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hyperbali · 3 years

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Agatha Harkness Was Right, And Here’s Why

Alright. Finally had to sit down and write my way out of this quiet, internal temper tantrum, and a few people were interested in seeing what I had to say, so I present to you:

Agatha Harkness Was Right, And Here’s Why

Disclaimer: MASSIVE spoilers for the entirety of WandaVision, and I am not nice about it.

I’ll start off by saying that, for all its foibles, WandaVision was genuinely a good example of a property within the MCU/Disney umbrella that stepped out of the usual ‘good guys fight bad guys action extravaganza’ in a way that pushed the envelope. The pseudo-horror aspect of the first few episodes is something I would really love to see engaged with on a more thoughtful basis in future projects.

I would say that it proved to be more than a vehicle to promote toys, but… well…

Yeah. Anyway.

I’ll assume that you watched WandaVision if you’re reading this, but quick recap: In the aftermath of ‘the Blip,’ Wanda is left broken and alone with no one in her corner. Her biggest mentor willingly abandoned his team to get his own ‘happy’ ending (do not get me started on Steve, that’s a document in and of itself), her other biggest mentor is probably off enjoying his family while ignoring the incredibly racist killing spree he’s been on for the past five years, and her lover is dead. When she goes to claim the body, she’s told nuh-uh, that’s government property, please leave.

So she goes to a plot of land in the middle of some nowhere town in New Jersey, which Vision apparently bought despite the fact they were living a pretty decently comfortable life in Scotland, where she looks at the deed that Vision drew a heart on and wrote ‘To Grow Old In’. Very sweet. Kind of weird, considering nothing of this caliber had ever been suggested for either of their characters and they’d been actively running from specifically the U.S. authorities? But sweet.

She has a breakdown and, in her grief, contains the entire town of Westview and all 3,892 of the people in it in her own personal paradise, where nothing bad ever happens beyond sitcom hijinks, no one dies, and every problem is tied up and neatly dealt with by the end of an ‘episode’. Except we learn that this is only paradise to Wanda, who apparently shares the aspect of having to relate everything to her favourite pop culture with Tony, because everyone else in Westview is more or less being psychologically tortured by the incredible amount of pain she’s in, forced to be puppeted actors to make her happy.

Bear in mind, Westview might have been bigger at some point - we have no idea how many people survived the Blip, or how many have been brought back to life within the past few weeks of the current setting. Either way, this is a town that has already dealt with a lot of trauma being dragged into yet another awful, much more specific kind of emotional damage, thanks to ‘the heroes’. Nice.

Agatha Harkness, a witch who’s been up to who-knows-what in the 340 years since she drained the coven that tried to kill her for getting a little too ambitious into jerky, feels the massive expenditure of magical power and decides to investigate. All the while, she carefully uses her own magic to try and peek into Wanda’s psyche, her motivations, all while keeping up appearances and not letting slip that anything is amiss.

I’ll point out that she’s no saint here, either - she specifically keeps one Westview resident at her mercy, and knows what’s happening to the rest of them, but doesn’t attempt to stop it. I’ll chalk that up to her pragmatism; their ‘sacrifice’ was fine to her as long as she could figure out how Wanda could have done something so unheard of in terms of power.

What we come to learn over the course of the show is that, given everything that happened, Wanda didn’t mean to take over an entire town and tool it into her own personal slice of heaven. She very quickly became aware of it; we know that she knows it’s her own personal bubble as soon as episode three, when she’s confronting Monica about how the latter could possibly know about Ultron. Wanda is made further aware of how much damage this is inflicting on others in episode five, when Vision himself tells her that these people are scared. But still, she has everything handled! It’s okay! The outside world is worse, trust her!

Her handling of the question, ‘where are all the children of Westview,’ is one that bears some thinking - and, y’know, kind of more than a little concern. They’re allowed to walk around as part of the ‘Halloween special,’ but as Vision walks further and further out towards the edges of town where Wanda doesn’t have as much full control, people are just frozen in place, or conducting the same few seconds of action over and over. And fully aware of being trapped.

How are they being sustained? Eating, sleeping? If someone isn’t part of her storyline, is she just locking them down into a coma? What made Wanda decide that keeping the children ‘out of the way’ was somehow kinder than involving them, especially given her later argument that she’s been trying to keep the entire town safe and happy?

The fact of the matter is, she only actually starts to feel remorse for any of this after she’s confronted with the fact that, after weeks of being at her mercy, the townspeople of Westview would rather be dead than endure another moment of having to play nice for her enjoyment. She finally opens the ‘bubble’ to let them out - which leads to the ‘epic’ finale of three different entities trying to take down Wanda and her happy family: the S.W.O.R.D. military led by Hayward, the White Vision, and Agatha.

Winding back to how we got here: after Agatha uses her own trapped resident, Ralph Bohner (who, given his casting and the props in place during the last episode, I’m willing to bet is actually the missing witness protection person Jimmy was looking for) in an attempt to lure out Wanda’s reasoning - and fails - she’s pretty much done pretending. She tricks Wanda into her basement, nullifies her powers, and makes her face her own past to get to the truth of the matter.

Not going to lie, favourite moment of the show. Kathryn Hahn killed Agatha’s slightly-amused-slightly-irritated observations about Wanda’s coping mechanisms, and the whole arrangement was extremely meta. I would have paid real money dollars to see her do the same thing to the likes of Tony, Strange, and Loki. Hell, even just having her meet the rest of the Avengers? Augh. If wishes were fishes.

When Agatha comes to the conclusion that Wanda is the vaunted, nigh-indestructible force of nature that she’s literally spent her entire life reading about is the ultimate source of chaos magic and will likely bring about the end of the world, she’s pretty understandably taken aback. To that matter, the fact that Wanda… has very little control over any of it, and is using what she does understand to play housemaker? After how long Agatha has spent learning control, hiding in plain sight, just to be child’s play compared to what Wanda has at her fingertips? I’d be pretty pissed off, too!

The way that WandaVision handled both of the major ‘fights’ - Vision versus White Vision ending in philosophy, and Wanda ending up beating Agatha at her own game of deception - is excellent. A little grating that they had to go with the beat down angle before they got there, but this is MCU; punches and thrown cars had to get shoved in somewhere. And, given that this series very much played with the idea of grey morality, I was sort of hopeful that Agatha would end up in a not-quite stalemate arrangement with Wanda. She’s not as powerful as the Scarlet Witch, but she has the know-how that Wanda sorely lacks; in recompense for her own deeds, she would be able to teach what she knows while also kind of scheming on her own time.

Y’know, like what they did with rehabilitating Loki?

Except that Wanda, who has just gone through the entire rigamarole of coming to terms with the fact that she trapped thousands of people into a nightmare scenario against their will, rendering them helpless to her mercy… traps Agatha into a nightmare scenario against her will, rendering her helpless to Wanda’s mercy.

That moment actually shook me. Oh, my god. We’re supposed to still look at Wanda as a good guy after this?

This isn’t even covering the incredibly awful confrontation with her and Vision where she tries to gaslight him into believing that everything is A-OK, or the fact that the person she gets most violent with (apart from Agatha) is Monica Rambeau, a black woman who spends most of the show bending over backwards trying to say that what Wanda is doing is understandable, justified, and just needs a gentle touch to be dealt with.

That could be its own document, too - how Monica, much as she’s incredible and definitely looks to be a really exciting addition to the MCU roster, more or less gets used as the Good One to absolve and enable Wanda’s actions. One of her last lines to Wanda, after seeing how the people of Westview (rightfully) look at Wanda like she’s monstrous, is “they’ll never know what you sacrificed.”

Sacrificed what? The fake husband and fake kids she made out of her own compulsion to pretend that everything is okay? None of that would have existed if she’d been given the proper resources to actually cope with how much loss she’s had to deal with. None of that would have existed if she hadn’t caused this problem in the first place.

In the end, Wanda flies off in her fancy new gear before the FBI shows up, avoiding any real consequences to her actions - which has pretty much been the running theme of her character ever since she was introduced to the MCU in Age of Ultron. The worst kind of direct consequence she’s ever gotten was being grounded to her room for a while, then kept in the Raft for, like, maybe a day - and both times, she was broken out post-haste.

Meanwhile, she worsened the issues in Sokovia (which, I will say upfront, was Tony’s fault to begin with), unleashed the Hulk on Johannesburg, got a pretty significant amount of civilians killed as bystanders in Lagos (hey, how come Wanda keeps turning a lot of black people into casualties?), and stood back in Wakanda to let their people try to fight off Thanos from getting to Vision until it was clear that there was no other option than for her to get involved.

Great Power Comes With No Responsibility At All, Actually.

Wanda, in the several years she has maintained her identity as an Avenger, has proven time and time again that she takes on innumerable risks without any full understanding of what they mean, allows others to take on the brunt of the fallout for her, and looks sad until she’s forgiven and moves on to the next problem. She has no business casually throwing around the kind of power that being the Scarlet Witch entails, not until she’s actually made any kind of headway into making reparations for what she’s done and tried, really tried, to get a handle on what she’s capable of.

Which she’s apparently doing in the last post-credits scene, astral reading the literal Book of the Damned on her lonesome in the mountains, but… without anyone to guide her, or give her any kind of boundary?

[I ran out of images I could post, but you know exactly what image I am referring to here]

Agatha Harkness was right. And that should terrify everybody that has to deal with Wanda in the future.

(P.S. Do we know if she actually even killed that dog? We never see her holding anything but a blanket, and characters go in and out of that show all the time. Granted, she wasn’t great with the cicada-turned-bird... hmm.)

Additional Notes:

“Well, you’re a Tony Stan, of course you think Wanda’s a villain”

I like Tony because he’s such an awful mess, and the narrative isn’t exactly kind about telling him what a piece of shit he can be! He reaped a lot of problems, created practically half the villains in the MCU, and ended up dying a martyred hero. Thanks to being the tent pole by which this franchise hoisted itself into a cultural powerhouse, he will always be their golden savior. If you want to read about how he’s the true villain of this entire affair, feel free to look up any number of takedown pieces about him that are out there. He’s a dick. I will never “uwu sad baby who did nothing wrong ever 🥺” him the way people do about Wanda.

“Why are you so pressed about this”

Because something as good in concept as WandaVision could and should have been about anyone other than the whitewashed, antisemitic take on Wanda Maximoff that MCU brought upon us. They put crucifixes on her wall in Civil War, for fuck’s sake!

“Weren’t you mad about them not including Aaron Taylor-Johnson”

At this point, I am almost kind of relieved the real Pietro wasn’t resurrected for this, because god knows they probably would have killed him all over again just to inflict that much more pain on his sister.

“Anything else you’d like to tell us, turbo nerd”

This was literally itching at me all weekend to write, so it’s more or less just to get it off my chest. If you powered your way through it, uh… thanks? Sorry if I yucked your yums, but I tried to be as clear with the disclaimer as I could. 🤷‍♂️

#blah blah #long post #marvel #mcu #wandavision #wandavision spoilers #wandavision critical #anti wanda maximoff

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hostess-of-horror · 3 years

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Sam and Max's Horror Show

The Corpse Bride AU was only just the beginning....

I have an announcement to make! I will be doing a bit of a project involving Sam and Max, and this is perhaps going to be the best thing I have ever done. I wanted to post this now because, honestly, I am way too excited to be patient.

This project is called "Sam and Max's Horror Show".

What is "Sam and Max's Horror Show", you ask? To put it simply, it's a mini series of sorts - a horror-movie-inspired anthology series. Basically, it's an generalized AU where each art piece (or "episodes") will involve Sam and Max being crossed over with one particular horror movie (or at least anything that is remotely scary).

This project is a big deal for me because I want to accomplish something. Not to mention the amount of love I'm still getting from the Corpse Bride AU! But most of all, I personally think that Sam and Max fit the horror genre perfectly. If you think about it, they go through so many supernatural and paranormal events in the cartoon and the games, so putting them in horror scenarios is very on-brand.

I am currently working on a new episode as I make this post. I just want to let everyone know that drawing takes time, especially since I go through great detail to make them perfect. I really want to make this a hobby for myself, so I'm not necessarily trying to make it like homework.

Anyway, Sam and Max's Horror Show is free for you all to join in on the fun! Besides, why should I have all the fun? If you want to make any fan art or fanfiction involving this project, here are three ground rules:

1. PLEASE GIVE CREDIT! When posting your stuff, tag me and @em-doods so that people know it is not your original work.

2. Because the project involves horror, blood, gore, violence, and scary imagery are acceptable. HOWEVER, sexual content is unacceptable! As long as Sam and Max aren't going "bump in the night", do what you want.

3. HAVE FUN! Please don't think that you're ruining my project if you decide to make different interpretations of certain episodes. That's the best part - I want to see your take on my art! Do what makes you happy! Be free, my lovely little monsters!

Welp, that's all I got for now! Stay tuned for the next episode of Sam and Max's Horror Show!

#Sam and Max's Horror Show #corpse bride au #new project #sam and max freelance police #sam and max freelance husbands #sam and max

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short-reviewz · 3 years

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Midnight Mass Mini-Review

After Mike Flanagan’s Haunting of Hill House, Bly Manor and Doctor Sleep - I had pretty high expectations which I’m glad to report were met once again. Seriously, this man is wildly consistent. Will this topple his best works? Not necessarily for everyone, and I did have minor quibbles with it.

Firstly though, the good - the cast is fantastic again. Rahul Kohli returns from Bly Manor here as one of the central characters and once again blends perfectly into the Flana-verse (please please please keep using him, he was probably the most enjoyable thing out of a lot of enjoyable things in iZombie). Hamish Linklater though is the standout as the preacher come to replace the Monseigneur, he’s given lots of dimensions and angles throughout the series and Linklater is capable of embodying each one. The sermon scenes legitimately felt like church service. He’s damn good and I hope he gets an Emmy nomination.

The pacing here is fantastic, it’s a slow-burn but a purposeful one - hell - you won’t know what the show is really about until the ending of the third episode but the time before that is spent building the characters and setting.

The plot is truly unique, without spoiling much, it takes familiar tropes and creatures and gives them very good context to how these might play out. I wish I could say more, but it is worth preserving the big reveals.

Now the quibbles, the monologues can tend to drag -but if you like Flanagan’s writing and whimsy it shouldn’t be a deal-breaker and some of them to me, felt very impactful (especially Kohli’s)

The other quibble is the spooks were a bit more spread out here and not as intense as say, Occulus or Hill House - again, not a deal breaker and Flanagan has always made more horror-drama than pure horror, he’s a character first kinda dude and if you enjoyed those, youll still enjoy this (and there’s still plenty of fake blood to spill here, trust me, especially in the later half)

Overall, it’s an 8/10

#midnight mass #netlfix #horror #drama #mini-review #criticism #film #limited series #mike flanagan #I didn't mention kate siegel much but that's because she's basically always fantastic in these

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tyrantisterror · 3 years

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I did a four part series of trivia posts when ATOM Volume 1: Tyrantis Walks Among Us! came out, and that was pretty fun! You can see that set of trivia posts here if you’d like. I thought it’d be fun to do another now that ATOM Volume 2: Tyrantis Roams the Earth! is out - just one this time, because a lot of the trivia I talked about with Volume 1 still applies.

I’m gonna divide this into two sections: non-spoiler trivia, for things that really don’t give a lot of plot points away, and spoiler trivia, for things that DO give away major plot points. I recommend not reading the spoiler trivia until after you’ve read Tyrantis Roams the Earth!, for obvious reasons, and will put the spoiler trivia under a cut.

Ok, let’s go!

- So if you read ATOM Volume 1, you probably noticed that the book is split not only into chapters, but “episodes,” which consist of four chapters a piece. It’s kind of a nod to how the series owes a great deal of its DNA to various monster of the week shows, with Godzilla: the Series and The Godzilla Power Hour being obvious influences. It also allowed me to pepper in some illustrations and cheesy b-movie style titles into each volume.

- The first “episode” of Volume 2, Tyrantis in Tokyo, pays explicit homage to the giant monster movies of Japan, perhaps even moreso than the chapters that came before it. Given how much Japanese media influenced ATOM - from tokusatsu like the Godzilla, Gamera, and Ultraman franchises to anime like Digimon and Evangelion (hell, the title of this episode itself is a tip of the hat to Tenchi Muyo by way of one of its spinoffs) - it kind of felt obligatory that Tyrantis visit Japan and pay his respects.

- Tyrantis in Tokyo also fits in a tribute to another staple of Atomic Age pop culture: Rock and Roll.

- Kutulusca, the giant cephalopod that appears in Tyrantis in Tokyo, is one of the oldest kaiju in this series, dating back to the first iteration of Tyrantis’s story that I put to paper back in 2001 or so. It’s changed a lot since then, but its fight with Tyrantis goes more or less the way it originally did.

- Old Meg, the giant placoderm/shark, and Nastadyne, the bipedal beetle, both owe their existence directly to Deviantart’s Godzilla fandom. Old Meg originated as a dunkleosteus monster I submitted to a “create a Godzilla kaiju” contest held by Matt Frank, while Nastadyne is based on a Megalon redesign I made during the “redesign all the Godzilla kaiju” phase of DA’s kaiju fandom.

- The second episode, Tyrantis vs. the Red Menace, gets dark as we visit the USSR, which had enough REAL horror with atomic power in its history to make creature features seem a bit defanged by comparison. It’s probably the episode with the strongest horror elements - ATOM’s always been influenced by Resident Evil, and this is probably where that influence shows the most strongly.

- It also features the first fully robotic mecha in the series, the mighty Herakoschei! Its name is a combination of “Heracles” and “Koschei the Deathless,” with the former part being added by its Russian creators to make it seem a bit more international as they offer it to the U.N. in hopes of gaining aid for a very extreme kaiju problem they’ve developed.

- Most of Tyrantis vs. the Red Menace takes place in the Siberian Monster Zone. Its name is a reference to the Lawless Monster Zone in Ultraman, which is such a cool fucking name I wish that I wish I could go back in time and steal it.

- The next episode, Tyrantis’s Revenge, is... full of spoilers, so we’ll move on for now.

- The penultimate episode, Tyrantis vs. the Martian Monsters, is a love letter to MANY different sci-fi stories that involve life on Mars, though the most prominent of them is of course The War of The Worlds (one of my top 3 favorite books) and its various adaptations. From its tentacles sapient martians, the tripodal leader of the titular monsters whose name includes the word “ulla” which is uttered by said sapient martians, the plant monster made of red vines, the cylinder-shaped spacecraft the Martian monsters are sent to earth on, the copper-skinned stingray-esque flying martian who shoots lasers from its tail, and the fact that every chapter title in this episode is a quote from the book, the H.G. Wells influence is STRONG.

- The final episode, Invasion from Beyond!, is shamelessly inspired by Destroy All Monsters, although there’s a dash of “To Serve Men,” Godzilla vs. Monster Zero, and The Day the Earth Stood Still mixed in as well. It’s also sort of a tribute to my first “published” bit of a kaiju fiction - a rewrite of Destroy All Monsters that included EVERY Godzilla monster that had appeared at the time, which my middle school self wrote back in 2002 or so for Kaiju Headquarters, a kaiju fansite I’m not sure exists anymore. Invasion from Beyond! is just as ambitious (but hopefully better executed) as my DAM Remake, with dozens upon dozens of different kaiju duking it out, earthlings vs. aliens.

- There were three different documents I made to outline the final battle of Invasion from Beyond! It’s the largest episode of the series so far and more than half of it is that fucking fight. My inner child is pleased, though, so hopefully you will be too.

Ok, that’s all I can share without spoilers. READER BEWARE WHAT FOLLOWS BELOW THE CUT!

JUST MAKING SURE you know that SPOILERS will follow from here on out. Read at your own peril! YOU WERE WARNED!

(I’m gonna start with lighter ones just in case you scrolled too far and want to turn back)

- There’s a number of explicit Spielberg homages in ATOM Volume 2, from a “we need a bigger boat” joke during a chase with a giant shark to the fact that Invasion from Beyond! opens with a group of people flying to an island of monsters to review whether or not it should get more funding.

- When Tyrantis appears in the first chapter, I snuck in modified lyrics of The Godzilla Power Hour’s theme song. “Up from the depths”... “several stories high”... “breathing fire”... “its head in the sky”... Tyrantis! Tyrantis! Tyrantis!

- The two rock bands in Tyrantis in Tokyo have real life inspirations ala Gwen Valentine, albeit a bit more muddled than hers. The Cashews are inspired by The Peanuts (see what I did there), while The Thunder Lizards are a mix of The Rolling Stones, the Beatles, Buddy Holly, and the Big Bopper. I wanted The Thunder Lizards to be more akin to the myth of a famous rock and roll band than the reality - less the real Beatles and more the Yellow Submarine cartoon version of them.

- The song The Thunder Lizards write for Tyrantis was written to fit the tune of “The Godzilla March” from Godzilla vs. Gigan, though ideally if someone made an actual song of it it would be its own song. I got the idea from Over the Garden Wall, which used the Christmas song “O Holy Night” as a a starting point for “Come Wayward Souls.”

- Perry Martin, UNNO reporter and peer of Henry Robertson, is a nod to Raymond Burr, with his name being a combination of two of Burr’s most famous roles: Perry Mason, and Steve Martin from Godzilla King of the Monsters (1956).

- Dr. Rinko Tsuburaya is a few homages in one. Her name comes from Rinko Kikuchi (who played Mako Mori in Pacific Rim), while her last name is obviously in homage of Eiji Tsuburaya. Her being the daughter of an esteemed scientist is inspired by Emiko Yamane from the original Gojira.

- Nastadyne’s Burning Justice mode is named after a similar super mode from various Transformers cartoons, though it’s more directly inspired by the Shining/Burning Finger super move from G Gundam.

- Martians sending kaiju to different planets via shooting them out of cannons (with or without cylinder spaceships around them) is another War of the Worlds shoutout. So is martians living on Venus after their homeworld was made uninhabitable, actually.

- Kurokame’s vocalizations are described as wails in explicit homage to Gamera. His name can be translated as either “black tortoise” (a reference to the mythical guardian beast Genbu, which can also be construed as a Gamera reference thanks to Gamera: Advent of Irys implying Gamera and Genbu are one and the same) or a portmanteau of the Japanese words for crocodile and turtle - “crocturtle.”

- Burodon’s name is just a mangling of “burrow down.” It also sounds vaguely like Baragon, who Burodon is loosely inspired by. AND, since Burodon is sort of a knockoff/modified Baragon, that kinda makes him a reference to various monsters in Ultraman!

- The final battle of Tyrantis in Tokyo is sort of a hybrid of the finales of Ghidorah the 3 Headed Monster and Destroy All Monsters.

- The Japanese kaiju teaching Tyrantis the art of throwing rocks at your enemies is both a joke on the prominence of rock throwing in Japanese kaiju fights AND the tired trope of an American hero learning secret martial arts from a Japanese mentor ala Batman, Iron Fist, etc. In this case, the secret martial art is throwing rocks at people.

- When introduced to Herakoschei and its pilot, we are told that the strain of piloting this early mecha is so intense that many pilots have died in the process, with the current one passing out on more than few occasions. This is of course a Pacific Rim homage - sadly, no one invents drifting.

- Herakoschei’s design is a loose homage to Robby the Robot and Cherno Alpha, because big boxy robots are cool.

- The Writhing Flesh and ESPECIALLY Pathogen are both hugely influenced by Resident Evil and The Thing. Giant body horror piles of raw flesh, tendrils, mismatched mouths and limbs may be a bit outside the main era of monster design ATOM homages, but they fit the themes and bring a nice contrast.

- I came up with Pathogen long before Corona but MAN it definitely feels different in 2021 to have a giant monster whose name is a synonym for disease driving other creatures crazy in a quarantine zone than it did when I plotted out the story in 2016.

- The chapter title “Hello, Old Foes” is a riff on “Goodbye, Old Friend”

- Minerva, the kaiju-fied clone of Dr. Lerna, is meant to be an homage to Attack of the 50 Foot Woman, which is a genuinely good giant monster flick. I am sure many of you will also believe I included her because I’m a pervert whose into tall women, but you’d be wrong! I included the seven foot tall Russian mecha pilot Ludmilla Portnova because I’m a pervert whose into tall women. Minerva’s inclusion was just coincidental, I swear!

- Since Promythigor is a play on the archetypal ape kaiju to contrast Tyrantis as a play on the archetypal fire-breathing reptile kaiju, their fight has a lot of nods to King Kong movies. Promythigor attempts the famous jaw-snap maneuver of Kong (with less success), J.C. Clark paraphrases the “brute force vs. a thinking animal” line from the King Kong vs. Godzilla American cut, and Tyrantis slides down a mountain to knock Promythigor off his feet in a reversal of Kong doing the same in King Kong vs. Godzilla.

- Tyrantis sliding down a mountain on his tail doubles as a Godzilla vs. Megalon homage.

- Though Promythigor is the archetypal Ape and Tyrantis the archetypal Fire-Breathing Reptile, I think it’s fun to note that in some ways, Promythigor is the Godzilla equivalent in their matchup, and Tyrantis the Kong. Promythigor has a slight size advantage, was scarred by humans performing unethical weapons technology, and is associated with violent explosions. Tyrantis is a good-at-heart prehistoric beast who humanized in part by his unlikely friendship with a human woman.

- Of course, in the context of the famous quote from the American cut of King Kong vs. Godzilla, they remain in their archetypal lanes. Promythigor is the more intelligent of the two (though not necessarily wiser), and Tyrantis is in many ways a brute reptile. Their battle is a rebuttal of sorts to the assertion that Kong is the “better” animal because he is closer to human. Promythigor’s near human creativity and emotions don’t make him the kinder/more benevolent monster, but instead fuel a very self-centered and destructive attitude that makes him the far more dangerous threat. On the other hand, Tyrantis, who is less intelligent, limited in communication with others by his reptilian mindset and instincts, and simple in his thoughts and desires, is nonetheless a sweet creature that is easily dealt with when others consider his animal needs and mindset. There’s a quote from Hellboy I love that probably sums up all of my writing thus far: “To be other than human does not mean the same as being less,” and that’s what the matchup between these two in particular tries to illustrate: the “less” human Tyrantis is nonetheless more benign than the “more” human Promythigor.

- Kraydi the psychic lizard began life as a soft sculpture I made of the Canyon Krayt Dragon from The Wildlife of Star Wars. The sculpture didn’t look much like the illustration, but I liked how it came out, and so I made it an original monster named Kraydi (see what I did there). Figuring out an explanation for that name in ATOM’s world was possibly the most difficult kaiju naming task in the series, but it worked out in the end.

- Kraydi and Promythigor having psychic powers is a result of my time on Godzilla fan forums in my middle school years. Most of the forums had OC kaiju battle tournaments, and SO many of those kaiju had a wide array of beam weapons and psychic powers just to win the tournaments by beam-spamming and mind controlling their foes into oblivion. There’s a special kind of rage you get when your original creation is beaten by “Fire Godzilla” because he has a genius level intellect and the power of unstoppable telekinesis. Kraydi began as (and still is I suppose) my attempt to do a psychic kaiju well, while Promythigor’s villainy being tied to psychic powers being forced on him is sort of my passive aggressive commentary on people foisting powers on a monster without any real thematic reason for them.

- Henry Robertson and Dr. Praetorius chewing out the laziness of people giving kaiju completely unaltered names of mythic beasts will probably be seen as a jab at the Monsterverse and/or the numerous writers in the kaiju OC scene who do the same, but it’s ACTUALLY a jab at my past self, who had DOZENS of kaiju whose names were just Greek mythological figures verbatim. There are dozens of kaiju named Hydra, Scylla, Charybdis, Chimera, etc., past me, try to make the names stand out! Oh wait you did. I mean, don’t pat yourself on the back too much, you still went with “Mothmanud” as a canon name and never came up with something better, but, like, good on ya for trying I guess.

- Dr. Praetorius takes his name from the evil mad scientis in Bride of Frankenstein, who basically has all the wicked traits that Universal’s Frankenstein downplayed in their take on Dr. Frankenstein. Ironically, ATOM’s Dr. Praetorius is a bit less evil than his fellow mad scientists in ATOM. I really like how his character turned out, he surprised me.

- Isaac Rossum, the pilot of the USA mecha Atomoton, is named for Isaac Aasimov, whose robot stories are to robot fiction what Lord of the Rings is to high fantasy. His last name is a reference to Rossum’s Universal Robots, which is where the word “robot” came from.

- The unfortunate pilots of MechaTyrantis in ATOM Volumes 1 and 2 are all nods to Jurassic Park. John Ludlow = John Hammond and Peter Ludlow, Ian Grant = Ian Malcolm and Alan Grant, Dennis Dodgson = Dennis Nedry and Lewis Dodgson.

- A good way to pitch Invasion from Beyond! would be “what if the staff and monsters were able to fight back when the Kilaaks tried to take over Monsterland?”

- Ok, here’s a fun joke that no one will get but me because it requires a very specific chain of logic based on some obscure and loosely connected nerd bullshit. There’s a rocker in ATOM’s universe named Sebastian Haff, right? One of his songs, “Darling Let’s Shimmy,” is referenced right before a mothmanud larva emerges from the ground in both ATOM Vol. 1 and 2. Ok, so, in the Bubba Hotep, an aging Elvis impersonator named Sebastian Haff claims he is actually the real Elvis Presley, having changed places with the real Sebastian Haff as a sort of Prince and the Pauper deal that went wrong. Got that? Ok, so, in UFO folklore, a common joke is the theory that Elvis didn’t die, but was rather abducted by aliens (or he actually WAS an alien the whole time - the whole “Elvis didn’t die, he just went home” joke in Men in Black is a good example of this). Ok? Ok. So, in ATOM’s universe, we can surmise that their equivalent of Elvis, whose name is Sebastian Haff, WAS abducted by aliens, and that his song “Darling Let’s Shimmy” is subconsciously influenced by his repressed memories from his time aboard the Beyonder spaceships, which is why it accidentally awoke a Mothmanud larva in Volume 1. There’s a lot of bullshit jokes I put into ATOM, but this is perhaps the bullshittiest of them all.

- One of the most common bits of feedback on ATOM Volume 1 I got was “I kept waiting for something to eat Brick Rockwell, he’s such an asshole.” And I had to smile and go, “Oh, yeah, guess he never got his, huh?” the whole time without letting on that he was going to die here all along!

- Dr. Lerna and Brick Rockwell’s nature as foils to each other is probably most apparent in Invasion from Beyond!, where both are given fairly similar situations - a nonhuman approaches them with a solution to a global crisis - and react to it very differently. I worry that some people may think they both made the same choice and got different results, and that that’s hypocrisy on my part, but I hope I wrote it so you can see how their choices and situations actually differ in key ways, and why their decisions, while similar on the surface, are ultimately very different, and thus result in almost opposite outcomes.

- So, when I planned out this book in 2016, I swear I didn’t know about the Orca from 2019′s Godzilla King of the Monsters. Having the plot hang around Dr. Lerna deciding whether or not to use a sonic device to rouse all the kaiju to save the earth was not INTENDED to be a Monsterverse reference - it came about from me looking at Pathfinder’s take on kaiju, who are all explicitly influenceable by music, and thinking, “Oh, wow, music and songs DO have a major connection with kaiju in a lot of media, I should do something with that.” Whem KOTM came out a few days after Volume 1 came out I realized I was kinda fucked here, because the comparison was definitely going to be made, but I’d also set this all up already and you can’t just change suddenly to avoid looking like a copy cat and make a good story, so... I dunno, I leaned into it a bit, but it is what it is.

- While most people will probably think they’re a reference to the Reptoids of UFO folklore, the Reptodites are more inspired by the Dinosapien of speculative evolution fame and, even morso, by the Reptites from Chrono Trigger. Me wanting to avoid the “lizard people control the government” conspiracy theory trope is one of the main reasons why Reptodites have this non-interference clause with humanity.

- Lieutenant Gray is a bunch of different humanoid aliens rolled into one - a little Hopskinville goblin, a little classic gray, a little this one weird alien with five-fingered zygodactyl hands, etc.

- There’s some Beyonder Mecha in this volume that are basically kaiju-fied versions of the Flatwoods Monster. The species that built them ALSO engineered the Mothmanuds, because connecting Mothman and the Flatwoods Monster is fun!

- Pleprah is, obviously, a one-eyed one-horned flying purple people eater.

- Tyrantis’s brush with death, in addition to being so very anime, was inspired by my dad outlining how mythic heroes often have to travel to the underworld/land of the dead before they can finish their journey. It’s one of the plot points that I’ve had planned for this series since middle school.

- I’m sure some will view it as hackneyed and corny, but as a person who’s battled with depression for decades, having Tyrantis’s choice to live be the big heroic turn of the finale was very important to me. Tyrantis incorporates elements of a lot of imaginary friends I made as a kid, and in many ways he’s kind of the face of my more positive side in my head. He’s been telling me to choose to live for a while, and while maybe to an outsider it may seem hackneyed, it’s just... very Tyrantis. He chooses life and kindness in the face of pain and struggle. That’s Tyrantis.

- Tyrantis’s powered up form is called “Hyper Mode,” which is another Gundam reference. Originally it was a lot gaudier and involved him turning gold like a fuckin’ Super Saiyan. I opted for something a little more toned down here.

- Also, speaking of KOTM references, I decided to make Hyper Mode Tyrantis’s final duel with Pathogen be a sort of foil to Burning Godzilla’s final bout with Ghidorah in KOTM. Instead of ravaging the city, Hyper Tyrantis’s pulse of energy rejuvenates his fallen allies, and as a result he is “crowned” not out of fear for his supremacy in the wake of killing a powerful enemy, but in gratitude for his kindness. See? Leaning into it!

- And now I can finally reveal that Yamaneon is ATOM’s equivalent of The Monolith Monsters - that is, a kaiju that is also a mineral. I took the “strange continuously growing rock” thing in a very different direction, though, as unlike The Monolith Monsters, Yamaneon is actually alive.

- At various points in the pre-writing process, either Promythigor, MechaTyrantis, or both were going to die fighting Pathogen. I ultimately decided to let them both live, with MechaTyrantis even getting his flesh and blood body back, because I think it’s more interesting and thematically consistent that way. They get a chance to heal their wounds by changing their ways.

- The Great Beyonder and Dorazor both almost didn’t make the cut, as I felt they didn’t have the same pull as villains that Pathogen, Promythigor, and MechaTyrantis did. But then I thought that could actually be the gag - build them up as the final boss, only to have Pathogen take their crown. I want to explore post-face turn Dorazor a bit more, though. We’ll have to see about that in a later volume.

- Volumes 1 and 2 make up what I call “The Ballad of Tyrantis Arc” for ATOM. I call it that because Tyrantis’s storyline in these two volumes was patterend after Chivalric ballads like Yvain the Knight of the Lion. Tyrantis, a heroic warrior who is kind but dumb of ass, learns of strange goings on outside his home and investigates. During his journey into the unknown he falls in love with a powerful woman, whose favor he tries to win. Through happenstance he is separated from his love and, distraught, wanders around fighting various foes to prove his worth, before finally returning to his love a better hero. Invasion from Beyond! could even be seen as a sort of Morte d’Artur, with Tyrantis and a bunch of other kaiju heroes (including Nastadyne and Kemlasulla, who are built up as Hero Kaiju of Another Story) take part in a huge battle that threatens their idealic kingdom (of monsters).

- Volume 2 isn’t the end of ATOM, but it’s designed to work as an ending if you want to tap out here. As a reader I feel a definitive ending is important, but as a writer I’m always tempted to revisit my beloved characters, so I feel giving closure while leaving a few doors open for possible future adventures is a good compromise between these positions. There will be more ATOM stories, some (but not all!) following Tyrantis and Dr. Lerna, but if you want to know that Tyrantis and Dr. Lerna get an ending and the resolution to their arcs such a thing promises, here you go. An ending, if not THE END.

#The Atomic Time of Monsters #A.T.O.M. Trivia

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piratemadi · 3 years

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please make your critical post of supernatural those are literally the only posts about supernatural i care about, especially since i side eye the heck out of the many people who give supernatural a pass because they ship two boring white dudes (dean and castiel) PLEASE

omg ok nobody make fun of me for posting an earnest criticism of this show i enjoy critical analysis and being a hater

i think most of why this show sucks has already been covered pretty thoroughly but these r the main things abt it that piss ME off.

the racism runs so SO deep. supernatural is supposed to be an exploration of americana thru horror (and i’ll give them that. like the idea of deconstructing america and all its fallacies thru horror is genius and in competent hands it would be absolutely incredible. but anyway) but it only really scrapes the surface of what is inherently horrific about americana! something like that is supposed to be an INTERROGATION of monstrosity and how america (and western society more broadly) creates monsters out of human beings and how white christian morals are established as the ONLY acceptable morals and how anyone who falls outside of those norms (non christian, non white, lgbt, people with substance use disorders, prisoners, the poor, indigenous people/cultures etc) are monsterized, so to speak, because of an oppressive and unloving colonial society. like u cannot have a horror narrative abt monsters attacking family values and white suburban life without invoking some very old and racist conventions! but instead of subverting that supernatural just reinforces it! it consistently fails to make any kind of real statement because the most demonized parts of society are the people who are also treated the WORST in canon! native american beliefs are stolen and turned into stupid bogeymen without the show ever featuring a native character or seriously grappling with the inherent violence of america as a colonial state, black men are consistently portrayed as angry and evil while black women are treated like shit (dean’s happy ending at the end of s5 is with a white woman he fucked one time instead of with the black woman who he was in love with??), impoverished people are mostly ignored and when they’re not theyre monsters (theres one episode centered around a poor rural family that commits murder and cannibalism. no supernatural stuff or monsters. just poor people. thats the scare).

theres this consistent fixation on preserving american suburbia, on saving “normal” (read: white middle class) people and it sets up this dynamic of like. the “real world” is the white middle class and then there’s hunters including our mains who defend that “real world” against monsters and demons, which is just Everything Else. and the writers PRETEND to struggle w the question of monsters and what makes one but they just toss it around without ever actually committing to answering that question with compassion or narrative coherency. they have multiple episodes about characters who were raised human, who want to be human, but have to be killed because of an inherent evil nature. there’s a plot in the early seasons about how one of the main characters has demonic powers, and instead of saying that doesnt make him inherently bad and he’s allowed to fully access all parts of himself without being fundamentally evil, they consistently frame intrinsically neutral traits as inherently evil specifically because they go against a christian ideal of morality! and eventually he learns to suppress these powers and that’s that!

and then it establishes christianity as the guiding principle of america, not in a way of like “american culture and history is deeply steeped in white supremacist protestantism that has led to incredibly fucked up views on god and love and morality and thats what we have to deal with as people who live here”, but in a way of like “the christian god is real and he’s a white guy who fucking hates you.” which like. Ok. they bastardize and trivialize any religions that arent christian while building the entire series on christianity. Ok. like i guess its possible to write stories about white christianity without implying that every other religion is full of shit but supernatural did not do that on any level

its also just. really poorly written. i genuinely loved the first season i thought it was really well paced and that the characters were introduced really well like the first season is a GOOD horror story in terms of family as horror and the inherent terror of americana. but the pacing and the character development started tripping up in s2. by s3 they started raising the stakes Exponentially which honestly is such a kiss of death for good fiction like every season mounting a bigger badder antagonist than the last one is the surest way to kill a story bc it means the earlier entries in that story become basically meaningless in the face of the new bad guy. u dont need to raise the stakes to write a good story! a well written story abt the horror and drama of a close knit and unhealthy family caught up in something they don’t really understand isn’t Less emotionally resonant than, like, having to stop the world from ending, because at the end of the day its Fiction and none of it matters beyond what u can make the audience really Feel. im not gonna feel sorrow if 7 billion fake little people die. i didnt cry when the death star blew up whatever planet it blew up. what DOES make me feel sorrow is a few truly well written characters whose relationships are complicated and tragic and whose motivations i can understand and whose inner lives i can imagine. raising the stakes destroys a good story and thats exactly what happened to supernatural (not that the racism and misogyny and american protestant moralizing wasn’t killing it already)

also, the misogyny makes the female characters basically impossible to watch. like not a single person on that show is a good actor (except sterling k brown love u king u were the best actor that show ever saw) but they didnt even give any of the women anything to work with. its literally so cringey to watch any woman onscreen except maybe like. bela talbot and she was treated like utter shit.

god. you know that expression dont fall in love with potential? i dont do that w people i do it w fiction. i came off black sails and the untamed and frankenstein and i watched the first couple seasons of supernatural with my friend and it was like...there was so much room for it to SAY something about monsters and how society creates them thru violence and how deeply horrific american protestantism is. like theres so many questions and concepts that it brought up that it never actually SAID something about. shithole of wasted potential. and yeah dean and castiel is stupid there i said it

#again i KNOWW everybody knows it sucks and doesnt care #im a hater!#asks

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destielshippingnews · 3 years

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Edvard's Supernatural Rewatch & Review: 1x05 Bloody Mary

In this review, I’ll be discussing suicide, survivor’s guilt, and bad dialogue.

1x05 Bloody Mary enjoys a rating of 8.4 on IMDB. It’s a strong, atmospheric episode embodying the horror-show vibe the show was intended to evoke. It was originally conceived as being episode two or three of the show, and would have made a better episode two than 1x02 Wendigo due to its themes of guilt and bereavement linking into Jess’s death and Sam’s role in it.

Mirrors are one of the defining symbols of this episode, something made painfully obvious by the incredible number of mirrors the family owns. They are both the means whereby Mary kills her victims and the means whereby characters reflect on themselves. Sam’s info-dumpage that ‛mirrors reflect our soul’ should make it explicit to viewers paying attention that Mary is a metaphor for guilt. This guilt, however, is not necessarily the guilt that comes of commission of a crime or a moral evil, but the feeling of guilt borne of not being able to save somebody, or survivor’s guilt. A person burdened by such guilt looking in the metaphorical mirror must face a metaphorical Bloody Mary waiting to pass judgement.

Quite rightly, this judgement is not just, as indeed feelings of guilt, self-blame and survivor’s guilt are unjust. A discussion of the subject on Supernatural Therapy podcast raised the topic of self-blame when in fact one is not to blame: blaming ourselves is an attempt to feel in control of something and to understand it a little better. The deaths which the ill-fated father and Charlie blame themselves for are incomprehensible.

I can say from my own experience that losing a friend or loved one to suicide is impossible to understand. Grandparents dying of age is natural, and older relatives dying of long-term illness is understandable, though unjust. But when our driving instinct is supposed to be to stay alive, a friend’s or family member’s commission of self-murder undermines completely our comprehension of the world and our reality. It’s traumatic, and the mind seeks to understand and cope with something it simply can’t handle.

Returning to Supernatural Therapy, our feelings of guilt are misplaced attempts to control and understand, but they are more negative than positive. Thus Bloody Mary is an apt villain to don the role of avenging spirit in this episode, as she attacks people who feel guilty, regardless of whether or not they truly are responsible for a death.

This episode ties itself into the Sam’s character particularly closely, as Sam feels himself to blame for Jessica’s death. At first, his guilt is depicted as completely natural: he watched his possibly-pregnant girlfriend burn to death on his ceiling and was utterly unable to help her. Anybody in that situation would be dealing with guilt on top of bereavement and trauma, so he is naturally somebody Bloody Mary would go after. However, the revelation that he had ‛dreams’ (read: premonitions) about Jess’s death for days before it happened add another layer to his guilt.

That layer, of course, being his actual guilt in taking no measures whatsoever to ensure Jess’s safety. Sam is not a blue-eyed baby in 1x01: he is a man with deep knowledge of the supernatural world and was reckless to ignore them. It is never made explicit – unless something has slipped my mind – whether Sam had any experience or knowledge of humans with psychic powers, but it is clear that he knows about the paranormal. Any Muggle would be disturbed by having exactly the same dream of a loved one dying night after night, but would likely pass it off as stress, anxiety or some such. Sam’s no Muggle, and knows better. Was having a ‛normal’ life so important to him that he dismissed and ignored warning signs that the abnormal was coming for his lady? Is Sam partially responsible for Jess’s death here?

Knowing what I know of the circumstances surrounding Jess’s death, he likely couldn’t have stopped it, even had he called Dean and John for help. But he should have called them, and chose not to. If he had done so, she might have been saved. This is death by negligence.

What makes it worse is that he is aware that keeping his visions a secret got Jess killed, but at the end of the episode acts as though he is perfectly justified in retaining his secrets from Dean. Dangerous secrets overtly related to their mother’s death and the demon responsible for killing her, information which would be very useful to Dean and John if shared, but a danger if kept quiet. He learnt that not divulging his secret is dangerous for people around him, and elected to continue not divulging said secret to Dean. Please, dear viewer, bear this in mind in series 7, 8, 9, 15 and every other time Sam gets pissy at Dean for keeping things secret from him.

He even knows in this episode that keeping his secrets almost got Dean killed by Bloody Mary, but ‛just because we’re brothers, doesn’t mean I have to tell you everything’. Sam is supposed to be the hero of this piece...

Yes, some people are genuinely like that, but that doesn’t mean I have to like them, and I sure as Hell don’t like Sam. In the first five episodes, Dean is established as a flawed, contradictory hero who actually brings something to the table. Sam’s an entitled, spoilt prick who treats his brother like a joke and an embarrassment.

Returning to the theme of suicide and guilt, one thing that is not addressed in the episode is the dad’s own relationship to the mother’s death. That she overdosed on sleeping tablets heavily implies suicide, but for about half of the run time the viewer is expected to believe the father was somehow involved in her death, i.e. that he killed her, especially as the second victim was guilty of a hit and run where a boy died. What is never addressed, however, is that his guilt and the reason Bloody Mary targeted him is that he blamed himself for not being able to prevent his wife’s suicide. Charlie is allowed the catharsis of expressing her grief to Dean and Sam, but the father is not afforded the same opportunity.

Apropos Charlie, her precise meaning when she said her ex-boyfriend got ‛scary’ is left occult. He clearly suffered serious mental health problems, something which a lot of people simply aren’t equipped to handle, especially when the one suffering is a close friend or partner. Young male victims of suicide also tend to have been very good at wearing a mask to hide: did he try taking the mask off for her, and she didn’t like what she saw? From what little information she gives us, the implication is that he threatened her with violence or that he used hard drugs or something, but the viewer is at no point privy to what she means by ‛scary’ or to the man’s side of things.

Whether or not the young man intended to frighten and manipulate Charlie by threatening her with his suicide is also unclear. ‛If you walk out that door, I’ll kill myself’ can mean different things depending on tone and context, ranging from a desperate plea for help against an overwhelming mental illness to abusive, sadistic mind games. Having lost more than one man to suicide, the idea that someone would use it as a weapon is inconceivable, but without further information I simply can’t say.

From what little information we have, the man’s suicide was not Charlie’s fault. If we assume he was threatening her to keep her with him, she was right to run. Nobody should be mistreated or burdened like that, and no relationship should be built on a foundation of such abuse. She is important, too. Even if it weren’t a threat, the situation was intensely unhealthy for everybody involved and she was very justified in distancing herself. It wasn’t her fault, and I just wish Dean had told her that in the motel room, rather than simply talking about it to Sam in the car afterwards.

Speaking of said conversation in the car, Dean’s heart was in the right place as he tried to get Sam to stop blaming himself, but he perhaps revealed his own lack of coping tools whilst doing so. Dean is intelligent and empathetic, and far more caring than people give him credit for, but he was raised in an environment where he was not allowed to talk about his fears and anxieties. Nor was he provided any tools whatsoever to facilitate understanding and processing his traumas and illnesses; John wanted him as an emotionally-dead weapon to use in his war against Mary’s killer.

Dean feels, but with no healthy tools nor anybody to acknowledge and help in processing his issues, he bottles things up and pushes them aside as best he can. Of course, the best he can is not all that best, wherefore the drinks and the sex and the gallows humour. This is John’s echo in Dean: John silenced him, and Dean therefore is not best equipped to process his own trauma at the beginning of series 1, much less counsel somebody else (though this changes as the years go by and he learns how to act without John stymieing him).

He meant well in telling Sam he can’t carry on blaming himself for Jess’s death, but the problem is Sam can’t stop blaming himself. Nobody in Sam’s situation can stop themselves feeling what s/he’s feeling, and has to simply feel it. I knew my friend’s suicide wasn’t my fault, but grief, bereavement, and survivor’s guilt are not rational and can’t be controlled by the cognitive mind. The feeling mind is the one in control, all the cognitive mind can do is make suggestions and hope for the best.

Regarding grief and Sam’s situation, Sam’s nightmare and his conversation with Dean at the beginning of the episode are about as explicit as Sam’s grief for Jess gets int eh show, and it’s not much at all. They were together for maybe two years, she was possibly pregnant with his child and died on the ceiling above him, but he doesn’t do any actual mourning or grieving most of the time. That itself is okay as some peolel take years before they’re ready to process grief and bereavement, but Sam behaves like a slightly disgruntled, moody teenager which we’re supposed to interpret as him grieving Jess’s death, but we see next to no actual grief, trauma or expression of loss.

His discussion with Dean is supposed to give us the idea that this is a recurrent event, but it is very, very far from sufficient to genuinely make us believe that Sam is anything other than a little bit sad for Jess.

We have, however, already established that Sam is partially responsible for Jess’s death, but Dean doesn’t know that. In spite of it not being the most productive thing Dean could have said, it was valid. Grieving is natural and uncontrollable, but how we react to it is at least partially within the jurisdiction of the cognitive mind. We can’t resist grief, as even denying it acknowledges its presence, but rather we have to accept it as a natural part of life to be endured and felt, but not be controlled by it.

Similarly, Mary is herself a victim of trauma, having been murdered by her lover. Understandably, her mentis is significantly non compos after the experience, and killing people she deems to be guilty is perhaps her way of trying to process what happened to her. Referring once again to Supernatural Therapy podcast, Jovanna Burke (who played Mary in this episode) states she believed Mary saw herself as a vigilante trying to get restitution for people wronged by killing their murderers, but her world-view became so skewed and she lost all concept of a grey area. For her, things were black or white: guilty or not guilty. Dean as good as says that there is only guilty or not guilty for Mary: if somebody thinks their actions or lack thereof got somebody killed, that person’s guilty. Sam, after all, didn’t kill Jess, Charlie didn’t kill her ex-boyfriend and I don’t believe the father had a part in the mother’s death.

I would add to this that such thinking sounds like a trauma victim’s survival mechanism. If things are easily understood as either / or, good / bad, safe / dangerous, the risk of danger is theoretically reduced. Think wild animals assuming humans are going to kill them: it’s safest to assume and run away.

This has been quite the lengthy discourse on mirrors, but it’s time to switch from the metaphorical and symbolical to the more practical, that being the exact nature of how the magic works. Mary was bound to the mirror she died in front of, but as long as that mirror remained intact, she was free to wonder the mirror world when summoned. In the climax of the episode, Dean and Sam summon her to her mirror in the antique shop, smash it, then face her manifest form in the real world. Dean defeats her by showing her her own reflection in another mirror, whereupon her own reflection deems her guilty of multiple homicides and kills her.

Hawk-eyed readers will have noticed already, but if Mary’s power was bound to her mirror, how then could her own reflection have killed her when the mirror binding her was smashed? Was the source of her power in her, then, rather than the mirror? If so, then how would her seeing her own reflection killed her? A ghost in Supernatural doesn’t have the power to destroy itself like that: it simply can’t. A ghost has refused the Reaper’s invitation to pass on, and can’t therefore pass on, yet Mary does. I can’t make this make sense.

One more thing about that scene is that Dean’s eyes began bleeding, implying he is also hiding a secret where somebody died. Fans made a big number out of this at the time, and Kripke promised us we would find out in due course… but we never did. This is the first instance of one of Dean’s storylines getting dropped by the show, and it’s far from being the last one.

Kripke didn't like Dean. Dean was supposed to be the dumb, womanising popular guy who always gets the women but 'treats them badly' in comparison to Sam's sensitive nice guy act. Sam was Kripke's insert, and Dean was just a character the audience wasn't supposed to like either, so he didn't bother giving Dean his own storylines. Even series 3 is more about Sam's anger and 'grief' than it is Dean's.

Now that the main points are out of the way, there are more minor points in the episode to comment on. One is the lovely cinematography, especially during the cold open / prologue. I began this review by stating that mirrors are important in this episode, and the camerawork in the beginning really drive that home. Moreover, seeing Mary reflected in so many mirrors – and indeed seeing so many reflections – blurs the line between the real world and the mirror world.

The children’s sleepover is also pleasantly lit, with very dark shadows and lots of candlelight evoking the feel of a ghost story. The shot in the library with the rays of light shining on the boys also looked wonderful, and the visual storytelling in the antique shop at the end was impressive. Said visual storytelling refers to the close up shot of a blinking red light, followed shortly after by the headlights of the police cars drifting across the wall. This is intelligent storytelling that expects the viewer to be paying attention, and it’s definitely appreciated.

In spite of my apathy for Jess as a character, the final shot of Sam seeing her on the pavement was fantastic cinematography: as with the flashing lights, it told us a story without needing to tell us anything. Sam saw her, and then she disappeared. Coming at the end of an episode about Sam’s guilt, and roughly a minute after his advice to Charlie about not blaming herself, this strongly suggests something has changed in Sam: the guilt that he was holding on to has begun to ease, or even vanish. It is, however, just a suggestion, and Sam giving Charlie a therapy session he sorely needs doesn’t mean he’s going to follow his own advice.

I wish, however, that more had been revealed about the kind of pills the father was taking in the cold open.

Speaking of the library – which we weren’t –do you remember when Wi-Fi didn’t exist? I remember. Currently I’m sitting about two metres away from my computer which is tethered to my mobile phone, typing on a wireless keyboard, using a wireless mouse in a room with no working ethernet cable or modem, listening to sounds of an oil rig on Bluetooth headphones, but in 2005 none of that was possible. There’s almost as much time between now and then as there was between my birth and ABBA winning Eurovision in Brighton in 1974.

Which is a nice segue into the soundtrack of the episode. The music in the opening is effective, being both reminiscent of the prologue of 1x01 with its minimalistic, slow piano track building tension and unease, but with an underlying hollow, howling wind sound that I can only liken to the dementors in Harry Potter.

Less impressive, however, was Mary’s dialogue, showing a complete lack of effort put into it. ‛You killed them, you’re guilty’, ‛you did it, you killed that boy’.

I rewatched this episode for the first time in 12 years in December 2020, by myself in a silent flat very late at night. I was 29, and this episode still creeped me out, making me hesitant to look at the window in case my reflection moved. Whilst it’s not my favourite episode, it’s certainly a solid effort with a memorable – if dated – antagonist in a self-contained MOTW story. Like the pilot, it showcased Kripke’s initial conception of the show as being about American folklore (although Bloody Mary is very much a British thing, too), and boasts a very atmospheric miniature horror show. It also offers character development and growth, even thought Sam’s claim that he would die for Dean is laughable in retrospect.

After once more exploring folk tales in 1x05, in next week's analysis of episode 1x06 Skin I'll be looking at how the show expands its daemonology by introducing a series staple.

#Michael's Supernatural Rewatch #spn rewatch #spn 1x05 #1x05 bloody mary #classic supernatural #dean winchester #sam winchester #survivor's guilt #suicide #dean's abandoned storylines

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composerofshibuya · 3 years

Text

Alright, long post about TWEWY The Animation Episode 1 Underneath!

MY BOY. THERE. IN THE ANIMATED FLESH. I love the style. I love how distinctive everyone is, and how true-to-the-game it looks. I think they translated still images into animation beautifully. And, if in the end it remains shallow, at least it's pretty. I can't to see Joshua.

Alright. So, overall, it was good to okay. I had goosebumps when Twister started playing. The music truly ties my emotions to this game in a delightful way. I hope they'll incorporate more into the show. Let's dig into the good stuff first!

1) The animation. It's crisp, it's fun, it's the game to a t. I think they really hit it out of the park with it.

Look at that classic Shiki pose! I love how they incorporated so many elements of the game into the show.

Sprinkled throughout the episode you can see the different names and symbols of the brands. I thought this was a very clever way to tease them and make them present for fans of the game, without being overwhelming to anyone new. Additionally, I doubt that they'll be important at all in the animation - I don't see them playing dress up haha.

2) The music - this is actually both a pro and con. I love the elements of the Game in the Animation. Overall, I think they blended it very well. However, I hate the version of Twister they picked for the opening, and I really hope they change it up episode-to-episode. It's probably one of my least favourite versions of Twister and it's just... not a pump up version of it. Ultimately, I'd rather the original.

3) Introduction of characters - I have some complaints about this, which I'll get into later, but overall I was happy with how many they introduced and how they introduced them. They defined their personalities (Beat, my fave himbo, Kariya and Uzuki them lazy mischievous Reapers, etc, Neku being a Lonely Boi). I thought the established them well, if not fumbling things in other places.

4) Design of noise: Fuck, they're beautiful and dangerous. I love how they've taken these flat 2D characters and turned them into something a little more dynamic. The colours are great and bright, and I didn't think I'd love them. I'd serious get art of these guys!

Also the "static" as they appear/disappear I thought was nicely done.

5) I like how playful the show is despite the dark themes. It let's itself be fun:

WLIKE WE SYNCED UP, EH???

Okay, now... some negatives. As much as I enjoyed episode one, boy howdy do I have some criticisms, and as far as these go they're pretty common for adaptations. I recognize my bias as someone who loves the game and has poured a lot of time into it, but I still am kind of worried.

1) Pacing + Character Development: WOW THREE DAYS IN AN EPISODE. That's a rush!!! That's so much crammed into one episode. The characters never get to breath and be defined beyond that initial introduction in a way. As I said earlier, it never let's the horror of the situation set in. I understand there's a huge difference between games and animation as mediums, and I also get that adaptions will always lose something that another form really embraces, but the big thing to me about this game is loss and time. There are periods of silence where characters stand and sit with their thoughts. The Animation gives them no time to deal with that and I think a lot of weight and beauty is lost through this. I'm coming at this as a person who knows the future - I've played the game - but the game was never subtle with foreshadowing, and frankly this episode had none. Shiki never checks her phone. She's never reserved. She's 100% genki girl. And that's a little tragic if you know her story. Neku doesn't ponder his lost memories - he isn't given time to! - and we don't get to see how much this bothers him. Beyond the first few Noise deaths, it doesn't feel like the, put bluntly, fucked-upness of the Reaper's Game ever gets a chance to settle in.

2) I didn't have high expectations for pin utilization or brands. I love how they've blended the pin symbols and the use of them onto the screen as Neku activates his psychs (occasionally).

However, my big complaint is there's really no explanation of what they are or how they're activated or even the fact that Shiki couldn't use them (although I do love how the animation shows her fighting with Mr. Mew <3). This isn't a problem per se, especially as it's a major game mechanic thing, but I would have loved to see some time dedicated to it. It's just such a big part of the game. Looking at the pin 777 gives Shiki he says it'll become useful/valuable depending on the future. So, maybe we'll see further development. Please please please have some Tin Pin Slam!!

3) As a direct result of 1 - this scene just didn't feel as !!! shocking to me. That being said, I still thought they did a great job with the visuals here. It was... okay. But again, I'm willing to admit that playing this scenario vs watching it is probably a huge factor.

4) I don't know how to say this, or at least put it eloquently, but I think the Animation really fell flat in the first episode. My Rule Of Anime is if it doesn't catch me in four episodes, consider dropping it. As an outsider, I don't know how I'd react to episode one, but as an insider while I loved seeing something I love and am passionate about brought to life it just didn't hit right in so many ways. The characters were flat, the pace felt rushed, and while I care about the characters, I worry what I would think of them if I didn't have prior knowledge. Like Shiki looking at her phone. When that moment hit - when the game explained WHY - every time she was caught looking at her phone just hit me. Then, in future play throughs, I noticed it so much more. So, I worry a little bit.

Overall, I am a little diappointed - my hopes were waaaaaay too high - but I'm excited to see what comes next. As I've said, I'm hoping they're pushing through this to go more in depth later. If they don't develop the relationship between Shiki and Neku I just don't see the [Major Event] that happens in the future hitting hard emotionally. It feels like the story beats of the game are getting skipped over and I think it's the future detriment of the series. But! I'm getting ahead of myself. This is episode one! Lots to come.

I loved how the episode ended, sprinkling in bits of lore. I am excited.

Also, Minamimoto and Hanekoma are FINE AND DAMN, THEY LOOK AMAZING (tho Minamimoto looks... much younger than in game, he's still A++ he can SOHCAHTOA me anytime whew).

And done! Thanks for sticking around <3 Let's all cry about this and the new Neo trailer together!!

#twewy #twewy anime #the world ends with you #the world ends with you the animation #spoilers #criticism #i liked it fine #the animation is beautiful #but i have Problems with how rushed it felt #also really WHY THAT VERSION OF TWISTER

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hooklineandpodcast · 4 years

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Podcatch of the Week

[A green tape to the left and skull to the right in the background with a quill and gear in front with a banner. The words The Magnus Archives over it]

The Magnus Archives by Jonathan Sims, produced by Rusty Quill

The Hook: “Make your statement, face your fear.”

The Magnus Archives is a weekly horror fiction anthology podcast examining what lurks in the archives of the Magnus Institute, an organisation dedicated to researching the esoteric and the weird. Join new head archivist Jonathan Sims as he attempts to bring a seemingly neglected collection of supernatural statements up to date, converting them to audio and supplementing them with follow-up work from his small but dedicated team.Individually, they are unsettling. Together they begin to form a picture that is truly horrifying because as they look into the depths of the archives, something starts to look back… - Their Website

Favourite Line:

ARCHIVIST: Test… Test… Test… 1, 2, 3… Right.

[Cough]

My name is Jonathan Sims. I work for the Magnus Institute, London, an organisation dedicated to academic research into the esoteric and the paranormal. The head of the Institute, Mr. Elias Bouchard, has employed me to replace the previous Head Archivist, one Gertrude Robinson, who has recently passed away.

I have been working as a researcher at the Institute for four years now and am familiar with most of our more significant contracts and projects. Most reach dead ends, predictably enough, as incidents of the supernatural, such as they are - and I always emphasise there are very few genuine cases - tend to resist easy conclusions. When an investigation has gone as far as it can, it is transferred to the Archives.

Now, the Institute was founded in 1818, which means that the Archive contains almost 200 years of case files at this point. Combine that with the fact that most of the Institute prefers the ivory tower of pure academia to the complicated work of dealing with statements or recent experiences and you have the recipe for an impeccably organised library and an absolute mess of an archive. This isn’t necessarily a problem - modern filing and indexing systems are a real wonder, and all it would need is a half-decent archivist to keep it in order. Gertrude Robinson was apparently not that archivist.

- Episode 1 - Angler Fish

Thoughts: The Magnus Archives is currently my favourite podcast. Which is a pretty strong statement for someone who loves a lot of podcasts like me, especially since I’m a very casual horror fan. For me Magnus Archives is the right mixture of mystery, horror, and human drama. I’m a person that loves connecting dots and seeing foreshadow. Magnus Archives is great for that. I also love shows that not only focus on the horror of what’s happening, but of the people involved. Each week there is a new statement and story which is great if you’re an anthology fan, and later on in the series there becomes a strong through line of the people in the archives which is great if you like linear stories about one group of people (which is usually my own preference). It covers both bases and it’s done extremely well. Jonny Sims is an excellent writer who knows how to tell a story without falling into negative tropes and stereotypes that can come with horror stories. The Magnus Archives is starting its fifth and final season tomorrow, April 2 to the public so I thought it was the perfect time to recommend it.

Patreon: Yes, find them by looking up Rusty Quill

LGBTQA+ Characters: Yes

Transcript Available: There are official transcripts on their Patreon for free, however they don’t have every episode yet if I’m not mistaken, but there are full sets of fan made transcripts. If you google Magnus Archives Transcripts you’ll find them. They also have deluxe transcripts for Patreons which have added notes.

If you liked: Archive 81, Wolf 359, Penumbra Podcast, The White Vault, SCP Archives, the Lost Cat Podcast, or I Am In Eskew you might like the Magnus Archives

Podcast Info: Their website is rustyquill.com

Enjoying The Magnus Archives? Please reblog and spread the word. Podcasts are usually passion projects and need the support of their listeners to get the word out. Catch you next week!

#podcasts #podcast rec #the magnus archives #podcatch of the week #tma #transcripts available #lgtbqa character #horror podcast

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stetervault · 4 years

Note

Hello! Do you do rec lists? Would you be willing rec some Steter fics that aren't the most common/popular ones? If not, no worries!

Technically this isn’t a rec-finding blog lol but I do make rec lists sometimes if someone asks and I have the time and I feel like it. Here are some (I think?) less known Steter fics, oldies that people may have missed or forgotten (Idk how well I succeeded, I just picked a bunch that have significantly less reads/bookmarks than the really big fics):

Fear (Doesn't Mean I Can't Fight) by azerblazer

Peter is the damsel in distress, the Sheriff is the hostage, random unnamed hunters are the bad guys.

Stiles has a bat, a hoodie and a willingness to do anything to protect those he's loyal to.

Bring it on.

A Lean and Hungry Look by kototyph

The woods aren't the only place you find wolves.

You're Mine, Valentine by orphan_account

In which Peter decides to court Stiles, and does so by leaving him hearts.

Bloody ones.

Zodiac by Green

"You know, Taurus and Libra make a good match," Peter says with a sly smile.

Stiles looks away. "Yeah. I looked that up, too."

Surviving Peter and the Zombie Apocalypse by Nopennamesleft

Its the end of the world and Stiles has run out of luck. He saves a werewolf from certain death. Will they begin to rely on each other to survive or will the wolf just eat Stiles for a midnight snack?

He Is A Villain By The Devil's Law by neglectedtuesday

Stiles’ lungs are burning, blood is pumping through his veins and he’s pretty sure that if he stops running then he’ll just keel over into the gutter. But God does he feel alive. The sirens are wailing, loud and clear. Just one more block. One more block. Stiles ducks down an alleyway, the bag full of bank notes swinging behind him. It hits his side with a dull thud. The alley smells like cat pee and yesterdays trash so Stiles breathes shallowly through his mouth. He continues walking down it until he reaches the end. It opens out onto the street. He stops just shy of the exit, waiting. He waits a bit more. Then he kicks a can lying idle on the ground. He whips out his burner phone, punching in a number.

“Where the fuck are you?” Stiles growls, “Where’s my goddamn getaway car?”

“Change of plans Stilinski, you’re gonna have to get away on your own. Also ditch the phone.”

Fascinated by lemonstiles, migratoryslashfan

Stiles pontificates over Peter's naked body.

Night-blooming Flowers by imriebelow

Peter always gets what he wants. Stiles learns to live with it.

None of These Things (Are Happening) by Horribibble

After years away, Stiles returns to Beacon Hills just in time to put Isaac's insides back where they belong.

It's cute how people think he's trustworthy.

Peter can smell the violence inside him, the urge to do something grand and possibly cataclysmic. It’s there—mixed with a balance and natural calm, but in the undercurrent, it’s there. He has seen things beyond the scope of Beacon Hills’ petty horror show. He has learned things.

The Terrible Things We Do (For Love) by rospeaks

Being a demon, he’s seen some of the pretty nasty things that humans are willing to do for love. Things that, were he still alive (and human), would make him hesitate to be in a relationship with anyone lest his partner start getting some funny ideas. That said—

"This seems a little desperate for a kid your age," he says to Stiles.

Spin, Sweet Clotho by ChuckleVoodoos

Oh, it’s a beautiful thing to watch, the way they dance around each other, spun in sugar and glittering glass. Like a fragile little fairytale, a tender rosebud just waiting to unfurl. It makes Peter sick.

Because love is a fairytale, and his dear darling nephew does not deserve a happy ending.

whisper by tricksterity

Stiles was tired.

He was done of people pushing him and his pack around. They’d already lost so much and he was damned if he’d let them lose anyone else, especially to this psychopath who had no reasons for what he did other than he liked it.

And that’s when the whispers in his mind grew louder.

Remember Darling, All the While by Sang_argente

It was fire, ice, electricity. It was the first kiss, the last kiss, and every kiss inbetween. It was lips parting, tongues sliding, hearts beating.

Impress Me by ToAStranger

Their new English teacher has gone missing.

Falling Upward by moonstalker24

There is nothing quite like flying. There is a calm and a peace found in the sky that cannot be found on earth. All the chaos of the world is below you and there is no sound save that which the propeller makes as the engine turns it. You are free and unfettered and the clouds are close enough to touch; all you need do is stretch out your hand to grasp them.

Stiles takes Peter flying after he gets out of Eichen House.

Sweeter Than Gingerbread by taylorpotato (Stetallison)

The saying goes that lovers who commit suicide together start their next life as twins. Perhaps that's why Stiles and Ally feel the way they do about each other.

The Shadow Effect by Mysenia

What was the fun in being a twin if you couldn't trick a person or two?

Deep under by Sashaya

There's a reason Stiles knows so much about drowning. He'd rather not remember why...

All the World's a Stage (but the light design is subpar) by BonesOfBirdWings

Peter Hale is a successful Off-Broadway actor, and Stiles is a stage lighter who literally falls into his life.

Peter smiled at him. "Thank you, Stiles. But should I take this to mean that you don't want a meatball sandwich from Banh Mi Saigon?"

Stiles' mouth dropped open. "You - I - Yes, I want! Oh my god, you do the best apologies! Can you piss me off more, please? I accept all future apologies enthusiastically!"

Peter chuckled. "I'm sure that won't be a problem, dear boy. I've been informed that I'm an asshole by a very reliable source."

Stiles beamed. "But you have good taste in food, so things balance out?" he ventured.

Peter threw back his head and laughed. Stiles' grin brightened in answer.

The D.C. Backroom Deal by septima_sum

Stiles is a regular prostitute with moderate life goals – until his current client makes him an offer he can’t refuse.

Strange Duet by BelleAmante, thiliart (thilia)

The past three years have been a series of shocking, or not so shocking, successes for 2018 Tony award winner and two time Grammy nominee, Stiles Stilinski. You don’t typically find classically trained opera singers singing alternative folk rock to crowds at Coachella. Nor do you find indie singer/songwriters winning best actor awards at the Tony’s for their Broadway debuts. Stilinski has made it his lifetime habit to defy and exceed all expectations.

-or-

A Steter fic loosely based on Phantom of the Opera

Hold Me Down by sneksonaplane

Waking up in Peter Hale’s bed was weird. Waking up in Peter Hale’s body was even weirder. Stiles had been disoriented and confused when he’d found himself in a plush, king sized bed in an unfamiliar bedroom instead of in his own room (and seriously, why did Peter even need a king sized bed? Why would anyone need a bed that big?) It had all come back to him when he’d glimpsed the body he was inhabiting, one that was shorter but more defined than his own, and older, and kind of hot.

The one where Stiles and Peter swap bodies, Peter relives his adolescence, Stiles suffers, and then suffers a little less when he discovers Peter's fetlife profile where he's listed as a submissive seeking a daddy.

It Was A Dark And Stormy Night by Guede

This is a ghost story. It’s not straightforward.

Put My Faith in Something Unknown by Twisted_Mind

He doesn’t know how long he sits there, suspended between thought and action, unable to feel. At some point, he becomes aware that there’s a hand on his face. A warm palm cradles his jaw, and a thumb brushes across his cheekbone tenderly.

The Rest of Our Lives by mia6363

“I don’t know, as a kid I watched a lot of movies, you know? And at first I figured like… I’d be on some great adventure that would take me away from it all, you know? Like Indiana Jones comes around and is all, ‘Hey Stiles, buddy, come with me we’ve got to go save the world.’ Then… you and… everything happened… then I just… I figured I’d die before I was eighteen.”

Enemy Action by pprfaith

Once is chance, twice is coincidence and three times is far too many bodies on the ground.

Buy Me a New Pair by Julibean19

"I don't practice law much these days."

"And why is that?" Stiles asked, wondering why a handsome and presumably successful lawyer wouldn't want to continue working.

"I've been drawn away by more pleasurable pursuits," Peter said, lips quirked upward as he spoke.

Tale as Old as Time by wynnebat

The one in which Lydia's got better things to do than be Belle, Stiles is a much more likeable Gaston, and Peter is a beast but not quite beastly.

The clothes make the man by FeelingsDusk

The trick to sneaking into a building where you shouldn’t be is to make it seem to all eyes like you should. Stiles has been doing this since he was a little older than toddler and he wanted to get back his Batman action figure from the evidence room in his dad’s Police Station.

(Spolier alert: just like back then, Stiles gets caught.)

Smile Like You Mean It by NinaRooxx

After sulking about the changing weather over the autumn, Stiles notices that despite the weather getting colder, Peter’s wardrobe isn’t changing at all.

Swing by ShippersList

Stiles wants to fly.

Angels, Devils, and Peter by Triangulum

Everyone has an angel on one shoulder and a devil on the other. They give advice, help guide their human through life. They tempt, they listen, they offer help. Everyone has one of each. Everyone except for Stiles.

Stiles and Peter are murder husbands.

love and madness by sinequanon

Peter and Stiles haven’t seen each other in months when the alphas ask them to meet up to look over an abandoned house. Now, they’re going to be seeing a lot of each other for quite a while to come.

Not This Again by RebaK1tten

There's a rumor that the last episode of the show will have Peter getting killed, again. Perhaps to give him a redemption arc or something.

A Light at the (Near) End of the World by ladyoneill

The world he grew up in has ended in a supernatural war that devastated the human population. A survivor, Stiles lives a solitary, quiet life in Wales until there's a knock on his door.

Through Space and Time by MaroonDragon

When Stiles pulls the body of Peter Hale into his ship, he doesn't expect him to be alive. He also doesn't realise he might have gotten more than he bargained for.

His Color by SushiOwl

“Darling, have you been carrying a throw-away comment I made in your mind for almost four months?”

Stiles’s face felt like it was one with fire now.

After You by FlyAwayMeow (rjaejoo)

It’s true that sometimes what you want the most, you can’t have and that you’ll miss what you once had all along when it’s finally gone.

After breaking his engagement to Chris, Peter heads to New York to start over. He meets Stiles, a young author at his publishing house who helps him piece his confidence back together. When tragedy strikes, he discovers how to finally let go of his past and have the family and future he's always wanted with the pieces already in his life.

Looking After You by Slayer_of_Destiny

Can Peter be a chance for Stiles, can Stiles be a second chance for Peter? When Peter offers Stiles a relationship will the younger man take the chance with the werewolf?

Maybe We Both Are by lavenderlotion

The first time Stiles lets his fingers brush against Peter he wasn’t expecting the response he got. They were sitting on Stiles bed researching something. Or, they were researching. Now they were just talking. They did that a lot these days, just talked. They also ate together a lot. Or got coffee.

these words bear my scars (paint your love on my skin) by WindyRein

One day butterflies and childish codes change to I'm sorry you're meant for a murderer and he won't realize for years how much that changed his life.

Before you let go (and the light takes you in) by Issay

Stiles makes one last errand - goes to leave flowers on all the other graves. Fuck, so many graves. The grief is as endless and as inescapable as the sky.

He goes home and there is a thing wearing his father's face, waiting for him in the kitchen.

The Lady of Lightning by kiranightshade

"Those who foolishly sought power by riding the back of the tiger ended up inside"

Can You Use Lube For That? by AlreadyBoss

“You think your what is haunted now?” Surely he'd misheard. There was no way-

“My vibrator,” Stiles answered with alarming sincerity.

Well. He hadn't misheard after all.

Pianist Envy by Bunnywest

Stiles is the piano player.Peter can think of other things he'd like to see those hands do.Shame the guy's straight.

Everything You Deserve by Areiton

You think about it. More than you should, you think about it. About what would have happened, if you had bitten Stiles instead of Scott.

Home by Ragga

Don't be like him, they would say, and then add, or else you get burned.

Unable to bear the whispers any longer, This One left. He forsook those who forsook him, left him bear his scars alone, the scars he bore for his herd. It was better to be alone, stay off the currents, than swim with those most undeserving of his loyalty. So mote it be.

That is, until he met That One.

Lord Peter by Therapeutic_Steter

Peter rung out the rag before gently placing it on his mother’s head, reaching over to feel his father’s equally flushed features.

“Such a good boy,” his mother said, patting his arm with what little strength she had remaining. His father smiled softly at him even as his fell unconscious. Peter pushed back the lump in his throat, smiling shakily for his mother before venturing out into the living space.

knit me together by nezstorm

Peter asks Stiles to stay the night after a really awful day.

Warriors by CinnamonLily

Peter is ten years old when humans discover Azure, a planet not unlike Earth. From there on, he wants to learn everything about their new neighbors and the planet itself. It takes him over twenty years to get to Azure, but when he does, it's so worth it. His anthropologist heart is happy, and a new acquaintance in the form of an Azurian called Stiles might just make the rest of him happy, too.

#teen wolf #steter #rec list #fanfic rec #ask #anonymous

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magicofthepen · 4 years

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Gallifrey Relisten: Lies

In the chaos of.....all of November....totally forgot I meant to relisten to this episode sooner! Which is odd because Series 2 is definitely one of the high points of Gallifrey for me (apparently listening to everything slowly collapse into the civil war is super engaging and interesting? idk Series 2 just does a lot of solid character work and storytelling and good narrative progression to the “ahhh everything is very bad” finale...and I’m not sure how to feel about this, given *gestures at the world these days*). But anyways, now for some thoughts on the series opener:

Fun fact: From the TV show alone, Romana I was my favorite. (This had something to do with her having more character growth in season 16 than season 17, since her early days on the TARDIS involve the “wait my academic success does not necessarily translate to the real world” realization and learning about worlds and people different from her own and growing from High-Achieving Student to Adventurer in her own right. Also I loved the grudgingly-working-together to actual-friends arc with her and the Doctor. I was a bit less interested in her character when she was just going around being a capable adventurer, although I did become invested in Romana II in her last episodes, as she quietly grapples with the issue of what she wants to do next in life and eventually chooses to go off on her own. Also to be fair, I appreciate the fun times of Season 17 a lot more now because Romana being happy and having a good time traveling around the universe? What a concept.)

All this to say: me on my first listen of Gallifrey was very excited about Romana I being in this episode. And even though it’s not quite as much of a !!!!! thing for me these days (the Gallifrey audios have long since solidified Romana II as my favorite), I do love the (sort of) multi-Romana interaction that happens in this one.

Brax essentially going “yeah the education system is supposed to be shitty and take an emotional toll on you” sir.

“I am not xenophobic” — Oh yeah, this scene is Narvin at his most unlikeable. “I’m not being bigoted, I’m just trying to protect Gallifrey, the fact that I assume that people who aren’t from here inherently can’t be trusted, and also go on about how they’re too loud and disruptive and don’t belong is definitely not a bigoted worldview nope.” Yikes. Very glad he’s going to see the error of his ways.

The Narvin and Darkel rant session does actually do a good job at explaining what’s been happening and establishing the primary conflict of the series while not feeling like it exists solely to be an info dump to catch up the listener. Like, it’s definitely a setup scene, but it is an interesting setup scene.

“But she is my President, and it’s my job to ensure that she gets what she wants and needs, efficiently and without question. Well, too many questions anyway.” Okay this moment and Darkel and Wynter’s conversation later about Narvin’s weakness (“Loyalty. An unswerving loyalty to his office and his precious CIA. And above all, loyalty to his president.” “He despises President Romana!” “Oh yes, of course. But it’s the position, not the person, he places that trust in.”) are really setting up some key Narvin Character Theses that we’re going to see play out this series (and also that the narrative is going to push in really interesting ways later on..... “position not the person”.....just you wait....)

Darkel and Narvin being indignant that Romana changed the law is just....hilarious in a kind of horrifying way? Oh no, the President worked with the legislative body to actually get a law passed. The horror.

“She has a temper. And a very long memory.” This is definitely about the CIA trying to overthrow her in Neverland but uhhh also it’s about Etra Prime and the Powers That Be on Gallifrey never making a serious effort to save her (at least from her perspective).

Yeah Darkel as antagonist is a bit abrupt (not that I particularly mind, she’s a good enough “love to hate” character that her not being set up as an antagonist from Series 1 doesn’t really bother me). But yeah, not sure what was going on behind the scenes, but it doesn’t seem like in Series 1 the plan was for her to be the primary Series 2-3 antagonist.

Darkel to Narvin: “You will let me know when you’ve decided.” Ooh yeah, this moment is quite a good setup of Narvin’s arc throughout this series — he has to decide where his loyalties truly lie.

Wynter is really interesting as far as character dynamics go, because he breaks the whole “Romana and Leela are the youngest people in the room” vibe — and it is just really interesting to see Romana interacting with this quite young Time Lord and specifically compare/contrasting it to how she interacts with young Time Lords in the later series when she’s older and a bit more emotionally mature and has more of the “mentor figure” vibes. (There isn’t really a conclusion to this thought, it’s more of a “huh, I’m thinking about this now” thing.)

“It’s been seven weeks, Andred. It’s hardly a lifetime.” Romana: please you have not been in a cell for that long, calm down.

“I thought you two were friends.” “A president of the High Council of Gallifrey cannot allow herself the luxury of friends.” Ahhhh, where it begins!! I’m extremely weak for the arc of Romana opening herself up to friendship and love, what of it.

Honestly, Andred’s politics have always been very confusing to me? And it probably doesn’t help that the show is all “he’s fully Andred now” but also “he lived as Torvald a long time and that’s still influencing him.” Like both of those things can be true, but it’s a bit unclear what Andred’s true priorities and motivations really are right then — and honestly, it just comes off like his primarily desire is to be useful to someone, and be granted some form of autonomy/power/respect in return (aka he doesn’t have any real clear principles that are motivating him). Also complaining about Romana opening Gallifrey up to aliens is such a bad look dude.

Romana to Andred: “I control your future. I control whether you have one.” Umm???? The foreshadowing?????

Andred, no. Andred, the free time pun was too much.

“I wish I had databanks. With a flick of a switch I could turn myself off, become unaware of all that has happened.” Leela ahhhhhhhhhh. (The desire to give Leela all the hugs and emotional support is very very high throughout these next couple seasons especially.....her mental health is in such a rough place ahhhh.)

Andred regenerated “nearly six months ago” and it’s been six and a half (or seven, depending on which character is speaking) weeks since A Blind Eye, which took place an unspecified amount of time after The Inquiry, which took place two weeks after Square One...(don’t mind me, just taking some notes on the timeline math...)

I believe a couple times in the Gallifrey audios, they reference the position of “Vice President,” which is very weird because that doesn’t seem to be a position that exists?? Chancellor is definitely seen as the #2 spot?? Idk what’s going on here.

“You are appreciated, highly regarded, and were I to lose you I would be...disappointed.” Romana, you started strong and then you got a bit emotionally repressed there.

“Torvald was a fool, but he was my fool.” .....I am not saying anything.....I will not be commenting on the Narvin and Andred scene......I just.......you know. There are some fics you cannot unread.

Romana does really trust Brax here, doesn’t she. And she really doesn’t trust easily post-Etra Prime, so this is a big deal — making it all the rougher when she (in the short term) finds out he meddled with her memories and (in the long term) has to deal with him doing things like temporarily betraying her for the greater good of protecting her while not explaining at all what’s really going on.

Okay, yes the whole pearl-clutching about Romana changing the laws is kinda silly and horrifying in a “how dysfunctional is your society if passing one (1) law is drastic change??” way, but also the flip side of this, aka “we thought these things were entrenched as norms in our society and would not change and then here comes along one president who’s trying to undo all of these things and threaten the whole system”.....y’all that hits differently now in the month November in the year 2020. In the Gallifrey audios the context is different — they are for sure overreacting to Romana’s very mild idea of “perhaps....we could change some things about society” but the way they talk about her political changes in the episode — feels a bit too close to home!

Romana’s voice right when she sees Leela....she missed her.....

Pandora being the “first female president” is a very weird and very unnecessary bit of misogyny? Ah yes, we must specify that this ancient president of Gallifrey who was wildly power-hungry and cruel and went too far and almost ruined everything Gallifrey had built was a woman?? Why was that bit of dialogue needed?? Tbh early Gallifrey does have a problem in general with characters played by women tending to be power-hungry....which is partly down to the fact that they have so so few women in the cast in general, it’s Romana, Leela, and Villains, mostly. (The lack of women in the supporting cast in early Gallifrey is going to be an ongoing complaint.)

“You should not be afraid of your feelings, K9.” / “Yes, thank you, if we can move on from the emotional support group session.” Pffffff

I do choose to ignore the implication that Romana returned to Gallifrey and became President because of the subconscious influence of Pandora/the Imperiatrix Imprimatur nudging her towards power. Tbh it’s simply not interesting to me to have such a pivotal character choice reduced to genetic/subconscious manipulation. Yes, Romana ended her TV run insisting she didn’t want to go back to Gallifrey (and even staying in another universe to avoid it), and yes, it creates this initial emotional dissonance suddenly jumping to stories where she’s President of Gallifrey. But I already did the headcanon work before I jumped into Big Finish to make it work for me, I didn’t need this weirdness.

Elaborating on this a bit more: There is something interesting to me about a person who left home and slowly ended up rejecting the narrow worldview she grew up with, cutting herself free from the place she was born — and then eventually choosing to return because she genuinely wanted to make that messed-up world better and believed she could. And it also creates a really interesting contrast with the Doctor: two Time Lords who came to realize that Gallifrey was pretty terrible actually, and one of them kept running away from it and rejecting Time Lord society, and the other came back and said maybe I can change things. Because both are understandable and complicated reactions to have to a messed-up home world, and there are different ways of trying to do good. And regardless of how her choices turned out, I always liked the idea that it was Romana’s own choice that brought her to Gallifrey again, and I don’t think Pandora needed to be shoehorned in to explain her actions.

Okay, I want to hear the follow up where Leela insists Romana tell the whole Key to Time story after hearing all of these random out of context bits and pieces.

Why does Brax admit to breaking the Laws of Time? The fact that he’s in contact with his past/future selves isn’t actually relevant to what he needs to tell Narvin? He literally could have just said that he hypnotized Romana, without mentioning that it was his future self who did it? (Also, it’s implied in this one that he pushes for Romana to use the mind wipe on Narvin because he wants the memory of that reveal erased, but somehow that’s the one thing that Narvin keeps because he uses that information against Brax later? Aka: how did Narvin remember that Brax told him this?)

And final thought: general internal monologue during this episode is just: Pandora arc Pandora arc Pandora arc here we go!! Because the Lies through Warfare run is really one of the more interesting bits of Gallifrey for me (Imperiatrix specifically ranks very high on my favorite episodes list), and I’m excited to be re-listening to/thinking about/hearing other people talk about these episodes!

Next Episode Reaction: Spirit

Previous Episode Reaction: A Blind Eye

#gallifrey audios #romana #leela #narvin #irving braxiatel #going to listen to the pod of rassilon episode on a long car ride tomorrow (well. today at this point) so very excited for that!#ramblings #emily listens to big finish #the relisten of rassilon

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thejakeformerlyknownasprince · 4 years

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Disability and Loren

@zarohk asked for my thoughts on a Disability Studies/Media Studies perspective on the disability depictions in Animorphs. Which was foolish, because I’m teaching an entire dang class on the subject of superheroes and mental health, so I have Many Thoughts. [PLEASE NOTE: I am nondisabled, so if I err, please tell me so.]

Loren’s role in #49: The Diversion does a lot of things right, and a lot of things wrong. She incurs a traumatic brain injury that results in memory loss and blindness a couple of years after Tobias is born, and lives with said injury for about ten years before Tobias finds her and gives her the ability to morph, which restores her sight but not her memory.

A few places where I commend the depiction of Loren:

It gets into the massive underemployment of disabled Americans. Loren is smart, canny, athletic, compassionate... and working a call center job in exchange for state benefits. Said state benefits do not afford her a decent standard of living; Tobias notes that she has few possessions and almost no time for leisure activities. Americans with disabilities are twice as likely to be unemployed as those without, and those who do have jobs are ten times more likely to be paid less than minimum wage, e.g. in sheltered workshops.

It shows how inaccessible a lot of systems are in the U.S. Tobias notes that Loren accidentally grabs an expired quart of milk — because nothing on the label is printed in Braille. Putting raised text and/or Braille on food packaging is a health and safety issue, one that the U.S. ignores even though it violates its own laws (e.g. the ADA) because companies tend to do what they want and “what they want” is usually not to spend more money on packaging. The call center and bus system are both marginally more accessible, especially when Loren has Champ to help, but they’re still clearly spaces set up for sighted people that don’t take blind users into account very well.

It shows some of the workarounds that help deal with accessibility problems. Loren’s house is set up so that there are clear paths to and from all of the relevant spaces. She’s doing that to allow herself to move around comfortably in that space, because she’s made it accessible for herself. She memorizes the layout of the local store, and uses that to get around as well. All of those details help show that she’s adjusted, and actively interacting with her own circumstances.

It drives home the difference between service dogs and pets. This distinction is extremely important, and it gets ignored all the time by entitled ableists who want to bring their pets into stores. Tobias and Marco both assume from the outside that it can’t be that hard to become a service animal — just do what Loren says to do, right? — but it takes Tobias 0.02 seconds to realize that it’s not that simple and that he cannot imitate Champ’s lifetime of training on the fly. He says that he manages to get his mom home in one piece, and that that’s about all that can be said for his sad performance as a guide. Champ has skills like ignoring interesting smells and applying exactly the right amount of pressure to the harness that most pets don’t have and also most pets can’t learn. Champ is not a pet, at least not while he’s in that harness; he’s a gainfully employed expert assistant.

It rounds Loren out as a character, and definitely does not just make her into a lesson or problem for Tobias. Loren is gently humorous, tolerating her coworkers’ teasing and Ax’s attempted juvenile delinquency with an eye-roll. She’s compassionate, listening to other people’s problems on the phone with genuine concern and not swatting flies if she doesn’t have to. She’s tough-minded and stupidly brave, chucking rocks at Visser Three’s head and flying at attack helicopters as a three-pound bird. She’s fallible, unable to support Tobias emotionally even when he asks her to do so and unwilling to check in on him after leaving him with her sister. She’s a fully rounded person, one whose personality is informed but not defined by her disability.

It talks about some of the unromatic aspects of a Traumatic Brain Injury. Too often in other works of fiction, we see a person get bonked over the head and wake up with no episodic memory but all other brain functions intact (*cough* Rachel in MM1 *cough*). Loren actually gets into the fact that she forgot huge chunks of language, forgot how to brush her teeth, forgot how to walk across a room. She obviously lost her sight as well, and she mentions lifelong balance and coordination problems. Even her amnesia isn’t absolute — she has some traces of recall, but can’t make anything coherent of her impressions. Her injury isn’t 100% realistic, but it’s more so than many TBIs we see in fiction.

It focuses on the intersection of disability and social class. Tobias notes that Loren is under a compounded threat because of her inability to move to a more secure neighborhood and her obvious vulnerability. He feels a lot of disgust with himself when he and Marco and Ax are harassing Loren, because it’s so clear that this isn’t the first time she’s been harassed. Tobias understands that his experience with poverty as a nondisabled male minor is different from Loren’s for those reasons.

A few places where Loren falls into the common traps of implied ableism creeping into fiction, as written about in Narrative Prosthesis:

She gets “cured.” Loren falls into the “kill or cure” dichotomy, like most of the other disabled characters in Animorphs. In her case, it’s that she gains the power to morph and in the process regains the ability to see. It isn’t a complete cure, true — she still has no memory — but it means that she’s no longer blind for the rest of the series. Having the occasional character no longer be disabled sometimes isn’t automatically problematic; having every disabled character get either “fixed” or killed off inherently treats the disabled body as a problem that needs to be solved, through sci fi nonsense if no other way is available.

She implies that she’d rather die than continue to be disabled. When injured by dracon burns, Loren initially refuses to morph out even though Tobias tells her she’ll die if she remains a bird, because (they both assume) to morph out is to return to her blind human body. This moment buys into the stereotype that it’s better to be dead than disabled, again inherently devaluing the lives of actual blind individuals.

There’s a certain amount of mystery around how she became disabled. It’s interesting that we never actually get a definitive answer on that one — Loren says she was told it was a car crash, but there’s also an implication that she was attacked by controllers, and we don’t know for sure. However, the fact of her disability is treated as an aberrant state that needs to be explained, the book inherently asking “why are you like this?” By contrast (for instance) she doesn’t ask Tobias “why are you in the body of a hawk?”

She views herself as a burden, and the narration doesn’t do enough to contradict her. Loren says that she couldn’t possibly be expected to raise a child while also blind and coping with a TBI. Real blind people raise kids all the time, however, including blind single parents, and it’d be nice to see some evidence in the story that Loren’s assumption is wrong. Loren also apparently assumes that she can’t begin to play a role in Tobias’s life even now that Tobias is more self-sufficient, again because she views herself as relatively helpless and non-contributing due to her disability. There are some hints that she’s wrong, but we don’t really see her either begin to contribute to the resistance or build a relationship with Tobias until after she’s become un-blind.

Tobias’s view of Loren is often pitying. As much as Loren doesn’t initially view herself as a potential maternal figure to Tobias, he doesn’t view her as a potential mentor either. He repeatedly expresses horror or sadness at her life circumstances, and assumes that her life must be barren due to the spartan nature of her home. (Of course, that begs the question of why the hell a blind woman living alone would ever bother hanging pictures on her walls or putting doilies on her coffee tables, but Tobias doesn’t consider that angle.) Again, Tobias is allowed to assume that her life must be meaningless if she’s disabled, but it’d be nice to see some contradictory evidence in the form of her having close friends or inane hobbies or some other proof that to lead a disabled life is not to automatically lead a lonely one.

Loren expresses bitterness and desperate desire to be nondisabled. Again, it’s fine for any character to say “I wish my life was different,” and it’s a common consensus among blind writers/bloggers that being blind is often a pain in the butt. However, views as extreme as “you need vision to have a fulfilling existence” or “vision is part of what makes us human” are ableist crocks of shit. Loren doesn’t go so far as to espouse those extreme views, but she also doesn’t seem to view herself as having a well-rounded life in spite of her disability. It’d be nice to see Loren talking about sight as handy or enjoyable or a thing that the designers of 99% U.S. environments assume everyone must have, rather than a necessary precondition for a minimum standard of life.

Loren’s disability is somewhat medicalized. Same caveat as above: disabilities are by definition medical things that some bodies do or have that other bodies do not. However, discussing disability primarily through “this is how your body is different from Implied Normal of Nondisabled Body” and focusing on doctor’s notes, diagnoses, physical differences, etc. can serve to disconnect the lived experience of the individual from their body. It also tends to focus on the ways that the body is “the problem” rather than focusing on the ways that environments and attitudes are problematic, which then prevents anyone from asking hard questions about the environments and attitudes. Loren’s doctor’s note, discussion of scarring and loss, and repeated physical descriptions are somewhat more medical than social. It’d be nice to see a little more emphasis on the social factors that make blindness a disability (e.g. improperly labeled milk), and less on “your eyes are different from those of Implied Normal Nondisabled Person.”

#animorphs #animorphs meta #long post #loren fangor #ableism #disability studies #disability representation #accessibility #social model of disability #animorphs criticism #blindness representation #49 #the diversion

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yououghtaknow · 3 years

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skam brighton season 5 music analysis

hello :) i’ve gone through all the songs on previous seasons of skam brighton and explained why i used them and i thought i would do it for season 5 now that it’s over.

tw for disucssion of addiction, racism, pedophilia, transphobia and homophobia

trailer

we begin with a bang with “don’t blame me” by taylor swift. now it has been said about me that i am a swiftie and it is true. and nick braxton is a reputation era bitch. this song has quite literally it all for nick’s character - we got christian themes, reference to drug addiction and an unhealthy devotion to someone. this trailer has gone through many songs to find the perfect one, but i decided on this one because of the themes, and also because of the line “they say she’s gone too far this time” - which, in regards to nick, can be read in many ways. we got the nick going “too far” with his love for james in subtly trying to break liz and james up, nick and their drug addiction, and nick and their relationship with their gender identity - going too far in both the masculine and feminine directions. also it bangs your honour.

episode one

we!! begin!! with!! saturday night’s alright for fighting by sir elton john!!! because it is saturday night and, as we’vee seen, nick isn’t afraid to get into a fight or two. this song specifically was chosen because of the movie rocketman, which i drew a lot of inspiration from, with the themes of drug addiction and sexuality. also, once again, it simply slaps.

we then get “ymca” by the village people playing in the background over the rest of the party scene. i chose this song because it is a very stereotypically gay song, and a lot of what i wanted nick to deal with was self-perception in regards to stereotypes. he is very stereotypically flamboyant because it’s both the way he is and a defensive mechanism - leading to his bisexuality being erased and being seen as gay a lot of the time. he ‘s pretty much the opposite in regards to his asian identity, with him not being academically intelligent and outspoken and being very british in their speaking patterns. it’s about the balance and duality and all that stuff.

then, as we are formally introduced to nick’s devotion to james, we get “where dreams go to die” by john grant. thank you to my friend katya for recommeding this song as a nick song because it is just. crazy. every line makes me want to scream. especially “this is like a well-oiled machine / could i please see that smile again? / it's all that makes me feel like i am living in this world”. like that just shows the extent of nick’s love - because sometimes you’re just in love with the idea of being saved rather than seeking help. is that poetic or am i just pretentiously talking about my trauma? who knows.

we then get “overprotected” by britney spears - because britney has been a nick staple the whole series. i first heard the song in the musical & juliet and i was immediately like “oh nick core”. the song opens with: “ i need time (time) / love (love), joy (joy) / i need space (love) / i need me (action!) / say hello to the girl that i am / you're gonna have to see through my perspective”. because we are literally seeing from nick’s perspective. i also wanted to introduce the gender dynamics early - including in the trailer, where nick refers to themself with she/her pronouns - and her nick is referred to in the text of the song as a girl. it’s also a very sad song about not having any control over your life with a fun pop backing track, which is very nick braxton.

we then get another party scene, that opens with “break up with your girlfriend, i’m bored” (by ariana grande) covered by sam fender. i chose this song because 1) i love the cover and 2) god is it a nick song. literally nick has so many wants (to be loved by their family, to get sober, to succeed in school, to explore their gender freely) but he focuses on wanting james and wanting james to leave liz because there are less achievable and thus safer. also the song fucking slaps.

we close with “happy little pill” by troye sivan, a mlm classic. a staple of 2014. i chose this song because 1) drug in title, easy get, and 2) it’s actually a really good song???? it’s about the dissociation. it’s very similar to the scene with bree in season 4 episode 1 where “chandelier” plays as she’s clearly not doing well but she’s pretending for the sake of her friends. nick and bree are narrative foils and i love them.

episode two

the first song of episode 2 is “be great” by lolandre and jeremy pope after we see nick and his dad’s dynamic for the first time. and it’s really something huh. it’s about how christian does want nick to be great, but christian has a very narrow idea of what success and happiness looks like.

the next bit of media we get in this episode is nick watching the first episode of euphoria. when preparing to write various seasons of skam brighton, i watched a lot of teen dramas to get a good feel for the vibe i was going for. euphoria was one of them and it’s a show i have a lot of mixed feelings for - i think it’s very well crafted and extremely interesting but i also do have issues with the sexualisation of teenagers on screen, even if it is mostly realistic. i chose this scene specifically because nick and rue are very similar characters, in regards to their relationships with their parents (i believe nick is more of a jules kinnie but more on that later). they both just want to be a good kid and make them happy, but they can never seem to do it. gia, rue’s younger sister, is also a parallel to nick’s brothers.

we then get “old eden” by honeywater which is just simply a song i like very much that had the vibes of the scene. also the lines “i want love / but i don't just want love, i want you / i see the beach house, your sweet mouth / but the terrible news / is that love is not how it seems on the screen / yeah, real love has problems / but it's what's in-between that's the best” is simply just nick braxton huh. ambiguous disorder.

we then get “generation why” by conan gray as nick storms out of their house after a fight with their parents. i chose it very simply for the vibes because i only listened to this song once and thought “i do not wish to listen to this in my free time but it is a nick braxton time”. it’s just the angsty indie pop main character walking down the street vibes.

we!!! end!!! with!!! a song i love very much - “sex drive” by austin mckenzie of dwsa fame. this song plays over nick getting “rejected” by james and resorting to grindr to feed their want for human affection - which is where the parallels to ms jules euphoria come from. i chose this song specifically because it begins with the lines “who’s driving?” on repeat, which calls into question who is in control in the scenario. as seen on screen, nick is the one who initiates the “date” but, at the end of the day, nick is an underage teenager and the person he’s on a date with is an adult man. also the song is simply a fun bisexual time.

episode three

we open with “hurricane drunk” by florence and the machine, a song that has been decidedly nick core since 2018. like “i’m in the grip of a hurricane / i’m going to blow myself away”...... nick braxton you crazy little person

“yours” by greyson chance plays over nick and james driving out to the woods to skip school together….. it is quite insane. “no matter who i'm with, it's you that i adore / if you're not sure / baby, i'm yours” like i scream and shout nick braxton has always been in love with the concept of james cohen

“myrtle ave.” by mxmtoon plays as nick is feeling isolated from his friends…. like they just vibe with the song and the lyrics so hard. nick is just. i have no words other than i love them.

we close with “st jimmy” by green day because. goddammit isn’t he. like james just comes out as bisexual (just like st jimmy in american idiot the broadway musical) and nick is like “you are like a saint to me, i worship you, i will do anything for you”. like it’s a song about drug addiction but it’s also about being bisexual but it’s also about the performance of masculinity and the performance of being a “rebel” that james and nick both do i love them so much.

episode four

we begin with “lucy in the sky with diamonds” by the beatles. i do not listen to the beatles but i think the song is about drugs and the beatles is a james cohen band in canon so it has the connotations babey.

we then get “seventeen” by troye sivan as nick goes on grindr to seek out adult men. it’s genuinely such a nick song - once again, the fun poppy music in the background and the deeply upsetting lyrics. also, as in season 4, i chose this song to emphasise the fact that nick is seventeen and a minor and should not be doing these activities.

we then get “dancing on my own” by robyn as we’re at the vaguely halloween-esque party. it’s once again about the boppy music and sad lyrics and like. nick voice i’m in the corner watching you kiss her ohhhhhh i’m right over here why can’t you see me ohhhhhhh i’m giving it my all but i’m not the guy you’re taking home ooooh i keep dancing on my own. like he’s fucking insane (he is both me and nick)

and then!!!! we get a scene very personal to me. nick watching rocky horror for the first time at a shadowcast showing and watching “the time warp”. i first saw rocky horror when i was about 10/11 because i saw it on glee and wanted to watch the real movie and it made me so so transgender and homosexual. it is such a non-binary little movie and the time warp is just an absolute bop.

it’s followed by a brief showing of “sweet transvestite” because tim curry in that movie is such an experience for anyone involved. like oh to be gender questioning nick braxton and to see that. what a fucking experience. and also to be gender questioning 11 year old me and to see that and then find out my school is doing a kidz bop version of rocky horror. fucking insane transgender times.

we close with “cecily smith” by will connolly as milo and nick walk home together because. it is just such a sweet song. like life is not the things that we do it’s who we’re doing them with. and it is a very nickmilo song and i am the president of nickmilo nation. i love a non-binary romance i do i do i do.

episode five

we open with “halloween” by phoebe bridgers because it is literally halloween. insane. but it is also such a nick braxton song like come on man we can be anything…… nick braxton voice i’ll be whatever you want…… it’s about the people pleasing and the desire to be wanted and needed loved and goodness gracious. also nick braxton fig faeth kinnie for this song specifically.

and then!!!!! we get nick dramatically singing “girl crush” by the harry styles version in his bathroom mirror. because goddammit they do have a girl crush. it’s about the gender and the desire to both be with james and to be liz becausenick is non-binary babey……..

and then!!!!! in such a parallel!!!!! we get milo singing “inner white girl” from a strange loop on their instagram live. “a strange loop” was a big inspiration for this season, with very similar themes fo it (you should listen to it right now) and this song….. quite genuinely we have nick singing a song about wanting to be a white girl and then they hear this song….. like nick does cling to his inner white girl as a way of staying safe - they cling to the safe idea of mlm flamboyancy and humour to hide from their genuine emotions and gender……. like it is insane to me. also white girls can do anything can’t they!!!!!!!

we then get “the people who raised me” by gregory and the hawks after nick has a fight with their parents…. “but i won't mind no time spent to save me / just trying to be good to the people who raised me” literally nick is trying his best to be good but he can’t be and that makes him angry!!!!!! but that anger is born out of a deep, deep sadness that nick has no emotional language to express, but anger is a language he can speak and it is. insane. like it’s about masculinity, it’s about femininity, it’s about everything. fuck.

we then get "search your heart" by george feeny as nick sadly vibes at school…. also this scene does parallel with the liz/mary scene in season 2 where their parents fight. like liz is shitty to her friends but stays for her sister and nick is great to his friends but leaves his brothers behind….. the range.

and then!!!! we get phoebe bridgers’ cover of “friday i’m in love” because it is friday and nick is in love huh.

and then!!!!!!!!!! a moment i have been building up to!!!!! we get “back to black” by ms amy winehouse after nick finds out james has a crush on alistair thee fletcher. and just like. god. this song has everything for nick. it’s a song about depression, addiction, leaving your lover, anger, bitterness, second choice ness….. and also he is literally going back to black with his hair colour!!!!! because he thinks being more masculine is what will make people love him and he views pink hair as un-masculine!!!!! and he’s also going back to his family, so he’s going back to trying to hide himself to fit into their expectations….. like god it is an insane little time.

episode six

we open with “idk if i’m a boy” by blue foster - a song i got on my discover weekly and it was a deeply personal attack. like nick voice i don’t know if i’m a reject i don’t know if i’m a loser but i know that i’ve been feeling feminine since i’ve been teething…. and how the song uses humour as a way to cope with gender dysphoria like it’s nick bay bee.

we then get “green light” by lorde because god it is such a james/nick song i feel insane. like “did it frighten you / how we kissed when we danced on the light up floor?” because james and nick have canonically kissed many times before….. also lorde as an artist just has such intense nick vibes it’s so much fun

we then get "fluorescent adolescent" by arctic monkeys over a party scene because i’ve been told on the internet that it is a british teen party classic. unfortunately the rowdiest party i’ve ever been to is my cousin’s christening so i do not know if it is factual, but it does slap.

we then get vérité’s cover of somebody else by the 1975 because i just simply prefer this version. but like. oh nick braxton. oh it’s about the rori and the james and the nick being afraid of being open and committing to someone but still wanting to feel the sense of being wanted by someone and being the sole person they want….. literally it is very crazy.

and then we end with “sugar we’re going down” by fall out boy!!!!! like it it such a good song nick voice am i more than you bargained for yet!!! i’ve been dying to tell you everything you’ve ever wanted to hear!!!! because that’s just who i am this week!!!!! like it fits so well with his character but also it is so funny that sugar we’re going down plays as they faint at the party……. i am a comedian sometimes.

episode seven

the first song we get in this ep is “demi moore” by phoebe bridgers as nick is detoxing in the hospital. like quite genuinely “i don’t wanna be stoned anymore!!!!!!!!” they don’t want to be alone anymore!!!!!!!!!

then we get “bite the hand” by boygenius. just. like. “i can’t love you the way you want me to” is just. such a statement for nick’s season. like he can’t love james the way james wants to be loved by nick, they can’t love their parents, their parents can’t love them…… it’s all about learning how to love in a way that is felt by all parties involved in the relationship be it romantic, platonic, familial or otherwise. like. it’s so insane it’s all about love

and then we get “relay” by fiona apple - which was a contender for the trailer song at some point. like nick @ alistair is very “i resent you for being raised right etc.” because he knows liz is fucked up and has flaws, he’s seen them, but alistair is easy to project all of his hatred onto. also just like evil is a relay sport thank you ms apple.

we then get “girls just wanna have fun” by cyndi lauper and “dancing queen” and “mamma mia” by abba sung at the lgbt youth club karaoke night because. i mean of course they are. also they are very fun gender songs and i enjoy them :)

and then. my friends. the moment you’ve been waiting for. nick braxton singing alanis morrissette’s “you oughta know”. now this is gonna be a long one.

the you oughta know analysis

first things first, i got the jagged little pill broadway behind the scenes book for christmas and there’s a whole chapter about you oughta know being a song about the queer struggle of being unseen and unheard and i feel so validated like that is exactly what the song is about.

but for nick. oh baby. it is them singing to james, to rori, to al, to liz, to bree, to his parents, to his teachers, to everyone who perceives them wrong. it’s their moment of standing up and saying i am angry and i am serious about this and i deserve to be listened to as a young person. i will now give an in depth analysis of every line i want to.

“the perfect version of me” - bree and nick have had so many parallels throughout the series, which bree can be described as a “better” version of nick. they’re in therapy, she’s taking care of herself, they’re bisexual and it’s accepted by everyone, she’s a good partner to rori, she has parents who love her, and she can be gender non-conforming in a safe way. but this line also applies to al - because nick and al have also been compared this season, with al talking about how he’s comfortable with his femininity and james liking al, who, despite claiming to be more feminine, is still more traditionally masculine than nick. al, bree and liz are all very academically smart. they are all very creatively gifted. liz doesn’t struggle for money. nick, in their mind, compared to all of these people, is a failure.

“so she speaks eloquently / and she could have your baby / i'm sure she'd make a really excellent mother” - this applied to both liz and bree, who both try to be seen as very eloquent speakers, and who are both afab, so therefore can have james’s baby - something nick wouldn’t be able to do. but we have seen in liz and bree’s seasons that they both have sexual trauma, and bree especially is uncomfortable with having children. it’s nick having this idea of womanhood and femininity being something so unattainable and required for james - that it kind of segways into al. because al is also assigned female at birth and could, as he is pre-t, hypothetically have a child, which is playing into some transphobic notions, but nick sees al as both more feminine and more masculine than him - making al just perfect for james.

“and every time you speak his name / does he know why you told me / you'd be there until you died / 'til you died, but you're still alive” - nick changes to he pronouns here, now directly talking about al. we’ve seen james flirting with nick and we know they’ve kissed in the past, and james and nick are incredibly close friends. but james still, in nick’s mind at this point, chose al over him.

“it was a slap in the face / how quickly i was replaced / and are you thinking of me when she fucks you?” - the conversation about how all the skam brighton characters relate to the line between sex and love is so interesting to me. it is also the reason i do not allow my parents to read this show. but anyways - nick does feel so genuinely replaced by everyone in his life, like there’s always a newer, better version waiting just around the corner. what nick doesn’t know is that that is how everyone else around him feels as well. and the line “are you thinking of me when she fucks you” is such a pointed line because it’s not a line of confidence or a joke. nick knows that no one thinks about them like that because they feel repulsive but try to play it off as a joke.

then we get the “i” section, which is, in the script, more “ayes” and “nahs”, but i wanted to change it to be the word “i” specifically because so much of the season is nick existing for other people. for their parents, for their friends, for their clients, for james. in this moment, they are choosing themself. they are standing up and saying “what i feel is important and i fucking matter”

“'cause the joke that you laid in the bed, that was me / and i'm not gonna fade as soon as you close your eyes / and you know it” - because nick’s sexuality and nick as a romantic partner is treated as such a joke throughout the show’s run, and james has been trying to turn every time he kissed nick into a joke that will go away, but it’s not going to go away because nick remembers it. even if james tries to deny his sexuality to nick’s face, nick is always going to remember that james was, at some point, attracted to men enough to kiss him.

“and every time i scratch my nails / down someone else's back, i hope you feel it / well, can you feel it?” - every time nick has sought out sex with strangers it’s because they feel rejected and insecure in themself. they seek out this sexual validation as a way to feed their want to be loved and noticed by people and he wants james and rori to feel hurt by it - he wants to have the power, he wants to have the control.

“and i’m here” - this line is just. so powerful to me. because it’s a line of defeat - after all this time, nick’s ended up at some crappy youth group with his little brother babysitting him, and he’s been dumped and cheated on and overdosed and everything is so awful. but then it becomes a line of celebration. of “yeah, all that shit happened to me, but i’m still here, i’m still standing, and no one can take away the fact that i am here and i am alive and i deserve to be respected” - something milo taught them when they talked about their tattoo

“to remind you of the mess you left when you went away” - nick himself is the mess they all left - because they feel so abandoned and alone and like they are just a mess to be discarded, but he’s here to remind everyone that he’s here. it’s a call for help.

“it's not fair, to deny me / of the cross i bear that you gave to me” - this line i always saw as directed at his parents - they gave him this cross of being the perfect eldest sibling that ended up crushing him, and they deny that it ever happened. but nick knows it did. the same way he knows james like guys. the same way he knows rori didn’t like only him. the same way he’s been denying himself of the cross he bears of being non-binary, the cross of being an addict, the cross of being a mentally ill neurodivergent person. this song is him finally letting go of that denial.

“you oughta know” - he’s talking to everyone with that line. everyone should know about his pain, about his emotions, about what he’s gone through, because he’s kept it so bottled up for years. it’s not fair for him not to share it because he deserve to.

they don’t call me isaac tumblr user yououghtaknowmp3 for nothing.

episode eight

we open with “seven” by taylor swift as nick reads a letter they wrote to their younger self. like. “i used to scream ferociously any time i wanted” is such a line about being neurodivergent as a child and then being forced to mask as you grow up….. also the bridge is just james and nick core…. you should come live with me and we could be pirates…..

we then get “nonbinary” by arca because i feel like at this point nick would be trying to listen to more nonbinary artists because they want to see themself reflected rather than running from it!!!!

we then get “heather” by conan gray as nick and liz accidentally meet at the local mentally ill teen zone. because i am just fucking crazy like that. and yes, i chose that song before it got big on tiktok. but i think it’s funnier because it is a famous song.

we then get “falling” by harry styles as nick is being emo in their bedroom because nick is just the type of person who will dramatically listen to harry styles in their bedroom whilst being sad. it also completes the full circle of sad taylor swift to sad harry styles, but with no vehicular manslaughter.

we then get “400 lux” by lorde after james and nick have their big conversation because like it is just a them song. like you buy me orange juice. it’s also about the james/nick having a gansey/ronan dynamic in the way that nick is devotedly in love with him and james is just being homoerotic for the jokes. but not most other ways. honestly i haven’t thought about the skam brighton versions of these characters in trc….. many thoughts head full

episode nine

we open with “pink rabbits” by the national as nick redyes their hair back to pink. and i’ll be honest. i only chose this song because it has pink in the title. but it does still vibe with nick though.

we then get “be your own 3am” by adult mom as nick is dealing with some bad cravings. it’s just a very pretty song for listening to alone at night in your bed in that weird space between sleep and awake. i love it.

we then get “i am not a robot” by marina as nick walks down the street because nick is a marina bitch!!!!!!! and “you've been acting awful tough lately / smoking a lot of cigarettes lately / but inside, you're just a little baby / it's okay to say you've got a weak spot” is such a nick @ james line it makes me insane

also rich’s entire character and backstory is directly lifted from skins gen 3 because i am niche and make content just for me

we then end with “rager teenager!” by troye sivan because i have listened to that song exactly once, decided it had nick vibes, and just stuck it in an episode somewhere.

episode ten

we open with “strange torpedo” by lucy dacus because it is just. such a nick song. it is insane. i am insane. like it is about nick wanting someone but not being sure who or what it is because he just wants to be loved and discovers that sometimes being liked is better than being loved…….

we then get “used to you” by mxmtoon and like….. “tell me what i can say / and i can say it / tell me what i can do / and i can do my best / tell me who i should be / and i can change it” is such a nick early s5 lyric…… and how the song is kind of a love song but the line “now i’m just kind of used to you” is very nick about his feelings towards james

we then get “gay street fighter” by keiynan lonsdale as milo gets their sexy slow mo that all of the love interests get at some point. they deserve it.

and then “to be alone with you” by sufjan stevens plays as milo and nick have their first kiss in the pool because i always wanted to include that scene and thought “hey here is good”. and like. they are alone with each other a lot and they like spending time with each other….. they are friends, they are teens, they are falling in love a little <3

we then get “creep” by lena hall as nick has a little gender moment at school. lena hall played yitzhak in the broadway revival of hedwig and the angry inch and she just has so much gender. creep has always been a nick song and this cover just…. it’s them.

we then get some ambient guitar music during the nick/rori scene and i chose some songs from “your city gave me asthma” by wilbur soot because it is a fucking great album and nick is canonically a mcyt stan so i simply had to. we end with “your new boyfriend”, which is a funnier, happier wilbur soot song and it is simply a fun time.

episode eleven

we open with “gender is boring” by she/her/hers which is just an absolute banger. like “gender never really meant that much to me / til' people started telling me how it was supposed to be” is such a great line and it is very nick braxton because. like. it’s just gender babey everything is about gender except for gender which is about having fun.

“dorothea” by taylor swift plays as james and nick have their final big scene together and like. it is such a homoerotic and fun song i love it so much thank you taylor friend of the show swift. “and if you're ever tired of being known / for who you know / you know, you'll always know me” is just……. god.

we then get “i do (end credits)” by kevin abstract as we open on the final scene of the season because a) it has end credits in the title and b) it is just another song i think nick would enjoy listening to.

we then get “they/them/theirs” by worriers as we get another little party montage because it’s a vibe time and like. i do love a they/them pronoun moment. it’s a very good and fun pronoun to use.

and finally we get “prelude” from next to normal as al comes in late to the party and awkwardly stands at the back. i chose this song because. well. you’ll see :)

thank you for reading my analysis that no one asked for, i just love having fun and talking about my silly little show :)

#skam brighton #skam brighton spoilers #isaac speaks #who wants my two page long essay on you oughta know but specifically for MY nonbinary comic relief character with christian trauma #i am fucking crazy BUT i am free :)

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