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chaoticstarlightwonderland · 2 months

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So this is random but how about a Sweeney Todd / Danganronpa Au. Anyone? Anyone?

First off the main characters Sweeney Todd and Nellie Lovett have to be a “couple” with one-sided affection and the other is coldly focused on their goals. Therefore…

Byakuya Togami as Benjamin Barker / Sweeney Todd. Without the money and power of the Togami family and the few things he did have in this life ripped away, he will make the people who crossed him pay.

Toko Fukawa is Nellie Lovett. Never had the opportunity to hone or showcase her writing talents, and ends up as the owner and chef of the worst pie shop in London (or Tokyo? *shrugs*). Becomes madly in love with the demon barber.

Masuru Daimon is Tobias Ragg (the adopted minion/son) went from abusive parent to these two, the only people to show him a bit of kindness, and becomes super loyal to them. Ends up being a part of terrible things he doesn’t fully understand.

Bare with me for the rest:

Kaede Akamatsu as Johanna Barker. I picked her because she is blonde, in a “later generation” to Byakuya, and cuz she is willing to kill if necessary like Johanna in the og musical.

Shuichi Saihara as Anthony Hope. He’s a heroic guy that is willing to break the law (like lying in class trials) for the greater good. But mostly to ship him with Kaede.

- [ ] You could argue that Makoto or even Nagito (depending on your interpretation of the og Anthony) would be a better choice but I feel like I would want to change who would be Johanna if that were the case.

Judge Turpin, Beadle Bamford, Adolfo Pireli are probably same variations of the Monokumas. I’d say Adolfo Pireli would probably Kurokuma due to his relationship with Masuru.

I’m not sure who should be Lucy Barker. I’m almost say Kyouko to explain Kaede’s purple eyes and lighter blonde hair but Kyouko is so smart she’d save the day in 5 minutes. Honestly I’m willing to take Makoto as a Lucy Barker candidate.

I’d love to hear people’s thoughts!

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simperoniandcheese · 1 month

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Call Me Nellie, Will You?

summary:

nellie pov fic for y'all *big smooch* After Mr. Barker is taken, Nellie makes a rushed decision to aid the family he leaves behind and protect them.

Mrs. Lovett stared out of the little window that overlooked the cobbled road of Fleet Street, her head in her hands as she halfheartedly watched the engorged droplets of rain speed down the worn panes of glass, the dark clouds racing the other way as if to escape.

The faint fussing of a baby caught her attention again, and her eyes widened in alarm as she whipped around, her grip on the countertop turning her pale knuckles white. That bloody judge had been poking around again recently, and to Nellie, it was the doings of a guardian angel of some sort that all the days of crying hadn't reeled him in again like flies to a rotting corpse.

She suspected it was evening now, from the pale orange-black sky she spied through her front door's peephole. After touching down carefully onto steady ground from her makeshift plywood step, Mrs. Lovett quickly kicked it under the row of cabinets that served as her worktop, turning on her heel and descending the basement stairs to check on Lucy and the infant that seemingly couldn't keep its cavernous gob shut to save a life.

By God, Nellie. Have a heart for the poor things, will you? It's only been a week or so! Her inner voice needled painfully as the jingle of the bakehouse keys sounded in her grip, just as grating as every other noise she'd heard in this bloody shop.

The padlock fell from its perch as the key was turned, and Mrs. Lovett bit back a yelp, fumbling as she caught it in her cold hands. If the lock had hit the tiles, it would've meant exposure to danger that was very, very likely, what with the absence of the daytime's clamor in the streets around them.

Mrs. Lovett straightened back up as the padlock was placed on the latch, and she steeled herself to be nice, for Chrissake to the woman she felt she was always going to be second fiddle to in Benjamin's gaze. But honestly, it felt like the right thing to do. She hadn't done anything 'right' since she married Albert almost a decade ago. And now he was dead, so that said a lot about what kind of person Mrs. Lovett was.

"Everything decent down 'ere?" She called out softly to the darkness, and soon after her voice was answered when a trembling figure appeared, Johanna now asleep in her embrace. Nellie's face fell with dismay, and she strode to Lucy's side, gently dusting the shivering young mother off.

"If I may say anything, Mrs. Lovett, thank you dearly for your generosity." The distressed-looking woman replied quietly with a curtsy, her dress bobbing as she moved.

"Just call me Nellie, will you." She threw up her hands absently, her attention on a ripped seam on the front of Lucy's dress, looking back up at her with a twinge of irritation flaring up in her gut as Lucy frantically burst into another panicked flurry of words.

"How is it you act so placid and unscathed when those horrible men are sure to be listening by the door as we speak? I saw they harmed you dreadfully, what he did to you, if your monthlies are absent--"

"Don't worry about me, love. Look, I've been checkin' for days, neither the judge nor the beadle have shown their 'ideous mugs round the city. So why don't we take what time we have, and I'll clean you up all good, you and the babe." Nellie sighed, chewing on her already curled lip before eventually ambling up to the front window again to check the street.

Clear.

Lucy carefully passed Johanna over fearfully, her eyes flitting between Johanna and the window, where she ducked her head beneath the sill as she crouch-walked to the next door, following timidly behind Mrs. Lovett, who turned around incredulously with Johanna in arms, her eyebrows raised.

"Oh get up, nobody's even on the street, and I can handle it if anything goes amiss." She snapped, ushering the terrified girl over until the door was shut securely.

"Now, I have a feeling you'll try something daft, and that wouldn't be very good for you or the little bugger, so I'll have to be around all of the time, got it?" Nellie instructed as she placed the baby back into her mother's arms when she had leaned back on the edge of the little tub that called her above average sized slum home.

"Is this how the both of us will spend the rest of our days? Never going outside?" Lucy faltered, her eyes misting over as she gazed at her infant daughter, then back to her caretaker with a dismayed lilt to her hushed voice.

Sighing again, Mrs. Lovett emptied out her handmade rope basket onto the tiled floor, the garments that were in it moved aside with a flick of her ankle.

She'd ignored Lucy's question.

"I think I still 'ave a few things lying around in this place that you could use for Johanna," Nellie muttered as she hefted a pail of water to the inside of the tub, grimacing as it spilled partially.

At least this time, it ended up where it's meant to be. She thought with a huff, gesturing to the bath with one waved hand. "Now then, are you fit to lift the pails before I help clean you up?"

A nod followed Nellie's request, and exhales of relief were released as Mrs. Barker lowered herself into the tepid water, shivering as her bare skin prickled all over in response to the new situation.

"You've been so charitable towards me, friend." Lucy mused in a timid smile, her voice still quavering as Johanna splashed her tiny arms about, being held on her mother's knee firmly. "I am sorry you've had to face London alone, and though I do not relate to you currently, I feel for you with all of my soul."

Mrs. Lovett turned her face away, blissfully pretending to respect Lucy's privacy.

Should I let her know about how I feel towards Benjamin?

Who needs secrets anymore? Everything's gone to hell, anyways, and before the year is up, I bet an ass that we'll either both be in Turpin's pit or the looneybin.

"I used to hate you. I was jealous, I s'pose. Perfect hair, eyes, face, and, perfect...something else.." Nellie trailed off, now thinking about cutting her tongue out as soon as she was alone.

Lucy's face changed dramatically, still processing what she'd been told but the gist of it revealed. She had that look in her eyes where someone knew more than they were letting on, and she hoped that her bias for the barber hadn't been that obvious.

"If I am correct, I assume you are referring to how you've fawned over poor Benjamin time and time again," she spoke up, clearing her throat with the smallest of smiles tugging on her lips.

Mrs. Lovett sniffed, frowning. "Rub the salt in a bit more, why don't you? I've been a widow for almost ten stinkin' years, it'd be about time I was bedded by now."

"Had I not been pursued by Judge Turpin, I would have handed you in myself." Lucy retorted, gently prying the scrubbing brush off of its owner despite her slicing tone.

"Alright, alright. I don't want to ruffle any feathers, just dip your head under nice and quickly, I'll hold pretty little Jo."

And just like that, the small one-year old was nestled back into the crook of Nellie's elbow (with a sighed thank you from Lucy), no doubt confused as to why there was a bootleg copy of her mother glancing down with wide brown eyes instead of Lucy's blue-tinged ones, wild curls instead of long wisps.

Albert hadn't wanted a child, much less had he wanted to pleasure her in any way shape or form.

And even if it hurt to make countless trip after trip to the back door of the physicist's, Nellie liked to stroll back lazily, dreaming up names, scratching out little dresses on the road with a rusty nail, sitting on the cobbles a few streets away until she was sure he'd gone for work with his dusty brown leather suitcase.

She'd liked the idea of having a child, and the moment of Mr. Lovett's death wasn't really as joyous of an occasion as the newly-widowed Mrs. Lovett had thought it to be.

But she now owned his entire family's items and the pie shop too, so she had to thank him for something.

"Y'know, you're very lucky to have a mum who loves and values you, so don't you go causing any trouble for her, or you'll be the secret ingredient in my pies, alright?" Mrs. Lovett murmured out of earshot of the child's mother, picking her way around to her small dresser to locate a towel for Lucy, and maybe, just maybe, she could find that blanket she'd hoarded for years.

.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..

"A-are you sure, Mrs. Lovett? Where on earth are you going to go?"

"Now, now, I just want to make sure you two are comfy, and you need an actual bed to sleep on more than I do, you're still nursing! No objections." Mrs. Lovett quipped, her robe pooling around her knees as she sat on the bed, tucking Johanna in with Lucy.

"I'm not much a singer, but 'ere goes, it's the only one I know, really." Nellie stretched, rolling over onto her back, letting her hair down from its usual high perch.

Sweet Polly Plunkett lay in the grass,

She turned 'er eyes heavenward, sighing,

As the next lyrics approached, she put on a high voice, while still staying as quiet as she possibly could, not wanting the neighbours snooping in on her again.

"I am a lass, who alas loves a lad;"

"Who alas has a lass in Canterbury," Nellie grinned a little as she rolled her tongue along the roof of her mouth, listening to Lucy applaud softly.

Soon enough, she could hear rhythmic breathing, and smiled faintly to herself.

I won't ever let your family suffer again, Mr. Barker, I swear on my life.

#sweeney todd #the demon barber of fleet street #mrs lovett #johanna barker #lucy barker #benjamin barker #more like #BENJAMIN...BARKER???

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smilingformoney · 1 year

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if Alan Rickman loved me I would simply love him back and treat him the way he deserves. rip to Lily Evans, Lotte Hoffmeister, Lucy Barker, Marianne Dashwood and Natalie Bryant but I’m different

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cagesings · 1 year

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b.enjamin barker/swee.ney todd.

needless to say, johanna’s view of her biological father is a very, very poor one. as you can guess, turpin wouldn’t tell her the truth. can’t have her knowing that he ripped her family apart. in canon, what she was told about her father is that he was a brute and a thief. she does not know what he stole or anything else. since she was raised by turpin ( “pious vulture of the law” ), she doesn’t look at it in a very positive light and she doesn’t want to. she doesn’t want to consider the fact that maybe he stole to feed her family. yes she is well aware of the fact that turpin is a corrupt judge, however to think that maybe her father was innocent and he had him arrested is simply too much for her to consider. that means he took so much more from her than she initially thought.

after canon, she ever figures it out. she doesn’t know what she looked like as a baby so she can’t go off the photograph. the victorian government at the time didn’t issue birth certificates. johanna has no idea who her father is. he died in botany bay in australia. he was a bad man. the end.

however feelings get much more complicated in modern verses ( hawkins verse and modern verse ). she knows who her father is and she hates it. johanna already knows about how bad of a man turpin is. to find out that her biological father was worse than the criminal she always took him for? he’s a serial killer. he almost killed her. johanna had to watch as her own father murdered her abusive guardian. feelings about turpin’s murder is it’s own meta in itself, but she didn’t want to witness that. when the police figure out who exactly s.weeney t.odd was, she has to live with the fact that they’re both barkers. this man killed several people of varying innocence. what stands out to her is the fact that he could’ve made more of their family. more fathers going missing and their wives having to deal with the consequences. even bamford has a young daughter. what’s going to happen to her? the rest of their families?

he killed her mother. yes, he didn’t know it was her and yes, the detectives and police have ruled that. but he still did it. he still almost killed her. the only time johanna interacts with her father, he is too blinded by rage and a thirst for revenge that he doesn’t take a moment and consider that anthony was bringing her here. she didn’t know lucy at all, but she has idolized her despite thinking she was dead for her entire life. and he killed her. even if she was only told the worst about her mother and prayed every night that turpin was wrong about her, she can’t forgive her mother’s killer.

once the media picked up on such a romantically tragic tale, they began to harass her about it the moment any information leaked about johanna. she is trying to move on. she’s married. her name isn’t even the same anymore. she wants to get a job and travel and leave the past behind. her father only becomes more of a burden when people ask her about it. when people ask her about trauma she barely even discusses with anthony. sweeney is a weight she has to just lug around.

above all though, she feels betrayed and abandoned. johanna feels horribly guilty about it when she tells herself she should feel more guilty on her father’s and guardian’s behalves. she knows that her own father chose to seek his revenge, chose to kill people, over reuniting with her. perhaps, it would be impossible, yet she snuck around with anthony for all that time. she wouldn’t be against sneaking behind her guardian’s back and meeting with her biological father, even if it would take some time for her to accept that. johanna is already incredibly emotionally vulnerable. knowing her own father chose something as horrible as he chose over her, crushes her. did he ever love her?

if benjamin/sweeney had lived, i can’t say she would make any attempt to form a relationship with him. johanna never wanted a father. turpin was supposed to fill that role in her life and look at where it got her. she wanted a mother, yes. there wasn’t really anyone who could be that figure in her life. yet the universe gave her a father and she’s nothing but ashamed of him.

#writing about this while listening to johanna quartet really does a number on you #i am now sad #*❈ ‣ how can you remain staring at the rain? — ( headcanon. )#*❈ ‣ if only angels could prevail we’d be the way we were — ( rel. sweeney )#ask to tag /#do keep in mind that this is only some of the daddy issues so.#this is part of the reason she is the way she is

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my-shields-are-down · 2 years

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Sneak peak: kickstart my heart (somewhere in the first 1/2 of the story)

Lucy: we’d totally pay you…. It’ll be fun…

Tim: (with his trademarked side-eyed glare) : how on earth with this be “fun” for me?

Lucy: you can tap into your inner rock star… picture it… you up on stage, decked out in leather pants and jacket, no shirt, sunglasses, a little baby oil so all your muscles ripple when you move, the fog machine going, the place packed and everyone there literally screaming their love for you. All you have to do is either stand there, or sit on a motorcycle, maybe lick your lips and rev the engine…Spotlight on you, as the stage rotates….

Tim: Baby oil? No one mentioned baby oil. I’m not a stripper am I?

Lucy: ha ha. No. You aren’t in your police blues. Idiot.

Black leather - maybe with a cobra on the back of your jacket? You’d be up there for 30-45 minutes tops. You don’t have to say anything. We just want a hottie up there emoting “bad-ass sex god”….

But, I mean, we aren’t going to force you to do it. We just thought that since we were focusing on a Gretchen’s birthday instead of yours, this year, you could still be part of the action. Still be the center of attention. Have women come on to you for your birthday.. wink wink, nudge nudge. Nova would be drinking you in! Hubba Hubba!

But, if you aren’t interested, eh, we’ll find someone else. I’m sure Aaron has got connections to some ripped model or B-list celebrity who’d be willing to help us out.

Tim: well, (blush), I want to help out if I can. what would you pay me for these 45 minutes?

Lucy looks over at Angela who nods.

Lucy: Patrice’s money manger’s son is the GM for the Rams. So how do box seats for two on the 50-yard line - with field access passes, free VIP Parking, and all the free food and booze you could want, sound? Plus bonus box seats for 4 at any concert you want in the next year. Would that be enough for you to be our leather-clad sex god?

Tim’s mouth falls open in astonishment. Lucy basically outlined his bucket list/dream Rams experience. Holy fuck. That sounds like a prize package worth over $10,000. Without Bob Barker giving him a new car… That’s a big prize for such a small amount of time. There’s gotta be a catch.

Tim: ok you know I want that, but what’s the catch? That’s a big ass payment.

Lucy: well it’s a movie sing-a-long, and for at least 2 of those songs, I’d be up there singing to you… fully clothed, get your mind out of the gutter.. geez… but I might kindasortamaybe be touching you while singing…. and putting your hands on me… we can practice so you don’t freak out from the noise, etc.

Tim’s brain short circuited at the thought of Lucy singing to him in her sultry voice while they are on stage and people would be watching and cheering apparently….. So many possibilities , so many fantasies… I am so screwed.

Tim: I’m in. Done.

Lucy squealed with delight, clapping…. She bounced a few times, then reached out and grabbed his shirt and kissed him.. - “Thank you so much! Gretchen’s gonna love it!”

—————

#black-leather-pants #what movie could I be hinting at? #northern-neighbor inspiration

#chenford #tim bradford #lucy chen #baby oil that man’s chest.

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octobergraves · 1 year

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i just think sweeney todd would be 100x better if benjamin barker went to and stayed in jail and and lucy was the one who came back looking for revenge, disguised as a man. basically nothing would have to change. the song Pretty Women would be much more powerful if the woman whose life was ripped away from her was singing to the man who did the ripping about how Beautiful and Lovely Women Are as she slices his throat. im just saying.

#also lucy and mrs lovett can still be lovers. as a treat.#dismiss the bis #i think about this daily btw

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demonbarberofbeepbeep · 2 months

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crazy how Lucy Barker and Benjamin Barker both assume new identities in response to Judge Turpin destroying their lives, but in totally different ways. Benjamin Barker becomes Sweeney Todd by a calculated choice, assuming a new identity so he can get his revenge:

as Sweeney he is the aggressor, acting on the world, making schemes, inflicting violence on others.

he holds the memory of his wife and daughter in his heart while he turns himself into a killer. it drives him and he ruminates on them daily, living in the past, unable to move on.

Lucy Barker becomes the Beggar Woman by a different sort of choice: the desperate suicide attempt of a broken woman who has been pushed beyond what she can endure. where Sweeney turns his pain outwards and turns to violence, she turns self-destructive. as the Beggar Woman, she is victimized daily, scorned, mocked, re-enacting her trauma through degrading street prostitution, re-living how her former purity and status as a mother was ripped away from her and she was discarded like trash.

and where Benjamin has his memories, she has fragments. vague insistent feelings without context. an instinct to stay around Fleet Street, to linger under the window of Judge Turpin's pretty ward, though she couldn't remember exactly why. Sweeney is deadly focused and obsessive. the Beggar Woman is fragmented, haunted, and victimized. when their family was torn apart, they were both changed irrevocably. they are both tragic shadow versions of the father and mother, husband and wife they used to be. and the saddest thing is they became unrecognizable to each other.

#lucy barker #benjamin barker #sweeney todd

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johnnymundano · 5 years

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Sleepwalkers (1992)

Directed by Mick Garris

Screenplay by Stephen King

Music by Nicholas Pike

Country: United States

Running time: 91 minutes

CAST

Brian Krause as Charles Brady

Alice Krige as Mary Brady

Mädchen Amick as Tanya Robertson

Sparks the cat as Clovis

Lyman Ward as Donald Robertson

Cindy Pickett as Helen Robertson

Ron Perlman as Captain Soames

Jim Haynie as Sheriff Ira Stevens

Dan Martin as Deputy Andy Simpson

Lucy Boryer as Jeanette

Glenn Shadix as Mr. Fallows

Stephen King as Cemetery Caretaker

John Landis as Lab Technician

Joe Dante as Lab Assistant

Clive Barker as Forensic Tech

Tobe Hooper as Forensic Tech

Mark Hamill as Sheriff Jenkins

I have no beef with Stephen King, let’s get that out upfront. I’m not one of those “Yeah, but it’s not proper books is it?” chancers who churlishly resent his Medal for Distinguished Contribution (lifetime) to American Letters. Nope, not me. But Sleepwalkers is a real honker. It’s stoopid, hyuk-hyuk, pick your nose in church, comic book bullshit. And purposely so. Crap like this doesn’t happen by accident. And King is totally responsible for this. There’s no “Wah! Someone took my script and made a shitshow of it” excuse here. Sleepwalkers is often called (as it is onscreen) Stephen King’s Sleepwalkers; the guy’s all over this one. It’s even an original script (maybe, I hear, based on an unpublished story; I didn’t check but I’m pretty sure the only things remaining unpublished by Stephen King in 2019 are his notes to the milkman. And they are due out next year from Subterranean Press, in a limited edition that costs more than a week’s shopping for a small family.) The script is his and so is the director; King personally pushed for Mick Garris, and King got Mick Garris. Even the songs on the soundtrack are pure Stephen King too; old timey R’n’R like at the sock hop where Cindy Lou showed you her woo-woo, mixed with that special kind of shitty heavy rock liked by confused men who think having hair like a girl in a shampoo advert is a signifier of raw masculinity. Other than composing and playing the instrumental score on a home-made kazoo personally, could Sleepwalkers be any more Stephen King? No.

For some unhappy reason whenever he gets any substantial control over a movie King’s IQ plummets to room temperature and all his worst impulses leap to the fore like randy cats. (I submit to the jury Maximum Overdrive (Dir: Stephen King, 1986), m’lud; the prosecution rests.) I think (maybe) King, bless his cotton socks, is trying to recreate the cinema of his youth; stuff like The Blob (1958), Them! (1954), Invaders From Mars (1953) and I Married A Monster From Outer Space (1958). The pulp fun cinema of a dead age. Unfortunately for King, those people back then were trying to make the best movie they could; the pop culture magic which ensured their success and longevity was purely unintentional and completely impervious to intelligent creation. King’s forays into movies seem to be trying to reverse engineer serendipity; a fools’ errand that results in foolish movies. Movies like Sleepwalkers.

The impulse to gravitate to camp seems ingrained in Cinematic King. Even when he just does one of his almost ubiquitous cameos, he often fails to resist the temptation to goof about like some brain damaged hayseed on a 1960s sit-com. If someone, Criterion maybe, went back and dubbed a pant-ripping fart over all Alfred Hitchcock’s onscreen cameos we’d be approaching the same ballpark of screen disruption as a Stephen King cameo. Of course he has a cameo in Sleepwalkers. A talking cameo at that as a “cemetery caretaker”, and King confounds expectations by playing it like some brain damaged hayseed on a 1960s sit-com. Even better, his unnecessary cameo bounces off unnecessary cameos by Tobe Hooper and Clive Barker; it’s like the business of the movie pauses for a couple of minutes purely so King can piss about with his mates. This is swiftly followed by cameos from John Landis and Joe Dante who, er, say some “lab” stuff I missed because Joe Dante’s hair is so…fascinating. I don’t mind cameos as long as they are unobtrusive but these might as well be announced by dancing girls and a marching band. At least all the characters aren’t called stuff like “Officer Hooper” or “Mayor Corman”; that shit gets old real quick.

As anyone who has ever cleaned out a litter box can tell you, another kind of shit that gets old quick is cat shit. There are a lot of cats in Sleepwalkers, the hero even turns out to be a cat, Clovis by name. In fact Sparks the cat, as Clovis, gives the third best performance in the movie, behind Mädchen Amick and Alice Krige. Mädchen Amick is undeniably great here. She’s totally pleasant and nicer than nice without making you want to choke on your own fist. There’s an exuberant scene of her dancing to a song Stephen King obviously likes, in the lobby of a cinema, which is a very lovely scene and she continues to be a refreshing presence throughout the movie. Alice Krige is also good value, striking a nice balance between vile and vulnerable; she acts like her no doubt soon-to-be-fired agent told her she’s in a serious movie. Everyone else seems to have received a script with “Camp It The Fuck Up, Daddio! Love, Steve-o” scrawled across it, probably in crayon. Were that the case, then everyone performs superlatively. The usually fine actor and generally welcome screen presence Ron Perlman, particularly, thunders through every scene he’s in like subtlety is a crime.

Maybe in the world of Sleepwalkers subtlety is a crime. Because the world of Sleepwalkers is a funny world, one where werecat son and werecat mom Charles and Mary Brady (Brian Krause and Alice Krige) wander about feeding off the psychic energy of virgins, enthusiastically incesting and driving fast muscle cars. For some reason they also feel it necessary for Charles to attend school which, you might think, would create a lot of complications for a nomadic couple who need to keep off the authorities’ radar. If you did think that, you would have put more thought into this set up than Stephen King. These werecat people can make themselves invisible; okay. They can also make their car invisible; um. And they can make their car change into another car; er, no; sometimes it will turn back into the old car if they don’t concentrate; so, wait, the car is real but also an illusion? But how can they drive an illusion? So it must be a real car, but…oh God, make it stop. And mom werecat has to stay at home while son werecat goes out and gets the virgin energy to feed to her. If the mom werecat can only be fed by her offspring, how did she survive long enough to have offspring? Or is it just that mom werecats are all agoraphobic? Also, the werecat people look like humans unless they are reflected in a mirror (but only when the script remembers) and they, uh, still leave mirrors up in their house so visitors can narrowly miss seeing their true nature. Oh, yeah, obviously, normal cats are the werecats’ natural enemy and in the world of Sleepwalkers police officers can have their cat in the car with them, which is lucky because the proximity of a normal cat also causes the werecat to reveal its true nature. Unfortunately, once revealed, their true nature of a werecat is remarkably similar to someone with jaundice who has lost an enormous amount of weight very rapidly, all topped by a big bald cat head. In summary: ancient Egyptians liked cats, cats are magic but werecats are nasty and really bad and not very good at keeping their existence a secret, but they do their homework and drive cars Stephen King would doubtless describe as “bitchin’”.

I should probably say that Mick Garris’ direction is fine, and sometimes very good indeed and I did enjoy his use of ‘80s horror movie lighting techniques. But I really want to point out that Mick Garris has written some very good horror fiction himself; well worth seeking out. As is Sleepwalkers; but you need to know what you are getting: entertaining nonsense, a kind of retro-crap honestly proffered in the spirit of drive-in goofballery. Essentially though, you can never shake off the feeling that Sleepwalkers exists purely because Stephen King came up with the scene where someone is killed by a corn on the cob and then built a ramshackle movie around that. Unfortunately it’s not a very good movie. But it is entertaining. M-O-O-N, that spells entertaining. Laws, yes!

#Sleepwalkers #Stephen King #Mick Garris #Movies #Horror #Alice Krige #Ron Perlman #Sparks the cat #Mädchen Amick #United States #The 1990s #1992

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thexwanderingxsouls · 4 years

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1) Which of your muses is hardest to ship with? Which is the easiest?9) Do you plan to add more muses to your roster? 14) What previous platforms have you written on?

1. Which of your muses is hardest to ship with? Which is the easiest?

Azalea is absolutely the hardest to ship with - She has a cargo carrier of past baggage and trauma that she has to work through and it has made her tough, hard, and incredibly untrusting of most people, especially men. She’s a hard nut to crack, but it’s possible. Lily or Delaney would probably be the easiest. Lily is inherently trusting of most people and a hopeless romantic, sometimes to a fault. Delaney is a hedonist and is open to most any mutually satisfying experiences, emotionally or sexually, with others.

9. Do you plan to add more muses to your roster?

Not at this time. I’m extremely busy outside of Tumblr and I’ve had issues in the past with overwhelming myself with too many characters or two many blogs/groups. For now, I’m only playing from this blog and with the six ladies currently established. That being said, I’m willing to do one-off oc’s for specific threads if requested.

14. What previous platforms have you written on?

Oh lord, you’re going to make me actually think, aren’t you Nonny? I’ve rp’d for about 15-16 years on and off. I started when I was thirteen in the AIM chat rooms. I then moved to the Yahoo user rooms (RIP user-created rooms). I wrote on a few online forums, but please don’t ask me their names - I have a massive case of CRS (Can’t Remember Shit). Did a bit of indie rp on Tumblr as Johanna Barker from Sweeney Todd, Helga from Cabaret, and Lucy from Jekyll & Hyde. Joined a few groups and found that I didn’t suit the group lifestyle. Now I’m back to the indie world and trying to get back up and running - Honestly afraid that I’m not good enough anymore, but we’ll see.

#answered #Anonymous #ooc #About: Delaney #About: Azalea #About: Lily

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papermoonloveslucy · 7 years

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LUCY AND MA PARKER

S3;E15 ~ December 21, 1970

Directed by Herbert Kenwith ~ Written by Larry Rhine and Lou Derman

Synopsis

When a woman and two children mysteriously move in next door, Lucy discovers that they're a band of criminals led by Ma Parker. Reporting it to the police, Lucy is recruited to impersonate Ma Parker and help nab a dangerous mob leader.

Regular Cast

Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter), Lucie Arnaz (Kim Carter), Desi Arnaz Jr. (Craig Carter)

Guest Cast

Carole Cook (Ma Parker) played Thelma Green on “The Lucy Show” as well as a host of other characters. She was a protege of Lucille Ball’s during the Desilu Playhouse years. Although born as Mildred Cook, Ball suggested she take the name Carole, in honor of Lucy’s great friend, Carole Lombard. Cook appeared in five episodes of “Here’s Lucy.”

After many years of playing supporting characters opposite Lucille Ball, Carole Cook finally guest stars in a title role.

Billy Curtis (Herman Golab) was born Luigi Curto in 1909. He appeared as one of the Munchkins in The Wizard of Oz (1939). Although Curtis was a singer, his munchkin singing voice was dubbed by Pinto Colvig, who voiced all the dogs in 1964's “Lucy is Her Own Lawyer” (TLS S2;E23). He famously played McDonald's Mayor McCheese from its creation until his death. The character was retired when Curtis died in 1988.

Curtis's first job was as a shoe salesman, so it is coincidental that his costume resembles Buster Brown. Ironically, cast mate Jerry Maren played Buster Brown on television and radio during the 1950s and 1960s.

Jerry Maren (Milton aka 'Little Mildred') played the Munchkin who hands Dorothy a welcome lollipop in The Wizard of Oz (1939). Like Curtis, he also did commercials for McDonald's, mostly as the Hamburglar.

Mildred is Carole Cook's birth name. The character is costumed in the style of Shirley Temple.

Harry Hickox (Lieutenant L. Hickox, below left) was best known for playing anvil salesman Charlie Cowell in the 1962 film The Music Man. He played a drill sergeant in “Lucy Gets Caught Up in the Draft” (TLS S5;E9). This is the second of his three episodes of “Here’s Lucy,” all as policemen.

The character was named after Lucy and Desi’s real-life business manager and Desilu vice-president Andrew Hickox. It was also given to a character played by Charles Lane in “The Business Manager” (ILL S4;E1).

Stafford Repp (Police Detective Halloran, above right) made a career of playing policemen even before he became famous as Chief O'Hara on TV’s “Batman” (1966-68). He played two different officers of the law on “Dennis the Menace” in 1962 and 1963, alongside Gale Gordon. Repp made two appearances on “The Lucy Show,” but this is his only “Here's Lucy” episode.

The character is never addressed by name in the dialogue.

Emile Autuori (Waiter at the Red Devil) makes the first of his six appearances on “Here's Lucy.” He passed away in early 2017. He was the uncle of writer / director P.J. Castalleneta.

Marc Lawrence (Joe Grapefruit) appeared on Broadway in three plays with the Group Theatre. On screen, Lawrence specialized in playing gangster roles. He will also appear in “Lucy and Mannix Are Held Hostage” (S4;E4). Coincidentally, Lawrence appeared in three episodes of “Mannix,” which was a Desilu show.

Joe Grapefruit is a mobster from Chicago.

Boyd 'Red' Morgan (Muggsy, above center) was an actor and stunt man who was seen in “Lucy and John Wayne” (TLS S5;E10), with whom he did eleven films. This is the third of his four episodes of “Here’s Lucy.”

Morgan was cast because the character takes a hit to the face and falls off a chair just as he did in “Lucy, the American Mother” (S3;E7).

Mickey Martin (Customer #1 at the Red Devil, uncredited, below center) appeared with Lucille Ball in the 1934 film Kid Millions starring Eddie Cantor. He was also an uncredited extra in the 1947 Elizabeth Taylor film Cynthia. This is the last of his three episodes of “Here’s Lucy.”

Orwin Harvey (Customer #2 at the Red Devil, above left) was an actor and stuntman who played one of the singing and dancing teamsters in “Lucy Helps Ken Berry” (TLS S6;E21). This is one of his six appearances on “Here’s Lucy.”

Harvey plays the burly man at the bar that Lucy lifts over her head. Both Customer #1 and #2 do not have any dialogue but were cast for their size.

Tony Dante (Customer of the Red Devil, uncredited) made more than 20 uncredited appearances on Desilu's “The Untouchables.” He also did two episodes of “The Lucy Show.” Walter Smith (Customer of the Red Devil, uncredited) made 13 mostly uncredited appearances on the series. He also did one episode of “The Lucy Show.”

Other customers and staff of the Red Devil are played by uncredited background performers.

On the series DVD, the episode is introduced by Carole Cook and Jerry Maren, who says that the next day on the golf course he was ribbed for playing 'Little Mildred'!

The title character is a parody of Kate 'Ma' Barker (inset), the mother of several criminals who ran the Barker gang in the 1930s. She traveled with her sons during their criminal careers. She was previously mentioned in “Lucy and the Great Bank Robbery” (TLS S3;E5).

In 2007, Jerry Maren (Milton) appeared at Jamestown's annual Lucille Ball Festival to discuss filming this episode. While being interviewed, he received a surprise phone call from Desi Arnaz Jr.

Ma Parker was also the name of one of TV’s “Batman” villains. She was played by Shelley Winters (inset), who guest starred on a 1968 episode of “Here's Lucy.” Winters is just one of many actors who performed on both “Batman” and “Lucy”.

When Lucy gets her head stuck in the hedge while spying on the neighbors, Kim calls her mother “Snoopy Sales.” Milton Supman (aka Soupy Sales, 1926-2009) was best known for his local and network children's television show, “Lunch with Soupy Sales” (1953-66), a series of comedy sketches frequently ending with Sales receiving a pie in the face, which became his trademark. From 1968 to 1975, he was a regular panelist on the syndicated revival of “What's My Line?”

When Lucy picks up the garden hose, a napping Harry is awakened by a shower. The well-known “Here's Lucy” formula: Harry + Garden Hose = Wet!

Typical of Lucille Ball's sitcom style (and the overall tone of this episode), the 'children' are dressed in outfits that are vaudeville stereotypes of children, not as children would be in 1970.

Lucy gives the 'children' lollipops; appropriate since Jerry Maren played one of the Lollipop Guild in The Wizard of Oz (1939). Additionally, Lucy carries a basket similar to Dorothy Gale's.

Lucy Ricardo was suspicious of her “New Neighbors” (ILL S1;E21) who were also suspected criminals (suspected by Lucy, that is). Lucy disguised herself as an armchair and hid in their closet to spy on them!

Lucy Carmichael developed super-human strength in “Lucy, the Super Woman” (TLS S4;E26).

Skill Set! Lucy sits down at Ma Parker's piano to sing the neighborhood welcome song, but Lucy Carter has never been able to play the piano, just the saxophone and the ukulele.

Props! The stein on Ma Parker's end table is the same one seen in in Rudy Vallee's living room table in “Lucy and Rudy Vallee” (S3;E12).

Foy Flaw! In the medium shots of Customer #2 at the bar, the wires that will help Lucy lift him in the air can be seen.

When Lieutenant Hickox (disguised as waiter) handcuffs Joe Grapefruit, he also must rip off his false beard with the other hand. Unfortunately, half his mustache stays glued to his face. He quickly does a second motion and rips it off, too!

“Lucy and Ma Parker” rates 1 Paper Heart out of 5

The scene where Lucy visits Ma Parker as part of the neighborhood welcome wagon feels like a satire or a sketch show – something Lucy and company might act out in one of their musical episodes, but lacks any sense of reality. Lucy behaves in a presentational manner as if she's putting on an act. I suppose that is what she felt necessary to pull off the premise of not recognizing adult little people in costumes. But when she mistakes actual machine gun fire for cork bullets and lifts a big man over her head, well... so much for Lucille Ball's credo of sticking close to the truth. The final scene is missing one key element – the 'real' Ma Parker! Additionally, some of the comedy in this episode is derived from insulting remarks and jokes about little people. In 1970 the term 'midget' was still socially acceptable.

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