#+ their dialogue with Doctor sin … the pain …

[magicalcreeks]

Superboy #85 … You will always be famous

[fanaticsnail]

Is this a bullet, Captain?

Hey Doc Masterlist here

Word Count: 840+

Synopsis: Your captain ventures below deck to your office with a grimace on his face and a slight hobble in his step. You wait patiently for him to explain himself, and hope he has learnt a lesson from this experience.

Warnings: surgical talk, mention of a gun, exhausted Doctor, grumpy captain. gn!reader x platonic!Kid, suggestive talk, swearing.

Notes: Thank you to @feral-artistry for sending another video for inspiration for this little character exchange. I love these so much.

Tag List: @mfreedomstuff @daydreamer-in-training @sinning-23

“Hey, Doc?” the booming voice of your captain calls to you from the other side of the door. There is a small quiver in his tone, and an almost desperate twitch in his cadence, “Need ya’, Open up.” 

From your reclined position on the bed enjoying a few moments peace and listening to the music coming from the transponder snail beside you. The lyrics come to a screeching halt as you switch the small device off and walk your way to the door. 

Truthfully, you were shocked it took him this long to make it to your office after the commotion you heard above deck. The large explosive sound, followed by the string of barked explicit dialogue immediately thereafter, had you relaxing yourself and awaiting your captain to sheepishly enter your office. 

As you open the door, you ask him monotonously without an air of humor or teasing in your tone.

“Anything to do with: ‘Oh fuck, oh fuck. It’s in my ass, it’s right in the meat of my ass’, by any chance, Captain?” You usher him inside, watching him hobble over to your surgical table. He passes you with a grumbling grimace and nodding his admission to you. 

Huffing out a soft sigh, you motion him over to the bet and ask him to drop his pants with a small gesture to his belt with your index finger. He growls, using his right hand to loosen his belt and hook his waistband over his hip, scurrying out of his patterned pants. 

“Lay face-down on the bench and tell me what happened,” you order him softly, shaking your head at him as he pouts and huffs his disdain for taking your orders, “What’s in ‘the meat of your ass’?” You place latex gloves over your hands and snap them at the wrists. 

Giving him a once over, you notice there is a fair amount of bleeding and an angry looking indent in his left ass-cheek. Placing your hand on his lower back between the dimples, you reach down and gingerly touch the marking before you huff out your disbelief.

“Is this a bullet, Captain?” you ask him, moving over to the side and readying your surgical pliers and placing it in your hands, “It still in there?”

Kid offers you a soft, mumbled conformational hum in response, burying his forehead in his right forearm to hide his flushing embarrassment over his face. You shake your head at him, applying a numbing cream to the circular hole and beginning to dig around in the entrance wound. 

“And what did we learn?” you ask him in a soft, reflectional tone with a slight tinge of condescension. He growled at you, bringing his furrowed brows and pouting lips away from his forearm and scowling at you. 

“Learnt not to place a marine’s fucking pistol in the back of my pants after disarming them,” he spat before offering you a soft smirk, “At least without checking to see if the thing is loaded.” You shook your head at your captain, huffing out a sigh of absolute exasperation. 

After fishing out the bullet, you placed it down onto the surgical tray with a soft ‘clink’ and began stitching up the hole. Kid hissed through the pain, his grimace morphing into a pout once you informed him you stitched up the incision. 

“All done, Cap,” you inform him, prompting him to look up over his forearm at you with gratuity. He glances over his shoulder and sneers at the exposed stitches. 

“What the fuck you call this?” Kid’s barked breath called over at you as you took off your latex gloves and discarded them. You furrow your brows and look over at him, crossing your arms over your chest.

“Five stitches in your left ass-cheek,” you nod to him, cocking your head to the side and glaring at him. He deepened his frown, looking over his shoulder and back at you again. He growls out at you, pouting like a petulant child. 

“Yeah, I see that, Doc,” he mocks you before sheepishly grasping the back of his neck with a small smile, “I just wanna know where my fuckin’ cool punk-band aid is, is all.” You roll your eyes at him, stalking over to your draw and growling under your breath.

“You’re a pain in my ass,” you huff, fishing out the box of patterned band aids with Kid’s Jolly Roger printed on the exterior. You turn to glare at him over your shoulder, watching as his lips curl into a smirk.

“No, this is a pain in the ass,” Kid gestures to the incision with his giant metal arm, “Now gimme my punk-band aid.” He laid back onto the surgical table and waited to be granted the prize he so desperately sought. 

“Fine,” you relent, unfolding the packaging and reaching down to plaster it over the stitches, “Happy now, Captain?” you scoff, looking down at the red and black pattern over his ass cheek. 

He took one look at it and released a breathy snort through his nose with his laughter. 

“Ecstatic, Doc.” 

[lifblogs]

AO3 Meme

Tagged by: @evilwriter37

How many works do you have on AO3?

522

What is your AO3 word count?

1,600,350 words

How many fandoms have you written for, and what are they?

25

Supernatural

Star Wars

Chilling Adventures of Sabrina

The 100

Lucifer

Tales of Arcadia

Avatar: The Last Airbender

Good Omens

Teen Wolf

The Umbrella Academy

Gone Series

Frozen

She-Ra

How to Train Your Dragon

The Hobbit

MCU

Doctor Who

Agents of S.H.I.E.L.D.

The Trials of Apollo

Ranger's Apprentice

Onward

Jessica Jones

Wax and Wayne Series

Throne of Glass

Victorious

What are your top 5 fics by kudos?

The Laws of Infernality

Morningstar

Take Me Home

Ineffable

Forever

I'm really shocked by this. Really? Only Take Me Home is one of my favorites on here.

Do you respond to comments? Why or why not?

Yes, because I love interacting with my readers.

What's the fic you've written with the angstiest ending?

Definitely my mini-series called Where because Dean and Cas have been killed, Sam mercy-killed Jack, the universe is destroyed, and now only Sam and Lucifer exist, and Sam is going to be tortured for forever.

Do you write cross-overs?

I've written a few for Supernatural and Teen Wolf. I'll probably write some more.

Have you ever received hate on a fic?

Come on, this is me we're talking about.

Do you write smut? If so, what kind?

Yes. I don't know what this question means by what kind, but I've written m/f, and m/m, and I want to write f/f (I'm just nervous because I'm not sure how comfortable I am with that part of my own sexuality).

Have you ever had a fic stolen?

Not that I'm aware of.

Have you ever had a fic translated?

I think so? Can't exactly remember.

What's your all time favorite ship?

Terrible question. Moving on.

Okay, not really. I just have too many ships that I absolutely love.

Whoufflé/Whouffaldi

Destiel

Deckerstar

Reylo

Anidala

Samifer

What's a WIP you want to finish but don't think you ever will?

Oh god, maybe Livin In You because that's not what I normally write. Also probably Imperium because that's just... a lot, and I also have to basically restart it.

What are your writing strengths?

No idea. Comedy, probably. Fight scenes, describing pain. Angst, hopefully. For awhile there I was really good with opening sentences. Dialogue for sure.

What are your writing weaknesses?

Pacing. Used to not have this weakness, but now: finishing longer works. Setting description.

What are your thoughts on writing dialogue in other languages in a fic?

I only do it sometimes, but only if the character is horribly mispronouncing it and doesn't actually know the language (*cough* Dean Winchester *cough*). So just for comedic purposes. Other than that I would just specify that they're speaking in another language.

What was the first fandom you wrote for?

Doctor Who, but that was a train wreck and three quarters.

What's your favorite fic that you've written?

Oh fuck. No fucking clue. Maybe Deathless, or The Sins of Heaven.

Tagging: @suncaptor, @puirell, @ashleybenlove, @felix-the-white-wolf, and @thepagemasternerd

[deepdarkdelights]

Content Tag Game!

Thank you @yoongsisbae for tagging me! I love Handshakes of a Lifetime, by the way, it feeds my need for OT7 wonderfully 😫💜

1. what fandoms have you written for (but do not currently)?

Oh boy, okay: Twilight, Black Butler, Attack on Titan, My Hero Academia, Teen Wolf, Young Justice, Batman Arkham Knight (video game), Marvel, Once Upon A Time, Narnia, Doctor Who, Rise of The Guardians, HTTYD, Fable (video game series), Percy Jackson

2. what fandoms are you currently writing for?

BTS 💜

3. how long have you been writing?

Okay, this is kind of weird, I wrote my first fanfiction when I was nine but never published it, when I was twelve I began posting to Quotev and Wattpad so I would say...eight years? I refuse to look back at either accounts because my writing was horrendous...I was a child.

4. on which platforms do you post your stories?

At this point in time, Tumblr and ao3.

5. what is your favorite genre to write?

Dark / Yandere / Horror. Anything that would make you freaked out I guess 😅

6. are you a pantser or a planner?

Uh, a bit of both? I usually have an idea of what I want to happen in a story so I have a vague outline, but as I am writing I tend to add more things and branch out from the plan. When I first started writing and posting to Tumblr, I used automatic writing and was a full-fledged pantser.

7. one-shot or multi-chapter?

If I had to choose, one shot. I feel less tied down and not as pressured to write when it comes to a one-shot. I would like to make a multi-chapter story one day though!

8. what is the perfect chapter length in your opinion?

I like usually something longer, so anywhere from 6-10k is good for me.

9. what is your longest published story? is it complete?

Actually, 10 Seconds is my longest story because it has multiple chapters. At this point in time, it is 38,250k.

10. which story did you enjoy working on the most?

Hmmmmm, probably Predator. It was my first fic after the end of The Bouquet Series and I got to flex more of my creativity and relax with it. It was fun to play with more classic horror tropes as well.

11. favorite request you’ve written and why?

I don't really take requests, I did ask for help in writing Tae's fic for The Bouquet Series and I had two asks that suggested an actor element and that was how Cut was made! So, that 😂

12. are there reoccurring themes in your stories?

Hm, the concept of time is rather prevalent in a lot of my fics now that I think about it. Weather and location are reoccurring, I like to write scenes in forests or scenes with rain. I think another common theme is not to trust grandmothers as funny as that is, in two fics we have had grandmas with bad intentions! Also, references to good and evil, Hades and Persephone, Adam and Eve, temptation, as well as predator and prey dynamics.

13. current number of wips?

Three! One is currently being written, and the other two are in the planning phases.

14. three things you have noticed about your own writing?

(1) It's fucking long 😂. I always go in with a plan to write something shorter, 8k max, and I always end with a fucking monster of a story. I also tend to overexplain, I think. (2) A lot of my writing is describing an action, facial expressions, scenes, and inner monologue. I think that is my way of trying to immerse readers or make them see my exact vision. But it can be pretty tedious and probably boring to read. I need more dialogue too, I feel like I spend too much time showing instead of telling. (3) Sometimes I think I sound like a high and mighty asshole like I am trying too hard to be profound or something so I try to dial it back a bit.

15. a quote you like from a published story.

"He could tell she had injured her head as well, scarlet drops of blood had streamed down the contours of her face and a pool of blood had formed beneath her sprawled tresses. She looked like she had a crimson halo beneath her head, carving its way into the soft, white snow under her. She was ethereal, like an angel that he had found just after they had been dropped from heaven. Forever resting, forever beautiful, and forever young." (The Stranger)

16. a quote from an unpublished story.

"Loving you has been the one pain I always want to endure. Being with you sets my heart on fire, it makes my muscles ache, it makes my lungs burn, and everything so much more complicated. But it’s the best brand of pain I could ask for.”

17. a space for you to say something to your readers.

Hi! I hope you enjoyed learning more about me and my writing if you stopped by and read this! I have been having a tough time writing as of late, but doing little things like this has made me very happy and has made me want to write more often! I am still working on my next fic, progress is going a little slower though. School starts soon too and I am going to be working two jobs and hopefully going back to cheerleading. So let's spend as much time together as we can before I get busy again! I am still aiming to write during the school year so wish me luck! Thank you for reading 💜

I tag: @chummywchimmy @chimchimsauce @chaoticpuff17 @sinning-on-a-sunday @celestial-moonlight @unfurlingtwinklingstarx @scribblemetaetwo

[kill-your-authors]

Hundred Year Exile Thoughts

I’m really torn on everyone’s interpretations of who suggested a hundred year exile for Booker and how likely everyone is of holding to that hundred years. 

On the one hand, I’m pretty sure in the bar scene at the end of the movie, the only dialogue we hear over the sound of the music playing is Joe saying, “I’m at one,” (and I never see anyone else discussing this so I’m half-convinced I’ve made it up) which I interpreted as shorthand for one hundred, and therefore initially believed that Joe suggested the one hundred year exile. 

And I guess on the surface, it appears to make the most sense, because Joe is the most outspoken about Booker’s betrayal while they’re still in the lab, and it’s Nicky who is trying to calm Joe down and stop him from saying harsh things to Booker. 

However, someone more observant than me (and again I reliably have no post to link to give proper credit, but know that I didn’t notice this) pointed out that once Booker’s betrayal is exposed, Nicky is the only one who cuts communication off completely. With everyone else, we see something happen between them. Booker and Nile talk about her family and we know from what Andy says Nile wouldn’t have even punished him. Booker also says goodbye to Andy, who leaves him on an ambiguously hopeful note of “Have a little faith.” And of course there’s Joe and Booker arguing in the lab over his betrayal. But Nicky never says anything to Booker, never even looks at him. 

And the thing is I can see Nicky expressing anger and hurt in this way. I can’t see him being the type when angry or upset to throw low-blows at the person he’s mad at, or try to escalate the argument by yelling at or insulting the person. I think it’s very true to his character to be angry with someone and on principle, not fuel that anger with an argument. I think he’s probably very much the type of person, who, when angry, leaves the room or house or whatever to cool off, and is probably the type to not confront that anger until he knows he can do so calmly and peacefully. He doesn’t want to make things worse, he doesn’t want to say things he doesn’t mean, and he doesn’t see the point in trying to argue when the damage is done and can’t be repaired any time soon regardless of how much he and the person he’s angry with talk about what that person’s done. 

While Joe on the other hand, I think is quite the opposite. We see very clearly that he’s the type to wear his heart on his sleeve and he’s a very impassioned man who I don’t think holds back what he’s feeling at any given moment. When he’s happy he’s very visibly happy, when his love for Nicky is challenged he’s very openly romantic, and when a friend has hurt him he is visibly hurt. That being said, Joe, by definition of his origin story with Nicky, literally can’t be a grudge-holder. He literally can’t be the type to “Forgive but never forget”. How could he be with Nicky if he was? Both he and Nicky fought in the Crusades but Nicky was undeniably on the wrong side of that war. His side of the war was completely unjustified and Joe, if it was in his nature, would have every right to never forgive Nicky for what he did. But Joe is obviously not that person. He’s obviously not someone who can hold on to anger, even if it’s justified, and even if the wrongdoing was outright evil (Like Nicky was before changing his ways), let alone if that wrongdoing was a misguided decision someone in pain made in an attempt to end that pain. 

And on the other side of that coin, is Nicky, who we can clearly see has established some sort of moral code since the crusades, and very likely because he knows he was on the wrong side of that war. He doesn’t tell Nile, “We do what’s right,” he says, “We do what we think is right,” acknowledging that sometimes, someone can be doing something they think is right that is in fact very very wrong. 

There’s no way Nicky isn’t talking about himself, and isn’t talking about the crusades. The same thing appears to be happening when the doctor testing on them tells Nicky that what she’s doing can change the world, and Nicky says, “A fine justification. I’ve heard it so many times before.” Here, he could easily be referring to himself again. He’s acknowledging that doing something you believe will better the world is a fine justification, but he’s clearly implying that doesn’t make it right. It’s still immoral, as he says it. And between his Catholic upbringing which would have taught him that people need to do penance for their sins, and Nicky establishing a moral code of sorts for himself that he undoubtedly wouldn’t hesitate to apply to himself, it makes a lot of sense that Nicky sooner than Joe, Andy or Nile would hold out for that one hundred years.

Not just because he’s the type to step away when he’s upset to cool off and collect himself before attempting to talk to the person he’s upset with and give them the opportunity to apologize and make up for it in some kind of way, but also because he believes more devoutly than any of the others, due to his history of being on the wrong side, that people have to make up for what they’ve done wrong. There needs to be penance. Nicky believes that in order for someone to be forgiven they have to do more than ask forgiveness. They have to earn it. 

Which is why that line I swear I hear Joe say in the bar, “I’m at one,” confuses the shit out of me. The only way I can think to explain it is either A) at some point in their discussion, a lot more years were on the table than one hundred, and Joe is talking the others - Nicky - down, or B) Joe isn’t suggesting one hundred, but seconding it, after Nicky says it first. If Nicky says it first, and Nile and Andy are opposed, that’s two against one. So Joe seconds it, on Nicky’s side regardless of what he personally feels is necessary in that moment, because he knows Nicky needs it to be that much in order for him to ever wipe the slate clean with Booker, which naturally, Joe - the man capable of not only forgiving someone who fought to slaughter his people, but capable of loving that man once he changed his ways - would want for Nicky and Booker. 

Personally, I headcanon the second theory. 

[ambrosiaicecreem]

93 Fun OC Asks Because Why Not ( Pt 2 / 2 )

oops i’ve had this sitting in my drafts so lets go ahead and finish! courtesy of @natolesims

PHYSICAL PROFILE cont:

47. What’s their pain tolerance like?

Extremely high, due to being a vampire.

48. Do they have any tattoos? What are the stories behind those tattoos?

No tattoos

49. Do they have any piercings?

Just one on both her ears.

50. How would you describe their style of clothing? How would they describe their style of clothing?

EXPENSIVE. If it looks like it came off a runway, odds are it might have just been from the runway. 

51. What is their height? Weight?

Serafina is 6 ft and 165 lbs

52. What is their body type? Are they muscular, chubby, skinny, etc?

Toned and slender

53. What is their hair color? Eye color? Skin tone?

Serafina has dark brown hair, red eyes, and dark brown skin. 

54. What is their current hairstyle? What have been some of their past hairstyles? Which was their favorite hairstyle?

Her current hairstyle is long, thick, wavy brown hair that reaches her lower back. She’s gone through plenty of hairstyles, all depending on what was current for what time period. Her favorite is her natural curls pulled into a ponytail. 

55. What is their alcohol tolerance like? What kind of drunk are they? How bad are their hangovers?

Being a vampire, she’s got a slightly higher alcohol tolerance than a human. She definitely doesn’t get drunk easily, but she’s a loud giddy drunk. Her hangovers are terrible though. She’s in a shit mood and refuses to talk to anybody until she’s over it. 

56. What do they smell like? Why do they smell like this? Is it the things they’re around or a perfume they wear?

Serafina totally uses perfume. Her go to is Giorgio Armani Si Eau de Parfum, which smells like blackcurrant nectar, rose, and white cedarwood. 

57. How do they feel about sex? Are they a virgin?

Serafina is not one to be shy about sex. She doesn’t view it as a big deal, but its because she separates sex and making love. She’s had PLENTY of sexual partners before, but she’s only truly made love to a select few where she allows herself to be vulnerable and not in control. 

58. What is their most noticeable physical attribute?

Her height and her eyes 

59. What does their resting face look like? Do they have RBF?

She’s got THE RBF. She’s where Kass inherited hers from. 

60. Describe the way they sleep.

Serafina prefers to sleep in big beds, no smaller than Queen. 

ENVIRONMENT:

61. Which season is their favorite season?

Summer

62. Have they ever been betrayed? How did it affect their ability to trust others?

She’s totally been betrayed multiple times throughout her long life. Overall, she doesn’t trust people very easily. Being a mother has made her a bit more softer and open to trusting others, but she still has her walls up regardless. 

63. What is always guaranteed to make them smile?

Her kids. Always. 

64. Do they get cold easily? Do they get overheated easily?

Right in the middle. Not too hot, not too cold.

65. What’s their immune system like? Do they get sick often? How do they react to getting sick?

Vampire immune systems are different than human’s. It’s not often she gets sick, so she’s usually surprised when she does. She usually hides away in her room until she feels better. 

66. Where do they live? Do they like it there?

As seen in the Season 1 finale, Serafina has moved to New Brando to be close to her kids. She thinks its nice, but she’ll always prefer her home island out of everywhere she’s lived. 

67. Is their bedroom messy? What about their bathroom? Kitchen? Living room?

Mess doesn’t exist in Serafina’s house if she has anything to say about it. But unfortunately, she does live with 9 year old twin boys, so it’s expected sometimes. 

68 & 69. How did their environment and the people in their environment growing up affect their personality?

She loves the outdoors. Specifically, she loves island life. It’s part of why she was able to make Jamaica her home so quickly. She prefers to be surrounded by plants and water if at all possible. Due to her upbringing amongst the Amazons, she’s headstrong, confident, and has the skills to be a leader.

70. How do they feel about animals? Do they have any pets?

Serafina doesn’t really have much of an opinion on animals. She doesn’t feel the need to have a pet, especially a domesticated animal like a cat or a dog. If she had to have one though, she’d want some tropical bird. She does have an aquarium full of fish in her house, just for the kids. 

71. How are they with children? Do they have any? Do they want any?

Serafina’s pretty mixed when it comes to kids. She’s had MANY children over the span of her life. Even before her kids with Silas, actually. She only ever really saw it as repopulating the island for generations of new Amazons. She never truly grew attached to any of them UNTIL she began to have kids with Silas. Ajax is the first son she’s actually even raised herself. She’s perfectly content with the kids that she has now, and adamantly refuses to have any more. 

72. Would they rather have stability or comfort?

Comfort

73. Do they prefer indoors or outdoors?

Outdoors

74. What weather is their favorite? Do they like storms?

Ironic since she’s a vampire, but sunny weather for sure. Storms are a nuisance more than anything. 

75. If given a blank piece of paper, a pencil, and nothing to do, what would happen?

She’d come up with a list of things that she needs to do for the house. 

76. How organized are they?

Extremely organized. Everything has its place. 

77. What is their most prized possession?

She’s kept a drawing that Helene made for her of their family at the time. It was just before Serafina began her affair and before her relationship with Helene deteriorated the first time around. It’s a reminder of simpler times, really.

78. Who do they consider to be their best friend?

This may come as a surprise.. but Silas. The feeling may not be mutual, but their relationship truly was at its best when they were just friends with each other and not at all in a romance. She would trust Silas with her life, her family’s life, and all of her secrets. 

79. What is their economic situation?

LOADED. It comes from 1. Being alive for nearly 3,000 years and having a bunch of treasures from history and 2. Being a doctor. 

80. Are they a morning person or a night owl?

Night Owl

MISCELLANEOUS:

81. Are they bothered by the sight of blood?

Not at all. 

82. What is their handwriting like?

Just like everything else, her handwriting has to be perfect. It’s quick cursive, but not messy. Always done with a pen, as well. 

83. Can they swim? How well? Do they like to swim?

She’s extremely good at swimming, considering she swam in a storm to save both of the Montolvo brothers all by herself.

84. Which deadly sin do they represent best?

Pride

85. Do they believe in ghosts?

“If vampires can exist, anything can exist.”

86. How do they celebrate holidays? Birthdays?

She LOVES to throw parties. Whatever occasion she can, she’ll do it. It’s a whole different story though when it comes to her birthday. For one, she doesn’t even remember her actual birth date so her kids just picked one for her. She just doesn’t think her “birthday” is all that special, but she’d do everything to make everybody else’s birthdays special. 

87. What is something they regret?

The affair. Now, she doesn’t regret falling in love with Vittorio or anything like that, but she wishes she had just handled everything differently. Her relationship with her kids and Silas would have been so much different if she had just been honest from the start. 

88. Do they have an accent?

Yes.. but it’s kinda like two accents in one? There’s her Greek one, but then it sorta started to blend in just slightly with a Jamaican one. You can really only hear it if you’re paying attention, but once you’ve noticed you can’t unhear it. 

89. What is their D&D alignment?

Chaotic Neutral

90. Are they right or left handed?

Left

91. If they were a tweet, what tweet would they be?

92. Describe them as a John Mulaney gif.

93. What’s the most iconic line of dialogue they’ve ever said?

"Mommy’s home.”

[pamphletstoinspire]

What the Angelic Doctor (St. Thomas Aquinas) Taught on the Nature & Purpose of Purgatory

Those who deny Purgatory speak against the justice of God.  — St. Thomas Aquinas, ST, Supplement, Appendix 2, 1

Does purgatory exist?

Some who deny the existence of purgatory cite Revelation 14:13: “Blessed are the dead who die in the Lord henceforth. ‘Blessed indeed,’ says the Spirit, ‘that they may rest from their labors, for their deeds follow them!’” The Catechism makes it clear, however, that purgatory exists as a place of cleansing or purgation (1030–1032).

St. Thomas Aquinas explains that the verse from Revelation refers to the labor of working to gain spiritual merit, but does not address the labor of suffering to be cleansed from sin. Any person whose soul is in purgatory has died in charity and merits the eternal reward of heaven, but only after having been cleansed of any remaining venial sins. A soul in purgatory may also bear the effects of mortal sins that have been forgiven, but for which the person has not yet made satisfaction through penance. Revelation confirms that “nothing unclean shall enter” heaven (21:27). 

Thomas further explains Church teaching on purgatory with another passage from Scripture and a line from the Eastern Church Father St. Gregory of Nyssa (A.D. 335–394). Scripture tells us, in reference to Judah Maccabee, that “it was a holy and pious thought” that “he made atonement for the dead, that they might be delivered from their sin” (2 Macc. 12:45). Thomas elaborates that there is no need to pray for the souls in heaven, since they already have their reward. Neither is a need to pray for those in hell, because they can no longer be freed from their sins.

Yet those who have died in charity can never suffer everlasting death, since charity covers all sins (Prov. 10:12), and those who follow Christ will have eternal life (John 11:26). Gregory of Nyssa says that the person who loves and believes in Christ, but dies before his sins have been washed away, “is set free after death by the fire of Purgatory.”

Here, God’s justice is made clear. He has provided the purging fires of purgatory so that believers who die still tainted by sin may become clean in the afterlife. Further, He has provided a means whereby we, through our prayers as the Church Militant on earth, may help loosen the bonds of sin of the Church Suffering in purgatory, so that they might sooner rest eternally with God in heaven. Such prayer is, indeed, “a holy and pious thing.”

Are souls cleansed and damned within the same place?  

While the existence of purgatory is an established doctrine of the Church, made clear especially at the Councils of Florence and Trent (CCC 1031), Thomas tells us that “nothing is clearly stated in Scripture about the situation of Purgatory, nor is it possible to offer convincing arguments on this question.” In other words, the Bible does not tell us exactly where purgatory is. Still, Thomas declares that some opinions are “of no account” — for example, the idea that purgatory is somewhere above us because the state of the souls in purgatory lies between those living on earth and God in heaven. Nonsense, says Thomas, since those souls are not punished for being above us, “but for that which is lowest in them, namely sin.”

Thomas notes that it is “probable,” according to statements made by holy men and many private revelations, that “there is a twofold place of Purgatory.” One place is according to the “common law.” This place is below us and near hell, so the same fire torments both the souls being cleansed and the souls that are damned in hell, though the damned, being of lower merit, are consigned to the lowest place. Thomas makes the important distinction that while the fires of hell serve to afflict the damned, the fires of purgatory, while painful, serve primarily to cleanse souls from sin.

The second place of purgatory is according to a special “dispensation,” whereby, “as we read,” souls are sometimes punished in various places so that the living may learn from them, or those souls themselves may be “succored [comforted], seeing that their punishment being made known to the living may be mitigated through the prayers of the Church.”

Indeed, we can all hope that we will never know firsthand where in hell the damned reside, and that, should we come to know purgatory’s location (or locations) firsthand, we will not reside there very long!

Are the pains of purgatory greater than any pains of this life? In Purgatory there will be a twofold pain; one will be the pain of loss, namely the delay of the divine vision, and the pain of sense, namely punishment by corporeal fire. With regard to both the least pain of Purgatory surpasses the greatest pain of this life.  — St. Thomas Aquinas, ST, Supplement, Appendix 1, 2, 1

In this quotation, Thomas expands upon Augustine’s declaration that “this fire of Purgatory will be more severe than any pain that can be felt, seen, or conceived in this world.” The soul’s pain of losing the divine vision of God will be greater than any sense of loss of earth because the more we desire something, the more we suffer when it is absent. (Any person who has lost a loved one can attest to this kind of pain.) Yet in purgatory, our overwhelming desire to see God is completely undiluted. The soul’s desire is not hindered or distracted by things of the body. Further, the soul knows that had it not been held back by the weight of sin, it would already have achieved the “Sovereign Good,” as Thomas puts it. Therefore, the soul grieves most intensely because the delay of purgatory keeps it from its ultimate goal.

The soul’s pain of sense in purgatory does not refer to a hurt or injury itself, but to the sense thereof. “The more sensitive a thing is,” Thomas explains, “the greater the pain caused by that which hurt it.” We know from experience that hurts inflicted upon the most sensitive parts of our body cause the greatest pain. Because all bodily sensations arise from the soul, it follows that the most exquisite pain is suffered when the soul itself is hurt.

Therefore, Thomas concludes that the pains of purgatory, both of loss and of sense, surpass all the pains we experience during life.

Do souls in purgatory suffer their punishment voluntarily?

This is an interesting question with, perhaps, a surprising answer, for we cannot imagine choosing to suffer such great pain. Evidence suggesting the answer is no includes the anecdotes in Gregory’s Dialogues about souls in purgatory who appear to the living and ask to be set free. Thomas says the answer is yes, but this requires precise thinking about just what makes an act voluntary.

First, an act may be voluntary as an absolute act of the will. In this sense, the very idea of punishment is contrary to the nature of the will, which always seeks the good, and not pain or punishment. Second, an act may be voluntary as a conditional act of the will, as when a person willingly undergoes some pain or punishment because it allows him to obtain a good he could not attain otherwise. Thomas provides the simple example of submitting to painful surgical procedures to restore our health and the extreme example of martyrs, who submit to bodily death to procure their reward in heaven. It is in this second sense that the punishments in purgatory are voluntary, since the souls know they will someday set free and obtain their goal of heaven. This we see in the many stories of souls in purgatory who appear to people on earth and ask for prayers to hasten their purification.

Does the fire of purgatory pay the debt of punishment for sin?

Thomas notes that as the punishment one voluntarily endures in this life serves as satisfaction to atone the guilt of sin, all the more so will the more grievous pains of purgatory atone for the debt of punishment for sins. Anyone in debt is freed by paying what he owes. The obligation incurred by guilt is the debt of punishment, and a person is freed from that obligation by undergoing the punishment. Therefore, the answer is yes: “The punishment of Purgatory cleanses from the debt of punishment.”

Are some souls released from purgatory before others?

Some argue that because more-grievous sins warrant more-severe punishments, more-serious sinners would be punished more severely in purgatory, but all souls would suffer for the same amount of time. Thomas answers with an interesting observation about a line from the writings of “the Apostle” (St. Paul) comparing venial sins to wood, straw, and hay (1 Cor. 3:12): as wood remains longer in a fire than straw and hay, some kinds of venial sins will be punished longer than others in the fires of purgatory. Some venial sins “cling” to us more persistently than do others, as we are more inclined to indulge in them repeatedly, and “since that which clings more persistently is more slowly cleansed, it follows that some are tormented in Purgatory longer than others, for as much as their affections were steeped in venial sins.” Further, the severity of punishment corresponds to the amount of guilt, while the length corresponds to how firmly the sin has taken root in the soul. Therefore, some souls may spend longer in purgatory, but suffer less, and vice versa.

DR. KEVIN VOST

[peremadeleine]

The Empathetic Dog Thief, Episode 1

Alternative titles: “Will: Deer Hunter and Dog Dad,” “Crimes Against Costuming,” “What Year Is It: A Crime Drama”

Armed with a gin & tonic and one sleepy cat, I finally gave the NBC show another shot.

I didn’t know Will had a superpower. Cool...?

How come he’s play-acting the murderer, though? Just because he can think like a killer doesn’t mean he needs to be reenacting it himself. That’s just confusing for the audience?? The way they did it in the Red Dragon movie was still effective without coming off as “aw, Will’s playing serial killer”

“This is my design” what

Plaid shirt and striped tie, truly a costuming sin. I didn’t love Will’s “modern wild west” costume vibes in Red Dragon, but it was better than this.

Don’t pretend that Jack and Will don’t know each other. Hate that.

Do look forward to hearing how many different ways people can pronounce “Graham” though.

Oh boy, why does Crawford push Will’s glasses up on his face while murmuring “hey” softly like a lover?? They’re strangers. That was mighty uncomfortable.

is he just assuming Will is on the spectrum? Right after they met???

and then Will confirms, but wait, he just has an “active imagination”?

STAY IN YOUR LANE

at least in canon Crawford doesn’t take advantage of people on the gd spectrum, and he spins it as being for the good of the victims. jfc.

“based on the characters by Thomas Harris”

Of course all the victims in the first episode are going to be women

“it’s not about all of these girls, it’s about one of them”--seven minutes in and they’re already ripping off Silence.

“he’s like Willy Wonka. every girl he takes is a candy bar.” no. nO.

“I mean, I would. Wouldn’t you?” no Will, Crawford’s a douchebag, not a murderous psychopath.

8 minutes in, me: WHERE’S THE TITLE CHARACTER THIS IS B O R I N G

“Why is it now a crime scene?” Because Will says so and he’s his own forensic team, apparently. Next question.

Also apparently he only owns red plaid-print shirts. Huh.

Lol Will has empathy for everyone but a grieving father confronted with his daughter’s dead body???

I don’t like the way Crawford is speaking to Will one bit. It’s supposed to be sensitive, but it comes off as condescending and mollycoddling. Ew. That is SO not Jack Crawford.

"You wrote the standard monograph on time of death by insect activity"?!?

so Will IS his own forensic team. Weird flex, but okay.

Antler velvet. Christ, HERE WE GO.

“You not real FBI?” Rip-off of Silence #2!

“You unstable?” Stop coming at Will, Jesus!

Will is a serial dognapper. SIX DOGS. Maybe, maybe, people in this neighborhood are missing their gd dogs, you monster.

none of them are even UGLY dogs

Will’s also drinking tho. One point for Gryffindor.

Oh, another plaid shirt. At least this one’s got a nice pattern. And isn’t red.

The bathroom is painted red, tho. What is it with Fuller and red walls?

Hugh Dancy’s American accent slips when he tries to like...emote. Yikes.

Strangulation is neither quick nor merciful.

A forensic specialist who wears her long-ass dark hair loose down her back and shoulders in the lab should be FIRED.

Implied “we covet what we see every day” scene: Silence Rip-Off #3

nineteen minutes in, me: W H E R E  I S  H A N N I B A L this is false marketing

Okay, I actually kind of like the “okay, I can cover him 80%” scene. Crawford’s real good at fucking up people’s lives in order to save lives.

twenty-one minutes in, me: HANNIBAL’S HERE THANK CHRIST

will probably regret this thought later

it’s okay, Hans. I, too, hate the career choices that have led me to this point.

the fact that he has tissues by HIS chair in his office is fuckin’ hilarious, what a douche, I love him

same, tho

The costumes and sets and cars are all screaming 70s/80s. But smartphones!

I’m watching this pretty late so my volume is a bit low and I cannot understand 70% of Hannibal’s dialogue, uh oh

Hannibal is supposed to be short so I don’t think this little “oh Crawford confused the short weepy patient with Hannibal” bit is that cute...I’ve always felt like Mads was poorly cast for that reason, among others. Oh well.

I take it all back:

HIS FACE

“No secretary?” “She was predisposed to romantic whims.” Not sure whether I like this line because Hannibal’s the one acting on whimsy or if it makes me cringe because of the way they’re dismissing Hannibal’s former secretary. Hmm.

“Are these yours, doctor?” a) Duh and b) Silence Rip-Off #4

Why the fuck does Crawford think he can just examine Hannibal’s papers? Like?????????

no wonder he hates your rude ass, Jack

HANNIBAL WHY IS WOUND MAN LYING ON YOUR DESK YOU PRECIOUS IDIOT

“Very interesting, even for a layman” Wow, unexpected Red Dragon rip-off (by the Red Dragon adaptation) #1

this whole scene is made of cringe HELP

why is Hannibal dressed in his Easter Sunday suit

Tattlecrimes.com. I’M SPEECHLESS at the stupidity of that.

tabloids are, in fact, still a thing in the Year of Our Lord 2013

No way is Hannibal fucking Lecter going to drink the swill that probably is Jack Crawford’s coffee, as if.

“Not fond of eye contact, are you?” Yes, Hannibal is the only character who should be canonically coming at anyone like this. (But also poor Will.)

But Will, at least look in his direction while he’s talking to you? I also don’t love eye contact...it’s rude not to even look at a person, though.

Hannibal finally used a contraction! He’s human after all. (This is a common Fanfic-Writing-of-Hannibal problem. I used to have it, too. You think to emulate him you have to write lofty, staid dialogue. But we’re talking about Hannibal the Punmaster General here.)

“This cannibal you have him getting to know” I’m sorry, who said anything about cannibals???

Stop incriminating yourself Hannibal honestly

Wait, is the implication that the victim whose lungs were taken is Hannibal’s? I hope not, because what would he be doing in Minnesota, and since when did Hannibal cut people up alive (Krendler notwithstanding--he’s a special case), especially women????? He’s a Monster(TM), but not a fucking sadist.

Will’s wardrobe also contains gingham!

no really, when did they determine that the serial killer was a cannibal?? did I sleep through that part?

“have Dr. Lecter draw up a psychological profile” bitch, please. Dr. Lecter doesn’t work for Crawford.

I don’t like hearing/watching people eat, especially in quiet moments. That’s going to become a problem in this show, isn’t it?

Will’s dream dear is fucking awful CGI. Wow.

That brown blazer--Hannibal would never.

EVERYTHING about Hannibal that should be black--his clothes and his hair--is brown here. It’s...weird.

to quote @random-emerald-thoughts​, “my homocidal boy aint about that tawny bullshit”

Hannibal Lecter: food snob--that’s canon. 

Don’t like this dialogue, though. And Hannibal bringing anyone he just met food in glorified Tupperware rings very false.

“Uncle Jack” what the fuck

Wow, Fuller jumped directly into the teacup thing right from the start. Yikes. He clearly didn’t understand it. (Clarice isn’t the teacup, bro. The teacup represents time, and disorder, and will it ever be reversed?)

Lots of weird metaphors in this episode overall, though none as bad as the Willy Wonka thing.

Why is Hannibal in Minnesota? Is he a crime-scene investigator now? Is he on the FBI payroll? Doesn’t he have patients with appointments to keep? Social obligations? I HAVE QUESTIONS.

He’s not a priss or a germaphobe. DISLIKE.

Do like the phone call. Just fuckin’ carelessly with people’s lives for the fun of it, that’s our Hannibal.

FBI? Are you FBI, Will?

He shouldn’t have been issued that sidearm if he can’t hold it steady.

One shot would have been plenty. Maybe two. Jfc, the reason Clarice shot Gumb so many times was because he was going to shoot her. Hobbs had a knife, which he dropped, and he was incapacitated by the first/second shot. Silence Rip-Off #5

How the fuck is he still alive and talking?! Will plugged him about eight times!

Call the police, Hannibal, or the ambulance, or take off your jacket and provide first aid to this girl. You’re a doctor!

It really is like he wants to be arrested or something.

And then he gets to ride in the ambulance?? Just Because?

Overall, it was...not very good, imo, poorly paced, very poorly written, with acting that jumped wildly from “very good” to “awful,” sometimes from the same actors. Intense cringe throughout a lot of the script. Ripped off Silence of the Lambs, a superior movie about many of the same characters, way too many times. Will is boring and I don’t care about him, but then I also don’t care about canon Will. And I still think Mads Mikkelsen was poorly cast as Hannibal...the costumes aren’t doing him any favors, either. We’ll see if he can bring me around.

Some moments of genuine humor that I appreciated, though, and some nods to the canon that I grudgingly appreciated, too, including Hannibal being a dick and Jack Crawford fucking up people’s lives.

Hopefully if you made it this far into my observations you got a kick out of them. I probably won’t go into this much detail for every episode, but I do intend to try to watch at least all of Season 1.

Painful as it might be.

[hellzyeahthewebwieldingavenger]

“Are the MCU Spidey films good Spider-Man movies?”

If you mean are they good adaptations, as in good stories respecting the spirit of the character, the kind of stories that you could easily imagine happening in the comics themselves and are in line with the core values and concepts from those comics...then no absolutely not.

 “Spider-Man was established as a secondary character in someone else’s story before we followed him on any adventures of his own”

And that’s fine if not for the fact that he remained subservient to that other character’s story. He was deliberately constructed in Homecoming and Far From Home to revolve around his relationship with Tony both to provide further development for Tony and fuel for his later arc in IW and Endgame but also to provide and epilogue and lasting legacy for him.

 Even if Peter was the lead in his solo films he still existed within the shadow of Tony, he was still effectively to Tony what Robin was to Batman. Batman fundamentally contextualizes Robin to such a degree that everything Robin does, even subtextually, either stems from or comments upon Batman.

 Even his transition into Nightwing, into being his own man and leader of the Titans did this because that was understood as him BREAKING AWAY from Batman’s shadow. But on a metatextual level he never truly can. A similar thing happened with Peter in FFH. Even if Tony was dead his legacy hung over FFH and Peter, his legacy conextualized part of the intended arc for his character in that film (as poorly handled as it was regardless).

 And this...is what is unacceptable about MCU Spider-Man in terms of being an adaptation. It’s not simply that existing in Iron Man’s shadow or being contextualized by him wasn’t a factor for his character (thought that’d be justification enough to call out). It’s that Spider-Man was so particularly DESIGEND by Lee and Ditko to NOT be like that at all to NOT live in the shadow of another hero but be independent and more importantly for the driving force behind everything he does as a hero to be the death of his father which he was indirectly responsible for.

 “The spider bite and death of Uncle Ben is stuff that’s in the past and has happened”

 Has it though?

 There is no evidence of that in the film, not even circumstantial.

 I’m all for not showing it for a third time but neither Peter nor May act like they’ve recently lost a loved one or are grieving at all. We’ve seen Peter more affected by the death of Iron man than of Uncle Ben.

 The only reason anyone can even float the idea that Spider-Man’s origin happened at all is that we all simply know that origin. But you still need to acknowledge in some way it happened which the MCu has absolutely never done. As far as the MCU is concerned the closest thing we have to even acknowledging Uncle Ben existed in the first place is a suitcase with presumably his initials on it.

 But for all we know Peter fished that out of a dumpster. For all we know Uncle Ben might never have existed, May might be his biological aunt and Ben her deadbeat husband who ran off with someone else.

 Simply saying referring to all May has been through recently isn’t enough because it implies she’s been through  something serious recently, but that could be anything not necessarily a bereavement. More poignantly it doesn’t imply PETER has been through anything when that’s way more important because being sad about Ben’s death is the book of Genesis for Spider-Man. You NEED to have that pain, that grief in there somewhere.

 Him saying giving the great responsibility speech isn’t enough because the film never clearly conveys that he learned this lesson from someone close to him dying. It’s just something he takes very seriously (in Civil War but apparently not much in Far From Home!) and for all we know always has.

 Peter’s dialogue in Civil War DOES NOT imply Peter learnt this lesson from something that WAS his fault. It COULD mean that, but in context it COULD just be something he learned third hand.

 More importantly even if we were to say the dialogue DOES spell out his origin that’s not really the point. Because Ben’s presence in the film still needs to be acknowledged. A picture, his name being uttered, a gravestone, a long look at an empty chair at the breakfast table something. But there is absolutely NOTHING besides a suitcase. And more egregiously what he represents has been wholly supplanted by Tony.

 “Peter likes tech. Tony likes tech. Tony would naturally be a huge inspiration going forward”

Not really. Just because you love basketball doesn’t mean Michael Jordan is definitely going to be your inspiration. In the comics Reed Richards wasn’t Spider-Man’s idol or anything. And his desire to impress him in the comics at best didn’t manifest itself the way he wanted to suck up to Tony in the MCU.

 And again, this misses the point. There are LOTS of things that would technically be organic in the MCU but it’s about finding a balance between something organic that is also respectful of the core concept and spirit of the characters. Case in point. Having T’Challa’s origin tied into Civil War is very organic and different from the comics but it doesn’t disrespect the spirit of his character because his Dad still dies and passes on the mantle of King and Black Panther to him and still provides fuel for him to live up to his father’s memory.

 It’d totally organic Black Widow to be a former HYDRA operative based upon the established world building of the MCU, have the Black Widow program be something set up by the Red Skull even. It’d even make sense given the colour coding involved. But it’d be disrespectful to the spirit of Black Widow’s character as a RUSSIAN convert.

 “If he wants to live up to Ben he’d want to be the best superhero he could possibly be”

Sure...but that doesn’t mean becoming an Avenger. Again, comic book Spider-Man never regarded being a big name hero as neccesarry for being a good hero or the best he could be. That’s an elitist way of looking at it.

 In particular it omits the good he does for the little guy which is his driving motivation. He doesn’t do this to save the world he does this to save individual people. His ‘original sin’ as it were stemmed from an incredibly small scale individual crime.

 So accepting Tony’s help when he wants to make him the next Avenger wouldn’t be in line with the SPIRIT of the character.

 We could argue that logically this could happen and therefore it MUST happen but at the end of the day it was just that the writers WANTED Peter to be a fanboy and nothing more than that. They didn’t HAVE to write him that way. They could’ve had him have doubts about Tony, have his idealized visage of Tony crack as he grew to learn about the real man.

 And if we’re going to use the argument that this HAS to happen and we have no choice to write it that way because logic dictates it then...why haven’t the MCu heroes resolved any number of things logically they absolutely could. Tony can’t fix global warming? Wakanda can’t? Or to switch over to DC Superman can’t end how many disasters or problems in the world?

 At the end of the day logic exists within superhero stories but it is always tempered by the genre conventions and spirit of the characters.

 I know this channel loves Doctor Who, who is arguably a kind of superhero anyway, so I will draw upon an example from Dr. Who. I forget who it was, possibly Russel T. Davies, but in a commentary track for an episode of Doctor Who in 2008-2009 someone said something very smart regarding a fundamental of the lore. They said that really the Doctor could fix the chameleon circuit of his TARDIS so it need not always look like a police box...but that it was ‘right’ that he didn’t. In other words logically the Doctor COULD do something and indeed it would be very beneficial but it’d go against the spirit of his character, the show and the internal mechanics of the series for them to do that.

 The same applies here. If you have a Spider-Man who’s got a rich high tech superhero sugar daddy you have broken Spider-Man, he doesn’t work properly creatively speaking.

 “A large part of Peter’s story in Homecomign is being told when to stay out of it”

 Again this goes against the spirit of the character because hello...his whole origin is about that one time he did stay out of it and it broke his family.

 For a Spider-Man story to basically repeatedly enforce the message that Spider-Man NOT acting and Spider-Man being passive is the right thing to do is to do a story which misunderstands the character fundamentally.

 It gets worse when you consider his actions actively make things worse 90% of the time in that film and the message is muddled anyway as Iron Man was only in a position to stop Vulture because Spider-Man wasn’t passive.

 “There are some things Peter isn’t qualified to take on”

Low rent thugs with high tech weapons is something he isn’t qualified for?

 How many versions of early days Spider-Man dealt with that and worse entirely competently?

 “Throughout all of this like a father figure Tony Stark is looking out for Peter”

First of all no he’s really not, he’s absent a lot of the time.

Second of all the mere FACT that Tony Stark is Peter’s father figure at all is part and parcel of WHY these are bad Spider-Man movies.

Tony Stark being Spider-Man’s father figure is as broken as a Dick Grayson origin movie where Batman ISN’T his father figure or indeed wholly absent. You are severely MISSING THE POINT if you do that.

“If Uncle Ben were important then when Tony took away his suit he’d leave it to other people instead of getting involved himself”

That logic doesn’t follow.

To begin with the entire movie repeatedly made it clear Peter was willing to disobey Tony and get involved so him continuing to do so is consistent, it doesn’t have anything to do with Uncle Ben’s importance or lack thereof.

Secondly as stated above this is all built upon the PRESUMPTION Ben existed and Spider-Man’s origin played out in a similar way it always does but there is 0% in-movie evidence for this happening. We simply know Peter lives by a philosophy the same as the philosophy he had in other movies but we don’t know in this universe how he came to believe in that philosophy.

He certainly doesn’t seem like it was through the loss of a loved one because he doesn’t mention, reference or think about Ben in the slightest and doesn’t act as anyone who’s lost someone they loved a lot very recently, certainly not other versions of Spider-Man who went through that.

“The red and blue home made suit represents a spider-Man who does what he does not because Tony Stark got involved”

But again there is no evidence in the movies that he does what he does because of Uncle Ben because Uncle Ben isn’t even implied in-story.

More importantly this isn’t the main critique of the MCU Spider-Man. the main critique is that Tony is incredibly important and defining to this version of Peter even if he was active before Tony showed up. The entire arc of Homecoming rests upon the motivation of Peter wanting to be an Avenger.

That’s not even my interpretation either, Tom Holland SAID that himself. The villain is an evil Tony Stark who became villain because of Tony Stark and who’s goal is Tony’s stuff. Peter’s self-actualization as a character happened when he was spurred on by Tony Stark.

Tony is BAKED IN to the foundations of this version of Spider-Man in a way that’s vitally more important than Uncle Ben because everything revolves around Tony. And again it SHOULDN’T, it shouldn’t anymore than Robin should NOT revolve around his relationship with Batman.

“That isn’t Peter saying he wants to be the next Iron Man”

Not in Homecoming perhaps but that’s clearly the direction the film Pushes Peter in in FFH.

“Just because Uncle Ben existed doesn’t mean Tony will fall on deaf ears”

Again not the point, the point is Tony is more present and impactful than Ben.

Put it like this. Aunt May clearly EXISTS in the MCU...but based upon the character arc and defining features of MCU Peter is she really as if not more important than Tony?

No she’s not, you could tweak the movies to exorcise her and they wouldn’t be that different.

“It’s a representation of this kid fighting for his uncle...it represents even before he met Tony he would’ve battled a villain who is concerned with Tony Stark“

Again...the uncle that the movies do not confirm even existed.

Again...the mere FACT that Tony is so integral to the fabric of so much stuff in this version of Spider-Man like Mysterio is against the concept and spirit of Spider-Man.

And even if we ignore all of that...Spider-man only beats Mysterio when he uses Tony’s tech to build a costume like Tony did set to Tony’s soundtrack so like...is the film actually affirming Tony’s presence is irrelvent to his heroic journey?

“Do you really think the hooded suit was put in for the sake of fanservice?”

I mean...it’s far from impossible we got like 5 different number plates that acted as fanservice. Chris Evans appeared in Thor: the Dark World for fanservice. The fact we got a giant Mysterio hand was nothing but fanservice.

“That hooded Spider-man IS Uncle Ben”

...then why....isn’t...he...mentioned!

It’s for a similar reason Aunt May is nothing more than Iron Man’s friend’s new girlfriend.

“You don’t keep everything associated with someone when they die”

This is a case of writing the movie for Marvel at this point.

Yes hypothetically it’s possible that there are other possessions associated with Uncle Ben which mean more to Peter than his suitcase.

But what are they?

Do they even exist?

We don’t know because again the suitcase is the closest thing we have to proof that Uncle Ben even EXISTED in these movies.

“The Stark suit was in the suitcase that got destroyed”

How does this disprove that Tony was more important than Ben?

Because Peter was at least sad about Tony’s death and there is no confirmation Peter was sad about Ben’s death nor even that Ben existed.

“This doesn’t show a good understanding of grief”

This whole movie didn’t show a good understanding of grief!

Peter is more concerned about hooking up with MJ than grieving Tony. It’s not denial or running away it’s inconsistent writing and characterization.

“Peter wanting a holiday is believable”

Sure...but like was Tony even that close to Peter?

They shared exactly six scenes together in person.

“People expect Spider-Man to act in the movies the way he does in that meme”

Half the critics of FFH aren’t saying that and the other half...are kinda right. In character Spider-Man is wracked with pain over remembering Ben. Not because his Dad simply died or even died when he was young but that he died violently and it was HIS FAULT!

“The subject of grief is present in the MCu version of Spider-Man”

Yes...but not over Uncle Ben, over Tony.

“Both with Tony and Ben”

What scene ever clearly shows us Peter grieving Ben’s death. Because the bedroom scene in Civil War doesn’t do that, we the audience project onto that scene that he is probably talking about Ben and he’s probably sad about it but there is no evidence in the movie even implying that to be the case.

The PS4 game at least had a picture.

“It’s handled in a very, very, very subtle way”

No it’s handled in a way that omits and covers him up in order to build up Tony and avoid repetition from the older movies.

It’s not subtle because the MCU by and large is not subtle and that includes Civil War. Tony and Pepper’s break up isn’t even all that subtle in the movie.

This isn’t written to be subtle it’s written to be plausible deniability.

“Just because Ben started Spider-Man and is the essence of him doesn’t mean other people aren’t going to have some kind of influence on him”

Sure...but it should never have been Tony stark.

Because Peter Parker shouldn’t be fanboying over anyone, it goes against his core concept.

“It’s unfair to project one interpretation of grief on every Spider-Man”

Sure. Peter and Miles and Mayday and Gwen and Cindy and Anya won’t all react to grief in the same way.

But if you are doing a version of PETER PARKER and you are having him react to grief in a way that is not broadly consistent with PETER PARKER then you are not doing your job.

He’s supposed to be in spirit a version of Peter Parker and a version of Peter Parker would not react to grief by never even mentioning or thinking about Uncle Ben.

“This was never an origin story for Spider-Man”

Nor was Spider-Man 2 and yet you know...Uncle Ben and the grief over his death was till present in that.

“You can cite the Raimi movies and bring it over to the new lore”

...that...that isn’t how any of this works. The Raimi films aren’t canon to the MCU unless the MCU acknowledges them as such.

“It may be a different Peter Parker but the story is still the same”

If the story is still the same then where are Harry, Mary Jane and Norman Osborn?

Why is Spider-Man not living in the suburbs?

Why is Peer 15 instead of 18?

Even if you take that statement to mean the GIST of the story is the same it creates problems because why would Peter ever say “I’m nothing without this suit Tony” in HC when he knows he definitely isn’t because he knows he can make a difference with or without the suit because of Ben’s death proving that point.

It’s not canon to the MCU unless there is EVIDENCE proving that to be the case.

As of right now Ben might not even exist in the MCU.

More importantly the FACT THAT HE’S NOT MENTIONED is you doing Spider-Man wrong full stop.

[buckskinblues]

This isn’t writing advice per se (more like formatting), just things that I take for granted knowing that when I come across I realize that not everyone does, in fact, know about when it comes to writing. You don’t have to pay attention to it or follow it. Just take it as me rambling pointlessly if you want (or even me being a big old meanie). I’m focusing on fanfic because if you’re serious about working on OG writing I...really hope you already know these things and I mention things specific to using tags and all that (I also focus on Ao3 rather than any other site since it’s the best and also the only site I use for posting anything).

First off, if you don’t use paragraph breaks. Fuck you.

Stop using “~” at the end of sentences to denote someone saying something in a “singsong” way or whatever. Stop using it in general. It looks bad and it breaks immersion because it’s not any sort of capitalization or formatting that is usually used so it can be jarring and also just looks stupid as fuck. The dialogue itself, the dialogue tags, and the context are all you need to carry the mood and convey feeling. Anything else is you trying way too hard. (The “~” is a tilde and is used in some other languages over letters to change the pronunciation and it’s also used in math/engineering to mean something about numbers...so basically if you’re writing in English you shouldn’t be using it because there is shit all reason to do that).

Either capitalize correctly for titles or don’t capitalize at all. Stylistic choices only work if you’re consistent about it, otherwise it looks like you don’t know what you’re doing rather than making a deliberate choice. And yes, even something as small and simple as the title can come across this way. It’s the first thing people see when they come across the story so it’s important it doesn’t look dumb as hell just to capitalize the first word and none of the others. It looks like you typed it out on your phone and auto correct got the first word but not the others. This is only for titles though, if you forego using capitalization in the body of your work just know you’ve committed a grave sin against humanity--you’re damned if you’ve done this for a chaptered work and not just a “stylistic” choice in a drabble.

Stop using...those letters that are from different alphabets and symbols you pasted from unicode or wherever else. It’s not aesthetic. Some phones and computers may not read them and they’ll just be square blocks. They’re hard to read for some people. They represent completely different sounds in the alphabets/languages they’re supposed to be used in. Just...stop doing it.

Don’t mix two different characters’ dialogue in the same paragraph. Each person gets their own paragraph. This is how people know who is talking when there are sometimes just one dialogue after the other without anything else to tell who is who, besides the fact it alternates. Paragraph breaks.

Epithets. Stop using them. Pronouns exist for a reason and context works wonders. “The blond haired agent, the doctor with glasses, the grumpy hitman...” it gets old when you use such things to refer to a character more than their names, especially when you’re using epithets in dialogue tags. And it’s especially unnecessary when they’re the only character in a scene or the only other character being referred to by another who’s speaking. (Also when you use the same epithet multiple times, all the time...I wanna die). Very low level children’s books use epithets often because children are just learning about things and have the attention span of a goldfish. But I hope you have faith your audience is above a kindergarten reading level. The only time I ever use epithets is when a character’s name isn’t revealed yet to the main POV and there really isn’t any other way to get around referring to them until it is. Though you can skip doing that if they’re literally the only other person the main POV could possibly be interacting with. And you don’t want to do this for very long because it wears out its welcome fast. It’s okay to use character’s names to refer to them...that’s why they have names.

Do not do things like “!!!!!!” or “?!?!1!!” Just one exclamation will do. You can use “?!”/”!?” but don’t like...repeat it a bunch of times. Like...I get it, they’re surprised.

Is this a chapter story or a script? Are you writing a play? If you use: Character A: Blah blah blah. Character B: Wah Wah Wah! Consider...not doing that. I mean, DO do that if you’re actually writing a script...but you have no excuse for not knowing how dialogue is actually supposed to be formatted in stories because...I mean...you have read right? It’s the same in every book and story. The bar is low here. It’s not obscure knowledge. Children’s trade books use: “Blah,” Character A says. You have no excuse for not doing the same.

Walls of tags. Ugh. Walls. Of. Tags. Again, I gotta say. Fuck you. Tags are for categorization but you still want to keep them as simple and clean as possible. I’ve legit had to scroll past a wall of tags that took up so much damn space they were all that was on the screen. Do. Not. Do. This. Everyone hates you for it.

Speaking of tags: / is for romantic and/or sexual relationships and & is for platonic friendship. Do not mix up the two. Do not use both. If it’s a slow burn from friends to lovers you still only use /. If there’s no romance at all use &. Do not put “platonic but can be read as--” no. It’s up to you, the writer, whether it’s platonic or romantic so use the tags correctly.

Request booklets uwu. I hate those. I hate them because it’s a shitload of different fandoms, a wall of tags, and (usually) little to no actual content. You’ll get one-shot collections in the fandom tag when there isn’t actually any content for that actual fandom in it. It’s Ao3, it’s an archive. If you want to take requests make a Tumblr blog. In general I’m of the belief that one-shots should be...one-shots. On their own. There are lots of reasons for this. You can add a summary for what the one-shot is about instead of just giving the audience a title and shit all else. You can put it in the proper fandom tag without pissing off people who come across the “collection” and there be nothing for their fandom actually. The only time it makes sense is if the one-shots are all happening in the same universe and to the same people and they stand alone because they’re not chronological but they’re still in the same timeline for the same people. A series is fine. But it’s essentially like someone crosstagging here on Tumblr and using as many tags as possible to get attention.

If you have a chaptered story that follows a specific plot...do not add one-shots or AUs of that story to the that story. Perhaps that may not make sense but there is nothing more infuriating than thinking the story is updated when it’s just something tacked on, a one-shot or something, that interrupts the story and pisses you off because you don’t care you want to find out what happens next. If it all happens in the same universe, put it in a series. But don’t clog up the actual story with diversions. This has happened and while I really liked the writer’s stories I was fucking pissed as all hell. When I saw an update I thought the cliffhanger would be resolved, but no, it was a one-shot...

Use an author’s note for introductions or extra information NOT the body of the work. Please and thank you. Similarly you can add a tag or edit the summary to say the story is on hiatus or will be left unfinished until further notice.

Gender-neutral smut...it doesn’t work.

It’s okay to write OOC. Just like...warn people if you KNOW it’s really OOC.

It’s okay to character bash, honestly. Just warn people you’ll be doing it and that you know it’s petty but you hate writing about them in a positive way. For the life of me writing Sakura (from Naruto) was always a pain in the ass for me, so I understand. Just be self-aware about it and warn people so that they can’t come crying about it. (The power of “well, I did warn you...” is strong).

The relationship tags are only for the MAIN relationship(s). Background ships can be put in additional tags or vaguely mentioned in the author’s note. But please don’t make people think a ship will be more prominent in a story than what it actually is.

Stop using quotes for summaries when they don’t actually tell the readers anything. Summaries are for letting people know the basics of what they’ll be reading about so they know if it interests them. A vague quote from some famous person says absolutely nothing. Quotes can be used to great effect at the beginning of chapters or the end to drive home a theme or add a nice touch but they aren’t summaries on their own.

Use whatever tropes/cliches you want. Seriously. Especially if it’s fanfic. Just do what you want as far as actual content. If you enjoy it that’s all that matters.

So essentially write about whatever you want but remember the formatting is important. Basic capitalization and grammar that isn’t immediately terrible is important. Categorizing properly is important. These are things that really aren’t all that hard, seriously. Once you learn about doing them you just...do them.

[mockky]

A sad story how Russo bros reminded us about the crappy world we live in

Disclaimer (kinda). Preventing the arguments like “read the comic-book to understand the movie”. First of all I've never read the comics and never will. I shouldn't do that to watch a movie. It's the director's job to tell me a story. It can be changed a bit, but it still has to have a logic. This is author's priority.

I guess there's no need to run through the movie again and get to details, it's too many of them. Just a few big ones. Firstly, the time travel idea is pretty lame by itself. Every time-travel-movie does the same mistakes – PARADOXES, no one managed to escape it. So if you can solve your problem only by time travel – please don't do the movie, this job is not for you.

It's like the creators don't know the rules of their own universe. Nebula translates her thoughts to Past-Nebula, they're connected somehow even being far from each other, killing Past-Nebula literally doesn't do anything. How does it work? All this plan just fucked up the previous movies. And then some random rat actually saves the universe? Seriously? I don't know but I think it’s called “lazy writing”.

OK, there's no movie without a sin. But what's really important is the screwed up characters. No one did or got anything what one was supposed to.

Loki. His extremely stupid, reckless and suicidal lunge actually was extremely stupid, reckless and suicidal. The God of Guile threw himself with a toothpick against titan and dropped dead. Bravo!

Thor. I never really was a fan of him. But this is officially the worst comic-relief ever. Why he should be like some sort of that whiny drunk dumbass, especially after him being so cool and strong in Infinity war? Gods saved us from fart-jokes and slow-mo-food-fight. Thor lost his parents, lost his brother and Asgard. He's broken and crushed, and Marvel just points finger at him and laughs. Very mature.

Doctor Strange showed up to show us a very important finger.

Captain Marvel is a whole new level of pain in the ass. Skip the Boring-IMBP-part. Though it's hard to forget how they just shoved her in fan's throats, and expected them to have the same empathy for her as for Tony or Cap. But we know them for 10 damn years! The biggest problem that she's not a person, she is God ex machine with magic GPS in her head, invincible, strong-independent-woman and all. With that cockish face of hers, kicked Thanos's ass, but when it comes to the gauntlet, it's up to Hulk and Tony. What da hell? All that power, it's the only thing she could help with. And don't give me that "it's a big universe, not only you've got problems" crap. Thanos's snap affected THE WHOLE universe. Isn't he the main threat here and now?

And what really pissed me of is the ending and the way it fucked up the most interesting and deep part of it all – Steve and Bucky.

Allow me to remind you few points.

CATFA

We see Steve as this tiny subtle guy with heart of gold and strong will, he is hero inside. I can do this all day. He wanted to go to war, he took the serum, he's like walking embodiment of self-sacrifice and heroism. But he became “the chorus girl”, this empty symbol, a fake. Actual soldiers don't believe and don't respect him, cuz he’s never been in real fight. He does not respect himself anymore. But when his friend got in danger in the blink of an eye Steve transforms into this Rambo, alone against the world, flipped like a switch. He dashed headlong to the enemy's base just for tiny possibility his friend might be alive. At that very moment Steve becomes what he meant to be – the real Captain America.

CATWS

Steve managed to get through 70 years of brainwashing with only one phrase, and refused to fight Winter soldier hoping that there was still Bucky somewhere. The entire movie revolves around two of them.

CATCW

Some fans said that Cap and Tony should switch sides on this one, but it doesn't feel right for me. Cap's got a point. What if there's somewhere we need to go, and they don't let us. Obviously it is CATFA reference, where he goes against orders to save Bucky. And he's afraid cuz he knows that it could cost lives. And now he's running around the city protecting Bucky from the government and T'Chala. He fights Tony, bloodily, everything to protect Bucky.

What a lovely deep drama! It's a comic-book story here we’re talking about. I bet in CATFA no one really noticed sweet little Bucky. But the Winter soldier just stole the movie and fan's hearts. Steve and Bucky have this strong almost cosmic bonds, it's stronger than brotherhood or friendship, it was so since 40s. After all this freezing thing they became totally unique for each other. You can smash vibranium shield with that bonds (which Cap actually does symbolically when gives up the shield TWICE, both times for Bucky). It's unbelievable that after all he did for Bucky Cap could ditch Bucky for anyone or anything. Creators teased the fans and encouraged that bromance. It was openly a queer-baiting, it was a canon, and you can't stop the shippers.

Three movies were built up on this relationship. It was work of art if you ask me – so many details, so much depth, and the amaizing acting, I mean you can watch it over and over, and every time you find something new in their eyes or words. And they not just talk, they actually do anything to proof their devotion to each other. It's absolutely beautiful. And it's Bucky who made Steve interesting and alive as a movie character and a real hero as a person.

And what we get in the end? Bucky turned into dust in front of Steve, but on the group meeting Steve talks about... Peggy? Where did it come from? He doesn't mention Bucky the whole movie. Steve goes to return the Infinity stones and comes back an old man. For us, for Bucky, it was 5 sec, but for Steve it was 70+ years. He left Bucky and lived 70+ years without him. Besides he never said Bucky about his plan (or just desire or whatever), didn't say a proper goodbye, didn't consider it as a betrayal. He just decided to live for himself. By the way Bucky reacted as if it was a big surprise for him and even bigger disappointment. He was anxious during that scene when Steve suddenly didn't show up on the platform. And if you wanna say “Bucky knew it was gonna happen and was happy for his friend” then it's the great time to keep your mouth shut. He obviously wasn't happy with it, and he didn't know. Post-movie interviews don’t count! Don’t tell me that it was off-screen. It’s a MOVIE! If something is important – it’s on the screen and it becomes a canon. Stupid scene in a cafe with selfie and kids IS on the screen, apparently it’s important af and it’s a canon. Fat greasy-haired Thor yells at some gamer in chat – that’s VERY important and it’s a canon. But a talk between best friends when one of them decided to leave the other for good and go to the past doesn’t deserve screen time. Are you sure you set your priorities right? By the way Sebastian asked Russo about this. He thought there would be some dialogue between Steve and Bucky, but director said No, you already had that conversation.

No wonder Bucky didn't approach to Steve and only looked from distance. What can you possibly say to the man who claimed himself your best friend and then easily abandoned you just like that, lived without you for 70+ years and apparently was OK with it.

Steve just goes to Peggy. Because that's how it must be, that's natural, that's happiness. This cliché stuck so deep in the people minds, so they can't see anything behind it. I'm sure that not so many people knows what it actually means, but they believe that it's the right thing.

I might blow few minds now. Here it goes – the closest person is the one who shares with you your life experience, not the bed. NO WAY! I'm not saying than your partner can't be your friend. Spouses are not always the closest friends and the closest friends are not always spouses. You just can't screw up all Steve's emotional baggage that related to Bucky just for Peggy, which was in Steve's life, what, like 15 minutes? Steve knows Bucky since childhood, they were best friends, they supported each other, lived together, protected and saved each other many times. They share the same fate (war, serum, man out of time), there's no one who can be closer. “He loves her so much!” arguments can't erase too much of a history. It just doesn't work that way! You can't exchange one for another. A loved one can't replace your best friend, cuz of damn emotional baggage! You can have both, you can have none, but you can't trade it!

And what about Peggy? CATFA-Peggy was not a good person actually. She's whimsical and eccentric damsel. For example she shoots 1) at the experimental read not properly tested shield 2) with a chance to kill someone by ricochet 3) in enclosed space without ears protection for her or everyone else; she punches a soldier for an inappropriate commentary. And the scene in the bar shows Peggy as a simply impolite person – she ignores the soldier who just got back from captivity, it's very rude, especially when Bucky was polite with her. And on top of this I think she picked interest in Steve only after the serum. I bet Pre-serum-Steve was friendzoned for the rest of his life.

In TV-series though she appears to have a strong personality. She is an interesting character and not just love interest for Steve. She founded the S.H.I.E.L.D., had a happy fulfilled life. She let Steve go. And when she died, Steve let her go. I don't believe for a one second she is the love of his life. Staring at the photo is NOT a depiction of love. Not in my book. It's just a woman Steve once kissed.

So what went wrong? They made such a great Steve's character development, they put so much in his relationship with Bucky. Countless details, shades and layers. Every scene, every dialogue. An all of it just... puff... vanished.

Actually it wasn't so sudden as it seems. First signs of it appeared in Civil war. Did you noticed how the creators put the distance between Bucky and Steve? It's like “Hey guys! You know this whole story gets kinda pansy. We stand for cliché, for heteronormativity and happy ends! Every man got a girl! You can't have best friend, not the same sex, only hetero! So quit with the hugs end eye-fucking, more masculinity! Sebastian, you must get as thick as you can, so nobody could say you're gay. And Steve's gonna make out with a girl, just to be safe”. And this kissing scene is the most awkward I've ever seen. This weird kiss out of the blue, the fact that Sam and Bucky are watching (BTW how often do you stare at your friends kissing? Please, share at the comment section). Even actors call this scene awkward and weird, they basically hate it. And in fact that this scene wasn't it the script, it was added much later.

Then the forced friendship between Bucky and Sam. Moreover, they tried to replace Steve'n'Bucky's friendship with it. Sam rather has a chemistry with Steve, not Bucky. And the way Mackie and Stan here and there together on comic-cons where Mackie acts like he's Stan's BBF and Stan's just embarrassed. This whole all of a sudden friendship thing feels so unnatural and stretched. It's not like I don't wanna Bucky has friends and all, adaptation and stuff, But it doesn't mean Bucky doesn't need Steve, no one can replace him. And it all was only to make their friendship NO HOMO. But the way I see it, there wasn't anything gay about them (BTW I'm not a shipper and not homophobic), just some people have dead opossum's emotional range. In their head the man wants either bang you or kill you, nothing in between. I'm sure nobody took seriously the idea that they make them gay, or that they look like gay. It's just bromance. But noooooooo. They must've done this to them, cuz Happily ever after.

Eventually we got what we got. In Endgame Steve and Bucky are barely shares the screen together, even if they actually next to each other, they don't hug, don't talk, don't even look. Even after Bucky got back from the dust. It's like they never cared for each other.

Steve considered Bucky recovered after being tortured and brainwashed for 70 (it still blows my mind how long it is!) years, he's OK. No one said he's OK though, even Bucky himself. He's still the same wrecked man lost in time and his own head with tremendous weight of guilt and torn apart personality. It's not the same Bucky from 40es, and he never will be. Steve’s the only one who could break through to him, for Bucky Steve is like the ground he stands, the only guide light in this chaos that left of his life. According to Stan – Steve is the only thing that keeps Bucky alive. Well, Bucky, sorry pal, gun or rope?

Steve is an asshole. He thinks he's so special and good enough to rewrite Peggy's life (which was good for Peggy without Steve) just because he wants it. Abandons Bucky, who has nothing but Steve, abandons the world he fought for and called his home, and the friends called family. All this for the woman, who was almost nothing to him especially compared with Bucky and the others. All the things Peggy said in a hospital, all the character development and his words about the man died in the ice, new home and new family – all of it was fucked up, buried under that shit. You need to move on. Until you get a time machine. Then you can go back. So what is it? Maybe Steve never was a hero and hence he doesn't deserve our respect. Or, what is the most likely, creators think we are idiots.

Steve gives the shield to Sam. And I wouldn't mind. Why not. This job definitely is not for Bucky. He's tired, he's semi-stable 100 years old man, he had enough of war for two lifetimes. It's too much for him, it would be cruel for Bucky. Symbolism is a cool thing, but life doesn't work that way. Pep-talks don't heal. Get real, OK? Sam is a new Cap, fine, it's logical. But it's always about the How, not What.

From the moment Bucky sees the old man on the bench til the end of the movie Bucky didn't even think about to approach Steve, he sent Sam instead. They didn't talk, Steve didn't even look at him. This entire scene Bucky has this endless sadness in his eyes. There's a glimpse of a smile when he looks at Sam, but in the moment it's gone. And then it's pain and sorrow on his face again. I don't really see happy Bucky. 

Just look at his eyes and tell me you look the same when you’re happy

And actually Steve doesn't sparkle with joy either. He kinda lived his “happy life”, but there's no sign of it, especially that he refused to talk about her. 

But it's confirmed information – Peggy's mysterious husband IS Steve Rogers.In the end Bucky got this last slap on his face. Bucky asked himself if he worth all of it. NO. No, Bucky, fuck you.

I find it funny (seriously I don't) that it's the same directors and screenwriters, who did Winter soldier and Civil war. How could they screw it up? One might say “Cuz there's TV-series Falcon and Winter soldier coming, it needs to be this way”.

A few little ideas for ending that wouldn't do any harm.

Behold!

1.  If they want Steve out of it, why don't kill him? Canonic, right?

1.1 In final battle Steve is dying. He tried to shield Bucky and dying on his arms. He can give the shield to Bucky, so his broken and lost friend could have purpose in life that helps him to move on. Or he can just die and Bucky takes the shield as something in memory of Steve. And then Bucky gives the shield to Sam, like saying “I've lost it all, I've lost my friend, but you're a good guy and maybe we can become friends sometime”. If it happened like this I could in time accept Sam as a new Cap and Bucky's friend.

1.2 Or perhaps Steve, still dying, gives the shield to Sam.

2. This one is not so good idea, but OK. Steve goes to the past, his a douche. But if you want a TV-series he can’t take Bucky with him. And it's still the same – Steve gives the shield, doesn't matter who would it be (pick anyone you like). But Steve can’t leave without saying goodbye.

Oh my god! It's two of it and we still got the TV show! Fascinating! And there is more of it.

3. Oh that's the good one. The one with the Steve we know and love. Steve stays. Steve goes to the past to return the infinity stones. Steve could allow himself just a moment to be selfish and have that dance with Peggy, or stay for not so long, a year maybe. And then he must go back, knowing that there are people who need him more, than Peggy. Of course if Steve is young, fit and tight, he won't retire. But Sam and Bucky are still with us, they're cool enough to have a TV-show.      

4. And what if like this? Shuri did the research to find a way to clear Bucky's head from the Hydra's code. What if she did? Or what if with Hydra's code some memories are gone too? Maybe Bucky could be an antagonist.

And just for me. We don't care about the money, and give Steve and Bucky the final they deserve.

1. Bucky and Steve dying fighting together. The most obvious and sad final. Till the end of the line

2. Bucky dies. It's tragic for Steve and he could say “I've lost it all”, and goes to Peggy. A little OOC, but not so bad.

3. What if we go back to that brain-cleaning option? Steve dies, but Bucky's so broken he can't stand it, and he goes to Shuri so she could wipe up his memory. Tragically and symbolically, cuz first time he was forced to forget Steve's alive, and now he does it voluntarily to forget Steve's dead.

I'm not a screenwriter, and my head's not crowded with ideas. But this is still better than what we've got in the Endgame. I could step on my own throat and accept the Endgame only if Bucky says that Steve is a traitor and he hates him. I'm not saying that Steve doesn't deserve this dance or happy ending. He does. Everybody Does. Everybody've suffered enough. But Steve doesn't deserve to become such an asshole. Bucky doesn't deserve to be forsaken in such a way. 

Honestly, I don't care about forced bromance with Sam, or Sharon, even love interest for Bucky (it would be kinda specific I guess). They could do anything, but they can't throw away Bucky and Steve. These characters are alive, their world is real. Sometimes happy ending is impossible. And if you force it, you can ruin everything. And this is what they actually did.

And it just bugs me – why, why did they do this? Maybe it's too much pressure and they screwed up. Or maybe it's Big studio' bosses. You know maybe if they just shut up about it.. time heals you know. But it gets worse. On the interview directors says one thing and screenwriters say the other, they all can't string sentense together. And only Bucky's face speaks for himself. I mean did you see this fresh Sebastian's panel at London comic-con? I’ll show you few moments, but you've got to watch the whole thing (https://www.youtube.com/watch?time_continue=5&v=-KQpzG49exM). When he asks the audience did they like the movie, many people say “No!”, when he approves the final of Endgame one shout “Liar!”. Look at the body language. You'll see how he sincerely and emotionally talks about anything.  As soon as it comes to Endgame, he is immediately clamped, his leg begins to twitch.

The previous question was that he was interested in - what kind of heroes he wants to play. Therefore, he sits on the edge of the couch, leaning over to the public. The next question about the final and Steve going to Peggy. He immediately moves and leans back, he covers his belly with hand. The question is unpleasant to him.

Then the speech becomes confused, although before that it flowed freely, he literally gasps as if he doesn't know what to say, his micro-mimic denies his words.

He says he agrees with the final, Bucky is happy, Steve deserves it. But his body screams just the opposite - a sharp wave of his hand and chin say "no"

And this is the worst one. On the words “He (Bucky) was happy,” his whole pose just screams “NO!”. This insincere smile, this tilt of the head and a slight denying swaying. All this says more than any words

It's so obvious that he so tired of it. I bet that under the contract, he has no right to scold the movie and must promote the policy of the studio. But when he said that “Bucky was happy for Steve” .... This is the most forced smile I've ever seen. This is the most unconvincing lie in my memory. You can see just right through it, it's like an open book. But he has to do it, because crossing with the Big Studio Boss when your career just went uphill is not the best idea. The truth is important, but the dream is too. He started the career since the age of 15, which is quite long, considering this is not such a brilliant career, but he definitely worked so hard for it. So he caught between the hammer and an anvil now. On the one hand, acting career is the only thing for him, on the other hand studio bosses who can bury the dream, and on top of it the fans who are looking for his support. So "Steve is happy, Bucky is happy, awesome film, kill me, please!". By the way where is his best buddy Mackie? Why Seb's cleaning this mess all by himself? Seeing him like this just breaks my heart

And I honestly do not understand the people who liked it. How can you not see all this?? And there are those who claim that we didn’t like Endgame because we didn’t see any movies at all and didn’t read comic-books. There are Stucky fans who liked Endgame. Are the clichés so strong that people just don’t see all this... The story of Bucky and Steve was way too deep. Bucky is too tragic and well-developed character for a superhero comic-book story. All this deserved so much more. And the creators simply could not finish the job; mass cinema is simple and flat and it's made that way on purpose. They pull the most primitive triggers, so that people do not have to think. The most simple patterns help to reach more people. In other words, they are doing everything to raise more money. And it works. Thus we’ll get more of it in the future. No doubt about that.

For me, Endgame marked the victory of the corporate moneymaking machine over creativity. And the box office speaks for itself. It's an awful world to live in...

[murdochmysteriesimagines]

Circumstance -Julia Ogden

Request: Platonic Requests Of Julia Having A Half Black Daughter Before The Events Of The Show And They Meet Again Whith The Daughter Being In Her Twenties And Julia In The Latest Season And Neither Of Them Knowing They Are Related.

A/N: The need for a specific ethnicity did throw me off a bit, that and the requirement of both parties not knowing of each other when they first meet. This one was challenging to write for but I am pleased with the end result. It does differ from the original request but this in the effort to make the story more realistic and logical. 

__________________________________________

Pained screams filled the empty cottage home. On the outside the still building cried out for only birds to hear, painted walls and shuttered windows failed to muffle any of the misery of the inhabitants; one standing out among the rest. Julia Ogden laid on her back, legs separated and abdomen inflated. Each muscle contraction squeezing the life out of her, grit teeth and watery eyes two of her side effects. Her father and school companion Issac Tash were present in the room aiding with the birth. Tash frequently pausing his assistance to the doctor to provide comfort to his friend, although it largely fell flat to the pained women and only delayed the inevitable. Lionel Ogden, who despised the rushed situation his family was placed in still found time to scold the doctor in training for his distractions, having exhausted the same treatment and criticisms for his daughter throughout the months of her secret pregnancy. 

In the hall outside the bedroom and makeshift ward the second youngest member of the Ogden lineage sat beside he father of Julia child: a grounds keeper at Bishop’s University where the new mother and her companion attended. Their secret flame burned bright with a passion, but one night alone without supervision ended in temporary pleasure and their current predicament. Ruby Ogden the younger attempted to comfort the gardener, like Tash however, her efforts would be in vain. Not a year older than Julia yet his face hung low, a tired state giving him the appearance of an unearned age. Mr Marsh worried not for himself for his child, the mother, what the future would hold for the both of them. If Julia was caught bearing a mixed child her career would be over before it began. Any school or institution worthy of her talents would shun her as if tainted by the plague. That was why Julia’s father brought all parties into the woods of northern Ontario, regardless of outcome he intended to keep what happened in these walls an everlasting family secret.

Back inside the room Lionel commanded his daughter to push a final time, through her cries of relief flushed a new sense of exhaustion. Doctor Ogden held the result in a single hand, unnoticed by Tash who focused on his friend. The child barely reached to the of his hand from the palm., the size and texture of a lump of coal. The child laid still, unmoving, silent. Lionel knew himself to be a firm man, unpleasant to all in this situation. When he held his grandchild however, a weight formed in his throat and refused to be swallowed down no matter the force.

He gently laid the child down on a table away from his own, his priorities shifting  back to what could be done for his own girl. Minutes would pass in relative silence, Julia’s mind muddled from recent events and the doctors to Tash. He was unable to admit the circumstance of the baby but all knowing its fate. Isaac excused himself to gather more supplies. His departure letting a cold silence occupy the room and its single conscious inhabitant. Outside he could hear distress from his youngest daughter and the father, he expected the door to be knocked in yet it remained shut. 

The silence was broken by a frail cry. At first Lionel thought it was Julia coming to grips with the outcome. she remained quiet however, eyes closed to the world around her. Then another wail turned his attention back to the table and what he thought was a still born infant; still clinging to life, if by a thread. He wrapped the infant in a blanket and held it carefully in his arms. If it survived he would ensure it was taken care of, the father was far from being in his good books but he was trustworthy to raise the baby into adulthood. As a father himself he had to do what was best for his children first, regardless of any consequences. Even if that included lies and manipulation among other sins. He would extend that promise to his first grandchild, a unfortunate victim of her parents mistakes, innocent to the world. 

You had paced the length of the hospital three times by the time you gathered the courage to approach the main doors. In perpetration you had packed every scrap of information in the form of documents, photos or outdated letters, and neatly organized them in the satchel thumping against your waist as you walked up the stone steps. You were informed this was Doctor Ogden's new stomping grounds after she left the city morgue. A foreigner to the city yourself you were surprised at how helpful people could be, daddy always warned you of the exact opposite from city dwellers. 

The hospital was positively silent on the inside, no screams of anguish or weeps of sorrow from mourning loved ones. You knew those sounds would come in hand with your future schooling and profession; but for now they still turned your spine into ice and hands into stone. With guidance from a nurse at the reception and a tall blond on Ogden’s assigned floor you pushed further into the building. The first one tricked with a white lie and the tall one simply too helpful for her own good. The way she fixated on you for a second was unnerving, her eyes narrowed and head tilted to the side before snapping back to reality and ordering you to follow her. All without proper reason for your visit. As you were guided through corridors in the winding maze that was the hospital final doubts began to sweep through your mind.

“What will I say to her? What should I say? This was a mistake surely, selfish, it has been two decades, I’ll only disrupt whatever she has built. What will the public think?“

Your inner dialogue was cut short by the blond appearing from behind a door. In your haze she had disappeared into a break room and reemerged soon after. “Its just Doctor Ogden in there, I’m sure she’ll appreciate the company.”

You barely managed to thank her before she ran off back into the endless hallways. You stood ready to enter for a moment, retouched your hair, straightened your collar and padded out any wrinkles in your clothing. No imperfections, real or imagined, were enough to put off the Doctor but all posed significant threats to your mind. Hesitantly you opened the door and stepped inside. She had her nose buried in a notebook with a hand occupied by a pen. The door closing behind you caused her to look up from whatever words she wrote. Doctor Ogden looked at you like a stranger onto another. You knew swabs of information about her yet she only saw a member of the youth starring at her nervously. 

“Good day.“ Her greeting was warm, in line with all the stories you had been told. She could tell you were nervous and, true to her nature, attempted to ease your anxieties. She extended an arm to offer you a seat. When you placed yourself opposite her your respiratory system began to malfunction once again. you introduced yourself with a noticeable stutter as you failed to find confidence in the scenario, y/n Matthews.

Doctor Ogden looked remarkably similar to what you suspected. The bury photo you had of the young secret couple that was your father and Doctor Ogden relaxing together did her justice. Her hair still possessed the same glow, her face seemingly free of aging, time appeared to have paused for your fathers oldest friend. Would you have the same luck as the inevitable conclusion approached. These thoughts distracted you for several seconds, unable to hear when she spoke in the temporary silence. “Pardon?”

The Doctor smiled at you, not showing any resentment or annoyance to your endless worry. “I asked if you would like something, tea?” You shook your head denying the request.

“I’m here on business Ma’am. Doctor!“ You corrected yourself with a panic. Another error she did not react to or or care about. You moved your hands around trying to find a comfortable position, settling on them squeezed into a ball in front of you. “Are you the same Doctor Ogden who a relationship with James Marsh two decades ago?” 

You were blunt and without a stutter for the first time. The Doctor recoiled slightly, eyes widened, a reaction to a name she knew too well. “Its been years since I thought of that name.” She paused, “But why-”

“He’s my father.” You blurted out of panic once again, not allowing her to finish the sentence. Doctor Ogden seemed to take a positive interpretation. “He married after my father forced him to move away.”

Of course she would think that, you refrained from correcting her immediately. “He said your father requested our surname be change after...” Your thoughts trailed off, unwilling to divulge the forbidden information. A look flashed across Julia's face, unsure herself if it was relief or pain that you might not know all the details of hers and Marsh’s relationship. 

“How is he doing?” “He died six months ago. Cancer.” Your voice was near silent but each word echoed around the break room. All Doctor Ogden could manage was an offering of her sympathies, a gesture you had no doubts about being genuine. She went onto question about your mother, still believing her old friend had married long ago. “And your mother?”

Thousands of potential answers came to you but none would allow themselves to exit your mouth. What should have been premium opportunity you allowed to slip through your fingers. The answer to selfish for the Doctor to hear. 

“She’s out of the picture.” You refused to elaborate and she refrained from perusing the question.

“Before he passed he...” You paused, retrieving the item in question from your satchel, a sealed envelope signed in the finest cursive you had ever seen. “My father wrote a letter for you. He never said why but he wanted it sent after his death.” 

You slid the letter across to her, along with the old photo of the couple as a form of proof. Doctor Ogden held it with the tips of her fingers; like the paper would burst into flames if she was not careful. “You came to Toronto just to deliver a letter?” She sounded more curious than puzzled. You were taken back by her question, not all would care enough beyond being polite. “I’m attending the university next week. Me and my father had been saving for it for some years now. I plan to become a doctor myself some day.” 

For the first time since you entered you allowed yourself to smile slightly, positioned downward in a failed effort to keep it private. “When I was younger I worked in the local clinic and in the summers I would patch up the local football teams. My father did say I always took after my mother.” 

“Were you two close?” The Doctors question sent hidden daggers into you without intent, a polite question to try and break the ice. A simple head shake made the Doctor drop the subject entirely. 

“If you would like Miss Matthews, once you start your schooling I could see about getting you a part time position here as a nurse. Perhaps I could teach you a trick or two.” The Doctor appeared honest in her proposal, though you had inner conflict if this was because of your father or some potential she saw in you. What ever the reason the offer scared you to your feet, the older woman following soon after. 

“I, I don’t think that would be appropriate Doctor Ogden.” Your anxiety had returned with a passion. All plans of what else to discuss with the Doctor falling secondary to any action that would end. Before she could raise further question you found yourself backing towards the door, the truth leaving as quickly as it entered. “I should’t waste anymore of your time Doctor.” Your lungs acted as if they ran several kilometers while you sat still in a chair as you maneuvered out of the room and away from Doctor Ogden. 

“y/n wait!” Julia called out to you but remained still, whatever stress you were acting on would not be aided by the person triggering it giving chase. She attributed it to the memory of her old lover and the youths father being brought up so swiftly. Even with her strained relationship she was less than joyful talking about her own father after his death, an unfortunately familiar subject for the two women to share. 

Her attention went back to the letter and photo of her old friend; every pleasant and painful memory associated with him brought back when she looked at his grinning face in the weathered photo. A shame his child did not inherit his smile. What information could be so important that even after twenty years it still occupied his mind on ones deathbed. It was a minor worry in the back of her mind that whatever words he had penned would somehow betray or jeopardize his only child. If James Marsh had remained the same gentleman she knew well a lifetime ago he would do what was right for those he cared about. 

[noisylala]

Youtube Channels

THE WIFIII IS BACK !!!

(Sorry *blush*)

As a college student, i thought my life was over with the death of my connection. It was hard but I have been crying like a toddler at 2AM strong .

So now, i wanted to share some Youtube channels that I find quite interesting.

Virago

It’s founded by a French comedian - Aude GG. It depicts feminine historical figures who are, unfortunately, forgotten from our History books. She’s very funny and there are English subtitles ;)

The Trung sisters

HiHo Kids

I’m not a fan of children on the Internet because they have been a lot of abuse. But, on this channel, children and preteen can ask questions and interview a person with a particular or an ordinary occupation (mortician, ballerina, vet doctor..) or who’s been through a lot (a school shooting survivor,..). I just love their honesty and how it brings capital issues in our society.

Kids meet a teen mom

The Try Guys

Do you remember Keith, Eugene, Zach and Ned from Buzzfeed ? Well they have their own channel now where they still try everything. I LoVe it !

The Try Guys Try Cringey Couples Halloween Costumes

The Take by ScreenPrism

Quoting: “ It's where you come to understand more about your favorite movies, shows and culture. [...]. Think: Endings Explained, Character Studies, Hidden Messages and Symbols Revealed, Actor and Director Profiles, and more.” All has been revealed (0.o)

Mindhunter: a game called dialogue

Hooked on the Pain: why we love The Handmaid’s Tale

Pop Culture Detective

Quoting: “A series of critical video essays looking at media through a critical lens with an emphasis on the intersections of politics, masculinity and entertainment.” It really shows how deep toxic masculinity, misogyny, racism, homophobia,... are incrusted in our lives.

https://www.youtube.com/watch?v=t8xL7w1POZ0 ->  Abduction As Romance

Cinema Wins

The total opposite of Cinema Sins: the channel emphasizes the positive points in movies (animated or not).

https://www.youtube.com/watch?v=Z-B9WVMQliw -> Wonder Woman

https://www.youtube.com/watch?v=MB3By_5VSw4 -> Inside Out

...

There are still so much more (ToT)

[tonystarktogo]

Five Times The Avengers Didn’t Hunt Down Dean Winchester (And The One Time Thor Threw Him A Party)

I’m sorry it took so long for this chapter to be written! I’m also sorry for its content. I’ve never before written Bruce and now I know why: I suck at it. I can’t get into his head, his dialogue comes out wrong, and basically the only reason I’m posting this at all is because I’m convinced it won’t get any better. 

You’re not allowed to criticise me because it’s my birthday and I can do whatever I want :P Also I’ll post the fifth chapter today as well to shamelessly buy your forgiveness so there’s that.

Four 

Sometimes Bruce wonders when he reached the point in his life where getting held at gunpoint became less of a threat and more of a regular occurrence. Albeit an annoying one.

To consider guns a mere annoyance is probably a statement in itself.

One of these days, Bruce is going to sit down in a shadowed corner, stare listlessly at the world around him and contemplate everything that has ever gone wrong in his life and how it has led him here. Today is not that day. Mostly thanks to the man currently pointing a gun at him.

Bruce would feel more threatened if said man didn’t keep his bloodied partner upright with his other arm. He would also feel more threatened if bullets were the kind of weapon that can actually injure him, but that’s a complaint for another day.

That said, the guy’s aim is steady.

Just because Bruce can’t be killed by a bullet doesn’t mean it’s in any way a good idea for him to be near a functioning gun. (And this particular one looks well-cared for. And well-used.) The other guy doesn’t exactly hate them -- there’s what Bruce translates into a dismissive grumble from deep within his mind -- but he has no fondness for them. More importantly guns tend to escalate a situation.

Bruce and escalation are a spectacularly bad mix.

Fortunately, the armed man seems calm. Bruce absently wonders if he would still be as calm if he were to find himself suddenly faced with a green rage monster. That sort of thing tends to throw people off their game.

He less absently wonders why it is that the other guy hasn’t even bristled yet, despite the very -- let’s call it ‘confrontational’ approach of the young man. The stranger is tall -- very tall --, covered in blood -- hopefully not all of which belongs to his friend, otherwise Bruce doubts the man will make it -- but above all else he is calm.

It might not have struck Bruce as odd if it wasn’t for the heavily injured man the guy practically carried. And it’s that more than anything else that tells Bruce not to underestimate this man. Few people are this professional when someone bleeds out on them.

“Can you help him?” the man asks, adjusts his grip when the other male sags. For all intents and purposes it’s a calm, polite question -- save for the gun.

Bruce swallows an almost automatic -- defensive -- ‘I’m not that kind of doctor’. There’s no use. They’re too far away from civilisation to suggest a hospital. Bruce has had some training at least -- not that he suspects it will matter. A first-aid kit, no matter how well-stocked, can’t replace all this blood.

“I can try.”

The man has already lowered his friend to the ground and begun cutting the guy’s bloodied leather jacket off with a silver knife. Much to his friend’s horror, if the wordless groans are anything to go by. Then again, that might just be the pain.

“I’m Sam by the way,” the man mutters at some point, minutes after his friend has lost consciousness.

“Bruce,” he replies because it seems impolite not to.

He’s more focused on the slick feeling of his hand where he’s trying to stem the injured man’s blood loss. It’s becoming more and more obvious that they’re fighting a losing battle, but Sam’s hands remain steady and Bruce focuses on applying pressure.

It doesn’t help.

“I’m sorry,” Bruce says when he pulls his hands away. There’s nothing left to save.

That doesn’t help either.

Sam’s face looks ashen in the twilight, but his eyes are dry. He clears his throat twice and when he speaks his voice is low but steady. “Thank you for trying.” He even manages to sound genuine.

His hands don’t tremble when they reach out to close glassy green eyes. Bruce can’t help but wonder what it would take to truly shake this man by his side. It’s an uncomfortable thought, though he can’t pinpoint why exactly.

Sam’s friend -- Sam hasn’t said his name and Bruce hasn’t asked -- doesn’t look peaceful or any of the other poetic descriptions that might come to mind. He looks pallid and slack and attractive in an abstract way that reminds Bruce of a lifelike puppet.

“You’d think I’d get used to it,” Sam murmurs. His hand clenches into a painfully tight fist.

Bruce looks at him then. Sees a man at least ten years younger than he is with old eyes and a tired smile.

“There are some things you never get used to,” is what he ends up saying, even though Bruce is starting to learn that it might be a lie.

Besides, “You look like you are,” is a rude thing to point out.

Sam smiles. It’s the first false expression Bruce has seen on him.

“We’ll see,” Sam says simply.

There is a confession in there somewhere, heavy and deep and devastating. But grief is a dangerous thing and the other guy is beginning to get restless.

“Can you--” Bruce waves his hand because isn’t sure how to put ‘take care of the body’ without sounding like a crazy serial killer.

Sam nods once, sharply. “I’ve got this.”

There’s an awkward moment where you’re supposed to shake hands but neither of them reach out. Then Bruce turns around, one last glance at a man he couldn’t save -- but at least didn’t kill and that shouldn’t make it better -- and walks away.

“You should wash that off somewhere,” Sam calls after him with a nonchalance that strikes Bruce as wrong, though he can’t pin down why. “People tend not to react too well to seeing someone covered in blood.”

Bruce doesn’t know what to say to that. But Sam isn’t wrong.

*

Bruce sees the wanted poster a couple of weeks later, through sheer coincidence. He doesn’t freeze, doesn’t walk up to take a closer look like other people might have. In his defence, he’s being hunted by another group of Ross’ lackeys and has more important things to worry about.

And really, there’s no point in investigating the sins of a dead man.

In Bruce’s defence: He isn’t familiar with the Winchesters or he’d realise how wrong he is. Also Sam finally did make an appearance while Dean’s part in the whole thing was rather limited. In his defence, he was dying. 

Next: Natasha

[brattywriters-anonymous]

A Rose In Harlem

OC x Erik Story

Based on Teyana Taylor's VII & KTSE.

Warnings: Sneaky Bitch in the cut! Drug use. Drunkenness. Jealous Erik! Jealous Syd! A whole bunch of jealousy! Which leads me to the title of

CHAPTER 4: ENVY.

Erik's face began to heat up with anger at the sight of Syeda and the maintenance man. He continued smoking as his eyes searched for Grant. He found him in the back of the kitchen beside the back door talking to some woman. He barged his way through the thick crowd of party goers and as he walked past the kitchen he gave Syd and her plus one a look of disdain. "Aye, Grant. Lemme get a eighth." He requested, handing Grant two twenties. He needed to calm down and the Henny was not a culprit for that mission. Grant dug around in his pocket for the weed and pulled out a pre-weighed pack and gave it to Erik. "Here man. Just give me a dub. You look like you need it right now. Wassup witchu?"He let out a full sigh before he answered, "Nothin. I'm good. Thanks. You got some more backwoods?" The mystery woman spoke up, "I do." Erik's face changed as soon as he looked up at her. She was no Syeda, but she was bad all the same. 

Brown skin that would give Coca a run for its money. She was about 5'7" with a curly top knot bun. "I'm Gina, just call me G." "Erik." They exchanged pleasantries and shook hands. Syeda is witnessing their exchange and she scoffed as she took the last sip of her straight liquor as if it was a shot. Yasin followed suit, thinking she was trying to out drink him. "Damn babe. You took that shot and didn't even blink." He laughed as he pulled her from behind, hugging her by her waist. She smiled in their direction with purpose. "Yeah. I guess I needed this." she then moved her head up to look at Yasin. He took that opportunity to kiss her forehead. Erik accepted G's pack of backwoods and clinched his jaw again after seeing Syd and Mr. Plumber's exchange. "Wanna go outside?" He motioned his head towards the back yard. "Yes, Erik. We can do that." She flashed a smile at him. She had a gap that Erik immediately took to. 'It's actually cute on her' he thought.

Syd sucked her teeth as the DJ switched the record up to "Bandz A Make Her Dance" she asked Yasin, "Hey boo, you wanna dance?" She didn't wait for his reply. She pulled his arm as he followed her into the living room.

--

Erik began choking on the blunt, "Wait, you did what?" G patted his back and chuckled at him. "I thought I could go to the top of the Empire state building and smoke a couple ls. so I did. Until security was called after I got done with the first one." He hadn't laughed so hard since his Navy days, back before he went off to college. "I had to run down 102 flights of steps with Security on my ass! I don't regret it though." She admitted, grabbing the blunt that Erik was offering. He liked the fact that she was daring. While they were rolling to match, she talked about how she took a leap of faith to pursue her modeling career moving from Houston to New York after her parents passed away in a drunk driving accident. Erik exchanged the similar experience of losing his father and mother when he was younger. They seemed to form a slight bond over their bold interests and their painful losses. They were both only children, they even complimented each other's rolling styles. "Yeah, this is hittin. You good at this. How long you been smoking?" G leaned back in awe of the query, "Shiiiiiiiiit I'm twenty-six, It is my birthday by the way." He interrupted, "Oh, well happy birthday beautiful." Her smile spread from ear to ear. "Oh, Thank you. Anyway- I'm twenty-six. I've been smoking since I was fifteen. So about eleven years." She took another drag as he lit the blunt he rolled. "So what about you?" He exhaled the smoke and did some calculating with his free hand. He'd only taken up smoking when he went back to MIT for his doctorate in Engineering. Even though a eighteen year old Navy enlisted Stevens would laugh if he saw his twenty-seven year old self toking like Wiz Khalifa, he used the flower to decompress. Especially before his dissertation. He smirked and rebutted, "Only four years." G gasped, "Really? I'm surprised. I mean, you being from Cali and all." He kept the same smirk at the way she pronounced Cali with that southern accent. He really liked that. "I wasn't a fan of weed in my younger days. I enlisted in the Navy as soon as I graduated High School. When I got out and went to college, my view became more lenient; and by the time I went to school to get my doctorate, I dove head first in the weed. That shit was stressful." Gina marveled at the small background story he gave her. "Wow. Doctorate. So you're a doctor?" he passed his blunt to her, and rejected what was left of hers. "I am. Kind of. Engineering Doctor." She busted out laughing. Her laughter instigated his as they were enjoying each other's company.

--

"Front then he coming your way, let the semi dump-dump then he coming your way. Dump when the bad man come, my yute don't ramp wit me/Coupe full of bad hoes, they all wanna come with me./You got a coupe with a sad ho cause she wanna come with me. Shabba!"

Syd wined her body to the bass line of the beat as Yasin joined her movements behind her. The party was singing along with A$AP Ferg, you could've sworn he was in attendance. They'd been dancing for four songs now, and Syd started getting tired. She stopped and rose up from her bent position. "Wooo. I'm drained." Sin nodded. "I feel you. It is hot out here. You wanna go outside?" He pointed at the same back door she saw Erik and whatshername go out of. She agreed, out of curiosity. They make strides to the back of the party. As Sin opened the door for Syd to walk out, Erik and whatsherface were walking in. Laughing as if Eddie Murphy was outside doing a comedy show and smelling louder than Coachella. Syd rolled her eyes and tried to avoid making eye contact. Erik quickly shut that down. "Syd." He always said her name so effortlessly and it immediately stopped her in her tracks as she turned around. "Erik? Hey. What's up?" He took a quick glance at Yasin and looked back at her, "Chillin. Zig finally showing me a good time and shit." He glanced back over at Yasin, who was giving him a smug look. "You?" Syd flipped her hair so she could rub the back of her neck, "I needed to get out of the house. Work is getting hectic."

Ironically, Yasin and G both cleared their throats at the same time at their counterpart's rudeness. Syd looked over at Sin apologetically, "I'm sorry. Sin, this is Erik. My neighbor's cousin. Erik, this is Yasin." Neither one of them felt the need to shake hands they just gave each other a domineering stare. Erik broke it and looked at Gina and her impatient body language, "This is Gina. We just met but she's cool." Gina reached her hand out to Syd. Syd leaned back far enough for Erik and Sin to notice, but Gina didn't. She reluctantly took her hand and shook it, "Syeda." She quickly let her hand go and walked to the end of the deck. Erik's mouth hung open at the crude behavior that Syd was displaying. 'She acting like she didn't bring fix-a-toilet to the party.' he scoffed aloud at the inner thought.

Yasin shook her hand, trying to deescalate the awkward situation, "Hey, I'm Yasin. It was getting hot in there and she needs some fresh air." Erik side eyed Syd, "Yeah. I'm sure. Well you enjoy your night Syd." Syd shooed him off. "Yeah. You too." The door closed and Yasin let out a long breath as the tension levels decreased. "Wow. Uh. You okay? You seem upset." Syd still looking ahead toward the back yard, she shook her head. "I'm not upset. I'm good." She managed a fake smile and took his hand. "Are you okay?" Yasin scratched his forehead in confusion. "I was okay until all of that happened. That was awkward as hell, ma. You two hook up or somethin'?" Syd rolled her eyes at the suggestion, "Hell no. I practically don't know him. I'm just hot and irritated that's all." "Okay babygirl. lets get you cooled down." He found a lawn chair and scooted it up to her so she could sit down. 

--

30 Minutes later

Yasin and Syd were becoming more acquainted. They exchanged stories about Ramadan failures. Syd loves food too much to not eat during the day. "Islam is about patience. Even in our shortcomings. I got up to thirteen days this year. I'll aim for thirty next year and see how far Allah takes me." "Wow. I never thought of it that way." She always beat herself up about not following her religion as diligently as her parents did, her life was too hectic to not eat during Ramadan, she was almost always working on Fridays so she couldn't go to the Mosque. She prayed about two to three times a day on average instead of five. Syd looked at the sky, hoping in that moment that she was making her parents somewhat proud. Yasin felt her mood change. The door opened, they both looked back to see Nina. She leaned against the deck and lit a blunt. "This party is gettin' a lil too lit." She said, exhaling smoke. Syd cosigned, "I feel you girl." Nina took another drag and motion the blunt to her left, at Syd. She accepted it. "I knew you smoked!" Yasin laughed at their dialogue. "I thought I smelled weed when I walked in your place." Syd took a long drag. "First of all, fuck both of you! Secondly, Yes. I smoke. Sue me!" They all laughed as Syd motioned the blunt to Sin. He reluctantly accepted. Nina calmed down, "Nah, but for real though, Syd. I got a friend that would be perfect for your shoots. She just moved here from Houston and she's looking for some modeling gigs." Syd hummed loudly, "YES! I need one more girl. That'll be perfect. Just bring her through to the shoot. Myles sent you the info right?" Syd knew the answer but she was confirming. "Yeah he did. That guy is on it. Sent it the day after the meeting." "Girl, Myles is a Godsend. I'd lose my mind if I didn't have him by my side." Yasin cleared his throat, unfamiliar with the male name being mention. "Babe, that's my assistant." he palmed his face, "My bad. I'm sorry. Damn I'm not tryna come off as the jealous type." She gave him a peck and reclined back in her chair. "It's okay."

🌹

[constablewrites]

When Bad Exposition Happens to Good Movies

Let me say this up front: I loved Big Hero 6. A lot. It was probably one of my favorite movies of 2014. Baymax is an instant classic character, and I want to have Honey Lemon’s girly science babies. It’s just a solid, heartfelt, entertaining film.

And I was ready to tap out within the first 10 minutes.

We start out really strong with Hiro’s bot fight. Then Tadashi rescues him from a beatdown and we get the line, “You graduated high school when you were thirteen, and this is what you’re doing?”

Um, I thought. Okay. That’s an awkwardly self-conscious line. But maybe it’s important that we know that right up front. And so I settled back into the fun moped chase, glossing with only a little irritation over the stiff explanation of bot fighting and Hiro referring to his big brother as “big brother.”

Then they get picked up from jail by Aunt Cass, who starts off saying, “For ten years, I have done the best I could to raise you.”

Oh, thought I. Oh dear. But no, it’s cool. That’s not a completely unreasonable thing for a person to say. And indeed, it seemed to be part of a sort of no-filter anxious monologue which turns out to be very much in character for her. We���re still fine.

Then we go upstairs, and there’s this:

TADASHI: What would Mom and Dad say?

HIRO: I don’t know.  They’re gone.  They died when I was three, remember?

Yup, I thought, that is a thing that happened. That is dialogue that someone got paid to write. Dialogue that survived who knows how many rewrites and script sessions. Dialogue that no one has ever said to a sibling. Ever. In the history of siblings. It was such an utterly painful As You Know that it threw me clean out of the story.

The biggest sin of that exchange is that it is completely, fundamentally, 100% unnecessary. A woman they’ve identified as their aunt already told us that she raised them, so clearly the parents aren’t in the picture. Does it matter why?  Do the filmmakers assume that if we see anything other than a traditional nuclear family on screen, we’ll flip our shit and demand an explanation before we can proceed any further? I’ll give you that Tadashi’s line and the first part of Hiro’s response aren’t totally unnatural; Tadashi’s trying to help set his errant brother straight, and it makes sense he’d think about their parents in that context. But there’s no conceivable reason why they’d need to remind each other of how long it’s been. And there’s not even any good reason to remind the audience.

It makes me think of when I saw Up for the first time, with its long, wordless montage of Carl and Ellie’s marriage. When the film cut from the two of them painting a nursery to her sobbing in a doctor’s office, there was a voice from the row behind me, a girl who couldn’t have been older than about 7 or so. I didn’t see who she was talking to, but I heard her quite clearly: “She’s sad because she lost the baby.”

I will never forget that little girl as long as I live.

Audiences and readers are smart. Especially early on, they’re actively trying to connect the dots and put the pieces together. It’s okay to trust them to draw certain conclusions on their own, especially when the story won’t suffer if they don’t get to exactly the same spot you had in mind. And indeed, if you leave some things to your audience to fill in with their own imagination, that collaborative quality will make them more invested in the story (this is known as the IKEA effect). But it’s not “connect the dots” if the dots are so densely packed that they’re pretty much a line already.

Like I said, I do love this movie, and the clunky opening isn’t a dealbreaker. Almost immediately after that pointless line, we go to Tadashi’s lab and meet his classmates; the scene is still expository, but we’ve moved from As You Know to Naive Newcomer, so it makes sense within the story, and things get moving after that. But then, it would take a lot to get me to walk out of a movie theater.  If I were flipping through channels on cable, or if this were a book? I’d have done an Immerse or Die and pulled the plug after the third WTF.

Personally, I favor erring on the side of too little exposition. Beta readers and editors can help you find the balance, but I’ve always found it easier to add in extra clarification than to try to figure out what can be safely removed. What’s important is that you trust in the power of your own words and images, and trust in the ability of your readers to follow your lead. You don’t have to hit us over the head with it, I promise. If you sell short your audience, you’re going to sell yourself short, too.