Can't stop thinking about the concept of post-Scream (1996) and Billy and Stu's spirits being tied to Sidney for whatever reason. Maybe it's penance. Maybe it's unfinished business. Maybe they never figure it out. But they're just kind of stuck following her.
And maybe it takes her a while to notice. Maybe it takes Billy and Stu a while to become proficient enough at haunting for her to see/hear them and for them to be able to interact with objects or the living. At first they're not even sure they want Sid to know they're there.
But it eventually happens. And NONE of them are thrilled about the situation. For a long while. Maybe Stu finds it kind of funny, but Billy and Sid are PISSED. Billy & Stu aren't always around, though. They sometimes disappear for hours or even days at a time, but they always come back. They have no choice.
They follow Sidney to Windsor College, mock her choice in studies, and cannot stand her boyfriend Derek ("He's so corny it's painful, Sid.") And although Billy & Stu love finding out that they've inspired their own horror movie, they DON'T appreciate the new Ghostface(s) targeting Sidney. Sidney was THEIR final girl and she beat them fair and square. This New Guy should be more original, in their opinion.
When Sidney is distraught over Randy's untimely murder, Billy & Stu are actually a little bummed for her. And him. Stu was even rooting for them a bit. Thought Sid & Randy would have been cute together, but oh well.
And maybe Billy still hates Sidney, but he kind of respects her. He was once genuinely in love with her, before everything. Maybe Stu, who only ever got involved for funsies (and because he'd follow Billy to the ends of the earth) is even a little attached to her. So maybe they do their ghostly best to watch out for her (not that they'd actually tell her this, of course).
And when Billy eventually finds out one of the Ghostface killers was his mom, he spirals a bit (because why does she care NOW but not before he died? What right did she even have to be angry? SHE left HIM). And all Sidney can tell him is "Well, she's dead now."
After Sidney escapes death yet again following the Hollywood murders, she has to deal with several weeks of a falling out between her ghosts. Stu was there, he heard what Roman said about giving Billy pointers. About having a partner he could sell out if need be. And that had hurt more than any knife or smashed TV ever could.
(After a few weeks and with mediation from Sid, Billy finally confesses he never planned to sell Stu out. Only liked the idea of a partner, of not being alone, and Stu was the only person in the world Billy trusted with his life. And who Billy knew was unhinged enough to agree to murder for his friend. Getting this information out of Billy is like pulling teeth because not even death has cured his emotional constipation.)
And this just continues on through the franchise. And despite the fact that Sidney will never forgive Billy & Stu for what they did, she gets used to their presence. Even eventually begins to appreciate them, as fucked up as it is. They become a familiar constant in her life.
When they tease or mock her, Sid's not afraid to remind Stu that she dropped a TV on his face. Or that she put a bullet between Billy's eyes and would gladly do it again. But funny enough, she eventually says these things with very little malice. It's almost like a fun little inside joke. And to be fair, Stu can't think of a more ironic way for him to have died. He gets giggly about it sometimes.
They make fun of Sidney when she starts dating her eventual husband. They make fun of her even harder while she's pregnant because she's often tired, sore, and easily irritated. And while neither Billy nor Stu are big fans of kids, they have to admit Sid and Mark make some pretty cute ones.
Sidney is the one to break the news to Billy, "Congratulations, it's a girl" but 25 years late. She also has to break the news that his daughter is the latest target. And that Stu's nephew was already a victim. Both ghosts are left reeling over this information. Stu is weirdly disappointed to find out Billy cheated on Sid.
("Really, Billy? Didn't you plan an entire murder all because your dad cheated on your mom? And then you had the nerve...?!"
"Stu, while I appreciate you coming to my defense, I find it... fascinating that you're fine with murder but infidelity is where you draw the morality line."
"It's the hypocrisy, Sid! And you didn't deserve that."
"You literally both tried to murder me."
"... not the point, Sid."
If Billy wasn't so flabbergasted at the time, he might have felt more ashamed and embarrassed.)
When Sidney realizes what house Sam is at, Billy & Stu stay with her as she rushes headfirst into danger. All 3 of them are a little sick at setting foot back in that house. Billy & Stu are downright disgusted when they realize the killers are once again The Boyfriend and The Friend. ("Have some fucking originality, I am begging these kids.")
Billy later ends up genuinely thanking Sidney for helping save his daughter. They laugh over the irony of it all. Stu thinks about how Sam reminds him a lot of Sid, weirdly enough. But also of Billy, in some ways. He doesn't say these things out loud. But he does feel oddly protective of the young woman.
And I honestly have no idea how or when to end this concept, it could theoretically go on for decades... but I'm def obsessed with the idea obviously. So, if you actually read through all this (thank you and) feel free to expand upon the idea.
Maybe one day I'll get my shit together and write it out in detail myself. But probably not. BUT MAYBE.
UPDATE: after tons of positive feedback and although I am absolutely shitting myself with nerves, I have officially posted the first chapter of The Ghosts of Our Past for anyone interested.
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the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.
capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.
now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.
and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.
and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.
and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".
it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"
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Lately, I've been thinking about Mithrun and the ways he is dehumanized in canon.
Before I get started, we know that elven society is incredibly afraid of death and illness. This is obvious in how they look down on the short lived races and see them as weak and childlike. We also know that Mithrun himself had ableist views toward his brother and these values did not leave him once he, himself, became disabled. He is a product of the society that raised him, but I also think how Mithrun is currently being treated contributes to his view of himself.
Mithrun has had three different caretaking groups over the years. The first are the ones his brother hired for him. From what we can see, they did the job, but we can understand that they did not know what to do with him. No one had ever recovered from having their desires eaten so the focus was less on rehabilitation and more on keeping him alive.
Later we see Milsiril take an interest in him because of his desire to return to the dungeon. Since she did not bother to visit him for decades after finding him, we can assume that there is an ulterior motive here. Timeline-wise, this was when the majority of the canaries had just been wiped out. They needed more men, and Mithrun is set up to be the perfect single-focused soldier.
Honestly, we can assume that Milsiril doesn't really care about him or see him as a person. Mithrun is just a new project for her to play with. We can see this in how she's focused on superficial level concerns like the fact that he doesn't look nice and wanting him to be overly grateful toward her. She also talks about him like he's not in the room and can't hear her. This is a dehumanizing trait shared by many characters when talking about Mithrun.
When he finally does recover enough to return to the canaries, the military does not make any effort to accommodate his needs. We know the canaries are understaffed and the ethics are already bad, but they really did not even try to care about Mithrun's safety at all.
Entrusting a criminal with his care was questionable at best, especially when Cithis immediately took the opportunity to abuse her power over him and no one stopped her.
While acknowledging the light-hearted nature of the manga, it's uncomfortable that Mithrun was treated like a child and an animal by Cithis for her amusement. Regardless of her 'learning to respect him' later, the point is that Mithrun was taken advantage of and degraded because she believed he couldn't say no. No one bothered to do anything about this until Pattadol yelled at her.
Truly his treatment is summarized well by Milsiril here. Mithrun is extremely vulnerable to being abused by those taking care of him because he won't advocate for himself. He has one desire so he won't fight for himself in any other way.
It is obvious that Mithrun was not treated well by his caretakers and this has resulted in him identifying his needs through a disconnected and frankly, infantilizing lens.
I understand that it may have been a translator's decision, but I always thought it was interesting that Mithrun says that he's "not sleepy" which is a childish term. Otherwise, he speaks like everyone else, if not rather posh.
This, followed by the fact that he is responsive to Kabru treating him like a literal infant to get him to eat, paints a clear picture of the fact that Mithrun is not unfamiliar with being treated like this. He responds to it because he's used to it and has no desire to argue with being treated this way. When we consider the fact that the chapter started with Milsiril treating an older child Kabru in the same way, it is likely that she also did the same thing to Mithrun when he was under her care.
In these panels, we see that Mithrun does not believe that he can sleep without magical assistance, even though it is immediately refuted when Kabru takes the time to bundle him up and help him relax. Not only does he fully believe he can't sleep without external assistance, but he states directly that there is no point in him getting comfortable.
As Kabru observes, Mithrun's inability to recognize his needs applies to needs such as hunger and exhaustion, but it obviously also applies to emotional needs. Kabru just wanting to feed him something delicious and not wanting him to give up on life is the most consideration someone has given Mithrun in years.
The relationship they form over the course of a single week is enough to shape Mithrun's behaviour completely. Mithrun ignores Cithis's demand in favour of asking Kabru's opinion. It is Kabru's hand Mithrun takes to pull him out of his defeated state. It is Kabru Mithrun confessed his true desire to.
Do you realize how depressing that is? All it took was the new perspectives from Kabru and Senshi to make him consider the fact that he should keep living despite no longer needing to fulfill his duty. Being treated well could have helped Mithrun much sooner and this shift in the way he sees himself contributes to his recovery going forward.
TLDR: Mithrun has no desire to be respected, but why does that make people feel comfortable acting like he doesn't deserve it? Someone not caring about being treated well doesn't give you permission to treat them poorly. This feels like a playschool-level consent lesson: just because he's not saying no to a humiliating or degrading act doesn't mean it's a yes and therefore okay to do. Acknowledging this is the bare minimum of treating him as a person.
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