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valeriethepussycats · 3 years

Text

Inside Out

Chapter 1

Pairing- Loki x Reader

Warning- cursing

Your thoughts and other characters are in italics. Flashbacks are in bold.

“Long before the birth of light there was darkness, and from that darkness, came the Dark Elves. Millennia ago, the most ruthless of their kind, Malekith, sought to transform our universe back into one of eternal night”

Malekith is looking up at the Convergence

“Such evil was possible through the power of the Aether, an ancient force of infinite destruction.”

The Aether.

“The noble armies of Asgard, led by my father, King Bor, waged a mighty war against these creatures.”

The Dark Elves and Asgardians fighting.

Kurse walks up to Malekith. “Malekith! Asgard's forces are upon us.”

The Bifrost opens, and bor steps out with Asgardian reinforcements.

“Send the Kursed.” Malekith told Kurse.

Some soldiers crush objects in their hands and become giant hulk-like creatures. Malekith looks up at the Convergence again.

“As the Nine Worlds converged above him, Malekith could at last unleash the Aether...”

Malekith and Kurse walk up to the Aether.

However, the Bifrost opens and Asgardian warriors attack Malekith, whom he kills. The Bifrost disappears, just as Malekith tries to get the Aether, but it is no longer there.

“But Asgard ripped the weapon from his grasp. Without it, the Dark Elves fell. With the battle all but lost, Malekith sacrificed his own people in a desperate attempt to lay waste to Asgard's army.”

Malekith watches as his forces are slaughtered. “Their deaths will mean our survival. This war is far from over.” He and Kurse get onto his ship and escape without notice, while destroying the other ships in the process.

The ships kill some of the Asgardians.

“Malekith was vanquished, and the Aether was no more. Or so we were led to believe.”

“Sire, the Aether. Shall we destroy it?”

“If only we could. But its power is too great. Bury it deep. Somewhere no one

will ever find it.”

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

Earth, New York City

Wow! A lot has happened in the past couple of years for Y/n. She met an Alien/God, saved New York from an alien invasion, found out she has a soulmate who caused said invasion, and last but not least finding Gambit. Even though these last years had its up and downs. Y/n hadn’t been this happy in a long time, and spending time with Gambit is the cause of that. Spending time with him just make everything better it makes her miss Loki less (even though she didn’t get to spend that much time him). Now She was now walking down the street with Gambit eating ice cream in the middle of November.

“You met my mother. How that happened?” Y/n said taking a spoon full of her ice cream.

“The good professor wanted information on you.” Gambit answered.

“Charles Xavier knew about me and my where abounds this entire time.” Y/n said with an eye roll. “Apparently him and my father have an understanding with each other.”

“Your mother...she didn’t know you existed.” Gambit stated.

Of course she didn’t Charles fucked with her mind too what a big surprise

“Well that still doesn’t change the fact that she abandon me.” She said in a dry tone.

“You gave me a chance....you trusted me to protect you and I couldn’t.” Gambit said with a sad grimace.

Y/n to turns and looks at Gambit. “You did your best. You didn’t abandon me. Ya you could’ve call to let me know you weren’t dead but I wasn’t your responsibility. Those people were after her, and she didn’t want to get caught so she left me behind.” Y/n stated. “You gave me to my father so I could be safe so I wouldn’t be used by The Thieves Guild like you was. You protective me. You’ll always be my hero.....no matter what you say.”

Y/n turns away from Gambit and started to walk away. As she approaches the cross walk she hears a voice being broadcasted in her mind.

Please no!

“Someone is in trouble.” Y/n claimed.

“What?” Gambit mumbled.

Where are you

Oh my god

Where are you

In the alleyway behind the Barbecue Restaurants just off Main Street

Y/n takes off running to Ray’s bbq leaving Gambit in her dust. When she arrives in the alleyway and doesn’t see anyone.

Hello are you here

“Thank you for coming.”

Y/n turns around and see five Einherjar Guards. “Ummmm.Hello.”

“We are the Einherjar Guards of Asgard and our king wishes to speak with you on the behalf of Prince Loki Odinson.”

“What?”

“The king would like-“

“No no I get that but why.” Y/n said to herself.

Gambit catches up to Y/n and see her with a group of guards. “Petit? What’s happening.”

“I’m being summoned by the king of Asgard.” Y/n said with a small smile.

“A king!! The king of Asgard.” Gambit finished with a gaping jaw.

I get to go to Asgard!

“Look I have no problem coming but I’m kind of in the middle of something.” Y/n voiced.

“This is important the fate of Prince Loki rest in your hands.” Einherjar Guard said not trying to be pushy.

“Fate.....I thought Loki would have been went to trial.” Y/n turns and looks at Gambit.

“l..l hav-“

“No...no it’s find go I know how important he is to you.” Gambit said with a smile.

“But just find your way back Ya.”

Y/n is about to walks over to them when a thought runs though her mind. “How about you come with me?”

“Invitation is only for you.” Einherjar Guard chimed in.

“I see that but I’m just a mere mortal I wouldn’t be comfortable being on a world without someone who can relate to me.” Y/n said artfully. “Would you want to be on a world all by yourself?”

Einherjar Guards look at each other in confusion

“Or someone is going to have to tell the king that they could get a mere mortal to comply.” Y/n said with a smirk.

“He can come but he will be watched.” Einherjar Guard agreed.

“You heard em lets go.” Y/n said as she pulls Gambit and they stand next to the guards.

“Uhhh. What’s happening??” Gambit said with a curious tone.

“Heimdall open the Bi-Frost!” Einherjar Guard shouted.

“This is going to be fun!!” Y/n said In a giggling way.

Gambit looks over at her and could see the excitement in Y/n’s eyes. “What is about-“

Suddenly Bifrost opens! A portal surrounds them In an instant, they're gone.

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

Upon emerge from the Bifrost, Y/n and Gambit looks around at the Observatory.

“Woo-hoo...let’s do that again.” Y/n proclaimed.

“No I’m gonna need a bucket.” Gambit grunted.

“Y/n L. Munroe and....Remy E. LeBeau I am Heimdall The gatekeeper of Asgard.” Heimdall announced.

“Hi....” Gambit and Y/n said in-sink.

“You are a friend of Thor. He has told me much about you.”

“I wish I can say the same.” Y/n said with a smile.

“If you follow the guards they will lead you to the Castle.”

“Thanks.” Gambit said walks with the guard.

“Heimdall...I was hoping I could come back here.”

“What for?” Heimdall asked.

“Well I would love to hear all your stories, being able to see everything in the universe....thats kind of wicked.” Y/n answered.

“Of course you can.”

Y/n smiles at Heimdall then catches up Gambit and whispered. “Do you think I look ok to meet a king.” Y/n was wearing a Navy blue crewneck cable knit with some light blue jeans and white air force 1.

“Petit, you look fine don’t worry about it.”

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

Throne Room

Loki is in chains, as he gets brought to Odin.

“Loki.” Frigga said in a began.

“Hello, mother. Have I made you proud?” Loki asked

“Please, don't make this worse.” Frigga said with a calm voice.

“Define worse.” Loki said in a casual tone.

“Enough! I will speak to the prisoner alone.” Odin proclaimed.

With one last look Frigga walks out the throne Room.

Loki looks up at Odin and laughs. “I really don't see what all the fuss is about.”

“Do you not truly feel the gravity of your crimes? Wherever you go there is war, ruin and death.” Odin voiced.

“I went down to Midgard to rule the people of Earth as a benevolent god. Just like you.” Loki expressed with a shrugged.

“We are not gods. We are born, we live, we die. Just as humans do.” Odin specified.

“Give or take 5000 years.” Loki sarcastically remarked.

Odin: “All this because Loki desires a throne.” Odin put forth.

“It is my birthright.” Loki voiced.

“Your birthright was to die!!!....” Odin shouted. “.....As a child. Cast out onto a frozen rock. If I had not taken you in you would not be here now to hate me.”

“If I am for the axe, then for mercy's sake, just swing it. It's not that I don't love our little talks, it's just ... I don't love them.” Loki said perpetually tired voice.

Odin tap the Gungnir on the ground and the doors open. Loki looks back back at the doors to see who could possibly coming in.

“Are we to wait on Thor?” Loki questioned.

“No Thor has nothing to do with this......” Odin started. “This is about someone else. That you are not worthy of.”

Wow this place looks so amazing

“Do you still want the Axe?” Odin wondered.

Loki looks over at Odin with wide eye then turns around and see Robin she looks just as he remembered her. Breathtaking.

“Loki!!” Y/n called out.

Loki can tell she’s happy to see him, she had a broad grin on her face despite him being in chains. “Y/n.” Loki said with darted a suspicious glance at Odin. “What is the meaning of this!?

When Y/n reached Loki she stands next to him and looks up at Odin.

Should I bow

You Bow to no one

Y/n looks over at Loki with a quizzical smile and all she gets back is a coy smile.

She turns back to Odin smiling to herself.

“I brought Y/n here to say goodbye to you.” Odin said in A calm voice.

“Goodbye..why would I need to say goodbye.....is he getting-“ Y/n said in rapid blinking and shaking her head ‘no’.

“You brought Y/n here to spite me......how do you even-“ Loki fumed.

“Frigga told me a long time ago, when you was just a boy.” Odin explained. “And Frigga is the only reason you are still alive and you will never see her again. You will spend the rest of your days in the dungeons.”

“I thought he was going to die.” Y/n said like a weight was lifted off her shoulders, but then a relief is quickly replaced by anguish. “If you were going to do this then why do you bring me here? You should’ve left me on earth, instead of bringing me here when you’re just going to but him in the dungeons for the rest of his life.”

My life

Loki looks over at Y/n with knitted brows. “Y/n....”

“I know what Loki did on earth is unforgivable but-“ Y/n started.

“Did he or did he not kill someone close to you?” Odin asked.

“Yes he did and I kick his ass and my father brought him back.” Y/n answered.

“Your father.” Loki looks over at Y/n with his brows pulled together in a frown.

“Ant....Boot.” Y/n said teasing Loki softly.

“Oh.” Loki said with a blank stare and a paled face.

“Does he deserves punishment or not ?” Odin chimed in.

“Yes but-“

“Then it’s decided-“

“No. No. This can’t be the last time I’ll see him.”

Loki looks over at Y/n and see that black veins slowly starting to appear on the side of her neck.

Y/n, what is the matter

Nothing, I’m fine

“Let me have two weeks with him here on Asgard.” Y/n said not wanting to sound pushy.

“Giving you two weeks with Loki would give him happiness-“

“I’ll be in the dungeons with him.” Y/n said meaning the words more seriously than they sounded.

“You would do that.....” Odin said in curious tone. “.....for Loki?”

“Yes I would.” Y/n said firm persistence.

“Hmm.” With tap of the Gungnir, the doors open.

As the Einherjar Guards come in the throne room and takes Loki and they struggle to get him to leave.

“And what of Thor? You'll make that witless oaf king while I rot in chains?” Loki said with a rigid expression.

“Thor must strife to undo the damage you have done. He will bring order to the nine realms and then, yes. He will be king. “ Odin answered.

Loki looks at Odin and then Y/n as he gets drag away, then Odin looks over at Y/n.

“You can have your two weeks.” Odin announced. “You do not have to be in the dungeons with him.”

Y/n turns her head quickly to look at Odin. “What? why would you just-“

“Do you not want it?” Odin snapped.

Yes..yes I do thank you.” Y/n said sincerely.

“Frigga” Odin calls out for his wife.

Frigga walks into the throne. “Well if it isn’t Y/n Munroe, l am Frigga Queen of Asgard.”

Y/n turns around and see the Queen of Asgard. “Hello.”

Wow she is so beautiful

Frigga approached and took Y/n’s hand in hers and looks at her with a sweet smile. “We have so much to talk about.” Frigga said as she led Y/n away out.

“You are even more beautiful then I thought.” Frigga said with a voice soft with affection.

“No you are.” Y/n said with out missing a beat.

Frigga laughs. “Is this Midgard attire.” Frigga said with one hand spin Y/n around to see her full outfit.

“Oh yes it is.”

“It’s lovely your practically glowing like the morning sun my dear.” Frigga said with a smile.

“Thank you.” Y/n said returning he smile.

“Come dear there’s much we must do.”

Meanwhile Loki watches Frigga and Y/n walking and talking, unaware of the horrors that were occurring several stories below his feet.

“I can’t remember the last time Loki or Thor brought a friend home to meet us,” Frigga said to Y/n . “When a young man brings a young woman home to meet his parents…” Frigga began, implying a possible marriage between Y/n and Loki.

“Technically, I think we have only known each other for a month.” Y/n said, surprised to be having this conversation so soon.

“And if it were three million years, would that change how you feel?” Frigga asked.

Y/n thought on this.

It wouldn’t change one thing.

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

“Beautiful golden sunlight shined down through the lush, vibrant forests of Vanaheim. Unlike Svartalfheim, the realm of Vanaheim was much more pleasant an environment. It was home to beautiful lakes and mountains, with vast fields of green spread out as far as the eye could see. But today, it was filled with danger and destruction.

The people of Vanaheim—known throughout the Nine Realms as the Vanir—raced through the forests as fast as they could. They were being chased by the Marauders, a race of space pirates—brutal invaders who were armed to the teeth and out for blood. Their sole purpose in life was to take what was not theirs, and destroy anything—and anyone—that stood in their way.

A frightened Vanir woman ran for her life but stumbled, falling down a riverbank just as a Marauder fired a massive fireball. It streaked above her head, impacting a nearby tree and causing it to burst into flames. As the woman regained her footing, she was confronted by a towering Marauder. He raised his razor-sharp ax, ready to strike, when suddenly a steel mace smashed the villain in the face, knocking him down, and knocking him out.

“Standing over the frightened woman was her savior—Hogun the Grim, of the famous Warriors Three. Hogun did not wait for a thank you, nor did he want one. The Marauders were running rampant across his home world, and Hogun was determined to stop them.

As more Vanir ran to safety, Hogun stood his ground—the only barrier between the fierce oncoming Marauders and the peaceful Vanir. The Asgardian warrior gripped his mace tightly and steeled himself, ready for what just might be the last battle of his life. With a skull-shattering roar, the Marauders charged, determined to crush Hogun and the rest of the Vanir people.

The lead Marauder raised his broadsword and swung, but his blade was deflected by another sword—the sword belonging to Fandral the Dashing, the second member of the mighty Warriors Three! Fandral, still handsome as ever despite the battle, rode through the charging Marauders on his white horse, knocking down one intruder after another until he was able to make his way to Hogun, flashing a smile the entire way.

“Do we have a plan?” Fandral asked his fellow Warrior as he flipped the lead Marauder off his horse and tossed.

“We stand and fight!” Hogun the Grim yelled.

Fandral rolled his eyes at his friend’s single-minded determination to fight. Then a loud Boom, Boom, Boom echoed throughout the trees. Fandral, Hogun, and the rest of the Vanir stopped in their tracks and turned their attention toward the deafening noise. It was coming from beyond the woods, and whatever was making the noise was big. Very big. The ground shook and trees fell with each sound as the unseen threat got closer and closer.

The Vanir did not follow Hogun’s orders to stay and fight, but instead quickly retreated into the woods. The idea also crossed Fandral’s mind.

“Have you considered ‘turn and run’?” Fandral asked, but Hogun only frowned in response. Then the grim warrior looked up and over the tree line and began to back away as well. Finding a Marauder’s horse without its rider, Hogun swung up into the saddle and galloped away. Fandral was close behind as explosions rang out throughout the woods. There would be time enough to fight later.

The two warriors quickly rode their horses into a clearing where the Marauders were fighting with a few of Asgard’s elite guards, the Einherjar, who had come to help the Vanir. Hogun and Fandral stopped before one of their Asgardian compatriots, the strong and beautiful Lady Sif, who was just as brave and tough as the Warriors Three.

Sif was on horseback, locked in furious battle with a dozen or so Marauders. Sif spun her bladed spear high over her head, taking down several of the barbarians, then split the spear in two, forming a magnificent blade for each hand.

Sif fought with fierce determination against the horde, but despite her resolve, she was gravely outnumbered. With all her might, she flipped off of her horse and delivered a powerful kick to one of the Marauders, sending him flying back past the third member of the Warriors Three, Volstagg the Voluminous.

“Volstagg—on your left!” Sif cried.

Without missing a beat, Volstagg swung his battle-ax at his attacker, striking him down with one fell swoop. And when another Marauder tried to attack him with a club, the voluminous one merely took the hit, then turned, broke the club in two, and backhanded the Marauder, sending him flying through the air. But all of this nonstop battling was beginning to take its toll on the excessively large warrior. Now out of breath, Volstagg made his way to a giant pile of timber where he could take a momentary break.

“What are you doing?” Sif yelled. She couldn’t believe her eyes. Here they were in a heated battle with villains known for decimating anything in their path, and one of the legendary Warriors Three was taking a breather.

“Giving them a moment…to regroup…only fair…” Volstagg said between long, labored breaths.

But no sooner did Volstagg stop to catch his breath than another horde of Marauders set their sights on the large warrior. They ran at him with their weapons drawn, but Volstagg merely kicked out the timber, causing it to collapse on and crush the approaching horde.

Volstagg gave himself a congratulatory grin, but it was short-lived, for just as he did, he was slashed across the back by a Marauder. He wasn’t as unstoppable or impenetrable as he thought. Nearby, Lady Sif wasn’t faring too much better. She was surrounded, and a Marauder from across the battlefield was aiming his crossbow at her head.

Just as the snickering Marauder was about to squeeze the trigger, a huge thunderclap echoed throughout the land, and with a bright, blinding light, the Bifrost—the way in which Asgardians traveled between the realms—fired down from the heavens into the center of the battlefield—and directly on top of the Marauder with the crossbow. Lady Sif raised her arm to shield her eyes from the spectacular blinding light and was just barely able to make out two Einherjar on horseback bursting from the glowing white column and charging into battle.

One of the Marauders used this commotion to sneak up behind Volstagg. He raised his sword high above his head, preparing to strike down the warrior, when a whizzing sound echoed from within the Bifrost. As the light died down and the smoke began to clear, the sound intensified. Suddenly, an object rocketed out of the Bifrost, sliced across the battlefield at supersonic speed, and slammed into its target: the Marauder who was about to strike down Volstagg.

The Marauder flew through the air and kept on flying. And flying. Volstagg turned, and upon investigation made out the object that had saved his life. It was the most famous weapon in all the Nine Realms. It was Mjolnir.”

The powerful hammer, which was forged in the heart of a dying star and used by only he who is worthy, hovered in midair before speeding back across the battlefield to the hand of its wielder—the mighty Thor!

Thor, Prince of Asgard and son of Odin Allfather, emerged from the light of the Bifrost looking battle-worn but still majestic, and the sight of him instantly gave the Warriors Three, the Einherjar, and the Vanir a renewed sense of hope. Now that Thor was here, they were sure to defeat the Marauders. But Lady Sif felt that she didn’t need Thor’s help to win the day.

“Shouldn’t you be battling trolls in Nornheim?” Sif said with a scowl.

“I ran out of trolls,” Thor said with a charming smile. “Heimdall said these Marauders were giving you trouble,” he added.

“I have this completely under control,” Sif retorted.

Thor surveyed the battlefield. “Is that why everything is on fire?”

“You think you can do better?” Sif challenged with a smile.

“It would be a challenge to do worse,” Thor said dryly before being surprise-attacked by two extra-big and extra-tough Marauders. Sif rolled her eyes in response, then joined her friend in battle.

Soon, Thor and Sif were joined by Fandral, Hogun, and Volstagg. As the battle raged on, Thor used Mjolnir to take out multiple Marauders at once. And when one Marauder thought he might be able to seize the hammer by grabbing on to it, the hammer simply pulled the invader through the air, right to Thor’s waiting fist.

Thor, Lady Sif, and the Warriors Three fought bravely against the menacing Marauders, each one helping their fellow Asgardians. When one Marauder shot an arrow at Thor’s head, Sif jumped into the air and raised her shield to block the attack. And when another fired a rocket launcher–like device, Thor valiantly deflected the blast with his mighty hammer, the impact from which knocked them all to the ground—hard.

“As the Asgardians got back to their feet, they heard the same Boom, Boom, Boom sound that Fandral and Hogun had heard earlier. Whatever it was that was making that sound was much closer now. And the Marauders were getting ready for it. They parted the battlefield to make way, and the heroes looked up over the tree line and finally saw the cause of the sound.”

“A giant Kronan stone monster, made entirely of rock and standing fifteen feet tall, loomed before Thor and the Warriors Three. He held a massive metal club and looked down upon the Asgardians with contempt. The monster was about to crush their bones into dust.

“All yours,” Sif said to Thor as she and the Warriors Three began to back away. The Marauders cheered. This was the fight they had been waiting for! Surely nothing could stop their stone man, not even the Mighty Thor. The rock monster smashed his club into the ground and let out a thunderous roar, signaling the start of the battle.”

“I accept your surrender,” Thor said, but the monster only raised its club higher, preparing to strike. But Thor was ready. Holding Mjolnir by the strap, Thor began to spin his hammer. It spun faster and faster and faster until it was nothing but a blur and Thor was rocketed off the ground in flight. The monster roared again as Thor, flying with his arm outstretched and all the might of Mjolnir in front of him, launched himself directly at the great beast. There was a deafening Choom as the hammer connected with the creature, then a blinding explosion. The Marauders looked up in disbelief and their cheering stopped. Chunks of rock rained from the sky as the monster’s feet stumbled backward, disconnected from its body, which no longer existed. The upper half of the stone man had been completely obliterated by Thor.

“The Son of Odin gripped Mjolnir tightly and turned with a scowl toward the rest of the Marauders. Almost in union, the remaining Marauders dropped their weapons and raised their hands in surrender. The battle was over.

“Next time we should just start with the big one,” Fandral said with a smile.”

#loki x black reader #loki x y/n #loki x reader #loki x black!reader #thor x reader #thor x jane

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orangedodge · 3 years

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@dannybagpipesarecalling replied to your text post:

I didn't realize those were Destiny's diaries either. If you would be so kind, can you explain how Emma knows? Unfortunately I haven't read enough comics to know this backstory.

I am glad you asked about this, because it gives me an excuse to post about it while hopefully not sounding like a conspiracy blog. I've been slightly obsessed with this idea since Emma first turned up in House of X, so I'm rather excited that “maybe Destiny's Diaries still exist” isn't just my weird crack canon any longer.

Emma was, in short, the last person who can be established to have control over the whereabouts of the diaries. And as one of the top five telepaths in the world, who has expressly defended that secret from the likes of Exodus and Mr. Sinister, she is capable of preventing Professor X from just taking the information from her. So barring new retcons, if Moira has the diaries now, they had to have been obtained directly from Emma.

That's not enough to say that she turned them over to Moira specifically. She could have given them to Charles or Er—okay, no, she wouldn't give them to Charles. There could be a circumstance where she'd trust them to Erik though. But in that contingency, I think there's enough context to support Emma knowing why they'd want them and for who. To be clear though, I would be less confident about making that assertion if Emma hadn't just opened the “Dr. Moira MacTaggert Memorial Public Hospital” expressly to freak out Charles and Erik, and if HoxPox hadn't already linked them by showing Moira to be worried about what Emma was up to.

(This got kind of long so I thought it'd be helpful to say the important part up front before spiraling down the continuity rabbit hole)

The origins and resulting chain of custody for Destiny's Diaries are as follows: One January, decades ago, Destiny began recording visions of the future in a series of diaries. Filling one book per month, she continued writing for thirteen months. This process was described as auto-writing, and Destiny herself did not have a complete memory of what she had written, nor did she understand the meaning of much of what she wrote.

Nonetheless, the July diary contained a recording of the events leading up to the defeat of Apocalypse, and another diary contained information on the life of Hope Summers, so they've been very relevant to the events of the modern era. It's not explicit yet that Krakoa's founding is also in the diaries, but because we know Destiny had at least one separate vision of Krakoa, and because Moira is interested in reading them, it seems fairly likely that whatever Moira, Charles, and Erik have been doing behind the scenes is also in there.

In the decades since Destiny authored them, most of these diaries were lost, except for five that Mystique kept hold of, and a sixth that Irene hid away herself. After Mystique killed 'Moira,' she sent her five diaries to Professor X, hoping that the temptation of using them would consume his life and lead him toward a ruinous fate. Destiny meanwhile had entrusted the sixth diary to Shadowcat (who Destiny met in 1936, while she was time traveling and having an affair with Moira's grandfather don't worry about it), who eventually became so freaked out by something she read in it that she vanished on a mission, let her friends believe her dead for weeks, and had herself deleted from Cerebro, while leaving the diary to Rogue for safekeeping while she was away.

(That last chain of events isn't incredibly important, I just think it becomes kind of lol in light of current canon)

Rogue went on to take that diary and the research that had been done on it to Storm. Storm and Rogue then formed a splinter team of X-Men, to journey the world searching for the lost diaries, believing Professor X could not be trusted. Along the way a seventh book turned up with a treasure hunter named Vargas (don't worry about him), and an eighth was found by Gateway and given to Rogue in a dream. Eventually Storm tried to get Phoenix to collect Professor X's diaries for her, but they discovered that they had already been stolen (Shadowcat did it).

The rest of the diary hunt isn't really important, just that Kitty eventually ended up retrieving the full set, before she rejoined the X-Men, which only happened after Xavier had left Scott and Emma to run the school. This timeline is important for establishing that Xavier has never possessed the full set of diaries himself, and was not involved in collecting the lost books at any point, nor was he present at the time the diaries were brought to the school and fell under Emma's protection. This rules out the possibility that the set of diaries we've previously seen were somehow forged by Xavier.

Xavier would not return to the school until after losing his mutant powers, whereupon he departed for space on an adventure to another galaxy. He was unavailable, therefore, to have undertaken any telepathic shenanigans, so what happens next actually happened, and is not a psychic illusion. While Xavier was gone, Mr. Sinister recruited Exodus and Mystique, and began a campaign of hunting down precognitive psychics, time travelers, and any other sources of information on the future. Scott, Emma, and Kitty meanwhile predicted that they were going to be next, and came up with a bananas plan to keep the books safe.

X-Men volume 2 no. 203 by Mike Carey (Writer), Humberto Ramos (Penciler), Carlos Cuevas (Inker), Studio F’s Edgar Delgado (Colorist), Virtual Calligraphy’s Cory Petit (Letterer), Will Panzo (Assistant Editor), Nick Lowe (Editor), Joe Quesada (Editor in Chief), Dan Buckley (Publisher)

First they hid the diaries somewhere in parts unknown. Emma then altered the minds of “all of us” (everyone who lived at the mansion at that time) to perceive a bunch of decoy books as the real thing. She then erased Kitty's memory, and her own, so that no telepath would be able to extract the information by force, before they gave each other a series of post-hypnotic triggers so they could restore one another's memories if they ever needed the books again. When eventually Exodus attacked the school looking for the books, they restored their memories, and decided to send another team to the hidden location where they'd buried a mystery box. Emma gave this location to Sam and Bobby, who dug up the box, which was never opened, and which was destroyed by Gambit during a firefight with Sinister's forces before anyone could confirm its contents.

This was intended by author Mike Carey to be the end of Destiny's Diaries, a dropped plot from a previous creative run, that was vaguely useful at building up to the Messiah Complex crossover, but was a lot more trouble than it was worth to an author who was writing about the X-Men trying to avert a bad future. But there's a lot of room in the story he wrote for the diaries to have survived after all.

I think it's actually really suspicious that the box was accessible to Bobby and Sam at all. Why not drop it under a mountain? Why not bury it under the ocean? Why not keep it phased in a tree? And it's a big red box with a big red 'X' on it. I know the X-Men love their branding and all, but that's going pretty far.

No one actually opens the box before Gambit blows it up either. It could have contained more decoys, or nothing at all.

And when talking among themselves, Emma and Kitty never actually say that they're sending the X-Men to retrieve the diaries. They say that they know where the diaries are, and then send the X-Men to a place where they've buried something. The intent of the author is clear, but there's room in the dialogue for a later writer to decide that this just was another plan to keep the books hidden.

So for the entire period of time between assembling the complete collection of thirteen diaries, and their seeming destruction, they are never unaccounted for. Only Emma and Kitty knew the full extent of what they did to hide them, and where they were hidden. If fakes were destroyed instead of the real thing, no one would have known.

We could just be in retcon territory, but I don't think so, because it's fine on its own without any direct changes to canon. And really, faking the destruction of the books to cover up their real location makes a lot more sense than believing Emma Frost actually sent Sam to retrieve the incredibly suspicious looking red box that contained the most important object in the world, while half the super villains on the planet were chasing him.

Believing the diaries weren't really destroyed just requires the reader to accept that Emma would lie to the other X-Men, and keep lying to them for years, and that she'd be willing to put Sam and Bobby's lives at risk to protect that lie. Which she was already doing in that story anyway. She was already lying to everyone when she changed everyone's memories. And she—and Scott and Kitty—was already fine with risking everyone's lives when setting up a decoy trap in a school. So that's why I think this works better as a continuation of the existing, known, story of the diaries, and not a direct retcon to what happened.

In conclusion I think Emma knows about Moira because Moira got the diaries from somewhere, and Emma is the person she could have gotten them from. Nothing proves a direct hand-off in, like, a formal standard of proof or anything, but Emma having access to the diaries for so long, and having been wrapped up in this whole weird plot thread—which involves Moira and most of the Quiet Council—is enough to imply the connection in a story sense.

(ETA - For completion’s sake, there is also a weird story I didn’t go into called Chaos War that was published in 2011 where Moira is resurrected and finds a book in the ruins of the Xavier School that may or may not be one of the diaries, and touching it causes her soul to merge with Destiny’s, who then possesses her and guides her through a quest to destroy an evil god. This was an odd story to place in continuity at the time, and has only gotten stranger, given 1. that couldn’t be the real Moira, 2. Destiny is not merged with her soul. If this is in continuity (it’s been suggested that Moira’s golem was the character in this event), and all of the characters are who they say they are, and if the book in question was actually one of the thirteen diaries (and not some other book that Irene also wrote), then it requires Emma to have deliberately left one of the thirteen books behind for “Moira” to find, which if anything only adds to the likelihood that she knows what’s up)

#x-men #comics #marvel #wednesday spoilers #long post

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fatehbaz · 4 years

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Sorry. This might be annoying and excessively long. Among people interested in psychogeography, ecology, folklore, bioregionalism, urban geography (and Empire, hegemony, anti-imperialism, to a lesser extent, I guess?) there is a quote that gets circulated from time to time. I’ve seen the quote in academic articles, sure, but also on the W0rdpress blogs of, like, birders, hikers, gardeners, “bioregional animists,” and “woods aesthetic” fans. But why do both academic authors and popular/mainstream writers and bloggers and such consistently remove the end of this sentence from Michel de Certeau’s memorable statement: “There is no place that is not haunted by many different spirits hidden there in silence, spirits one can “invoke” or not. Haunted places are the only ones people can live in – and this inverts the schema of the panopticon.”

Gonna revel in the wonders of the garden, the forest, the landscape, the other-than-human lifeforms, and yet not willing to explicitly address the vulnerability, the cascading extinction, the tightening noose of imperial hegemony and carceral systems threatening it all, landscapes, lives, entire worlds? What de Certeau is referring to here is the way that imperial/dominant power structures (European modernity, Empire) try to subdue, erase, destroy smaller, alternate, and/or non-Western cosmologies, to make it seem like Empire is the only possible world that can be constructed. And so landscapes become sanitized, especially in cities, and de Certeau says that such sanitized places are “uninhabitable” because they are so cold, because Empire tries to standardize experience, rather than allowing localized connections tor regional landscape. But the alternative worldviews, the histories, have not been fully erased, and exist in the cracks and crevices of modernity, and so there are “ghosts” of alternative worlds which live on. And it is the remnants of other worlds, or the glimpses of other creatures (animals/plants/etc.) or other surviving worldviews (graffiti in the subway, which rejects order and control), or the hopes of possible better future worlds, crevices where the “failures” of modernity can be glimpsed, which make a place habitable. “Haunted geographies.”

Here’s a sentence fragment from a different author, writing about de Certeau:

“exotification and suppression, under a cloak of celebration”

This kinda thing.

This fragment comes from a criticism of early-20th-century Euro-American academia’s so-called “folklore studies” but I think it also describes much 21st-century academic interest in “ecological knowledge” and non-Western cultures. I have a feeling that this behavior is similar to what contemporary upper class careerist-academics in academic anthropology departments and those “studying the utility of traditional ecological knowledge” are doing when they superficially throw around words like “decolonial” or “Haraway’s Chthuluscene” in their article abstract for Cool Points without actually having given much through to the way they and their sponsoring institution, in their thirst for prestige or good optics or whatever, are in fact continuing to perpetuate dispossession and appropriation of Indigenous/non-Western knowledge. And on some level, it is deliberate and calculated, though not always a conscious act on the individual author/researcher’s part. Intentional power consolidation masked as passive chauvinism masked as benevolent paternalistic concern for “primitive peoples” masked as genuine respect. What’s happening is a recuperation, the subsuming of alternative cosmologies and ways of being. Hypothetical Nat/Geo article, variations of which you’ve probably seen before: “How can we utilize Indigenous knowledge? Can traditional knowledge help us battle climate change?” Empire, those in power, hegemonic institutions colonizing knowledge, thought, cosmology.

Plenty has been written, especially in recent years, of a “plurality/pluriverse of worlds in contrast to one imperial worldview/cosmology” and also the paternalistic attitudes of Euro-American anthropologists, but the mid-century work of Michel de Certeau, in my opinion, anticipated a lot of this disk horse. Here’s the fuller quote:

-----------------------

“In recent years, especially since 1960, scholarship in the service of popular culture has been of Marxist inspiration, or at least ‘populist’ in spirit,” de Certeau, Dominique Julia and Jacque Revel wrote in a 1980 essay, “but does the scientific operation it undertakes obey different laws than it did in the past? On the contrary, it seems to be dominated by the mechanisms of age-old excommunications…to conceal what it claims to show” (de Certeau 1986, 121). This opening statement encapsulates much of de Certeau’s thinking about the history of folklore studies. Tracing its development in successive stages from the late eighteenth century to the “heyday of folklore” in France’s Third Republic (1870-1940), the authors argue that the eighteenth century aristocratic vogue for “the popular” concealed a powerful movement toward the domination of the peasantry. This movement involved both exotification and suppression, under a cloak of celebration.“ The idealization of the “popular,” as they put it, “is made all the easier if it takes the form of a monologue. The people may not speak, but they can sing...The intent [of folklorists] is both to collect…and to reduce (de Certeau 1986, 122).[...] The governing ideologies driving the emergence of this obsession with the folk were not static, however, and therefore, in order to understand the development of the politics of culture in folklore studies, scholars must examine, at each point, its “subjacent postulates” (de Certeau 1986, 123). For instance, following the domination imbricated with the origins of folklore studies in the 18th century, by the mid-nineteenth century, the authors describe folklore as taking on a paternalist role vis-a-vis its subject. The collection of folklore by this time, embodied especially in the works of Charles Nisard (1808-1890), is not just a chronicle of its elimination by the elite, but a protective function executed by the elite on behalf of the incompetent peasant. In this view, de Certeau and his colleagues observe, “the people are children whose original purity it is befitting to preserve by guarding them against evil readings” (de Certeau 1986, 124, original emphasis). [...] This, then, is the basic outline of de Certeau’s historical critique of both the conceptualization of folklore and the discipline of folklore studies, as well as the core of his critique of cultural studies in the late 20th century. Interestingly, however, it is also the core of his larger understanding of the workings of modernity.

From: Anthony Bak Buccitelli. “Hybrid Tactics and Locative Legends: Re-reading de Certeau for the Future of Folkloristics.” Cultural Analysis, Volume 15.1. 2016.

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So there is a popular quote from Michel de Certeau (French interdisciplinary scholar, 1925-1986), which seems to have been yet more popular since, like:

(1) 2010-ish with elevation of Mark Fisher’s work; “object-oriented ontology”; “dark ecology”; apparent academic elevation of ontological turn in anthropology; and the white-washed Euro-American academic language of traditional ecological knowledge, “decolonization,” etc.,

And also since (2) 2014/2015 in “popular” media, with apparent mainstream-ing or “revival” of folk horror, alongside elevation of eco-horror, Anthropocene disk horse, etc.

(In my anecdotal experience, at least, reading about geography, folklore, psychogeography, etc. in online spaces from M.S.N chatroom days onwards.)

I’m of course very wary of de Certeau’s interest in and celebration of Freud (come on, bro) and also the implications of de Certeau’s Jesuit background and early interest in missionary stuff (gross). But de Certeau did write some thoughtful and nicely-phrased stuff (in my opinion) about the importance of subverting imperialist/hegemonic cosmologies; how Euro-American academic institutionalized knowledge reinforces power; imperative for combating hegemony/carceral thinking by connecting with landscape; the “memory” of places; the “hidden” histories of landscapes, etc. And he wrote this decades before academics started stealing from Indigenous people of Latin America and getting into pluriverse stuff.

Anyway, one quote in particular seems most popular. but almost every single instance where i’ve ever seen this quote shared, it always cuts out the last few words of the statement. The quote is from what might be his most widely-read work, the “Walking in the City” chapter of his 1984 book The Practice of Everyday Life. (it’s a pretty brief chapter which is available for free online; might take 30 minutes to read, if you’re interested.) The quote as translated by Steven Rendall: “There is no place that is not haunted by many different spirits hidden there in silence, spirits one can “invoke” or not. Haunted places are the only ones people can live in – and this inverts the schema of the panopticon.”

The “inversion of the panopticon” portion is almost always left out of the quote. even in academic writing or in the writing/blogs/whatever of people who otherwise seem like they would be down with anti-imperialism or something.

So, it comes across to me as if contemporary (2005-2020) academics and activists interested in, like, folklore or local horticulture or psychogeography will like ... take the “cute” fragments of these excerpts, but don’t want to “stir the pot” by presenting these writings in their fuller context, a fuller context which calls-out knowledge appropriation and explicitly trash-talks Empire.

And de Certeau’s not just writing about folklore or geography. He’s writing about taking action, about practicing alternative ways to relate to landscape in direct contrast to imperial cosmologies, academic/institutionalized/gatekept knowledge, and carceral thinking. (He’s famous for this; he emphasized “tactics” and “action.”)

So this guy is, of course, human, and had disagreeable and/or outright problematique associations. You can argue with his writing extensively. his publications are a mix of great, cool, iffy, “meh” and “bad take bruh.” But de Certeau was ahead of the curve in anticipating the way ambitious US academics would see “the decolonial turn” happening in academic anthropology in the 1990s/2000s and then weaponize it in a way that preserved their power dynamic and institutional power while still paying lip-service to “decolonization.”

But besides dunking on the imperialist foundations of Western institutionalized knowledge systems and the cunning employment of geographic re-worlding and re-naming in creating propaganda and imperial cosmology, and besides being ahead of the curve in anticipating re-enchantment trends and folk horror ... One thing I like about de Certeau’s writing is the emphasis on action, practice, and doing things to counter dominant/powerful cosmology’s attempt to destroy folk/non-Western worldview. Encouraging something like:

Take action. Books are cool, but books are not a substitute for action. Girl, you wanna study landscape, place-based identity, folklore, and how to escape the panopticon? Gotta put the theory texts down occasionally. Please go walk around in the forest; if you’re in the major city, don’t despair, just look at the moss growing in crevices betwixt the cobblestones. Imagine the ghosts, the histories, the stories, who died, what was lost, what’s come before. Power is trying to subsume all, but Empire gets anxious and flails because they know that there are gaps in their cosmology, cracks and breakages where other worlds seep through or can be glimpsed, retrieved, renewed. They know their cosmology can’t account for the diversity of life, the plurality of experience. There is not one world, but many. Find the crevices, the cracks, in the dominant power structures, and break them further. You can help to escape the tightening noose, the planetary-scale plantation, by using your imagination, cooking a meal, taking a walk.

#whatever #sorry for all this

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theparanormalperiodical · 4 years

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The REAL Story Behind The Crooked Man And The 7 Other Fairy Tales & Nursery Rhymes With *Even More* Disturbing Backstories

It was 4 years ago that we first met the Crooked Man.

With a *sickening* reveal via rottweiler fit for the latest season of Rupaul’s Drag Race, the suited gentleman staggered his way from The Conjuring 2 (2016) into our nightmares.

But his ashy undertones, gnashing teeth, and general aura of “I’m a demon, or something, which means I have no real motive apart from wanting to kill you” isn’t the only thing that fits the film far too well.

The Conjuring universe is the definition of ‘based on a true story’. And the Crooked Man fits the brief.

In the opening scenes of the film we see lovable and bulliable Billy stutter through a nursery rhyme:

There was a crooked man, and he went a crooked mile, He found a crooked sixpence against a crooked stile; He bought a crooked cat, which caught a crooked mouse, And they all liv'd together in a little crooked house.

Accompanied by a totally-cursed-i-mean-just-look-at-it zoetrope (it’s a bit like a mini projector that shows you a moving cartoon), Billy introduces us to one of the handful of extra entities terrorising London’s most haunted house. You can discover more about the true story of 284 Green Street which inspired The Conjuring 2 here.

But Billy also introduces us to a real nursery rhyme inherent in British culture - and British history.

Yes, the nursery rhyme, like many, is based on dark and twisted reality softened for a bedtime story. And amongst this history was a real person. Unfortunately, the Crooked Man is not the only fairy tale monster or nursery rhyme entity that will be haunting your dreams.

Are y’all tucked in?

The Crooked Man

The nursery rhyme was first told sometime in the 17th century during the reign of King Charles I. But the Crooked Man was not the Stuart King - it was allegedly inspired by Scottish general Sir Alexander Leslie and the covenant he signed.

The covenant secured religious and political freedom for Scotland despite prevailing animosity between the English and the Scottish.

The crooked stile is the awkward alliance between the two parliaments and the crooked house refers to the collective union the Scottish and English lived together in. But the ‘crooked’ part works on another level, too.

The great recoinage of late 17th century meant sixpences - which feature in the rhyme - were made of very thin silver and thus easy to bend.

An alternative origins story links it back to Lavenham, a village in Suffolk (England). The half-timbered houses leaned at off angles as if supporting each other, creating a crooked aesthetic that matches the nursery rhyme.

The Pied Piper Of Hamelin

I distinctly remember hearing the story of the Pied Piper when I was about 7 years old. I was there, sat crossed-legged on the wooden floor in assembly and listening to the headteacher tell us the tale of the musical maverick with an overhead projector.

I remember it being far more nostalgic and not so traumatising.

The story goes that sometime in the 13th century a peculiar man dressed in brightly-coloured clothes (pied clothing) was hired by the town to rid them of the rats with his pipe-playing abilities. Hamelin had been suffering from an infestation that would threaten the locals with the plague. The piper was to play his pipe, entice the rats with his magical music, and lead them to a river where they would promptly drown.

He was hired and he did the job - but they didn’t pay up.

The piper couldn’t exactly refund his services. Instead, he sought vengeance, luring away the children of the town with his magical pipe. He waited until Saint John and Paul’s day where the adults would be in the church, dressed in green like a hunter, and played his pipe. The children of the village swarmed to him, all 130 of them, following him out of the town and into a cave. Three were unable to follow due to being blind and deaf and thus told the villagers what had happened.

The real story:

Some versions of the story claimed he made them walk into a river, others claim he returned them after payment. But what we do know for sure is that there is a street in Hamelin called Bungelosenstrasse. On this street - ‘the street without drums’ according to translation - the children were seen last. No music and no dancing is allowed on this road.

Bluebeard

We open on a typical Medieval scene: a powerful and wealthy man is looking for a young wife to replace the last one who mysteriously went missing. Bluebeard’s been through quite a few women, actually, but it’s his latest bae that stars in this story. Bluebeard marries his neighbour’s daughter and goes on a business trip.

He tells her he can stay alone in their house but she cannot open a certain door.

Of course, she opens the door and finds the corpses of his ex-wives. Her and her sisters band together to kill Bluebeard, showering themselves with a wealthy inheritance.

The real story:

This tragic tale of murder and mystery is unfortunately all too true.

There are many alleged origins of the folktale. Let’s start with the Medieval ruler of Brittany, Conomor the Cursed: his new wife agreed to marry him to prevent him from invading her father’s lands but accidentally walked in on a room full of his dead, old wives. She was visited by their ghosts who warn him if she falls pregnant, he will kill her, preventing a prophecy that claims he will be killed by his own son.

She gets knocked up, gives birth, and then she gets her block knocked off.

An alternative inspiration could be a similarly brutal figure: Gilles de Rais (15th century). He was accused of murdering approximately 140 children who suddenly went missing in the Nantes countryside. He was condemned to death and executed in 1440.

Snow White

It’s one of the most popular fairytales of all time.

The story goes that a queen gives birth to a baby girl but dies in childbirth. The king’s new wife is wicked and vain, asking her magic mirror ‘who is the fairest one of all?’ on a daily basis. When the child turns seven, the mirror changes its answer from the queen to the child, Snow White (yeah, that’s weird). The queen hires a huntsman to kill Snow White, but she begs for mercy and says she will live in the woods and he can pretend he killed her.

She finds shelter in a cottage belonging to seven dwarfs who agree to let her stay as a maid until the evil queen asks the mirror her favourite question. It claims Snow White is still alive and the fairest of them all. She goes through several methods of attempting to kill Snow until she falls into a deep coma. The dwarfs host a funeral, a prince comes along, and he, uhhh, kisses what he assumed to be a corpse and she is awakened.

They then get hitched but don’t invite the queen to the wedding. The queen asks the mirror yet again the identity of the fairest, assuming Snow is well and truly deceased but the mirror breaks the bad news to her again. The queen tries to kill her once more but Snow’s hubby forces her to wear red-hot iron slippers and dance in them until she dies.

There’s a lot going on here.

But rather than unpacking everything that's wrong with all of this *gestures to everything*, let’s just get to the dark reality beneath it all.

The real story:

The inspiration is generally deemed to be Margaretha von Walbeck, a young woman who had a terrible relationship with her stepmother. She was forced to move to Brussels and fell in love with Phillip II of Spain, a romance not popular with her parents.

Suddenly, however, Margaretha died. Rumour has it she was poisoned.

Another detail of her life also links her to Snow White: her father’s copper mines were often filled with child labourers whose growth was stunted by working in them, mirroring the ‘dwarves’ in the story.

But Margaretha is not the only contender: Maria Sophia Margaretha Catharina Freifräulein von Erthal *inhale* also hated her stepmother. This - and the fact that her stepmother was given a mirror as a gift by her husband - also ties her to Snow White.

Hansel And Gretel

It’s possibly the most simple fairy tale up for discussion: a brother and sister are sent out to the woods by their father. The mother asked for him to send them away so they can survive a famine. But Hansel uses stones to trace their steps back home. One day, however, he uses crumbs. They get eaten by the local wildlife, so the kids get lost.

They then discover a witch's house, a gingerbread cottage. She lures ‘em in, fattens up Hansel, and prepares to feast on his flesh. The kids plot against her, throw her in the oven, and steal her stuff before heading back to live with their father.

Okay, so maybe this one isn’t based on a true story. It’s based on true stories. Yep - plural.

The real story:

Child abandonment and infanticide was pretty common during plagues, famines, and all other circumstances of poverty. In fact, this particular tale is believed to come from the Great Famine which stretched across Europe from 1315 to 1317. Child abandonment surged during this time.

Rapunzel

Turns out Disney lopped off a lot of Rapunzel’s real story to make it a family friendly movie. Yep, this is a weird one.

A pregnant woman begins to crave a kind of salad leaf (Campanula rapunculus, also called rapunzel) in the garden of the house next door. He goes out to nick it but is caught by the homeowner - a witch. She says he can take the rapunzel, but in return he must give her the child once it is born.

The witch raises Rapunzel as her own but locks her away in a tower when she is 12 to protect her from the outside world.

A prince eventually rocks up and decides to climb her immensely long hair. Unknown, probably PG-13 and probably not consensual acts happen. Still, given it's the medieval era they agree to get hitched after escaping.

The witch discovers her plan, cuts off her hair, exiles Rapunzel, and uses the locks as bait for the prince before throwing him to the briar roses below where he is promptly blinded. Rapunzel gives birth to twins and the prince finds her, identifying her only by her voice. Her tears restore his voice.

The real story:

Being kidnapped or being kept hidden away from the rest of the world is pretty common, well, all of the time. But Saint Barabara, a Greek saint, was the main inspiration for the tale.

She was locked away in a tower in Turkey in the third century by her father in an attempt to protect her Christianity. But her Pagan father’s efforts did not succeed and she discovered the ways of Jesus. She escaped but she was eventually caught by her father who then tortured and beheaded her.

Religious intolerance, y’all.

Beauty And The Beast

Time for another Disney classic with a heavily edited plotline.

The father of a family seeks shelter in a grand palace during a storm. In the morning before he leaves he takes a rose from the garden but is caught by a beast who threatens to kill him for nicking a flower. But the beast agrees not to kill him if his daughter takes his place instead.

The daughter moves to the palace but asks to go see her family for a week. She is then convinced by her sisters to stay at home. A magic mirror then reveals the beast is dying because she isn’t with him. She returns to him and her love breaks the curse that makes him appear so monstrous.

The real story:

Petrus Gonsalvus (1637-1618) was born with hypertrichosis. This meant he had a thick layer of hair all over his body - his physical difference didn’t go down very well. He was kept as a ‘wild man’ in a cage and fed raw meat.

When he was 10 years old he was gifted to the king of france. But he wasn’t kept as a ‘beast’. He was educated like a nobleman and was taught to read, write, and speak three different languages. He was then married off to the daughter of a court servant.

He was married to her for over 40 years and they had seven children together.

(Aww.)

Three Blind Mice

Three blind mice, three blind mice, See how they run, see how they run, They all ran after the farmer’s wife, Who cut off their tails with a carving knife, Did you ever see such a thing in your life, As three blind mice?

The real story:

It's one of those nursery rhymes you grow up with - and 17 years later you realise how traumatic it actually is.

This nursery rhyme can be traced back to the reign of Bloody Mary (16th century) who had a tricky relationship with Protestants. And by that I mean she burnt them alive, hence the nickname.

The three blind mice represented three Protestant bishops who may have been blinded before their execution or spiritually blind for following Catholicism. Another reference to Queen Mary was her as a farmer’s wife.

Her husband, Philip of Spain, owned several estates and thus was technically a farmer.

Welp, there goes your childhood.

If you liked this post go on and like and reblog. Go on, share your love for my amazing talents with the world!

And if you want to read an article about the paranormal every weekend then you best be hitting follow!

See you next week, kiddos. Sleep tight.

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onebadwinter · 3 years

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Magneto Tropes

Taken from here

Adaptation Dye-Job: In the comics, he has been shown to have had white hair for the vast majority of his adult life, presumably as a side-effect of his mutation. In the films, he's introduced with grey hair (though only because, lacking Comic-Book Time, the screenwriters had to make him the realistic age of a Holocaust survivor) and he has dark brown hair as a younger man in the prequels.

Adaptation Name Change: In the comics, his original name was Max Eisenhardt and Erik Lehnsherr was an alias. In the films Erik Lehnsherr is his real name and the alias he uses is Henryk Gurzsky. To be fair though, Max Eisenhardt was not revealed as his true comic book name until the 2008 miniseries X-Men: Magneto Testament, long after the first X-Men movie was released in 2000.

Adaptational Wimp: To varying degrees. Magneto's power set in the comics varies Depending on the Writer, but among his traditional powers are the ability to generate force fields and electromagnetic pulses, a resistance to telepaths and psychic attacks, and he's a genius in multiple scientific fields. In the film his powerset is scaled back to just control over metallic metals (though after Apocalypse's boost, he's capable of doing so on a global scale and maintaining a powerful forcefield), he needs his helmet to block out telepathy, and his scientific knowledge doesn't seem to be as extensive.

Affably Evil: With Xavier. They still play chess games together a good 40 years into their conflict with each other. Hell, if you are on his side, he is rather chatty and friendly to you.

Antagonist in Mourning: In X-Men: The Last Stand, he sincerely grieves over Xavier's death and cuts off his Dragon Pyro's irreverent talk about the deceased abruptly. As in most versions of X-Men, he and Xavier were very close friends who eventually found themselves on separate sides due to their ideological differences.

Anti-Hero:

Anti-Villain: Has an unquestionably sympathetic backstory and very good reason to believe that humans are out to eradicate the mutant race. However, he is a dangerous individual with few limits on his devotion and what must be done to ensure the survival of his kind. Even his best and oldest friend isn't safe from his extreme methods and beliefs.

The Atoner: Ian McKellen invokes this while discussing his character in the "Double Take: Xavier & Magneto" documentary on the X-Men: Days of Future Past Blu-Ray release."The Magneto that you see with me is a man of conscience, and a man with an unhappy life behind him. He's come through a great deal, and isn't taking on single-handedly, or even with the help of his Brotherhood, society as a whole. He's joined up again with his old friend, Professor X, and together, they're going to try to move things forward."

Badass Baritone: Both Ian McKellen and Michael Fassbender pull this off.

Badass Cape: Part of his supervillain outfit is his iconic crimson cape.

Played straight in Dark Phoenix, where he makes a point that the Phoenix is dangerous, but his methods involve injuring anyone who gets in his way as he tries to kill Jean.

Subverted in X-Men: First Class and X2: X-Men United, where he seems to join the heroes against a common foe, but is ultimately revealed to have ulterior motives and turns against them in the end.

Badass Longcoat: Magneto typically wears a long black coat in civilian attire, such as his appearance at the mutant hearings in the first film, the attempt to stop Mystique in X-Men: Days of Future Past, and his Roaring Rampage of Revenge in Dark Phoenix.

Berserk Button: Does not like people who 'just follow orders’. This is heavily implied to be because it was the excuse many Nazi officials gave for their actions during the Nuremburg trials.

Big Bad:

Big Bad Ensemble:

Big Brother Instinct: By the time of the Cuban Missile Crisis, he had already begun to view Charles as a brother figure. When the Blackbird spiraled out of control, Erik used his body to shield Xavier from injury, and he immediately halted his attack on the American and Soviet naval forces when Charles was shot. Even after they become enemies, Erik continously shows both respect and affection for Charles, consitantly referring to him as ‘Old Friend’. He was immensely saddened by his death in X-Men: The Last Stand, and deeply insulted by those who where disrespectful to him. He would also routinely put his own life on the line to help or save Charles, and the two kept very close in their later years, despite often being on opposing sides of the battle field.

Big Good: Old Magneto shares the role with Charles Xavier in X-Men: Days of Future Past, acting as the wise, protective mentor of the future team. This is in sharp contrast with his younger self, whose bigotry almost catapults the world into an even worse timeline than the one they are currently living in.

Byronic Hero: In X-Men: First Class—morally troubled, emotionally damaged, attractive, and very charismatic about his pro-mutant beliefs. Particularly to some of the impressionable younger characters like Mystique.

The Chessmaster: Invoked several times. He is seen playing Chess with Charles Xavier several times throughout the original trilogy, and references Chess during his attack on Alcatraz, to his benefit as Juggernaut was about to pull a Leeroy Jenkins and would have been depowered in the first wave had Erik not stopped him. Erik (stopping Juggernaut): In Chess, the pawns go first. (the defenders reveal their plastic dart guns filled with the cure serum, leading to the first wave of attackers getting depowered) Erik: Hmm, plastic. They've learned. That's why the pawns go first.

Color Motifs: He dresses up in various shades of red and purple.

Combat Tentacles: He can turn metal cables and pipes into such things, the most notable in X-Men: First Class when he uses a cable to snag the telepathy-blocking helmet and pull it off Shaw’s head, enabling Xavier to take control.

Composite Character: Has Juggernaut's helmet in this adaptation. This makes sense, as this Magneto's twisted, Cain and Abel relationship with Charles (Juggernaut's brother in the comics) is played to the hilt.

Cool Helmet: Wears his famous telepathy-blocking helmet. Technology wired into the helmet prevents telepathic intrusion, making Magneto difficult to control or impossible to find via Cerebro.

The Corrupter: Although he convinces Raven to accept her mutant appearance, he also pushes her into committing murder against human enemies and truly becoming Mystique. Charles believes Erik is a large influence for Raven leaving him.

Cultured Badass: He speaks several languages, passionately discusses philosophy, shows considerable knowledge of politics and foreign cultures, and enjoys the occasional game of chess with Xavier.

Curb-Stomp Battle: Dishes these out to Wolverine on a regular basis. Wolverine's metal skeleton makes him nigh-unstoppable against other opponents but is a huge liability going up against Magneto, who either immobilizes him or flings him away (or both) with ease every time they encounter each other as foes. Even when he faces a time-displaced Logan lacking the adamantium in his bones, Erik still dispatches him and nearly drowns him by impaling Wolverine with metal pipes and flinging him into a river.

Dark and Troubled Past: "Holocaust survivor" is about as dark and troubled as it gets.

Dark Messiah: In X-Men: Days of Future Past, his younger self prepares to kill Nixon while declaring mutant supremacy in front of a live broadcast.

Deadpan Snarker: The biggest one in the series, natch. X2: X-Men United is largely his snark-fest at everyone else's expense.

Death Glare: Young Magneto, portrayed by Fassbender, gives a calm murderous look killing the Nazis and Shaw, and also ripping a filling tooth from a banker in X-Men: First Class. Also, a good stare carrying the RFK Stadium towards the White House in X-Men: Days of Future Past.

Demoted to Dragon: He isn't the leader of the supervillain team in X-Men: Apocalypse; this time around, he plays second fiddle to Apocalypse. He becomes The Starscream and pulls a Heel–Face Turn, though.

Determinator: In the '70s, he asks Logan how fighting him for years has worked out for him and Logan responds they're both "survivors" which only serves to motivate Erik to later demonstrate how much more powerful he is than the Wolverine later on when he runs metal pipes through his body and leaves him to drown, muttering contemptuously, "so much for survival."

Disappeared Dad: To Quicksilver. Despite them sharing a few scenes and Quicksilver entering the plot of X-Men: Apocalypse just to find him, Magneto shows no signs of recognizing him.

Dissonant Serenity: He's disturbingly calm, even cheerful, during the scene in the bar in Argentina, just before he murders three ex-Nazi's.

Doesn't Like Guns: His younger self uses guns when he needs to, while the older Magneto sneers at them. This is partly because of his background as a holocaust survivor, and partly because humans rely on guns to fight, and he sees it as a sign of their inferiority. Of course, that's a bit hypocritical when he has the power of magnetism, and those who don't possess such an advantage have to defend themselves somehow.

Do Unto Others Before They Do Unto Us: His motive in almost every movie is to wipe out humanity before they can do the same to mutantkind.

Emotional Powers:

Enemy Mine:

Even Bad Men Love Their Mamas: Despite all that he's done, his love for his mother is one of his defining characteristics. Unfortunately, it's also the reason why he killed Shaw in cold blood, truly becoming Magneto.

Even Evil Has Loved Ones: He does care deeply for certain characters - in the prequel films most obvously for Charles and Mystique. The memory of the good times he and Charles shared in their youth is enough to make him turn on Apocalypse, while Hank informing him of Mystique's death at Jean's hands sends him on a Roaring Rampage of Revenge.

Even Evil Has Standards: Magneto always considered Xavier a friend and never wanted him dead. In X3 when Pyro says he would have done so if Magneto ordered it, Magneto is clearly angered at the idea. Whatever their qualms, neither wanted the other dead.

Evil Former Friend: Naturally while remaining on Friendly Enemy terms with Charles Xavier, the X-Men and Brotherhood are at great conflict in the majority of films regardless.

Evil Genius: With truly amazing schemes. In X-Men: Days of Future Past, he was able to steal a file containing the details of the Sentinels, after reading it over he was somehow able to reprogram them while inserting metal tracks within the bodies.

Extra-ore-dinary: His impressive mutant ability to control metal. Guns are a joke to him and throughout the films he's accomplished feats capable of lifting a submarine from water, the Golden Gate Bridge, and the RFK Stadium, the last without showing any real sign of effort. In X-Men: Apocalypse thanks to Apocalypse's enhancement he's shown ripping practically every metallic structure on the planet apart via control of the world's magnetic field and with Jean, putting the Xavier Institute back together from scratch.

Fantastic Radiation Shielding: His helmet protects him from various mutants' psychic powers.

Faux Affably Evil: If you aren't on his side, he can be downright terrifying and still sound unfailingly polite. When Pyro expresses disappointment that he wasn't the one to kill Professor X, Magneto gives him a rather grandfatherly talking-to...with an unspoken, but very real assurance that the next ill words Pyro speaks of Charles Xavier would be his last.

First-Name Basis: In the films, just like in the comics, he and Charles Xavier always use their first names when speaking to or about each other. Only a handful of others are on a first-name basis with them.

Foil:

Freudian Excuse: A former victim of the Holocaust believing humanity will subjugate mutants the same way.

Friendly Enemy: To Charles Xavier. Their relationship stretches the definition of "friendly" about as far as it will go but it's there. They have the utmost respect for one another and used to be close companions but just about every differing point between them comes from a place of vitriolic and passionate division (to the point both refuse to see a future where the other's point of view can exist, it is a mutually exclusive matter of black-and-white difference in opinion).

The Fundamentalist: Without a doubt believes mutants are the superior species and humans will fight against their extinction.

Gaining the Will to Kill: When he meets Raven in X-Men: Days of Future Past, he appears noticeably distressed before picking up a gun and apologizing then claiming mutants will never be safe with her alive before shooting at her.

Heel–Face Revolving Door: His moral standing across the films has variously been Nominal Hero, Anti-Hero, Anti-Villain, The Atoner, and Well-Intentioned Extremist. Magneto is rarely a straight villain and even more rarely a straight hero, but in the meantime he wavers all the way between the two.

Helmets Are Hardly Heroic: In Dark Phoenix, he starts off as a neutral figure, and then dons his trademark helmet when he becomes an antagonist shortly afterward. He teams up with the X-Men at the beginning of the third act right after his helmet is destroyed in a fight.

Heterosexual Life-Partners:

He Who Fights Monsters:

Hijacked by Ganon: He has a tendency to hijack the plans of the villains of the films in retaliation against them.

Hoist by His Own Petard: Invokes this on so many occasions, such as threatening dozens of policemen with their own guns, using Dark Cerebro to kill all humans after it was just used in an attempt to kill all mutants, as well as killing multiple soldiers by pulling off the pins on their grenades, hurling missiles at ships that just fired them, and using the Sentinels during the DisasterousDemonstration in the past to attack the spectators.

Humans Are Bastards: Believing humans will continue to grow and despise mutants he maintains this belief. Though it doesn't really help his case when he keeps doing actions that make people fear him.

Hypocrite:

Magneto is responsible for the main conflict in X-Men, as he intends to sacrifice Rogue to power a machine capable of turning normal humans into mutants, but is unaware that the artificial mutations are unstable and will kill the affected.

In X-Men: The Last Stand, Magneto builds an army and prepares to attack Alcatraz island, where a cure for mutations is being developed. His efforts lead him to recruit the unstable Phoenix, who goes on a rampage during the film's climax and causes countless deaths.

Magneto shares the antagonistic role with Stryker in X2: X-Men United, but their goals are opposite of each other: the former intends to use the machine called Dark Cerebro to rid the world of normal humans, whereas the latter intends to do the same to the mutants.

Trask, Mystique and a younger version of Magneto are the main villains of X-Men: Days of Future Past. Trask invented the Sentinels, mutant-hunting machines that turned the world into an apocalyptic dystopia. Mystique goes on trying to get revenge on Trask by killing him after seeing the pictures of her deceased fellow mutants. Magneto opposes both Mystique and Trask by promoting his own ideals of supremacy, which only serve to amplify humanity's fear of mutants and push the Sentinel program forward.

In X-Men: First Class upon seeing the mansion Charles grew up in.Erik: Honestly Charles, I don't know how you survived living in such hardship.

In the original X-Men, when Magneto has the X-Men trapped and bound within the Statue of Liberty, he points out a foolish tactical error on Scott's part with withering contempt.Cyclops: Storm, fry him! Magneto: Oh yes, a bolt of lightning into a huge copper conductor. I thought you lived at a school.

He also really enjoys mocking Wolverine in general.Magneto: Why do you always think it's all about you?

In X-Men: First Class, he is originally only able to use his powers when extremely angry. The first two times, it involves maternal separation. However, he can't properly focus it until Charles coaches him to concentrate on happier emotions.

In X-Men: Apocalypse, his power hike into Physical God territory is initially assumed to be Apocalypse enhancing him like the other Horsemen, but Charles contradicts this, contemptuously asserting that all Apocalypse has done is tap into his rage and pain.

X2: X-Men United: He and Mystique team-up with the X-Men to stop a human villain from killing all mutants. Right up until he decides to invert the attack and have all the non-Mutants killed instead.

X-Men: Days of Future Past: He and Xavier unite against the Sentinels that threaten all of mutantkind with extinction. Although he ends up attempting his own plans for mutant superiority and, ironically enough, winds up jeopardizing the plan to save mutantkind.

Dark Phoenix: Magneto initially attempts to kill Jean for killing Mystique, but he and his lieutenants join forces with the X-Men to fight the D'Bari when they come for the Phoenix Force in the climax.

In X-Men: Days of Future Past, while the public and most other characters refer to him and Raven (Mystique) by their mutant code names, Charles and Hank still remain on a first name basis with both of them, and vice versa. This is also presumably true for Alex, who still addresses his former ally as Erik.

X-Men: First Class: He and Charles are juxtaposed in their respective Argentinian bar and Oxford pub scenes. The sober Lehnsherr is all business when he's hunting down Nazis, and he murders three men (including the bartender) in cold blood after taunting his prey. The inebriated Xavier is the life of a party when he and his fellow graduate students celebrate the successful defense of his PhD thesis, and he later tries to flirt with Agent MacTaggert. Producer Bryan Singer gives a very basic summary of their differences in the "Magneto the Survivor" featurette:"Ultimately, they come from different places. Erik Lehnsherr is a victim of the Holocaust, he probably left the war with nothing, and is very much a solitary man, while Xavier had a life of privilege, became a professor at Oxford, was surrounded by peers, has an intimate relationship with Mystique since childhood, so he's quite loved, and therefore quite idealistic, less embittered, and just has a very different view from Lehnsherr."

X-Men: Days of Future Past:

Both past and future Magneto contrast each other in the film. 1973 Magneto continues to move forward with mutant supremacy and attacking Charles and his group, while future Magneto was fighting to protect both mankind and mutants while lamenting his pointless struggles with Charles in their younger years. Past Erik is very much on his own, but his elderly counterpart is a valuable team member.

Past Magneto and Past Xavier were both inactive and isolated in between 1963 and 1973 (the former due to imprisonment, the latter due to depression). Erik shows signs of wanting to repair some of their previous friendship, but a bitter Charles isn't interested for the most part. Magneto tries to kill Mystique while Xavier tries to protect her. Hank remains unwaveringly devoted to Charles, but Erik loses Mystique's loyalty after the murder attempt. In X-Men: First Class, Erik personified "rage" while Charles embodied "serenity," but their roles are reversed in 1973. Xavier is now the one who is full of pain and anger, and therefore has great trouble wielding his telepathy, whereas Magneto is (relatively) calm and controlled, still possessing great mastery over his power despite being deprived of metal for a decade. (We even see Erik adopt a meditation pose in his prison cell, which makes him appear Zen-like.)

Wolverine and the younger Magneto are violent individuals who love Xavier, but whereas Jerk with a Heart of Gold Logan possesses Undying Loyalty towards Charles, Jerk with a Heart of Jerk Erik is quick to betray him, until he finally does the reverse and pulls a Heel–Face Turn in X-Men: Apocalypse.

X-Men: Apocalypse: After he loses his family, he's in so much grief that he's willing to follow Apocalypse, who convinces Erik that he's God, and God has granted Magneto a divine purpose.

The version of Magneto from the second timeline in particular embodies this trope, having changed sides eight separate times over the course of the series.note

Considering that his and Charles' friendship only lasted a couple months, at most, in X-Men: First Class, it was unusually intimate on an emotional level.

Played straight in X-Men: Days of Future Past, with his older self and Professor X (the moment where they're holding hands is the closest that we've seen them since First Class), but averted with their younger selves. In 1973, Charles never once calls him "friend" (although Erik uses the endearment twice), which goes to show how broken their relationship is.

X-Men: Director Bryan Singer explains in the September 2000 issue of SFX:"...the paradox in Magneto's character is that he was the victim and then becomes the aggressor. It's like he's slowly become these people who persecuted him and murdered his family right in front of him. He became embittered. You get angry enough and you start forgetting."

X-Men: First Class: He hates Shaw and wants to kill him, but he eventually embraces Shaw's beliefs about mutant supremacy. It's even spelled out through the villain wearing the same helmet that Magneto is associated with. Justified at the crucial moment because he separates revenge from his ideals, which is why he's able to compliment Shaw's vision while still hating the man to his core. Shaw the man wronged him terribly, but Shaw the visionary is inspirational.

X2: X-Men United: After stopping Stryker's plan to kill all mutants with a fake Cerebro, he decides to reprogram the machine to kill regular humans instead.

X-Men: Days of Future Past: Young Magneto hijacks the Sentinels to attempt killing both Bolivar Trask and President Nixon.

X-Men: First Class features a variation: once Erik kills Shaw, he basically embraces his evil nature and attempts to wipe out the American and Soviet fleets.

Despite claiming to help his fellow mutants, Magneto has no qualms on attacking and even killing other mutants who stand in the way of his anti-human crusade.

Magneto is motivated by his memories of enduring the Holocaust during World War II and believes mutants will be subjected to the same treatment as the Jews in Nazi Germany if they do not fight back. This leads to him falling victim to He Who Fights Monsters, becoming a genocidal racist just as bad as the Nazis.

In X-Men, he is willing to sacrifice Rogue but not himself in the advancement of his cause. Beautifully called out by Wolverine, who tells him: "You're so full of shit. If you were really so righteous, it would be you up in that thing." Erik levitates away without replying, but the expression on his face makes it clear the remark hit home.

At the climax of X-Men: Days of Future Past, his past-self sics a Sentinel on Wolverine and Beast, after a grand speech about how he will protect mutantkind.

In Dark Phoenix he tells Jean about the futility of killing for revenge, and how it never made the pain he felt go away. Then, when he finds out Jean killed Mystique, he almost immediately decides to kill her in revenge - though that could simply be the difference between knowing it intellectually and his emotional reaction.

I-Y

Improvised Weapon: As long as it's metal, Magneto's powers let him use anything as a weapon. He has killed people with such things as a coin and a locket.

I Did What I Had to Do: In X-Men: Days of Future Past, he tells Raven he tried to kill her because he was aware of the impending Sentinel menace and came to the conclusion that the only way to prevent it would be if she was permanently dispatched.

I Hate Past Me: In X-Men: Days of Future Past right before Kitty sends Wolverine back in time, he worries that his and Charles' past-selves won't understand the nightmarish situation in the Bad Future and be able to fix things. Erik: It's not [Wolverine] I'm worried about, it's us. We were young, we didn't know any better.

Ineffectual Loner: Was one in X-Men: First Class until Charles convinced him he could do better with friends of his own, and in the ending he begins building his brotherhood of mutants.

I Was Quite a Looker: He was a classic example of Tall, Dark, and Handsome when he was a young man (and he has aged gracefully over the years).

Jerkass Has a Point: He did make the fair point towards Charles that he grew up with Raven, and shouldn't have entirely claimed responsibility for raising her, which did in part drive her away from him.

Just the Way You Are: In X-Men: First Class, he is able to persuade Raven to his side finding her mutant appearance to be "perfection" in contrast to Charles and Hank, who feel she should look more "normal" to gain acceptance within society.

Karma Houdini:

Kick the Son of a Bitch: Some of his victims include Nazis, Sebastian Shaw and the corrupt, violent slob in charge of his prison cell. He also chained William Stryker back up and left him to die at the end of X2: X-Men United.

Knight Templar: Wants to stop mutant prejudice... by subjugating humans.

Lean and Mean: Magneto seems to have little-to-no fat on his body. It makes sense, given that he's a Holocaust survivor who spent his early life on the road.

Loner-Turned-Friend: In X-Men: First Class when he met Charles Xavier and his group.

Made of Iron: His younger self is quite capable of taking a beating. In X-Men: First Class he gets thrown off a boat by Emma Frost in diamond form and was being thrown across a room by Shaw crashing into mirrors. In X-Men: Days of Future Past, he took head injuries from Beast and nearly drowned before restraining him only needing a head stitching after - a head stitching he performed himself while examining the schematics of the Sentinel's and without even twitching at the pain. His older self also survived a blast from Cyclops in the first film, and in X-Men: Days of Future Past continued to protect the group from the Sentinels with a shard having pierced his abdomen.

Manipulative Bastard: Best demonstrated as he convinces Pyro and in the prequel series, Raven, to defect to his side.

Meaningful Name: Erik means "ruler" and Lehnsherr can be roughly translated as "feudal lord" (lehn = fief, herr = master). Magneto's birth name betrays his ambition to rule over humans.

Mook Horror Show: Several films have him performing one.

Motive Rant: Delivers one to Senator Kelly after capturing him in X-Men.Magneto: Are you a god-fearing man, senator? That's such a strange phrase. I've always thought of God as a teacher, as a bringer of light, wisdom, and understanding; you see, I think what you really are afraid of is me. Me and my kind, the Brotherhood of Mutants. Though it's not so surprising really. Mankind has always feared what it doesn't understand. Well, don't fear God, Senator, and certainly don't fear me. (in an undertone) Not anymore.

My Greatest Failure: The death of Xavier in X-Men: The Last Stand, which he directly caused by awakening Dark Phoenix.Magneto: Charles Xavier did more for mutants than you'll ever know. My single greatest regret is that he had to die for our dream to live.

My God, What Have I Done?: X-Men: The Last Stand features him saying the line, when he finds himself on the other side of the Mutants vs. Humans war he's been pushing for, and Phoenix finally goes crazy and starts killing people.

Nazi Hunter: He spends the first twenty minutes or so of his screentime in X-Men: First Class tracking down and killing Nazis. In fact, his reason for joining the X-Men is so that he can find and kill Sebastian Shaw, the mutant Nazi who killed his mother.

The Needs of the Many: In X-Men: Days of Future Past.Erik: Forgive me Mystique, as long as you're out there we'll never be safe.

Never Be Hurt Again: He is both a Holocaust Survivor and mutant "lab rat" which pushes him towards Do Unto Others Before They Do Unto Us regarding mutant suppression by the humans.

New Era Speech: Gets one in Days of Future Past, delivered on national television before the Presidential cabinet.Magneto: You built these weapons to destroy us. Why? Because you are afraid of our gifts. Because we are different. Humanity has always feared that which is different. Well, I'm here to tell you, to tell the world, you're right to fear us. We are the future. We are the ones who will inherit this earth, and anyone who stands in our way will suffer the same fate as these men you see before you. Today was meant to be a display of your power. Instead I give you a glimpse of the devastation my race can unleash upon yours. Let this be a warning to the world. And to my mutant brothers and sisters out there, I say this; no more hiding, no more suffering. You have lived in the shadows in shame and fear for too long. Come out, join me. Fight together in the brotherhood of our kind. A new tomorrow, that starts today.

Nice Hat: Occasionally wears a fedora while in civilian garb, as shown in X-Men when he attends the hearing on mutants at the beginning of the film and in X-Men: Days of Future Past when he raids the vault for his helmet.

Nice Job Fixing It, Villain!: Attacking Mystique at the Paris Peace Conference bought Bolivar Trask a couple extra days and gets Nixon to fund the Sentinel program, but his betrayal and attack on the White House sets up a situation where a mutant is seen saving Nixon's life on live TV. Mystique performs a Heel–Face Turn, Nixon cancels the Sentinel program, and the Bad Future is averted.

Nightmare Fetishist: Everyone in X-Men: First Class, tells Raven that her true form as Mystique is horrifying, but Eric tells her that she is beautiful as she is, and that taking on a more normal looking appearance is wasteful of her powers, and limits her concentration against unexpected attacks. In X-Men: The Last Stand however, when Mystique shields Magneto from being struck by darts containing the Mutant Cure, he coldly abandons her now that she's human, regretfully telling Pyro that she used to be "so beautiful."

Noble Demon: At his fundamental core, Magneto wishes to protect innocent minorities from genocidal persecution at the hands of murderous racists, no matter what it takes.

Not So Different:

Outliving One's Offspring: His daughter is killed by Polish policemen in one of the most heartbreaking moments of the whole film franchise.

Overarching Villain: Magneto is the central antagonist of the first trilogy. In the prequels, he usurps the role of Big Bad from Shaw and Trask, before pulling a Heel–Face Turn at the very end of X-Men: Apocalypse. However, he comes to oppose the X-Men once again in the following film, only to ultimately join their battle against Vuk during the climax.

Parental Abandonment: His father is nowhere to be seen, and his mother is executed before him by Shaw to try and induce his magnetism powers.

Pet the Dog: He was the first person in Raven's life that complimented and truly admired her natural blue form. Also, upon reveal he compliments Hank, although it isn't met with a kind reaction from Beast, who believed he was being mocked.

Physical God: While always immensely powerful, he becomes this in X-Men: Apocalypse, being on the verge of tearing apart the planet (as one character puts it, "destroying everything built since the Bronze Age") while maintaining an impenetrable forcefield. Moreover, Charles implies that unlike the other Horsemen, Apocalypse didn't actually enhance him, he just tapped into his rage and pain, meaning that he had this potential all along.

Power Floats: Can fly by manipulating the Earth's magnetic field.

Pre-Mortem One-Liner: He delivers one to Sebastion Shaw as Charles holds control of Shaw's body."This is what we're going to do. [holds up the coin] I am going to count to three and I'm going to move the coin. One. [moves the coin towards Shaw's head] Two. Three." [puts the coin through Shaw's head, Charles screams].

Protagonist Journey to Villain: X-Men: First Class revolves around him seeking revenge for the murder of his mother and his increasing acceptance of mutant supremacy.

Red and Black and Evil All Over: His outfits typically have a lot of dark red and dark grey. The dark grey is accentuated in the older Magneto's costumes.

Red Oni, Blue Oni: In X-Men: First Class, he is rather hot-headed while Charles is more level-headed. ''Empire'' magazine even color-coded the front covers of their May 2011 issue accordingly.◊

Roaring Rampage of Revenge:

Rousing Speech: On several occasions he's persuaded mutants to follow his cause and fight along himself. Most notably, when he attacked the white house and on a live broadcast declared mutants come out of hiding because they are more powerful than the humans who would try to eliminate them. This is after he discredited the Sentinel program and held the president cabinet at gun point.

Sensitive Guy and Manly Man: In X-Men: First Class, he is the Manly Man to Charles' Sensitive Guy. They display this dynamic in their personalities (Anti-Hero vs. All-Loving Hero) and physique (Tall, Dark, and Handsome vs. Pretty Boy) as well as their philosophies and methods (Pay Evil unto Evil vs. Wide-Eyed Idealist).

Shut Up, Kirk!: Delivered one to Xavier in X-Men: First Class.Xavier: There are thousands of men on those ships. Good, honest, innocent men! They're just following orders. Erik: I've been at the mercy of men just following orders. Never again.

Slasher Smile: He sports a brief one when he rips iron from a guard's body in X2.

Slave Brand: The tattoo number of a Nazi concentration camp he carries upon his forearm, which he has brought attention towards to serve as a reminder for human cruelty.

At the end of X-Men United, he escapes after attempting to wipe out all non-mutants.

At the end of The Last Stand, he sneaks away when the Dark Phoenix awakens and realizes on his own that the effects of the mutant cure are only temporary.

In Apocalypse, he murders a bunch of policemen and creates a magnetic field that caused a lot of damage across the globe, but is let off the hook because he helped kill En Sabah Nur. However, this could be explained by the fact that he's so powerful at this point that there's way to reasonably contain him.

In Dark Phoenix he instigates a battle against the X-Men in the streets of New York, including his ripping a subway train out the ground and using it as a battering ram against the D'Bari stronghold, all in an attempt to kill Jean, but later fights alongside the X-Men to save her after Charles manages to sway him. By the end of the film he's openly wandering the streets of Paris without any repercussions, and even invites Xavier to come to Genosha with him.

The Nazis at the bar in First Class.

The security guards in Days of Future Past when he reclaims his helmet, done while sharply dressed wearing shades and a fedora.

And in Apocalypse, he does it again to the policemen sent to bring him in after one of them accidentally kills his wife and daughter. With a locket.

In X-Men: First Class, when he confronts the villain Sebastian Shaw at the end: Erik Lehnsherr: If you're in there, I'd like you to know that I agree with every word you said. We are the future. But unfortunately, you killed my mother.

In X2: X-Men United, the first thing he does when he gets inside the second Cerebro? Instructs Jason Stryker to simply reverse the polarity on Professor X's mental attack to target humans instead of mutants rather than free Charles from Jason's mind control.

In X-Men: First Class, he hunts down Shaw and his Nazi underlings to exact revenge for the death of his mother. He succeeds in giving the latter ones horrific deaths, but is effortlessly defeated by Emma Frost when he tries to do the same to the former.

In X-Men: Apocalypse, he uses his family medallion to slaughter the whole Polish police squad that has been sent to arrest him after they killed his daughter and wife by accident. He then goes on to kill his co-workers at the steel plant after one of them denounced him. Apocalypse arrives just as Erik was about to kill them, and sucks them all into the floor.

In Dark Phoenix, after learning that Jean killed Raven in a case of Power Incontinence, he immediately grabs his old helmet and heads to New York to get revenge.

Slowly Slipping Into Evil: In the original trilogy, Magneto starts out as a Well-Intentioned Extremist bent on turning regular humans into mutants. Come X2, he instead wishes to commit genocide against mankind, but still cares about mutant lives. But he is at his worst in The Last Stand, where he recklessly chooses to sacrifice his troops in Alcatraz, comparing them to the pawns in a Chess game.

The Social Darwinist: He believes mutants are the superior species towards humans.

Start of Darkness: X-Men: First Class devotes itself to his gradual transformation into the human-hating supremacist he is today, courtesy of his past as a Holocaust survivor and his affinity with Shaw's ideology.

Stealth Pun: Michael Fassbender kept his natural auburn hair for the role in X-Men: First Class and X-Men: Days of Future Past, which makes him... Erik the Red.note

Super Reflexes: In X-Men: First Class, he's fairly confident he can stop a bullet shot point blank from his head. Later, he more or less holds true to his claim by stopping a horde of missiles fired by the US and Russian army within several feet from the air to him, and deflecting bullets while being shot at by Moira MacTaggert.

Sympathetic Murderer: In First Class, his target being Shaw, who killed his mother and tortured him.

Tailor-Made Prison:

Tall, Dark, and Handsome: In his youth, as shown in the First Class trilogy.

Team Dad: In X-Men: First Class he was the more stern and less nurturing parental figure for the proto X-Men, opposite Charles' Team Mom. This is what makes the "Beach Divorce" scene so much more tragic.

Team Member in the Adaptation: He was never a Horsemen in the comics. This version also forms the Brotherhood by taking control of the Hellfire Club after killing Shaw.

That Man Is Dead:Xavier: Erik, don't join them. Magneto: Whatever it is you think you saw in me, I buried it with my family.

Time-Shifted Actor: He has been portrayed by four actors in three note different stages of his life.

Tired of Running: Inspires mutant followers to stop hiding and accept themselves, while turning on the humans who would target them.

Too Happy to Live: His life in Poland in Apocalypse looks too happy to last as he is spotted and unmasked by authorities and both his wife and daughter die tragically.

Took a Level in Badass: In First Class after Charles unlocks his full potential and in Apocalypse when the titular character gives him a boost.

Tragic Keepsake: When he first met Sebastian Shaw, he was asked to move a Nazi Coin in exchange for his mother's life but was unable to do so and she was murdered. He carried the coin for most of his life until he moved it through Shaw's head, killing him.

Tragic Villain: Possibly the archetypal example.Charles: Listen to me very carefully my friend... killing Shaw will not bring you peace.Erik: Peace was never an option.Erik: Is this what you want from me?! Is this what I am?

Tranquil Fury: In X-Men: First Class, his powers are manifested through anger, until Charles helps by telling him "true focus lies somewhere between rage and serenity."

Traumatic Superpower Awakening: Shaw had Erik awaken control of his magnetism by murdering his mother.

Troubled, but Cute: In X-Men: First Class, pre-supervillainy, he is a Nazi-hunting Byronic Hero with an intensely Dark and Troubled Past (involving the Holocaust, loss of his parents, and being a victim of human experimentation) and bucketloads of trauma and cynicism. He also wears a leather jacket on a few occasions.

Villain Has a Point: Magneto believes humans and mutants can never co-exist and fears the crimes of the Holocaust will be repeated against mutants one day. The Bad Future in Days of Future Past shows he's absolutely right; humans have created the Sentinels to hunt down and exterminate mutants, who are being herded into camps to be killed or experimented on en masse. Far before then, however, in First Class the U.S. and Soviet fleets open fire on the assembled mutants at Cuba simply because they are mutants, making no distinction between the ones that just fought to save them and the ones that were trying to kill them. Even when mutants do things right by humans (Mystique saving President Nixon in Days of Future Past), humans still screw them over, as shown in Logan when the mutants are on the verge of extinction again.

Villainous Legacy: He ends up killing Shaw out of revenge, but he fully agrees with Shaw's goal; that is, Mutants needing supremacy over humans to thrive, and carries it over from him.

Visionary Villain: He wants to create a world safe for mutants by any means necessary.

The Unfettered: If it means the safety of mutants he'll kill anyone from the President or even Mystique.

Was It Really Worth It?: His future self ultimately regrets fighting Charles for so long, and wishes he had some of those years back.

We Can Rule Together: An open door he extends to any mutant willing to see things his way, all the way up to and including Professor Xavier himself. Some accept and the ones who don't usually swing to Xavier's point of view.

Well-Intentioned Extremist: He has always been the archetypal example in comics and the films faithfully live up to that. He puts forth a big effort to allow mutants to come out of hiding and gain acceptance of themselves but at the same time opposes humans who would threaten them, believing war is inevitable. His plan in X-Men, is actually rather benevolent and would finally end the division between Mutants and the rest of Mankind, while sacrificing only Rogue to make it work. It's a good plan (though not necessarily one that would work in the long run), it's just a shame his machine doesn't work!

We Used to Be Friends: The whole premise of X-Men: First Class is to show how he and Charles Xavier became friends and then ended up on opposite sides with different ideals.

What the Hell Are You?: In X-Men: First Class, we have the following conversation:Former Nazi Officer: [in German] Who—what are you?Erik: [in English] Let's just say I'm Frankenstein's Monster... and I'm looking for my creator.

What the Hell, Hero?: In X-Men: Days of Future Past, his past self goes into an outburst about how fellow mutants were being killed left and right while Young Charles has been in hiding with Hank. Erik: Angel, Azazel, Emma, Banshee. Mutant brothers and sisters, all dead! Countless others, experimented on! Butchered! Where were you, Charles?! We were supposed to protect them! Where were you when your own people needed you?! Hiding! You and Hank! Pretending to be something you're not! You abandoned us all!

Wicked Cultured: Mags always enjoy a good game of chess with Xavier or listening to classical music.

With Us or Against Us: Concerning the mutants who choose to fight with him or against him, namely the X-men.

Woobie, Destroyer of Worlds: Each film of the new timeline keeps piling on the trauma that fuels his rage. In First Class he was a Holocaust survivor who had to watch his mother die in front of his eyes, and worse, it was because he couldn't consciously use his powers at the time. In Days of Future Past the Brotherhood were killed and experimented on by Trask Industries. In Apocalypse, after giving living in peace a chance, his wife and daughter are killed after his cover is blown as a mutant. All of this leads to him becoming an extremist willing to kill countless numbers of people. Highlighted in X-Men: First Class and arguably even more so in X-Men: Apocalypse, since he's quite literally out to destroy the world.

Worthy Opponent: He and Xavier have this relationship. Magneto: Charles Xavier did more for mutants than you will ever know. My single greatest regret is that he had to die for our dream to live.

Would Hit a Girl:

Would Hurt a Child: In X-Men: The Last Stand, he orders Juggernaut to kill Leech.

You Are Number 6: In X-Men: First Class, he outs himself as a holocaust survivor to some Nazis he was amicably chatting with (and planning to kill). When they asked for the names of his parents, being from the same town, he answered that they "had no names—they were stolen from them" before showing his own concentration camp number. Violence ensues.

You Are What You Hate: He hates Nazis due to being a survivor of the Holocaust, but ultimately embraces racism against non-mutants, this is highlighted in X-Men: First Class.

You Killed My Father: In X-Men: First Class, when he kills Schmidt/Shaw despite agreeing with his Mutant Supremacist ideals because Schmidt killed his mother in front of him as a child.Magneto: I want you to know I agree with everything you just said. We are the future. But, unfortunately... you killed my mother.

Younger Than They Look: In X-Men: First Class, Erik is around the same age as Charles (late twenties/early thirties), but the former appears considerably older because Michael Fassbender looks older than his actual age (he has a lot of lines on his face) while the baby-faced James McAvoy looks younger despite there being a only two-year age gap between the two actors. This can be Handwaved as Erik ageing prematurely because of the trauma and starvation he experienced during World War II.

Also, an alias Magneto himself used once, during the "Trial of Gambit" debacle. And one a Shiar spy on Earth used. Not so much a Stealth Pun as a Mythology Gag.

As an older man, however, his reflexes have notably slowed, as shown X-Men: Days of Future Past, when it takes him several moments to respond to and restrain a thrashing Logan - long enough for him to gash Kitty - and he doesn't quite catch all of the X-Jet's shrapnel.

At the end of X-Men, Magneto is locked in a cell made entirely of plastic. He got out in X2: X-Men United, thanks to Mystique giving one of his guards an "iron supplement," actually at least half a pound of the stuff, in liquid form. In real life, this would have given him iron poisoning, but he didn't survive long enough to find that out.

Subverted in X-Men: Days of Future Past. The concrete cell under the Pentagon was not built specifically for him, but simply constructed that way because steel was being rationed at the time. It still holds him quite well, though.

X-Men: First Class: The film ends with him outright proclaiming that he prefers his new moniker: Magneto.

X-Men: Apocalypse: Charles pleads with him not to join Apocalypse, but Lehnsherr has already reclaimed his Magneto persona.

Even when he genuinely tries to find peace in X-Men: Apocalypse, his family is killed triggering an epic Rage Against the Heavens moment.

X-Men: He forcibly places Rogue into his machine, knowing full well that it will kill her.

X-Men: First Class:

X-Men: Days of Future Past: He would have murdered Mystique if it weren't for Beast's timely intervention.

Dark Phoenix: He attempts to murder Jean when he learns she killed Mystique. Later on, he finds himself alone against Vuk on the Mutant Containment Unit's train, uses his power to pick up every remaining gun, and empties them all into her at point-blank range. Thanks to Vuk's innate Healing Factor and getting an upgrade from absorbing the Phoenix, she blows this off without a scratch.

He cracks Emma Frost's crystalline neck after she refuses to cooperate.

He nearly strangles Moira to death with her own military dog tags, although Xavier manages to talk him out of it.

#MagnetoInformation

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boasamishipper · 5 years

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jewish iceman kazansky headcanons

but you don’t look like a jew! is the statement that follows iceman kazansky for most of his life. the goyim who say it always look some mixture of surprised, uneasy, and mildly curious, like he’s some kind of unknown specimen at the zoo. he’s never treated the same after they find out. the nicer ones walk on eggshells around him and glance at him when they think he can’t see; probably searching for some semblance of jewish features in him (or checking him for horns). the other ones don’t talk to him or fully trust him again. he can’t really say he gives a damn.

(but you don’t look like a jew!, coming from other jews, is a benediction, a blessing, not surprise. his grandmother used to get tears in his eyes when she said it. when they come for us, she said, god be willing, they might ignore you.)

ice’s paternal grandparents boris and rachel immigrated to the united states during the start of the soviet era, from a russian town razed by pogroms (and no longer exists on a map). boris got sick at ellis island and never fully recovered; rachel worked long hours sewing dresses at a garment factory to support her husband and her three children. they attended synagogue every week and she saved for weeks to bake challah on shabbat, just like her mother did before her.

ice remembers listening to his father’s stories about growing up in the tenements. how he used to get so angry whenever he’d hear charles coughlin preaching on the radio, or the right wing mocking fdr’s ‘jew deal,’ but rachel kazansky would always stay calm. why are we here, then? he would demand of his mother after she told him to calm down. why are we here if they don’t want us here? if they don’t trust us? rachel kazansky set down her spoon and stared him down. here is just talk, lyubimyy moy, she would say quietly. america is better than where we left by far.

ice’s sister is born nine years after the holocaust, and ice is born five years after that. ashkenazi jews name their babies after those who have passed, and with so many people dead (relatives, friends, siblings, from gas chambers and death marches and mass graves), there are too many names to choose from. ice’s mother, who ice’s grandmother still calls that shiksa in private, mostly affectionately, chooses their names instead: taylor michelle kazansky for her great-grandmothers, and thomas james kazansky for her great-grandfathers, respectively. rachel kazansky calls it a blessing in disguise, especially when ice and taylor grow up and take after their mother. look at them, she used to say. relieved, sad, and proud. no one will be able to tell.

the one and only time ice gets in trouble in school is when he snaps at mark wilson for making fun of sam friedman. what’d you expect? mark had sneered. jewboy needs to learn his place. (as mark wilson later learned, it was hard to sneer around a broken nose. and a black eye.) ice is set to be suspended until commander bill kazansky of the united states navy walks through the doors and asks (ice cold, quiet, calm) the principal to explain why his son was in trouble for standing up for someone. ice’s suspension gets pushed back to an after-school detention, and ice’s dad takes ice out for ice cream.

in hebrew school, the rabbis teach them about heroes, about good and evil, how to survive in a world that refused to have you. “the wise man is the one who foresees the consequences,” rabbi schapiro tells his class, quoting the talmud, and ice takes the quiet intelligence of the words to heart.

their family’s reform and pretty secular, all things considered: they exchange gifts on hanukkah, only attend synagogue on the high holidays, don’t actively keep kosher, don’t get bar/bat-mitzvahed, and so on and so forth. ice’s relationship with god and religion is complicated; taylor has no relationship with god and religion at all. his grandmother doesn’t mind as long as he promises to remember who he is and always ask questions.

bill kazansky never got into the united states naval academy because of his “antecedents” - otherwise known as the double shame of being the son of immigrants and having a jewish last name. when ice gets his acceptance letter, he almost tears it up, but decides against it. he’ll show them they were wrong to ever cast aside his father by becoming the best student (and the best pilot) they’ve ever seen -- and takes a certain, perverse satisfaction from going to shabbat dinners at the campus rabbi’s house.

in 1977, the ccar (the reform movement’s rabbinical council) decides that in judaism, one is only responsible for religious obligations that one can freely choose to fulfill; thus, since homosexuality is not chosen, its expression cannot be forbidden. ice comes out to his family in 1981, when he’s 22 years old. his grandmother doesn’t bat a lash, and instead asks when he’s going to bring a nice jewish boy home instead of a nice jewish girl. ice doesn’t cry, but it’s a near thing.

don’t tell anybody you’re one of us, tom, bill kazansky tells him. not unless you trust them. promise me that, son. bill kazansky, who spent years having people call him that fucking k*ke kazansky behind his back, would know, and ice promises.

but you don’t look like a jew! says bill cortell with wide eyes, after ice tells him that he doesn’t really celebrate christmas. ron kerner smacks bill on the back of the head and tells him to shut the fuck up. he and ice become fast friends after that.

ice speaks fluent english, conversational russian and spanish, and only knows insults in yiddish -- all of which he’s tempted to say whenever maverick mitchell (an oysshteler if ice has ever seen one) does something stupid, either in the air or on the ground.

after goose dies, after the funeral, after placing a few smooth stones at the base of goose’s tombstone, ice goes to synagogue for the first time in years and says the mourner’s kaddish for goose. jews don’t believe in heaven or hell, but he hopes goose is in a better place now anyway.

david ben gurion once said that a jew who doesn’t believe in miracles is not a realist, but ice isn’t quite ready to accept that maverick mitchell flying to his rescue after five migs come out of nowhere counts as a miracle. (what does count as a miracle, in his opinion, is that his feelings for maverick get enthusiastically reciprocated after painful months of shoving them down -- and ice has never been happier to be proven wrong.)

ice doesn’t tell maverick he’s jewish until after they get together -- and even then, he’s nervous because this is the best thing that’s ever happened to him and he doesn’t want maverick to look at him with disgust and ask him where his horns are. maverick thinks it’s cool and pesters him with questions. (so why are the matzah balls separate from the whole matzah anyway? he asks, genuinely curious. god mav you’re so fucking stupid, ice says, and kisses maverick until they both run out of air.)

(when ice introduces mav to rachel kazansky, who’s in her early nineties but no less sharp and proper, she sizes him up with the cool assessing gaze that ice inherited and says, are you jewish, maverick? when maverick admits he isn’t, she gives a long dramatic sigh and shakes her head. oh well, she says dryly, almost perfect.)

#top gun #iceman kazansky #judaism #jewish headcanons #jewish characters #wow this got long #sorry not sorry lol #my stuff

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calliecat93 · 4 years

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Callie’s Disney Princess Retrospective: Cinderella

(Snow White Review)

The year was 1950, 13 years after Snow White’s release. Despite that film’s mass success, Walt Disney’s next feature films during the 1940’s such as Pinocchio, Fantasia, and Bambi would all bomb. His only true success at the time was Dumbo, and that film was dampened by a mass strike during production that saw many animators walk out. It didn’t get any better when America entered World War II and the military took over many different animation studios, including Disney. They not only had to produce propaganda shorts but due to the limited funds, they were forced to rely on Package Films and live-action to survive. As the 1950s began to dawn, it was clear to Walt that if he wanted to stay in business, he needed another hit. But not just any hit, he needed the same kind of success that Snow White brought him. But what film could give him that success?

For that, he returned to fairy tales, and he found one. A story that he could relate to as a Missouri-born boy who began with nothing. A tale that could appeal to just about anyone. A true rags to riches story of one down-on-her-luck girl having all of her dreams come true. That film would be Walt Disney’s twelfth animated feature, his second fairy tale-based film, and of course the creation of the second Disney Princess who quickly became one of the most famous. Thus, let us discuss the 1950 film, Cinderella.

Overview

Since a young child, Cinderella has been in servitude by her cruel stepmother Lady Tremaine. She is regularly mistreated and worked to the bone by both Tremaine and her nasty stepsisters Drizella and Anastasia. Despite this, Cinderella keeps a cheerful and hopeful demeanor, caring for her mouse friends and hoping that someday the dream that she has wished for will come true. A day that seems to have arrived when the family gets an invitation to a ball held to find a suitor for The Prince. With all eligible maidens asked to attend, Cinderella believes that her chance has arrived, but Lady Tremaine has other plans.

Just as it looks like all of her hopes have been shattered, Cinderella’s kindness and hard-work are rewarded by her Fairy Godmother giving her what she needs to attend the ball. She has a lovely time but is forced to flee at midnight with only a lone glass slipper to remind her of that night. But the ended up charming the Prince and left the other slipper behind, so now the girl who fits the slipper will be made the prince’s bride. Once more, Tremaine tries to prevent Cinderella from succeeding. But with the help of her animal friends and her own hope, Cinderella’s dreams will at long last come true.

Review

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As a little girl, there were many films that I would watch over and over again, such as The Aristocats or The Many Adventures of Winnie the Pooh. But I think that Cinderella was the one that I would play back the most. I remember every single part of this movie. The music, the story, the characters, just everything. And even after all of these years, my feelings and love for the film haven’t changed. If anything, it’s only grown. I still remember when my family went to Walt Disney World, and aside from Mickey Mouse the only thing that I cared about was meeting Cinderella. I did so on the last day in the Magic Kingdom, and she was so kind and beautiful and was everything I ever dreamed of. It is a moment that I will never forget.

Looking at the film itself, it’s clear that it took a lot from Snow White. A fairy tale-inspired movie, a heroine in servitude who charms all around her, an evil stepmother, a handsome prince, animal companions, you name it. I don’t think that it was accidental either. As I said, Walt /needed/ another Snow White success story. He needed to replicate what made that film work and make it better. Which he did. While the two films are similar, it’s arguable that Cinderella improved on many of those elements. While we only really get told that Snow was a servant and only see it briefly at the start, we see Cinderella’s suffering throughout the film. While Snow could look a little off due to the animators still getting used to animating realistic humans, Cinderella looks realistic, moves more fluidly, and fits the style of the film much better. While The Queen never interacted with Snow until the end and therefore never see how she treats her, we see Lady Tremaine’s cruelty towards her stepdaughter in full force and it’s equally as chilling. It truly feels like Walt looked over Snow White, saw what could be improved on, and did so with Cinderella. It really shows how far the company had come since 1937.

But Walt wasn’t the only important person on the film. In fact, he was less involved than he was with Snow White since he was focusing more on live-action and developing Disneyland. This was the film that established Disney’s most talented and loyal animators, his Nine Old Men. These men not only worked on the first five features and the Package Films, but they would go on to work on every film up to The Fox and the Hound and some even went into Imagineering. These would be the men who not only pulled the company back onto its feet after WW2, but they would teach future Disney animators/directors such as Glen Keane, Jon Musker, Rob Clements, Andreas Deja, Brad Bird, and so many others who would continue their legacy. Cinderella herself was done primarily by Marc Davis, Eric Larson, and Les Clark.

Like Snow White, the story is pretty straight-forward. It seems to be based mainly on the version written by Charles Perrault and some of the Grimm Brothers version. It does some expansion, like showing what Cindy’s daily life is like. Having her dress get ripped apart, her getting locked up, and of course, giving an expanded role to the mice. Otherwise though like with Snow White, it’s one of the more faithful adaptations minus a few things. For example, if we go off the Grimm version, the stepsisters don’t mutilate themselves to fit into the slipper… and I don’t have an issue with that either. It can feel a little dragged out, like IDK how necessary the King and Grand Duke scenes were aside from establishing certain things like the ball and the slipper search, but it’s nothing that brings anything to a halt.

The animation is gorgeous. The Nine Old Men weren’t chosen out of random, after all. This film really shows off their talents. Characters like Jaq and Gus, Lucifer, and the Stepsisters are very lively and entertaining to watch. Ward Kimball, who was the main animator for Lucifer the Cat, used his own cat as a reference after Walt pointed it out to him, and you can tell that he was having fun with it. The more realistic characters like Cinderella and Lady Tremaine look and move very well despite the challenge the animators had keeping that realism up. I’d say that their work paid off though. Lady Tremaine especially has some of the most chilling, frightening expressions of any Disney Villain. Frank Thomas did a masterful job making her cold demeanor reach through the screen and to the audience. The art itself looks beautiful and we can thank artist Mary Blair for it as she did the concept art for the film. The use of colors and shadows were done very well. It’s just the right amount of brightness when necessary, and the right amount of darkness when necessary. It hits the mark perfectly.

Then there’s the sound and the music. On the latest rewatch, I noticed how they use music for characters a lot. Take the sequence where Jaq has to distract Lucifer in the first act for example. When he’s crawling across the wall, getting ready to get at Lucifer and kick him into his own milk bowl. They use strings for his movements as well as for strings, like the other mice shutting up Gus when he laughs. It’s nothing new for Disney, after all, it was doing this in Steamboat Willie that launched the company into fame. But it always adds so much even if you don’t realize it. The score uses a lot of strings and horns, knowing when to sound triumphant and when to be subdued. It’s a very good score.

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Cinderella’s soundtrack was the first to be done by the newly established Walt Disney Records, allowing the company to gain profit for their own music. The vocal tracks have two classics worth mentioning. The first is Bippidi-Boppidi-Boo, the Fairy Godmother’s song. It’s a super fun, whimsical song and even though I still struggle to get the words right, it really fits the Fairy Godmother’s nature and is just so darn catchy! The other is of course the theme of the film, Dream is a Wish Your Heart Makes. There are several variations of the song throughout the film, but of course, the first time done by Ilene Woods (I’ll talk about her more when I do Cinderella’s character in-depth) is the one we remember most. It’s beautiful, hopeful, and was one of my favorite songs as a little kid. I used to annoy people with how much I would try to sing it, haha. It really tries to convince you that your dreams CAN come true, and by golly did I believe it when I was a kid… and deep down I still do, I supposed. Point is, it’s a lovely song~

What about the characters though? Well, let us have a looksie.

As with Snow White, there are many animals, though this time it’s mainly mice and birds. The mice are the main ones, as well as the only ones who can talk. There are other animals like the birds, a horse, and of course Bruno the Dog. But the main animals to discuss are Lucifer the Cat and the du of Jaq and Gus. Lucifer is a cat, so as expected he chases the mice. But it’s clearly not just due to instinct. It’s shown throughout the movie that he seems to take sadistic glee in chasing after them, especially Gus which is especially clear in the final act. But he also enjoys tormenting Cinderella, such as messing up the floor when she’s wiping it down during the Sweet Nightingale sequence and trapping Gus with the key in part to keep her locked up. He also enjoyed getting Bruno into trouble at the start of the film, which ends up being his downfall at the end. He seems genuinely cruel which...I mean with a name like Lucifer, is it a surprise that he’s a little devil? He has some great expressions thanks to Ward Kimball and was a fun challenge for our favorite mice.

Speaking of, Jaq and Gus serve as comedic relief and the unofficial heroes of the film when you really think about it. They drive many of the events forward such as making Cinderella’s dress and retrieving the key from Lady Tremaine. Jaq is the unofficial leader of the mice and the most talkative by far. He’s charismatic and crafty, usually unafraid (for the most part) of going up against Lucifer or from helping Cinderella whom he cares greatly for. We don’t know how long he’s known Cinderella, but he’s the one who assures Gus that she’s a nice person. Gus the newbie of the mice and a little dim-witted, but well-meaning. Due to being new, he ends up getting into several incidents like nearly being caught by Lucifer several times. Jaq and Gus make a fun duo and I always enjoyed seeing what the two would get themselves into. Also for added fun, both mice were voiced by Jimmy MacDonald (nowadays they’re played by Rob Paulsen and Corey Burton respectively). Jimmy was not only the main sound effects man for the studio but at the time he was also the voice of Mickey Mouse himself. Guess he’s a natural fit for mice, huh?

Next, we’ll go to the royals. Sadly, like with Snow White, the prince is more or less a plot device. I guess they were still having a tough time with realistic male characters. He’s a handsome young man, but sadly that’s all there really is. He doesn’t even get a name, being dubbed as Prince Charming in most material and IDK if that’s really official. They DID plan on giving the Prince more of a role, such a planned sequence with him hunting a deer but it turned out it was play hunting, but this never happened. He doesn’t even go looking for his mystery girl in the end, the Grand Duke does which is pretty disappointing. It’s a shame too since going off the King’s dialogue about how he’s been evading mariage he could have been like the male version of Jasmine. A royal who’s being pushed to get married, even though he wants to find true love on his own time and just have some freedom. They did do a bit more with him in Cinderella III: A Twist in Time. They also did more with him in the live-action remake, expanding his and Cinderella’s relationship and giving him an actual name (Kit). But we’re focusing on the original, and it’s sad that he didn’t get more to him.

The King and Grand Duke are also comedic relief and overall pretty good ones. The King is loud, blusterous, and quick to anger. He’s not a bad man, after all the only reason he wants his son to get hitched is because he feels lonely and wants grandchildren. It’s kind of cute when you think about it, even if unfair to his own son. He can be very friendly, but as I said quickly to anger. After all, when the mystery girl got away, he outright attempted to /behead/ the Grand Duke until he told him about the slipper. In comparison, the Grand Duke is more timid, but quite sarcastic as well. Very much the straight man to the King’s blusterous personality. While very much afraid of the king (though not unwilling to backtalk him), up against anyone else he takes no crap from anyone. Just watch him as he tries to endure the Tremaines, it’s amazing how absolutely done he is with all of them, and he wins points for shutting up Lady Tremaine when Cinderella makes her way downstairs. A good man!

The Fairy Godmother is only in the film briefly, but she leaves a major impact. She is the first decent person to Cinderella in a long, /long/ time. She is very grandmotherly in her design, voice, and demeanor. She’s a little forgetful and scatterbrained, as she forgot where her wand was and it takes a good while for her to notice Cindy’s torn up dress. But she is a kindly old woman who was summoned by the hope remaining in Cinderella’s heart. She came at the girl’s darkest hour and gave her the one night that she had always dreamed of. She is voiced by Verna Felton, who was a pretty regular VA for Disney at the time. Though she often did much harsher characters such as The Matriarch in Dumbo and the Queen of Hearts in Alice in Wonderland. But she perfectly portrays the Godmother’s kindly grandmother persona. Her modern VA was Disney Legend Russi Taylor, who also took over Drizella, who sadly passed away last year. It is unknown who will do the Godmother in the future, but I have no doubt that she will emerge again one day

We now come to the Tremaines. First, the daughters. Drizella and Anastasia are ugly, loud, snooty, and mean to both Cinderella and each other. They argue frequently, outright hitting each other during their… ugh… we’ll call it a music lesson. They’re spoiled in the worst way, never being happy with what they have yet get angry if Cinderella dares wear the things that they outright discarded as trash. It’s clear that their mother raised them to be as horrid as her, though they’re nowhere near as calculating. She pretty much raised them to be her attack dogs against Cinderella as well as to use them to marry off and move up in the world. Their obnoxiousness is their only real character trait, though their character animation via Ollie Johnston is quite fun to watch. Anastasia would gain more depth in the two direct-to-video sequels at the very least, more or less also getting a redemption arc. She was also voiced previously by Lucille Bliss, who played the teacher in Invader Zim, and is now voiced by the legendary Tress Macneille.

Then there is Lady Tremaine. Ho boy, Lady Tremaine. If I had the time, I could do an entire essay on this woman alone. She is one of the most chilling, yet memorable Disney Villains despite being nothing but an old woman. Why? First, her voice. In the film, she is voiced by Eleanor Audley, which remember that name cause it’s gonna come back later in this series. She is able to keep the perfect balance of calm and methodical, yet sharp when necessary. Perfectly in control. Actually, that’s a great way to describe Lady Tremaine, in control. She knows what she wants and is willing to go to any length to get it. She carries herself with confidence and regality, very rarely losing her cool. She’s calculative and methodical and you never quite know what she’s going to do until she does it. But most of all, she is cruel and petty, especially towards Cinderella.

Unlike her obnoxious daughters, Tremaine’s abuse towards Cinderella is calm and subdued, preferring to use emotional abuse and manipulation. She has brow-beaten the poor girl so bad that she becomes obedient as soon as the old woman speaks up. Tremaine is jealous of Cinderella’s beauty and therefore tries to make the girl’s life as difficult as possible. She enjoys mistreating and controlling Cinderella, wearing a cold smirk any time that she ramps up the cruelty. Probably her cruelest act in the film is manipulating her own daughters into ripping Cinderella’s dress right off of her after she managed to get it on for the ball. Despite having agreed to let Cindy go to the ball if she got her work done, she ruined her chances anyway just because she could. She’s not only horrible to her stepdaughter but even to her own daughters with how they ultimately turned out and clearly only interested in marrying them off

What makes Tremaine scary though is because… well, compare her to The Queen/Hag and later villainess Maleficent. In the real world, you’re not likely to encounter an evil queen who uses witchcraft and turn herself into an old hag just to poison you. In the real world, you’re unlikely to encounter an evil fairy witch who can curse you to die and transform into a ferocious dragon. But running into a cruel, petty old woman who will abuse you due to jealousy and for her own enjoyment? Oh yes, that can and does happen. Lady Tremaine is real. She is a perfect depiction of an abusive stepparent. Plus as I said before, Frank Thomas did an excellent job depicting her expressions as utterly chilling. I was afraid of her as a child, and I still am now. Even at the end after her daughters failed to get on the slipper, she breaks it just to keep Cinderella from achieving a life of happiness out of pure spite. On the upside, seeing her plans all fall apart and especially her face when Cinderella reveals the other slipper is deliciously satisfying. One of the greatest all-time Disney moments.

Well, that was a lot more than I thought. But with all of that out of the way, there’s only one more character to discuss. Strap yourself in folks, because I have been waiting /years/ for this.

Cinderella Analysis

As I said above, Cinderella was one of my favorite princesses as a child. She was beautiful, had an amazing singing voice, was kind, and I wanted to have my dreams come true just as she did. She is one of the most famous Disney characters by far. I remember her pretty much being the face of the Disney Princess line when I was a kid. Nowadays I’d argue that Rapunzel is more of the face (or if we wanna count Frozen, Elsa is) but that doesn’t mean that Cindy has faded out of the public eye. After all, it is her castle that stands as the main landmark at Walt Disney World’s Magic Kingdom. That alone will ensure that she never fades out of popular consciousness.

In return, however, Cinderella is probably the most criticized princess of the Classic Three. It’s mostly for the same reasons as those two. She was a damsel-in-distress. She was domestic and passive. She got together with a man at first sight. She needed others to save her. It’s all the same thing you hear about pre-The Little Mermaid, but since Cinderella is probably the most well-known, she’s the one who gets it levied against her the most. As I said in Snow White, there is some truth about this portrayal furthering the depiction of women as domestic/passive in film. But it truly baffles me as to why Cinderella is the one who gets this criticism the most. It really, really baffles me. I can somewhat get it with Snow White and I can get it with Aurora, but Cinderella? Ugh… no. Just… no.

First of all, let’s get this part out of the way. Cinderella is an abuse victim. I think that Cinderella is meant to be about 19 years old in the film. While we don’t know how old she was exactly when her father died, we see in the opening narration that she was still a child. A child. Let’s say that she was around nine years old. That would mean that she has been under Lady Tremaine’s thumb for ten years. A full decade. If you are under abuse for that long at any age, but especially ever since a child, then that is going to affect you. So Cinderella being passive? Yeah, that’s likely in part because of the abuse that she went through. She was conditioned to not fight back, or if she did she would pay the consequences. As great as imagining standing up and fighting against your abuser is, it is unfortunately very rarely that simple especially when you are under years of psychological conditioning like Cinderella was.

But it is also unfair to say that Cinderella is blindly obedient and broken either. She isn’t. Cinderella is introduced as kind, cheerful, and playful when she teases her bird friends and gets ready for the day. Cinderella is a kind young woman, facing every day with a smile despite her treatment. The girl lives in an attic, yet she happily sings as she gets her day started. Cinderella’s defining trait is that she is a dreamer. As she herself says in the opening, her dreams are something that no one can control. Not her step-family. Not the clock telling her that it’s time to get on with a new day. In her dreams, she is able to do whatever she wants. It is her escape. The one thing that gets her through the day, hoping that one day the dreams that she wishes in her heart will come true.

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This is what fuels Cinderella ahead. It is what allows her to remain kind. It is what allows her to be sympathetic to others. What shows this most is her treatment of the mice. She treats them as her friends, making them clothing, feeds them, and frees them from traps. This is important for what happens later, but we’ll get to that later. She is also kind to the other animals, such as the horse and to her dog Bruno. In fact, it’s pretty interesting when she scolds Bruno for wanting to chase Lucifer. She tells him that it’s bad, how he’ll lose his warm bed, and quote “you know the orders”. She expects Bruno to obey the same way that she must obey. Doing so otherwise will mean consequences such as losing one’s own bed. The only animal that Cinderella doesn’t get along with is Lucifer, who is also the only character she is willing to speak against. At one point she was even willing to smack him with her broom when he ruined the floor she just finished scrubbing. It makes sense since Lucifer not only goes out of his way to make things more difficult for her, but he can’t order her around or really do anything to her as Lady Tremaine can. So in a way, it’s one thing that she has some power over.

Still, the first act shows what Cinderella’s life is like. It doesn’t seem too bad at first glance. She seems happy and treats her morning more like an annoyance than anything. But once we meet the Tremaines, it becomes clear just how bad it is. Anastasia immediately accuses Cindy of planting a mouse under her cup on purpose and Cinderella gets no chance to defend herself, though she is able to make Lucifer free Gus. She’s then summoned into Lady Tremaine’s room, clearly uneasy. Whenever she tries to explain herself, Lady Tremaine snaps back at her, making her go silent. There is no arguing. Lady Tremaine likely knows that Cinderella did nothing wrong, but doesn’t care. Whatever makes the girl miserable works for her and gives her an excuse to pile on that misery. Thus she piles on the workload, even making Cinderella do things that she already did once over again. Cinderella is unable to do anything but listen to the commands.

Everything changes, however, when the invitation to the ball arrives. Now we go back to one of the criticisms against Cinderella. Many accuse her of only going to the ball to meet the prince and get married. Now I will go more into this later, but there’s a reason why I am bringing it up now. Cinderella never at any point time from this point until the search for the mystery girl starts, even so much as mentions the prince. The ones who want to go to get married are the Tremaines. The whole reason that they go is because of the royal command for every eligible maiden to attend. Lady Tremaine wants to marry off her daughters. The sisters obviously want to get hitched to a good-looking man of power like the prince. Cinderella though? She just wants to go to a fancy ball because she can. By royal command every maiden is to attend no matter their status, so a lowly servant girl like herself is allowed. She even points this out to her step-family in one of the few cases she does stand up to them. Not by getting angry or defensive, she just outright points out the fine print. But no, nothing about getting with a guy ever comes up until much, much later.

Lady Tremaine agrees that Cinderella can go if gets her work done and finds a dress. But she uses the first part of that deal to bombard Cinderella with orders to make her unable to accomplish the second half. Cinderella has the dress picked, one of her mother’s, but she has no time to mend it up. As Jaq points out to the other mice, the Tremaines are going to make her do everything to make her unable to get her dress. But this is where Cinderella’s previous kindness kicks in. It’s clear that the mice really care for her because of how she cares for them. As such, they decide to fix up the dress for her. Jaq and Gus outright risk their lives against Lucifer to get some discarded trimmings.

Sure Cindy ultimately didn’t mend the dress herself, but it shows how her kindness came back to reward her. Just look at how downcast she is when the carriage arrives. She realized far too late that her step-family was never going to give her the chance to go to the ball. She is saddened as she returns to her attic-dwelling, looking out at the castle from the window and trying to convince herself that the ball would have been boring anyway. It fails. She is standing in darkness until the room lights up via candlelight and the mice reveal the mended dress to her. You can just hear the glee and gratitude in her voice as she swings around the dress and is at a loss of words before thanking her friends. Her kindness was rewarded… but sadly, not for long.

We now come to what is by far the darkest scene in the movie. Cinderella comes down to the door, shocking her stepfamily that she actually got a dress. At first, Cinderella is elated that she can actually go… until Lady Tremaine begins to approach. The old woman doesn’t seem to be doing anything wrong, agreeing that Cindy kept her end of the deal and even compliments the dress. But then she points out the beads to Drizella, who previously discarded them. It provokes her and Anastasia into a bitter, angry frenzy. They outright rip the dress apart while Cinderella is still in it. It is disturbing, Cinderella unable to do anything as her dreams are literally ripped away from her bit by bit. By the end, Tremaine calmly calls her daughters away and bids Cinderella a good night, leaving the girl standing in a pile of rags.

This is the final straw for Cinderella. She runs out to the back garden and breaks down. After trying so hard for so long to keep her hopes up, she can’t. All that she wanted was to go to the ball. Not to get married, just to have one night where she could have a good time. That was it. But her stepfamily just couldn’t allow for even that and tore it all away from her. Can you blame her for crying after all that? After dealing with that kind of treatment since she was a little girl? I can’t blame her. Her friends can only watch in sympathy and sadness as she says that there’s no use in dreaming and that she can’t dream anymore. She has hit her breaking point, a far cry from the hopeful young dreamer she was at the start of the film.

But not all is lost. In her despair, Cinderella’s Fairy Godmother is summoned. So a big question I’ve seen some ask is how the Fairy Godmother was summoned to begin with? Well, it’s as she herself said, she couldn’t be there if Cinderella didn’t have hope in her heart still. She is essentially a manifestation of Cinderella’s hopes and dreams. If I had to guess with Cinderella reaching her breaking point and ready to give in to despair, the Fairy Godmother manifested because she now truly needed help. It was to restore her hopes and allow her to get to the ball after the chance was so cruelly ripped away from her. I know what some are going to say, once again Cinderella got something handed to her. But this is a case where Cinderella herself more or less summoned the one who would help her. Her kindness caused the mice to help her, now her hope summoned up her Fairy Godmother to help her. It’s not happening just because.

So The Fairy Godmother creates her carriage, makes her new dress, and gives her the glass slippers. But like all dreams, this can’t last forever. She has until midnight, after which the spell will be broken. Which is perfectly fine with Cinderella, she’s just grateful for what her Fairy Godmother has done for her. Seeing her smiling and hopeful again after the previous moment and her just receiving some motherly kindness from someone is just really nice to see. Thus, she is whisked away to the ball, and almost as quickly as she arrives, she catches the eye of The Prince himself. While Drizella and Anastasia are trying to get him to look at them, funny enough.

So let’s get back to the ‘Cindy only wanted a man!’ critique. As I already said, she never mentions a man until near the end. But here at the ball, it’s not even her who goes to The Prince. Heck later when midnight hits, it’s pretty clear that she didn’t even know that the guy she was dancing with was The Prince. No, it is Prince Charming who approaches her. We outright see him look up, notice her as she enters, and is stricken by her beauty. It is him who walks to her and presents himself to her, a major contrast to how all the other girls were going up to him with him clearly bored. So no, Cinderella never wanted to get a man. It all happened purely by chance, and again she didn’t even realize that he was The Prince until after the ball was long over.

Cinderella dances with the prince throughout the night, getting so caught up that she loses track of time until the clock goes off. Once again, the clock is telling her that it’s time to wake up from her dream. She flees, but loses one of her slippers along the way. Midway on the road home, the spell is broken and she is once more in her torn-up dress. She apologizes to her animal friends for losing track of time, but happily recalls the night. But the mice then point something out to her: her glass slipper is still on her foot. Now… why is that? Well what summoned the Fairy Godmother to begin with? Hope. It is my opinion that this is why the slippers didn’t disappear as well. Cindy’s hope kept them manifested, to the point that I don’t believe that her losing one happened by chance. It is the key to her having a chance at a better life. It slippped off her foot due to that, and the other one remained for the same reason. Cindy seems to think it’s the Fary Godmother’s doing as she thanks her, but the truth is it is herself who caused both of those.

Thus, we come to the next day. The Grand Duke is looking for the mystery girl, and Tremaine is ready to leap at the chance. At first, Cinderella is pretty much ready to resume her regular life now that she’s gotten the one night that she had wanted. But as Tremaine explains the new development to her daughters, Cinderella hears it. This is when she realizes that it was The Prince that she was dancing with. That it was her slipper that was found, which means that she’s the mystery girl. Which means that she’s the one who can fit it and thus she will become The Prince's bride. This is the point that she wanted to get married to a man. In the final fifteen or so minutes. But look as to why she wants to. This will absolutely ensure that she is able to have a better life than she has now, so can we blame her for being happy?

Cinderella is so elated that she outright ignores her stepsisters demands and starts to day-dreamingly go to her room to prepare for the Grand Duke’s arrival. But this turns out to be a mistake. Because of her elation, Lady Tremaine immediately puts the pieces together. Cinderella not only managed to defy her and go to the ball, but she is now in the way of her plans to marry her daughters off. If she is there when the Grand Duke arrives, then that’ll be it. She’ll fit the slipper, be taken to the palace, and will marry The Prince not long after. That is something that Lady Tremaine simply cannot allow. Not to mention that she can’t allow the girl to go unpunished for her defiance. Thus, she locks Cinderella in her room. To both keep her out of the way and to make sure that she can never leave.

So… it looks like that’s it. There is nothing that Cinderella can do at this point. She realizes that she’s once more going to be trapped in a cruel life and begs Tremaine to let her out before just breaking down. She had her chance once more, and once more her stepmother took it away. But once more, Jaq and Gus act to help their friend and manage to get the key. But of course Lucifer interferes, trapping both Gus and the key and Cinderella is now in a position where she can’t make him stop. All of her animal friends try to help, but it proves futile. That is, until Cinderella has a realization. There is someone who can chase off Lucifer. The same someone that she previously scolded because it would be going against orders; Bruno the Dog.

Remember when I pointed out how Cinderella got after Bruno dreaming of chasing Lucifer because he’d lose his home otherwise? Yeah, it comes back around here. She’s now close to getting out of her situation, so why not allow Bruno the same thing? She has her bird friends alert Bruno, and indeed the dog rushes in and causes the evil cat to jump from the window. I think it was supposed to be implied that this killed Lucifer, but we see in the later sequels that he survived. But with him out of the way, the mice slip Cinderella the key and she is able to get out and to the stairs just as the Grand Duke is beginning to walk out. And he’s clearly glad to see her to, outright making his way past Lady Tremaine and reminding her that he’s supposed to give every maiden a chance when she tries to ward him away,

But, of course, Tremaine can’t just accept defeat. She trips the earl and the slipper is shattered. It looks like once again, Cinderella’s hopes have been for naught. But this time, she doesn't cry. She doesn’t even get sad. Why? Simple, because it wasn’t for naught. She pulls out the other slipper, proving beyond doubt that she is the mystery girl. It was her hope that created the slippers. It was her hope that kept them manifested when the spell was broken. Now it is her hope that gave her the key to at long last break free from her stepfamily for good. She gets married to The Prince (we don’t know how long after, so there is a window open for those who want to get after her for marrying a guy she just met) and is whisked away to a better life. The wish that she made at last came true.

Cinderella is defined by hope, kindness, and dreams. It is these things that fuel her to continue on with her life. It is these things that allow her to remain a good person and not be broken by her stepmother’s attempts to humiliate and demean her. Even at her lowest moment, her hope couldn’t be truly broken. Sure in real life you’re not going to be able to magically summon a Fairy Godmother or be married into royalty because of a shoe. But this is NOT real life. This is a fairy tale. It is escapism. It doesn't have to adhere to reality exactly. Plus even then, there is something to be said about not giving up hope and remaining kind in the face of adversity. It is that lesson that I have carried with me since I was a child, to remain kind no matter what. I’ve had my own breakdowns, especially since it’s still 2020 at the time of this writing. But even so, I’ve tried to remain kind. Because Cinderella taught me to do so.

It is why I have never understood the hate against her, and never will. I love the modern princesses and yes, they did need to become more proactive and strong. But this does NOT make the first three bad. Especially not Cinderella. She is an abuse survivor. She is a dreamer. She is a young woman who only wanted to have some happiness in her life. Her kindness and hope was eventually rewarded, and in a way was granted to her by herself. The mice helped her with both her first dress and to escape the attic because she was kind to them. Bruno and the animals liked her because she was kind to them, so they repaid her. The Fairy Godmother manifested because Cinderella wanted to give up, but hope still remained in her heart and gave her the help she desperately needed. The glass slippers remained because of her hope, and became the keys to her achieving a better life. Sure she didn’t have to physically fight for it, but it doesn't change the fact that things happened, that others helped her because she was kind and hopeful. Because of herself.

The last thing to note is her voice actress, Ilene Woods. She was originally hired to do the singing for Cinderella, but after Walt heard her he cast her to also do the speaking lines. She did a beautiful job. She conveys Cinderella’s grace, kindness, and hopeful nature absolutely beautifully and her singing voice is outright angelic. Do you want to know a sad, yet beautiful story? Well at the end of her life, Ilene Woods had sadly been inflicted with Alzheimer. I think we all know how devastating that disease is. She was living in a nursing home, unable to recall anything. Reportedly, the nurses would often play A Dream is a Wish Your Heart Makes for her. Even though Ilene couldn’t recognize that it was herself singing, it was the one thing that could make her happy all the way up to her passing in 2010. Mind you that story is from Wikipedia /TV Tropes and I haven’t been able to find an actual source saying this, but I’ve never seen anyone contest if this was true. Either way, Ilene was and will always be the Cinderella, a legacy that the current actress Jennifer Hale is keeping alive and well today.

Final Thoughts

Cinderella will always be special to me. She’s not my overall favorite princess, we still have quite a while before we get to her. But she is firmly my second favorite. The film is outright my second favorite of all time (again, we’ll get to number one later). It’s the first movie that I remember seeing in my life. I would watch it for hours over and over again. I had dolls of her. I would dress up as her. The whole reason I wanted to go to Disney World was to meet her, and I did. The film looks beautiful. The music is beautiful. The characters are memorable. The story is an outright classic even before Disney adapted it. To quote Beauty and the Beast, it is a tale as old as time. Maybe it’s just nostalgia talking, but even after all these years, I love this movie just as much as I did when I was a little girl. Maybe even moreso now. It is a true Disney Masterpiece.

Disney was hoping for a miracle, and he got it. Cinderella was the biggest hit that they had had in a looong time. Audiences and critics loved it. It was the moment that Disney was back in business and able to return to feature film, launching them into the Silver Age of Animation. While his next film, Alice in Wonderland, didn’t go very well, both Peter Pan and Lady and the Tramp helped keep the studio afloat. As the decade came to a close, the studio decided that it was time to release another fairy tale-inspired film. Would this one strike gold like the first two? Come back next time to meet the final Classic Princess, Sleeping Beauty.

Image Sources: Disney Wiki, Animation Screencaps Other Sources: Rags to Riches: The Making of Cinderella Documentary

#cinderella #disney princess #disney princess reviews #callie reviews

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nlmorgan89 · 3 years

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Revenge

Jeff Tracy had been back on earth long enough to organise a surprise graduation for Alan when they got a call about a rescue in the Atlantic. Jeff should have been suspicious as John had said it was a Gold card members rescue, what ever that meant. What he was surprised about was after reading the names all his sons groaned and Scott, never leave anyone behind, Scott had asked if they were really needed. As a tidal wave was approaching them it was a neccesary rescue, what had happened to make everyone not want to rescue these people. He waited till everyone was gone before asking his mum.

"Why did no one want to rescue these people?" Jeff asked, she had been taking a nap and had not been there for the initial report.

"Who is it?" Sally asked, there was a sort list of people who her grandson's hated rescuing.

"Francois Lemaire and Langstrom Fishler. What?" Jeff asked again after she groaned and went to the desk calling Val.

"Tracy's if its about the Gold card members John already called us and I am on the way with some back up from The Mechanic, Rigby and Kayo." Val said she was sitting down in a cockpit already flying out to make sure that Scott did not do anything to tarnish the IR reputation.

"Thank god, just beware Lemaire already made Allie cry during his last rescue, if he gets upset you know what everyone else will do." Sally said, she had also sent Jeff copies of the rescues that the boys had done involving the Gold card members.

"Okay so you want me to deck him first before anyone else does." Val said the fact that she was serious was not lost on anyone.

"How did they survive into adult hood? Not even the boys managed to do half this shit in their teens." Jeff said, he wondered how both remained rich and working in their respective fields.

"I have no idea but I wont blame you if you want to throw your weight around, I remember your college days were some good times. Val, you and the Commando's where quite good at starting things and not getting caught." Sally said, they both grinned at that, but quickly went back to watching the rescue The Mechanic had assigned the ground and air crew with a dragonfly mecha and Gordon had his ray mecha. It was just a precaution so that no one was seriously hurt. Even John had EOS in drones so she could assist and keep an extra set of eyes on the family. While no one was hurt by some miracle was more down to the extra safety of the mecha's and EOS it was still time consuming. It would have only taken them an hour but it instead took them 7 hours so everyone was tired and hungry.

"Val are the Commando's still around?" Jeff asked once everyone was fed and in bed, Sally was in the hall listening them plan their revenge, she knew she should feel sorry for the poor idiot but they brought this on themselves. When the morning rolled around Jeff was watching the news and had to laugh when he saw the report.

"Yesterday, after International Rescue was called out to rescue the parties involved they were met with a rather pleasant surprise after waking to find themselves in a mysterious bubble. Maybe now they can let International Rescue rest and I am sure after seeing these videos the rest of the world will agree..."

"Why are they in a fish bowel?" Scott asked, he had wanted to thump them last night and had put that on the backburner after he had to hold both Virgil and Gordon back. Rigby and Val were to busy holding Kayo and The Mechanic back after he had made Alan cry, even EOS had placed John in quarantine lockdown so he didn't do anything stupid.

"No idea, but I would call that poetic justice. I am going to a lunch with some college mates on the main land, will pick up dinner so you don't need to cook anything mum." Jeff said, Sally was grinning she had not even heard Jeff leave the island but then it did not surprise her when he walked out and climbed into a SPECTRUM plane. Her poor family were totally confused.

Later... "Damn Jeff you have not changed at all. Shame Lee missed out on this?" Charles said, he was not surprised when a Commando's alert had gone out after he had watched the Tracy boys rescuing the idiots once more, even his own team had been called out during the Tracy's absence when they had gone to rescue their dad to save Lemaire.

"I have to agree, though it was rather fun," Samuel said, raising his glass to Jeff everyone followed suit. He too had wanted to kill Fishler after one of his machines almost killed the treaty that he had made with Titanica.

"So, what is the next prank?" James said, he was happy just to get away from his desk, it was no fun running a country but then he would not change it for anything.

"No idea, but we should team up next time prank wars break out in one of our divisions, show these youngsters how its done." Val said, she had been in a meeting reassuring the idiots that they had no idea how the bubbles had appeared and promising that they were doing everything in GDF's power to help them.

"Ready to watch Phase 2?" Jeff said, he had placed cameras around both houses so they could watch their pranks play out. Everyone nodded, as Jeff had only told them to come up with something to help contain all of his pranks thus the bubble. "Well hope they have a good cleaner on hand will secretly send them a massive donations once they have cleaned the buildings."

"Jefferson what exactly did you plan? Also congratulations on your re-election James." Val said, she was the only one that could get away with calling him Jefferson only because she could be as scary as Sally Tracy when she wanted to be.

"Thanks Val," James said, he noticed people snapping photos but he knew that they would not make it online thanks to Jeff's sons AI, EOS. "After lunch we should take a group photo for old times."

"Agreed, we should make it a regular thing too, we don't get breaks where we are able to leave work often." Samuel said, but started choking, how had Jeff added that much glitter to the water supply. Everyone was loosing it too for the sprinklers had started spraying the houses and yard with glitter. Poor Lemaire had just entered his shower and Fishler was doing his laundry. Jeff was grinning like that evil SOB that he was. Even Gordon's glitter bomb was tame compared to that.

"Is that really sanitary Jeff." Charles said, he was tearing up from laughing so much, glad he was best friends with him and not an enemy. That thought was going through all of there minds, it was fantastic having the master strategist back in charge. "Is that 'Sh*t List' playing?"

"Yes, OMG you even messed with all the audio devices dude." Samuel roared, he had to laugh they had discussed revenge songs and this one made the list only because of the one line. 'I grab my pen and I write up a list, of all the people that won't be missed. You made my shit list'.

"What can I say 11 years is a good way to expand ones prank list." Jeff said, which was truthful aside from thinking of his family he spent years thinking of ways to pay back Gordon if he decided to prank him once he was back. Turns out these three pranks were his best ones though he was saving the Kool-Aid in the pool for when Gordon was too much for the entire family. 3 hours later he was looking at the photo they had taken all his friends were surrounding him, and could not be prouder of his friendships and how even years later they were still great friends.

"Hi dad, who are they?" Alan asked, the boys had come in wanting to ask how his day away had gone, and surprising him with a visit by Lee Taylor.

"Hey Lee, boys, these are my college mates. Val your god-mother, Charles Grey the commander-in-chief of Spectrum's Cloudbase, Samuel Shore, commander of WASP, the last person is James Holland, president of the US." Jeff said, he watched as his boys stared open mouthed at this. Lee laughed, and clapped his friend over the shoulder, he had made it back and watched the news report of the bubbles that had appeared and realised his team had come together wishing he had been involved but kept his mouth shut. "Lee forgot to tell you James says you owe him some money after Moon base was destroyed."

#irrelief #@shirubie #gumnut-logic

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allyvampirelass29 · 4 years

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When Good Fathers Take BAD Roads

When Good Fathers Take BAD Roads A NOS4A2 Review By: Allyssa J. Watkins

The Wraith screams, racing breakneck with demon speed A wicked black flash, gone and there like smoke Ferrying passengers three, wearing the faces of ghosts What shadows chase you, Charlie, accompanied by those you love the most? Are you going to kill your darlings On this, the Road of No Return? Tires squeal and rubber burns A pathway forms more nightmare than real A knife ripping through reality, tearing at the tragic seam The road to Christmasland is paved in screams Your daughter transformed, while you ignore your wife's haunting cry Hold on, Good Father, for the ride of your life.

HOLY SMASH, and MERRY FREAKING CHRISTMAS!!!!! "Good Father," was the ride, the MIND TRIP of my LIFE, as chilling, as it was thrilling, screaming unyielding into the drastic extreme, blinding light, and drowning darkness, happy and horrible, beautiful, and brutal, and it was a ride I only just barely survived. This is me, breathing heavy, adrenaline pumping, my legs giving out, kissing the ground, and yet, I have never felt this conflicted, torn up inside, about anything I've ever seen, drawn transfixed to the effervescence, the beckoning dream, and yet eviscerated by the looming, blood-dripping grin of the abject HORROR. What the HELL just happened!?

Okay, breathe, Ally...... So much to say, and yet my mind is a trembling mess of disparity, driven in the Wraith to the edge of madness itself!!! First off, can we just marvel at the enigmatic force, the sheer brilliance, and other worldly acting prowess that is possessed by our Mister Zachary Quinto!?!? I am CONVINCED he is an actual Strong Creative, and has graciously drawn us all in, in order to witness him build his inscape, and speak actual MAGIC!!! Besides being a catastrophic kind of handsome, the dark allure that you long to destroy you, striking your eyes, and stealing your heart, making you his happy, breathless victim, Zachary shifts effortlessly between dream and nightmare, being beautiful and terrifying, waltzing between both, with a passion that will leave you shell-shocked.

This episode is so hard to analyze, because it possesses both the brightest, happiest, most achingly euphoric scenes of the series, while also the creeping, darkest hours I have ever known. It begins like a splashy, champagne, Downton Daydream, Our Beloved Charles, delighting and igniting our passions, with his adorable antics, donning a pair of matchstick fangs, and we all heave a lovesick sigh, longing so to be the girl in his arms, that he's playfully pretending to bite. You will ALWAYS be My Nosferatu....... I whispered it along with her, watching the joy pierce through the calm dark of those perfect eyes, and all I want is to be her, his wife, Mrs. Manx. I was so excited, so impressed by this coy wink to NOS4A2's own parent material, the original 1922 silent film, “Nosferatu,” upon which our mad fever fantasy is based, that I broke into the biggest grin, shaking my head at the pure genius of it. Charles' distaste for the picture, and scoffing opinion, mocking it, calling it ridiculous, was a pure, tongue in cheek, joy, and I'm still trembling from when he said, "Love Bite." Ooooh, and the scene in the bedroom was so intimate and beautiful, as Charlie and Cassie share their dreams for the future, along with a dance and a passionate kiss, as some wonderous news is revealed. The family Manx is to become three, with a little sugar plum named Millie!!!

I wept when Charles held his daughter for the first time, as I realized THIS is where his obsession with Christmas began, as he received the greatest gift of them all. Every time he "saves," a new child, he gets to feel it all over again, in the glow of the coloured lights, and the tinkling bells of the music, what it's like to be a father, and to be loved, unconditionally by a child. He gazes at her with the purest, most profound love, even while his Father in Law, treats him perfectly horrid, openly degrades him, and yes, in one heart-stopping moment calls him a vampire!!! I was SPEECHLESS!!! His bond with his daughter is so powerful, and endearing, I sobbed, the most joyous tears ever I have shed, watching him tuck his beautiful little girl into bed, and soothe her fears in the flash of a lightning strike, both of them carefully constructing Christmasland in their minds, never knowing they would find it beyond the realm of lost dreams. I felt so happy I thought I could die, so moved by this tender scene, so oblivious as to what lay in wait......... as we twisted slowly around the corner.........

It was jarring enough, flashing between these idyllic Currier and Ives scenes, all luminous oil paintings come to life, to Charlie's decaying, autopsied, Frankenstein creature, shuffling, groaning, bleeding, through the living world. And yet, that was rather interesting, the ghastly contrast between Charlie's wonderful life, and the re-animated husk of his gruesome death. I especially loved his joyride in the stolen zebra print car!!! That was hilarious!!! However, the turn that I knew was coming, that I dreaded, was far more stomach-churning, and desperately frustrating than I could have ever prepared myself for.

Again, Zachary's acting was mesmerizing, every expression, every wild look in his eye, was so beautifully, and breathlessly performed, but for me, it was the writing itself, that went screaming off the rails. Charlie goes from the perfect husband, the most charming, and doting father, to difficult, suspicious, and accusing, for seemingly no reason at all. The way he spoke about his first wife in Parnassus, I expected to see her become the begrudging, bitter ball and chain he made her out clearly to be. But Cassie's sins are few and far between, and her punishments, and especially her disturbingly MORBID end, are unjustified. She tries to be practical by asking Charlie very politely if she should get a job, to which Charlie responds with unprovoked venom, with the same malice as if she'd revealed she'd been unfaithful. Thus begins, this odd new trend of Charlie continuously overreacting, entirely out of character, and blaming Cassie for everything going so wrong, actively wanting to hurt her, even selling off her mother's priceless heirlooms. My head hurt, my heart broke, and my GOD something was rotten in Christmasland!!! I realized then, that this whole episode has the faintest cyanide taste of audience manipulation.

"Good Father," seems to serve the single and sole purpose of turning the audience against Charlie Manx, and I could feel the force of the plot, trying to shift my mind in that unnatural direction. I could see the clever scheme at work, the writing on the wall, as they must have thought....... They love him too much........ Let's give Charlie his BITE back. Let's take this beautifully unique, nuanced, wounded, enigmatic, anti-hero, and make them love him even more, show him in all the tenderness, and affection they have so long craved, let them fall in love with him all over again, and then........ let's make them hate him, see that he is beyond saving, the incarnation of the purest evil. Let's ruin him, and that's how we'll ruin them. WHY!? This is the question that has kept me up in relentless frustration all week. WHY spend all this time, crafting this fascinating, deliciously intricate character, learning the pains and joys and hopes of his life, just to laugh it off, and say, oh no, Charlie Manx is a monster, and you're wrong for liking him!? To them I say, "If loving Charlie Manx is wrong....... I don't wanna be right." Because in spite of the blood curdling atrocities, and my tearful horror in the face of such plot, I can't not LOVE Charlie Manx.

What I have always loved about NOS4A2, is the way it flirts with the elements of horror, skirting teasingly around the sharp edge without fully going there. The final scene however screams full speed ahead into that sickening foray, and I was left trembling, terrified, sobbing stricken with just that. HORROR.

"Charlie, STOP, you're going to kill us all!!!"

"On that, My Dear, we are agreed."

While I was confused as to whether it was his intent to kill them all, drunkenly crashing his Wraith, or if he knew what terror would transpire on the way to Christmasland, this was a ride none of them were coming back from. Its gut-wrenching, frightening images, are matched only by its lack of even a semblance of sense. Charlie watches, excitedly, as his darling daughter's teeth fall out in a bloody display, absorbing her youth, her lifeforce, transforming her into a soulless vampire, and he doesn't so much as bat one of his gorgeous eyelashes, as his child kills and feasts on her mother's flesh. Yeah, I know........ MORBID. I was also bewildered as to how the car turned Charlie into a vampire of youth, and Millie into one of blood. Also, call me crazy, but....... Does not one first have to die to become a vampire?

But even more a glaring folly, no way in HELL would Charlie EVER kill his family, his sweet baby, no matter how bad things were with Cassie. Wouldn't it make SO much more sense for him to steal her back, and thus wouldn’t he come to see kidnapping synonymous with “saving,” a child, if Millie was the first one? Instead of having him try to kill them all, if that even was his dark intent, I would have had Cassie and Charlie fighting in the car, and Charlie, distracted by the quarrel, swerve, losing control, accidently crashing the Wraith. Cassie would be too far gone, but through his connection to the car, his Wraith would fight to save him, even if it meant borrowing a little siphon of his own daughter's youth.

Yeah, hey, let's talk for a quick sec about The Wraith. We know Charlie's life is connected to this mysterious car, but what we didn't know was how he acquired it........ until now. I don't know about you guys, but having Charlie simply purchase it, felt cheap to me, like it took away the magic of the fated knife, that he was always supposed to have. Bought. Sold. Done. NO. I didn't like it, and it never proved evident of the bond between Charlie and his Wraith. I would have had him find it, since he couldn't afford a new car on his own, a carcass, old, disused, rusted, and lovingly restore it, nurse it back to health, to life, until it shined. Charlie has a relationship with this car, a supernatural tie, and to me that would have been so much better, so much more meaningful than him pawning his wife's valuables to buy it. Meaning anybody could have done the same. One thing I LOVED about that scene, however, was seeing our dear Charles in his resplendent royal blue and blood red Chauffer's garb for the first time ever!!!! What a sneaking joy!!!

That's the thing about this episode, it's a dangerously mixed cocktail of anti-depressants and alcohol. There's so much to love, so much to hate, and so much to work over and over, trying to figure, until the point of insanity!!! I LOVED everything between our Miniature McQueen and young, hot, plaid clad Charlie, (HELLO SYLAR, am I right!?) and my heart STOPPED when I saw him over Wayne's shoulder, my pulse on pause, as they talked, and Charlie tutted disapproving, at the boy having never had a Christmas, not knowing who he was, who his mother was......... The suspense, the tension, was riveting.

I don't know how I feel about this impressive effort, trying to get me to despise Bing less, by having him say propaganda like, "I thought I was so big, because I had too much sad in me." That broke my heart, and it was infuriating, because I didn't want to feel any sympathy for him. No NOS4A2, you cannot try to turn me against My Magnificent Mister Manx, and in the same space, try to get me to like Bing CREEPER Partridge!!!! The scene in the graveyard was exceptionally well done, and I'm still shivering from the hushed thrill in Charlie's voice as he whispers. "He needs saving, Bing Partridge, don’t you agree?"

"Good Father," was an even more thrilling prospect as a title to me than, "Bad Mother," because I always knew it was true. Although, in retrospect, one is more inspired brilliance than the other. Can you still be a good father, and watch proudly as your young daughter becomes a monster, devouring her mother? Can you still be a good father, and leave your daughter, after she thought you were dead for eight years? Charlie is a good father, that went down a BAD road, and has forgotten the way back, although he still dons every surface appearance, as such. I did like when he made Millie apologize to his new charge, and curtsy with a begrudging welcome, spoken through her gritted teeth. That was adorably paternal, and one hundred percent Charlie!!!! However, as a whole, this episode persists as the mystery I can't solve, making me feel every emotion possible on the human spectrum, drinking in the dream, blissfully intoxicated, and sobbing uncontrollably, terrified out of my mind, the next.

Charlie may not be, "The Good Father," he once was, but a glimmer of it shines like a forgotten ember in his obsidian eyes, and despite the glaring conclusion this episode emphatically urges you to make, I still hold that there is good in Charlie, and that he can be saved. I also think it speaks revelations toward labels. Vic is no more a scarlet letter branded Bad Mother, than Charlie is a Good Father. There is good and bad, hero and villain, in all of us. It just depends what roads we're willing to take.

#nos4a2 review #charlie manx #vic mcqueen #bing partridge #millie manx #wayne mcqueen #good father #nos4a2

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tlbodine · 4 years

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A Brief History of the Slasher

Is there a more iconic face for the horror genre than the knife-wielding psychopath? Many would say no. Although the tried-and-true slasher formula is so played out as to be a cliche -- and fresh examples played straight are tough to come by in the modern age -- for many, slasher films are the heart and soul of horror movies.

How did that happen? What do they say about us on a cultural level? And where should you start when it comes to a formal study of the topic? Let’s delve deep and find out!

Murder and mayhem are evergreen topics of fascination for humans, and we’ve been telling stories about murderers since Cain killed Abel. But these stories didn’t become what we would formally call “slashers” until the 1970s.

So what is a slasher?

Slasher films are defined by a few shared characteristics:

A high body count (multiple victims)

Murders are shown on-screen and often from the POV of the killer

The murders happen one by one, incorporating pursuit, struggle, and finally death

The killer may have a supernatural influence, but it will have the physical appearance of a human (and may often simply be a human)

In almost every instance, the killer is portrayed as being insane or rendered deeply troubled by a past trauma which had triggered the murderous impulse. The killer is frequently dehumanized, and the victims are usually young.

Slashers often adhere to their own sort of moral logic, more closely resembling Medieval morality plays than perhaps any other modern genre of storytelling. By utilizing a cast of archetypes, various virtues and flaws can be represented among the victims.

These traits are what differentiate slashers from other murder-focused horror, thriller and mystery tales.

Consider, for example, the narrative structure of an Agatha Christie murder mystery like And Then There Were None. In this book, a group of strangers are brought under mysterious circumstances to a remote location, where they are systematically murdered as an act of vengeance. In concept, this seems like it should be a slasher -- but its execution is quite different. In the book, the murders are a backdrop; the characters (and reader) are confronted with bodies rather than scenes of overt violence.

The First Slasher

In 1974, two films came out that gave birth to the modern slasher.

The first, released in October, was Tobe Hooper’s Texas Chainsaw Massacre. The second, released in the USA in December of that year, was Bob Clark’s Black Christmas.

Texas Chainsaw Massacre tells the story of a group of friends who run afoul of a family of cannibals living in a rural farmhouse. Black Christmas is about the systemic murder of sorority girls during Christmas break. And both left an indelible mark on horror history.

It’s important to put some context on the world these films were created in:

The recent dissolution of the Hays production code meant that movies could be more graphically violent and morally depraved than ever before

The Vietnam war was raging, and for the first time in history, televised footage of the battle was piped into living rooms on the evening news

Multiple serial killers were active in the country, and their exploits also graced the daily newspapers and nightly news to sow terror

Richard Nixon’s presidency was marked by an as-then unprecedented level of corruption and scandal

Gender politics provided both sexual freedom and career ambitions to a generation of women, and the 1973 landmark Roe v. Wade case legalizing abortions played a massive role in both gender relations and the way we would think about life and bodily autonomy.

The 1970s provided, in other words, a perfect storm of circumstances that collided to give birth to slashers, and neither Hooper nor Clark are shy about citing these as their inspiration. Texas Chainsaw was billed in theaters as a true story as an act of political defiance against newscasts that spread misinformation; Black Christmas is at its heart a film about abortion and a woman’s right to leave an abusive relationship. They were undeniably films of their time.

Texas Chainsaw inspired a wave of sensationalist "ripped from the headlines" murder movies loosely based on real killers, such as Wes Craven's The Hills Have Eyes (1977), which was based on the Sawney Bean legend or Charles B. Pierce's The Town That Dreaded Sundown (1976), which was based on the Texarkana Phantom Killer.

And Black Christmas, of course, served as the thematic springboard for a little film called Halloween.

Halloween and the Final Girl

In 1978, a little-known small-time director named John Carpenter was hired to make a movie with the working title, The Babysitter Murders. It would be about -- you guessed it -- babysitters who got murdered. The idea was later adapted to take place on Halloween, likely for commercial reasons: People like watching scary movies in October, so setting a film on Halloween night would surely help with popularity.

John Carpenter certainly did not wholly plagiarize Black Christmas with his holiday-themed slasher, but the earlier film's influence is visible all the same -- from a shared lineage of "the call is coming from inside the house" babysitter folk legend, to the perspective work on establishing shots of the house and the ambiguously bleak ending.

But compared to Black Christmas, Halloween is horror with its edges filed down so it'll be easier to swallow. Both films have predominately female casts, but the sorority girls in Black Christmas have sexual agency and outspoken opinions that are nowhere to be found in Carpenter's work. In fact, Halloween so aggressively fails the Bechdel Test that it seems to do so on purpose -- there is not a single scene with two girls where they are not talking about a boy. And while Black Christmas deals with complex topics like abortion, domestic violence, and the unreliability of the police, Halloween simplifies its formula down to the utterly basic: Michael Myers kills because he is pure evil, and that is simply what evil does.

Despite its flaws -- or perhaps because of them -- Halloween became an immediate and enormous hit. It also introduced several clever storytelling techniques that were crucial to the advancement and development of the slasher genre:

The introduction of a Final Girl, the lone survivor who holds out against the onslaught of terror. (Carpenter denies that Laurie Strode’s virginal innocence has anything to do with her survival, but “final girl as virgin” would persist as a trope for a very long time)

A masked killer. Although we’d seen masked murders in many films before (I’ve talked in the past about the trope of the mask-wearing murderer, and the way it is both thematically and logistically useful in storytelling: https://tlbodine.tumblr.com/post/189658195609/the-masked-knife-wielding-psycho), the “look” of Michael Myers is so iconic that it inspired a need for future killers to have a similarly thoughtful design, decking them out almost like comic book superheroes.

Franchising opportunities. Although earlier movies had spawned sequels, Halloween exploded as a franchise thanks in large part to the iconic design and the simplistic good-vs-evil storytelling formula. Future slashers would latch onto this killer-centric franchise formula for over a decade.

Halloween became the most profitable independent film, holding the record for 16 years, which goes to show just how successful the formula truly was.

The Golden Age of Slashers

As the 1970s gave way to the 1980s, the advent of VHS and Betamax formats created a market for low-budget straight-to-video films. Because slashers are so cheap to make (you don't need any famous actors, can film entirely in one location, and practical effects can be as simple as a few gallons of stage blood), they were ideal candidates for the job. On the big screen, horror was enjoying an unusually high level of popularity, a proven money-maker, simultaneously commercial and subversive in a decade of opulence and social conservativism.

So onto that stage walks Sean S. Cunningham's gory slasher, Friday the 13th, where a group of teenage camp counselors are brutally murdered, frequently wile having sex. The film spawned a widely successful franchise, which swiftly began borrowing elements of Halloween -- a silent and indestructible masked killer, a signature musical score -- to become a pop culture mainstay. The 1983 Robert Hiltzik film, Sleepaway Camp, cashes in on the "death to camp counselor" plot in the same way that Fred Walton's When a Stranger Calls touched on babysitter murders in 1979.

A whole slew of less-successful films would follow, most of them lost to the history books but still living in dollar-bin DVD collections. Some, like Prom Night and My Bloody Valentine, would earn a cult following. One noteworthy cult favorite is Slumber Party Massacre, directed and written by women (Amy Holden Jones and Rita Mae Brown, respectively), which turns some slasher tropes in their head.

A glut of films, most of them instantly forgettable, led to a decline in slasher popularity -- until Wes Craven's A Nightmare on Elm Street in 1984.

Cracking Wise and Slashing Teens

A Nightmare on Elm Street introduces Freddy Krueger, a different sort of horror villain than audiences had seen before. Krueger is a supernatural killer who stalks his victims in their dreams, bringing a fresh supernatural twist to the slasher genre. And, unlike Michael Myers and Jason Voorhees, Freddy is anything but silent. Thanks in part to the charisma of lead actor Robert Englund, the character's darkly comedic personality became utterly riveting.

Plenty of dream-related horrors would follow, none of which would make much of a splash. But one film franchise did latch on to a similar formula: Child's Play, directed by Tom Holland in 1988, introduced another supernatural wisecracking killer in the form of Chucky, a murderous doll possessed by the soul of as serial killer.

These major film franchises -- Halloween, Friday the 13th, A Nightmare on Elm Street, and Child’s Play -- would go on to spawn numerous sequels and become such a thoroughly pervasive part of pop culture that you can find their likeness everywhere. But despite the many imitators, there was little in the way of innovation in the genre until the mid 90s.

Do You Like Scary Movies?

Wes Craven toyed with the idea of self-referential horror in New Nightmare, a Freddy Krueger film that was itself a meta-analysis of Freddy Krueger films. But he would revisit the idea with far greater success in 1996 with Scream.

Created by horror lovers, for horror lovers, Scream is designed to be the most quintessential slasher film ever created. Relying on a hip, young cast to draw in a fresh audience, Scream works by combining nostalgia, meta-analysis, humor, and buckets of blood into a single film. The opening scene is a direct homage to When a Stranger Calls, and the masked killer is a deliberate call-back to earlier films.

Unsurprisingly, Scream was a huge hit that ushered in a brief but furious wave of slashers, like the star-studded I Know What You Did Last Summer (1997) and Urban Legend (1998), and Scream itself had several sequels and even a TV series. But the 1990s were something of a dark era for the slasher film, seeing the release of some spectacularly lackluster franchise installments. One exception to that was the fan-favorite Freddy vs Jason, which pits the two killers against one another -- a delightful premise, but one that had strayed far from the slasher roots.

Modern Slasher Films

The 1990s slasher reboot was short-lived and mostly forgettable, and by the 2000s filmmakers had mostly turned away from the genre entirely, except for a slew of nostalgia cash-in reboots of every popular franchise.

The one exception was meta-analysis -- building on Scream, these films began to deconstruct the genre in a way that would combine horror, humor, and criticism.

The Final Girls (2015), directed by Todd Strauss-Schulson, takes this sort of meta approach. The Cabin in the Woods (2012), directed by Drew Goddard but bearing the fingerprints of co-writer and producer Joss Whedon, takes it to even further excess, providing both a thorough deconstruction of horror gropes and an entirely new mythos to give it a fresh framework.

But the problem with deconstructions is that, once a few truly successful ones have been made, it becomes essentially impossible to create the original thing in earnest anymore. And so the slasher as a sub-genre has reached its bloody end.

Where Did All The Slashers Go?

With dozens of slashers spanning more than 40 years of film history, it’s pretty hard to create something new with the format. Which is not to say that people aren’t still making them -- they are -- but there is less room to innovate within the notoriously rigid and simplistic slasher formula.

Culturally, we’ve moved on a lot from the 1970s as well. For one, serial killers are no longer the threat they once were. Babysitters and camp counselors are rarely teenagers, either -- in fact, teens aren’t leaving the house as much in general. And a rise in information technology, communications and surveillance has made it harder to isolate victims and commit murders over a long period of time -- our mass murders tend to happen in shooting sprees instead these days. For another, that same information technology has made us extremely jaded and hard to impress with gore.

The 2000s delivered violence at levels utterly beyond anything in history. The rise of the so-called torture porn -- a genre that dispenses with the stalking and killing of multiple victims in favor of lingering on the painful mutilation of a small handful -- delivered gore unlike any seen in earlier slashers. Cable television series like The Walking Dead deliver graphic violence with unprecedented regularity -- you no longer need to pick up a “video nasty” to indulge in some gruesome gore.

And, well, unfortunately, the internet has made it easier than ever to see real violence, from terrorist beheading videos to medical gore to live-streamed murders.

Gore for gore’s sake is simply not as compelling in the 21st century, and that takes away much of the slasher’s appeal.

Slashers have had to morph and adapt to find a foothold for survival. In the 2000s, we saw their metamorphosis in real time: From torture porn to home invasion to a cornucopia of more innovative horrors dwelling on fears both large and small.

We’ve probably seen the last of masked knife-wielding, babysitter-killing psychos...but the horror genre is richer for it.

#horror movies #slahsers #slasher films #horror #horror analysis

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rogerdelgado · 4 years

Audio

Jazz of the Week, Vol. 1, No. 1

I wanted to do something like this for a while now, but life being what it is I always found excuses. Jazz is very important to me. Many of my friends think it’s funny. (I even have a few who think it’s impossible to enjoy jazz, but here we are.)

My plan is to present a weekly jazz track that does something for me. Maybe it will be topical, maybe it’s just something I’m feeling on a personal level. The point is for me to do it. It’s essentially a jazz journal, because I am unable to keep a journal about myself.

I made no resolutions for 2021. Survival seems like an adequate resolution at this point. However, I kept putting this idea away until the new year began. Now I have no excuses.

Trying to choose which track to begin this journey is a battle I’ve had in the back of my mind for two weeks now. At first I wanted it to be something that looked forward with hope and inspiration for the new year. I wanted something bright and catchy and full of light. I had a few ideas, but nothing really grabbed me.

Then yesterday happened and I knew where I had to go.

Charles Mingus was a complex man and one of jazz’s legendary bassists and composers. He wrote the music for “Free Cell Block F, ‘Tis Nazi U.S.A.” long before he gave it that title and the two could not be further apart in terms of imagery and themes.

The tune bounces breezily along without a care in the world, while the title evokes the darkest of times and a rallying cry against oppression and evil. The inspiration for the title came from an article Mingus read in Ebony magazine about a prison in the south preparing for electrocutions. Mingus thought that titles should sometimes speak for themselves and this track kicked off one of his last great studio albums Changes Two from 1975.

Is this song important on its own? Not really, but the title is as relevant as ever. So is the dichotomy of a bright and bubbly thing with a grim and revealing name. We live in a world now where the book does not match the cover and it’s important that we recognize it.

In the end, I got my snappy tune after all, but it’s only light and lovely if you don’t look at it too closely. Just like America today.

Keep your eyes, ears and hearts open. Peace.

Personnel:

Charles Mingus, bass

George Adams, tenor sax

Jack Walrath, trumpet

Don Pullen, piano

Dannie Richmond, drums

youtube

#charles mingus #jazz #changes two #1975 #george adams #jack walrath #don pullen #dannie richmond #atlantic records #jazz of the week #2021 #7 january 2021

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hecohansen31 · 5 years

Text

Romance Dreaming:

Captain Francis O’Malley/Duncan Shepherd+Reader

(A/N): Hello there, lovelies!

So, not long ago, in our Discord group we had a rather interesting conversation on put an awful moustache onto Duncan which @codyfernmorelikedaddyfern immediately complied, creating Francis O’Malley, a rather lonesome cowboy with a love for the countryside and a southern accent.

And then… I just had to put this in some kind of lousy romantic plot, because it is just how I am done, I am sorry… but I hope that it could at least steal a laugh from you!

Have a nice day!

SUMMARY: When you met on your road, in a rather compomising situation, Captain O’Malley, you are put up in front of a rather interesting deal.

WORDS: 12,6K

WARNINGS: Mentions of Abusive Household, Mentions of War And Death, HIGHLY HYSTORICALLY INACCURATE (I am sorry guys I just had a lot of things to think about, tonight, so I am sorry, if this doesn’t make sense, but I just felt like the post-civil war would have been a nice setting), Slutshaming, Marriage, Oral Sex (Female Receiving), Mentions of Sexual Themes.

Francis had chosen many times the wrong side.

At the start of the war he had been a confederate, not because he had particularly believed in their cause, but because he had been brought up in that area, and it had been rather difficult to choose any other view.

Even more when your parents had controlled your Fate.

He hadn’t approved many of their choices, but he had been in too deep to get himself away.

War and leading armies was something he was good at, alongside riding his horse, and he wasn’t able to do more anything else, since everybody seemed to think he was the epitome of the perfect cavalry captain of the South, with his perfect light eyes and his strong legs.

So, he hadn’t chosen much of his life.

Except for Roweena.

Roweena and him had met when he had been asked to escort her and her father through a business trip, with his unity and he had been truly amazed by the beauty of such a creature, narrow waist and acute eyes, which played with his emotions.

He had wanted to marry her from the moment he had first seen her, but there was some distance between them, as in between their social status, and his father hadn’t approved.

Hence Francis had thought that, since he had already Roweena’s heart as she wrote to him, he just had to focus on becoming the best cavalry captain so that he could convince Roweena’s father to give her away to a war hero, and they would retire in a sweet country mansion where he could train horses and live the rest of his days in peace.

War had hunted him when he was finally alone, in his tent: the thought of how many fellow soldiers he had lost in that horrible and murderous plot made him feel empty and missing something.

Something he was hoping to find in Roweena, in her sweet eyes and comforting hands.

But then the tides of the war had turned and the North had started slowly winning each battle, gaining more confidence as they went and in the end they had completely destroyed their opponents.

The war had finished in a bittersweet end for Francis.

He was to be executed as many other captains, but a general of the North had noticed him and had suggested that instead of being hang with everyone else of his comrades he betrayed them and came to the North, because they could use someone with his abilities.

He knew that it had been a rather coward decision, but he couldn’t help but choose his life, that one time where he had finally been able to choose.

He hadn’t ever cared for the Confederation’s barbaric rules and now he was breaking them to save his life.

Still each night he woke up with of his friends calling him a coward.

The city in which he had been sent as his first appointment was nothing more than a shithole, completely destroyed by the horrible disasters that Lady War had brought with her and there wasn’t much control to do, after Francis had been appointed constable.

He knew it was some sort of punishment and degradation for having a past in the confederation but each day he woke up wanting to do nothing and feel nothing, he remembered he was alive and that was all it mattered.

He had to live on for those who hadn’t had a chance.

Also, the thought of Roweena kept him going.

Her father had sadly died in the war and she had had to rush to an aunt in the North, according to her latest letters.

She had lost anything she had owned and the only thing that kept her going was Francis.

The thought of their arms joined together in a last hug when they had run away from her annoying chaperone, that same hug that tasted so bittersweet for Francis, each time he remembered about it, was what kept his hopes up.

She hadn’t left her new address and Francis hadn’t been able to contact her, but he had also thought that he couldn’t just show up to her door to bring her to the shithole he worked in: he had to give her something better and he was working on it.

With the little money that he had managed to hide, he was trying to build a new house at the outskirt of the city, hoping it would his and Roweena’s love nest.

One day, he would wake up and all the ghosts would be away, and he would have Roweena by his side.

He was imagining all this, meanwhile he was patrolling with a few friends, when he heard a merchant screaming ‘thief! Thief!’ indicating a running boy, who was zigzagging through the crowd in an almost desperate run, almost making it…

… hadn’t it been for Francis on his horse, who was completely able to avoid the confused mob, using a shortcut, crossing his paths with his thief, just as he was a few miles from being safe and sound.

The little thief knocked himself out against the side of Francis’ horse, who neighed furiously and Francis had to give him a few good caressed to calm it down, meanwhile he reigned it to circle the thief, who was knocked on the ground, too scared by the horse to even try a movement, meanwhile the little bag with money was knocked on the ground, open.

“What do we have here, Charles?” he asked at the horse, eyeing gravely the little thief: the crime scene had increased due to the poverty of the area and the world, but this didn’t make it less excusable “… a little thief… who can’t do his job”.

“Please sir…” the thief’s voice sounded strangely high-pitched and a little hood was covering his face, meanwhile he went on his knees begging the captain “… I honestly… my family is going to starve and nobody is willing to hire me…”.

“You can stop all this silly talk, you should know better than to rob someone of their legitimate money!” he shouted back and something sparkled in the thief’s eyes, suddenly not so scared of the horse, raising on his feet.

“Oh, you think that I was stealing somebody’s ‘legitimate money’?! That merchant is profiting on poor people’s lives, he isn’t less a criminal than me! He is a thief exactly like me… but since he dresses in rich fabrics and doesn’t look starved, you won’t persecute him!”.

The thief’s angry rant made Francis almost fall back from his horse: he knew that what he spoke was true, since many merchants had started taking advantage of the poorness that the war had left, but the thief had still broken the law and he couldn’t go unpunished.

And then a little breezed blew onto them, and the thief’s hoodie fell down his shoulder… or better her shoulder, since the thief revealed to be a girl, a little younger than him, with obvious sign of starvation on her face, but there was some kind of determination that graced her features that made her… truly wonderful at Francis’ eyes.

He was dumbfounded enough and when the thief tried to escape him, due to his distraction, he almost lost her, but Charles was smarter than his owner and quickly captured her again, and this time Francis dismantled from him, so that they could have a conversation eye-to-eye .

She was definitely young and the fact that she was a girl made Francis want to be lenient with the punishment since she was obviously not doing this because she liked it: if it was true that she had a family, she must have been truly desperate to try out this road.

He wondered what he would have felt, had his Roweena been the one that had to steal to provide for her family.

She wouldn’t do it with any sort of evilness to it, it was necessity that brought her on the bad side of the road and although Francis had to obey to the law, he could bend it a bit.

“What’s your name?” the girl refused to reply and he forced her to raise her chin to him, meeting a pair of beautiful eyes, shining of some kind of rage that seemed to keep that body up, burning into Francis’ mind “… and don’t tell me a fake one or I’ll throw you in the darkest jail cells we own, got me?”.

“…(Y/N), sir” the name came out as a soft whimper, as if it pained her to reveal an identity she had almost forgotten “… please don’t put me in jail, captain! I’ll return the money and apologize! I can’t go to jail, my mother would be heartbroken!”.

“You won’t” although he wanted to toy with her a bit more, mostly so that she would learn her lesson, he saw a deep pain in her, a scar that brought him to think of his own “… but you have to promise me you won’t do it again, (Y/N), got me?”.

Her head came free from his grip and this time you refused to look at his eyes, clearly not wanting to swear something that she felt like she would do again, and rather soon according to what her eyes spoke of.

“… you know that you can’t survive like this, don’t you?” he asked, surely concerned that such a beautiful girl could reduce herself to this.

Had the thieving also been unfruitful would she have turned to something even worse?

His heart honestly couldn’t stand it.

“My father died in the war, sir, and my mother has other five children, two of which are rather young! My older brother is a drunkard and won’t help us, so me and my other two sisters try to make some money helping mom with embroidery and cultivating our little vegetable garden… but it isn’t ever enough… the youngest are always hungry and my brother… he steals us money!”.

This was a rather common tragedy: many families lost their only source of income and many of the members turned to alcohol, letting others starve.

He couldn’t help but feel a bit of pity for her.

“I won’t hurt you or rattle you out, but if you promise that you aren’t going to steal anything, anymore, I might have a job proposal for you”.

Her nose immediately scrunched up and he realized that the way he had worded the entire thing was horrible and definitely implying something that he hadn’t wanted to, blushing and regretting his words, immediately.

“… I didn’t mean anything like that!” he put his hands up to try to make her relax and see that he didn’t mean anything dirty, behind his words “…I mean an honest job: I have recently started living here and the chaotic life and work has left my house rather… unclean…”.

“You are asking somebody who just stole money… to clean your house?”.

The absurdity of the entire situation made him laugh and she smirked, this time definitely more genuinely.

“You must be truly new in town”.

Francis was rather thankful for his chaotic meeting with (Y/N),

She was amazing with cleaning the house, but that wasn’t her only talent: she was extremely educated for the third daughter of a farmer, justifying her knowledge as the passion that her grandma, a fallen noblewoman who had fell in love with a farmer, had passed down to her.

She knew literature and was passionate about it, which had made her feel wonder at Francis’ small collection of books and, before she had to steal any of them, he had welcomed her to take what he needed, almost as a little library of his.

They would then discuss about it, once she was taking a break from cleaning, Francis insisting she did so, since she worked hard and more times than not, she had overworked herself and he had had to accompany her with Charles back home.

She would always make him stop a bit before he actually reached the proper place.

He knew it was both because she was ashamed of him seeing her modest home, and both because she didn’t want her brother to know of her employment: he would steal her money and use them for booze, hence she always hid her money in her garter belt, knowing he wouldn’t search her there.

Some days, she would come in work, a black eye and a tremble in her hands, she would scrub the floor with such a ferocity that Francis many times had to interrupt her, before she hurt herself and more times than not he had let the girl use his bathroom, just to hear her sob lightly.

It hurt him to know that she had to go through something like that, each time she went back home.

Wouldn’t it have tarnished her good name and his, he would have insisted that she sometimes stopped in his city house so that she could avoid that horrible life.

‘Have you ever thought about running away?’ he had asked once, meanwhile she chatted about the latest books she had managed to get her hands onto, a new one even for Francis, since he had started to buy new books just for her, she loved the ones with fantasy in it and the right atmosphere.

‘More days than not I catch myself thinking about it…’ her confession surprised him: he hadn’t expected that to happen, although she lived in that horrid place, she had never mentioned to him running away ‘… I once even did my luggage and… then… I never know what to do’.

He kind of expected it.

She didn’t have any money and family, although abusive as that one, was still family.

He knew all too well.

‘And what about you, mysterious cowboy?’ she joked, meanwhile she turned to him, pushing the soap in the water, and then immerging the rag in it to clean the floor of the main room, a little but familiar place she had grown to love ‘… don’t you want to run away?’.

‘In the countryside’ he started and gently he relaxed himself, thinking about his life, a calm life in a nice place, where he could live happily surrounded by horses, the nature and his beloved… Roweena…

… Roweena!

He hadn’t thought about her in months, and that morning he had been brightened by a letter of an old friend of his, who had also joined the North side and he had sent him a letter about having seen Roweena at a ball and having talked about her, knowing she would attend a ball not too away from his shithole of a city.

‘All alone?’ she asked, with a malicious smile on her lips, having caught his enamored glance.

‘I might have the perfect girl for that life’.

‘She is a lucky girl, Mr. O’Malley, then’ she had giggled making him blush ‘… I mean… you helped a thief so I truly believe that you have a big heart and she must beyond lucky’.

Did her gaze hide something more?

Francis couldn’t help but think that there was different spark in her eyes, a more intense spark.

But he wasn’t able to think more about it, because as her gaze had set up on him, it immediately left him going back to her chores.

Through the weeks that separated him with his meeting with Roweena, to relax his brain he had taught (Y/N) how to ride with Charles, not much since he couldn’t due to the lacking space and the fact that they couldn’t spend more time together, mostly after one of her littlest sibling had caught a cold and she had to help her mother with him.

But she was a natural.

Whenever she would ride Charles, the horse would grow quiet under her, even quieter than when the horse was under him, making him call it a “traitor”, although he had fun with the beautiful way she would laugh as the stallion would accelerate under her.

And then the day came.

She had come to his house that morning and she had helped him get ready, since he trusted her more than his usual suggestions as a male.

‘Oh but if it was for me, that awful moustache of yours would be off’ she mumbled immediately, but didn’t erase his mark, meanwhile she helped him slicking his hair and adjusting his elegant suit, a thing which would have been full of medals, but he had lost each one of them as he had moved in the North.

But from the long look she reserved for him, he knew that he hadn’t lost his charm,

‘She is a lucky woman indeed’.

‘Tonight, stay here’ he insisted as he was leaving, the previous day her brother had gotten rather upset because the smaller ones of her sibling wouldn’t stop crying, and both her sister were outside working their embroidery as some old lady’s house, so she was the one he had pushed his anger onto.

When she had come that morning knocking softly at his door, a bit earlier, he hadn’t been able not to notice that she was stumbling a bit, limping lightly and when her gown, a soft cotton thing, had raised up lightly he had seen an horrible hematoma on her ankle, which she had immediately covered as she had caught him looking at her.

‘I can’t… the town would talk…’ she blushed so graciously that Francis couldn’t help but be in awe, remaining a bit more on the threshold of the door.

‘Just stay here, I feel better knowing that you going to stay here, your brother wouldn’t notice it and you sisters can cover on you!’ he insisted, gently grabbing one of her hands to make her relax, which she did with a soft whimper ‘… you can stay here till the hour you usually go back in the city, and then take a shortcut, so that people will simply think that you have finished your turn of the day’

‘That is too nice, I can’t…’.

‘Make me go with one less worry, (Y/N), it’ll make my uneasy heart feel better’

And she had eventually complied, promising to take care of his small house.

‘Good luck, cowboy’ she had mumbled, smirking before he walked in the chariot ‘… and if it doesn’t work… we’ll know that it was all the moustache fault’.

He couldn’t help but smirk to himself at those words, in the chariot, the conversation he had had with her definitely helped to ease his anxiety.

The entire place where the event was to happen was extremely elegant and rich and Francis couldn’t help but feel at unease, definitely different from all the people that were dancing around the ballroom, meanwhile he stayed close to the angle with the alcoholics.

“Still a fan of scotch?” mumbled James, his old friend, the one who had informed him about Roweena, being the only welcoming face in the crowd, sitting himself beside him, being welcomed with a huge pat and an affirmative answer, which made the waiter pour them two glasses of scotch.

“… didn’t think that you liked these kind of things…?” he mumbled surprised to find his roughish comrade in such a beautiful and delicate place.

“I still don’t like them, but it is better to be seen in these kind of things… it helps” and he not only eyed the expensive bottles, but also the way new leaders and captains moved around the crowd, although many of them were young, he could still see many converted ex-South loyalists.

“… well then let’s hope this might be a good night for both of us” smirked Francis, moving to clink their glasses together, but James didn’t look convinced and mumbled.

“You need to know one thing before…”.

But his voice was interrupted by an announcement of something and soon Roweena was descending the elegant stairs in the center of the ballroom, but she wasn’t alone.

A man was on her side, holding her gloved hand and softly leading her through the light, till they reached the level of the ballroom and Francis’ ears were finally able to focus onto what the announcement was.

“To Roweena and David, the most beautiful couple in this room!”.

“She announced her engagement a week ago, she is going to marry some idiot from the North, the important thing is that he has money and influence, her aunt organized anything: she is pretty and he is rich, her lifestyle will continue on living…”.

Francis was taken aback by all the cynicism his friend spoke and immediately turned to him, as a bull who had just seen red.

“… how can you speak about my beloved like that?” the anger shone in his face, meanwhile annoyance appeared on his friend’s face.

“Wake up, Francis! I tolerated that… awful…shrew for your love, but I hoped it was this which made you realize who Roweena truly is…”.

“She must have been forced in this!” he shot back, not caring that they were attracting glares “… she promised me…”.

“… and any men who even looked at her!”.

The shameful words his friend spoke only angered him more, but as a proper gentleman he just decided to move away, so that his friend could reflect on his hurting words.

He had moved away, a bit and when he came back, he had lost sight of James, but Roweena had been left sadly alone, a perfect opportunity for him to take to finally talk with her.

Reassure her that his feelings for her hadn’t changed and that he was more than ready to run away with her.

She had seemed surprised to see him, but she had quickly welcomed him in a rather informal hug, immediately attracting the wondering eyes of many people around her, which sent him rather unpleasant looks.

But he was in Heaven in her arms.

Although he had to admit that he couldn’t help but feel a bit horrified by all the things around him.

“… oh Francis! I didn’t know you were going to be here!” although his arms had been welcoming, her voice held some kind of sick sweetness that honestly that was suddenly out of tune with the image he had of her “… you made me the most beautiful surprise!”.

“I just couldn’t be separated from you, Rowie” Francis tried to spark again that beautiful relationship that had blossomed between you two “… you look even more beautiful”.

And she did, but Francis couldn’t help but feel like there was some kind of fake edge to her, which ruined her usual candor.

“What are you doing, right now? I thought that the North wouldn’t forgive you”

“They did, once they saw me on a horse” he tried to joke, but all around him the faces were long and before he knew it, Roweena suggested that he accompanied her to have a little breather, outside.

And as he moved outside, she immediately lighted a little cigar, something that Francis couldn’t helo but classify as not very elegant in a lady, but he didn’t stop her, just shielding himself a bit, meanwhile he gently covered her lithe shoulders with his coat.

“… you truly surprised me, Francis” her voice now empty of any ringing sweetness, was dark and rough: it surprised him, indeed “… I didn’t expect you to be this resistant”.

“What do you mean Roweena?” he mumbled surprised, immediately throwing himself to her, gently collecting her small hands in his bigger ones “… I thought we had promised to wait for each other”.

And surprisingly, after his heartfelt discourse, Roweena laughed in his face and before he knew it.

She blew smoke in his face, an illusion as her pretty face and the manners she had shown him.

“You think that promises make the world goes around, Francis?” she smirked, meanwhile he pushed herself closer to him “… because I know for sure that it is money that makes it go around, and I want to be the one spinning it, if you know what I mean”.

All his memories of what Roweena had been shattered by that presumptuous woman, which looked at him like a little insect meant to be squashed by her heels.

“What about our countryside life? I can still give you that!” he didn’t know what he could say more to make her reason, go back to when she had loved him and promised to do so till eternity “… I have started building a small house… in the countryside… it is a small life but…”.

“I don’t want a small life, Francis, I never wanted it” she spoke with such a slowness that every words took a hit in Francis’ chest “… I only said what you wanted to hear, it works that way with men”.

And as she had walked in in a whirlwind of ribbons and crinolines, she walked out of Duncan’s heart and life, leaving him dumbfounded and with an aching heart.

He didn’t know how he had managed to finally come back from the entire failure, since he had then, without even questioning, drunk himself stupid, emptying two bottles of scotch, till his body begged him to shut down and lay down.

It had been Charles who had brought back home, and he had risked many times to fall but once he had arrived home, the heaviest part of the entire thing was to drag himself through the door.

Which he did, longing for his bed, but when he finally managed to fall onto it he found out it wasn’t empty, but a warm body was laying against it, soft and definitely feminine and although it made no sense, his body, in his drunken state, reached around for it, curling against it, feeling comforted by the welcoming way she relaxed against him.

A whimpered breath leaving her lips, a heavenly lullaby that, alongside her even breath, lulled him to a peaceful sleep.

He woke up the following morning because the body he had curled against the previous night started moving, away from him and, more out of subconscious conscience than actually wanting to keep her close, he brought her back onto him, cuddling to the warmth, till a whimper of pain surprised him.

And he realized to whom the body belonged.

(Y/N) looked at him, as he opened his eyes, the thin nightgown she had chosen definitely more form fitting than the usual clothes she wore, and her hair down from her usual updo, gently gracing and cornering her face in a beautiful frame.

She was honestly beautiful, any detail highlighted by the shy light of the morning and her body appearing extremely delicious, hidden in simply cotton.

“… Mr. O’Malley, what…? I thought…?” and then shame set in her, her cheeks flushing red “…I fell asleep waiting for you, sorry for sleeping in your bed, I’ll immediately change the sheets…”.

“There is no need for it” he couldn’t help but feel ashamed by himself, he shouldn’t have drunk so much, mostly because, although nothing had happened and they had both their clothes on (although that nightgown was oddly revealing and doing things in his mind), it was highly scandalous to sleep with any woman that wasn’t your wife, before marriage “… I don’t think that I am actually able to leave this bed, right now… I am feeling pretty… unwell…”.

“Then I’ll go and fix you breakfast!” anything to get herself away from him, this is what Francis saw in her eyes, embarrassment shading anything else “… so that you can lay down and collect yourself”.

And she had strutted away, almost tripping in her own feet, due to the quickness of her movements, just to get away from him.

It would have been almost funny, hadn’t he felt like his head was going to explode.

Left alone, he had to finally reason with the revelation that his plan for the perfect life with Roweena was now impossible.

The rejection hurt him, but what made him feel truly empty again was the thought that any solution he had thought for all his problems, the emptiness due to the loss of war, the sense of guilt for having passed on the other part and the horrid thought that his life was meaningless.

What was he supposed to do with all that knowledge and an half finished shithouse on the countryside.

He left his bed just when it grew cold, although the natural perfume of (Y/N) still lingered on his pillow.

The kitchen smelled amazingly, but (Y/N) wasn’t stopping a single minute to face him, in an awkward silence that honestly made him uneasy.

“… I am sorry for the accident of tonight” he knew that he had probably scared her this morning, he could only imagine the hell she had gone through for her drunkard brother.

“I am actually the one who should be sorry, master Francis, it was… I shouldn’t have fallen asleep…” she rambled, clearly nervous.

“There is no need for the ‘master Francis’ and I personally am the tone who should be sorry, again, for the incident, I might have drunk a bit too much, yesterday…”.

She relaxed a bit, gracing him with a more lighthearted smile.

She had changed in her daily clothes, a high-necked blouse and a long gown of a beautiful light blue, tending to gray, which lighted up her age but also showed the sign of somebody who had grown up too quickly.

“… it didn’t go well?” in your voice there was no judgement and he couldn’t help but shake his head, meanwhile he seated himself to the table, as you brought him coffee and what you had prepared, enough that it would last him for days.

“Would you mind sitting down with me?” he asked, a bit shyly “My head is spinning and you moving around makes me feel even worse”.

She obeyed, setting herself down on one chair, the farthest away from him.

“If she didn’t like the moustache, you can still tell her you’ll cut it off” her genuine suggestion brightened up the mood, making let out a soft laugh “…no need to get this sappy about it”.

“Thank you for the suggestion, but it is simply more complicated than that…” and although they had known each other for not much time he confessed her everything that had happened that night with Roweena, and she listened with attention, her gaze becoming sadder as she took his difficulties.

“I am sorry to hear that…” her hands slowly inched closer to his, although she didn’t dare to take it “… I know what it is like to feel like any plan that you might elaborated isn’t working, because something changed, but…”.

And she finally took his hand.

“… but there is going to be a woman who loves you, I know it, and in the meanwhile, all you have to do is pick yourself up and look through the bright side…”.

“I can’t honestly see it” he mumbled, grumpily, and smirking she made him raise his head lightly, becoming bolder with her touches.

“You have a nice job, and you are going to build yourself a nice house in the countryside, you also have Charles… and if the entire woman thing doesn’t work, you might get a dog… I am sure Charles won’t be jealous”.

He couldn’t help but finally let out a laughter, not all his emptiness was now filled, but he couldn’t help but feel a more lighthearted, comforted by her gentleness and sweetness.

“… you are pretty wise about heartbreak, experienced many yourself?” he didn’t mean to actually barge in her stuff, and he felt her retreat in herself, but still… she answered him.

“I haven’t had many lovers, I can’t offer a proper dowry and I don’t think about love…” she mumbled shyly, meanwhile she hid her gaze “… but lately… somebody has been… I have thought about somebody… in that way”.

“He is beyond lucky” he couldn’t help but think that somebody like her would be a perfect partner: beautiful, hardworking and constantly having something to be happy for “… I hope that he knows that…”.

“I haven’t… come forward with him” she mumbled rather shyly, removing her hand from his grip “I do think that I am not… what he is looking for… so I am just waiting”.

He raised his coffee cup and moved it towards her.

“To us waiting for the people of our lives”.

She simply smirked meekly and then set back to take care for anything.

Weeks had gone and soon it was Autumn and then Winter.

Francis had had to slowly renounce for a bit to his country house, but he was comforted by (Y/N)’s teasing presence, who hadn’t allowed any trespassing of their precious riding lessons, which had somehow brought them together, and in the end they weren’t anymore master and servant.

They were good friends, if not something more.

Hadn’t it been for the constant reminder of Roweena’s hurtful words, he would have maybe tried to court her, although the society would have frowned upon such a union.

But he had started caring less and less about society’s opinion.

But (Y/N) did.

And he respected her shyness, choosing to admire her from afar.

And then that night happened: it had been pouring rain and there was no way Francis could have let her go out in the coldness and weary weather, asking her to stay as a guest.

Through the passing of seasons, she had started staying far more in his house, more time than not, when he wasn’t there, busy on trips or social events so that it would be less scandalous, staying in the guest room.

He knew that it was a small refuge from the daily sadness of her life: her brother would usually hurt just her in a drunken fury to steal the money she made at Francis’ house, he would rarely touch his mother for some kind of conscience he had, and the mother always hid the smaller children, meanwhile her other sisters were many times away, staying at some old lady’s house where they ere employed as a seamstress.

Many times, he had wanted to march over to her house to fight off the awful man, teaching him to pick up a fair fight, but she always made him swear not to.

‘It would make him angrier and the village would talk about it’.

Still, whenever he saw her brother, he would throw him a rather meaningful glance that he had his eyes on him and he better behave.

He was aching for a reason to put him in jail once and for all.

He had let her stay that night, due to the pouring rain, and the morning he had let her sleep in, mostly due to the fact that she had overworked herself lately, helping her sister with some seamstress work and helping her mother at the farm.

He had thought about even getting her breakfast ready, although he couldn’t cook to save his life.

But this had unreasonably created a lateness to her, and although they had had a nice morning, she had had to rush the entirety of the thing, since she had known that her brother would already be wondering what was going on, since she didn’t know for how long her sister would cover her.

He hadn’t thought that her delay of a few minutes would cost her so much, mostly because their plans had worked many times.

Not that time.

When her brother had come from a night of drinking and gambling he had expected to find breakfast ready, but her sister hadn’t been able to cover for her, since she had been called in early, so when he hadn’t found what he expected he had gone crazy, wrecking the house, meanwhile her mother hid with the littlest ones.

So, when she had come home late, having stayed the entire night away, he had unleashed his fury onto her.

Francis had known about this when one of his officers had been asked to come to the house to sedate the fury of the brother, and instead of sending him he had gone there himself.

He had ridden Charles till the old house and there he had found (Y/N)’s sister, crying her eyes out, both her little siblings in her hands, immediately asking for his help.

He had rushed in, knowing perfectly that she must have been in danger, and he had found not only the house completely destroyed, but she was cowering in an angle, bruised and bloodied, an eye swollen enough that she didn’t seem to be able to open it.

And her brother was on the table, a bottle in front of him and their mother moving around the house to try to bring him breakfast, meanwhile he screamed.

And in that moment, he had been the one who had seen red.

He had rushed to the man, a pathetic little ignorant man, and had pushed him till the chair under him had fallen down catching him by surprise, but he was too drunk to realize the change of plan and Francis had done everything to a lighting speed, immediately coming across him and starting the fight.

The punch was the first of many, he didn’t think, he just saw the bruised face that (Y/N) had sported when he had at first walked in, and the only thing that stopped him were her small and ushered pleas.

She had dragged herself to him, her hand trying desperately to reach for him, meanwhile she asked and pleaded him to stop, not differently than she had done before with her brother.

“Please… mas…ter.. Francis… he is not worth it”.

He knew it all too well, but it hurt him to see her like that, and he disentangled himself from his brother, and gently brought her into his arms, raising her in them so that she wouldn’t be hurt and force herself through a painful situation.

“I am going to get my men to collect your son” he simply uttered at the (Y/N)’s mother who pleaded with her eyes to avoid such a strong solution, but he was unremovable “… this scum doesn’t belong in such an household”.

And then he exited with (Y/N) bloody and bruised in his arms, hiding her face in the crook of his shoulder probably to hide some kind of uneasiness to her own vulnerability and he didn’t talk preferring to walk in science to his home, waiting there for a doctor who could examine her and bandage her wounds.

He could see all the town’s eyes on them, but he could have cared less.

He couldn’t help but think about how close she had been to death.

What would have happened hadn’t he been able to come to her, just in time?

He couldn’t think about that in the slightest, not when he was worried sick about her.

The sight of her bruised face was painful enough, because it spoke of extreme pain and he couldn’t help but be extremely worried on her future.

She had talked him and the doctor, once he had come, he had said she was lucky she had ‘such a thick head’ or she wouldn’t be alive.

He had checked her ability to move her body and although she did so with a painful breath it was clear that she hadn’t been injured permanently, although he had to bandage your ribs, since some seemed broken, a procedure which Francis hadn’t been able to stand, turning around to give her some privacy and because the sight of bruised skin honestly made him not only feel awful but also like he hadn’t done enough for her.

And certainly, like he hadn’t hit enough that bastard.

Also, her intellectual abilities weren’t compromised, for which he was even more thankful, because to ruin such a wonderful brain it would be a true waste.

“I am going to grab something in my office to help with the pain, I’ll bring it when I’ll come to check on her, tomorrow, right now it’s better if she is kept awake, it is good for her head”.

He had thanked the doctor and handsomely tipped him for the inconvenience and to keep his mouth shut, before he came back at her, she was facing the opposite wall, wanting to hide and shrink away from him, in a desperate fetal position.

“… do you want something to eat?” he didn’t know what to do.

She must have had an awful day and he wasn’t helping her much: he had beaten her brother…

… who had reduced her to a bloody pulp, but family was strong.

“… no, thank you” she sniffled, meanwhile she adjusted on her side, a little moan of pain leaving her lungs.

“What about a book?” he just wanted so damn to be useful, even with the easiest of asks “… I can read it to you”.

“I think that you have already done more than I deserved, Mr. O’Malley… I…” her voice was so low that it was just a simple whisper and hadn’t he been so still “… I am truly ashamed you had to see that… you must think so…”.

“You think that it is you who should be blamed for this?” his anger made her flinch, but it wasn’t directed at her “… you have no fault in this, you are the victim…”.

“I should have fought harder…” she tried to mumble, but he was unable to stop himself and his anger from flaring up.

“… and he should have never touched you!” because it was the damned truth, it wasn’t her fault in the slightest and before Francis knew it, she turned around: her face a map of bruises and hurt, and he found himself walking closer, no sign of fear in her eyes, just shame again “… I am sorry for not having stopped this sooner…”.

“It wasn’t your business” she mumbled, meanwhile he softly raised her chin, grabbing it between his thumb and pointer fingers helping her look at him, meanwhile she held back a soft whimper of pain “... I am still not your business”.

“You are, instead” he moved her so that she could stare at him in the eyes “You are so damn my business, with your gentleness and softness, and you deserve nothing more than this in the world, and I am sure that from now it is given to you”.

He made sure every world meant something for her and she looked at him like she did believe him, although there was still some kind of shyness in her eyes and he was more than aware about the fact that sadly he had gone too far, but… the little smile she sent his way… was worth it.

“Thank you for being there, Mr. O’Malley” the little smile turned in a devious smirk “… you aren’t so bad yourself…if you can overlook that awful moustache”.

“Well you are certainly back to normal!” he laughed out loud, truly relieved that you hadn’t lost your bite “… I am going in the kitchen to cook something, scream if you need help”.

Some time had passed since Francis had freed (Y/N) from the grasp of her brother and although the first days it had been simply to help her through her convalescence (although she was stubborn as hell, and many times she had tried to help him around the house), then he hadn’t been able to send her back to her house, although her brother had been sent to jail.

Hence, he wouldn’t annoy her, anymore.

He would make sure of it.

But somehow the permanence at his house had marked her in a bad way, since the entire town would talk about her as if there was some kind of illicit relationship between you two.

Old ladies would talk about how he had gotten stuck with her, thanks to some kind of evil plan of her and his lower officials would say even worse, using words he had long-since prohibited.

It almost seemed as if there was no exit, in this kind of situation: she couldn’t exit her house (although she would still go out to see her family, but they seemed to have excluded her from their core) without risking people looking dirtily at her, since her modesty had been shredded, in their eyes.

And she couldn’t go back to her family.

The only way was for her to stay in that city was with him…

Under a legalized bond, such as marriage.

He honestly didn’t have many chances after his loss of Roweena at marriage, and he couldn’t deny the growing attraction he was feeling for her, only enticed by the need to protect her, so he couldn’t help but feel like making her an honest woman might help her.

But he was aware that it wasn’t a simple question and one day, once he had come home, he had asked her opinion on the matter: starting from how she felt about the situation and what were her ideas to stop this behavior towards her.

“I don’t know how” sadness shone in her face, meanwhile she softly fidgeted with her hands “… I don’t know what I have to apologize for… I don’t know why my life is so angry about me… I just… I feel like hiding in this house is also not a proper solution”.

“You know that this doesn’t bother me” he mumbled “… but I might have an idea to solve this”.

Her eyes immediately brightened up: the “house arrests” were pretty heavy on her, although she tried her best to avoid showing the difficulties and the emotions that this rejection from society brought to her.

“… we might have to marry”.

Her eyes literally rolled behind her head for the surprised a.nd she almost fell from the chair.

“… what?” she mumbled, meanwhile he worried that it hadn’t been the brightest of her ideas “… you must be joking”.

“I am not” and he exited a little ring from his pocket, which he had picked up the night before “… I know this might be excessive… but if you marry me, they’ll leave you alone, although it is sad to say”.

“I know… I know…” she was looking at the ring, not daring to touch, which was definitely not good “… but… you don’t… you have no fault in this, you can’t always help me Mr. O’Malley, this is too much”.

“…it isn’t such a bad condition for me, you are already in the house every day, so it won’t change much, and I can’t think of anyone, after Roweena, so I don’t think that I’ll ever settle down…” he knew it might have been a bit excessive, but so were the society’s rumors “… people say I need to have a wife, and you need somebody who’ll quiet the rumors, so we are going to get married, we respect each other and have some kind of friendship; we are for sure better than many couples I know”.

She still looked back at him, confused and shocked, before slowly her hands reached to the ring, immediately retreating at last.

“You don’t want me as your wife… I am…” she mumbled, again nervous, looking at him in the eyes “… I can’t… what if you regret it?”.

“My heart has been broken since the end of the war, and when you came in my life, you brought some kind of solace in my life and I’ll forever appreciate you, as your eternal debtor”.

She looked once more to the ring and this time she gripped it in her fingers.

“Should I be surprised that it isn’t as tacky as your moustache?”.

“Be ready for a lot of tackiness in the future, my wife”.

The marriage had been rushed, but not enough that it seemed a coverage for an unexpected pregnancy.

Her sister and James had been their witnesses, she had worn a beautiful white dress, the best one he could have afforded, but she would have looked angelically even in rags.

The entire thing was more a quick need than an actual want, hence after the small ceremony was over they had retired home, thanking their few guests, who had wished them all happiness, although many of the people sent their way some dirty and annoyed looks.

Once behind closed doors, they had both let out soft and relieved breaths.

“… it is done” Francis mumbled.

“We are husband and wife” she replied, as if it was a shocking truth.

“… before anything goes further” he mumbled, immediately moving towards her, trying not to corner her, since she already had a blush going on, on her pretty cheeks “… I might be your husband, but you don’t owe me anything”.

Her cheeks definitely flushed, at what he meant: the duties of a wife were known to her, but he knew better than to push her, not after everyone in her life had done that.

They were similar in that: they both had been forced in things they hadn’t wanted.

And he didn’t even think that he could do something like that to her.

“…well before anything goes further, I also have a confession to do” she mumbled not even looking at him in the eyes “… you remember when I said I was in love with somebody…?”.

How could he not, he had wondered for entire days who that man was, if she would be heartbroken to have to marry him instead of the man of her dreams.

“… that man… well… it was you”.

And before Francis could properly reply to that outstanding confession, you ran away.

Since that confession she had been distant towards him: not careless but there was no way he could even feel like she was at ease with him, since she would constantly avoid him, whenever she could.

They might have been married now, but… they were more strangers than actual wife and husband.

The confession that she had fallen in love with him, had confused him, mostly because he didn’t want the feelings she harbored for him to be some kind of “reward” for his behavior towards her; he didn’t want nothing more than her purest form of affection.

The thought that she felt like she owed him something honestly made him feel sick at his stomach.

But now the town talked more secretively whenever she would walk out of their houses, and she had now some friends, other wives to whom she was slowly teaching how to read and write and Duncan had suggested she actually tried to get some teaching degree.

‘You are good at teaching, so you should try to get it certified, and you might open a little school here’ he had once mumbled, meanwhile she had told him about how many women sadly didn’t learn to read or write, and they kept in this horrible condition till the end of their days.

At the time she had simply blushed and nodded, but Francis had discovered soon that she had started getting some information on how to become a teacher and he couldn’t help but encourage her in secret, continuing with bringing her books, as some kind of gift for sticking for so long with him.

And then the ball of the town had rolled around and also (Y/N) had been taken by the frenzy of the choice of the dress and the thought of dancing around for the first time after entire days of pain.

She was definitely gorgeous, when she smiled so openly and naively, it was genuine and Francis was definitely addicted to that beauty.

Finally the night of the ball had come around and for the first time in month the looked like a true couple, with her hanging onto his arm, dressed up in a puffy but graceful green dress, the color mixed with light blue to catch better the lights and heighten her colors.

(He had to admit that when she had come down the stairs, almost running in that… thing, his heart had stopped beating and he was fucking sure that she was the most beautiful creature in the whole town).

(If not the entire world).

The ball was much smaller than many he had attended but it gave off some kind of familiar atmosphere and he felt comfortable with his pretty wife at his arm, finally laughing like she hadn’t in just so many days, softly showing her teeth in a ridiculous manner that made him want to kiss her pretty lips.

But he had to be the proper gentleman.

They still slept separated, but sometimes he would wake up from a nightmare, probably his screaming having woken her up and he would find her on the couch, a little candle illuminating the room and the book she was reading and which she proceeded to read out loud to lull him back to sleep.

He was dancing with some old lady that had stolen him from a laughing (Y/N), meanwhile she danced with a rather young courtier, one of the child of the wives she had been helping, who had started to court her, enough that Francis couldn’t help but be jealous of the way she would smile at him.

And then it happened.

Roweena had always been known for her grand entrances: once she had hired servants to carry her in a Cleopatra-way, something which should have told him what he was in for, a long time ago.

But the entrance she did, stuck in his mind mostly because there was no reason for her to here, so he wasn’t expecting her in the slightest and even if it might make him pass for an egocentric, he knew she had come back for him.

She had eyed him in the crowd and he immediately shifted away from the woman he was holding, moving towards (Y/N), collecting her in his arms, and sending the poor child a sweet smirk, promising him candies, meanwhile he tried to drag away his wife from the drama.

But it wasn’t enough.

Roweena reached them easily and she immediately clasped onto him, hugging him closely, meanwhile he felt (Y/N) nervous against him, stilling her movements, as she tried to pretend everything was fine.

“…ahh look at you Francis, making me come all the way from my honeymoon for you!” her voice was cheery enough that everyone had heard and it wasn’t a secret that everyone was looking at her.

“Roweena, what are you doing here?” he didn’t care that he was being extremely rude, but he didn’t want to waste any time, mostly when (Y/N) was still at great unease, clearly comparing herself to Roweena, since she was smart enough to realize she had been Francis’ first love.

“Ah, that isn’t a nice way to speak to a lady” she commented, but didn’t let his tone get in her way, tangling her arms together “… but if you must know, I am here for you”.

The last words of her phrases had moved onto a more confidential tone, as if she didn’t want (Y/N) to hear her, sending towards her a rather dirty look, that got on Francis’ nerves.

“.,, I have come here to take up your offer about having a nice life on the countryside” each words seemed forced out of her mouth, as if he had just obliged her to follow him, which was rather unlike him, but it still didn’t stop him from being ashamed “… the horses and the cattle, the entire thing, you know, I am ready for it”.

“… and what about your fiancé?” he felt (Y/N) beside you fidgeting nervously, as if she had wanted Roweena to get the hell out of their way as soon as it was possible.

But he, instead was making small talk with her.

“He isn’t…” Roweena for the first time since forever seemed at loss for words “… he was a big pretender…not definitely what I needed… and he made me truly appreciate what I had lost with you”.

Which meant that he hadn’t shown to have as much money as he was supposed to, to stay with Roweena, and to properly ‘take care of her’.

And she had gone back to him.

“… well that is quite the trouble” he hoped to sound as annoyed as he could “… but I don’t know how to help, I am not sure that my wife would appreciate me helping you”.

He saw and felt (Y/N) beaming against him, finally moving a step closer to him, smiling gently at her.

Kill them with kindness, indeed.

“…a wife?” she asked confused, meanwhile (Y/N) showed off her pretty ring, nothing too expensive but it made quite the work “… you married?”.

“Happily married” (Y/N) enforced, her hand immediately gripping his, before she laid a soft kiss onto it.

“… oh ahem…” she obviously didn’t know what to do anymore “…I didn’t know…”.

“Well now you know…” (Y/N) smirked, before she gripped tight Francis’ hand, turning just to leave her with a last message “… and I even like his moustache”.

And then they were both running away like two giggling teenagers, Francis trying to keep her dress from making her trip (which happened still), meanwhile she smirked, their eyes still entwinned.

They seemed a couple, and as they reached the outside of the ballroom, to properly breath more freely away from that society of conventions, he couldn’t help but feel like things were easier now.

So easy that with extreme gentleness and softness he moved to lay a sweet kiss on her lips, the first since their marriage, since she had allowed him to graciously push his lips against hers, in a shy kiss.

But in this one, although he still kept it shy, her lips came alive under his and before he knew it, she was the one leading the kiss, softly teasing his lips, mapping them out with her tongue, before her teeth tested the softness of them.

And it was all interrupted as her nose came in contact with his moustache, tickling it gently, enough that she had to separate herself from him, to sneeze making him giggle softly, meanwhile she hid behind her hands, clearly ashamed.

“I told you to cut that damn moustache” she snickered, not truly angry, and he gently pushed her hands away from her face, facing her pretty eyes and those delicious lips.

“…I’ll cut my beloved moustache, learn how to play the harmonica and build you a house on the countryside, if you promise to kiss me every day like that”.

Now the embarrassment on her cheeks was true and he thought he might have overstepped his limits, but then she gently moved closer and slowly and softly, but with a meaningful glance at their now-entangled hands, she smirked softly and reached out to kiss one of his cheeks.

“I’ll kiss you each day, my captain” she said “… moustache or not…”.

“Then why… why have you been so cold with me, all this time?” he knew that hadn’t he asked her this he wouldn’t be sure if his feelings were reciprocated as hers; she might have been scared by the ghosts of his past, when he would wake up screaming.

She might not want a traitor, and more importantly she might hate him for forcing her in a marriage, although he had been the one, she had loved, and she had confessed so.

“…I didn’t… it wouldn’t have been proper for me to express my feelings… when you were my master, mostly because… you had your feelings for Roweena… and when you came up with the idea of the marriage I thought you were doing it more out of pity than actual interest for me… and I… just was scared that what you felt for me, was not enough”.

He had thought the same, each night, since their wedding, when he had woken up alone, uncherished and without her by his side.

He might have harbored feelings for Roweena, but he had let them go, as soon as (Y/N) had entered her life, showing him the truth and the wonder that being loved with the same amount, meant.

He loved her.

He knew it.

And he would act on it, now that he knew she wouldn’t run away.

“Well than rest assured, milady” he mumbled, meanwhile he brought her by the waist closer to him “… what I feel for you is stronger than what I have ever felt for anybody else. All my life I haven’t chosen anything, and then you came in… and I chose to marry you, although selfishly… because I wanted you… and I hope you are happy, because we are stuck”.

“As long as you cut that horrid..!” before she could finish the sentence, Francis had lightly tilted her body, dipping her a bit, enough for her to have to rely on him for balance and as if that wasn’t enough, he kissed her, this time deeply and slow.

A sensual kiss, finally, one between two lovers.

Finally.

He pushed her against him, feeling the entirety of her warm body against his, meanwhile she simply smirked against the kiss, letting her mouth open after his tongue teased her lips, pushing itself through the little “o” which formed as she was surprised by how swiftly his hands moved from her waist to cup her buttocks, collecting the layers of her dress to pick her up in his arms.

As they separated, he twirled her around making her smirk, meanwhile she giggled and tried to make him stop, knowing all too well that although they were away from the main crowd, they were still in an extremely public place.

And they were indeed caught.

… by Mrs, Leipniz, their neighbor, an old widow who looked dourly at them, muttering something about ‘newlyweds not having any shame’, before she moved away and Francis felt her shivering, obviously embarrassed, but also cold.

“C’mon let’s go home” he muttered, gently putting her down, but keeping their hands linked in front of him, meanwhile he led her to their home.

He helped her out of his coat once they were inside, but she distracted him keeping on kissing all his face, meanwhile he smirked at her rushed affections, but he welcomed them, but as soon as she was out of the awful coat he could have a great look at her dress, meanwhile she twirled for him.

“You are freezing, babygirl” he mumbled as her freezing hands, settled onto his chest “… might I warm you up?”.

He wiggled his eyebrows making her blush but also smirk, meanwhile she just turned, setting up a meditative pose, as if she was thinking.

“… and how would you do that, Mr. O’Malley” she teased him, before a small kiss was sent onto his lips, just for her to retreat immediately.

“Well, I’ll have you know, Mrs. O’Malley…” he smirked at the way her name tasted in his mouth being said like that “…that I have a lovely fireplace in my room”

“But I also have one in my room” she murmured trying to appear completely unbothered by the entire thing, meanwhile she smirked at him, trying to run away from his arms, which only tightened the grip on her, making her giggle.

“Oh, but mine, little girl…” he smirked, pushing himself against her, so that the sexual innuendo was clearer to her, making her feel his excitedness through the layers of her too-covering dress “… is bigger”.

She giggled, completely red in her face, but she just nodded, before blowing a soft kiss to him and exiting his arms, caught by the distraction and rushing in Francis’ room, merely closing the door behind her.

He snickered, but quickly followed her, discarding on the way his jacket, remaining in a soft linen shirt, and his “more-than-properly-tight” pants, finding that she had also shed part of her dress, the full gown and her own jacket revealing some linen puffy underpants and her lithe corset, which was tightened over a sheer chemise, truly making Francis’ mind reach its most sinful thoughts.

“... you took your time, old man” she muttered, gently reaching behind her to unlace her corset, a lighter shades of blue with golden insert, and Francis moved closer to her immediately, slapping gently her hands away to undo the corset, in a newfound intimacy he loved with all his heart.

“… and you are taking too many liberties brat” he replied, pushing on her corset laces, effectively stealing her breath, something that made her take a deep intake of breath, suffocating whatever she was going to protest with “… I might have to punish you”.

He then moved and pushed onto the laces to effectively freeing her from that annoying garment meanwhile he laid passionate kisses onto her exposed neck, since her hair where in an updo, something for which he was thankful, although he had quite the passion for her hair being let down.

“Is that a promise, old man?” she spoke back, turning her face to him, gently linking their lips for a slow kiss, making him feel every crevice of her lips, meanwhile his fingers passed onto her body, letting the corset fall down her body, exposing the modelling nightgown.

“That is definitely a promise” he smirked, gently raising one hand onto her breasts, squeezing one softly in his hand, meanwhile your mouth opened, and he bit the tip of her ear, making her moan out loud “… and I always respect my promise”.

This was enough for him to feel her tremble beneath him, pleasure oozing from her lithe body and he knew it all too well that she was probably drenched in her garments and discovered this and much more as he probed softly her cotton underpants, before his hand slipped in them, stopping at the beginning of them.

“Want me to make you feel good, lovely” his other hand went to her hair and he pushed the main hairlock in it, letting them fall onto her shoulder, meanwhile she nodded, biting her lips, and his hand moved further, meanwhile her moans answered the question.

“… please, Francis… I…” and then she turned to him, the gentleness of her eyes didn’t hide the fire in them “…I can’t… I have waited long enough for this”.

And he didn’t dare to actually delay her wishes anymore and he softly slipped his fingers onto her mound, finding it indeed wet and warm, and not because of the burning fireplace, which was the sole light in the room, alongside some candles lighted up on the nightstand, permitting him to see her beautiful face, the way it contorted as his fingers came in contact with your secret.

But this wasn’t enough.

“Can you lay on the bed for me, lovely?” he asked, and although protesting against the loss of his hand, gently teasing her, but she laid, meanwhile he softly nestled between her thighs, already feeling the delicious smell of her arousal.

The knowledge that she was already this aroused because of him was making him quite crazy.

He rutted lightly against the bed, to relieve a bit of the pression on his own member and when he finally managed to focus on her again, he recognized that between him and that sweet nest of honey there was an obstacle: her underpants.

He almost wanted to rip them off, but he knew that this gesture might scared her, so he gently dragged them down her soft legs, meanwhile he revealed her nest, now barely hidden from some linen short pants, decorated by frilly parts in silk.

Her wetness had sipped through them, revealing the shape of her puffy folds.

And he pushed them down her legs, after the underpants, having her almost naked under him, the chemise the only thing covering her, and with the way she blushed as he raised his eyes to meet hers, and tightened her grip onto the hem of it, he didn’t dare also defraud her of that last shard of modesty.

He preferred for her to guide him when she felt ready.

But she had asked to make her feel good.

She had said she had waited for too long.

So, he shouldn’t make her wait any longer.

He dipped one fingers in between her folds, teasing her softly, more to see her joyful condition than to actually elicit any pleasure from her, which, still, sparked in his finger’s wake.

She gently pushed her hand into the sheets and raised her back off the bed, but immediately stilled as Francis found her that damned sweet spot he knew that would make her see stars, meanwhile her grip on the sheets tightened, and her legs came to close themselves onto his fingers, either to lock him there or to hide herself from her ashamed state.

He retreated his finger from that aching point just to collect against wetness being dripped by her folds just to douse it over her pearl, lightly swollen due to his ministration, continuing this a few times before it was enough that he felt like he wouldn’t hurt with his next moves.

“I am going to breach your innocence, my little girl” he said, raising her eyes to look at her, finding some kind of dark pleasure in them, a silent prayer, because it wasn’t enough “… it might be uncomfortable, but if you want to stop… you just tell me, won’t you, sweetheart?”.

“Of course, Mr. O’Malley” the way she addressed him, alongside the rough tone of her voice, arousal through it being evident.

“I might actually like the way you pronounce my name” he smirked, before he went down, nestling himself better in her nest, making sure that his shoulder blocked her legs so that she wouldn’t deny him access.

“Have you ever done this to anyone before?” there was some uneasiness in her voice, that made him stop from doing much more, making him raise his eyes to look at hers “… I don’t… I have never…”.

“Yes, I have done this before…” he felt disappointment in her eyes, alongside with her ducking her head away “… but I have never been in love with the person I have done this before”.

And to enhance the concept he kissed her thighs, till his breath was just onto her nest, making her moan lightly, meanwhile she screwed her eyes close, the knowledge that he loved her making her feel like nothing more could be more pleasurable.

“I… I am scared you won’t like… it… with me” she mumbled, meanwhile his tongue licked a little path from her inner thighs to the upper part, softly delimiting and mapping out the confines of her womanhood.

“You think too much, (Y/N), there is nothing in the world that you could do to make me feel like you aren’t perfect to me” he definitely felt like she was a bit more relaxed and then inched his finger between her folds, holding it here, meanwhile he moved up so he could kiss you as he slipped his first finger inside her, and immediately she bit down on his lips.

He tried to ease the gentle pressure with a softer touch of his lips, but it was enough with the way her walls tightened around his finger, not wanting to let it go, that he knew it was enough, and that she was starting to feel pleasure.

He still checked in her eyes, which had rolled back a bit, and when she rutted lightly against it.

And he was completely loss in the adoration of the way pleasure overtook her, and he gave her what she needed, pumping lightly his finger in and out of her, till he knew that it wasn’t enough anymore and he moved his lips onto her folds, before they raised onto her clit and he softly kissed it, before he started sucking on it, making her moan loudly and her fingers, unwillingly, treaded in his hair.

She pushed him, meanwhile her legs closed around his shoulder, trembles of pleasure going through her and he knew that she was almost there.

She just needed a little push, or better… a little crook of his finger, meanwhile his tongue started lapping more languidly her pearl, making him feel every inch of it, stimulating her till she was oversensitive and when pleasure came… she screamed.

She contorted over the bed, the evidence of this never having happened, was clear in in the movements of her body, ecstatic and honest, and definitely divine with the way her juices flowed in his mouth, the taste better than anything he had tasted, and he passed a few minutes slurping anything he could from their natural source.

And when she pushed him away from the hair, in a rather tight grip, which only excited him, and she brought him in a kiss, a messy kiss, collecting some of her own juices in a desperate attempt of passion, in a show of tongues that lead her to take the upper hand, inverting the positions.

Now she was on top of him, and he wasn’t sure he minded it at all, now with the way her thighs pushed onto his hardening bulge, which was becoming more and more desperate, searching for friction.

“I do think that I want more” she murmured, almost reaching his lips, before she turned back, and one hand reached down his pants, although an adorable blush coated her cheeks “… I have tasted corruption and I don’t think that I can stop”.

He smirked simply, reverting again the positions and making her giggle.

“Well that is good because I have no intention to stop…” he giggled, pushing down his pants and undergarments with them, meanwhile another hand tasted the wetness and readiness of her soft nest “… and little girl, get ready for the final shred of your innocence being forever stolen”.

“I can’t believe that you are reading those things, when you have a man of bones and skin in front of you” mumbled annoyed Duncan, meanwhile you turned another page of the romance you were reading before bed.

Romance books had always bene your guilty pleasures: they made you relax, alongside the fact that whenever Duncan wasn’t with you they were your own way to have a bit fun with your body, since the smutty description could be quite “steamy”.

You hadn’t been able to put down, still, your latest romance reading, not only because it was definitely a slow-burn romance, but the male character also sounded like Duncan, hence you had been too busy trying to finish the book to actually dote on your real “boyfriend”.

“Just give me a few minutes… we are getting to the interesting part” you mumbled, trying to hush your boyfriend, but whenever Duncan was bored and not receiving enough attention, he was prone to particular vexations towards you.

And in this case, he literally stole the book from you, before discarding it rather ungently away from you and throwing it in an angle of your shared bedroom, making you scream at him in protest, but he immediately stopped any response of yours kissing you and pushing himself on top of you.

“… I think that I can offer you more entertainment than some stupid book” he smirked as soon as he retreated from the kiss “… I am definitely better than Captain O’Malley”.

“Oh, are you sure?” you smirked, feeling like you had just gifted yourself a wonderful night of sex “… won’t you show me, Captain Shepherd?”.

----

As always... any feedback is more than welcomed and encouraged, I am always curious to know what you think of the shit I write, and I hope that you’ll appreciate it!

Also I do have to warn you that I have been having some personal problems and I haven’t felt like writing much so I am sorry if the next fics might take some more time!

And here are to the one who wanted to be tagged!

@so-langdon @blakewaterxx @emmyrosee @lovelylangdonx @1-800-bitchcraft @kaetastic @frenchbread4ever @lathraios @rosegoldrichie @rocketgirl2410 @codyfernmorelikedaddyfern @forgivemelucifer @antichristfern @lonely-cloud @elena-75s-blog @ashyblondwaves @kleineshaschen @dyns33 @vintagepink @langdondelrey @chloewinchester13 @luthienshavenlove @ confusedafsthings @venusbloodlust @coezals @vixenmare @soph3218 @baby--yoda @omegaaislynn @im-the-music-whore @melodylangdon

#captain o'malley #captain o'malley reader #duncan shepeherd reader #duncan shepherd x reader #duncan shepherd imagine #duncan shepherd fic #duncan shepherd smut #duncan shepherd fluff #duncan shepherd moodboard #cody fern #cody fern characters #hoc #house of cards #hoc imagine #house of cards imagine

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