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parkeraul · 4 years

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→ boyfriend • 1 | t.h. & s.m.

prologue | part 1

author’s note — hello, girlfriends. first of all, i really wanna apologise for the lack of writings lately & for this shitty moodboard. plus, i wanna give the hugest shoutout to @itrocksmysocks who’s been sending me pictures and stuff to help me get inspiration to write this series [thank u so much, latina neighbour!]. for now, i’m gonna update this series once in a week, then the next i’m gonna reserve the next one to write, then update on the following week and it’ll go on and on. enjoy!

pairing: tom holland x shawn mendes x reader college!tom | college!shawn

masterlist ┊add yourself to my taglists ┊give me feedbacks.

words — 3,4k; warnings — flirting, cursing, mentions of alcoholic drinks.

“People on the very back: Listen!” Mrs. Edwards shouts, banging against the board twice with her pen. “This graphic is very simple, okay? If you keep on talking and talking, it’ll become your worst nightmare and there will be no help during the final test.”

The white board had been completely taken over by lists of informations, numbers, theories and graphics in at least 3 different colours. It’s been an hour or almost two since she started crossing the entire board with red, green, blue & black and Tom feels amazed by how well she manages to understand the entire system she’s been writing for so many time. As a class he signed for just to have some more complementary hours, he can straight tell you he’s not exactly caring about it that much. It’s way too fast and too mathematic for his mind.

All the people sitting around him in the classroom are already letting the tiredness consume them. Some are sighing and dropping their pencils; some are rubbing their faces repeatedly; some others are actually paying attention and probably trying hard not to freak out. Considering the white walls with white tables and chairs, if no one said that this is a math class, people would probably walk in and think it’s a sanatorium. All faces exhausted and it’s clear to see that at least 90% of the class can’t wait for the summer break to rescue them all — the 10% left is filled with the boys that have been sleeping for the past 30 minutes.

“Next class we’ll get back to the basic analysis to freshen up a bit, I recommend you to bring one or two books to do some research as well—“

“Hey, dude,” Jacob whispers close to Tom, sitting on the chair in front of him as he turns his head — far enough to see Tom leaning in through his peripheral, but not far enough to lose sight of Mrs. Edwards giving further endorsements. “Match tomorrow at 5?” “Sure,” Tom agrees, keeping his ‘attentive’ on the teacher in front of the class. “Have you guys picked the entire team already?” He says nonchalantly. It’s typical: In Fridays, after everyone’s last class, friendly football match with the boys from the athletic team of the Empshire University.

“Ian, Ryan, Heather and Matthew: You guys cannot miss the next class at all. You guys have been bailing for a long time and one more skip it’s deadline for the four of you—“

“Same thing,” Jacob says and Tom starts to close his books, pulling his backpack up to tuck them inside of it haphazardly. “But we’ll add John Mayer to it because Kevin’s not coming.” “You don’t have to say John Mayer, his gang’s not here,” They both look around the classroom, failing at being discreet as they search for any friends of… Well… ’John Mayer’. Tom zips his bag close and Jacob turns around to do the same while everyone else’s already prompting themselves up to leave. “And you better put him in the defenders, far away from the frontline.” “I knew you’d say this!” They laugh under their breaths, also getting up to finally inspire some fresh air outside.

“See you next Thursday.” Mrs. Edwards says almost quietly, arranging her stuff while the room starts to get empty.

The corridor had never felt this comfy before. It’s crowded and a little bit loud but a lot better than Classroom number 9. As students from all courses starts talking to each other, Tom takes a look across the wall and spots new posters.

This wall is known as The Great Wall of Empshire —or Wall–E for the intimates. The Wall–E is a large blue wall that stands out from the regular white & grey ones of the building. Also, is where students pin folders and posters to warn the whole college about whatever seems to be relevant. It mostly holds notices of people looking for roommates, lost & found stuff, a special space painted in red for teacher’s announcements and messages from the secretariat of the university. As the results of the finals and classes stuff starts to fade away, the posters to summer parties slowly take over the big blue rectangle in the exact middle of the corridor to one of the two buildings that build the Empshire University.

Coming closer, Tom watches Missy climbing tiny–trembling stairs to glue a folder about Musical Theatre auditions. She’s sure struggling and, although he feels bad, he laughs in anyways as low as he can. Obviously, he doesn’t come out as subtle as he planned and gets a very–stressed Missy Langford slicing his entire being in two with the mad look in her blue eyes.

“You’re being very helpful by laughing,” She huffs, tapping the big poster repetitively to make sure it won’t fall for the next week. “Asshole.” “Oh, Miss, come on,” He teases, smirking like the asshole she just called him. “I thought we were over that part. Asshole! – Idiot! – Douche! Get outta here! You know? Last summer’s business, love,” Tom brings up a memory they both shared some time ago, knowing how pissed she’d get with the dialogue all over Tom’s charming accent in a playful tone, which sure has nothing to do with the atmosphere of the moment itself. “I swear to God that if this thing was any stronger, I’d jump onto your face right now.” After rolling her eyes, Missy spits at Tom and sees his smile widening stupidly. “Anyways,” Crossing arms, Tom steps closer to the Wall–E and leans against a blank space. “What’s that?” “We’re doing Hairspray,” She answers flatly. “Not that you’re allowed to subscribe, of course.” “Who said?” Tom frowns and squeaks way louder than usual. What now? Is she going to forbid him to audition to an open–invitation? “Jesus.” Tom’s jaw falls dramatically, “Oh! Swearing to God… Talking to Jesus, apparently,” He quirks an eyebrow, faking surprise. “Didn’t know you had friends outside college.” “Will you shut the fuck up and help me get down?” Missy gives the poster one last strong tap — probably thinking about slapping Tom’s face instead — and stretches an arm towards him. “Not that you deserve it, but–“

Tom goes silent at the moment he gets his back off the wall to help Missy, noticing Jacob coming closer suddenly with someone else.

“Is it here?” The person with Jacob asks, holding a big orange poster. “Yep,” He confirms. “We call it Wall–E!” The answer to his information is just a laughter that makes Tom immediately forget about giving Missy a hand, bringing him to step closer to the conversation. “Hey man, where were you?” At the moment Tom asks, Jacob instantly gets what he’s trying to do. Not that Tom wasn’t kinda nosy sometimes, but they’ve been hanging out enough for his moves to look predictable. Way too predictable. Jacob says nothing, only squints his eyes and the silence suiting the four of them is slightly uncomfortable. “Uhm… I asked him for help as he was waiting for people to open some space so we… Could… Walk until here.” The voice is hesitant and sweet, although, while Missy eyes the person — The person looks at Tom, then looks down — Tom looks back & Jacob watches Tom prepare a whole scene inside his mind. “There’s some tape upon that tiny cabinet that you can use,” Jacob points to the front, past Tom and Missy Langford, “And if you can put it wherever you want as long as it’s in the blue area.” “Thank you so much! I’ll help myself with anything, don’t wanna take more of your time.” “No worries,” Giving a smile, Jacob walks to the side and then to Tom, offering his hand to a high–five. “I think you’ll be okay.”

As he feels the deep gaze of his friend as he passes by, Tom understands the second intentions of the phrase as if Jacob had just said “very smooth, my friend, shoot your shot” and left. It’s not that Tom Holland is a complete womanizer — the term Prince Charming fits him better, he says —but everyone who knows him decently is aware of the fact that he has no time for bullshit. No ceremony, no playing around. If Tom Holland likes someone, he’ll sure let this person know and try a move. If it goes right then awesome! And if it goes wrong he won’t go bitter about it longer than two or three seconds. He’ll eventually forget even though he doesn’t want to.

The british boy watches another struggle. Tiptoeing, the other person lifts the poster to see if it’ll fit in the only larger space left on The Great Wall as Missy climbs down the stairs by herself, analyzing the entire scene with squinted eyes.

“Here, luv,” Tom gently moves closer and takes the poster in his hands. He tiptoes as well and reaches the blank spot easier. “I think it’ll fit, don’t ya?” “It sure will!” The answer comes out in a chuckle. “I don’t believe we met, actually,” With feet back on the floor, he holds the banner while he looks directly to the owner. There’s this stupid beautiful smile adorning his face kind of shyly, but surely threatening to widen more as his fingers run through his brown hair. “I’m sorry. I’m Y/N,” She says, smiling back at him and tucking a strand of her hair behind her ear and Tom notices the delicate pair of earrings shining through the locks. “Beautiful! Beautiful name,” His brows frown quickly, listening to her voice like his favourite band’s singing his favourite song of all time. His mouth wants to say ‘beautiful face too’ with ‘beautiful lips’ and a ‘beautiful eyes’, but his brain works harder to keep his dignity safe somehow. “And your name is?” Suddenly, his throat goes dry. He tries to clear it, eyes blinking rapidly and he stretches an arm to find support on the wall. The jeans on his legs goes tighter, the white t-shirt for summer weather feels hotter than a thousand coats and the backpack on his shoulder heavens like he’s carrying a bag filled with rocks. What the heck? “My name?” “No, idiot,” Missy says behind Tom. “My name.” Rolling eyes, Tom slightly turns around and clenches his jaw, looking at Missy Langford’s sarcastic face with everything but appreciation. “Will you shut the fuck up?” He mumbles through gritted teeth. “I’m tryna get lucky in here,” And this time who rolls eyes is Missy, fixing her yellow shirt and putting it back inside her blue jeans. “I’m Thomas, darlin’. You can call me Tom.”

Or future ex–boyfriend, Missy thinks to herself feeling a tiny bit of heartache annoying her chest. It’s been around four months since she argued with Tom, which led to their break–up. Well, Missy calls it a break–up. For Tom, nothing’s been broken up because what they had was just a thing, a sudden meeting of feverish hormones boiling through their bodies. No one ever kneeled down and asked gently, no one ever posted pictures online or introduced the other to their parents. He notices the way she’s still bitter about it, but after a thousand conversations and discussions, Tom had just decided to let her be until the ache goes away eventually, since his words were apparently not helping at all.

“Tom,” Y/N confirms, nodding along and looking at him. He reacts with a smile, coffee eyes drinking her in. “Thank you, Tom! I should probably go find that cabinet where the tape might be at—“ “I’ll show you!” Tom interrupts, prompting up his body and fixing his shirt. “By the way, what are you announcing? Do you need a place to stay or share?” “Oh, no! Not at all,” Y/N warns as soon as she drinks in the way Tom’s tone of voice fell worried. The boy looks down at the poster, trying to find the main information of the paper. “It’s just a party. You’re both invited, actually! It’s gonna be at my place… Tomorrow afternoon.”

Tom says nothing, just removes his eyes from the folder to look at Y/N’s charming smile. He didn’t need any more reasons to say something rather than yes — the other words slipping out of her mouth were soundless to him, his eyes were too hypnotized by the way her lips were moving; hypnotized in a way his ears stopped working for a moment but his head managed to nod along to whatever she proposed. Yes, yes and yes. A thousand times yes to whatever she just proposed.

“Well, I’ll find the tape to hang it on,” She comments, eyeing the couple as her feet start to plan their way to the middle of the corridor. “I hope you can make it.”

Her sweet smile makes it hard for Tom to think twice — not that he even considered doing this, but it’s new to him how the entire surrounding seems to slow down the pace and noise when Y/N simply breathes and smiles sweetly. This is not right, not one bit, he thinks. His heart never raced this fast before; his mouth never craved other lips as it’s doing at the moment but one thing is certain: this party’s going to ease down his thirst one way or another. Tom only realizes that Y/N went away when the frame in front of him becomes Missy. She’s got a smirk on her face and two of her fingers travel across his collarbone, right next to where his white shirt ends. She feels the warmth of his chest increasing underneath the pad of her index and middle fingers, eyes traveling across his softened expression.

“Pick me up at 2 o’clock tomorrow?” She asks rhetorically, melting slightly when he takes her hand to plant a kiss on her knuckles.

By the hand, he drags her body closer so he can murmur next to her ear the same word he’s been saying repeatedly for these past months.

“No.”

“When were you going to tell me?”

“Tell you what?”

“That you were going to ditch us for that party tomorrow, you bitch!”

Shawn rolls his eyes, smiling widely as he manages to carry his backpack, water bottle and guitar case towards his car. Brian, on the other hand, doesn’t feel like smiling back.

“Answer me!”

“Dude?!” Shawn stops, putting down his case to grab the keys inside his pocket. “It’s just a football match, we do this every fucking week.”

“Exactly! We do this every fucking week—“

“Man, Y/N’s gonna be there,” He smiles again, pressing the button to unlock the doors. “You know how much I’ve been waiting for this day to come over.”

“Wasn’t she in London?” The redhead asks, walking beside his best friend as he bends down to get the guitar case once again.

Things are heavy in Shawn’s hands and back, but the thought of finally seeing Y/N again after a semester of torture shots a wave of numbness through his nerves. The blue shirt feels hotter and the black jeans are surely tighter, but the way his heart floats around his chest makes him feel light like a feather.

He misses her.

Misses her smile, her eyes, the sound of her voice and her laugh when he first talked about his feelings for her. Shawn noticed that she didn’t believe him at all, but that impression didn’t last long in his mind — the way Y/N got close to his lips to mumble sweet nothings had sent him to cloud 9. Then his trip flew down to hell just as quickly when she pulled away to walk past the door, leaving Shawn’s pout kissing the air and the side of his bed empty. Next thing he knew, Y/N was on a plane ready to spend half of the year exploring the british airs of South West London. The song he wrote about her ended up staying inside of his second drawer, but the long-sleeved jersey of his favourite Hockey team went away with her — making Shawn’s hand itch to find home on that body, taking back what’s his and what he wants to be his.

“Exactly,” He imitates Brian’s words. “Was.”

Brian says nothing, feeling defeated. His brows only lift while his eyes close, knowing that he can’t fight Shawn when he’s like this. Obsessed.

“You should come too,” He invites, putting the tip of his bottle inside his mouth to hold it while he pushes the door open. “Heard–Djulia–iths–gonha–be–ther’.”

His guitar case flies to the backseat along with his backpack, Shawn stepping to the side so Brian can tuck his stuff into the car too.

“I have no fucking idea of what you just said,” Brian tosses his bag while pointing one finger to Shawn. “But I’m not leaving my mates behind because of some girl.”

This time, the one to lift eyebrows is Shawn. His gaze narrows Brian as he hangs the driver’s door open.

“First, you know she’s not some girl,” He corrects. “Second, Julia is gonna be there. It’s a pool party, dumbass.”

While Brian walks to the passenger’s door, it’s like magic. Julia is out there, walking–dancing outside the campus with her friends around her, singing whatever song that was. His blue eyes can’t drift away from her until she’s disappearing behind the cars parked.

“Pool party?” He asks distractedly. “See, that’s the part I hadn’t understood before. I mean, I love football but you know I never say no to a party.”

Message from +44 20…: Hi!! You left before I could even ask for your number…

Y/N gets out of the shower to immediately find her phone buzzing and ringing. The screen doesn’t show the entire text, but she doesn’t need to think that much to figure it out. Opening the app, she finds a second message popping up right after.

+44 20…: I got it from the party poster, I hope you don’t mind

Her bottom lip gets trapped between her teeth, a stupid smiling drawing her face as the profile photo loads. There he is. Messy damp curls atop of a babyface, glasses in front of those chocolate eyes and bare chest. Whew. Typing, feeling like a teenager as her stomach gets butterflies, she can notice the way her breathing goes unpatterned.

You: hey, london boy. there’s no problem! i’m glad you did 😇

It’s fun to Y/N how the text got instantly seen, the ‘typing…’ showing up below the new saved contact’s name in seconds.

Tom (Empshire): 👀👀👀 Hahaha That’s good to know. I’m really looking forward to your party tomorrow

You: you’re gonna make it? that’s perfect 💓

Tom (Empshire): Of course I am! Wouldn’t miss it for the world, darling

Unconsciously, Y/N’s legs clench together just to the imagination of his accent speaking these words loud and clear to her. Even with the dripping hair and body wrapped by just a towel, she jumps on her bed before she falls to the floor.

Tom (Empshire): Do I need to bring something?? Like beers and stuff

You: not really. unless u wanna drink something specific but as long as you’re here… just don’t forget your suit, darling 😛

If she only knew that Tom was exactly how she was picturing… Bare chest, wearing glasses, damp hair and thrown onto the sofa with a boyish grin. Tom honestly couldn’t think about smooth ways to flirt with her, he felt too intimidated — almost like Tom wasn’t Tom. Who would’ve guessed that Tom Holland could watch his moves to talk with a girl?

Tom (Empshire): I won’t haha

Then he couldn’t resist.

Tom (Empshire): Anyways, can’t wait to see you again… It was lovely to meet you earlier today. Good night, pretty one!

With burning cheeks and racing heart, Y/N twists in bed as she holds her phone for dear life. Coming back to the Empshire University fell flat at first, but with the taste of London still stuck in her life somehow, this looks as interesting as being in the United Kingdom itself — with a summertime way more catching than the winter. Her limbs couldn’t stop pulsing and the anticipation ran along her most sensitive spots mercilessly, making her thighs tighten even harder with a big smile tilting up the corners of her swollen lips from all the biting.

You: good night, t. can’t way to see you too. it’ll be awesome.

taglist of girlfriends: @lostinspidey – @goldenmndes – @shawnsunflower – @jawnjendes – @itrocksmysocks – @emilyxkate – @tell-me-when-ur-ready – @particularnervous – @grayxzabdixfer – @shawnssongs – @arypesanchez – @shawnmendes-s – @shawnsheaven – @mylifeisafxingmess – @perfectywrong – @whysparker – @blairscott

tagging mutuals [if you wanna be untagged, please sorry in advance & let me know]: @mcuspidey – @devilmendes – @snowflakeparker – @strangertingle – @honeyrosemuffins.

#tom holland #shawn mendes #tom holland imagine #tom holland imagines #shawn mendes imagine #shawn mendes imagines #tom holland fanfic #tom holland fanfics #shawn mendes fanfic #shawn mendes fanfics #mine #ficsofmine #series

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timeagainreviews · 5 years

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Classic Baddies for the Thirteenth Doctor!

As a fan of classic Doctor Who, one of my favourite elements of the new series has been the anticipation as to which classic villains will make an appearance. Not only is it cool to see more of these older monsters, but it’s also exciting to see how they update their look. Some really nail it too. Keeping the classic design of the Daleks while making them look more tank-like and utilitarian in 2005 was a masterstroke. I liked that they embraced the Ice Warriors’ original look as well. While I may not be as hot on the updated Silurians, or Autons, it’s always fun to see classic villains regardless.

When Chris Chibnall mentioned that there would be no classic villains in series 11, my heart sank a little. Are they necessary for Doctor Who to be successful? Not hardly. But it’s fun dammit. Even if they were cameos like the Macra or the Movellans, these were moments I looked forward to. I have a sort of checklist I like to go through with each series of new Who. Are there classic villains? Check. Does the Doctor meet a figure from history? Check. Series 11 has one of those.

It’s been no secret that a major criticism of series 11 has been its lack of compelling villains. I myself have been vocal about this disappointment. So I thought I would make up a list of 10 classic villains I would like to see the Thirteenth Doctor go up against. I’m basing these off a few factors. Personal favourites, Jodie’s vibe, the era, etc. Enjoy! And feel free to add your own!

1. Autons

First Appearance: "Spearhead from Space" (1970)

I know they have already returned. I know I said I didn’t like their update. That’s exactly why they’re on this list now. I didn’t exactly hate the updated Autons when I first watched them. At the time, I didn’t have any classic villains to compare them to, as they were new to me. I thought they were pretty corny and not very scary, even as they did openly murder people in the streets of London. But when seeing "Spearhead from Space," for the first time, I was supremely creeped out. The newer Autons remind me of the movie theatre scene in “Human Traffic.” Just a bunch of dancers doing the robot. Not very scary. And turning the Nestine consciousness into a big vat of CGI goo, as compared to a giant plastic space squid seems like a crime. They’re due an update.

2. Voord

First Appearance: "The Keys of Marinus" (1964)

These guys creep me out. Their costumes are really stupid, and I still find them creepy. They’re like spiky fish men mixed with Egyptian gods. Ignoring the weird "Voord became Cybermen," storyline, and focusing on the fishman aspect would be the way to go. Could you imagine their costume if updated correctly? I picture a mix between Edward Scissorhands and a scuba diver. I’ve wanted to see Jodie encounter these guys ever since "The Ghost Monument," reminded me of "The Keys of Marinus." Something about First Doctor villains with the first female Doctor kinda works for me too. Speaking of First Doctor villains…

3. Zarbi

First Appearance: "The Web Planet" (1965)

Ok, so this one is a bit of a cheat. I know the Zarbi aren’t really a villain by their own doing. In many ways, these oversized ants are just dumb animals. But the biggest way this is a cheat is because I just want them so we can have the Menoptera! I love those stupid moth cuties. I think an updated one of them could look really fun. Think the aliens from the queue scene in the "Hitchhiker’s Guide to the Galaxy," movie. Something between realistic, and fantastical. They would also add a much-needed sense of levity to the Chibnall era.

4. The Dominators

First Appearance: "The Dominators" (1968)

The Dominators are a race of men whose name pretty much describes their modus operandi. Having long ago developed beyond the need for women, these guys seem an obvious choice to go up against a female Doctor. Their look is simple enough to update. They need only to look armoured and militaristic. Their robot drones, the Quarks, would be the real challenge to update, but I’m sure they’d nail it. I would be interested in seeing a more bureaucratic ruling class of Dominators as well. Perhaps instead of having a male and female population, they have the soldiers and the suits. Could be a really interesting way to talk about the insular nature of toxic masculinity. This would fit in well with Thirteen’s villains being chauvinistic shitbirds that don’t like women much.

5. Axons

First Appearance: "The Claws of Axos" (1971)

I’ve heard the Axons get a bit of flack in the past, which is bananas to me. There’s so much potential there. They have a rather psychedelic look, and then they get super gross. I’ve always seen them as very retro style monsters. Jodie’s costume has a real 1970’s "Godspell," look about it, so I always picture her going up against monsters that look the part. They wouldn’t be hard to update either. I would make the golden lines on their humanoid forms slightly raised, like a system of fibres across their skin. And of course, their squidgy red form could be a tangled mass of CGI that kinda bubbles up from the gold lines. The transformation scenes could get very visceral. They’ve got a sneaky nature about them. Like anglerfish, their beautiful golden appearance conceals a horrific monster. They’re known for making Faustian deals with people fool enough to believe their lies. How could we resist?

6. The Mara

First Appearance: "Kinda" (1982)

Many people love the Kinda/Snakedance storyline. I wasn’t sure what to make of either serial, as the quality of both waivers. Over time, though, I’ve come to really appreciate them as stories. I have a love for characters that exist as a sort of gestalt. There’s something very unsettling about a hive mind. As The Doctor has three companions this time around. There’s lots of room for one of them to go off and become possessed by an evil snake god for a while. Either Graham or Ryan becoming hosts for the Mara could be an interesting way to explore their relationship. While the DVD release saw an updated version of the Mara’s snake form, I’m sure the modern show can do one better. They’ve already done giant spiders, now let's see them do a giant snake!

7. The Rani

First Appearance: "The Mark of the Rani" (1985)

While I am aware many people dislike the Rani, and the idea of Chris Chibnall choosing a character created by Pip and Jan Baker is unlikely, I still don’t care. Any character can be made good in the hands of a competent writer. All it takes is one good idea. Personally, I’ve never really gotten the guff she’s been given. As a woman capable of cruel scientific experiments, the Rani is a ruthless Time Lady with more guile than the Master. People want to see Thirteen with Missy because they’re both women now, but we’ve had an evil Time Lady for years, and I’d be interested to see what regeneration might bring for her… or him?

8. Rutans

First Appearance: "The Horror of Fang Rock" (1977)

First Mentioned: “The Time Warrior” (1973)

The Rutans are long enemies of the Sontaran race. I would love to see them amp up the danger by getting stuck in the middle of a skirmish between the two races. I would like to see the Sontarans presented as formidable once again. The Doctor Who video game "The Gunpowder Plot," did update their look, to a decent degree. Either way, modern Who could make a Rutan look much more imposing with CGI, or even practical effects. I’d imagine something like a green man o’ war. Jodie’s Doctor’s tendency to mediate during conflict could land her trying to broker peace between the two races. Could she be successful or would she have to count her losses?

9. Drashigs

First Appearance: "Carnival of Monsters" (1973)

Here we have yet another Robert Holmes creation! (The other two being the Autons and the Rutans) While mostly just mindless monsters that can eat through anything, I’ve always loved these horrific beasts. With heads the size of a Volkswagen bug, and an appetite for anything in their way, these guys could really add in a danger element. I doubt they could really carry an episode by themselves, but they’d make a great threat! They may be alien snake monsters, but you may have a creeping familiarity when looking at them. This is because the puppets used were constructed around the skulls of real dogs! While I’m sure these pups died of natural causes, the information has always given them an air of creepiness and realism. As Third Doctor era baddies go, these toothy terrors were some of the more believable creatures yet! They wouldn’t need much of an update, looks wise. Part of me would still want them to be puppets. I’d imagine Thirteen’s compassion for misunderstood creatures would send her on a danger defying attempt to save their lives!

10. The Scorchies

First Appearance: "The Scorchies" (2013)

Ok, so this one is another cheat. Technically these aren’t "classic Who" villains. They come from the audios, but I’m counting them because they’re from a Third Doctor era storyline! If you count the mention of the Rutans in "The Time Warrior," this marks the fifth baddie from the Third Doctor era. What is it about that period that is so mineable? Originally a species with bodies, they lost their corporeal form when their planet was invaded and they were transported to safety via television broadcast waves! In their new puppet bodies, they go from planet to planet hypnotising their inhabitants and burning them! Why? Because they’re salty. So why them? Well, for starters, look at these guys! Jodie’s Doctor has always reminded me as a bit of mad kids’ show presenter, with her bright colours and friendly appearance. Seeing her with puppets almost feels natural. I love the idea so much that I photoshopped it! It would also make Doctor Who history. While the Eighth Doctor mentioned his audio companions in "The Night of the Doctor," no audio characters have ever made an appearance in the show (at least to my knowledge). Appearance wise, they’d be easy to create. If they wanted to go the extra mile, they could partner with the Jim Henson Creature Shop for an added distinction. I feel like no matter what you do, these little critters could draw a crowd. People would watch just to see if Doctor Who has lost its damn mind! If done right, it could be a fun romp! Who says Doctor Who villains always have to be serious?

Well, that’s it for my list! Did you agree? Do you think poor Natalie needs to get her head checked out? Feel free to reblog with your own additions! I’d love to read what you think! Expect the review of this weekend’s Doctor Who either Sunday or Monday. I’ve not yet re-watched Marco Polo, which I might actually do today, but it’s on my list to write it next week! It’s going to be the first reconstruction I’m doing, so it should be interesting! I’m not sure if I will supplement any of it with the Target novelisation, but I am thinking not. We’ll see! It’s still early into the series!

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hongkongartman-mlee · 3 years

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“The Artistic Lawyer or the Lawyerlike Artist?”

(acknowledgement: Interview of Hong Kong Lawyer, publication of The Law Society of Hong Kong, with Maurice Lee) (by Sonali Khemka)

There is a widely accepted theory that people are either left-brained or right-brained, meaning that one side of their brain is dominant. If you are mostly analytical and methodical in your thinking, you are said to be left-brained. If you tend to be more creative or artistic, you are thought to be right-brained. In Maurice Lee’s case however, the equal dominance of both sides has shaped him into the person he is today – a lawyer with the soul of an artist.

Writing Right

Lee enjoyed writing from as early as his teenage years, when he would take part in and win several writing competitions in high school. Encouraged by these victories, he applied for an after-school-scriptwriting class organised by Hong Kong TVB in 1978 – a class that only had twenty spots and over 3,000 applicants. At the age of seventeen and still in high school, Lee managed to bag a place as the youngest member of the class. “The classes were intense. They were held five times a week in the evenings and for three hours each,” he recalls. His immense enjoyment of the activity and aptitude for it led him to not only complete the course but also work part-time as a scriptwriter for TVB for few years after graduating from high school. At the time, his heart was set on becoming a professional scriptwriter or director.

However, the left side of his brain nudged at this point and Lee was tempted to pursue a university degree and career that was more academically sound and commercially viable. “My family told me that if you are in the creative field in the early 80s, you will face a very rocky path with many ups and downs. But if you are a lawyer, you have a safe landing,” he shares. After an internal battle between the left and right side of his brain, Lee eventually accepted his place in The University of Hong Kong’s School of Law. Not keen on giving up on his creative side, he continued working as a part-time scriptwriter for TVB throughout his four years in law school, focusing primarily on hour-long dramas and eventually switching to comedy. “I was good at writing dramas, but the producer told me I was not emotionally mature for the material in the drama shows,” he recalls amusingly. “I wasn’t at the appropriate age to write about passionate love affairs and dramatic struggles, so I switched to comedy,” he adds.

Lee’s creative career has taken different shapes and forms – a result of his willingness to not over plan and make the most of any worthy opportunity. In the mid-1980s, he wrote as a columnist for local newspapers, contributing 500-word prose pieces in Chinese on various topics and in the 1990s, Lee even garnered a fair amount of fame as a program host for a talk show for Commercial Radio Hong Kong. Around the same time, he was invited to write fiction literature by Cosmos Books and channeled his very own John Grisham by opting to write legal fictions. His present creative career, which commenced around six years ago, stems from an invitation from two online news platforms – HK01 and Orange News – to write critiques on different forms of art and culture, varying from movies and plays to visual arts and cultural trends. He supplements this with his own Facebook page, named “HKArtMan” where he shares his views on the same in a personal capacity. In addition, Lee also takes on the role of performance organiser when time permits and has previously organised a play and a concert – something he believes Hong Kong is in more need of.

Hong Kong’s Art Scene

Lee believes that prior to the 2000s, the city’s art and cultural scene was plagued by apathy and was a severely overlooked area. In the 2000s, Lee feels the situation has improved but not enough. “There is more curiosity and awareness, but people do not do enough to support the development of art and culture. There is too much financial reliance on the government only,” he shares. “Hong Kong is in a serious need for rebranding,” he adds. “We are currently just a financial center – like Zurich or Luxembourg and relying too much on old industries like logistics and trading,” he explains. Lee envisions a Hong Kong that is on par with global cultural and financial hubs like London or New York City and believes moving towards intangible assets or intangible intellectual property such as the arts is crucial. “We need commercial energy to be put into the art and cultural circles and more money from private companies and investors. That way more people will feel encouraged to pursue artistic careers because they can earn a decent income, which will in turn drive Hong Kong’s art and cultural scene,” he shares. His ultimate dream is what he calls an “Art Economy for Hong Kong,” an environment whereby art becomes more than just a leisurely activity and can be pursued as a commercially viable career.

In order to help realise his vision for a more art-savvy Hong Kong, he plans on putting together a concert and a musical for export to the Greater Bay Area (GBA) next year. “If they are staged only in Hong Kong, there can be less than five shows. However, if I export them to eleven cities in the GBA region, I can stage sixty shows – it makes more sense as an economically sustainable activity,” he explains. Lee believes exporting Hong Kong’s artistic talent is key, if financial prosperity in the arts and cultures is to be achieved. He recalls Hong Kong’s former status as “Hollywood of the East”, a time when films made in the city were enjoyed fervently beyond the borders. Similarly, he is hopeful that other forms of home-made art will also someday be appreciated in different markets.

Critically Creative

For Lee himself, he is content with how his career and personality have shaped out to be. “People tell me as a lawyer I talk like an artist, and as an artist I talk like a lawyer,” he shares. “As a lawyer, I am more sentimental, humanitarian and expressive and as an artist, I always have a mental framework. Artists can be quite unorganised. I am very organised. I put bits and pieces under different headings and am good at fulfilling long-term artistic projects because as a lawyer you are always handling long term cases. You have to be systematic and strategic,” he explains.

Lee encourages lawyers to pursue a creative side too, albeit on a personal level – something he believes would only make them more professionally sought-after. “People think lawyers are checklist animals, I think they are more than that. There is a lot of creativeness and criticality involved in being a lawyer when we handle a case and we should keep those sides alive,” he shares. “There are two minds in demand nowadays – the creative mind and the critical mind. No matter what profession you are in, you should have both,” he adds. He is aware that evolving from executors who merely follow instructions to critical thinkers who ask questions and initiate change can cause adverse reactions – “People find this type of person to be very maa faan (annoying/troublesome), they know too much and ask too much,” he shares with a grin. “But it is important to stand out, both minds will help each other,” he adds.

As a consumer or spectator, his favourite types or forms of art include ballet, paintings by American artist Edward Hopper and the diminishing art of Cantonese opera. “I admire ballet because it is so physically challenging and difficult. I like paintings by Edward Hopper because they make me feel sad – his pieces are very poignant. And I treasure Cantonese opera because it is sadly disappearing. They use old Shakespearean style Chinese dialect which might someday vanish completely,” he explains.

Having enjoyed a rewarding career so far, with ups and downs, with legal wins and creative commendations in abundance, Lee has a particular memory that still lingers vividly. “Fifteen years ago, I was the Vice-Chairman of the Hong Kong Arts Development Council. At that time, the famous movie director Johnnie To and I organised the first outdoor media art exhibition outside the Hong Kong Cultural Centre in Tsim Sha Tsui. The idea was to do some artistic projections on the external wall of the cultural centre and these projections were shut off by 11:00pm. I was at the exhibition till closing on the first day when a young boy came up to me, shortly past 11:00pm. He was 14-15 years old and he begged me to allow him into the exhibition area. He said his family is poor and he works at McDonalds at night. He lives in Tai Po and has come all the way to Tsim Sha Tsui to view the exhibition because he was so interested in what it might be like,” Lee recalls. Moved by the young boy’s passion and determination, he allowed him in as an exception. Till this date, Lee wonders what became of that young boy and whether he ended up pursuing something artistic. “I was so touched and amazed and I wonder how many boys and girls or men and women in Hong Kong have that kind of passion for something non-commercial, something artistic and spiritual,” he muses. If it fortunately turns out to be that the boy is one of our readers, Lee would be delighted to hear from you.

The Law Society of Hong Kong Journal

MLee

中文版 Chinese Version:

https://www.patreon.com/posts/wo-de-2021nian-53673006?utm_medium=clipboard_copy&utm_source=copy_to_clipboard&utm_campaign=postshare

"Youth Dance" Acknowledgement - 中國有嘻哈 official https://youtu.be/PNlC__GiqaY

Movie: “Time” Trailer Acknowledgement-安樂影片 Edko Films Ltd https://youtu.be/g0TT_mwq-DI

Interview of Petrina Fung and Patrick Tse Acknowledgement – ATV 亞視數碼媒體 https://youtu.be/BJnMtmaLzwQ

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cameiotmagazine-blog · 6 years

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Four Days of Elia Kazan: Day Two Panic in the Streets

Panic in the Streets was filmed by Elia Kazan in 1950, and although it was a critical success, it was not a financial success. It was shot in New Orleans on mostly live locations, showing the vibrant life of the city, which is something Kazan was passionate about.

The opening shot was a long tracking shot. Kazan was very adamant about using these kinds of shots. The movie was completely shot on location in New Orleans, and was the first film that he was able to shoot completely on location. The story it was based on had been used by a number of scriptwriters, so “as this history suggests, there was nothing fancy about Panic in the Streets, as it was eventually called. It was, in essence, a genre film – a crime-chase movie in a nourish mood. But it suited Kazan’s pressing need for a location shoot.”1 The music he uses is authentic New Orleans jazz. Kazan was overtly fond of New Orleans. He considered it a very alive city at the time. The movie has an incredible energy. It also indicates somewhat of a prejudice against illegal immigrants - at one point a mention is made of rats sneaking out of ships and bringing in diseases, a thinly disguised reference to illegals, as it was suspected that it was an illegal immigrant, sneaking off a ship, who brought the plague that they are trying to deal with. Kazan would have viewed illegal immigrants askance, as he was very proud to be American and loved everything to do with America. The story does not dwell on this aspect extensively, however, as the real villains are the gangsters.

Panic in the Streets,” based on a story Edward Anhalt….had originally published in Dime Detective magazine,”2 was well received critically and won an Oscar for Best Original Screenplay in 1951. Kazan also won an International award in 1950 at the Venice Film Festival, and the film was nominated for an award in 1951 by Writers Guild of America, USA. It had a budget of 1.4 million dollars, but it failed to recover its budget. The location shooting was blamed. Richard Widmark played the doctor, Clint Reed M.D; Paul Douglas played Captain Tom Warren, Barbara Be Geddes played the wife Nancy Reed; Tommy Rettig played Dr. Clint’s son Tommy, and Jack Palance played the criminal Blackie.3 Kazan was not happy with the detective, Paul Douglas, who was picked by the studio. He did not think much of his acting ability, but the studio pushed him to be in the film.

The plot is that a man sneaks into New Orleans and after a card game in which he is believed to have been cheating, he is murdered. When the body is brought into the morgue the police surgeon notices some disturbing details and deems it necessary to call in Dr. Clint, an army doctor who is employed by the U.S. Public Health Service. Dr. Clint identifies the man as a carrier of pneumonic plague, a highly contagious disease. There is a race against time before it could spread outside of the city. It takes them through the streets of New Orleans and the many intricate lives of the people who live there. However, not everyone is onboard with Dr. Clint, and the doctor often feels emasculated. This feeling is present not only at his work but also in his home, where his wife is constantly fussing about the low salary that he is paid by the U.S. Public Health Service, and she repeatedly brings up the same unpaid bill. As luck would have it, the criminal Blackie, played by Jack Palance whose strong facial bone structure emphasizes his strength, demands respect wherever he goes, and makes Dr. Clint feel even more emasculated. The movie has a wonderful excitement to it, and there are thrilling chase scenes that add to the excitement.

The historical context is American life in the early 1950’s. World War Two has been over for several years, and people just want to get back to living normal lives, working hard and raising a family. It was a time when life was still relatively safe, and certainly an army doctor who considered himself somewhat responsible for the moral fiber of society did not want an out-of-control plague upsetting the relative calm of domestic life. We notice this feeling of safety in that the little boy really has a life of his own. He gets money from his dad to go off to the movies with his friends on his bicycle, and no one is worried. He also has an older friend, Mr. Redfield, and again no one is worried about the boy spending time alone with another adult who lets him come over and play with his electric trains - an adult stranger who the boy had met on his own and who the dad did not even know before he was introduced to him while they were painting. It is a time of trust and of families being close to each other, as is evidenced by the following domestic scene with Dr. Clint’s little nuclear family. Historically this is also a time when international flights across the Atlantic were first becoming commonplace. People are just beginning to realize that although this is a wonderful development, it also raises the possibility of communicable diseases being spread across the world. In the movie Dr. Clint observes that the airplane “can carry communicable disease to every corner of the world in a matter of hours. This is probably the first movie to make that point, however briefly.”6

This is a movie that is clearly pushing against many conventional ways of filming. For one, it is a Hollywood movie, but it is not being filmed on a set. For another, there are a lot of non-professional actors used. However, it also shows a lot of old traditional things used in films that are probably not needed anymore. Why is a scene needed that shows a car pulling up into the coroner’s office? We could have just cut to the coroner’s office. Kazan’s filming techniques include a complete tracking shot in the morgue. This is at about 00:06:20. Kazan uses a real morgue and real morticians. In this film the camera is infinitely more fluid than in his films where he was forced to use sets. It moves more, in fact it really doesn’t stop moving, showing city life more realistically. Kazan worked diligently on developing this method.

In Kazan’s earlier films one could see that he was playing with perspective - in this film he is playing with perspective to a very high degree. This film adds a significantly greater number of layers. In the scene inside the morgue at 00:06:40 we can see a story going on in the background. There are three framings in the shot. Looking from right to left, the first framing is of a lady. The next is of a cop in another door, and then the front framing is of the coroner. In the first framing the lady identifies her husband’s body, and then leaves upset. This is all happening in the same shot as the coroner getting the examining table ready for the body that has been brought in from the murder on the docks. This is an extension of things he was trying in his earlier movies. Partly this is to establish that more than one thing is happening in a scene. Definitely one of the first things that Kazan wants to establish in this film is that this is a city that is alive, and that this is a real place that actually exists, and that are any number of stories going on.

There continues to be a lot of background action in the movie. In fact, it appears that these types of shots are definitely some of Kazan’s favorites. Often something starts in the background and then brings the characters into the main story in the foreground. Kazan comments on the opportunities that timing in film can create: “On a theatre stage, true time goes its normal course; it’s the same on stage as it is in the audience. But in a film we have movie time, a false time. Climaxes in life go clickety-click and they’re over. When a film director comes to a crucially important moment, he can stretch it, go from one close-up to another.”4

After the morgue scene, the camera work for the next scene is completely different. It moves to a pleasant bright day in suburbia America. Dr. Clint is the head of health at the army base. He shows that he is an intellectual by the clothes he wears - a college professor type sweater and dress pants. He is more of a trained intellectual than the city folks that we have just seen. In fact, part of the issue in the movie is that nobody really believes Dr. Clint because he is a big fancy doctor. He is an intellectual and almost no one buys into the whole scary scenario that he puts forth. Again in this scene there is a story going on in the background; there is character action. While Dr. Clint and his son Tommy are working causally on their painting in the foreground, in the background Redfield first appears with a suit and a hat on. He has a little casual conversation with Dr. Clint and Tommy and then continues to open the driver’s door of his car as they go back to their painting. He removes his suit and hat. He now looks like a completely different character – he has a bald spot and he has overalls on. Dr. Clint and Tommy do not even realize that he has made this transformation; they are too engrossed in their painting.

There is something about this scene that seems to have an importance to Kazan that is beyond the importance to the film. It lasts for quite a while, longer than is necessary to establish the role of Dr. Clint in the film. It seems when watching the movie for the first time that it is to also establish the son’s role in the film, but the son does not play that large a part in the movie. Could part of the purpose of this scene then be something more personal, could it be to show what Kazan wished that his father would have been like, and what his childhood could have been like? In the scene the sun is shining. Dr. Clint, the boy’s father, is dressed up in casual upper middle class attire – a well-tailored sweater and expensive trousers – while painting furniture. The gentle love Dr. Clint feels for his son is evident, and the son is completely relaxed and fulfilled being with him, knowing that there is only warmth and love in their relationship – violence and over-authoritarianism are not even within the realm of possibility. This is so different from the relationship that Kazan had with his father George throughout his childhood and even as an adult. Kazan’s father “was-and remained-a frightening figure to Kazan….It is worth observing that such characters, confident and bullying (until, generally, they got their comeuppance), became staples in all Kazan’s work. They are, symbolically, fascist tyrants ruling the little nations – fractious, rebellious, struggling for democratic emergence – that is the family in so many of his dramas.”5 Perhaps in this movie Kazan saw his chance to, for a short time, imagine what it would have been like to have a father who was gentle and loving and someone not to be afraid of.

Another filming method that Kazan uses in Panic in the Streets is ensemble staging, which “minimizes camera movement and cutting.”7 We saw this in the original morgue scene where there were actually three different things going on. Another instance of this is when Dr. Clint thinks that a restaurant owner and his wife may have come in contact with the plague carrier. “The two-minute scene plays out in just two shots, both with slight panning movements. The scene’s impact owes a lot to the performances: the line readings, facial expressions, and gestures, including the wonderful way that Richard Widmark rips off his surgical mask in angry frustration. But the scene also benefits from small but significant rearrangements of the actors in the frame.”8

It is this type of setting up the shots that could prove to be difficult on Hollywood sets. Kazan says himself that he never was comfortable in Hollywood, that he needed to get out in the real world; he needed action. Panic in the Streets was the film that let him experiment, and even though this film was not a financial success, he believed that if he had not made this film he could not have made On the Waterfront, which was a huge financial success. Kazan says about Panic in the Streets that “it was a liberation for me. I also think it’s the only perfect film I made, because it’s essentially a piece of mechanism, and it doesn’t deal in any ambivalences at all, really. It just fits together in the sequence of storytelling rather perfectly.”9

Aesthetically, I find the movie to be filmed incredibly well. It is clear that by this time in his directing career Kazan can do things the way he wants to. He has created a much more true-to-life movie than he had ever done previously, for instance the chase scene at the beginning of the film is incredibly realistic, but it took a lot of planning. The people are moving slowly when the train comes. This had to be timed perfectly so they would not be hit. This is a much more dramatic looking film than Gentleman’s Agreement, which was filmed only three years previous to this, and this shows that Kazan was experimenting and learning new filming techniques at a rapid pace. The thrilling work in Panic in the Streets influenced amazing movie after amazing movie by Kazan in the years to come.

#Four Days of Elia Kazan #Elia Kazan #Panic in the Streets #Jack Palance #New Orleans #Jazz #Review

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