boys and told them everything. Sam shook his head and said, “You pushed through it?! You pushed through your stupid plan of seeing her?! That’s really stupid!”

“Watch your mouth, Sam.” Tom spat.

“You shouldn’t have done that. Besides, she’s right. Nadia will be really hurt if she found out that Y/N’s having your baby. If Y/N can do it without you, she can manage. Just leave her alone. At least you know.”

“Yes, but I want to see him at least. I missed one year of his life. I want to be there for him forever.” Tom frowned.

“You can’t.” Sam shook his head.

“I agree.” Harry nodded. “You ruined Y/N’s reputation and that kid is the only thing that holds Y/N together. She kept it a secret because she wants it all to herself because the media will say shit about her again. If you’re in the kid’s life, you’ll be exposing him to the dangers of the media. She’s just being a mum and that means she’s not risking it.”

“Well said, Harry.” Harrison nodded. “He has a point. You’re not good at keeping secrets either.”

“So what should I do?” Tom asked.

“Nothing.” Tuwaine answered. “Don’t do shit until Y/N says so. Besides, her brother can straight up kill you because you broke her heart and you’re forcing yourself in her son’s life like nothing happened. You’d be a dead man. Imagine the headlines.”

Harrison laughed, “It’s hilarious; ‘Tom Holland killed by Timothée Chalamet’! You’re sending yourself to your own grave, mate.”

Tom sighed heavily as his brothers and friends laughed at his misery.

You told Timmy about Tom’s visit and it angered him. You had to stop him from going to Tom’s flat to give him a piece of his mind. You assured him that Tom wouldn’t bother anymore and that it’s up to you if you want Beau to know who his father is.

It wasn’t until you got your big acting break that you revealed Beau to the public. You’ve been casted in a big movie alongside Timmy and you’ve never been happier. You confided with Timmy and he agreed that it was time to reveal Beau.

You saw Tom’s comment on your Instagram post and ignored it. It’s his first time seeing how Beau looks and he’s probably shocked that Beau doesn’t look like him. Tom messaged you on Instagram and you didn’t want to reply at first, but you figured that it’s been years. Beau is now 4 years old and you knew it was time to let go of your past. It was time for a new chapter. You replied to his message on Instagram and began talking.

With Timmy’s advice and consultation, you allowed Tom to meet Beau and if he wants to, he can visit him every other weekend as long as he follows your rules.

You finally spoke to Nadia about your past issue and now both of you are okay. She believed every word you said and you thanked her for that. She even said that Beau was a very bright child with a great future ahead of him.

Tom wasn’t around all the time due to his schedule, but whenever he’s in the country with a free schedule, he makes sure to give it to Beau. They may not be as close as Tom would like, but at least they were getting along.

You moved on with your life and you finally got everything that you wished for. You got your dream roles, your parents were finally trying to have a decent relationship with you, your sister was around you more, the media was finally asking your side of the story to clear your name, you’re financially secure, Timmy finally moved in with you to help you with Beau, and you started dating someone again. Life is great.

* * * *

sorry if the ending shitty

𝐍𝐄𝐖 𝐓𝐎𝐌 𝐇𝐎𝐋𝐋𝐀𝐍𝐃 𝐓𝐀𝐆𝐋𝐈𝐒𝐓: @blueleatherbag @cocoamoonmalfoy @thatforgottenangel @parkerpeter24 @turtoix @slutforsr @givebuckyhisplumsnow @buckys-little-hoe @runawayolives @chewymoustachio @hollandsrecs @just-here-to-escape-from-reality @yourstrulyamour @juliediggory @lharrietg @alexx-stancati @rumplebutterbaby @dummiesshort @spideyspeaches @thevelvetseries @buckymylove @quxxnxfhxll @marvelsimps @dreamy-clousds @bora-world @hunnybunimdun @supred12 @more-like-reyna @caitsymichelle13

𝐍𝐄𝐖 𝐆𝐄𝐍𝐄𝐑𝐀𝐋 𝐓𝐀𝐆𝐋𝐈𝐒𝐓: @holland-styles @trustfundparker @calltothewild @felicityparkers @hufflepuffprincess24 @tommysparker @justasmisunderstoodasloki @quaksonhehe @call-me-baby-gir1 @itstaskeen @theonly1outof-a-billion @lost-in-the-stars03 @justafangirlduh @piscesparker @speedymaximoff @miraclesoflove @lexirv @blairscott @getbywithasmile @pqrkerr @lavender-writer @blackbat2020 @hoodpankow @bi-lmg

#tom holland #tom holland x reader #tom holland x y/n #tom holland one shots #tom holland angst #in-a-lot-of-fandoms-tbh #chalamet!reader #timothee chamalet

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rhysismydaddy · 3 years

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Unholy Matrimony Pt. 1 (Nessian)

Nesta’s part of the Damnation Series.

OOF this took so long sorry. I rewrote it, changed it, then deleted it entirely about 9 times. I literally started writing the version before you, from scratch, on Sunday. All parts are linked below, so I’m only tagging people on this version! To go to the next chapter, there is also a link at the bottom <3

ALSO, an important caviat: Nesta is an only child in this one! I originally wrote it for her to be adopted and not know it, but it wasn’t really relevant to the story, so... idk. Just ignore that plot hole I guess.

Parts 2 / 3 / 4 / 5 -- pls like each part I’m insecure

______________________________________________

~Cassian~

“You’re getting married.”

The glass of bourbon halfway to my mouth pauses, because despite being known for being rash and unpredictable, even I’m surprised by the sudden change in conversation.

My eyebrows raise as I look over at Rhysand, my best friend and Capo, trying to figure out if this bastard is serious. His tone says he is, but that doesn’t make sense, because before a few seconds ago, the word “marriage” was in neither of our vocabularies.

He’s been single for as long as I have, although I’m starting to suspect he’s got a bird in the city. He’s too damn happy these days, and the other day I saw him laugh at something on his phone.

Which is weird, because we both know long-term commitments don’t really do well with our lifestyle.

We were raised to not give a shit about anything except the job. We kill without remorse, live in the shadows, and whatever other shitty euphemism you want to use. Settling down in some suburban, picket-fence prison has absolutely no appeal to Made Men.

Don’t get me wrong, most of us get married at some point. But never for love.

Some men choose a bride that’s pretty and sweet. Someone who will donate to charity and help clean up their image. Governors’ daughters, women from old-money families, and social princesses make up this category.

Some men marry to advance their station in the Family. Second sons who will never inherit the business marry daughters of Underbosses to get a nice boost to their status.

And then there’s the ones who are forced to marry by their capo--ie. me-- so they choose whatever attractive woman that’s in the Family and available. Those are always the happiest.

But regardless of the reasoning, marriage in the mafia is heartless, political, and for me, unnecessary.

I know I’ll have to pick someone eventually, but there aren’t a whole lot of desirable options at the moment. Not many of the other Underbosses have daughters that are over the age of fifteen right now, and I have no interest in doing the child-bride thing.

Plus, there’s no way I’d marry someone outside of the family. At my rank, it isn’t an option.

That leaves... a widow?

The only one I know is Ianthe, and considering I highly suspect she killed her last husband and the fact that she’s crazy, there’s no way in hell I’d legally bind myself to her for life.

So he must be joking.

I take a pull from my cigar and look over at Rhys with narrowed eyes. “Uh huh. Sure. To who, exactly?”

“Volchonok.”

The Wolf Cub.

The cigar snaps in my fingers.

“You’re fucking kidding,” I say, honestly hoping that’s the case. He’s either that or insane, and I’d hate to lock someone who’s like a brother to me in a padded room.

Rhysand’s unflinching gaze doesn’t change, but his tone morphs from that of my friend to my boss. “You will marry her, Cassian.”

“She’s a fucking Russian,” I spit, not understanding. That should be reason enough for him to be joking.

In our world, being Russian is a crime similar to stabbing the Pope.

We’ve been at war over New York with them ever since they decided to try and get a stronghold on the east coast, and I’ve killed more of them than I can fucking count. Now I’m marrying one?

“Yes, she is, and so is her father, Alexei Olov.” Aka the Bratva Boss responsible for blowing up half of St. Petersburg last year when the local police refused to buy his weapons. “You will marry her, move to New York full time, and run the city with her by your side.”

“Why? Two or three more years, and we’ll have the city anyway.” Every day the Russians get weaker, and I’ve been responsible for pushing them out of my city block by block.

So there has to be a reason we’re suddenly okay with the enemy.

Rhysand sighs. “It was his idea, not mine. Orlov has agreed to sell our coke in Moscow and Seattle instead of his usual dealer and will supply us all the weapons we need for five years. There will also be no more midnight raids, bullshit arrests on bullshit charges, or missing shipments. He’s offering you a dowry, too.”

I don’t need his money, but the old fashioned term makes me laugh.

“Yeah? And how much does he think his wolf cub is worth?”

His lips twitch. “Ten million.”

“She must be a real pain in the ass, then, if he’s going to pay me that much to take her,” I chuckle.

Not that ten million dollars is anything but pocket change for the man. Orlov may be losing the fight in New York, but the bastard is richer than sin.

Selling arms to half of the entire world will do that to a person.

“I hear she’s beautiful,” he says, trying to tempt me to not fight him.

“Then you marry her,” I shoot back, not ready to give up the argument.

“I don’t feel like it.” Fucking typical. Rhysand sighs. “You and I both know we can work this deal to our advantage, so what will make you say yes?”

He could order to me to say yes and I’d have to, but he hates enforcing that kind of authority with me.

So I think it over, make a show of lighting a new cigar. “I want Sera.”

It’s a burlesque club in New York I’ve always been a little envious of, owned by Orlov and operated by his men. I’d tried to buy it a few years back but hadn’t had enough leverage on the Russian to strongarm him into selling.

Now I do.

Rhysand--the only one who knows about my failed attempt to buy the place--nods and tells me he’ll make it happen.

“When’s all this happening, anyway?”

He looks like he might laugh. “Wedding is in a month, but she’s flying in tomorrow night.”

A quick laugh forces its way out of me. Also typical of him to give me absolutely no time to change my mind.

Well, I have a month. That’s already longer than any relationship I’ve ever had.

Sighing, I stand and shake his hand, cementing the deal before I can even lament the loss of my bachelorhood.

~Nesta~

“Chto sluchilos?”

I slide my gaze to my father, because seriously, that’s the stupidest fucking question I’ve ever heard.

What’s wrong? What’s wrong? Everything.

“Nichego,” I lie, assuring him for what feels like the tenth time as I look out the window. The plane picks up speed and lifts off, taking me towards an uncertain future, an uncertain place.

I might have told him nothing’s wrong, but inside, I’m screaming.

Three days ago, I woke up to find a marriage contract on the pillow beside me. There was a blank space where my name had been typed and a pen waiting for me to remedy that.

I still haven’t.

I’m not signing anything until I meet this... Cassian.

God, what an Italian name.

An image springs to mind, one of a slumped-over, hairy-chest beast with slicked back hair and a gold chain.

I know it’s stereotypical and hopefully incorrect, but I’ve never been to Italy and Alexei strictly forbids me watching movies that portray Italians as anything except revolting.

But looks aside, there’s one thing I don’t need to guess to know.

My future husband will be like all the other men in my life: controlling.

Men in the world I live in take what they want, don’t ask for permission, and feel like they’re entitled to anything and everything. I’ve dealt with it my entire life, so it’s more amusing than anything at this point.

I guess I’m a bit non-traditional in that sense, considering most of the women around me have no problems taking orders from their fathers or husbands. But Alexei and I figured out pretty early in life that wasn’t going to work for me.

As he frequently likes to tell me, I started telling him to fuck off when I was five.

What did he expect? All the kids I hung out with were the opposite sex and at least five years older than me, so my vocabulary and mannerisms became pretty... colorful early on.

Regardless, I’m just not looking forward to having to deal with yet another man who thinks he can control me.

“Ty vresh',” Alexei accuses, lips twitching. You’re lying.

“Konechno.” Of course.

Of course I’m upset, but I understand what’s happening. I might have found out about it three days ago, but I’ve known it was coming for far longer.

As the only child of the great Alexei Orlov, Wolf of Moscow and Pakhan of the Russian Bratva, I’ve been told my entire life that I will one day be used as a pawn to gain more power.

It would--should--piss me off, but I’ve also been told I’m to one day take my father’s place and run his company.

So by gaining more power for him, I’m also doing the same for myself.

Not that I really give a shit about that kind of thing. I started officially working for Alexei years ago, and I already have enough money saved to never have to work again.

But in the Bratva, there’s no getting out. I was put in this world by birth, and the only thing that will take me out is death.

In case it isn’t obvious, I’m not a typical business woman.

My father is an arms-dealer.

A less than legal one, if you believe the heinous lies the media spreads about him.

He sells weapons to governments, private armies, and whoever the fuck else has the money to buy.

He’s also built himself a shipping empire to haul said weapons around the globe, runs the drugs and prostitute rings in Moscow, and has enough real estate to rival most small countries.

It probably sounds like I don’t care, and that’s because I don’t.

I like what I do in the sense that I have a mind for business. I went to business school and graduated at the top of my class, and I enjoy running the clubs and hotels I have. Trained by Alexei himself, I’m ruthless in negotiations, enough so that people started calling me the Wolf Cub by the time I was twenty.

But despite being good at it, I’m not particularly fond of the aspect most people think of when they picture my career in the Bratva. I detest drugs, have never hired a prostitute, and don’t really enjoy selling arms to bad people.

The alleyway meetups, the broken bones and bullet holes, and the blown up houses are all a little tiring to me.

Sure, it sounds exciting. And for a while, it was. I used to lose myself in the chaos, used to enjoy coming home with busted knuckles. But I honestly just got tired of it.

Right now, I don’t have to deal with it as much because Alexei’s still alive. But when he dies and I officially take over the family business, I’ll have to be more involved. Even if the thought makes me want to sigh.

I pull out my laptop and look over the financial report for Sera, my newest club in New York. As predicted, everything’s running smoothly.

I turn the laptop around to show my father, grinning when he pulls out his reading glasses and leans closer.

“Starik,” I tease. Old man.

He flicks my forehead, then reads the report and nods. Then he turns to his phone, probably playing Angry Birds or some shit, and leaves me to work.

The plane ride goes by quickly, and by the time we’ve landed in Chicago, I’ve gotten ahead on my schedule for next week, slept, and changed into what I’ve chosen as the “meeting my future husband” dress.

It’s simple and sleek, the black material clinging to my curves without being obscene. It’s long enough to hide the holster on my thigh, not that I feel in any danger with four personal guards stationed near me at all times.

My heels click as I make my way down the plane stairs and across the tarmac to the waiting sedan, and once my luggage and belongings are unloaded, we head to the Italian Capo’s house.

We’re meeting here, finalizing the contract, and then Cassian and I are flying to New York.

My new home.

“Try to look happy,” Alexei tells me, his heavily accented English almost ridiculous to hear. He speaks English only when he’s in the states, and considering he hasn’t come here since I graduated B school two years ago, he’s a little out of practice.

“I’m ecstatic,” I say, intentionally using a word I know he doesn’t understand.

His eyes narrow, because it isn’t the first time I’ve used this trick, but he doesn’t call me out on it. We continue to ride in ecstatic silence, eventually pulling up in front of the Capo’s... house.

It’s almost obscene to call it that, considering it’s fucking huge. Like obnoxiously huge.

I heave a sigh, step out of the car, and take in my surroundings. The neighborhood’s quiet, likely filled with friends of the Cosa Nostra too scared to make any noise.

A butler--seriously, a butler--opens the door and welcomes us inside, and as soon as I step in, I have to repress the urge to roll my eyes.

The amount of dirty money in the air is suffocating. It drips off the vaulted ceilings, down the artwork on the walls, across the marble floors. It’s in the little details of the crystal chandeliers and the mahogany staircase.

Ridiculous.

One look at Alexei’s disgusted face says he’s thinking the same thing.

Don’t get me wrong, we’re rich. Grossly so. Alexei could have ten houses just like this, if he wanted them.

But he doesn’t. He owns property all over the world, but most of it is commercial or apartment complexes--property that makes him money, in other words. This, however, is a massive waste of capital.

The butler leads us further through the house and into an office where four men wait.

One is immediately identifiable as their lawyer, his over-priced cologne making me have to resist the urge to sneeze. The humongous man in the corner is hired muscle, if the boxy shape of the guns under his jacket is any indication.

The man behind the desk is obviously in charge, so I’m guessing he’s the Capo. Rhysand or Rhyland or something weird like that. He takes me in silently, bright eyes not seeming to miss any details.

That leaves the man leaning against the desk to be Cassian Azara.

My fiancé.

Our eyes meet, his golden gaze beautiful and wild, and I have to remember to keep my expression bored.

Because the stereotype, the horrible image I’d conjured up in my mind, couldn’t be further from the truth.

For one, he isn’t hunched-over. He stands tall, leaning a hip against his Capo’s desk with obvious confidence. But I see more than just self-assuredness in his eyes. He seems a little too rough around the edges, wild gaze almost like he’s daring someone to swing at him.

If the confidence didn’t already make him attractive, his looks sure as hell get the job done.

His hairs long and dark and curly, half of it pulled up in a rouge manner that clashes with the suit he’s filling. He has a few days’ stubble, too, like standing still long enough to shave just isn’t an option.

His shoulders are impossibly wide, narrowing down to trim hips and legs long enough to make him tower over everyone in the room.

His knuckles are tattooed and split open, and there’s a cut above his eyebrow that tells me I was correct to assume he’s a fighter by nature.

Usually, that would be a deterrent for me, but there’s something about the way he’s dressed in a dark suit jacket and crisp white shirt while also looking so untamed that has me cocking my head to study him some more.

He studies me, too, beautiful eyes taking in the long blonde hair and bright blue eyes offset by pale skin. He looks at the dress like he can see everything underneath, and I have the strangest urge to blush. Jesus, he’s toxic.

He’s attractive, is what I’m getting at.

Which is not what I had planned on, considering I’d been trying to think of a plan on how to not sleep with him, but suddenly that’s all my mind can focus on.

His lips twitch like he knows what I’m thinking, and I realize we’ve just been standing here staring at each other for a bit too long.

So I turn back to Alexei and shrug like I’ve seen what my future husband has to offer and aren’t impressed in the slightest.

I toss the marriage contract on the desk, grab the Capo’s fancy little fountain pen out of his hand, and sign my name on the blank above my name.

Cassian watches, but I ignore him entirely until the ink has dried. Then I look up at him through my lashes and wink, turn on my heel, and leave the room.

~Cassian~

I think I’m in love.

Fuck.

She hasn’t said a single goddamn word, but the way she looked at me has me feeling itchy all over, anticipation and nerves rolling through me. I feel like I feel before I fight or something exciting happens.

Like I’m primed and ready and need it to happen now.

Nesta Orlov, my bride to be, is nothing like I expected.

I was fully braced for some meek little woman, similar to most of my friends’ wives, to come in and smile and say hello.

But nope. Nesta didn’t smile; she came in like she was walking onto a battlefield.

And she didn’t smile. She looked me over, clinical blue gaze noticing too much, and left me feeling winded. God, she’s beautiful. Just looking at her made me hot.

She also didn’t say hello.

Just signed the contract and left, like this was nothing more to her than a boring business deal. I mean, that’s what it is, but... I don’t know, I expected more of a reaction.

I’ve heard from some Underbosses that their wives cried or raged when they were forced to sign, but shit if that were the case with Nesta. She honest to God looked like she didn’t care.

Alexei, on the other hand, does look a little pissed about the situation, but I couldn’t care less of the old man’s opinion. He’s signed the contract, so to me, he’s irrelevant. Regardless, he and Rhys proceed to iron out some of the details about the wedding and other shit I’m not paying attention to.

Then they shake hands, and the Russian warlord turns to leave.

He reaches the door and looks over his shoulder at me, and there’s amusement in his cold gaze as he mutters, “Udachi.” Good luck.

As soon as he’s gone, Roman and the lawyer follow, leaving me alone with Rhys.

He slides the contract to me, and I sign my name next to hers, making this shit official.

“This should be interesting,” he comments, vague as usual.

I sigh, because I have a feeling interesting isn’t going to cover it.

_____________________________________________________

NEXT CHAPTER

Tags: @elorcan-trash @januarystears @emikadreams @sjm-things @santas-dwynwen @thebitchupstairs @sayosdreams @perseusannabeth @cursebreaker29 @a-bit-of-a-cactus @elriel4life @girl-who-reads-the-books @shinya-hiiragi @aelinfeyreeleven945tbln @ireallyshouldsleeprn @highqueenofelfhame @rowaelinismyotp @nahthanks @ghostlyrose2 @lovemollywho @tillyrubes10 @claralady @tswaney17 @rowanisahunk @superspiritfestival @thegoddessofyou @awesomelena555 @booksofthemoon @greerlunna @jlinez @studyliketate @over300books @justgiu12 @masstrash @aesthetics-11 @bamchickawowow @b00kworm @sleeping-and-books @musicmaam @hizqueen4life @maybekindasortaace

#nessian #nessian fanfiction #acosf countdown #acosf #nesta archeron #cassian #acotar #acotar fanfiction #acosf fanfiction #a court of mist and fury

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silentfcknhill · 3 years

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FAVORITE SHOWS IN POSTERS

Well, we’re back for another installment of this tagged meme, this time for TV shows! I also stole this from/was indirectly tagged by @jcmorrigan. My taste in shows also differs a bit from my taste in movies, as I tend to like a lot of comedy shows with not as many horror ones. I’m not into shows as much as movies overall, but there are some that I am very passionate about so I picked twenty again. So, here we go for part 2, in order:

1. Avatar: The Last Airbender/The Legend Of Korra (2005-2014)

I'm including these as one show since they take place in the same universe and tell a continuation of the same overall plot. Altogether this is probably the best piece of media to ever exist, including movies. It has so many great characters and villains especially and some of the most epic sequences, charming humor and heartwarming moments ever. I've never met a person who didn't like these shows, even people who normally don't like cartoons. My dad, who is biased against animation? He loved it. My mother? She loved it, watched it with her multiple times. My grandmother? Loved it. My ex-boyfriend? Loved it. My best friend? Loved it. I dare anyone not to, and I'm so glad it's making a resurgence since it's on Netflix for a new generation to enjoy.

2. Black Butler (2008-2014)

I never was big into anime growing up and only really started watching anime when I was like 16 and above, but this is one of the exceptions because holy shit is it ever dark and epic. I'm not sure I'd really recommend it for kids, it's more of a teens and young adults kind of anime and that's probably why it's so good, because it isn't afraid to explore dark and mature topics and do it with all of the intensity and gravitas required to do said topics justice. It has lots of great characters, and the story of demons who make deals with children who have a dark side is fun to watch play out.

3. Seinfeld (1989-1998)

My dad was a huge fan of this show so I watched it growing up since I was a toddler and it became a classic for me. I've watched thw hole show through at least 8 times, and I'll never stop because it never gets old or boring. It's also my only comfort show when I'm having a panic attack because of one time a few years ago when I was having a drug-induced psychosis episode and watching it calmed me down, so now it's like the opposite of a trigger and whenever I'm having an episode or something I watch it to bring me back to reality. For that reason it's more than a show to me, it's a medical treatment and I'm forever grateful to it.

4. The Good Place (2016-2020)

The big four shows made my Michael Schur all made it on this post (The Good Place, Brooklyn Nine-Nine, The Office and Parks And Recreation), either in the main list of the honorable mentions, but this is my personal favorite of the four. It's so funny, quirky, relatable and basically tailor-made to suit my interests. Not only is it an entertaining and wholesome show, but I think watching it helped me come to terms with a lot of things like mortality, ethics, philosophy, religion and my relationships with other people. It gets alot of different viewpoints across and if you're a very analytical and philosophical person like me you'll probably enjoy seeing it all play out. Not to mention, every single character is 'favorite character' material. It's rare you find a show with no filler characters in the main cast, but I genuinely can't choose who is best.

5. Brooklyn Nine-Nine (2013-?)

Another of Michael Schur's shows, this one is just barely under The Good Place and to be honest it was tough to pick my favorite between the two because they're both equally funny. I know it's kind of controversial right now because of the whole law enforcement thing, but I actually think they do a good job of handling social issues in the show and remaining respectful of real-life systemic problems. As for the characters, this is another one of those shows where every single character is gold and I think that tends to be a trend among Schur's shows in general. He produces damn good comedy, and damn good characters. I can't wait to see what they bring next.

6. Rick And Morty (2013-?)

This is unfortunately one of those cases of 'great show, horrible fandom' and for that reason I don't get involved in the fandom even though I love the show. It's a shame because it really is a great show, so funny and, again, such good characters. I think it's a lot more accessible than the fandom likes to claim, so I'm hoping more people will give it a chance and not get put off by the intellectual elitism of the fandom because it does have some of the most entertaining and batshit crazy episodes ever, poking fun of some of the staples of science fiction in media while also poking fun of itself the whole time. Unlike the fandom, the show doesn't take itself seriously and that's enjoyable nowadays.

7. Orange Is The New Black (2013-2019)

While this show is a comedy, it is also a lot of other things and it's probably made me ugly-cry just as many times as it's made me laugh. Well, maybe not as often, but those few scenes (if you've watched the show then you know the ones I'm talking about) made me hysterically sob hard enough to be worth like fifty minor sads. But I didn't even mind because the show is just that good, and it makes you /feel/ something in a real way. Probably because of just how real it gets in terms of telling stories that happen all the time in the real world, sometimes with inevitably tragic endings. But these things do happen every day, and it's important to shine a light on that. It's not just representation for LGBTQ+ but also for POC, the neurodiverse, the poor, and many more. Give it a watch to broaden your perspective!

8. Big Mouth (2017-?)

This is probably the grossest show I've ever seen but by god is it ever funny. Maybe it's because I have an immature sense of humor or something, but I love this show. It definitely won't be everyone's cup of tea and I don't recommend you watch this show with anyone else around because it will get awkward. I think part of its appeal to me is that everyone I talk to who likes it considers it so relatable to their lives growing up but for someone like me who grew up on the autism and asexual spectrum and who was physically an early-bloomer by years, nothing about this show is relatable to me in any way so it makes it all the more crazy and bizarre watching how the people around me must have experienced things. Did y'all really have these experiences with puberty in middle school???

9. Dexter (2006-2013)

I recently heard that this show is coming back for a reboot soon and I'm so excited because this is my absolute favorite drama/thriller show, as evidenced by the fact that it's the highest one on the list so far that isn't a comedy. I love the idea of having a protagonist who is sort of a villain (or at least morally dubious), and the idea of a serial killer who only kills bad people is particularly satisfying for some reason. Maybe because he's the vigilante we all deserve and want in this unjust and evil world of modern times? Idk but the very premise of this show set it up for big things and aside from the ending I think it delivered consistently.

10. Once Upon A Time (2011-2018)

This show took us on some journeys, and you can't deny that. Sure, maybe it didn't always finish what it started and didn't always end in the most satisfying way, but part of its charm is that you didn't care because the experience was just so much fun. They took characters and stories that have been told to death and somehow managed to put a unique and unexpected twist on them, and that alone is admirable. Good twists, good villains, and pretty much every cliffhanger known to man will keep you hooked on binge-watching every episode.

11. RuPaul's Drag Race (2009-?)

A bit different than the other entries on my list in that it's not fiction but a reality competition show, but I couldn't leave Drag Race out because it's just so fucking iconic and perfect. Even when you disagree with the judges or can't stand a certain contestant you'll still be having a good time. It's got the personalities you love to love, the ones you love to hate, and the comedy that's completely meme-able. I mean just how much has this show contributed to pop culture and the internet? More than most of us, henny. I've watched every single season, even the international ones and all of the spinoffs. This show will probably be on for another thirty years when Ru is throwing shade from a hospital bed and I'll still be watching.

12. House (2004-2012)

Some people hate on this show, and I don't get it. I love House. Yes, he's an ass. That's the point. He's supposed to be unlikeable, and that's why I like him. Maybe because I always love the rude, sarcastic, misanthropic jerkass-genius characters for some reason. And I also love procedural shows, so it's a win-win. I also work in the healthcare field so it appeals to me for that reason too, because obviously the whole premise is outlandish which is what makes it funny. Of course it's not realistic for a hospital, so just enjoy the absurdity and don't get too hung up on the details of medical accuracy and professional ethics and you'll be fine.

13. The Office (2005-2013)

The third of Michael Schur's show and the last one that made the main list (sorry Parks And Rec, I love you too but there was just so many good shows to choose from and I saw you last so the nostalgia isn't as strong!) I don't think I need to hype this show up any, it's already a classic and you can't even turn around online without getting hit in the face by a dozen Office memes. You'll have to pry this show and it's relatable characters (especially Michael Scott) from my cold, dead hands.

14. All Hail King Julien/The Penguins Of Madagascar (2008-2017)

Like Avatar/Korra, I also consider this as one show for the sake of this list because it also takes place in the same universe (Madagascar, specifically) and I just couldn't choose one over the other because they're both so perfect. They're funny and I love all the characters (it cut out the weaker links of the Madagascar film series and just focuses on expanding the standout side-characters like King Julien and the penguins). It also delved into some lore, particularly the first show, and even though I didn't also agree with the directions it took (you may have seen me get salty about the ending because I cared too much), I can't deny how much I love it.

15. Bones (2005-2017)

One of the other scarce non-comedy shows on this list, it still has it's funny moments. It's also, like House, another procedural show that involves some medical stuff, but this time on a more scientific and forensic level which is even more interesting. It's nice to see a lead female with Asperger's, too. There's a lot of cop/law enforcement shows where they try to solve crimes, but this one is the best, and I'm saying that as a fan of CSI as well. Don't fight me on this, I'm right. Oh yes, it's corny, it's campy, it's cheesy, but I love every minute of it. Don't watch if you have a weak stomach though.

16. The Simpsons (1989-?)

We all grew up with this show, don't lie. It's been around longer than most people on tumblr have even been alive. Should it have ended seasons ago? Hell yes. But that doesn't take away what the first like 20 or so seasons gave us (there's a lot of argument about when the show jumped the shark, for me it wasn't until much later than the popular consensus). The characters are amazing, but the secret to the show's longevity is that they always return to status quo and there's comfort and nostalgia in that. Bart will still be in 4th grade when you're out there pushing 90. This show is persistent. This show is eternal. This show will outlive us all.

17. Ash Vs. Evil Dead (2015-2018)

Sorely underrated. This show is hilarious, gruesome and campy as hell and I love it. I don't think you necessarily have to watch the Evil Dead movies beforehand in order to get the plot of the show, although it would probably help. In my opinion this show ended way too soon and I'm hoping someday we'll get a comeback because Ash is the reluctant, self-absorbed hero we all need and it's 2020 so at this point there really might actually be a demon-zombie apocalypse and who's gonna save us then if not for the impulsive womanizer with a chainsaw for a hand?

18. Malcolm In The Middle (2000-2006)

Another show I grew up with, I don't think it gets as much credit as it deserves. It has some damn funny episodes and great characters, and it did a lot of the popular sitcom tropes before they were 'cool'. Some other great sitcoms, The Middle in particular, took a lot of influence from this show and it helped pave the way for the future of sitcoms at a time when they were about to make a comeback. If you want a good show about the real experiences of growing up, this is a much more accurate representation of the highs and lows of being an awkward tween from a dysfunctional home.

19. A Series Of Unfortunate Events (2017-2019)

Unlike most people I actually liked the movie version from the early 2000's, and I read the books growing up so I was excited when I saw there was a live action television adaptation of it on Netflix because I felt like they cancelled the movie franchise too soon. I was interested to see how new actors would handle the roles, and I was not disappointed. I wouldn't say I liked either portrayal of the characters better or worse, they both added their own twist to it and this show is a great and loyal adaptation to the books, probably because the author was so heavily involved. He knew just when to stick to the books and when to improve upon what he had done with the benefit of hindsight. This show is basically the books, but remastered.

20. Winx Club (2004-?)

Sort of an odd one out on this list, but I really love this show even as an adult and it may surprise you to learn it is still going on and the most recent season came out last year. They take big breaks sometimes in between seasons, but it's still going strong and in multiple countries. The only thing I don't like about watching this show is all the different and inconsistent dubs since the original show is Italian and each dub only goes for a couple seasons so by the time you get used to one set of voices/names for the characters oyu have to abruptly switch to another, but it's still worth it for the beautiful animation and cool characters (especially the villains!)

Honorable Mentions:

13 Reasons Why, America's Next Top Model, American Horror Story, Arrested Development, Bates Motel, Battlestar Galactica, Black Mirror, Care Bears, Chernobyl, Courage The Cowardly Dog, Criminal, CSI, Duck Dodgers, Goosebumps, Kenny Vs. Spenny, Kim Possible, Kingdom Hospital, Lazytown, Lost, Making A Murderer, Mayday, Mindhunter, Modern Family, Monster High, Obsession: Dark Desires, Parks And Recreation, Prison Break, Project Runway, Queer As Folk, Queer Eye, Salem, Schitt's Creek, SCTV, Spongebob Squarepants, The Emperor's New School, The Good Doctor, The Haunting Of Hill House/Bly Manor, The Middle, The Pretender, The Walking Dead, The X-Files, Through The Wormhole, Unbreakable Kimmy Schmidt, Unsolved Mysteries, Yugioh

Tagging: @bullet-farmer and anyone else who wants to!

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ot3 · 3 years

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i watched red vs blue: zero with my dear friends today and i was asked to “post” my “thoughts” on the subject. Please do not click this readmore unless, for some reason, you want to read three thousand words on the subject of red vs blue: zero critical analysis. i highly doubt that’s the reason anyone is following me, but hey.

anyway. here you have it.

Here are my opinions on RVB0 as someone who has quite literally no nostalgia for any older RVB content. I’ve seen seasons 1-13 once and bits and pieces of it more than once here and there, but I only saw it for the first time within the past couple of months. I’ve literally never seen any other RT/AH content. I can name a few people who worked on OG Red vs. Blue but other than Mounty Oum I have NO idea who is responsible for what, really, or what anything else they’ve ever worked on is, or whether or not they’re awful people. I know even less about the people making RVB0 - All I know is that the main writer is named Torrian but I honestly don’t even know if that’s a first name, a last name, or a moniker. All this to say; nothing about my criticism is rooted in any perceived slight against the franchise or branding by the new staff members, because I don’t know or care about any of it. In fact, I’m going to try and avoid any direct comparison between RVB0 and earlier seasons of RVB as a means of critique until the very end, where I’ll look at that relationship specifically.

So here is my opinion of RVB0 as it stands right now:

1. The Writing

Everything about RVB0 feels as if it was written by a first-time writer who hasn’t learned to kill his darlings. The narrative is both simultaneously far too full, leaving very little breathing room for character interaction, and oddly sparse, with a story that lacks any meaningful takeaway, interesting ideas, or genuine emotional connection. It also feels like it’s for a very much younger audience - I don’t mean this as a negative at all. I love tv for kids. I watch more TV for kids than I do for adults, mostly, but I think it’s important to address this because a lot of the time ‘this is for kids’ is used to act like you’re not allowed to critique a narrative thoroughly. It definitely changes the way you critique it, but the critique can still be in good faith. I watched the entirety of RVB0 only after it was finished, in one sitting, and I was giving it my full attention, essentially like it was a movie. I’m going to assume it was much better to watch in chunks, because as it stood, there was literally no time built into the narrative to process the events that had just transpired, or try and predict what events might be coming in the future. When there’s no time to think about the narrative as you’re watching it, the narrative ends up as being something that happens to the audience, not something they engage with. It’s like the difference between taking notes during a lecture or just sitting and listening. If you’re making no attempt to actively process what’s happening, it doesn’t stick in your mind well. I found myself struggling to recall the events and explanations that had immediately transpired because as soon as one thing had happened, another thing was already happening, and it was like a mental juggling act to try and figure out which information was important enough to dwell on in the time we were given to dwell on it.

Which brings me to another point - pacing. Every event in the show, whether a character moment, a plot moment, or a fight scene, felt like it was supposed to land with almost the exact same amount of emotional weight. It all felt like The Most Important Thing that had Yet Happened. And I understand that this is done as an attempt to squeeze as much as possible out of a rather short runtime, but it fundamentally fails. When everything is the most important thing happening, it all fades into static. That’s what most of 0’s narrative was to me: static. It’s only been a few hours since I watched it but I had to go step by step and type out all of the story beats I could remember and run it by my friends who are much more enthusiastic RVB fans than I am to make sure I hadn’t missed or forgotten anything. I hadn’t, apparently, but the fact that my takeaway from the show was pretty accurate and also disappointingly lackluster says a lot. Strangely enough, the most interesting thing the show alluded to - a holo echo, or whatever the term they used was - was one of the things least extrapolated upon in the show’s incredibly bulky exposition. Benefit of the doubt says that’s something they’ll explore in future seasons (are they getting more? Is that planned? I just realized I don’t actually know.)

And bulky it was! I have quite honestly never seen such flagrant disregard for the rule of “show, don’t tell.” There was not a single ounce of subtlety or implication involved in the storytelling of RVB0. Something was either told to you explicitly, or almost entirely absent from the narrative. Essentially zilch in between. We are told the dynamic the characters have with each other, and their personality pros and cons are listed for us conveniently by Carolina. The plot develops in exposition dumps. This is partially due to the series’ short runtime, but is also very much a result of how that runtime was then used by the writers. They sacrificed a massive chunk of their show for the sake of cramming in a ton of fight scenes, and if they wanted to keep all of those fight scenes, it would have been necessary to pare down their story and characters proportionally in comparison, but they didn’t do that either. They wanted to have it both ways and there simply wasn’t enough time for it.

The story itself is… uninteresting. It plays out more like the flimsy premise of a video game quest rather than a piece of media to be meaningfully engaged with. RVB0 is I think something I would be pitched by a guy who thinks the MCU and BNHA are the best storytelling to come out of the past decade. It is nothing but tropes. And I hate having to use this as an insult! I love tropes. The worst thing about RVB0 is that nothing it does is wholly unforgivable in its own right. Hunter x Hunter, a phenomenal shonen, is notoriously filled with pages upon pages of detailed exposition and explanations of things, and I absolutely love it. Leverage, my favorite TV show of all time, is literally nothing but a five man band who has to learn to work as a team while seemingly systematically hitting a checklist of every relevant trope in the book. Pacific Rim is an incredibly straightforward good guys vs giant monsters blockbuster to show off some cool fight scenes such as a big robot cutting an alien in half with a giant sword, and it’s some of the most fun I ever have watching a movie. Something being derivative, clunky, poorly executed in some specific areas, narratively weak, or any single one of these flaws, is perfectly fine assuming it’s done with the intention and care that’s necessary to make the good parts shine more. I’ll forgive literally any crime a piece of media commits as long as it’s interesting and/or enjoyable to consume. RVB0 is not that. I’m not sure what the main point of RVB0 was supposed to be, because it seemingly succeeds at nothing. It has absolutely nothing new or innovative to justify its lack of concern for traditional storytelling conventions. Based solely on the amount of screentime things were given, I’d be inclined to say the narrative existed mostly to give flimsy pretense for the fight scenes, but that’s an entire other can of worms.

2. The Visuals + Fights

I have no qualms with things that are all style and no substance. Sometimes you just want to see pretty colors moving on the screen for a while or watch some cool bad guys and monsters or whatever get punched. RVB0 was not this either. The show fundamentally lacked a coherent aesthetic vision. Much of the show had a rather generic sci-fi feel to it with the biggest standouts to this being the very noir looking cityscape, which my friends and I all immediately joked looked like something from a batman game, or the temple, which my friends and I all immediately joked looked like a world of warcraft raid. They were obviously attempting to get variety in their environment design, which I appreciate, but they did this without having a coherent enough visual language to feel like it was all part of the same world. In general, there was also just a lack of visual clarity or strong shots. The value range in any given scene was poor, the compositions and framing were functional at best, and the character animation was unpleasantly exaggerated. It just doesn’t really look that good beyond fancy rendering techniques.

The fight scenes are their entire own beast. Since ‘FIGHT SCENE’ is the largest single category of scenes in the show, they definitely feel worth looking at with a genuine critical eye. Or, at least, I’d like to, but honestly half the time I found myself almost unable to look at them. The camera is rarely still long enough to really enjoy what you’re watching - tracking the motion of the character AND the camera at such constant breakneck high speeds left little time to appreciate any nuances that might have been present in the choreography or character animation. I tried, believe me, I really did, but the fight scenes leave one with the same sort of dizzy convoluted spectacle as a Michael Bay transformers movie. They also really lacked the impact fight scenes are supposed to have.

It’s hard to have a good, memorable fight scene without it doing one of three things: 1. Showing off innovative or creative fighting styles and choreography 2. Making use of the fight’s setting or environment in an engaging and visually interesting way or 3. Further exploring a character’s personality or actions by the way they fight. It’s also hard to do one of these things on its own without at least touching a bit on the other two. For the most part, I find RVB0’s fight scenes fail to do this. Other than rather surface level insubstantial factors, there was little to visually distinguish any of RVB0’s fight scenes from each other. Not only did I find a lot of them difficult to watch and unappealing, I found them all difficult to watch and unappealing in an almost identical way. They felt incredibly interchangeable and very generic. If you could take a fight scene and change the location it was set and also change which characters were participating and have very little change, it’s probably not a good fight scene.

I think “generic” is really just the defining word of RVB0 and I think that’s also why it falls short in the humor department as well.

3. The Comedy

Funny shit is hard to write and humor is also incredibly subjective but I definitely got almost no laughs out of RVB0. I think a total of three. By far the best joke was Carolina having a cast on top of her armor, which, I must stress, is an incredibly funny gag and I love it. But overall I think the humor fell short because it felt like it was tacked on more than a natural and intentional part of this world and these characters. A lot of the jokes felt like they were just thrown in wherever they’d fit, without any build up to punchlines and with little regard for what sort of joke each character would make. Like, there was some, obviously Raymond’s sense of humor had the most character to it, but the character-oriented humor still felt very weak. When focusing on character-driven humor, there’s a LOT you can establish about characters based on what sort of jokes they choose to make, who they’re picking as the punchlines of these jokes, and who their in-universe audience for the jokes is. In RVB0, the jokes all felt very immersion-breaking and self aware, directed wholly towards the audience rather than occurring as a natural result of interplay between the characters. This is partially due to how lackluster the character writing was overall, and the previously stated tight timing, but also definitely due to a lack of a real understanding about what makes a joke land.

A rule of thumb I personally hold for comedy is that, when push comes to shove, more specific is always going to be more funny. The example I gave when trying to explain this was this:

saying two characters had awkward sex in a movie theater: funny

saying two characters had an awkward handjob in a cinemark: even funnier

saying two characters spent 54 minutes of 11:14's 1:26 runtime trying out some uncomfortably-angled hand stuff in the back of a dilapidated cinemark that lost funding halfway through retrofitting into a dinner theater: the funniest

The more specific a joke is, the more it relies on an in-depth understanding of the characters and world you’re dealing with and the more ‘realistic’ it feels within the context of your media. Especially with this kind of humor. When you’re joking with your friends, you don’t go for stock-humor that could be pulled out of a joke book, you go for the specific. You aim for the weak spots. If a set of jokes could be blindly transplanted into another world, onto another cast of characters, then it’s far too generic to be truly funny or memorable. I don’t think there’s a single joke in RVB0 where the humor of it hinged upon the characters or the setting.

Then there’s the issue of situational comedy and physical comedy. This is really where the humor being ‘tacked on’ shows the most. Once again, part of what makes actually solid comedy land properly is it feeling like a natural result of the world you have established. Real life is absurd and comical situations can be found even in the midst of some pretty grim context, and that’s why black comedy is successful, and why comedy shows are allowed to dip into heavier subject matter from time to time, or why dramas often search for levity in humor. It’s a natural part of being human to find humor in almost any situation. The key thing, though, once again, is finding it in the situation. Many of RVB0’s attempts at humor, once again, feel like they would be the exact same jokes when stripped from their context, and that’s almost never good. A pretty fundamental concept in both storytelling in general but particularly comedy writing is ‘setup and payoff’. No joke in RVB0 is a reward for a seemingly innocuous event in an earlier scene or for an overlooked piece of environmental design. The jokes pop in when there’s time for them in between all the exposition and fighting, and are gone as soon as they’re done. There’s no long term, underlying comedic throughline to give any sense of coherence or intent to the sense of humor the show is trying to establish. Every joke is an isolated one-off quip or one-liner, and it fails to engage the audience in a meaningful way.

All together, each individual component of RVB0 feels like it was conjured up independently, without any concern to how it interacted with the larger product they were creating. And I think this is really where it all falls apart. RVB0 feels criminally generic in a way reminiscent of mass-market media which at least has the luxury of attributing these flaws, this complete and total watering down of anything unique, to heavy oversight and large teams with competing visions. But I don’t think that’s the case for RVB0. I don’t know much about what the pipeline is like for this show, but I feel like the fundamental problem it suffers from is a lack of heart.

In comparison to Red vs. Blue

Let's face it. This is a terrible successor to Red vs. Blue. I wouldn’t care if NONE of the old characters were in it - that’s not my problem. I haven’t seen past season 13 because from what I heard the show already jumped the shark a bit and then some. That’s not what makes it a poor follow up. What makes it a bad successor is that it fundamentally lacks any of the aspects of the OG RVB that made it unique or appealing at all. I find myself wondering what Torrian is trying to say with RVB0 and quite literally the only answer I find myself falling back onto is that he isn’t trying to say anything at all. Regardless of what you feel about the original RVB, it undeniably had things to say. The opening “why are we here” speech does an excellent job at establishing that this is a show intended to poke fun at the misery of bureaucracy and subservience to nonsensical systems, not just in the context of military life, but in a very broad-strokes way almost any middle-class worker can relate to. At the end of the day, fiction is at its best when it resonates with some aspect of its audience’s life. I know instantly which parts of the original Red vs Blue I’m supposed to relate to. I can’t say anything even close to that about 0.

RVB is an absurdist parody that heavily satirizes aspects of the military and life as a low-on-the-food-chain worker in general that almost it’s entire target audience will be familiar with. The most significant draw of the show to me was how the dialogue felt like listening to my friends bicker with each other in our group chats. It required no effort for me to connect with and although the narrative never outright looked to the camera and explained ‘we are critiquing the military’s stupid red tape and self-fullfilling eternal conflict’ they didn’t need to, because the writing trusted itself and its audience enough to believe this could be conveyed. It is, in a way, the complete antithesis to the badass superhero macho military man protagonist that we all know so well. RVB was saying something, and it was saying it in a rather novel format.

Nothing about RVB0 is novel. Nothing about RVB0 says anything. Nothing about it compels me to relate to any of these characters or their situations. RVB0 doesn’t feel like absurdism, or satire. RVB0 feels like it is, completely uncritically, the exact media that RVB itself was riffing off of. Both RVB0 and RVB when you watch them give you the feeling that what you’re seeing here is kids on a playground larping with toy soldiers. It’s all ridiculous and over the top cliche stupid garbage where each side is trying to one-up the other. The critical difference is, in RVB, we’re supposed to look at this and laugh at how ridiculous this is. In RVB0 we’re supposed to unironically think this is all pretty badass.

The PFL arc of the original RVB existed to show us that setting up an elite team of supersoldiers with special powers was something done in bad faith, with poor outcomes, that left everyone involved either cruel, damaged, or dead. It was a bad thing. And what we’re seeing in RVB0 is the same premise, except, this time it’s good. We’re supposed to root for this format. RVB0 feels much more like a demo reel, cutscenes from a video game that doesn’t exist, or a shonen anime fanboy’s journal scribbling than it feels like a piece of media with any objective value in any area. In every area that RVB was anti-establishment, RVB0 is pure undiluted establishment through and through.

#long post #really long post guys. look out !#rvb

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isaacthedruid · 3 years

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Please allow me to tell you about one of my favourite cartoons through this informal essay I did for school a couple of months back.

Gravity Falls and How it Did The Unimaginable

**SPOILERS... KINDA**

The 2010s saw the creation of some of the most iconic animated tv shows ever made, the likes of Adventure Time (2010), Steven Universe (2013), Over the Garden Wall (2014) and The Legend of Korra (2012). To explain why this era’s shows are so admirable is honestly rather difficult. Yet, there are many factors that can be taken into consideration when looking for an answer.

The past decade was very successful in perfecting their craft and utilizing the animated format to their favour, creating some of the wackiest and fascinating cartoons ever made. With the advancements made in both 2D and 3D animation for film, this bled into the world of TV as well.

To mention that 2010s cartoons have stunning visuals would be an understatement. Everything about the animation was beautiful; the strong colour palettes, the clean and imaginative character designs, the colourful and immersive backgrounds and especially the mesmerizing worlds that can be found within episodes that are half an hour.

This era’s cartoons also led to a massive shift in storytelling, writing longer-running stories that spread out across seasons while also swapping out episodic adventures for serialization. This heavily aided in the popularization of these shows, due to the rise of internet fandoms and dropping the taboo that cartoons were only for kids. Many shows acknowledged their older viewers by leaving clues and even puzzles to be solved by the theorists who have a large appearance on social media platforms like Reddit, Twitter and Tumblr. As the shows progressed, their fandoms created many theories for what they believed might happen within their favourite series. The top three shows from this era all utilized these changes, being at the forefront of the shift and helping guide the creative vision of 2010s cartoons.

Often regarded as many people’s favourite cartoon, Gravity Falls presented one of the best mysteries of the decade with two seasons and only 40 episodes. Inspired by Twin Peaks and The X-Files, it’s considered as the kids’ version of these two iconic shows as this cartoon acts as many people’s first introduction to horror through bright colours and fun characters.

This series follows the adventures of Dipper and Mabel Pines, twins, who are sent to spend their summer with their great-uncle or Grunkle Stan in Gravity Falls, Oregon. This town is full of oddities like supernatural creatures, insane and eccentric inhabitants, and many puzzles. The Pines twins must adjust to the weirdness while uncovering the mysteries and protecting their new town.

While living in Gravity Falls, the twins are forced to work in the Mystery Shack, a tourist trap created by their Grunkle Stan that overcharges unlucky tourists, teaching about fake monsters despite there being real creatures all over town. On his first day in Oregon, Dipper accidentally came across a mysterious journal written by an unknown author that explains all the oddities to be found in this strange town. This book acts like an encyclopedic of the Weird for Dipper, an inquisitive 12-year-old kid who seeks answers.

Dipper is an extremely intelligent kid, his brain being far more developed than his body. He’s rather awkward and self-conscious as he often stumbles over his words or gets embarrassed trying to talk to girls. Despite this, the boy is an adventurer at heart who just wants to grow up and skip his upcoming teenage years.

While Mabel is quite the opposite in many ways, she is loud and has an in-your-face personality. Mabel is bouncy and fun, she is so excited to start high school. She is easily excitable and for the larger part of the series, she is in her boy-crazy phase. Mabel is a girly-girl as she likes all things; glitter, unicorns, rainbows, partying and crafting. Yet, she doesn’t often compare well with many of the other girls in town, they see her as weird and “too much”.

(In all fairness through, it is not too kind to either of the characters as their personalities are more complex than just awkward nerd and artsy girl-girly.)

Dipper and Mabel’s personalities are very different but somehow, they—along with their Gravity Falls family—manage to solve mysteries and save the town, multiple times.

Gravity Falls is an honestly genius series that completely changed the way cartoons were made. Originally when writing a series, you’d create a base of your story; characters, the universe and a basic plot. Yet, when creator, Alex Hirsch (who was in his early/mid-20)s and his small team first began constructing their show, they planned out everything they could possibly think of for the first season. Additionally, outlining some answers for their biggest mysteries that would be answered at the end of the series.

Despite being rated TV-Y7, this series really pushed the boundaries of kids’ television. From the teeth being ripped out of a deer’s mouth by a demon, rearranging the functions of every hole on a man’s face to an aggressive pop-rock sock puppet show that ended in a dramatic slow-motion scene of the puppets burning. Gravity Falls wasn’t afraid to get a little weird or creepy. Or create some genuine nightmare fuel.

From the beginning, Gravity Falls had built a mystery into its series, hiding secrets and clues all throughout the show. Most notably were the backwards-recorded message and cryptograms, using roughly nine different kinds, even creating two of their own.

The inclusion of cyphers and mysteries for fans to solve is possibly the reason why this series was so successful. As one of the first shows to do something like this, Gravity Falls used social media and internet fandoms to its advantage.

As mentioned earlier, cartoon fans have quite a presence on social media platforms like Twitter and Tumblr. They create theories and share fun ideas about their favourite shows. Viewers of Adventure Time, Gravity Falls and Steven Universe were all included in their share of theory fun.

Sometimes, fan theories end up being correct but when you’re Gravity Falls creator, Alex Hirsch, you don’t just watch from the sidelines as your viewers figure out the biggest mystery of your show. No, you create a hoax to get your viewers off your trail and that is what he did. Around 2013, only halfway through the first season of the show, viewers had started to follow the clues, theorizing who was the author is Dipper’s mysterious journal.

Unfortunately for the Gravity Falls production crew, the viewers were right— for the sake of readers who have never seen the show, I will not mention who the author was as it would be the biggest spoiler.

In 2013, a supposed leaked image of a tv showing a younger version of the show’s crazy old man character, Old Man McGucket, writing in the infamous journal was uploaded anonymously (by Alex Hirsch) to 4Chan.

Despite the image only being on up for a few hours, it spread like wildfire. Much to the team’s success, theorists stopped searching for the answer to “who is the author” and just accepted the image of McGucket as the truth.

To further push the fake-out, three words were posted to Alex’s Twitter, “fuming right now.”

The tweet was deleted a few minutes later and fans genuinely believed that someone from the Gravity Falls team had leaked the most important part of the story.

While doing research, I came across a Reddit post from April 10th, 2013, the day after ‘leak,’ Alex’s tweet was uploaded. In this post, user, TheoDW uploaded an image of Alex’s tweet with the caption, “It seems that Hirsch got mad at last night’s leak. He already deleted this tweet.”

Seeing the reactions of these Redditors in 2013 is kind of weird and crazy to look at. “He has every right to be upset. Someone internally released a plot revealing screen shot of series breaking spoiler information,” a deleted Reddit account commented.

“This is Alex Hirsch’s biggest success by far, he spent a huge amount of time carefully planning out the series, and then in a moment someone releases a major spoiler. It would make anyone upset,” the user, Time_Loop commented.

“Seriously, this is a nightmare for a storyteller, and shows a breach of trust. I feel so bad for him–honestly, I hope whoever did the leak gets caught and appropriate action is taken. You don’t f–k with someone’s story like this. It’s unprofessional.” the user, lonelybeloved angrily commented.

In 2014, this ‘leak’ was finally disproven when viewers were given an episode on McGucket’s backstory and an amazing tweet from Alex Hirsch.

Alex had post an image of himself playfully pointing at a monitor with the supposed leaked picture with the caption, “1) Make hoax 2) Upload to 4Chan 3) Post angry tweet about "leak" 4) Delete tweet 5) Let internet do rest”

It is so interesting to look at these comments know that all of this was orchestrated by Alex.

I wish I had been old enough at the time to follow theories and fandom stuff like I do now with current cartoons but really looking at this from an outside perspective, this was insane!

The real author wasn’t revealed until 2015 and when viewers first got the answer to this biggest show on their screens, they must have freaked out!

Following the finale in 2016, a single frame of a stone version of Bill Cipher, the show’s villain, flashed in after the credits had finished.

Alex Hirsch and his team actually created a real-life statue of their villain for their viewers to find and on July 20th, 2016, the Cipher Hunt began.

By following clues, the Hunters found themselves all over the world; Russia, Japan and then travelling throughout the United States for the final 12 clues. When the hunt took them to Los Angeles, actor, Jason Ritter (voice of Dipper Pines, also a massive fan of the series) and Alex Hirsch’s twin sister, Ariel Hirsch (the inspiration for Mabel) joined in the fun helping the search.

Finally, the hunt ended on August 2nd when someone tweeted out an image of the found statue in Oregon, the same state in which the fictional town of Gravity Falls exists. The Cipher Hunt had ended but finding the statue wasn’t Alex’s goal for the scavenger hunt, it was about the journey and bringing together the viewers, more than having them actually find the statue.

Creating its own hoax, an international scavenger hunt and quite a bit of nightmare fuel, Gravity Falls was a show truly unlike any other.

The 2010s saw some of the strongest cartoons ever made, Adventure Time, Gravity Falls and Steven Universe acting as the leaders for multiple different changes in the medium; storytelling, worldbuilding, interaction with viewers, utilizing social media, representation and further pushing music into the cartoon world. From what was created this past decade and what has already been released in 2020, I’m so excited to see what comes next.

I have another one of these which is on Steven Universe’s representation and music if you would like to see that too!!

#isaac rambles #long post #gravity falls #cartoons #cartoon review #dipper pines #alex hirsch #OH MY GOD I LOVE ALEX HIRSCH'S BRAIN!!!#disney #disney channel #disney cartoons

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inkandpen22 · 3 years

Text

Permanent Chaos (1/?)

Pairing: MGK x Female!Reader

Warnings: Swearing

Word Count: 2.8k

Part Summary: Y/N is a newly famous actress from a popular TV show and she’s willing to do everything in her power to maintain her perfect image as “America’s Sweetheart.”

Masterlist

The limelight is a hard place to be under. It’s draining to constantly be on display. Day in and day out I feel as though I’m always looking into a mirror. However, a mirror is replaced by people’s eyes. I see myself through other’s eyes. Being sat on a slippery plastic stool while being watched by millions of Americans before they head off to work is an excellent way to start my day. Perhaps if I keep telling myself that I’ll eventually believe it. Savannah glances down at her cards then continues with the interview.

“Let’s go back to a year ago, if someone approached you and said “you’ll be the most sought after girl in America,” would you had believed them?”

I shake my head “not all.”

If only she knew how absent I am in the current moment. I’ve answered similar questions a million times these past few months. All the exact same questions within the same routine.

“Now, being as famous as you are, how do you cope with your newfound fame?”

There it is, famous. A better-sounding word than popular. After all, adult life is nothing like high school… right?

“I don’t particularly like the word “famous.” When people say “you’re famous!” What they really mean is “a lot of people know you!” At least people think they do.”

She studies me, intrigued by my honest answer, perhaps too honest. “You’re saying America doesn’t know the “real” you? Including your fans?”

I shrug, I can only imagine Nicole’s face right now. My usual bubbly and charmingly excited personality didn’t wake up with me at three this morning.

“I believe they know whatever version of me they’ve created. For some, I’m that girl from the cover of that one magazine they saw in line at the grocery store. For others, I may just a name without a face. That’s the thing about being so-called “famous.” I’ll never have the chance to meet every single person who has ever read an article about me or has seen paparazzi videos. They’ll only see those tainted versions of me. They’ll never have the opportunity to know me personally and make a valid judgment for themselves.”

Savannah hums, her eyebrows scrunched up. “How do you feel about that?”

I sigh, the words settling within me. “It’s disappointing.”

If only they all knew the truth, the reality of it all.

______________________________________________________

After the interview for the show, I fly straight back to Los Angeles from New York. My schedule has been worse, but I never miss the chance to complain to my manager. Thankfully, Nicole is a mother of tween girls and a ten-year-old boy so she knows how to take my childish whining. Once we’re landed in LAX I countdown the minutes until I can return to my bed.

“I don’t understand why you insist on wearing heels on the plane,” Nicole nags me.

“Because you never know who you’re gonna meet! Best to dress nicely just in case!”

It’s been a rule of mine since I first discovered my style and began to wear makeup, never go out in public without looking and feeling confident. I’ve learned that people can sense when others don’t feel confident and take advantage of that.

“I doubt your Mom would like it,” she nags.

“Well she’s not in California is she?” I fire back but snicker slightly.

My momma’s absence was bitter-sweet, in the beginning, now it’s all sweet. When we have our luggage, Nicole leads me through the airport to where the car is picking us up.

“You may want to put on your sunglasses now. We’re about to cross the line,” she warns.

I grab my glasses out of my purse like she instructed and slide them on. She was right, as soon as we cross over that taped line it’s a free-for-all for the paparazzi.

“Y/N!” “Y/N!”

“HEY! SHOW US A SMILE!”

The yelling doesn’t bother me as it used to in the past. Now, it’s the clicking. The clicking from their cameras. A constant *click* *click* *click*, from each of the thirty cameras. Nicole attempts to create a path for me by walking ahead.

“HOW WAS YOUR TRIP TO NEW YORK?”

“Good, thank you” I reply politely with a smile toward the tile floor.

I try to manage a balance when it comes to paparazzi. They have their job and so do I. Following me, taking pictures or videotaping me is their job. As long as they respect me, I will respect them. Nicole says it’s good for my image. My image wasn’t the first reason I was nice toward them, I was being myself. Nowadays, I’m hardly myself. I have my name, Y/N Voss, but it no longer feels like my name. The paparazzi are not used to getting easy responses out of people because there’s a long pause before the next question.

“WHEN DOES FILMING START BACK UP FOR THE SHOW?”

The question comes from a different voice but that doesn’t keep me from answering.

“In two days!” I gleam, looking forward to returning to set.

“CAN YOU GIVE ANY INFO ABOUT THE NEW SEASON?”

I chuckle a little but think it over. I agreed in my contract not to give out spoilers but there is a little info I was told I can let out. Plus, I’ve only seen the script for the first episode so I don’t know too much.

“I can say that Hollyn will have a bump start this season but no worries,” I answer vaguely but with interest.

Nicole and I manage to reach outside and she guides me down the sidewalk to where the car is supposed to pick us up.

“RUMOR HAS IT YOU’RE DATING SOMEONE! CARE TO COMMENT?”

“I’m very much single,” I laugh, finding the topic humorous. “Not enough hours in the day to share them!”

There are always rumors that I’m dating someone though none of it’s true.

“YOU LOOK GREAT TODAY Y/N!”

“YOU ALWAYS DO!”

“Thanks, boys!” I give my appreciation.

The driver gets out of the front and pops the trunk. Nicole informs me to get in the car and let her worry about our things along with the driver.

“WHAT ARE YOUR PLANS FOR THE SUMMER?”

I open my door but pause to answer the last question. “Work, of course, but I also want to have some fun.”

“HAVE A GREAT SUMMER!”

“SEE YA LATER Y/N!”

They all hurry to get some last shots and I grant them a couple of seconds.

“You too! See you guys later!” I wave goodbye then climb into the car.

Nicole gets in a minute later and gives the driver the address. “You did great back there,” she compliments.

“Eh, it was nothing. I was only answering their questions.” I remove my glasses and get settled in as best as I can for the hour drive home.

She pulls out her binder full of scheduling material for me.

“Yes, but you were willing and kind. The public and media appreciate that! You’re becoming America’s Sweetheart!”

I would never admit it to Nicole but that title she keeps pushing makes me anxious every time I hear it. None of this was planned, it was thrown at me. Please don’t misunderstand me, I’m grateful for what I have but geez! When everyone is telling you a whole country adores you, how are you supposed to handle that? Especially at eighteen. It was no more than a year ago I was back in South Carolina and just another girl in high school. Now, I’m supposed to be “America’s Sweetheart.” I’ll play the part but it doesn’t make the job any less intimidating.

__________________________________________________________

My best friends/co-stars, Sam and Penelope, meet up with me for dinner to celebrate my first night back in town after the press tour. The three of us have been dividing our time around the country working on various projects between filming the show. Any time we can all get together is a gift.

Ever since I’ve known Sam Merka, girls flung themselves at him. Even I’ll say it, he’s a good-looking guy. If Grant Gustin had a younger brother, it would be Sam. I don’t want anyone to get the wrong idea, we’re just friends. A sibling sort of bond. Since he’s eight years older than me, he likes a big brother.

Though Penelope is older too, one can’t tell since I tend to act more mature. I’m jealous of her sun-kissed long blonde hair and dark brown eyebrows. We all kinda got thrown into our friendship. Having to play life-long friends an hour after meeting for the first time was, to say the least interesting. Five years later, and we are like three peas in a pond. A mini family to have each other’s back in the big city.

For dinner, we agreed on The Nice Guy, an Italian place in West Hollywood. The most important aspect of the place is the amount of privacy it grants. The interior is a lounge, super lowkey, with booths, couches, and coffee tables but there are no photos allowed. Since no photos can be taken that means the three of us and others can enjoy ourselves in peace. Sam called dibs on being designated driver as per usual as the “bodyguard” for us girls. The paparazzi tend to hang out around the restaurant because it’s a well-known spot for celebrities.

“Maybe we can slip past them,” Sam says optimistically as we exit the car.

He meets me around the front and Penelope joins us after getting out of the backseat.

“HEY! HEY! HEY!”

From in front of the restaurant, a ripple of cameras begin to take notice of us.

“IT’S THE KIDS FROM THE SEASONS OF LIFE!”

“Yep, we really snuck past them!” I tease Sam playfully.

He huffs, annoyed with the situation. Sam loves his job but hates the lack of privacy aspect. He isn’t a fan of crowds either which I can understand. However, he’s great at masking it behind his charming smile. It’s what we were trained to do. Yet, Sam is better at managing a crowd mentally overall than I am. He understands how they affect me sometimes. The swarm of photographers rushes up to us. Sam leads the way toward the restaurant door. Penelope remains close, keeping a hand on my forearm to stay together. The cluster follows us down the sidewalk to the building.

“SAM! SAM! HEARD ABOUT THE GQ PHOTOSHOOT! CONGRATS ON GETTING THE COVER MAN!”

Sam chuckles next to me, “thanks, dude!”

“PENELOPE! RUMOR HAS IT YOU’LL BE SWITCHING OVER TO THE BIG SCREEN!”

“Exactly, it’s a rumor!” She replies a matter-of-factly.

The *click* *click* *click* and the flashing lights in the dead of night never fail to overwhelm me. Though, Nicole has told me I never appear overwhelmed when I interact with them. I force on the brave and confident face. I’m not me when I’m in front of cameras or important people, I’m Y/N Voss. I’m two very different people.

While I’m lost in thought, I get stuck when one photographer gets too close to my face with his camera and blinds me for a second. Sam and Penelope don’t notice my absence amongst the chaos until another photographer barks at the other to back off. Then, I feel Sam’s hand slip into mine and he protectively escorts me toward the door with determination.

“ANYTHING YOU TWO WANT TO SHARE ABOUT HOLLYN AND ELLIOT FOR NEXT SEASON?”

Hollyn and Elliot are Sam and my’s characters from The Seasons of Life, the show we star in together. Our characters have been on again off again for the past two seasons. According to the last season’s finale, the two are currently together, but of course, the season ended on a cliffhanger so their relationship isn’t very stable.

“Sorry guys, can’t share anything!” Sam answers, sounding a tad irritable.

“ANYTHING IN REAL LIFE? YOU TWO WERE BOTH IN NEW YORK THIS WEEKEND!”

“That’s true, but we never have the chance to meet up!” I reply nicely.

Press events for last season have come to an end and work officially begins in no time! Downtime for me is filming and it couldn’t come at a better time. I’ve missed being home in Los Angeles. Living out of a suitcase and sleeping each night on a plane isn’t the best way to live, at least for me. We finally reach the doors and I thank the heavens.

“Oh my gosh! There’s no way!” I hear what sounds like girls squealing and I slow down to see where it’s coming from. My hand slips from Sam’s as he goes on. When he’s determined to get away from the paparazzi, he can ignore the voices. Yet, when he notices that I do not follow he finally stops.

“Excuse me!” A girl calls amongst the clicking and shouting.

The paparazzi move aside a tad and create a path for me to see two young teens jumping up and down. They must be around fourteen I’m guessing, younger than me at least. I approach them to see what’s the matter. I can hardly see anything with all the bright lights.

“Hi! How are you?” I greet but once I get closer and cover my eyes with the flashing lights, I recognize them. “Sarah! Emma! How are you two?”

These two have been some of my biggest supports. They run a Youtube channel and create content about their reactions to episodes of the series. Somehow they manage to make appearances at any events relating to the show. I’ve met them numerous times at events, so have other members of the cast. Besides being two of the sweets girls in the world, they’ve created a fan page for me on Instagram and Twitter.

“Good, good!” Emma replies eagerly.

“It’s been so long since we last saw you!” Sarah adds.

“It really has! When was the last time we saw each other? During the press tour?”

They nod in unison as though they’ve rehearsed it.

“Well, group hug!” I hold out my arms and they gladly accept.

“Can we get a picture?” Emma practically begs, bouncing on her heels.

“Of course!” I take Emma’s phone and hold it out to the crowd of paparazzi. “Could one of you take our picture by chance?”

Many of the guys offer and I select a random one in front of me.

“Squeeze in tight!” I tell the girls as I stand between them and we wrap our arms around each other.

“One, two, three!” The man takes a couple of shots and hands, Emma, back her phone.

“Thank you!” The three of us say together.

We all hover over her phone to check out the pictures.

“So cute!” I awe at the photos.

“Y/N...” Sam places his hand on my back to usher me along.

“Oh, my-” Emma covers her mouth.

“Sam!” Sarah’s jaw is to the sidewalk.

“Hey girls!” he charmingly smiles.

He’s had the chance to meet them a few times while on the press tour and at other various events. I was there to introduce them which was one of the most entertaining moments of my life. I thought the girls were going to faint!

“Can we ask a quick question? It’s for our channel!” Sarah nervously bites her lower lip.

“Yeah, yeah, anything for you guys!” I answer without hesitation.

Sam wraps his arm around my waist while we’re talking to the girls and I don’t think much of it but the cameras begin to go nuts. The men behind them don’t say a word since we’re occupied but there they go *click* *click* click*.

“Is there any hope of you two getting together IRL?” Emma questions intently without hesitation.

I press my lips together with amusement and turn my head to Sam. He has the same look of pondering the question. He squints his eyes at me and then the two of us turn to the girls.

“Just friends,” we answer in unison.

“Best friends!” Sam adds playfully.

“Best friends forever ever!” I one-up him.

The two girls laugh with us, but it’s clear they’re a little disappointed.

“Well, I still bet on you two,” Sarah confidently points out.

Sam and I get a kick out of it. Our viewers want us together too.

“We better get going, our moms are waiting,” Emma informs us.

“Okay, quick hug!” I order and the four of us group hug.

We say our goodbyes and when the girls disappear the men behind the cameras start yelling.

“YOU’RE GREAT Y/N!”

“HOW DID YOU KNOW THEM?”

“Their names are Emma and Sarah. They run a popular Youtube channel, Twitter, and Instagram accounts for the show. Super sweet girls those two!”

“DO YOU KNOW ALL YOUR FANS?”

“I try to! I know a good amount!” I grin proudly.

Sam guides me into the restaurant and his hand never leaves my back. All of it is platonic of course, nothing more. As I told the paparazzi before, there isn’t enough time in my life for me to share any with someone.

________________________________________

Masterlist

Tags: @canyoubuymetoast

#machine gun kelly #mgk #mgk smut #fanfic #mgk fanfic #famous #colson baker #colson #mgk aesthetic

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chibimyumi · 3 years

Text

Kuromyu 2021 - First Review

So, yesterday 05-03-2021 was the First Day Performance of Kuromyu 2021, “The Secret of the Boarding School”. It is no secret that I am no fan of the Boarding School Arc, but even so I was very, very curious to see this arc being translated to a stage media.

This review shall not be without spoilers. Not just the story itself, because I think by now most people know how the story unfolds. I mean the execution of the stage play itself.

I shall not lie and admit that my review WILL contain my opinions, meaning it is by no means objective and might influence your opinions. For people who wish to experience the production entirely objectively for themselves, I recommend NOT clicking “keep reading” to reveal the spoiler section.

For now, I shall give my spoiler-free rating per category.

Faithful to canon: ⭐⭐⭐⭐★

Script: ⭐⭐ ★★★

Acting: ⭐ ★★★★

Singing: ⭐ ⭐★★★

Music: ⭐⭐⭐★★

Dancing: ⭐⭐ ★★★

Stage & Costume: ⭐⭐⭐⭐⭐

Hereunder I shall give the spoiler-section first preceded by “First Impression”, and then followed by the categories listed here above.

First Impression

The stream started, and seeing the Kuromyu logo in present day again after three years really was very exciting. Since 2010 on as always, Kuromyu opened with the contract scene, and I was positively surprised to see the stage set being quite elaborate! This set was the largest and most elaborate one so far without TOHO’s help.

After the contract scene the prologue gave a very quick recap of the Jack the Ripper, Circus, and the Campania Arc. I am not sure whether it was necessary to show the Jack the Ripper and Circus Arc as they provide no information needed to understand Weston Arc. But I think it was mainly inserted to speak to the nostalgia in Kuromyu fans, and as a Kuromyu fan myself, I have to say it did work. It did not take much time, I think maybe 1 minute per arc, so it was fine.

The recap of the Campania Arc was important as it served to equip the audience with the information that there’s a reaper who creates zombies. Undertaker was shown as the main antagonist of the Campania Arc and responsible for the bizarre dolls.

There was a short brawl between Undertaker and Sebastian, which is in fact a very good choice in my opinion to showcase the dynamic between these two supernatural powers...............except that only 10 minutes in, and the musical already MASSIVELY screwed up by portraying the fight as though Sebastian beat Undertaker. The ONLY reason Sebas is still alive is because Undertaker decided so. Normally I wouldn’t care that much about errors in a recap, but this time it serves as the exposition of Undertaker and Sebastian’s dynamic: It should have shown that Undertaker is an incredibly dangerous foe and that Sebas is scared shitless because of that. Especially because this ties in with how this arc was concluded.

“But okay, fine. Maybe the script has other plans, so I shall let it be,” I thought. Moving on. But it did “plant a seed” in me that this musical is either going to contradict itself, or that it is going to defy canon. That was the first impression.

The prologue transitions into the setup of the case quite smoothly, and I have to say it was skillful. You very quickly see Ciel change into the Weston uniform and the admission ceremony was swiftly started. Immediately you get introduced to Agares, the prefects and their fags, and the musical does a good job defining the atmosphere as: “something is off here”.

Faithful to canon: ⭐⭐⭐⭐ ★

The overall musical was really quite faithful to canon. Most plot points were as they were in the manga, and enough so that I would recommend anybody who doesn’t understand Japanese to first re-read the arc as homework. If you have the arc fresh in your memory, it is very easy to trace every action back to the canon.

There are some details that were omitted or changed, probably done so in consideration for the stage medium or run-time, and done reasonably so. Unlike the previous Kuromyus, 2021 adds very little new elements that were not there in the manga. No added extra depth, but also no unnecessary additions.

There were a few things that were very off-canon, namely the characters. But I think that falls under the “acting” header, rather than this header.

Script: ⭐⭐ ★ ★ ★

The script was a real disappointment. You might wonder how faithfulness to canon can be 4/5, and yet the script only a 2/5 in my opinion. WELL, most dialogue was based on the text in the manga, but told as dry as possible. It was also as though the script writers didn’t trust its audience intelligent enough to understand things on their own, or even remember something that was said literally 5 minutes ago.

Exposition Ad Nauseam

There was a tremendous amount of exposition, exposition, exposition, ad nauseam. There was exposition about who Ciel is and what the Queen’s Watchdog is and what his job entails, and that is entirely fine. That’s necessary background information for spectators unfamiliar with Black Butler. However, there was also a lot of exposition that could easily have been left out, or concluded through context. For example, there were quite many expositions about the history and status of the Weston College. In my opinion, a competent script writer could have let the audience known that the Weston College is really important just by giving the information that the blood relative of the QUEEN attends the school, and by showing the Red House, since their entrance is based on social status.

In this post I wrote about my following concern:

Unlike tennis, cricket is a very foreign sport to most people. Cricket cannot be shown without explaining the rules. So if Kuromyu were to happen, these expositions that were dry in the manga to begin with, are going to be even dryer on stage. Does an actor narrate the rules? Do we want Sebastian to sing us the rules??? Or do we want the kids to sing us the rules themselves while they are batting the balls?

And alas, true to my fear, Sebas indeed narrates the rules to us... But even worse, he also explains cricket by using baseball analogy... This is an incredibly ineffective and time-wasting method, because:

it takes the audience out of the moment,

it assumes the audience knows enough about baseball to let it help understand cricket,

and it assumes the audience actually cares about the name of every single strike....

Repetition Ad Nauseam

Then there is the problem where many info-dumps sounded like: “LIKE I JUST SAIDDDDD, DON’T FORGET!!!”. The script for Sebas is the biggest offender. There were many moments Sebas was just saying the same thing twice. At times he repeated the same information, and there were some moments where he regurgitated already given information. (Sorry I’m just being nasty here, but that’s what it felt like (;;≽▽≼;;) )

Sebastian has this obsession with constantly proclaiming himself an omnipotent, one hell of a butler, which makes him capable of doing anything... and after a while it just gets a bit tedious. I have the feeling the scriptwriter really has the hots for him, and therefore can’t shut up about how powerful he is.

While Sebas is the biggest offender, he is by far not the only one. This musical is guilty of doing a lot of very unnatural lines that no person would ever say. Soma for example, seems incapable of saying anything without shouting that he is the Prince of India and Ciel’s BFF. First time, FINE. But the entire time? My god....

Characterisation

Then there is the characterisation of characters in the script. Of course in great part the characterisation is dependent on the actors too, but no matter how amazing an actor is, you do as the script demands.

As discussed above, Sebas is done dirtiest by the script. This script also makes him incredibly arrogant and a bit too happy to be in his master’s service. Similarly, Ciel is also written entirely dependent on Sebastian, and equally happy that Sebas is happy to serve. In the first song between Ciel and Sebastian, without any prompt Sebastian asks his master for his orders, as though that’s what Sebas is looking forward to all day. And the first thing Ciel says in response is: “can you take on this reaper [Undertaker] and the large number of moving corpses?” to which Sebas responds: “Leave everything to me, because I am the Phantomhive butler.” ........and then he proceeds to defeat Undertaker effortlessly.........!?!?!?!?!?! When fighting Undertaker, Sebas also says: “what a bother” as though it’s just a bit of an unpleasant chore rather than a life-threatening fight. And just before Undertaker disappeared all the way at the finale of the arc, Sebas seriously says: “I really don’t get along with you”. SERIOUSLY, WHO WROTE THIS?!

Myu!Ciel is CLEARLY the master of this Sebastian as he seems to be on a permanent power trip. He “it’s an order”s Sebastian for the most trivial of things. At the beginning when Sebas was fighting intruders already, Ciel “it’s an order”s Sebas to take down the intruders.... HE’S ALREADY AT IT!!!

In chapter 70 where Sebas and Ciel simultaneously think of Soma, Ciel doesn’t give Sebas an official order. This shows the audience that there is a certain level of trust between master and servant that they’re on the same page AND that Sebas has come to a stage where he will actually do what’s necessary.

In the musical however, Ciel gives a full “Sebastian, it’s an order, get the procedures done to get him here, to the Weston College.”

This is also an example of how unnatural and repetitive the script is. Who would EVER say “get the procedures done to get him here, to the Weston College”???? Of course procedures need to happen first! And “here” alone would have sufficed, scriptwriters. We KNOW where “here” is! We didn’t forget since 5 seconds ago!

Lyrics

The lyrics are technically not the script, but they are ridden with the same problem as the script itself, so I shall take the liberty of discussing these under the same paragraph.

There is a LOT of repetition in the lyrics as well. The P4 especially sing “Weston” and “tradition” like the ENTIRE time. One song literally goes: “this is Weston, Weston, Weston, Weston, at Weston we uphold our traditions, traditions, traditions, traditions.” The other song is: “It’s cricket, it’s cricket, it’s cricket,” and another “I am Ciel’s BFF, BFF, BFF, Ciel, lord Ciel, lord Ciel, lord Ciel’s BFF.”...... *shudders* ((ﾟﾟ((Д))ﾟﾟ)) AAAAHHHH!!!!

Acting: ⭐ ★ ★ ★ ★

The acting was by far the most abominable in the musical safe for two gems: Chesslock and Derek. There are too many characters to discuss, so I shall keep it to the main/noteworthy ones.

The gems

Chesslock has this tremendous energy and something very wild about him, and his jumps are so incredibly precise it’s amazing! Derek has but a very small role, but the moment he showed up as the zombie you already immediately saw there was something “off” about him. It was very subtle, but still clearly unhinged. When he was acting living-Derek, you also clearly saw what type of prick he was. Amazing! These two were the brightest stars of the show.

The....... not gems

The most unwatchable ones were Soma and Harcourt. Soma doesn’t have a big role, but he bothered me so much he is ironically the most memorable one. It’s like Okada saw “loud and obnoxious (in a good way)” in the manga, turned it up to 12, and gave the worst portrayal possible. As said above, the script making him repeat “Indian prince” and “BFF” the entire time doesn’t help, but blaming just the script would be letting Okada off too easily.

Harcourt...... gave me so much secondhand embarrassment I literally got a cramp looking at him. When the diarrhea happened he was screaming like a pig about to be raped and slaughtered... and I am NOT making a rape-joke here. I would never. He really did sound like he was unwillingly aroused and terrified at the same time.

Sebastian

Let’s start with the good things: Tateishi’s Sebas did have his presence and his movements were fairly neat. He was never just standing there. He is quite elegant, and not swaggering or pulling spasms on stage unlike a CERTAIN someoneeeeee. He could work a BIT on the coordination of his extremities, but that’s only when I’m nitpicking.

But otherwise.... he was a bit underwhelming to be honest. The main problem is not necessarily Tateishi’s acting-skill maybe, but his interpretation I think... but I can’t say his acting was amazing even at knife-point. The way he acts Sebas makes him look like a complete fanboy of Ciel... which is just not Sebas. He is incredibly eager and at times I could almost see a puppy tail wagging. Whenever he is getting an order from his master he is just beaming. And with Undertaker there was not a single hint that Sebas is scared of the only foe who managed to mortally wound him.

His interaction with Ciel was also very SebaCiel heavy. In the manga where Ciel challenges Sebas why he didn’t go after Undertaker, Sebas is clearly emphasising the importance of the contract, and half-threatening his master not to dare “it’s an order” him to go after Undertaker.

In the musical however, Sebas is all UWU, as though saying: “I couldn’t let the big baddy hurt you... uwu”. Without exaggerating, Sebas caresses Ciel’s face THREE times and then embraces him.

Ciel

Ciel was very unbearable to watch in my opinion. Not as bad as Soma and Harcourt, but otherwise an “honourable” third place after them. In the manga it was a bit cringey to begin with because he is supposed to fake being (*ÓωÒ*), but seeing a 20 year old man do that... and play it up to 11 was just jarring. Ciel is like “tehe” very often, but never actively skipping like a forest fairy.

This Ciel also has tremendous mood-swings! He is either UWU or actively a ice-cold diva... and at times he is also being UWU when he’s not around others???? There was also not a single moment where I could see him cooking up a plan. No hint of intelligence or cunningness to be found.

Unlike with Tateishi I can’t really come up with anything good to say about him.

Undertaker

Undertaker was the best among the main three (not that the bar is very high). He is making efforts to tease-threaten Sebas, which I think is a very nice added detail (it’s just that Sebas reacts to none of them... sad.) and even though his role is pathetically small (he doesn’t show up as the principal), he still managed to present himself in the spotlights.

Greenhill had his energy, he was funny, and something really funnily militaristic about him. Though, I was missing nuance in his acting because at not a single point could you see Greenhill might have a trauma for killing people.

Redmond was Viscount of Druitt light and he had a very strong emphasis on the BL aspect with Maurice......which was just personally not my cup of tea. But I have to admit that aspect was played up too in the manga. So I guess he was faithful to canon.

Violet was quite charming and eccentric. He did play up the gothicness of the Violet house, which was actually kinda nice! He also had a deep friendship with Chesslock, which I really liked. When Violet didn’t do shit during the tournament Chesslock was really miffed about that, and challenged him. And then Violet showed Chesslock a portrait he drew of him, saying: “you just looked so cool I had to capture that.” That was amazing! He is a bit bitchier and sassier than in the manga, but I really don’t mind.

Bluer.... William light. He was the least memorable of all of them.

Singing: ⭐ ⭐ ★ ★ ★

Nobody really hurt my ears, but also nobody quite hit the notes... and the notes weren’t that hard.

Music: ⭐⭐⭐ ★ ★

Eehhhhhhhhhhhh I’d say the songwriter played most songs a BIT too much on the safe side. Not a single song was memorable, but they didn’t offend me either. The main theme was fairly nice actually, but only when just the instrumentals played. I think it might have been the singing just being too chaotic for me to actually hear the music.

Dancing: ⭐⭐ ★ ★ ★

Chesslock is an tremendously good dancer, his movements were precise and energetic. But otherwise.... nobody really popped out, but there was nobody who looked like a noodle on stage either.

The main problem is choreography; with some exceptions they were very underwhelming and messy. There were a lot of group dances, but often enough people were just a bit out of sync and messy.

Stage & Costume: ⭐⭐⭐⭐⭐

Stage Set

The stage set was VERY good. It was well made and mobile; they could be moved around and functioned as different props. Examples include the cellar in which Derek and his gang were committing crimes, and the boat of the parade even. The set also had this really magical aesthetic about it which communicated the glamour of the Weston College well.

Costumes

The costumes were well made. The logo on the uniforms for example were actually embroidered rather than those iron-on plastic things. The wigs were .... very messy after jumping around a bit and they looked very greasy. But that’s fine. They did their job and I realise I’m just spoiled. TOHO makes their wigs using real human hair, and that’d be an astronomical sum for any normal 2.5D company.

My ONLY problem is Ciel’s “lord costume”. This photoshoot photo underneath is doable, but trust me, on stage it is a nightmare. There are no clear photos of this costume on stage, and I think I understand why.

It was glittery velvet which just SCREAMS cheap Halloween costume, it was ill-fitted, almost like it was 2 sizes too large. The costume makers didn’t take stage-lighting into account, so the fabric and details glistened all over the place. Under the limelight the “golden” aiguillettes were PISS yellow. And the suddenly black sock suspenders protruding from his white boots were just...... distracting.

BUT, this was just one costume and he only wears it in the prologue and the finale of the show. Even though it’s God-awful, the rest were well made enough to compensate for this abomination.

Conclusion

So now finally the conclusion! The musical was..... fairly faithful to canon, but the execution leaves quite a lot to be desired. The interpretation/acting of the characters were the most disappointing one, while the stage/costumes were the most charming.

Do I recommend buying the stream/DVD/BD?

Stream: Yes.

I personally do recommend buying the stream as it’s only 3800 yen, especially if you like the Weston Arc itself, and/or are curious to see how they did it. Even though I myself really hate the Weston Arc in and of itself, I was very curious to see how it’d be translated to a stage medium. Despite my mostly negative opinion of the musical, I don’t regret buying the stream at all!

The best reason in my opinion to buy the stream though; it’s a very good and legal way to get a “preview” to see if you want to spend approximately 10000 yen on the proshot.

DVD/BD: Depends on you.

I myself have decided not to buy the DVD because I don’t think I’ll be rewatching it after the stream-archive period is over. The DVD/BD are the most expensive so far, and to me the final product is just not worth that amount of money.

But if you like the Weston Arc, or the performers, or you think you will be rewatching it and you are a collector, I think it is a very nice addition to your shelve.

#Kuromyu 2021 #Kuromyu #Secret of the Boarding School #Review #Weston Arc #Musical

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poodlejoonas · 3 years

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Dad!BC AU - the moms

So wow-ihateithere and I (because for some reason Tumblr won’t let me directly @ you) have been tossing out so many amazing ideas for the BC dad AU lately that we’ve thought of pretty much every scenario under the sun. One idea I’d like to throw in here is the group that is the moms who make up their own personal wolfpack. Since they’ll be brought in as stand-alone characters soon, it would be better to have a basic introduction for each and how they know/interact with each other.

(Under the read-more for length)

Joel - Emilia (”Millie”) Hokka - The absolute baddest bitch you will meet on this planet. She's a 5′1″ sweetheart, but if you lay a single finger on her kid, her husband, her BC brothers and sisters, or any of her nieces and nephews, she will become the human embodiment of that one line from “Wolfpack.” You know the one. She’s gone viral before for Joel needing to hold her back from fighting the mom of a kid who’s bullying Enkka at school, and literally watching this tiny woman become a human hurricane at the drop of a hat was enough for this kid to immediately leave him alone. From then on, kids at school know not to come after Viktor Hokka because his mom doesn’t play around. Why would she? After all, she dedicated 18 months of her life to trying to become a mom, and anyone who dares to come after her baby needs a running start to get away from her.

Sometimes even Joel has to hold her back from doing something she probably should regret but wouldn’t if it involved her family. He knows better than to cross a line with her. Then there are other times when they work together to be the shadiest power couple on earth, like when Aleksi’s ex-girlfriend Laila slanders him in the media for talking about taking custody of their son from her. If Joel comes home pissed about something, she’s the first one to jump on board with whatever plan he has to get his point across. She would totally have a stan account on Instagram dedicated to her called “milliehokkasupremacy”. And Joel loves his wife so much that he would eat every bit of this shit up. When she tells someone off, he writes down what she says and turns it into the lyrics of Blind Channel’s next single.

In short, Millie Hokka is 100 percent That Bitch™.

Bonus bit because this idea made me laugh: (in the comments section of a post slandering BC) @milliehokka: Bitch you better take this shit down before I puncture your fucking tires @joelhokka: She's my better half ❤️

Joonas - Kirsten Porko - Kirsten’s one of the quiet BC moms, and a hell of a lot more tame than Millie. But she has her shining moments every now and then, like when she was wondering why Millie took Joel with her knowing that she could’ve easily beaten that bully’s mom’s ass without him. She has the patience of a saint, being married to Joonas and raising two (soon to be three) kids with him. But she adores every minute of their chaotic little family. Since Sohvi was the first of the BC kids, the guys were quick to show up in support of her and Joonas. She was also pretty lonely until the others started dating their wives, and she was more than happy to have more friends to bond with.

She does the most to mother the rest of the kids when they need it. They love to come to their house because Kirsten will have a fresh pan of cookies ready for them. They also like hanging out with Joonas, but Kirsten is a fun aunt on her own. She’s typically the first to show up when one of the other moms tosses out a cry for help in taking care of their kids, especially when they’re newborns and the guys are away on tour. Kirsten’s total aesthetic is the absolute opposite of Joonas’s: she’s bubbly and wears nothing but pastel dresses and soft fabrics. A lot of people wonder what a “nice girl” like her is doing with a punk rocker like Joonas, until you see them interact and know that they’re crazy in love with each other and their kids. She’s the unassuming type, but she loves pranks as much as her husband and kids; she’ll play along whenever there’s a really good one and sometimes she can totally outdo them.

Niko - Jenna Moilanen - Jenna is Millie’s co-conspirator and partner-in-crime. If Millie needs someone to back her up and Joel’s trying to talk her out of whatever she’s thinking about doing, Jenna is the first to show up on the scene. She’s very much Niko’s type - she has just as many tattoos as him, several piercings, and hair that changes color depending on her mood. She’s naturally a blonde but you almost never see her as one. A lot of people tend to pass judgement on her abilities as a mom based on her appearance, but both of her and Niko’s kids adore her (especially their daughter Lahja) and they grow up happy with their loving parents. She’s a fantastic cook and works as a head chef at a five-star steakhouse, and she’s always willing to come home and cook for her family as well. She and Millie are the two shortest of the group, and it’s hilarious because they are both absolute spitfires.

Jenna has the best intuition when it comes to deciding who is trustworthy and who isn’t. There’s no “leader” in the group, but most of the others trust Jenna when someone gives her a bad feeling. She would be the one to raise the alarm on Laila years before she and Aleksi ever break up, and Laila would find the absolute worst way to end up on Jenna’s shit list. In her time with the group, Laila does nothing to help take care of the rest of the kids or try to fit in with the group. One day, when Leevi cries because he needs something, Jenna spots an annoyed expression out of the corner of her eye coming from Laila. It takes an intervention from God to stop Jenna from ripping her apart on the scene. The most important thing to note about Jenna: she calls her closest friends “bitch” affectionately. The moment it stops being affectionate, there’s no turning back.

Olli - Kaarina Matela - The quietest and calmest of the BC moms. She perfectly matches her husband’s energies, which is why they parent their daughters so well. She was definitely more calm than him on the day they learned they were having twins, and still is to this day. When he was panicking about their pregnancy scare, she was still managing to stay collected somehow (but just as relieved as he was). She’s very much like a suburban soccer mom type, but far from being a Karen because she’s aggressively kind to everyone around her, including hardworking people. And Olli just adores her so much, sometimes he doubts if he even deserves her. She’s always the first to remind him that there’s no one else she would rather be with.

Kaarina is the arts and crafts kind of aunt. During the summer, she likes to have the kids come over for day camp style hangout sessions where they mix in time outside with craft activities. She’s the reason why Olli’s stage outfits have been so cool lately, because she’s got a perfect eye for colors and is super skilled at hand-stitching patches. If the kids need anything repaired, they’ll know to go to Aunt Rina first because she’ll either make it as good as new, or turn it into some sick artwork. All the moms get along but she and Kirsten vibe together the best. They get together and plan the summer activities for the kids, which involve Rina planning the crafts and Kirsten baking for, and with, them.

Tommi - Marja Lalli - Marja is unique in her position as a BC mom because she joined the group when her son Miikka from a previous relationship was already almost 4. For a brief time, she was worried about herself and Miikka feeling left out of the group dynamic that was already there, but they were so quick to invite her in as one of them. A lot of it had to do with her being friends with Jenna since elementary school, and Jenna knew that the sisterhood would be more than happy to accept her. She and Niko help set her up with Tommi because they both know he would love her and accept Miikka as his own. She’s chill and reserved, but she’s still a ton of fun to be around. Along with Kaarina and Kirsten, she’s one of the level-headed moms and is typically the voice of reason for a lot of things (especially when it comes to trying to contain Millie and Jenna’s tempers).

The rest of the moms were thrilled when she told them she was pregnant with Anna, but constantly concerned and fretting over her when she was on occasional bed rest. If Tommi couldn’t be with her, it was one of them coming over to help take care of her and Miikka. Marja’s health showed the caring side of the sisterhood of the BC moms, how they are willing to take care of each other in sickness as well as celebrating the good times and defending each other from drama. Even months after Anna is born, they still come over from time to time to see if there’s any way they can help.

Aleksi - Laila Pekkanen (later on, marries Hanna Kaunisvesi) - So this one is a bit complicated. For about three years, Aleksi was in a high-profile relationship with Laila Pekkanen, a producer who worked with him on a solo single before joining BC. They meet again a couple years later and begin a relationship that last for about three years. But it was far from loving, as they were just in general not good for each other. A few weeks after their break-up, Laila calls Aleksi while he’s in the studio to break the news to him that she’s pregnant, which sends Aleksi into total emotional turmoil because he thought they were being careful. Of all the guys, he’s the most careful with avoiding this kind of thing, but it was her who missed one too many days of her birth control. They’re barely on speaking terms, but they agree to try to stay cordial until Aleksi can take full custody of the child himself. She admits to having no maternal instinct and wants nothing to do with the baby.

Here’s where it gets messy. Aleksi finally decides to break his silence on the matter and announces via Instagram that he will be a father and raise his son on his own. He does his best to tell his side of the story without dragging Laila down. But she takes it personally and goes on the radio to try to attack Aleksi, feeling like she’s being treated like a villain and a bad person for giving up her child. She feels like she’s being “exposed” in thinking that Aleksi publicly acknowledging their son’s existence would ruin her career, because she’d been trying everything possible to cover it up. It becomes a major feud between her and her team, and Aleksi and the BC team, but more industry people can back him up as a stand-up guy than they can come to her defense. She nearly ends up having Noah prematurely, and yet Aleksi still shows up in support, more so for their son than for her. When Noah is born months later, she refuses to hold him and immediately cuts off all contact with Aleksi.

Aleksi raises Noah alone and learns to support his son when he’s later diagnosed on the autism spectrum. Noah is semi-verbal and partially communicates with sign language. He uses sign in situations when he meets a stranger, and Aleksi respects his intuition when someone makes him uncomfortable. Noah has separation anxiety from losing his mom at a young age, so Aleksi refuses to date for years because he doesn’t want to bring a revolving door of strangers around him. But then he meets Hanna, who makes an almost instant connection with him. He’s hesitant to make a decision about a long-term relationship with her until he sees how well she works with Noah. She’s one of the first people he opens up to - mostly because of her experience as a child psychologist - but the moment that seals the deal is when Noah calls her “mom” for the first time (in sign to his cousins). Fans and people he works with can’t help but notice that Aleksi is so much happier with Hanna than Laila. And as much as he would like to have a baby with her, he’s happy having Noah and wants to invest his energy into ensuring his happiness. But Hanna understands, because she’s an angel and only wants the best for her family.

#blind channel #dad!blind channel #no idea what else to tag this as lol #this is a lot more fun than making them all reader inserts #i love writing reader inserts but it'll be nice to see them interacting with each other

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chicoriii · 3 years

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Season 4, Episode 4 - Mr Pigeon 72

I have no idea where to start. This episode has some good things and some extremely stupid.

Marinette isn't still completely fine, but I prefer when she deals with it through being hyperactive than being a whining crybaby.

I know people don't agree with me, but personally I don't buy the whole revealing identity to Alya. It's not a problem with Alya herself, I would say the same about every single character who is not named Alix Kubdel at this point of the story. I haven't written anything in my post about Gang of Secrets, because I thought it would be undone in some way at the start of the next episode. The creators did nothing to explain why revealing identity of Ladybug to anyone was super dangerous and would result in a catastrophe in seasons 1-3 and the first two episodes of S4, but it's magically fine in episode 3. Only Alix made sense to me, as she will be the rabbit Miraculous holder, so she is destined to discover identities of everyone sooner or later and Marinette is aware of that. While it's not necessary to learn identity of anyone to other temporary Miraculous wielders, including Alya. Also that reveal hasn't been foreshadowed in season 3, while the show usually does it, especially if it's about something as important as that! More, in late S3, it's been shown that Alya still can't resist to not talking about Marinette's love life with Nino, despite she asked her to not do it. Now the girl, who is overly excited about superhero stuff, has no problems with even accidental revealing anything to Nino or someone else. She's even "stealing" Bunnix line that she's great at keeping secrets (sorry but you, the creators, haven't shown us that she's indeed is before!). This is why I think that reveal hasn't been planned before they started writing season 4.

But okay, I can deal with it, even if I don't buy it, but things these happened in Mr. Pigeon 72 are even more inconsistent with previous seasons. I have been worried about it, so it doesn't surprised me. For some reason Guardian related-things that have been kept in a secret before from everyone minus current Guardian and the future Guardian, are now fine being done in front of Kwamis (remember, they haven't been allowed to learn about making potions before!) and a civilian who is just a temporal Miraculous holder, not someone who is supposed to be trained to be a new Guardian. You can say - new Guardian, new rules, but why? Marinette has been portrayed as someone who respect authorities, she has never questioned any Fu's rules. It wasn't even said in the episode that she's going to change the rules. I hate that the writers don't even bother to explain us what's going on. Probably they don't bother about consistency, they think the audience is going to be too excited about Alya knowing Ladybug's identity and helping Marinette to question anything about it? How Alya could be allowed to learn the Guardian secrets? She is just best friend of the protagonist, she is not one of the main characters to get that special treatment. I makes zero sense to me. Especially since Su-Han will be introduced in episode 6 and he should help Marinette with understanding the Grimoire, Alya isn't necessary here for any other reason than fanservice.

In my opinion the way how they discovering how to make charms that protects from akumasitation was the most stupid thing that happened this season and one of the most in the whole show. Marinette who is the new Guardiand and portrayed as someone extreme intelligent and creative couldn't find the solution for days, but Alya with zero training magically discovered it in a few hours at worst. And when she told her the solution in not even very clear way, Ladybug did it immediately with no effort. That was so anticlimactic. At least the animation was fine, but other aspects of it was just a big disappointment, and I was looking forward for it. Thank goodness it's just the beginning of the season, I hope later important events of the season will be better written and portrayed.

Also I find it absurd that Rena Rough is walking with a page from the Grimoire like it's just an ordinary book and she's talking about it in front of a random civilian, like things that are written there are nothing special. She or Ladybug are not careful about Miraculous lore anymore. Not to mention that they are giving hints that Rena is very close to Ladybug in public, suspiciously close. And now with them being too careless, that's not hard to suspect that Rena Rouge is someone very close to Ladybug, maybe even as a civilian. Shadow Moth knows Rena Rouge's identity, and it's easy to him to learn who is Alya Cesaire's best friend if he doesn't know it yet, after all his son is in the class with her. Marinette has always been super careful and serious about her duties before, why that sudden change with zero explanation? It's just very out of character to her in my opinion.

I didn't like the akuma battle either, it's now the worst fight of the season in my opinion. It was so short and felt very lazy. I only liked that Plagg got some action and interaction with Ladybug (though it should be suspicious for her that he managed to reach to her that fast). He should be aware now that Alya knows Ladybug's identity but he acts like nothing happened. Not a word about it being unfair towards his kid or something, weird.

Thankfully the rest of the episode is generally more or less fun to me. It was nice to see Marinette and Kagami interacting again. I loved Kagami in the episode, although it was a bit weird to me that she isn't seemed to be affected by her breaking up with Adrien. Like her crush was very shallow, so she managed to recover herself from it very quickly. While it's been shown that Luka is hurt, despite Lukanette always seemed to be much more shallow than Adrigami in my opinion. But maybe it's because she's so down to earth, so being less emotional makes sense for her character. I liked how her attitude was opposite to Marinette's hyperactive: "No, I don't want to be in a relationship with Adrien again, he disappointed me, just let me live!!!". And she's another character who said that Marinette and Adrien are made for each other. I'm not surprised that Kagami sees it now when she tried to be with him and that didn't work. She's observant, sees more than many other characters. It seems she's an Adrienette shipper now. It's also good that her issue with Adrien wasn't resolved that easily and too fast. They need more time, but I'm sure they will be friends again.

So, we've gotten shirtless Adrien. I remember seeing a tweet of Thomas in which he answered to a question if there will be a beach episode and he said we will get something similar. I wonder if he meant this episode. Oh, they just remembered that Adrien is supposed to be allergic to feathers. It seems Adrien has allergic reactions only when it's somewhat related to the plot. When it's not, he's completely fine.

The reference to the famous Umbrella Scene™ out of nowhere in a random episode? It probably means something. I can see "reverse crush" supporters interpreting it as a proof to their theory, especially since this time Adrien did something clumsy and Marinette is laughing because of it (actually both of them). Or maybe because it's the first episode of season 4 with Marinette and Adrien interactions, they decided to be that much gracious for Adrienette fans, to compensate lack of it in the first three episodes. Oh wow, Marinette managed to propose spending more time together to Adrien without stuttering. Probably because she has done it spontaneously. Marinette is the most nervous when she's planning and thinking what could go wrong too much. This time she had no time to it, so it went more smoothly. It's like they building development of their relationship, but it didn't seem in Guiltrip (that's episode 11 chronologically) that something changed.

Seeing screenshot above, you can easily imagine how great friends they could be, being very comfortable around each other and laughing together, if not Marinette's anxiety. We need Adrienette development so much to get more moments like this.

Oh and I just realized that it's also one of the veeeeery few episodes with no real Ladynoir at all (the only other one I remember is Style Queen). So if there was no Adrienette it would be an episode without interactions of two main characters at all (although we almost got Ladrien). It could be another reason why this episode is that nice for Adrien and Marinette ship.

After seeing overly excited Marinette dancing in the rain, I can't believe she can manage completely give up on Adrien. It doesn't look like this at all.

Also we've seen three photos of Adrien wearing THAT scarf. It could not mean nothing different that foreshadowing that he's going to discover the truth about it somewhere this season. But I have no idea what Ladybug's mask with shining eyes could mean.

I don't know what to think about the episode. Despite absurd Guardian-related things, I still liked it much more than Gang of Secrets, but I have no idea if I generally enjoyed it more than other episodes of this season or not. At least it's an episode without stupid drama, which is amazing.

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I'm currently less active on social media, because my internet connection is very unstable, it often works very slowly to the point I'm not patient enough to visit Tumblr. Also I block spoiler tags again, because I don't want to see spoilers from the episodes those are going to be released very soon, as I feel that they reveal too much to me once more. We're currently in a marathon of the new episodes and since watching them is the more more enjoyable, the less I know about them, I decided to try avoid spoilers as much as I can. The only bad thing is that I can't be read discussions about the new episodes, reblog them and adding something from me until Optigami will be aired.

#miraculous ladybug #ml mr. pigeon 72 #ml season 4 #ml spoilers #ml spoiler #chicoriii about S4 episodes #ml season 4 spoilers #chicoriii #original post

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