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popculturebuffet · 3 years

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Prince of Wishful Thinking (Tom Retrospective): Tough Love or The True Monster

Hello all you happy people and welcome back to Prince of Wishful Thinking, what is usually my look at the life and times of Tom Lucitor but since I NEED to cover the season 3 finale as vital part of Tom’s story, we’re taking one last look at the tragic tale of Meteora Butterfly before the finale sends these two stories hurtling together. You’d THINK this would be the last detour of this already sizeable arc.. and you’d be wrong as i’ll also be covering Kelly’s World, as I feel it’s vital for both “Curse of the Blood Moon” and “A Boy and his hard to remember title”, as it provides extra context for Marco’s anguish in the former.. and provides extra evidence for why a CERTAIN MOMENT in the latter pisses me off to no end.. seriously even when as universe dies and the only people left are Frankllin Richards and Galactus, there will still be a little note reading “Fuck how they treated Kelly” written in all caps so Galactus remembers to yell it.

So sadly that DOES mean it’s been three entries in this retrospective in a row that either haven’t feature Tom at all or in the case of the last episode only had him in short cameos. I mean we did get his love affair for pie but we also got a creepy goblin man forcing his girlfriend and best friend to kiss each other, his best friend being WAY to eager to jump to that conclusion, and neither considering using Marco’s Scissors because the writers only remember he has those half the time in Season 3... and clearly I ddn’t either as I forgot to mention that plot hole, something @jess-the-vampire brought up to me. Sadly I DID forget to consult on this when we talked earlier this week , and she’s not online as I write this so I won’t have her insight for this one.

But if you want some Tom content, i’m happy to share my crossover ship for the boy with you. I’ve been shipping him with Octavia from Helluva Boss lately. Because of course it’s Helluva Boss, i’ve not been at all subtle with my obession with it and much like Letterkenny, X-Men and Dragon Ball Z Abriged it is a love I never plan to be subtle about.

But I just think they compliment each other well: They have contrasting atittudes, and tastes in music, but seem like they’d share hobbies. Like taxidermy.. I could see Tom buying this... demonic combination of a badger, a skunk, a deer and my nightmares Octavia is preciously holding up.

Granted I also feel tom would both animate them with their dead souls.. and then use his new woodland friends of the dammned as a chorus to sing “Can You Picture That” from the Muppet Movie, because that’s what my mind does on a regular day. I think the contrasting attitude creates great chemstiry and it made me also realize I have a thing for ships with directly contrasting home lives. Tom has two loving decent parents who deeply love one another and at worst simply didn’t reign in his worse behavior because it was standard for demon stuff. Octavia in contrast simply has two parents, one who DOES love her and tries his best, but his best includes calling his side piece “My big dicked blitzy” right in front of her and hiring said side piece to guard them, and her mother who clearly thinks so little of her daughter’s emotional well being she hired a cowboy to shoot her daddy dead in the middle of a large crowd. The point is I think they’d be adorable and they both badly need to be happy after being emotionally fucked over by people they care about.

But alas my new ship will have to wait as we marginally important things to get down too.. things that will impact both this season and the next’s endgame and utterly destroy Eclipsa and Moon’s relationship for good. Sound fun? Well if so join me under the cut won’t you?

We open in the Pidgeon Kingdom.. and things aren’t exactly great.. and by that I mean Meteora stomped a hole through it and ravaged the place and Rich demands blood.. and vengance.. and possibly blood vengance. But not Tekken Blood Vengance.. he already has like 5 copies of that on dvd. Still needs it on Blu Ray though, hook him up if you got it.

So Moon and Eclipsa are trying to smooth this over/find out which way did she go George which way did she go, and are angrily dismissed after they try Rich’s patience, not helped by Eclipsa not being familiar with the Pidgeon Kingdom because they hadn’t slaughtered everyone who used to live there yet. Look that’s what happened, Star outright mentions in the Big Book of Spells that htey suddenly sprung up where another kingdom was and no one knows what happens. There was some bird murders up in that place.. or birdur if you will. Some birds drank some human blood. This is what Alfred Hitchock tried to warn us about with his film built on horrifying actress abuse.

The point is with some more pidgeon-led murder stabbings on the cards our heroines are trying to find her since their attempts to convince Rich not to go on an Archer Style Rampage fell on deaf ears.

But it’s clear from the second the two are alone both have diffrent priorties: Eclipsa desperatley wants to find the daughter she lost and talk her down from what sh’es become, help her become better and hopefuly heal from the pain she’s been in. She’s lost her husband, her kingdom and centuries. She can’t loose her baby girl too.

Moon on the other hand... clearly has no intrest in helping Meteora or stopping this peacefully. Her first thought is stopping Meteora. Her living through it is not necessary. It’s also clear her racisim isn’t REMOTELY gone depsite Buff Frog and Star’s best attempts and despite learning just how deeply and horribly Mewni’s engrained racism has hurt eclipsa and destoryed Moon’s own family history. To Moon this is just a big monster to fight.. i’ll dive into this more in a bit.

For now our heroines encounter an angry mob. This time their not here for Homer Simpson, but for Meteora as her rampages have destroyd their towns, livelehoods and given some weird guy a hat. It’s the best bit of the episode and i’m embarassed I forgot it happened.

So with them being no help our queens back out but end up finding some actual help: Eddie! You know the guy from the episode I skipped over... River’s cousin or something like that. He dosen’t have a wiki entry, I do not know why. He’s voiced by Rhys Dharby of Flight of the Conchords Fame whose since made quite the career as a voice actor. No major roles yet that i’m aware of, but a lot of delightful minor ones like this. It’s good to see him he was one of the highlights of that show and not just because he sang this..

youtube

Eddie showed up in the Bog Beast of Boggabah and I honestly forgot he was in this episode.. but again, it’s Rhys Dharby. It’s not like suddenly finding out “Aw god dammit Pauly Shore is in this”. So Eddie agrees to help as he’s been tracknig Meteora.. and we find out something troubling: Meteora is getting BIGGER. Gradually, to the point the bog from said episode Is skipped over is drained because she DRANK IT. We also get a great exchange “I’d hate to see the size of her mother” “Actually her father more than helped with that”

Awwwww.... seriously Esme Blanco is a national treasure and has some great deliveries in this one.. and some heartbreaking ones. But before we can get to that it turns out Meteora sucked the powers out of Eddies family.. who he misses..e xcept one guy> That guy can fuck right off. Seriously Eddie is also a national treasure and I wish he’d shown up in season 4. I mean he couldn’t of HURT it. For one it’s Rhys Dharby and for another that season shot itself in the face, both feet, the groin and then the face again enough that I don’t think anything could hurt it as bad as the writers already did.

But sadly we say farwell to Eddie as he goes out how men have since the begining of time.. deciding to poke a strange creature till it murdered him. Or took his soul out in this case, speaking of which...

Yeah while I couldn’t get Jess in time for this review, she did bring this up in the past: Meteora’s ablility to pull a

Comes right the fuck out of nowhere with no build up and no explination for it. She DID drain personalites and according to this episode youth.. but that was with a big ole machine. It MIGHT have been intended to be one of Globgor’s powers.. but that makes zero sense, as if he COULD do that, as we saw with Toffee last season when he had that power, also out of nowhere but at least it made a touch more sense given his power was draining magical energy anyway at the time, so adding souls to that isn’t a huge stretch, but as we saw that would’ve been game over for the comission, especially since we DO see him fighting them one on three next season. If he had this power, he wouldn’t be in crystal and I think they realized that, but just tried to act as if his daugther COULDN’T do that and assumed everyone would casually forget. And I get not accounting for me writing about this years later, even I wouldn’t of thought that, but not counting on fans both young and old to latch onto a continuity error? Have you met fandoms Disney, have you? It dosen’t bring the story down entirely and I get WHY ti’s there, so she can nonlethally kill people so we’re not down most of the cast for Season 4, but it feels like an easy win button and one she barely uses despite it being eye beam activated. It should be easy enough to pull, boom, soul suck, win, rinse and repeat. It’s okay to have uber powerful tequniques but they have to have a drawback. For instance the Kaioken from DBZ. It’s a really damn cool technique that gives the user a neat red aura and amplifies poewr.. but the more you amplify the more strain it puts on your body and the more likely you’ll die, and Super later creatively explained why it hadn’t been used since Super Sayian was introduced because said form would’ve sped it up so much it’d be too much for a body to take. Here whie Meteora dosen’t use it in EVERY fight, she uses it enough that it makes no sense this isn’t just her first move for every fight she gets into, mental breakdown or not.

That being said Meteora’s current mental state as she talks to her mother, having regressed to talking in only a few words and acting like a child, makes perfect sense. Henious already wasn’t in great mental shape to begin with, having a slow sustained breakdown since Marco overthrew her. and now on top of this she remembers her whole life has been a lie, starts to mutate into her natural state at a rapid and likely unehalthy pace, and then finds out on top of all of this Mewni is rightfully owed to her. Given she ended last episode blowing a guy up for rejecting her, it’s not a stretch that given even more power and no time to process anything, Metora would deteroate further.

Esme and Jessica really knock this scene out of the park as Eclipsa presents Metora with her old doll Bobo and gently trying ot talk to her.. but you also get the fear Eclipsa feels as she tries to awkardly manuver around the fact her daughter is far more unhinged than she was prepared for, even threanting Eclipsa simply because Eclipsa wanted to be called mother instead of mommy. But despite this fear.. Eclipsa wants to help and Walter beautifuly captured metoera as a hulk like tragic figure:a being with low sanity and too much power desperate to be loved by the one person it cares about. And it makes it even more heartbreaking as Eclipsa explains what happened: bad people trapped her , a disfunctoinal society with a racist queen and even more racist subjects has taken hold in her absence... and it’s clear both want opposite things: Meteora wants what sh’es owed, her family back on the throne and Mewni back in her graps, but has lost herself so much to rage, anger and insanity she can’t see it’s not hers to take, while Eclipsa.. just wants her daughter back. She’d be happy just settling down with her and having a LIFE after hers was taken away. Eclipsa just wants a chance to be with what family she has left. It just HURTS to know that despite RIGHTFULLY hating the comission, despite having eveyr reason to take the crown from Moon by force and make the world better by force.. she dosen’t want that. She just wants some peace. It’s selfish... but it’s hard not to be when you havealmost nothing to hold onto. Eclipsa has lost her legacy, her husband and her crown... Meteora is all she has and all she wants and sh’ed of been happy if she just accepted that. If that was enough.

But the real telling part, and the thing that ultimately makes this go as bad as it does.. is Moon’s reactions to all of this. Sh’es CONFUSED by Meteora having a toy as if that’s foreign to her a monster would, and she’s cleaerly livid , if restrianing it, at both Meteora’s deire for the crown and Eclipsa RIGHTFULLY calling out the state of how things are, and mildly at that. Despite seeing how much damage Mewni’s inherent racisim has done, how it lead to her living a lie, ruined Eclipss, Globgore and Metora’s lives, despite how DESPERTLY her daughter struggles to fight against it, despite seeing firsthand that Monsters can have famiies and lives... she can’t let it go. She can’t see monsters as people. SHe dosen’t see a flawed person who was turned into a metpohrical monster by years of brainwashing and abuse and is slowly unravling under the weight of her true self.. she just sees a threat to her kingdom. She dosen’t see her kingdom as racist, just as it should be. And she dosen’t see herself as stepping down like hse damn well should’ve the MOMENT she found out everything. Because at her heart Moon can’t accept the truth and clings to her racisim.

And that my friends.. is what ultimately leads to Tragedy. Not Meteora’s unraveling mental state, not Eclipsa’s naitvite. What happens next is ENITRELY Moon’s fault. Whle Eclipsa was failing to get through to Metora, she was trying her best and might of gotten somewhere.. but Moon was already settling to attack.. and does so, making it look like Eclipsa set her own child up.

A fight ensues, a suprisingly even one... but Eclipsa breaks it up and PROVES her way could’ve worked. In one of Esme’s best performances sshe tearfully tells her daughter she loves her.. that ALL she wants is time with her to make up for what she’s lost.. she dosen’t need a kingdom or her crown or her wand, all things she DESERVES... she just wants her daughter. She just wants to help her baby girl before she goes so far down this path of hatred and vengance she’s alreayd well trod upon there is no point to return to.

It gets through to Meteora, makes her stop... and Moon TAKES ADANTAGE OF THAT. She then restrains metoera with a magical rock barrier and starts palpatineing her to death. It’s a horrifying moment that ultimately shows who Moon really is.. that when given the chance to let Meteora go, let her CHANGE and grow as a person and help the kingdom.. she instead tries to kill her. When she’s no longer a threat, hasn’t seriously hurt her in their fight, and could use her power to RESTORE the damage she’s done, fix what she’s broken and help the kingdom grow and mend the bridges racisim has torn down. But all she can see is a monster, and something to destroy.. not someONE to save.

So Eclipsa does what Moon would do if it were star about to die and saves her daughter, desperatly trying to stop mooon.. and allowing Meteora to get a clear shot and take half of moon’s soul. While Eclipsa is able to stop her from taking the full thing, Moon is left disoreinted and half alive and leaves on insticnt to parts unknown while Meteora escapes. Eclipsa is left alone, devistated and with her daughter truly lost. And the worst is truly yet to come.

Before we get into final thoughts i’d like to talk about how this scene impacts Moon’s betryal later. To me having rewatched this scene.. it only makes it work MORE making it clear Moon simply can’t fahtom racial equality and that she can’t fahtom that eclipsa had very good reason for doing what she did ... to me it comes off as her using Eclipsa betryaing her as a very flimsy justifcation to not validate her rule and to first retire and then try a coup. That “Well she “BETRAYED” me so i’m fine. “ But in truth... she betrayed Eclipsa first. She attacked her daughter TWICE when Eclipsa was close to getting through to her Her reasons are flimsy.. because i’ts not ABOUT eclipsa, but what eclipsa represents: equality with a race Moon dosen’t see as people. It’s about Moon’s racisim coloring everything tills h’es truly blinded and should have lost everything She didn’t because the ending is a fucking disgrace, but we might get to that at some point, the point here is for all that disgrace’s faults... it did get it right here, and Moon was always portrayed as being unable to let go of her racisim no matter what it cost her or how much her daughter despteratly tried to change her. Trust me as someone whose Dad used to argue that gay marriage meant he should be able to marry his cat, and who still argues against trans people using the bathroom of their choice, I get trying desperatley to change someone who don’t wanna. “Sigh”.

Final Thoughts: This episode is truly excellent. The writing is top notch as is the voice acting for all involved and the climax isa true, well led up to tragedy. The animation is also on point, with the characters emotions on perfect display. This is an episode I now realize is one of the series best and worth ar ewatch if you haven’ts een it. Truly amazing stuff that gets me pumped for the finale.. and disapoints me in how the series could reach these highs for one finale.. but would sink to it’s lowest point for next seasons. Next Time on Prince of Wishful Thinking: Star tries depseratly to find her mom, while Marco, Tom and a motely crew of misfits try to take down Meteora and Tom learns the awful truth from the photo booth and wears a zuko ponytail which weirdly looks good on him. That boy can rock anything let me tell you.

If you enjoyed this reviews, please consider joining my patreon at patreon.com/popculturebuffet. As mentioned my 30 dollar stretch goal includes a review of the cluster fuck that is the series final arc, and the goals up to that , me making 20 and 25 dollars a month repectively, have their own nifty rewards: At 20 i’ll review Darkwing Duck once a month, the two remaning Ducktales 87 mini series I have not covered and the Danny Phantom film The Ultimate Enemy. 25 meanwhile gets you reviews of the Proud Family Movie, the theatrical recess movie and the Kim Possible almost finale movie so the drama. And 30 also gets you reviews of every episode of gravity falls season 1 at least one a month till I finish it at some point, so as you can see you get a lot of bang for your buck and these reviews will be public for everybody. Not only that but joining my patreon gets you a review a month if you pitch in 5 dollars and evne if you can’t swing THAT much just 2 bucks gets you access to my discord, a guarnateed pick in my shorts, votes for patreon exclusive reviews, and SAID patreon exclusive reviews. It’s a lot of bang for your buck is what i’m saying so please help me out so I can make a living off this and sign up today. I even JUST ADDED an exclusive and utterly insane scrooge mcduck review, The Great Wig Mystery. So throw in a buck to check that out.

And if your intrested in Tomtavia... please hit me up. I’m really proud of it and until then... i’ll see you at the next rainbow.

#star vs the forces of evil #tom lucitor #prince of wishful thinking #meteora butterfly #eclipsa butterfly #moon butterfly #rhys dharby #disney xd #disney channel #disney plus #reviews

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creatorofclay · 3 years

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Welcome back to observations with your favorite Kamski obsessed roleplayer. Last time, we talked about the actual location of Elijah's villa (boy was that a pain to dig back up too), the exact location of it on Belle Island. Today, it's time to discuss inside.

So, credit where credit is due, I want to thank @nock-and-bolt for their post about it that caused me to dig myself because, wow. I actually bought the game on PC and paid for the freecam (from otis_inf on Patr.eon) to dig because I am absolutely desperate. Hope you enjoy!

For my research purposes, I will be focusing on the parts of the rooms you don’t get to see normally, since the pool room and waiting room are explored enough in game... As well as a bunch of other things, wow this post got long LOL woops.

Okay, so, first off, I have said this before and I will say it again. This place is UGLY. But, I don’t get modern design, so we will move on from that. Second, the place is literally aesthetic only, I swear to you. There are at least 20+ different chairs/couches that you can see just in the main parts of the house. There’s no reason to have that much sitting space unless you either host people a lot, which I highly doubt he does, or its for design and nothing else. It doesn’t even include what we can’t see on the other side of the house, its just the rooms we CAN see.

Its not a place you live, this is like a museum. Or office or some showroom.

The left side (facing the building) is the only part that I believe is the living space and it seems to be very small. But, knowing that Kamski has an appreciation for Japanese culture, and that I personally believe he’s absolutely a minimalist, this would make sense. He doesn’t need more than this small corner of the house for the kitchen, bathroom, and bedroom.

Roughly this size which, like I said, is probably enough for him. It would be the size of basically a studio apartment except more utilized because the living room and dining room are the other side of the house.

But, moving on from the outside. Now, nock-and-bolt showed us what was behind the door that Chloe walks through in the pool room, but what I am curious about now is the farthest right door in the waiting area.

I think I remember seeing concept art that made it out to be what looked like it could have been a room, there was a bookshelf behind the door. I always assumed it was a home office or something, and its what I personally have worked with in my headcanons. But, nope. Thats actually wrong.

Its just another hallway into this main living room. Which makes sense, sort of, if the kitchen and other things are on the other side of the waiting area. So you don’t always have to walk through the pool room to get to the other side of the house. But, whats super neat, that I love about this, is the stuff on the shelf here. Its just a few things but boy are they interesting.

A floral vase and a couple weird, modern art pieces. I really don’t like Elijah’s style, I can’t stress that enough here, but its again clear how much of a minimalist he is. But, there is also one more thing:

What looks like some sort of Greek inspired vase the highest on the shelves. I did a bit of research to figure out what its supposed to be and what I could find seems to be referring to a nostos, which is “is a theme used in Ancient Greek literature, which includes an epic hero returning home by sea.” Which I only found from reading about Odysseus who was most known for his own nostos that took his 10 “eventful” years after the decade long trojan war, the subject of the Odyssey, one of two major ancient Greek epic poems attributed to Homer.

Crucial themes in the poem include the ideas of nostos (νόστος; "return"), wandering, xenia (ξενία; "guest-friendship"), testing, and omens. Scholars still reflect on the narrative significance of certain groups in the poem, such as women and slaves, who have a more prominent role in the epic than in many other works of ancient literature. This focus is especially remarkable when considered beside the Iliad, which centres the exploits of soldiers and kings during the Trojan War.

I am pretty sure the symbolism in the game is pretty obvious by this point, but this is just interesting because the vase is not something anyone would EVER see in the game. Its behind a door you can’t open, that never opens, and tucked away in the corner you would never see. But, it is still important for Elijah Kamski as a character. Assumed trials and tribulations, as well as the 10 year gap? Its just too coincidental. But, thats a whole other story honestly, and I don’t really know the most about Greek Mythos to be talking about it right now.

Some other small things from this weird house that I thought were interesting. Just textures really, but detail. The marks on the cellos may be my favorite because it means they’re being used. Probably played in that chair sitting beside them.

ALSO THIS? Theres one chair that isn’t pushed in equal with the others. ONE. Its literally like an inch out further than the other 7 chairs. Someone was sitting there recently.

Now, these are interesting. because they--

--are literal tubes. I’m assuming these are for the androids. Maybe where they go when they aren’t in use or doing something. Or just. Charging? Stations? I don’t know, it could literally be a spawn point for them, but I think they are purposely placed and its interesting to me that they are placed like pedestals in front of the tv. Like he just likes to look at them standing there. Like a weirdo.

Now we have this door. This door that I thought went somewhere because I didn’t notice it from the outside before but. Nope. It just goes outside.

So I watched a video recently that was someone looking at $40 million NYC apartments and I realize what this door must be. Its the only way to get fresh air in this bitch. None of the other windows are made to be opened, anywhere in this villa. So, there has to be one. Its just weird to me that its at the far end overlooking the pier.

I just have a love hate relationship with this place. Its aesthetic, but the aesthetic is modern and weird. This place, what we can see of it, is not a living space. This is an office. What you show off to show how much money you have. I’m curious what this place looks like during the Kamski ending. All dark even though I think all these lights he has on are NEVER turned off. We shall see...

Also when Chloe goes to talk to Elijah she stands at this door and doesn’t move until shes ready again. He’s spawned in the pool by this point. Sure, when she goes to open the door again, she appears a few steps back so she can walk up to it, but my heart wants to believe she was told to just stand there and make them wait LOL.

There was also a very human reaction from Chloe when Connor appeared to be standing in her way. I had stepped in so Kamski would start swimming and went behind the door to see where Chloe got the robe from (im sure she just pops it out of thin air because its just floating under the house) but she didn’t force him to step aside for some reason, like she has done before. She just... Waited there behind him. She reached behind her head, rubbed at her neck, motioned like she was impatient like... “God is this guy really going to just stand there and play with a quarter or is he going to move?” She even tapped her hand a couple times against her thigh. It was.... Strange to see.

In conclusion... Is there a conclusion? This is just a collection of things I discovered. If I find something else interesting, I will share. For now, thats all. uwu I went overboard and this is really long but.... I don’t call myself obsessed for nothing........

#okay to reblog #detroit become human #dbh kamski #elijah kamski #dbh #aesthetic://art imitates life//elijah #ooc://clay is in the kiln #There is just so much here that is so Neat #I need to play far enough to get to CyberLife tower #I've just been busy

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finelythreadedsky · 4 years

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hiya!! i know that this is basically your whole blog jsnsjxnjd but do ya have more thoughts on the whole "retroactively grantin agency to female characters isnt always the best thing" thing?

I think this is a three-pronged thing and the points are Lavinia, Helen, and Persephone:

I talked about Ursula Le Guin’s Lavinia some here and specifically responded to that idea, because Le Guin does something really interesting in terms of agency. Lots of retellings function to resist the culture of the myth, a culture in which women, mythical or real, are not supposed to have power or agency or ability to make their own choices or take action. So they give the character the agency to stand outside of the text and chafe against those shackles. And Le Guin says that’s impossible, the character only exists within the text. She’s not imprisoned by the text that denies her agency, she IS the text. It’s not that Lavinia has no agency because she’s a woman, it’s that she has no agency because she’s a character. Aeneas equally has no agency. (I think this approach works specifically well with Vergil because the Aeneid is just Like That in terms of fate and the power of the author and the gods, not sure how it would go to come at Homer like that, although Helen in the Iliad does seem strikingly similar to Vergil’s Aeneas and Le Guin’s Lavinia in that regard, simultaneously able to look at the text as if from the outside and unable to separate herself from it and aware of her inability to escape it.)

And Helen really embodies how agency is sometimes equivalent to blame. Someone in this story did something wrong. Either Paris (and/or Aphrodite, by forcing Helen to fall in love with him) committed the wrong by abducting a woman against her will, in which case Helen did nothing wrong and was merely a passive figure and it’s Paris (and/or Aphrodite) on whom the blame for the Trojan War rests, or Helen went willingly with him and thus committed the wrong herself and is therefore to be blamed for all the men who died at Troy. To say that Helen has agency, has the ability to make her own choices, is to say that she actively, freely, and knowingly made the wrong choice and is to blame for it. And this is a conversation that has been happening since antiquity! Gorgias argues that Helen possesses neither agency nor blame. Stesichorus comes to the same conclusion, denying that she was in possession of agency or is deserving of blame. His denial that she has agency is an assertion that she is not the villain in this story. Agency doesn’t do much when you cannot change what happens in the story and who is harmed by those happenings and the only thing you can really ascribe is blame when you decide who wanted those things to happen as they did or who caused them.

And Persephone is the other side of what it means to add agency when you cannot change what happens in the story but you can change who wants it to happen. Because to give Persephone agency in her story is to turn a story of rape into a story of romance. The only way you can have it so that she is in control of her own story is to say that actually she wanted her rape and abduction to happen. And I have said a LOT on here about that at this point but what I want to emphasize is that it’s okay to tell a story about a woman who does not have agency. It may even be a more important story to tell. @chthonic-cassandra talks some about agency here and @teashoesandhair makes a corollary point that I think is important: that to insist that Persephone is the agent of her own descent into the Underworld “sends the message that a strong woman always has agency”— that a loss of agency is permanent, that to have one’s personhood and autonomy violated at one time permanently strips a woman of them, that once a woman has been raped she can never again truly be the arbiter of her own decisions. And to insist that Persephone must have agency and be an active agent in her relationship to Hades and descent into the Underworld ignores the fact that real women historically were and still are stripped of their agency and ability to make decisions about their own lives and bodies. Is it not also important to tell those stories? Is it not important to acknowledge the reality that rape and assault and abuse and forced marriage happen, and that the women to whom those things happen are still people and still have futures and personhood and autonomy and still deserve stories? Do we not owe it to the ancient women whose experiences went into this story and Persephone’s lack of agency in it, and to the women today who are still reflected in that? It’s the “retroactively” part I want to get into— there’s a reason she doesn’t have agency already. I want to resist the pressure to add agency to this story and insist that Persephone’s LACK of agency does speak directly to a cultural reality in the society from which that story comes, and that same reality still exists in the cultures that read and receive the story today, and that’s important.

(Louise Gluck’s Persephone the Wanderer has, I think, a very interesting and complex reading of the story in terms of agency and where we want to see it and how and why we read for agency or a lack of agency)

#i really need to reread averno i keep coming back to individual poems but it is a full cycle as a whole #also i REALLY need to finally read that aimee hinds eidolon article #it is only an 11 minute read!#but something about eidolon giving a time estimate makes it very hard for me to start any article no matter how short #mine #ask #anonymous #retellings #persephoneposting #this is a torch song #Anonymous

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reblogthiscrapkay · 3 years

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The Myth Of Persephone in “Mythos” by Stephen Fry

I have had this book for a while, but no time to read it in its entirety. I read this myth right when I got it, but vowed not to make a post on it until I came by it naturally while reading the whole thing. Apologies for the bad photos, but I wasn’t going to ruin the binding on my book.

I like the note about how if people were starving, it’s because people suck. Words to live by in today’s world too. Not sure how I feel about the implication of Hades having an ulterior motive for growing his kingdom though. Even Hadestown didn’t go there and the text of that musical is explicit about the need for a lot of dead. Also, “artless.” Hm. Not into that.

I do very much enjoy Fry’s writing, by the way. I feel like this book is kind of the Greek counterpart to Gaiman’s “Norse Mythology” in case you were wondering. It has a narrative verve to it. I can tell already that Fry is completing disregarding Demeter’s Eleusis adventures, which I don’t mind.

The footnote on Hecate is a bit misleading I think. She’s not in the play, if I recall correctly, but she is evoked a lot by the witches. Is dementedly okay to say? I mean, I think Fry was going for the alliterative here but it feels a little wrong to me.

There’s a lot of different stuff here. First, this is maybe one of the first, if not the first, version I’ve read where Zeus specifically goes down to the Underworld. Second, this is definitely the first where Zeus threatened Hades with not letting the dead go there or possibly not dying. It’s a wild claim for Zeus to make because I really don’t think he has that kind of authority, and this threatening of Hades’ power is also incredibly strange. In the majority of myths, Zeus straight up gives Hades permission to take Persephone (in time period appropriate marriage approval fashion) and it’s Demeter’s anger that forces Zeus’ hand to ask for her back. I really don’t like this characterization of any of these three: it removes a lot of Demeter’s agency, makes Hades seems foolishly prideful instead of just in love, and gives Zeus way more power over Hades than he should rightfully have. The only good thing here is this returned love idea and Hades respecting boundaries.

Persephone continues to be written as kind of an idiot. I do kind of like Hades’ like about not thinking ill of him because it reminds me of the Homeric Hymn and not much of this retelling does. Also, interesting that Hades is setting the terms of return. That’s not especially unusual but often it’s Zeus making a deal with Demeter.

At least he gave Persephone a nice ending note. Would have loved to see a little more agency from her in general and not so much shade.

Overall, I like this book, but I’m not a fan of this version of the myth. For the most part Fry’s interpretations aren’t bad but he’s clearly mixing sources and picking his favorites. He used a lot of sources for the book, which he charts in the back and I’m familiar with most of them. Sometimes you get ancient Greek stuff and Edith Hamilton but sometimes you get Bernard Evslin and Roman stuff. At least Fry also points out that Robert Graves has some issues. Like I mentioned before, this book is a fun, more narratively driven retelling that honestly includes a lot of myths but it has its weaknesses.

#the persephone project #persephone #greek mythology #personal #mythos #stephen fry

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spnorwhatever · 3 years

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like I don’t think Spn would have had Cas come back in a female vessel bc that’d be too close to admitting trans ppl exist, but I do think it would be hilarious if he did, but specifically as Sam’s blurry wife.

Imagine this: Sam’s wife (blurry and unnamed) is pregnant and dying of unknown and honestly unimportant causes. Sam is distraught ofc and Dean hears about this in Heaven somehow and likewise is distraught. He prays to Cas to help, specifically to inhabit the wife to heal her Gadreel style. Cas does this specifically because Dean asked him to. Something happens to blurry wife anyway, maybe the child is technically a nephil now bc of angel shenanigans, so she dies anyway. And, well, Sam’s son - Dean Jr - needs a mother. It’d be very Deuteronomy 25:5–10 (If brothers are living together and one of them dies without a son, his widow must not marry outside the family. Her husband's brother shall take her and marry her and fulfill the duty of a brother-in-law to her. The first son she bears shall carry on the name of the dead brother so that his name will not be blotted out from Israel. ...)

Sam and Cas live together in a sort of lavender marriage situation because, well, Dean needs a mother. And Dean asked Cas to take care of Sam and his son, who is also Dean, so of course Cas would do his best to fulfil this duty to his family.

I feel like this would be the worst of all worlds, and therefore - like that one scene on the Simpsons where Bart didn’t want to go to a play so Homer said okay they will go to a play that Lisa doesn’t like - the perfect compromise. Like tell me that would not be so fckn funny.

#spn #txt #my goal here is that no one wins and like while on the surface this may seem like a sastiel win (if so then it'd be unbalanced)#it in fact would not bc Cas specifically would do so bc Dean asked it of him #and also like. if you think about it it would in fact be Sam's biblical duty to marry Cas & build up Dean's family line #AND spn would have implied trans ppl exist so it'd be a L for them too #god okay looking at Deut 25:7-10 is so funny bc it is. skdjfkdj it is. Sam's biblical duty. to both dean and Cas-#if you think about it is Sam doesn't marry Cas then he's not fulfilling his duties as a brother-in-law #and his line shall be derided and spit upon-#sjkdfjsdkfjsdkjfksdj #it would be such a L but it would also be a win for me specifically bc I love when spn gets weird in a biblical sense lmfao

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letterboxd · 3 years

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Spectacular Spectacular!

On the twentieth anniversary of its explosion onto big screens, Ella Kemp high-kicks into the Moulin Rouge! once again, accompanied by screenwriter Craig Pearce and a chorus line of jukebox-musical academics and swoony Letterboxd fans.

“You’re always writing for yourself, for the film you want to see. I like all kinds of different films and I think teenage girls do too.” —Craig Pearce, Moulin Rouge! co-writer

This is a story about love. A love born at the turn of the twentieth century in an iconic Parisian cabaret and brought to life in 2001 on Australia’s most spectacular sound stage. A valentine to excess, greed, fantasy and, above all, to the fundamental Bohemian ideals: truth, beauty, freedom and love. This is the story of Moulin Rouge! and how it still burns bright, two decades on, in the hearts of romantics all over the world.

The film, a fateful love story between penniless writer Christian and dazzling courtesan Satine—played by Ewan McGregor and Nicole Kidman—premiered at the Cannes Film Festival on May 9, 2001 and opened in New York and Los Angeles cinemas only weeks later, on May 18. Cast and crew fought hard to get it there: unimaginably, writer-director Baz Luhrmann’s father passed away on the first day of filming, and Kidman’s then-marriage was in turmoil. “There were times of beautiful moments, but there were times where we were like, ‘This is so hard’,” Luhrmann recently told an Australian journalist.

And, though this seems strange to say in a world that has since welcomed Mamma Mia!, Bohemian Rhapsody and Rocketman, making a movie musical early in the millennium was a high-risk pursuit. Luhrmann again: “‘Musicals will never be popular again’ … I can’t tell you how many times I was told that.”

“It’s part of a cycle,” explains Dr. Eleonora Sammartino, an academic specializing in contemporary American film musicals. “It came after a period in the 1990s where musicals had disappeared from the big screen.” Lisa Duffy, Letterboxd member and Doctor of Hollywood Musicals, agrees: “Films coming out [that year] were a lot more dour, so this was a real gamble.”

Nobody understood this gamble better than the film’s co-writer, Craig Pearce, who has been Luhrmann’s close friend and professional partner since the pair were students together. Moulin Rouge! is the third and final entry in what we now know as their red-curtain trilogy, alongside Strictly Ballroom (1992) and Romeo + Juliet (1996).

“Baz had been thinking about the parallels between the Moulin Rouge and Andy Warhol’s Factory,” Pearce recalls. “Places where artists congregate, where it’s more than a place, it’s a petri dish of creativity. Like The Factory, and Studio 54, the Moulin Rouge was a place where the old and the wealthy pay a lot of money to hang out with the young and the sexy.”

At the end of the twentieth century, however, the Moulin Rouge wasn’t all that great (the original had burnt down in 1915). Pearce recalls: “We went to Paris in 1999 on a research trip and discovered, to our horror, that the Moulin Rouge now is just a hideous tourist trap. So we had to go on this journey to find out how this amazing creativity—artists and dancers and musicians—came out of what now feels like this tawdry girlie show.”

With the location and period locked in, Pearce and Luhrmann worked to find the story’s driving force. “This movie wouldn’t work without the exclamation point,” writes Adelaide. Pearce is the first to admit this: “It’s saying it’s Moulin Rouge, but it’s not that one. What we’re trying to do is heighten truth, but you have to start with that underlying truth,” he explains. “It’s not casting around for ‘what would be a cool idea’ because you never come up with one. It’s never as interesting as the truth. Like, there was an elephant in the garden of the Moulin Rouge. And why does that matter? It matters because there are certain inherent logics in the way human beings operate.”

“It's a musical of recycled parts. It’s a story which, beat for beat, has been told for centuries. It’s a staged show drawn from the lives of the characters themselves… This is a film [that] is bold enough not just to say that all art is about finding your own meanings behind someone else’s ideas, and that all art is just copying and stealing, but that this can be totally valid and authentic. When Nicole Kidman sings ‘Your Song’ to the Duke, she’s stealing from the writer, and Luhrmann is stealing from Elton John. But when Ewan McGregor is singing to Kidman, it’s the most magical moment you could possibly imagine. That’s what makes ‘Moulin Rouge!’ a true masterpiece. Cinema has never been more fake, and cinema has rarely been more real.” —Sam

Moulin Rouge! borrows from all over. There are hints of La Traviata, of Cabaret and of Émile Zola’s Nana. There were Toulouse Lautrec’s paintings (John Leguizamo tremendously embodies the painter in the film), Baudelaire and Verlaine’s literature, Jason and the Argonauts, Homer’s Odyssey, and the revues of the 1920s and ’30s. “Moulin Rouge! really embraces that vaudevillian component,” says Dr. Hannah Robbins, a Broadway and Hollywood musicals specialist.

Craig Pearce and Baz Luhrmann writing in Paris (1998) and New York (2019). / Photos from Luhrmann’s Twitter

“This genre lends itself to repetition and fragmentation,” Sammartino expands. “It’s part of the syntax of the musical and has always been, this idea of borrowing from other sources. This doesn’t take away from the daring postmodern approach Moulin Rouge! is defined by, it’s simply further proof that it’s, well, a very good musical.”

Above all else, the core of Moulin Rouge! is inspired by the myth of Orpheus of Thrace and his doomed love affair with the beautiful Eurydice, whom he followed into Hades after she died. “The show must go on, Satine,” the nightclub’s impresario Harold Zidler grimly tells his star, as their world begins to crumble. “We’re creatures of the underworld. We can’t afford to love.”

It wasn’t the first time Pearce and Luhrmann had looked to ancient mythology. Strictly Ballroom’s mantra, which tells us “a life lived in fear is a life half lived” owes everything to David and Goliath. But with the Orphean myth, the screenwriters were looking to dig deeper, to find something much darker. “The Orphean myth is a romantic tragedy in its essence,” Pearce explains. “David and Goliath is more youthful, and it’s about saying that belief can conquer anything. But as you get older people get sick, they die, and life is about resilience and finding ways to embrace the hard things in life and move forward.”

That might sound antithetical to the all-singing, all-dancing nature of the movie musical, but the genre has been trying to tell devastating stories like Moulin Rouge! for decades. “Hollywood is rarely interested in buying and remaking stories with devastating endings as much as stage musicals are,” Duffy explains. (See: Les Misérables, Phantom of the Opera.)

This reluctance can be traced back to the classic era, during which there were rules about the ways a musical could end under the censorship laws of the Production Code. Simply put, they had to have a happy ending. (Which also led to a fair amount of bizarre deus ex machina to guarantee a nice, cheery final act).

But then in the 1960s the Code fades away, and Hollywood starts engaging with violence, sex and explicit trauma on-screen. “We have much more freedom in the contemporary era to have people die explicitly,” Duffy says. “And that’s why we keep returning to Moulin Rouge!: there’s the explicit negotiation of our entry into the fantasy world, and then we’re devastated, and the curtains close and we’re in reality again.”

“It’s one of the great 21st-century films. Baz Luhrmann is only good when figuring out how to make historical periods of excess into contemporary displays of grotesquerie, somehow turning great films (‘French Cancan’) or great literature (‘The Great Gatsby’) into tacky Technicolor vomit that somehow understands the underlying sorrow of the material better than any serious-minded adaptation.” —Jake

The red-curtain trilogy has a distinct set of rules: one, the viewer must know how the film ends from the start; two, the story must be set in a heightened world; and three, it must contain a device that keeps the audience awake at all times, whether that be ballroom dancing, scattershot Shakespearean dialogue, or pop songs.

“Part of the appeal of the artifice is that it gives the audience permission to say, ‘This isn’t real, you’re about to see a fantasy, and that’s okay,’” Duffy says. “The pleasure is the fantasy of it. The whole film is us seeing how Christian is imagining what happened—and the musical is the most extreme genre that allows such imagination.”

The point was never to temper the elaborate, hyper-aware fakeness of it all, but to really commit to it. Says Robbins, “Musicals are ultimately artificial and exclusively constructed. And that’s what Moulin Rouge! achieves and quite a lot of films don’t. It goes, ‘This is where the story is going, this is the energy, this will be played in the soundtrack.’ There’s a deliberate thought process there.”

Luhrmann recently said: “The way we made the movie is the way the movie is.” An under-explored aspect of Moulin Rouge! is how the whole affair, with its ‘Spectacular Spectacular’ musical-within-a-musical device, is an insider’s guide to the mechanics and politics of making ‘big art’. How money can control both the art (the dastardly Duke insisting on “his” ending), and the artists (Satine is never told she is dying, because she is the golden goose upon whose shoulders the success of the company rests; Christian is likewise left in the dark, because he is the scriptwriter who needs to finish writing the show. Both are wrung dry for their talents).

There are shades of Luhrmann in Zigler, the impresario juggling cast, crew, investors and opening dates (Moulin Rouge! was originally slated for December 2000). Christian and friends in playwriting mode are surely Pearce and Luhrmann themselves, searching for the most economical way to say “the hills are vital, intoning the descant”.

And, from the show-within-a-show rehearsals, to the bustle of the backstage, to the gun-chase through the wooden bones of the fly tower, the production details are Catherine Martin to the very last diamante. Nobody does daring bedazzlement quite like ‘CM’, Luhrmann’s fellow producer and life partner. Electricity was the new, exciting thing in Paris at the turn of the twentieth century and this film was lit.

A necklace worn by Satine as a gift from the Duke was made of real diamonds and platinum. Designed by Stefano Canturi, It was the most expensive piece of jewellery ever specifically made for a film, with 1,308 diamonds weighing 134 carats, and worth an estimated one million dollars. Needless to say, Martin won both costume and production design Oscars for the film.

Also among the film’s eight Academy Award nominees: editor Jill Bilcock, about whose singular craft there is a recent documentary. Her breathless, kaleidoscopic cutting (also deployed in Strictly Ballroom and Romeo + Juliet) dropped us right on the dance floor; one 65-second sequence contained a boggling 85 cuts. And this is on the back of her superbly judged opening, a scene that repeats itself as she places Christian at both the start of his love story, and its devastating aftermath—heartbroken, unshaven, self-medicating, reaching for the words to begin making sense of his loss.

“I wondered, for the first hour of this, how Baz Luhrmann had managed to balance such in-your-face stylistic audacity while maintaining a genuine feeling of care for the characters and their struggles—is it all down to Ewan McGregor’s wonderfully earnest face, or the way Nicole Kidman’s smouldering-temptress persona is worn down by one of the most charming cinematic uses of Elton John’s ‘Your Song’? But as the ‘Elephant Love Medley’ transformed into David Bowie’s ‘Heroes’, I stopped caring, I just swooned.” —Kat

If electricity was the thing that drove the kids wild in the 1900s, the internet was on everyone’s minds in 2001. We were just figuring out how to juggle tabs and text people. The real magic dust sprinkled throughout Moulin Rouge! is, obviously, the cacophonous soundtrack, which made sense to our collective, fragmented consciousness.

“No other musical of the modern era has so perfectly captured the sense of spinning an iPod wheel every 45 seconds to play something else,” writes Jake of the medley of songs by David Bowie, Fat Boy Slim, Nirvana, Police, Elton John, Rufus Wainwright, Madonna and many others.

Luhrmann and Pearce stopped at nothing to get every single track from every single artist they wanted. The journey took more than two years, and some bodies were left at the side of the road. “You constantly have to kill your darlings,” Pearce sighs. RIP to Rod Stewart’s ‘Tonight’s the Night’, The Rolling Stones’ ‘Under My Thumb’, Prince’s ‘Raspberry Beret’ and Fifth Dimension’s ‘Up, Up and Away’. (Hot air balloons were big in 2001.)

"We wanted the music to be modern, because we didn’t want it to feel like a fusty, crusty world,” says Pearce. “We wanted to find the universal modern parallels that have existed since time immemorial.” But it wasn’t just about finding the most popular songs at the time. “The structure had to be driven by the needs of the story,” the screenwriter explains. “The musicals on film that tend to fail are the ones where the music feels like a film clip. If it’s not serving the emotional needs of the story, you very quickly check out and it becomes boring. With good musical storytelling, it builds and builds to a point where you can’t do anything but express yourself through song.”

Has there ever been a more desperately romantic promise than when Christian starts telling Satine he doesn’t have much to give her, before nailing that one perfect high note to reassure her that his gift is his song? Why, yes: when the mirrored love stories of Christian and Satine, and of the penniless sitar player and the courtesan in ‘Spectacular Spectacular’, meet at their dramatic peak, with ‘Come What May’. (The film’s only original song, it had been submitted for the Romeo + Juliet soundtrack by writers David Baerwald and Kevin Gilbert.)

“Moulin Rouge! was successful because it was using songs from different ages and periods, appealing to different audiences with something they could have a connection to. So it wasn’t just boomers, not just millennial or Gen X,” says Sammartino. “Something like Rock of Ages, for example, was much more narrow in terms of the kind of music you needed to like.”

“This film is a dramatic bitch and I love her.” —Mulaney

‘Moulin Rouge!’ co-writer and director Baz Luhrmann.

There is a pattern to our most emphatic reviews for the film: they come from relatively young people, who mainly identify as women. It’s something critics anticipated back in 2001. The New York Times wrote, in a fairly ambivalent review, that “young audiences, especially girls, will feel as if they had found a movie that was calling them by name”. We don’t have time to fully dig into the antiquated notion that “low art” (the publication’s quippy headline for that review was “An Eyeful, an Earful, Anachronism”) is aimed specifically at women, but surely we have to ask the question twenty years on: does anyone still think this could possibly be true?

“You’re always writing for yourself, for the film you want to see,” says Pearce. “I like all kinds of different films and I think teenage girls do too.” And let’s remember, it was Harry Styles who said of the broad demographic of his fanbase back in 2017: “Teenage girls—they don’t lie. If they like you, they're there. They don’t act ‘too cool’. They like you, and they tell you.”

Robbins: “The rom-com has made the connection between song and emotional display about female pain. The Emma Thompson crying to Joni Mitchell kind of lineage has tempered musicals—people think that’s what Mamma Mia! is: women and mothers and daughters and feelings.” Dig a little deeper and you’ll find a lot of musical-related data suggesting a broader scope. “When I went to see Frozen on Broadway, kids of all genders were wearing Olaf costumes, much more than princess ones. That is not the narrative Disney would like. And when people gender musicals and think of the princesses franchises, they don’t look to the fact that The Lion King and Aladdin were more successful.”

There has been an undeniable effort to reel male audiences in to see 21st-century musicals. On Hugh Jackman’s welcome, flamboyant career pivot (surprising to anyone but Australians), Duffy says: “Casting Wolverine in Les Misérables and The Greatest Showman is very, ‘See, manly men can do it too!’” Let’s not forget that Ewan McGregor had gotten his big break as freewheeling heroin addict Mark Renton in Danny Boyle’s Trainspotting just six years prior to playing Christian.

Indeed, says Duffy, “more of my male friends have seen Moulin Rouge! than other musicals. The MTV tone might have been significant, and there was the ‘Lady Marmalade’ music video—the fact you have all these beautiful pop stars writhing around in corsets. And just having David Bowie on the soundtrack is like, ‘Okay, this isn’t just girl music.’ Pop music offers an easier way to move past the stigma of show tunes.”

Crucially, Robbins notes that all of this prejudice, and the effort to tear it down, is speaking to, and about, a very specific—cisgender, heterosexual—subsection of audiences. “I always wonder where the critics think the queer audiences are. I do wonder if there’s a cis-het vibe going on that has even more to do with it, reinforcing that norm rather than actually focusing on young girls as an audience.”

I asked my interviewees whether they thought, twenty years on, that Moulin Rouge! would be better received today—and which parts of our contemporary cinematic and musical fabric owe a debt to Luhrmann’s jukebox wonder. “We’re more receptive but we have specific demands,” says Robbins. “And today’s musicals sink or swim on whether they meet those demands. So The Greatest Showman is the Moulin Rouge! of now. I think people would be lying if they didn’t say that the cinematography in Moulin Rouge! hasn’t affected almost every movie musical that has been made since. We wouldn’t have ‘Rewrite the Stars’ if we didn’t have ‘Sparkling Diamonds’.”

Duffy agrees: “So many things that come after you can draw a line directly to Moulin Rouge!—Pitch Perfect, Rock of Ages, Happy Feet… but most significantly, Glee would not exist without this movie. The jukebox musicals of the 21st century owe everything to Moulin Rouge! and the blueprint it lays down.”

Among the films that premiered at Cannes in 2001—David Lynch’s Mulholland Drive, Michael Haneke’s The Piano Teacher—was another kooky little number: Andrew Adamson and Vicky Jenson’s animated Shrek. Two jukebox musicals in the same prestige film festival, at a moment when the genre was considered deeply uncool? What a time to be alive!

If the last eighteen months have taught us anything, it’s that we film lovers enjoy nothing more than a comfort rewatch of our favorites. Moulin Rouge! and Shrek (and French Shrek) delivered untold comfort in the pandemic—but they had also soothed us much earlier, in the months following the unspeakable tragedy of the 9/11 attacks.

“For me it was very much a comfort film,” recalls Duffy, who had discovered Moulin Rouge! as a fresh-faced eighteen-year-old, during her first year away from home, studying in New York. “Part of that was rooted in this really traumatic thing that had happened, and all of us wanting to escape into this fantasy world as much as possible.”

Luhrmann said, in his recent Australian interview, “I love to see people united and uplifted and exulted. It’s a privilege to be a part of helping people find that.” As life outside our homes resumes, Moulin Rouge! will very much be part of a return to exultant living. The live musical—interrupted by Covid—opens in Melbourne in August and on the West End and Broadway in the fall.

Pearce last saw the film on a large screen in a derelict warehouse in London, at Secret Cinema’s interactive, carnivalesque spectacular. “I have to say, I was really proud of the film,” the screenwriter says, finally letting himself speak fondly of his accomplishment well over an hour into our conversation.

“I mean, some people liked it back in the day, but you’re never really satisfied with your work. You just tend to see the things that could have been better. But seeing the love for the film was really, really emotional.”

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Craig Pearce is currently producing ‘Pistol’—a biopic miniseries on the Sex Pistols, directed by Danny Boyle—and his next film with Luhrmann is a biopic of Elvis Presley, with Austin Butler playing the king of rock and roll. Additional thanks to Dr. Eleonora Sammartino, Lisa Duffy and Dr. Hannah Robbins.

#moulin rouge #moulin rouge!#baz luhrmann #catherine martin #nicole kidman #ewan mcgregor #children of the revolution #truth beauty freedom love #musical #movie musical #jukebox musical #paris #australian director #letterboxd

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my-name-is-apollo · 4 years

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I know this has already been discussed many times, but was Artemis a lesbian? Wasn't she supposed to be a virgin goddess?

So this is not an simple topic to talk about. It's hard to apply modern sexualities onto ancient figures. Especially in this case. And of course, one is free to make their own interpretations. But I can talk about how it is in the myths.

You're right about Artemis being a virgin goddess. There's this whole arguement of "a virgin was someone who was just unmarried!" and while, yes, that is technically right, they're forgetting that for the greeks, an unmarried girl was not supposed to have sex either. So virginity eventually meany a girl who hasn't had sex. Some might say that only penetration was considered as sex, hence Artemis could have had sex with a woman and still stayed a virgin. Yes that could have been the case, but we have evidence that she didn't have sex or want it.

Homeric Hymn 5 to Aphrodite 6 ff (trans. Evelyn-White) (Greek epic C7th to 4th B.C.) :

"Nor does laughter-loving Aphrodite ever tame in love Artemis the huntress with shafts of gold (khryselakatos); for she loves archery and the slaying of wild beasts in the mountains, the lyre also and dancing and thrilling cries and shady woods and the cities of upright men.

Lucian, Dialogues of the Gods 16 (trans. Fowler) (Greek satire C2nd A.D.) :

APHRODITE: Let them pass too, because they are grand. And why do you never take a shot at Artemis?

EROS: Why, the great thing is that I cannot catch her; she is always over the hills and far away. But besides that, her heart is engaged already.

APHRODITE: Where, child?

EROS: In hunting stags and fawns; she is so fleet, she catches them up, or else shoots them; she can think of nothing else.

And Sappho herself, who's so famous for loving woman, wrote

Sappho, Fragment 34 (trans. Campbell, Vol. Greek Lyric I) (C6th B.C.) :

"Eros, loosener of limbs, never approaches her [Artemis]."

So, it's pretty much clear that she didn't want romance or sex. And that's how I see Artemis too. But I admit there are some times when it looks like she might have loved her companion romantically (Britomartis, for example) but it was pushed aside as platonic because two women in love didn't sit well with men in ancient greece. In that case, okay go ahead and make her romantically attracted, but don't limit it to girls. Because she canonically loved Orion. It's very clear because they both had decided to get married. So going by myths, wouldn't she be biromantic? Why erase that? If it's your headcanon or an AU then fine, you do you. I have zero problems. But stop claiming that Artemis is a lesbian in Greek mythology and invalidating others who see her as aroace. (this especially relevant to the PJO fandom. So many of them got mad when RR said that he interprets Artemis as aro and ace. They jumped on him saying how she's a lesbian icon and how he robbed them of representation. Please, it's spelt out in the hymns that she was uninterested in sex and romance. That's a reason she has been seen as an ace icon for years. It's not lesbophobia)

Lastly, about Artemis' hunters: A lot of people think see her as a lesbian because she lived in the forest with a group of nymphs. But I hope they know that those nymphs were mostly very young girls (in one hymn to Artemis, they're 9 years old). They are with Artemis because they've not reached the age of marriage. Because it was Artemis' job to protect girls of that age. So the idea of Artemis having a gay paradise with her nymphs in the woods is uncomfortable to me. (although, I believe some of her companions like Callisto, Britomartis were older).

TLDR; according to poets, Artemis didn't feel romantic or sexual desires. But if you're going to make her romantic, remember that she fell in love with a man too.

#Artemis #Greek mythology #Greek gods #Like y'all #If you're going by the myths #She's clearly not into sex and has shown attraction to a man #Why are some people so aggressively claiming she's a lesbian?

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harry-styles-sunflower · 4 years

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Wandering Hands Part 1

Hellooo everyone! I hope you are all having a lovely day! SO this is Part 1 of Wandering Hands.

What it is: You and Harry become friends but you come with certain baggage that might make any other man run.

Word count: 6.2k

Warning: death and angst? (lmk if i forgot one!)

Pls reblog if you like it :) Thanks in advance for the support!

~~~

It was a long day after work and you had no one but yourself to worry about tonight. It was Friday, you were at Joe’s, the bar across your apartment. You’d come in regularly. Only about every other weekend. You were drinking your troubles away with a Manhattan. The bar wasn’t too full, it was only happy hour. You heard the bell ding behind you meaning someone walked in. Some man approached the bar as you finished your drink.

“Hello, can I get a glass of your most recommended wine?” You felt him look over at you, “and a refill on whatever she’s having” he paid Joe and sat a stool away from you.

“Thank you, you didn’t have to” you slid your glass away from you.

“No problem, I wanted to” you nodded and watched the tv. Joe served you your Manhattan and the man his wine. You knew it was a glass of his Château Cheval-Blanc because you had had it yourself once. 4 years ago.

“You know, I never understood baseball too much.”

You drank your drink and looked at him from the corner of your eye. Was he talking to you or Joe? You looked around you and you were the only one close enough to hear him and Joe was busy.

“It’s a good sport if you understand it” you shrugged.

“Care to explain it to me?” He moved to the stool next to you.

You swallowed your drink and looked at the screen. You had no interest in getting a good look at the man next to you anyway.

“English?”

“Precisely.”

“The Red Sox and Yankees played in London a few years ago.”

“Wasn’t home.”

“Oh.”

“Yeah”

“Well Um. 9 innings, 3 strikes you’re out. Guy on the circle in the middle? That’s called a mound. His position is a pitcher- “

“Isn’t that what you guys pour juice out of?”

“Yeah we use the same word for a lot of things, don’t interrupt,” he smiled at you, “he’s a pitcher. He throws to the guy across him, the catcher. Catcher signals him what kind of ball to throw in between his legs. He does it based off the batter’s weakness. There’re 4 bases. 1st, 2nd, 3rd, and home. When the batter hits it, he hopes no one in the outfield catches it or it gets out of park. If they catch it while it was in the air he’s out, if they catch it after it’s hit the ground he can run as fast as he can to whatever base is available. But like in order. Oh, also if someone in the outfield catches the ball, they’re gonna throw it to one of the basemen so they can tag the batter running. But if the batter touches the base before they’re tagged then they’re safe.”

He nodded along so you knew he was listening.

“Can I ask a question now?”

You nodded and sipped your drink.

“How do you know it’s a strike?”

“Oh, my bad. See the box on the screen? If it gets in there it’s a strike. Outside the box it’s a no ball but we usually just say ball.”

He nodded and gestured to your drink, “refill?”

“Oh no, I’m good. I need water” He ordered one for you and Joe gave you a knowing look and you just shook your head at him. You two were basically friends now. He’d gotten to know you over the past 4 years. You lived across the street for 5 but you came in 4 years ago. Joe came and gave you your water and you drank it slowly and watched the game. It was Yankees v. Red Sox. The Red Sox made a homer and you shook your head.

“Yankees fan?”

“Yep. We’re in New York. Kind of against the law to be anything else.”

He laughed and sipped his wine. He hadn’t drunken much, he gave you all his attention while you spoke. “My dad was a big Yankee fan. I’ve been one since the day I was born. My mom says she pushed me out and when the doctor put me in her arms the Yankees had won the game. We used to go to a game like every year when I was a kid.”

“Are they as fun as they seem?”

“Even better. During the commercials on tv, sometimes the outfield players play catch with the people on the side or they play a video of the players talking or play a game with the crowd”

“That’s pretty cool,” he put his hand in front of you, “I’m Harry by the way”. You looked at his hand and put yours in it and shook it.

“Y/n” you looked over at him. You finally took a good look at his face. He was gorgeous you couldn’t deny it. He had strong facial features. Short stubble and green eyes. They were bright. Different than your own dark eyes. He made eye contact with you for a few seconds before you turned back to the screen and drank your water.

“If you’re from England, are you here for business or pleasure?” It was New York, people came and went. Travelled. But in your small town about 30 minutes north from the city, no one really came through here unless they knew someone.

“I uh I’ve been here for about a year but I just moved to the area recently. Got a little tired of the city life, but didn’t want to be too far. I work as an editor at Simon & Schuster.”

“Wow. That’s a good job. Hell of a commute I assume?”

“About 1 hour every morning. It’s worth it. Sleep without the sound of horns or sirens”

“True.”

He turned on his stool to face you and you faced him. Your knees were touching.

“So, what do you do?”

“Teach. I’m a teacher. 7th grade social studies. Actually, I taught the Boston Tea party today” you smirked at him and put one arm up on the bar and leaned against your hand and one hand on your knee. Some fingers accidentally touched his knee but your knees were touching. You couldn’t prevent it from happening

“Ahh” he moved a pointed finger at you. You laughed and so did he. He had dimples. Cute. “Such a petty thing if you ask me” he shrugged.

You laughed and shook your head.

“A lot of history is petty.”

“Do you like teaching?” He put himself in the same position as you, his fingers brushing yours too.

“I guess. I love my kids and filling their minds with knowledge but the standards and requirements are a pain in the ass”

“Oh yeah, I’ve heard about that. Not too much freedom”

“Yeah. Like if I want to take them to a museum, I need to find a standard that validates that museum will teach them according to that standard”

“Wow. The museums here are basically free too right?”

“Yep.”

He shakes his head and sips his drink.

“It’s been like an hour and you’re still drinking your wine”

“Well Ms. Judgey, it’s a good wine. I’m savoring it.”

“It is good. I’ve had it. And I’m not judgey. I was just saying it must be warm now.”

“Eh. It’s still chill. Thanks for caring though” he grinned at you.

You rolled your eyes and finished your water.

“When did you have it?”

“Huh?”

“The wine”

“Oh, um four years ago”

“That’s precise”

“It was on an anniversary of something.”

“Wedding anniversary?” He laughed.

“Death anniversary actually.” His face stilled and he became pale.

“Shit I’m so sorry for laughing.”

“It’s okay. You didn’t know.”

“Shouldn’t have assumed.”

You saw him looking at you like he wanted to know who it was but would never dare to ask. You debated telling him. You turned back towards the screen, leaving his knees cold. He felt he had lost any chance he thought he had with you. He liked talking to you.

“Joe, jack and coke please”

He nodded and brought it to you. You chugged it down. Harry put his head in his hands. He had driven you to drink. Yikes.

“It was my husband. He died.”

He lifted his head from his hands and looked over at you. You were a widow. You looked so young. He felt bad you had to go through such pain.

“I’m sorry for your loss”

“Thanks. It was 5 years ago. I’m alright”

He nodded. Too scared to say the wrong thing.

“He was in the service. Died in Iraq.”

“Oh wow…” he was surprised you were opening up to him. Perhaps it was the liquid courage.

“Came with the territory, I guess. We were together for 10 years. Married for 5. Widowed for 5 now. If you’re trying to do the math we were high school sweethearts. Started at 15. Married at 20. He died at 25. Yes, I’m 30.” You drank your leftover water.

“Erm… Wow. Well you look good” he was nervous.

You laughed lightly and said thanks.

“Guess I scared you away now didn’t I?”

“No no! Not at all I just don’t want to fuck up and say the wrong thing.”

“Harry it’s been 5 years I’m good. I’m religious, I coped well”

“Oh okay.”

“Stop being nervous!” You laughed.

“I can’t help it!” He laughed lightly.

“I’ve got a big curveball for you,” you turned to face him and you put your hands on his shoulders as he faced you.

“I see what you did there. Curveball” he tilted his head toward the tv.

“Ooh yeah. I didn’t even notice. Well are you ready?”

“I think?”

“I have a son.”

It was what he thought. Didn’t know if he fully expected it though.

“Okay. Curveball caught? Strike? What’s the big deal?”

“Wait what? You’re not thrown off?” You were shocked. His face barely twitched or showed any surprised expression.

“No?” He shrugged. “It’s a child. I guess I kind of expected maybe something after you said you were together for 10 years.” He finished his wine.

“Fair enough.”

“So, where is he? If you’re here”

“In-laws. They take him every other weekend. Or just from Friday till Saturday.”

“You get along with them?”

You shrugged. “I think they thought I wanted him to sign up for the force. I didn’t. Obviously. It’s a death sentence. I just wanted to support my boyfriend at the time,” He nodded as you spoke, “but they love Sam and are always there for him”

“Sam huh?”

“Samuel. He’s 7”

“Good age”

“Yeah. He’s a lil sarcastic but I blame myself. I could be that way so he’s only doing what he’s learned. But he’s really smart. He’s obsessed with rocks. Been that way since he could walk”

“That’s cute I won’t lie”

“Thanks” you laughed. You liked his company. He was easy to talk to. You had found it easy to open up. He didn’t seem creepy either. Like he just wanted to get in your pants.

“Well it’s been lovely boys, but I have a little boy I have to be up for in the morning. His grandma wants to have brunch”

You stood up and so did Harry.

“Wait let me walk you to your car.”

You lived across the street but he didn’t have to know that. Joe hid his smile when you said “okay”. Harry paid Joe for both of your tabs and walked out with you. It wasn’t too late, 6 pm. You walked to your car and his was coincidentally in front of yours.

“So um. It was nice meeting you. I enjoyed your company”

You fiddled with your keys and looked up at him.

“Yeah I did too.” you said.

“Would it be too forward if I asked for your number?” he was biting the inside of his cheek, you could tell.

Guys had hit on you before. But the wounds were too fresh and Sam was too young. He’s still young but he’s smart, and he knows some days you feel lonely. As much as you convinced him that he was the only man you needed he knew the truth. You liked his company and conversations. So, you said,

“I don’t think so,” you held your hand out for his phone and he placed it in your hand. You put your number in as “y/n 🥃🍷”. Ball was in his court now.

“Cute” you both laughed.

“I’ll text you” he said

“Mhm” yeah. Sure.

“Are you gonna get in your car?”

“Oh, it’s fine you don’t have to wait” please don’t make me get in my car. I live here.

“What kind of gentleman would I be if I didn’t wait until you at least got in to your car?”

Okay you were a little impressed. Fair enough.

“Very true actually. Well bye, Harry”

“Nuh uh. It’s see you soon. I’m serious about texting you”

“Okay” you laughed and got in your car.

He got in his and you waited for him to pull out.

Once he was past the traffic light you got out and went up to your apartment. You called Sam’s grandma the second you got in. He picked up with an ecstatic voice.

“Hi ma!”

“Hi baby, how are you? Everything okay?”

“Yeah! We’re bowling. I’ve gotten 2 strikes!”

“Oh wow. Look at you!”

“Grandpa says dad was good at bowling”

Your heart broke just a little. It bothered you a little when they spoke about him to Sam. You knew he was their son but they didn’t know how much Sam cried sometimes wishing he got to know his dad. You only spoke about him when Sam asked about him or mentioned him.

“Yeah he was actually. When we were younger, we went on a date and he won one round and I won the other. But we were too broke to buy another round so we left it a tie” you laughed at the memory. Just 15-year-old kids.

“You were broken?”

“No sorry hon, I mean we didn’t have enough money to pay for another round”

“Ohh okay.” You forgot sometimes Sam was only seven because he was so smart sometimes.

“Yeah. Well can you put your grandma on for me hon?”

“Yeah okay. I can stay over?”

“Yeah of course. As long as you want to and don’t feel forced to okay?” You knew sometimes he didn’t want to because of how much they spoke about his dad. On those weekends you faked he had a tummy ache.

“Yeah okay. Here’s grandma” he passed the phone to your in-law. You could never say ex. Your husband wasn’t an ex.

“Hello?” Her tone was already unwelcoming.

“Hey, just wanted to confirm we’re still on for 11?”

“Yeah. I haven’t cancelled.” Translation: did I tell you we weren’t going?

“Okay. Sounds great. See you there”

“Okay” she hung up.

“Yeah okay bye. Geez” you slammed your phone on the table and rubbed your temples. She was always so rude to you. When he died, she said it was your fault he left. She apologized for that but it was still something she said. You can’t take words back. You left your phone on the table and went to shower. You just wanted to take a warm shower, relax your muscles, wear some cozy pajamas, drink some tea, and watch friends until you fell asleep. Friends never did you wrong. So that’s what you did. You remember to set your alarm for tomorrow but you also remembered you left your phone on your kitchen table. With a groan because you found the position and you knew you wouldn’t find it again, you got up and got your phone. You saw you had a text from a random number. When you unlocked your phone, the message said

H: Hey, it’s Harry.

You felt bad for making him wait but whatever.

Y/n: hey

You got back into bed, not finding the position again and kept your phone next to you. Your phone lit up about a minute or two later.

H: what’s up? Did you get home safe?

Y/n: oh yeah. Thanks. You?

H: Yeah, I did thanks. So, what’s up?

Y/n: watching friends, you?

H: Same actually. Nick@nite?

Y/n: Yup 😂

H: I’m happy they play this. Especially since Netflix took friends off.

Y/n: Same. Friends is like my bedtime story now. I watch it every night

H: favorite character?

Y/n: I think it depends the season? Like I love Ross in season 9 and I love the rest. I couldn’t pick

H: I agree.

H: Would you want to FaceTime?

You thought about it. Did you want to?

H: We don’t have to if you don’t want to. (Sorry for the spam of messages btw)

You laughed at the last bit.

Y/n: we can FaceTime :)

“Harry would like FaceTime…” you slid your finger across the screen.

“Hello”

“Hey” he smiled into the camera.

“You look cozy” he was wearing a brown robe thing w a hood from what you could see.

“Ooh I am,” he looked up at the tv, “why are birth control commercials so odd?”

They were playing a commercial for lo loestrin fe and the cartoon bought what was supposed to be lingerie and was showing her boyfriend you assume.

“I hated that pill. It was the worst one I’ve ever tried”

“Really?”

“Yeah it made me gain weight and tons of acne”

“It sucks that all that comes with just trying to prevent pregnancy”

“Yeah. You males have it so lucky”

“Well if they came out with a male one, I’d take it”

You laughed a little too loud.

“You think you’d be able to remember?”

“I’d just take it in the morning. Like a vitamin”

You noticed the way he pronounced vitamin. It was a little different. Cute different.

“I used to take mine at night, just before bed. It was easier that way for me”

He nodded at you and the show had come back. You think that maybe that whole conversation was TMI for your first FaceTime call. The episode The One in Barbados. You both laughed at Monica’s hair.

“Kind of didn’t like the whole Joey and Rachel plot line” He said while looking at the tv screen. It was like you guys were together in the same room and his company was nice on this lonely night.

“Yeah same. It was wack” he laughed at that.

“I think I love phoebe”

“Same, Regina Phalange”

“It’s actually princess consuela bananahammock.” He said with a straight face. You cracked up at his little joke and kept watching the tv.

A few hours later and friends was over. You and Harry were basically playing 21 questions.

“any pets?” You asked.

“Nah, I work too long” you nodded.

“Favorite flower?”

“Sunflowers or tulips”

“Interesting choices”

“Thank you” you smiled. You were now in bed laying down against your pillow, “do you live in a house?”

“Yeah. Small but yeah”

“I used to, but a year after he died, I had to sell it. I like the small space better. It’s more homelike for just us 2”

He nodded and listened. “What time is lunch with your in law?”

You liked how he didn’t say ex in laws. It was a small thing but you noticed.

“11:00”

“Oh okay”

“Yeah”

“Y/n, um. I’d like to take you out. On a proper date. But I know you’re probably really busy. So, um do you think you could let me know when you’re free? If you wanted to go out on a date with me that is”

“Yeah sure” you bit back your smile. You had never done this before. Well not after your husband. It would be your first date in 5 years. You just got a good feeling from Harry.

“Oh okay” he was a little shocked.

“If not this week, then the next. Maybe Friday”

“Yeah that’s good with me”

“Well uh, I’m gonna go to sleep Harry. It was nice meeting you today”

“Yeah it was for me too, meeting you. Goodnight. Sweet dreams”

“Yeah thank you. Goodnight” you smiled and hung up. You felt giddy and happy. You looked at your bedside table and it was a picture of you on your wedding day staring back at you. You knew he would want you to move on already. You smiled and contently fell asleep.

~~~

You woke up around 9:45 to give yourself enough time to get ready. It was nice being able to sleep in a bit. Sam was always up by 8. You remembered your conversation with Harry last night. You haven't had a conversation like that in years. You'd just recently decided that you'd be open for a relationship but you weren't on any dating apps or anything either. Going with the flow you guess. You got ready quickly and drove to the restaurant where you were meeting your boy and your in-laws. You stepped out your car and so did they. Sam looked around before running to you. You opened your arms for him and he hugged you tight.

"Ugh my baby I missed you so much last night!" you kissed his forehead.

"I missed you too ma," he kissed your cheek.

You picked him up and spun him around making you both giggle.

"y/n", your mother in law said.

"Lydia, how are you?" She held her purse in front of her as you put Sam down.

"I'm good, you?"

"Good."

Your father in law approached you. He was quieter and more reserved. The loss of his son hit him hard. The two were close. He did watch out for you a bit more than Lydia. Lydia's priority was Sam, William's priorities were you and Sam.

"Hi William, how are you?"

He gave you a hug and you guys walked into the restaurant.

"I'm good. How are you?"

"Good, thank you."

You guys got settled into a booth and you already knew what you all wanted. This wasn’t the first time.

"Sam told me his science teacher is being hard on him," Lydia spoke without looking away from you. She was looking at your clothes and makeup. Seeing if it was up to her standards.

"Yes, he told me too. I already told him what to do."

"And what was that?" Here we go. Here's the thing. Lydia was your husband's mother. When he passed, she wanted to be her grandson's mother as well.

You held in a sigh before speaking. "I told him to work hard during school but if she specifically targets him repeatedly to let me know and I'll handle it."

She nodded and stayed quiet. Thank God.

"Mami, your phone vibrated," Also, your husband was Italian. You were Hispanic so you were trying to teach Sam some of his Hispanic side as his grandparents taught him mostly his Italian side. They more so taught him stuff about the culture and food, but none of the language. They swore they knew it but you've never heard them speak it.

"Thank you for letting me know mijo, but since we're all together I'll check it later." you kissed his head.

You and your husband had done a good job. He was a perfect mix from both of you. He had brown curly hair, like you. Hazel eyes like his dad. Dark eyelashes like you. A button nose like his dad that was covered in freckles like yours. Plump lips like the both of you. The food came and you all began eating.

"We wanted to talk to you about something." you felt Sam put his hand on your knee. Uh oh. He was preparing you for something he knew you may not like.

"Okay, what is it?"

William spoke up, "Well, winter break is coming up and we wanted to take Sam away for a week."

You almost choked on your food. A week? Them? With your son? Were they insane? Okay maybe you were being a little dramatic but what?!

"Um, where?" you tried to seem open about the idea.

"Blue mountain. We would go snow tubing and other things in the snow." Lydia said.

"For a week? Snow tubing for a week? That sounds more like a weekend thing to me." you ate your eggs.

"Well we would look in the town for other things to do obviously," Lydia snickered like you had sounded ridiculous. She better not start with an attitude you thought. She was asking you for a favor not the other way around. So instead of giving her a direct answer, you said "I'll think about it." You needed to talk to Sam if this was something he wanted to do or they wanted to do.

You guys had finished eating and you all eventually said goodbye. Sam wanted to come back home instead of staying Sunday. Sometimes he just wanted extra time with you.

~~~

You were driving home from unsuccessful shoe shopping when you heard Sam's little voice come from the backseat.

"Are you mad?"

"No, I'm not mad. Why would you say that?"

"Because grandma was kind of rude to you when you said it wasn't a week long thing." Every year he became more observant.

"Well I mean I didn't like that but I'm not mad. I don't let your grandmother ruin my mood."

"Okay"

"Do you wanna go?"

"I don’t know… I do but not for a week. That's too long away from you."

Your heart warmed a little and you nodded. "I'd feel that way too."

"Did dad like snow tubing?"

"I'm not sure bud, we never went"

"Oh."

"That doesn't mean you shouldn't go. I went when I was younger with my mom and sister, we made it a girl's trip. It was a lot of fun."

"Really? What if we went just us two?"

"Hm I don’t know bud; I think your grandparents might get sad. I think I can tell them it will only have to be for a weekend and then you and I could go another time. Just us two."

"Umm okay that sounds good. I agree."

"Good." you pulled in front of your building.

"What was dad's favorite season?"

"Fall. He hated the heat, but he hated being too cold. And he'd get the worst allergies in the spring and he had this weird pet peeve for sneezing. It was kind of funny seeing him get frustrated though. He would look like he wanted to rip his nose off." You held his hand as you walked inside. He giggled at what you said. When you both got inside to your apartment you both took off your shoes and sweaters. You had a picture of your husband on a small table by your entrance. Every time you walked in Sam would say "Hi dad!" to it. He asked if he could watch some Disney XD for a bit and you said it was fine. You were going to make some dinner. You checked your phone and saw Harry had texted you. You were a little shocked he kept up with talking to you.

H: Hey, good afternoon. I hope brunch went well :)

y/n: Hey it did, I guess.

H: You guess?

y/n: Eh they want something, felt like a setup?

H: Ah. I get what you mean. Sorry it happened.

y/n: It's alright. I got my boy back so I'm happy.

H: Good. I'd love to meet him someday to be honest. He sounds adorable.

You thought about his text. How would Sam react? He's always saying for you to get a friend but what would happen when you actually did? It made you nervous to think about. You felt your phone vibrate again.

H: Uh sorry if that was too forward.

y/n: No, its fine. It was sweet.

H: Okay good.

"Ma?"

You jumped up slightly like you had been caught doing something bad.

"Who are you texting? You never text this much" he was grinning at you. He was happy?

"Um none ya beeswax"

"It is my beeswax when it's taking time away from you cooking my dinner," you gave him a warning look. Dang smart ass. Gets it from you. He mumbled a "Sorry" and sat up on the stool and leaned on your countertop.

"I made a friend that’s all okay?"

"A guy friend?" he smirked.

You turned to get a pot. "Mhm"

"What's his name?"

"Harry."

"I like that name."

"You would like any name if it meant I had a friend."

He giggled and nodded. "Does he know about me?"

"Of course he does. You think I could not talk about you?"

"Okay okay," he blushed slightly, "Is he nice?"

"Yeah he's pretty nice."

"Are you gonna go on a date?"

"Samuel! He's a friend!" you playfully yelled at him.

"Mom I'm not 5, I know you might want a little BOYfriend"

"Sam you are 7, and how do you even know what a boyfriend is." you were talking to him as you gathered all your ingredients.

"Grandma told me about boyfriends and girlfriends"

"Now what is she doing telling you about that?" you looked at him.

"Well we saw a couple at the bowling alley and they kissed and I said ew and she said it’s because they were boyfriend and girlfriend so she explained what that meant to me."

"Hm, okay." you trusted she gave him a good and appropriate definition.

"Do you have a picture of him?"

"We just met yesterday" you say as you open and close cabinets.

"Does he like baseball?"

"I actually had to explain the sport to him. He's not from here." you started cooking.

"Where's he from? Is he from where dad used to work?"

"No, way off. He's from a place called England."

"Where the Beatles are from!"

"Exactly," you smiled at him. He was a classic soul.

“That’s cool”

“Yeah his voice is different too”

“I wanna meet him” he put his chin in his palm, “It’d be nice to be around another guy that isn’t grandpa.”

“He uh actually said he wants to meet you too but I think we should wait a bit. I think I should get to know him better before you meet him” You stir your pasta in the pot.

“Okay” he tapped your phone screen, “he texted you”

“Thanks, nosey” you took your phone and read his message. You had forgotten to respond.

Y/n: hey sorry was cooking dinner for the hungry boy and I

H: it’s alright. What’s on the menu?

Y/n: pasta. Penne ala vodka with some shrimp. Probably some garlic bread too. Lazy meal

H: lazy? sounds glorious.

You laughed as you texted.

“Oooh he’s making you laugh!” Sam giggled.

You covered your face and told him to go to his room to make sure he had done his homework. Tomorrow you were going to Chuck E Cheese so he wouldn’t have time to do it then.

Y/n: we’ll see how it tastes

H: do you like to cook?

Y/n: I do but I run out of things to cook so I get bored

H: yeah same. I like to experiment though.

You were feeling a little confident and flirtatious

Y/n: maybe you could show me sometime

H: yeah. That’d be fine with me 😊

You bit your lip unsure of what to say. It had been a while since you were back on the flirting scene. You felt your phone vibrate again.

H: are you vegetarian or anything? Gonna think of some ideas from now.

Y/n: I don’t follow any specific diet but I definitely don’t eat a lot of meat. More of a seafood person.

H: gotcha ;)

Y/n: ;)?

H: don’t like it?

Y/n: eh it’s alright 🤷🏻‍♀️

H: alright?

Y/n: mhmm

H: you’re teasing me, aren’t you?

Y/n: just a lil bit 🤏🏻

H: 😂😂

You finished up cooking dinner and called Sam. He came down quickly and mumbled a small yum.

Y/n: I’ll talk to you later. Gonna eat now.

H: okay 🥰

You served you and Sam plates and you both ate quietly as you watched some tv. You would say you were pretty lenient with Sam. He was very mature for his age and he respected you greatly. He barely gave you a hard time. You think he got that from his dad. His dad always wanted to please you any chance he got.

“Mami, can I sleep in your bed tonight?”

“How come, hon?”

“It’s comfier” you laughed at this because you would say the same thing to your parents when you were younger.

“Okay. But you know you can’t always sleep in Mami’s bed. You gotta sleep in your own some nights.”

“Yeah I know,” he smiled at you.

“Alright. Well can I trust you’ll bathe yourself good tonight? I don’t have to help you?”

“Yes ma, I’ll remember to wash myself good.”

“Okay, remember to get in between your toes and everything”

He nodded at you. You two finished your plates and you sent him off to shower. He kept the door open just in case he needed your help opening one of the bottles. You remembered the first bath you ever gave him. He was so much smaller compared to now and his dad kept complaining about how slippery he was. You were only 23 with a new job and new home but you were both so happy with your little boy. You cleaned up the kitchen and went up to bed where your little boy was already waiting. He had turned on the tv and was watching friends. You showered quickly before getting in bed with him. He cuddled up to your side and laid his head on your chest. You massaged your fingers into his damp curls until you heard him snore lightly. You fixed him onto your other pillow and fell asleep on yours.

~~~

The weekend had ended and you hadn’t heard from Harry. That was before you remembered you were the one who hadn’t answered. It was now Monday afternoon and you were picking up Sam from school. You worked at a middle school just a block away. Sam hopped into your car and told you about his day.

"Can I go to Justin's house tomorrow afterschool?"

"Is Justin's parents okay with this?"

"Yeah, we'll do our homework first too!"

"Alright, you better do it because when you get home I'm checking it all"

"Okay!"

You guys walked into your apartment and Sam went up to shower. That was the routine after school. He showers while you make a snack, after that he comes down and eats while you shower, you grade papers while he does homework, and then if he's done you let him watch some Disney channel while you make dinner. This is exactly how your evening rolls out and you decide to text Harry.

y/n: hey sorry. Busy day yesterday. You wanted me to let you know when I was free and I'm free tomorrow after 3...

You stop typing, "Sam, until when are staying at Justin's?"

"Until like 6? He said his mom was gonna cook"

"Okay," you continue typing,

y/n: Hey sorry. Busy day yesterday. You wanted me to let you know when I was free and I'm free tomorrow after 3 until like 6. I know its late notice so no worries if you're not free too.

You finish cooking, eating, and cleaning and you still hadn't heard from Harry. He was probably mad at you now. You sighed aloud and thought well it was nice while it lasted. You went over Sam's homework with him and then made sure he brushed his teeth before bed. You tucked him in and gave him a kiss on his forehead.

"Goodnight my love," you pushed his hair back off his forehead.

"Goodnight mami, goodnight dad" he blows a kiss toward the picture of him and his dad on his bedside table.

You walked out his room leaving his door ajar and walked down to your room. You grab your book and climb into bed. It was the book from Jane the Virgin. You related to Jane in multiple ways. As you were becoming a part of the fictitious world of the character Josephine you felt your phone vibrate.

H: Banzai, 3:30pm, Be there or be square.

You smiled at his assertiveness. It was kind of cute.

H: If that's okay with you.

y/n: Yes, that's fine lol😂😂

He could never be too serious you thought.

H: watching friends?

y/n: actually reading.

H: what are you reading?

y/n: snow falling, it’s from a show and stuff.

H: look at the publishing company

You looked and sure enough it was Simon & Schuster. Wow.

y/n: Wow lol, I never noticed.

H: I've read it, it's pretty good. More of a girly book, I think.

Y/n: I can’t imagine you reading this tbh.

H: it was a hard manuscript to get through. Kept me on my toes.

You continued texting and before you knew it, it was 2 in the morning.

y/n: wow its 2am.

H: I know. Time flew. You're so easy to talk to.

y/n: I could say the same about you.

H: I'm excited for later

y/n: so am I, free food.

H:😐😐😐

y/n: I'm joking!

H: sure you are.

y/n: I am, I'm excited too because I miss your company, its nice.

H: I don't have a company

y/n: Harry

H: okay okay, thank you. Get some rest, you've gotta be up early.

y/n: true, see you later! 😊

H: see you🥰

~~~

Part two is up now!

#harry styles #harry styles writing #harry styles x y/n #harry styles fic #harry styles fanfic #wanderinghands #wh

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ghost-party · 3 years

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Pairing: Nanami Kento x OC Word Count: 1.7K Warnings: illness, distant relationship with parents, cheating, low self-confidence A/N: As promised, this chapter is from Olivia’s perspective. I’m still trying to figure out the POV for Part 4. Possibly both...? We’ll see! In the meantime, I hope you enjoy. 😊

When Olivia wakes, it takes her a moment to figure out where she is. Definitely not in her bed. Slowly blinking, her TV comes into focus, and she can feel the early morning sunlight through the balcony windows. Okay. The couch. Easy enough. But why does it feel so... warm?

When she turns her head, she immediately freezes, eyes wide. Lying beneath her, head resting on a throw pillow, is Nanami.

Her brain is slow and sleepy as she struggles to recall the previous night. Soup. Medicine. Movie. And... Oh no. She had fallen asleep. And then he had fallen asleep. And now she’s lying on top of him.

To say she’s never thought about being in this position would be a lie. But now faced with the reality of it, she’s not sure what to do. Every muscle in her body feels rigid with nerves, and she can’t seem to look away from his face. His expression is softened by sleep, lips slightly parted, hair falling across his forehead... Looking this good so early in the morning — while asleep — should be illegal.

Olivia feels heat rising in her cheeks the longer she stares. And it only intensifies when she realizes that his arms are around her, holding her body tight against his.

She knows she should wake him up. But he looks so peaceful, in a way she’s not sure he ever does while he’s awake. Since the day she met him, she has been learning him, from his body language to the almost-imperceptible shifts in his expression, including his rare, soft smiles. She has grown attentive to all of his details and mannerisms.

Because Olivia Vale has a bad habit. And his name is Nanami Kento.

• • •

It wasn’t every day that a man walked into her bookshop and just happened to pick up a copy of one of her favorite books.

During those two hours that he sat at the back window, completely immersed in Homer’s Odyssey, Olivia had kept busy, occasionally sneaking glances at him as she shelved titles — as if to reassure herself that he wasn’t just a figment of her imagination.

It didn’t help that he was handsome. Dressed in a tailored tan suit and that speckled tie, his light hair combed neatly back from his face, which was sculpted like a piece of fine art — prominent cheekbones, strong jawline, serious mouth... Repeatedly, she reminded herself that he was a customer. Ogling him, while enjoyable, was inappropriate. Besides, if she had to guess — and when it came to reading people, she was usually right — he was in desperate need of some peace and quiet. And she was happy to give that to him, at least until she broke down and offered him a cup of tea.

And then something unexpected happened. He kept coming back. As the weeks passed, she learned more about him, and he became a friend rather than a customer. (But he still bought books, almost every time he came in.)

He worked as a consultant. He didn’t share many details, but it seemed like a sensitive subject, so she never pushed. Even though he always entered her shop wearing a peculiar pair of armless sunglasses — and had worn them through their entire first meeting — he would now take them off and tuck them into his jacket pocket when they sat down to talk. He wasn’t very close with his family. His parents split their time between Japan and Denmark, where his grandfather lived. He was an admitted foodie with a soft spot for bread. This was proven when he walked in one afternoon carrying a whole bag of baguettes from the café next door. He was generally patient, but he sometimes griped about an unnamed coworker — a man with plenty of talent but an obnoxious demeanor.

She learned that he’s sharply intelligent and earnest. But he’s also kind and thoughtful, asking her questions about her life and the books she loves most and things she’s always wished she could talk about with another person.

It took her a while to admit to herself that she had feelings for him that went beyond simple friendship. Now, she’s still grappling with the knowledge, afraid of ruining what they have between them. But it also doesn’t help that her last relationship completely crashed and burned. Finding out that her boyfriend of two years had been cheating on her for one of them, with her former college roommate... Well, it didn’t exactly leave her feeling eager to jump into something new. Instead, she was hesitant and nervous, doubting her perceptiveness for the first time in her life. Because if she had been wrong about him, what if she was wrong about the next person who came along?

She hasn’t been on a date in over a year, despite the florist next door continually insisting on setting Olivia up with her investment banker son. She honestly didn’t think much about it until now. While the fear remains, stubbornly persistent, she knows that Nanami is different. And she knows him — trusts what she sees in him every time he visits. They’ve spent enough hours talking and learning about one another to nearly qualify as several dates. Just minus the actual “date” part...

It was only a week ago that they sat downstairs, each reading a different book, listening to the faint sounds of jazz on her father’s old record player. And she decided there and then that she needed to take a leap of faith. Even if the idea of doing so was terrifying.

• • •

“Morning.”

Nanami’s voice brings her back to the present, and she looks up, meeting his sleepy gaze. Seriously, it’s criminal, how good he looks right now, she silently grumbles. And it’s impossible not to notice that he has yet to attempt to extricate himself from beneath her — or even loosen his firm grip around her waist.

“Hi.”

They stare at each other for a long moment, until her anxious brain interrupts. He’s still waking up. You need to be the responsible one here, before you do something stupid.

With a small, awkward laugh, she gently pushes away from him, and he releases her. She climbs off the couch, until she’s sitting on the floor beside him. “I guess we were both pretty tired.”

She watches as he sits up. Runs a hand through his hair. Looks down at himself, blearily taking in his wrinkled shirt and comically-loose tie. “Seems like it.” He looks at her with concern. “How are you feeling?”

“Better than I sound, I promise.” It’s the truth. Although her voice is still weak from all the coughing, her body has fewer aches and chills than it did when she woke up yesterday. And much to her private embarrassment, she’s fairly certain she slept better here, on the couch with him, than she has in weeks.

“Are you hungry?”

“Why? Are you going to pull some breakfast out of your magic grocery bag?”

He snorts. “I was going to offer to cook something.”

Oh no... Her heart couldn’t handle this. He came over when she was sick, brought her soup and a literal armful of supplies, spent the night in her apartment (even though that was an accident), and now he’s going to cook for her?

She’s done for.

But what she says is, “Sure. You’re welcome to use whatever’s in there.”

He nods and stands, pulling his tie off and tossing it over his jacket. His movements seem different as he continues to wake up — less precise, softer. When he rolls up his sleeves, revealing lean, muscular forearms, she feels faint.

Okay, now she’s done for.

He ends up using some of the ingredients she had purchased for her next solo cooking adventure. And, in what seems like an absurdly short amount of time, they’re sitting at the dining table, eating rice, miso soup, grilled fish, and freshly-sliced fruit. When he pours her a cup of green tea, she feels like her heart might burst. She never knew he was so domestic, and it has her in a flustered panic.

“You’re an amazing cook,” she says, to both show sincere appreciation and distract herself.

“Thank you.” He smiles, pleased by the compliment. “I find it enjoyable. But usually I’m just cooking for myself.”

“Even when I keep you out late on Fridays?” she teases.

“Most of the time. Sometimes I pick up food on my way home.”

Say it. Just say it. See what he says and go from there... Olivia’s mouth manages to form the words, but she struggles to look at him as she says, “Maybe next time... we can eat together? Go someplace? You can pick. I’m sure you know all the best places...”

She has very rarely seen Nanami look surprised, but here he is, eyes widened, looking as if he’s struggling to make sense of what exactly she’s trying to say. (It’s adorably apparent that he is not a morning person.)

Before she can talk herself out of it, she continues, “Like a... a date, maybe. Dinner. Together.”

Realistically, she knows the silence only lasts for a few brief moments. But it somehow feels like an eternity, during which her brain begins to backpedal, thinking, What if he doesn’t want that? What if it’s too soon? You do realize you’re asking him out in your pajamas, right? Speaking of which, when’s the last time you brushed your hair?

And then: “Yes.”

She must look as shocked as she feels, because he lets out a short huff of a laugh, and... is he blushing?

“It’s a date,” he reiterates. “But —” He points his chopsticks at her. “— that’s only if you rest. You’re still sick, even if you’re feeling a little better today.”

She’s positive that she would do anything he asked at this point, with her whole body seeming to vibrate at the word “date.”

They finish breakfast, and when she offers to help with the dishes, Nanami gives her a pointed look, silently banishing her to the couch while he cleans up. Once he’s finished, he collects his tie and jacket and stands there, looking somewhat reluctant to leave.

“If there’s anything else you need, tell me. I don’t live far from here.”

“You’ve already done more than enough,” she assures him. “I really appreciate it.”

True to his word, not much time passes before she receives a text from him.

She falls back onto the couch, eyes glued to that one little word on the screen — date — and wonders how she’s going to make it through the next six days.

#jujutsu kaisen #jjk #nanami kento #nanami x oc #nanami kento x oc

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