#ARTHUR IS ACTUALLY SO SO SO SO SO MUCH MORE CRUEL IN THE MOVIES THAN HE IS IN THE SHOW😭😭😭

[gorillaxyz]

in the second movie arthur joined the depot and he wore the uniform for a bit and it axtually made me sooo happy he was so fucking cute. and the bit with the fucking... washing machine or whatever the hell happened. AND THE ZOO ANIMALS... ahhhhhhhh

[wisteria-lodge]

Since you’ve talked about Molly and Draco, can you talk about Snape as well? When you said that there was a disconnect with Snape’s character I honestly wasn’t sure if you meant the audience was supposed to like him more or less than they actually do.

This is a complicated one, because Book 1-3 Snape and Book 5-7 Snape are written so differently that I actually want to talk about them as two separate characters. 

Book 1-3 Snape… kind of sucks. Maybe he sucks in a way you find funny (which I completely get. A lot of comedy - especially British comedy - revolves around finding the humor in really *mean* people. Snape is *written* to be funny in a dry, acerbic, Roald Dahl kind of way.) But maybe Snape sucks in a way that’s not fun for you, he’s just upsetting and cruel. Either way, he’s petty, unfair, a bully, completely unreasonable, and doesn’t really appear to have any redeeming qualities. Snape protects Harry in Book 1 only because James Potter saved his life and, according to Dumbledore:  

“Professor Snape couldn’t bear being in your father’s debt. . . . I do believe he worked so hard to protect you this year because he felt that would make him and your father even. Then he could go back to hating your father’s memory in peace. . . .” 

Later on, Snape’s motivation will become “Protect Harry because you couldn’t protect Lily.” But there’s no hint of that here.

I actually think it’s very likely that ‘Snape was in love with Lily’ is a plotline added during Book 4, because 1-3 Snape’s motivation is so completely focused on JAMES. He hates Harry because he looks like James, he hates James because (according to Lupin) he’s “jealous, I think, of James’s talent on the Quidditch field.” Within the context of the series it’s easy to say that Lupin is lying, and with good reason… but in the context of the first three books, I think that’s just meant to be true? Snape, as we know, is a stealth quidditch hooligan the way McGonagall is. Also… James’ characterization shifts around. He’s not a bully in the first three books, he’s Head Boy… and that Head Boy thing doesn’t quite gel with what we hear from Sirius later: 

“No one would have made me a prefect, I spent too much time in detention with James. Lupin was the good boy, he got the badge.”

(I know JKR plans things out in advance, but she absolutely does change things on the fly. Arthur Weasley not getting killed by Nagini is an easy example that we definitely know about. And come on - the entire last book is a Deathly Hallows fetch-quest. Was there really no way to slip in a reference to Beedle the Bard - or a super-powerful semi-mythical wand - anywhere in the first six books?) 

So, in books 1-3, there's no hint that Snape is a potion prodigy, particularly powerful, or even particularly clever. He wrote a logic puzzle and “knows an awful lot about the Dark Arts.” But that’s it. “Potion Master” isn’t an advanced rank, it’s just the posh British boarding school way of saying “teacher.” (Like headmaster = head teacher.) Early Snape is also a lot more *emotional* than he is later on, when his ability to “Master yourself!... control your anger, discipline your mind!” becomes extremely plot relevant. Like, can you picture 5-7 Snape (or Alan Rickman, who plays a distinctly later-books Snape) doing any of this? 

Snape was beside himself. “OUT WITH IT, POTTER!” he bellowed. “WHAT DID YOU DO?”  “Professor Snape!” shrieked Madam Pomfrey. “Control yourself!”  “See here, Snape, be reasonable,” said Fudge. “This door’s been locked, we just saw —”  “THEY HELPED HIM ESCAPE, I KNOW IT!” Snape howled, pointing at Harry and Hermione. His face was twisted; spit was flying from his mouth.  “Calm down, man!” Fudge barked. “You’re talking nonsense!”  “YOU DON’T KNOW POTTER!” shrieked Snape. “HE DID IT, I KNOW HE DID IT —”

In Movie 3, Snape gets a cool protective moment where he shoves the kids behind him during the werewolf attack. In Book 3, Snape is unconscious during the entire werewolf attack because Harry, Ron and Hermione simultaneously decide he’s too dangerous, and too much of a liability to keep around. Here are are some bangers from Book 3 Snape: 

- “Don’t ask me to fathom the way a werewolf’s mind works.”   - “KEEP QUIET, YOU STUPID GIRL!” Snape shouted, looking suddenly quite deranged. “DON’T TALK ABOUT WHAT YOU DON’T UNDERSTAND!” - “Up to the castle?... I don’t think we need to go that far. All I have to do is call the dementors once we get out of the Willow. They’ll be very pleased to see you, Black . . . pleased enough to give you a little Kiss, I daresay. . . .”  - “I’ll drag the werewolf. Perhaps the dementors will have a Kiss for him too —”

If you sort of squint you can maybe say - okay, maybe this is a PTSD response. Like I’m writing a Snape POV fic right now, you can make it work. But it’s not work the books do for you, and it’s not the characterization choice they make in the films. 

BUT. Snape goes through a little bit of a revamp/retcon in Book 4. It’s totally deliberate - he’s Book 1-3 Snape at the beginning, then he basically vanishes from the narrative… the reader kind of forgets about him…  until it comes up during Karkaroff’s trial that Dumbledore ABSOLUTELY trusts him, even though he was a Death Eater. So now when Snape turns up at the climax - he’s a figure of intrigue, and it makes sense that he’s one of the two people Dumbledore brings with him to deal with Barty. Honestly, it’s a pretty cool magic trick. We buy it when - instead of hissing and spitting and hopping around like he does when he confronts Fudge at the end of Book 3 - Book 4 Snape deals with Fudge like this: 

Snape strode forward… pulling up the left sleeve of his robes as he went. He stuck out his forearm and showed it to Fudge, who recoiled.  “There,” said Snape harshly. “There. The Dark Mark. It is not as clear as it was an hour or so ago, when it burned black, but you can still see it. (...) This Mark has been growing clearer all year. Karkaroff’s too. Why do you think Karkaroff fled tonight? We both felt the Mark burn. We both knew he had returned. Karkaroff fears the Dark Lord’s vengeance.”

Calm, collected, focused. This is a character who you’re supposed to take seriously, a character who you are supposed to respect. 

I think it’s very interesting that after Book 4, we don’t see Snape *bully* the students during class again. He’s strict, and he’s a hard grader, and Harry still thinks he’s unfair, but like… the narrative framing is on his side now. 

“Tell me, Potter,” said Snape softly, “can you read?”  Draco Malfoy laughed.  “Yes, I can,” said Harry, his fingers clenched tightly around his wand.  “Read the third line of the instructions for me, Potter.”  Harry squinted at the blackboard(… ) His heart sank. He had not added syrup of hellebore, but had proceeded straight to the fourth line of the instructions after allowing his potion to simmer for seven minutes.  “Did you do everything on the third line, Potter?” “No,” said Harry very quietly.  “I beg your pardon?” “No,” said Harry, more loudly. “I forgot the hellebore...”  “I know you did, Potter, which means that this mess is utterly worthless. Evanesco.” The contents of Harry’s potion vanished; he was left standing foolishly beside an empty cauldron. “Those of you who have managed to read the instructions, fill one flagon with a sample of your potion, label it clearly with your name, and bring it up to my desk for testing.” (...)  “That was really unfair,” said Hermione consolingly, sitting down next to Harry  (...) “Yeah, well,” said Harry, glowering at his plate, “since when has Snape ever been fair to me?”

Like he isn’t nice, but he also isn’t asking Harry questions he can’t possibly know the answers to, threatening to kill someone’s pet, or calling Hermione ugly. He didn’t even take away house points. And - during the next lesson, we are told that the approach Snape took with Harry actually worked?

Determined not to give Snape an excuse to fail him this lesson, Harry read and reread every line of the instructions on the blackboard at least three times before acting on them. His Strengthening Solution was not precisely the clear turquoise shade of Hermione’s but it was at least blue rather than pink, like Neville’s, and he delivered a flask of it to Snape’s desk at the end of the lesson with a feeling of mingled defiance and relief. 

I want to do one more close read, on a excerpt from Book 5: 

Harry realized how much Professor McGonagall cared about beating Slytherin when she abstained from giving them homework in the week leading up to the match. (...)  Nobody could quite believe their ears until she looked directly at Harry and Ron and said grimly, “I’ve become accustomed to seeing the Quidditch Cup in my study, boys, and I really don’t want to have to hand it over to Professor Snape, so use the extra time to practice, won’t you?” Snape was no less obviously partisan: He had booked the Quidditch pitch for Slytherin practice so often that the Gryffindors had difficulty getting on it to play. He was also turning a deaf ear to the many reports of Slytherin attempts to hex Gryffindor players in the corridors. When Alicia Spinnet turned up in the hospital wing with her eyebrows growing so thick and fast that they obscured her vision and obstructed her mouth, Snape insisted that she must have attempted a Hair-Thickening Charm on herself and refused to listen to the fourteen eyewitnesses who insisted that they had seen the Slytherin Keeper, Miles Bletchley, hit her from behind with a jinx.

This has a very similar structure to the sequence when Snape refuses to punish Draco for enlarging Hermione’s teeth. Slytherins and Gryffindors having an altercation, Gryffindor girl gets caught in the crossfire. BUT a few key things have been changed. One - the section is told in second-hand narration, which makes it less emotional than the teeth-scene. Two - the section begins with comparing Snape to McGonagall: she’s being biased/helping out her students too, so it’s only fair if he does it as well. Three - his insult isn’t “Your face has always looked like that,” it’s “You must have messed up a spell,” which is a lot less personal, and a lot less mean. (If anything, Snape is subtly insulting her for casting a cosmetic charm/being too girly… and being a girly-girl is an inherently suspect characteristic in JKR’s world.) Everything about this passage is set up to create a “Snape the Bully” moment… that kind of excuses Snape. 

So, what do we have? There are the people that think Book 1-3 Snape just went too far, and you can soften the narrative framing around him, and you can add in as many tragic backstories as you want, and it doesn’t really matter. THAT is definitely not what JKR wants you to think. She wants to bring you along for the ride, and (as you can tell from the framing) she's started to like Snape a lot.

HOWEVER. I do not think that the fan who likes 5-7 Alan Rickman Snape is… quite seeing the same thing she is. I get the sense that in the text, Snape’s tragic backstory is not meant to *explain* his bad behavior so much as it is meant to *excuse* it. He stays mean and bad-tempered… but he’s allowed to be, both because he is always acting in service to a Good Cause, and because he was abused at home, bullied at school, etc. A big part of why I think JKR likes writing Snape so much (and why she’s so protective of him) is because she finds something cathartic in letting a character be nasty… but for it to be allowed because they’ve suffered, and also because they're in the right. Sadly I think this describes a lot of her current online interactions. 

JKR also loves the idea of *pining.* (It is crazy how long the main characters’ pining/longing/will-they-won’t-they thing in the Cormoran Strike books has lasted.) It’s a very safe kind of romance, and (again, sadly) you can tell from her writing that romance is not generally something that feels safe to her. Snape is sometimes characterized by those who dislike the character as an incel-type who wants to possess Lily, and I just don’t think that’s in the text. If anything it’s the other way around. Snape has some unconsummated, medieval courtly love thing going on, where he has decided to live his life in Lily’s service. 

I wrote about why I think Draco Malfoy (unintentionally) appeals to fans. With Snape…  I actually think a lot of his current (unintentional) appeal comes from the way a softer Snape reframes the narrative into something more complex, and especially the way it reframes Dumbledore. Manipulative/Morally Grey Dumbledore is a *very* popular fan interpretation, and the way you get that is with a sympathetic Severus Snape. 

“You disgust me,” said Dumbledore, and Harry had never heard so much contempt in his voice. Snape seemed to shrink a little. (...)  “Hide them all, then,” he croaked. “Keep her — them — safe. Please.”  “And what will you give me in return, Severus?”  “In — in return?” Snape gaped at Dumbledore, and Harry expected him to protest, but after a long moment he said, “Anything.”

The implications here are really far reaching. Because to me, the main question when it comes to Snape is - why does he STAY at Hogwarts? He clearly hates it, why doesn’t he just leave? If you’re talking about 1-3 Snape, it's because he’s eternally holding out for the Defense Against the Dark Arts job, and he’s just kind of a twisted miserable guy who would probably be equally miserable everywhere. 

But books 5-7 add the context that he’s brilliant, he’s brave, he’s principled, he’s got a sense of humor. He seems close with the Malfoys. He has *options.* So now the (unintended?) implication is… he doesn’t leave because Dumbledore won’t let him. The fact that he keeps applying for the DADA job becomes dark and borderline suicidal when we learn it’s cursed, and that Snape knows it’s cursed. If he takes it, he’ll leave (or die) at the end of the year. That means, every year, he’s tacitly asking Dumbledore “Can I leave?” And Dumbledore is answering “No.” 

That’s such an interesting, juicy character dynamic. Snape is being kept miserable on purpose because… he’s easier to control that way? And if that’s true… then oh boy is it sinister that Dumbledore left Harry with the Dursleys. He knew he was raising Harry “like a pig for slaughter” (as Snape puts it.) And if Harry doesn’t have a support system, if he’s miserable, if Dumbledore can swoop in as his savior… then doesn’t that make him so much easier to control? 

[gabrielduartes700]

Link for the original artist:https://twitter.com/Adonyne/status/1614006309636001814?s=20&t=FgQzXVE3JY4JcpC1SvWL9A

also i just wanted to tell you my personal theory about the connection of death and Perrito

Death is Perrito hidden wish 

this is a puss in boots 2 last wish fan theory i hope you guys like it 

in the shrek universe is established to us that every creature is based on the real world fairy tale that was told to people but the difference is they are actually reasonable and creatures with their own thoughts and feelings 

but the fact is the every creature in this universe can be born with the desire of the person, something someone wants so much that this desire turns real and affects the real world of the shrek universe 

like fiona was destined to be a ugly ogre and never find her true happiness but her the desire to love shrek made her accept herself and even if she turned into a ogre she living a happy life 

the wish of shrek to be accepted by fiona family was concentrated on the happiness potion and that made him turn into a human 

the third film ended with arthur giving a speech so convincing that made cruel and violent villains turn into actually good people 

so i think we can say that wishing for something in the shrek universe can turn that thing into a reality 

but what happens when the desire of someone can give life to something that is concept not actual person 

this the theory about death and how she came to life in the shrek universe 

2:why he exists 

well if you think about it every fictional creature can exist in the shrek universe by the desire of someone is not impossible to think that death could be born in the shrek universe 

death in the movie is represented like a wolf using a black coat and scythes tools used to farming, but they are used here as weapons 

death is well skilled in combat and he just lost to puss because he thought his work was over in that moment when he finally teach to puss the meaning of live 

but there is something strange about him, why death choose to hunt puss for his last life not any other cat in the world 

you can say puss is more badass and seeing him waste all his lives watching puss thinks he is immortal made him angry 

but why he personally wanted to kill puss and try to help him realize he needs his friend and family 

that is the question, he can be death himself but why he would have such selfish desire to violate nature and intervene in someone life to help him realize his mortality in the world 

and also he doesn't fight puss he just scares him and make him running for his life most of the movie and only in the end where is only him and puss that they actually fight each other

there more to it than its seems 

another character that could help understand Death more is Perrito the dog that was abandoned in a retirement cat home and later adopted by Puss and Kitty 

well let's take Perrito his backstory tells he was throw in the river to die by suffocating in the water but who could saved him that day 

who could actually helped him not to die 

yes i think it was actually death that saved him seeing how poor Perrito would die in that moment he saved him 

but there is another question 

i don't think throwing dogs on the river is a common occurrence on the shrek universe but hear me out 

Perrito actually lived a actual death experience and he feared for his life his desire was to have actual family, even if he tells us that they are just playing hide and seek this could be a lie to deal with the trauma of being intentionally killed by the people you thought loved you

so when the scene where death scared boots Perrito was the only one to help him feel more relaxed 

and there is a weird connection between Perrito and death like they know each other very well 

because Perrito lives through a death experience he became friends with death himself and this fact could be the reason why death was hunting boots 

he wanted someone that could actually protect and care for Perrito so he actually hunted boots knowing he on his last life and he made boots feel fear because that would make boots retire and go the retirement home and find Perrito that was acting like a cat to be treated well 

and he didn't attack boots in the retirement home because he knew that boots would run away risk leaving Perrito behind without someone to take care of him and after he helped boots realize why he needs Perrito he go away 

humbling the legendary puss in boots 

well this is my theory that death was born to Perrito wish to have a family because before the incident with Perrito almost dying we never seen death actually appear to anyone only on this movie 

well you going to say right now 

but before that movie dreamworks never planned on making death like actual villain his only here because he was a after thought  

SHUT UP YOU MILK DRINKER 

yeah he did not actually appear in any other shrek movie before this but that might be the reason why he exist 

because before Perrito, death like actual person could not exist because nobody thought in the shrek universe death was someone friendly but only Perrito wish to have a friend before dying made death with the desires and thoughts of the people turn him into actual living being with his own desires and feelings 

that why he connected to Perrito because Death was Perrito only friend

[screamsviakeyboard]

I watched Joker today. I enjoyed it quite a lot! The cinematography and Joaquin Phoenix's performances were a real treat. The subject matter was very dark, but I thought it did a remarkable job of not getting bogged down in itself. A problem I run into sometimes is that when a movie or show has so many bad things happen to its lead I begin to sort of roll my eyes, like, "we get it, could you please move on already?" but that didn't happen here. The bad things were interesting on their own, they didn't overstay their welcome, and they all fed directly into the development of the plot.

Spoilers to follow if you haven't watched it yet. Personally I'd recommend it with the caveat that it is still very dark and I think lots of folks will find it heavier to bear than I did.

What struck me the most, though, and I think what got me the most engaged was the lack of wanton cruelty on the Joker's part. The movie's atmosphere and music often presents him as more dangerous than he actually is. The scenes with Sophie are a perfect example of this, where the tension is ratcheted up as Arthur stalks her or invades her apartment. The audience is led to think he's about to do something, but then he just... doesn't. He realizes that all the time he spent with her was just a delusion and he leaves on his own. This is repeated when he kills Randall but lets Gary go, even apparently genuinely apologizing for using a lock too high for Gary to reach. And when he kills Murray, he doesn't do anything to the guests or the audience, or even resist arrest after that point.

I think it allows for him to feel much more sympathetic, which creates that much more engagement with his politics, or lack thereof. Arthur is excellent because he doesn't conceive of his own rage as political, even as he directs it towards seemingly political targets and revels in the political effects. Everyone he kills he does so for personal reasons: the three stock brokers in self-defense, his mother for abusing him and misleading him due to her own delusions, Randall for throwing him under the bus to their boss and quite likely preparing to do so again with the police, and finally Murray for making fun of him and then bringing him on to do so again. This is all outwardly misconstrued as political actions, because the public only knows about the first and the last.

Then there's his speech to Murray, which is so excellent. They talk past each other perfectly. Murray keeps insisting that Arthur's trying to make excuses for killing the stock brokers, but Arthur never even mentions that it was in self-defense.

Arthur rants about the state of things, how cruel people are to each other and the disregard the wealthy show for the poor and "people like him." It all sounds political, and to be clear, any serious analysis of Arthur's situation shows that politics are to blame, but it isn't to Arthur. It's just all the bad things that happened to him that made him mad. And now he's not an advocate for societal change, he's just personally hitting back at the world that's been beating him for too long. When he watches the protest go by laughing and smiling, he's just happy to see chaos, he's happy to see the world hurting because of him. It's an act of revenge just as personal as stabbing Randall with scissors or shooting Murray, writ large because the target is not a man that can be killed, it's the society he inhabits.

This, I think, is the most interesting thing the film has to say. Arthur genuinely isn't political, but the causes and the effects of his actions are. The one time he actually speaks at length, all the words he uses are political. The news parading all around him is political. It is almost absurd that someone who dresses up like a literal clown and performs for children is so deeply steeped in politics that he doesn't need to actually care about them at all--we don't even need to talk about who the president is, or who the senator of whatever state Gotham's in is--the clown is still political. Because he's poor, because he has a mental illness, and then because he's angry, and because he lashes out, his whole existence, inaction and action alike, is politics.

[power-chords]

DEADLINE: Well, we’re supposed to talk about this little movie that you’ve created. I feel that many filmmakers—and filmmakers revere Kubrick perhaps more than any other group—set out at some point to make their own 2001; is this movie your attempt?

GRAY: I love 2001 like nothing else, really. I mean, it’s top five for me.

The thing is though, it’s interesting, because if you look at the science fiction genre, there’s Steven Spielberg science fiction movies, there’s Stanley Kubrick’s, they’re very different, but they both often deal with aliens.

In 2001, Kubrick beats the trap of false gods, because they’re not good aliens and bad aliens, they’re sort of like this black slab, monolith probe thing, and you can project anything you want on it. You don’t really see them, and what does it all mean? So, he beats that trap. Spielberg, I would argue, also beats the trap, because the movies play almost like fables. And they are beautiful fables. I don’t really think you should watch E.T. with an eye towards a deep dive into alien life. What it is, is it’s really about this kid dealing with a divorce, and his loneliness, which is why it’s beautiful.

So, knowing all of this, what I wanted to do was to do the opposite of what had come before, not because I don’t love those movies—I do—but that’s the point. You love them, so you don’t want to rip them off and copy them.

What I was trying to do was to say, OK, well, what if there’s nothing? What if you can’t rely on the potential beauty of a furry little man to help you out in a moment of need, or some horrible goblin that will destroy you? What if, really, the only thing that matters is human beings? Because the truth is, that’s probably right. I mean, if there is intelligent alien life, we know we can’t communicate with it, because we’ve been sending signals since the 1960s, when SETI first started.

So, they’re not going to respond, which means they can’t communicate with us. We can’t communicate with them. They’re probably so far away we’ll never reach them, so then by all intents and purposes, we are alone in the universe. What does that mean for the species? It is, I think, almost a metaphysical question.

There was that question, coupled with the very real thing that we plan on going to Mars in 2033. And they’re going to have to find a crew of people who will be able to tolerate themselves and each other for a year and a half, in very close quarters. They’re almost assuredly going to be seeking out people with schizoid personality disorder, or something much like that.

I thought, Well, that’s interesting to me, that these people are all assembled for that very loner quality. And what does that mean, if they’re confronted with the fact that we’re all alone? Well, it’s one thing to have schizoid personality disorder and choose to be alone, but that’s not the same thing. That’s a very different thing, in being forced to be alone; essentially solitary confinement. That’s a very cruel form of punishment, and the mind starts playing terrible tricks.

DEADLINE: I can’t remember who it was that said it was terrifying to consider the prospect of extra-terrestrial life in our universe, but that it was just as terrifying to consider the absence of it.

GRAY: It was Arthur C. Clarke. He said, “Either we’re not alone in the universe, or we are, and both are equally terrifying.” It’s amazing, and it’s true. That is a horrifying prospect. That was actually a quote that I had read early on in the development process of the movie, which I thought was really great. Really interesting. I forget when, exactly, because I’ve been working on this thing since 2011.

[eveenstar]

𝒯𝒽𝑒 𝒲𝒶𝓎 𝑜𝒻 𝒯𝒾𝓂𝑒

𝙰 𝚁𝚎𝚍 𝙳𝚎𝚊𝚍 𝚁𝚎𝚍𝚎𝚖𝚙𝚝𝚒𝚘𝚗 𝟸 𝙵𝚊𝚗𝚏𝚒𝚌𝚝𝚒𝚘𝚗

ᴄʜᴀᴘᴛᴇʀ ɪɪɪ

Summary: After the meeting with Dutch, (Y/N) the time-traveler, decides to take a look around the camp while trying to convince herself this was not a dream but reality.

Tags/Warnings: Nothing to add.

Note: Back again from the dead with another chapter! Hope you enjoy!

Well, this was awkward. You couldn't hope to be in a worst situation than this (well, you kinda could) but hey, at least they seem to believe you, right? What else to think when somebody drops out of the sky in the middle of your "home"?

“Well, Miss (L/N), from what you told me and the gang…You’re my great-granddaughter?” Dutch asked, his hands grabbing one of his books while he took a seat on his bed.

“Yes, sir.” The girl stood awkwardly on the tent’s entrance. She didn’t know what else to do, what, hug him? She didn't even know he existed before that old, strange lady appeared in her life. For her, Dutch was nothing but a stranger and maybe he thinks the same of her.

“It’s…nice to meet you. A very interesting experience.” He sounded almost content with it, but also a bit shocked by his voice. “I hope your life is better than, you see, ours.”

The girl let out a nervous laugh. Almost immediately covering her mouth after it. “I’m actually being hunted down by the government. Me and my group, we…did some things they didn’t agree with.”

“Oh. I see. A revolutionist?” Dutch looked at her, his gaze made her feel a bit intimidated.

“Yeah, I guess that’s one way to call it.” How would she describe what a hacker was or the modern technology? Well, (Y/N) did take parts in a few riots so perhaps revolutionist was a appropriate term to call it on the 1800s. But she wasn’t so sure about that. The life she left behind, James and the others, everything she knew was...well, not dead, but non-existing now.

“Don’t be so nervous, Miss.” The man said in a gentle tune. “I promise you, none of us will bring you any harm.” He stood up, slowly caressing her arm.

“Thanks.” She returned a kind smile, but was it the truth?

I wanted to go back that exact time, I didn't want to be there anymore. From all the movies and tvshows I'd seen, messing with the past doesn't go well, never. So who was I to tempt fate?

"I have a few more questions for you, but you need to rest. Must've been hard getting here." Dutch guided you outside and handed you some stuff, probably to make your own tent. You really hoped there weren't many bugs out here. "I'll let you get settled first."

You nodded, before taking a few hesitant steps towards the "light" (or, in this case, a fellow tree a bit distant from the others). You didn't want to bother anyone, so you began making your little forth underneath a tree and next to a few rocks. But, not that you haven't gone camping before, but this was harder than it looked. It's like your own house was fighting against you. Things kept falling or getting in the way, and nothing was going according to plan. A frustrated sigh escaped your lips.

"Need some help?"

You flinched at the voice and turned around to meet eyes with, by your memory, Javier Escuella. He was taller in person. That's all you had to say, for now. He had a soft yet deep gaze on his eyes, but if we're being honest, he looked threatening. He raised an curious eyebrow by how long you were taking to answer his simple question. You nodded, then chuckled nervously and waved around the "tent" you were building.

"I'm having a bit of trouble here."

With a better set of hands, your little fort was finished in just two hours. This felt different, y'know? Surreal to say the least. Few birds were singing, the horses in the background, the wind blowing through you, the nature, the sounds of people talking, a life you've never known. Not like this. It was kinda similiar to the life you and your friends had, the only difference being: You didn't held camps in the wild. Like Dutch, you were the leader of your group, and James was your right hand. Maybe you did resemble him a bit, just maybe. Now you were here, talking and interacting with people that in your time, were long gone. You were changing history, the past, everything. Was this the right choice?

"Are you okay?"

"Sì," You immediately looked at him, "Sorry, kinda drifted off a bit."

Javier stared at you in confusion, "Drifted?"

"Oh, yeah, sorry hah. I got lost in thought."

For your delight, Javier laughed at it before excusing himself and leaving you there to your own miserable mind. Your bed felt heavy and rocky, but it's better than nothing. You had no idea what to do now, should you go meet the others? Well, they certainly thing you're strange. Mary-Beth seemed to like you, and she could become your first friend here! Keep the hopes up, (Y/N), you're definitely gonna need it here.

"Ahem, hey Mary!"

"(Y/N)! How was the meeting with Dutch?" She paused her book and glanced over to you, while patting her hand next to her. "Come, sit!"

"It was alright," You replied almost robotically. Your mind was empty to any functional thoughts.

"This is like a fantasy book. You came from the future to change the past, and met a long lost relative." Mary-Beth almost had stars in her eyes while thinking about the "amazing" story of yours. For as amazing as it sounds, it really wasn't something that cool once you experienced it. You felt out of place. "Tell me, how is the future?"

Your mind ran through all the memories you have, every information, every place, every moment now lost in time.

"It's...harsh, unfair and cruel. Like it always has been, I suppose."

"It can't be that bad, surely." For as much as the media likes to portray the modern age as a fairy tale, it's more of a terror genre. You remember the cruel things people had told you over the years, how your dreams were not realistic enough, "become a doctor!" everybody said.

"They don't care about us. They don't care for people like you and me."  Jamie told me once. I wonder how he is now. I miss everybody, especially those late nights when we used to sing our hearts out and dance as if there was no tomorrow. It's too late now.

You gave her a small smile, "Not always."

She returned the smile, happily.

"So what's wrong with you, you old fool?"

A tall, bearded man drunkly limped towards someone older, Hosea Matthews, and spoke in a way that the older man didn't seem to like one bit. Hosea didn't even spare him a glance,"Go sleep it off, you drunken baffoon."

Bill Williamson, as you know remembered correctly now, stepped closer to Hosea and stared at him, almost as if he was daring him to repeat it again, "Excuse me?"

Like the winds change the tides, Hosea got up in a swift movement and pointed his gun at Bill, who fell to his feet. "I've excused you quite enough! Go sleep it off, is that clear?"

Bill hurriedly got back on his feet and stepped back, hands in the air with, what you could call, a frightened look on his face (which changed to angry after a few seconds).

"Okay!...Okay."

The few people that were present either got back to whatever they were doing or didn't even mind the occurence in the first place, like it was something normal to happen around here. You excused yourself and made your way to Hosea, who was sitting on a wooden table. You wondered where they got all this stuff, including the tables. Did they make them? Steal them? You rolled your eyes at the thought of the gang going to a local bar and stealing all of their tables.

"Uh, hello!" You greeted and took a seat in front of him. "I don't think we've been properly introduced, I'm...Well, you probably alright know who I am." You chuckled.

"Hosea Matthews, " He looked at you with a serene look on his eyes. He reminded you of those elderly folks you'd meet around town who were incredibly nice for their own good. "Have you been handling this alright? I know how this gang can be sometimes."

"I haven't had the chance to meet everybody yet, just Dutch, Mary-Beth, Javier and you, sir."

"Well, all in due time. You can come to me if you need anythin' else."

"Thank you, I'll make sure to remember it."

Hosea was like a father to me, or for most people in the gang. Wish I'd met someone like him before. He was a good man. I remember, when I first met him, that I thought he'd ask me plenty of questions about the future. To my surprise, he didn't. I think he wanted me to have some space, process everything that's happened so far. I miss him the most. Apart from Arthur, and Dutch. Who lost his way.

When I arrived, I had to make up my mind. I had to compose myself because this was about to be my new life, "for now" , I thought. I was ready to face this reality of time-traveling and the way things worked in that era. I was foolish. So, so foolish.

[echo-hiraeth]

Empty Promises - Maxwell Lord x GN!Reader

Summary: The reader is a forgotten past romance and works for Maxwell Lord. They’ve secretly been taking care of Alistair when Maxwell failed to do so. When he starts to take notice and offers them a promotion, they speak their mind.

Warnings: Angst

Masterlist

“Alistair!”, Maxwell beamed, spinning his son around while locking eyes with one of his many assistants. “I didn’t know you’d be back so soon!”

“It’s your week with him Mister Lord, you ex-wife just had him dropped off”, a lady in a pencil skirt informed him.

You rolled your eyes at the both of them. Maxwell did this every time, too caught up in his bank statements and bleached hair to pay attention to his own bloody flesh and blood. It wasn’t long before the young boy was kicked out of the office once again. You’d watched this scene every other week, your heart aching for the poor kid, this had to stop.

“Hey there little man, how’s it hanging”, you started, kneeling beside the chair he was sat in.

“I’m bored”, he sighed, eyes glued to his tan hands.

“I see.. wanna come check out my office? I have my own fridge filled with snacks”, you spoke, whispering the last part of the phrase.

Alistair looking up at that, eyes sparkling with excitement. “Really?”

You nodded, smiling at him as he took your hand. “C’mon I’ll show you around, let’s have some fun.”

 The two of you had become inseparable over the weeks, spending every otherwise so dull moment together in your office, which you’d given a little revamp. Your mother had given you some of your old and retired toys that you kept in the bottom drawer of your desk. A small chair was also added, which your friend had graciously gifted to you.

Every day after Maxwell dropped his son off with someone else, you’d go and look for him. Once you found him you took him to your little, what he referred to as, clubhouse. Alistair would re-enact movie scenes with the dolls and toy cars you’d given him while you wrote away on your typewriter. Because despite the new self-acclaimed responsibility of taking care of your boss’ son, you also still had your actual job to do.

“Y/n, why can’t we play at home?”, the boy asked as the two of you ate your lunches together.

“Ah sweetheart, you know we can’t, we’re work friends”, you cooed, ruffling through his hair.

“Daddy said it’s fine, I can have friends over”, he continued, eyes filled with hope.

You went to stand, quickly stretching before grabbing two cans of soda out of your small fridge. “Well, I don’t think your daddy likes me that much, niño.”

“He said you went to adult school together.”

“Did he now? I thought he’d forgotten all about me”, you laughed, handing Alistair a can as well.

“He thinks you’re pretty and that you’re very smart too”, he said between gulps, a little bit of soda trickling down his chin in his enthusiasm.

“Your daddy said a lot of things to me back in the day Ali, but people don’t always mean what they say”, you sighed, a sense of nostalgia washing over you as you remembered your time with Maxwell back in college.

“Daddy never plays with me, he always promises me but he’s never home”, the child whispered, lip starting to quiver.

“Hey, your daddy loves you, okay. He loves you so so so much, he’s just… very busy.” You wrapped your arms around him, wiping some of the tears that had fallen from his eyes.

“I don’t think he means that”, the boy sobbed. That was the exact moment your heart shattered and you vowed yourself to fill the void Maxwell had left to the best of your abilities.

“How about I come over to play some more tonight? I’ll sneak in some ice cream too, your dad doesn’t have to know.”

 That night you went home with Alistair after arranging with the nanny that you’d be taking over for the night. She was grateful to have you take over, eager to get home to her own family. So here you were, sitting in the colourful bedroom, laughing away with your tiny friend.

“No way, my Action Man is waaaaay cooler looking than yours”, you giggled.

“Yeah but mine will kick your butt”, Alistair retorted, throwing the dolls at one another, acting out an intense fighting scene.

“Hey! No fair, you snuck up on me, that’s against the Action Man code!”, you yelped, tackling the boy to the floor and tickling at his sides.

“Since when”, he spurted out between fits of laughter.

“Since I said so little Mister”, you ordered, grinning as you helped him to sit up straight again.

He wrapped his little arms around you, burying his head in the crook of your neck. “Thank you for playing with me.”

“Ah no you don’t, don’t get all sappy and gross now”, you jokingly warned. “C’mon, it’s bedtime.”

“Will you stay to read me a story?”, he asked, eyes pleading.

You couldn’t resist. After he’d changed into his pyjamas and brushed his teeth after you pushed him back into the bathroom four times, you finally tucked him in. He fell asleep after not even a page of his “Arthur” storybook.

With a sad smile plastered on your face you left his room, carefully shutting the door so as to not wake him. You grabbed your bag and headed downstairs, looking forward to ending to day yourself.

“Y/n?”, a familiar voice sounded.

“Mister Lord”, you greeted, reaching for the door handle.

“Actually, would you mind staying another ten minutes or so, I need to speak with you.”

You shrugged, crossing your arms in front of you as you turned around to face him. He beckoned you to follow him into his living room, urging you to sit down as he offered you a glass of Scotch. You politely declined and waited for him to start talking.

“My Alistair has told me you’ve been taking care of him during your shifts, is this true?” he questioned, playing around with the melting ice in his glass.

“The kid’s bored out of his mind every moment he’s stuck there. So yes, I look after him from time to time. Is there a problem?”

“No! No, not at all, in fact, I’d like to thank you. I looked into your files and noticed your pay is quite average. Besides it seems your potential is wasted in your current position, I’d like to offer you a position as my righthand, secretary-general if you will.” He looked at you with a smug smile, making big hand gestures as he spoke.

You shook your head slowly, scoffing: “No thanks, I like where I’m at.”

“Well if not a promotion then I think a raise would be in order, how much do you wish for?”, he questioned, extending his hands over to you.

“You really don’t get it, do you?” His face contorts in confusion. “I don’t need your money, I’m not some babysitter.”

“Come on now y/n, it’s not that big of a deal, let me give you a token of my appreciation”, he purrs, pulling out a check book.

“Token of appreciation my fucking ass, if you cared about your son as much as you care about your money I wouldn’t even be here in the first place. Do you think I enjoy wiping the fucking tears off of his face when he’s once again crying because he thinks you don’t love him?”, you yelled, standing up and pointing a finger in his face.

“I-I didn’t know..”

“Of course you don’t! How can when you never spend more than five minutes with him! How can you know what your son needs when you’re never even around to hear him out!”, you screamed tears starting to well up in your eyes. “He doesn’t want a pony or a fucking pool, he wants a dad that will sit down and play with him. He- he wants someone to love him”, you spoke in a hushed voice, on the verge of breaking down into sobs yourself.

Maxwell had done the same exact thing to you all these years ago. It was such a cruel trick of fate to be hired by his company, which you didn’t found out until a couple weeks in he was the owner of. You’d been too stubborn to leave, vowing to yourself that you were an adult and totally over your past romances.

“I’m sorry… I didn’t mean to disappoint you again”, he whispered, too ashamed with himself to even look you in the eyes.

The first sob left your throat, making him look up. “This isn’t about me Max… Your boy needs you.”

“I fucked up, I never stopped thinking about you, I couldn’t. If you could please just… help me. I-I’ll do anything, please, I just want Alistair to be proud.. and happy”, he pleaded, slowly stepping closer to you.

“I can only help you if you’ll let me”, you mutter against the skin of his neck as he embraces you.

“Can you even forgive me for what I did to you?”, he inquired, voice shaking with emotion.

“Yeah, if I couldn’t I wouldn’t have missed you so much”, you admitted, slowly letting go of him to look into his red eyes. “Take the week off to catch up with Alistair, the secretary-general will take over for now.”

[dweemeister]

Batman: Mask of the Phantasm (1993)

In American animation outside of Disney, no other studio inspires as much reverence as Warner Bros. The Merrie Melodies and Looney Tunes shorts precipitated into worldwide recognition for those series’ stock characters. Despite this success, Warner Bros. did not release an animated feature until the musical Gay Purr-ee (1962), in association with United Productions of America (UPA). Animators at Warner Bros. from the 1930-1960s knew they were not making high art, nor were they pretending to. Warners, since the 1930s arguably the most financially stable of the major Hollywood studios, has historically seen little need to bankroll animated features. With that in mind, it might come as less of a shock that Warner Bros.’ first in-house animated feature is Eric Radomski and Bruce Timm’s Batman: Mask of the Phantasm. Originally intended as a direct-to-home media release, Mask of the Phantasm – based on and made by the production team behind Batman: The Animated Series (1992-1995) – transcends those modest intentions. It is among of the best superhero films ever made.

In the wake of Tim Burton’s Batman (1989) and Batman Returns (1992), Batman: The Animated Series, unlike Burton’s efforts, affords time to characterize Bruce Wayne rather than surrendering ample screentime to thinly-written but scene-stealing villains. For that and many other reasons including the looming, vertical art deco-inspired production design of Gotham City; the distinctive and moodiness of its black paper backgrounds; and its balance of dark and lighter tones, BTAS remains a high-water mark among Batman fans – perhaps the best adaptation of the character there is. Mask of the Phantasm builds upon that foundation, in addition to crafting its own unique contribution within the DC Animated Universe (DCAU). As tired as origin stories are, Mask of the Phantasm is part-origin story for the Dark Knight – something largely avoided in BTAS – and somehow integrated here without distracting from the present-day scenes. Rarely is any Batman media a character study of Bruce Wayne, but Mask of the Phantasm proves itself a wonderful exception.

One evening, Batman/Bruce Wayne (Kevin Conroy) attempts to stop a gaggle of gangsters led by Chuckie Sol (Dick Miller) from laundering counterfeit money from a casino. Amid the scrum, Sol escapes from Batman, but immediately confronts a shadowy figure later known as the “Phantasm” in the parking garage – Sol dies in the confrontation. Batman receives the blame for the killing and the concurrent property destruction from Gotham City Councilman Arthur Reeves (Hart Bochner), who just so happened to be profiting from Sol’s racket. Across the film, Bruce reminisces about his courtship with Andrea Beaumont (Dana Delany), their breakup, and the lead-up to the creation of his Batman alter-ego. Juxtaposing Bruce’s past and present, we see how he channels his regrets and profound loss into being Batman. The past haunts him still, overhanging the high roofs of Wayne Manor and the ledges of Gotham’s skyscrapers. Back in the present day, the Phantasm has murdered another crime boss; a third murder involves the Joker (Mark Hamill), initiating an emotional dénouement that, because of the intricacies of motivation that the film develops, elevates the film beyond what might otherwise be sloppy storytelling.

The dramatis personae also includes crime boss Salvatore “The Wheezer” Valestra (Abe Vigoda); Andrea’s father, Carl Beaumont (Stacy Keach); the Wayne family butler, Alfred Pennyworth (Efrem Zimbalist Jr.); GCPD Commissioner James Gordon (Bob Hastings); and GCPD Det. Harvey Bullock (Robert Costanzo).

The screenplay by Alan Burnett (producer and writer on various DC Comics films and Hanna-Barbera productions), Paul Dini (head writer on BTAS and Superman: The Animated Series), Martin Pasko (a longtime DC Comics writer), and Michael Reaves (head writer on BTAS and 1994-1996’s Gargoyles) keep the film’s attention on Batman/Bruce Wayne, despite the introduction of various subplots and Joker – whose somewhat-questionable presence might seem to indicate a project going off the rails. Shadow of the Phantasm’s placement of flashbacks stems the awkwardness that Joker’s inclusion brings, assuring that the film stays grounded into Batman’s psychology. In past Bruce we see a charming young man with time, money, and looks to spare. His romantic side with Andrea is an element of his life, one that connects – inevitably, tangentially – to the trauma his parents’ murder. His most personal motivations – that which a younger Andrea could never see, and privy to only Alfred – are stuck in the past, circulating around that childhood loss.

The occasional reflections from Bruce Wayne on what his life has become make Mask of the Phantasm the most introspective piece within the BTAS continuity, freed from the constraints and expectations inherent of episodic television. No BTAS episode forces its eponymous character to confront himself to such extents. What Bruce Wayne and Batman have become in the present-day treads perilously close not to his style of vigilante corrective justice, but vengeance. The tragic paradox that lies at the heart of this tension is the soul of the Batman mythos. Anyone with the most basic understanding of who Bruce Wayne/Batman and the Joker are will at least have a glimmer of understanding of that paradox. This portrait of what Batman stands for is more maturely handled than any of the twentieth century live-action Batman films, and with less sensational filmmaking than Christopher Nolan and Zack Snyder could produce. But with the film’s screenplay and Kevin Conroy’s iconic voice acting as the Caped Crusader, it becomes an inquest into Bruce Wayne’s tortured soul.

If Mask of the Phantasm ran longer than its seventy-eight-minute runtime, Andrea Beaumont, too, might also have received similar character development as Bruce Wayne here. Even within those seventy-eight minutes, Andrea – with a great assist from Dana Delany’s voice acting (Delany so impressed Bruce Timm here that she was given the role of Lois Lane in Superman: The Animated Series) – is a nevertheless fascinating character. In a cruel irony, her ultimate role in Mask of the Phantasm is to be an incidental mirror to the violence that occurs in this film. Her decision is not an imposition, whether conscious or unconscious, from someone else, but hers and hers alone.

In this drama fit for opera, this Batman occupies a world of operatic proportions. The background and character animation are not as pristine as the best examples of BTAS due to some scattered bits of animation outsourcing. The animation of BTAS might seem stiff and janky to modern viewers expecting Flash hand-drawn animation or hand-drawn/CGI hybrids. However, Mask of the Phantasm retains the gravity-defying art deco of the animated series that somehow does not clash with the ‘90s-influenced and futuristic elements it integrates. Its primary inspirations are of film noir and the Metropolis seen in the Fleischer Studios’ Superman series of short films (1941-1943). The black paper backgrounds provide Gotham’s street corners and rooftops a nocturnal menace, immersing the viewer into the city’s seediness.

Composer Shirley Walker (orchestrator on 1979’s The Black Stallion, conductor and orchestrator on 1989’s Batman) was one of the few women composers in Hollywood at the turn of the twentieth into the twenty-first century. A pianist (she played with the San Francisco Symphony as a soloist while still in high school) who studied music composition at San Francisco State University, Walker would later become one of the first female film score composers to receive a solo credit for composing the music in John Carpenter’s Memoirs of an Invisible Man (1992). But it is her work in the DCAU that distinguishes her – of particular note is her arrangement of Danny Elfman’s theme to 1989’s Batman for BTAS and a wholly original main theme for Superman: The Animated Series. Though Walker could adjust her style to suit a more synthetic sound, she specialized in composing grand orchestral cues. That style was apparent in BTAS and is adapted here from the opening titles (the lyrics here are actually gibberish and are the names of Walker’s music department sung backwards). The foreboding brass and string unison lines seem to reverberate off the animation’s skyscraper-filled backgrounds. Numerous passages in Walker’s score, as if taking hints from Richard Wagner, elect not to resolve to the tonic – setting up scenes where tension escalates alongside the music, forestalling the dramatic and musical release.

One stunning exception to Walker’s ominous, atmospheric score is the gentle cue “First Love”, an interplay between solo oboe and synthesizer. Bruce’s flashbacks are not only a balm to the grimness of his present situation, but a musical reprieve from the intensity of the action scoring. That Walker can navigate between such differing moods exemplifies her compositional dexterity and overall musical excellence. Walker, who cited Mask of the Phantasm as her personal favorite composition for any film or television production, was one of the DCAU’s greatest under-heralded contributors. And how I wish she was given more chances to score different sorts of films.

Warner Bros.’ last-minute reversal on Mask of the Phantasm’s release strategy – abandoning the direct-to-home media debut for a theatrical release – meant minimal marketing for a low-budget film that made barely a dent at the box office. The film’s home media release would more than make up for the film’s theatrical release failure. Upon the success of BTAS and the critical acclaim lavished on Mask of the Phantasm, Warner Bros. kept the DCAU on television for another thirteen years, with infrequent direct-to-home media movie releases as recent as 2019.

For numerous DC Comics fans, the DCAU is an aesthetic and narrative touchstone. The limited animation is sublime for this period in animation history. In addition, one will overhear fans remaking that a certain superhero’s definitive portrayal might be thanks to the DCAU. The superhero benefitting the most from the DCAU’s characterization and storytelling is unquestionably Batman. And justifiably so, as Mask of the Phantasm shows due respect for Batman and Bruce Wayne – what molded them and how each persona intertwines with the other. The mythos behind any superhero is found not in fight scenes. Instead, it resides in the psychology and rationalizations that forces a person to directly confront another’s wickedness. Mask of the Phantasm realizes that such confrontations test Batman/Bruce Wayne’s remaining vestiges of humanity, and braves to ask moral questions that too many figures of superhero media would rather not think about.

My rating: 8.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[canyouhearthelight]

The Miys, Ch. 91 - Campfire Stories, Part 1

As promised, I wanted to do a camping trip and scary stories, since I can’t actually go camping for my birthday this year. And I got A LOT of stories from all of you!  Thank you so much!

Because of all the stories I’ve received, I am going to be doing multiple chapters for the camping trip.  Please enjoy!

“Since when does this lab have trees?” I asked, startled by the amount of towering vegetation as we looked for a safe spot to set up a light emitter in lieu of a campfire. Those trees were definitely not present two weeks ago.

Charly giggled. “Since after the situation with Else.  There was a lot of erosion - and I mean a lot - because of the loss of iron and some issues with the structural integrity, so… Two months? Maybe three?”

Maybe I need to pay more attention to how often I come down here, I admitted to myself. What I remembered as two weeks was, apparently, not two weeks. “I need to add coming down here to my schedule.”

Beside me, Tyche grumbled. “Good luck convincing Alistair of that. Or Xiomara.”

I nearly jumped out of my skin when a deep voice behind us intoned “Most of her security detail is actually assigned to this lab during their work allotment, so Councillor Kalloe would be easier to convince than you think.” Turning, I saw Coffee flash a grin and wink - clearly having seen me startle when he spoke.

“We may have a good spot up here!”

Picking up the pace, I made my way toward Conor’s voice.  The clearing he found was smaller than I expected. “Are we going to have room for all the tents?”

“All three?” Maverick asked with a grunt as he set his pack down. “Ours, Charly and Coffee’s, then Grey and your sister are sharing one. And there’s plenty of space under the trees.” He pointed just outside the clearing.  True enough, the trees weren’t very dense and there was plenty of room for one tent here and there.

“What about Simon and Arthur? They’re just sleeping in the open?”

“It’s not like there are any insects.” I spun to see the previously mentioned educators bringing up the rear. Simon further clarified “Besides, there’s no rain scheduled tonight. I always wanted to sleep in the open air.”

“Lucky fucker,” Arthur grumbled, dropping his pack at his feet. “I think the rest of us have done it entirely too many times.”

Simon had the decency to look sheepish at his faux pas. “Sorry.  I… Keep forgetting, somehow.”

Slapping him on the shoulder, Arthur’s voice lightened up a little. “Dude, I’m fucking with you. You managed to miss the worst of it, and relativity is a bitch.  Besides, I’ll take sleeping rough over being confined to an airlock for six months every single time.”

“I guess that’s fair.”

“Less talkie-talkie, more settie-uppie,” Tyche flapped her hands in a shooing motion.

Throwing my hands up in concession, I started going through our packs.  Quickly, we had the tents set up and seats arranged around the light emitter. Since we weren’t permitted to set a fire, camping food was kind of out.  Instead, Simon was rummaging through the heated pack we brought, handing out containers of roast chicken and potatoes. Happy noises quickly filled the air and I tried to hide my smile. No matter how many times my ‘family’ ate my food, I never stopped feeling good when they enjoyed it.

“You know,” Charly broke the quiet, chewing thoughtfully on a bite of chicken. “We really can’t have a camping trip without telling ghost stories around the fire. Well, sorta-fire.”

“Seriously?” Maverick asked, clearly skeptical. Simon looked equally concerned.

Everyone nodded, and Grey spoke up. “Even I am aware of this tradition, Misters Okima and Rodriguez.”

“No titles!” Simon insisted, shaking his head. “We’re off duty.”

“Okay, scary stories,” Conor interjected. “Who goes first?”

“Ooo! Ooo! Meeeeeee!” Charly waved her hand over her head. After some chuckles at her antics, we all waved for her to continue. Even that brief delay left her looking ready to explode. “There is a monster that seeks to trap the unwary. There are not the sort of creature that hides in shadows or anything so crass as that, they hide in the bright of day. In the bleaching sunlight of high noon when most squint to be able to see. They stay always just on the edge of your vision. A mirage, a heat wave, a trick of the sun. You are always certain that it was nothing. But just in case, you should check it out. You think it came from the tall grass, golden with the sun. Following your hunch and best guess you delve in. Not soon enough you realize the grass is not staying trampled like it should. You turn to go home. Of course now there is no path.  The sun is cruel and merciless. The golden grain is above your head. You are truly lost. There is a far off laughter. Your bones feel uncomfortable. The laughing merciless glee gets closer and you run. You are hot and dizzy and tired. There is a hiss in your ear “ittttt won'ttt be looong noooow.” You feel it eat your panic, savor your fear like a delicacy. You never did get out of that golden field. The marble white of your bones goes so well with the gold afterall. 

Moral of the story? Wear a sun hat and carry a water bottle.”

Silence filled the clearing before Simon broke it. “Annnd you just made fields scary. Thanks for that. What’s the point in telling these stories?”

“It’s all for fun,” Arthur assured him nonchalantly. “Besides, I have one that actually happened.”

“There’s no way you’re telling me ghosts are real,” Simon argued, shaking his head.  He was met only with blank stares and deadpan expressions. “You’re joking,” he cried in disbelief. “Grey, even you? You’re one of the most logical people I’ve ever met!”

“Lacking definitive proof one way or the other, I must accept the possibility of their existence.”

“We can discuss Simon’s disbelief later,” Tyche interrupted. “I love real ghost stories.”

“Always nice to be appreciated,” Arthur nodded. “So. As a teenager, I volunteered at a Boy’s and Girl’s Club. One summer, they had an event that I was staffing. I was gathering up the kids for movie night, and I thought I heard this one little girl giggle in the computer lab. So I look and I see a little Asian girl dive under the desk. I go over and look down there and there’s no one there.

So I ask the coordinator about it later, and she just goes ‘Oh, you met Samantha. That’s cool’.

And I say ‘Wait, what?’

And she says ‘Well…you know this building used to be part of a Japanese internment camp, right? A little girl named Samantha died in the camp and she just kinda pops up every once in a while. Plays hide and seek with the kids. The fact that a bunch of them who met her and all told us her name is how we know it - we looked it up and found out about the girl who died after that.’

I never saw Samantha again, though apparently she’s a pretty benevolent little specter who just plays with the other kids every now and again. It makes me sad to think of her in the After - either alone, unsure where everyone went, or surrounded by new ghosts - other little kids, who never realize they’re dead.”

I wasn’t the only one left sniffling at his last remark.  The idea of a little ghost girl - either alone or now accompanied by immortal playmates who died when the world ended - broke my heart.

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[joaquinfeed]

ABC’s of Arthur Fleck (fem!reader)

A/N: I’m not sure if this has been done before many times, so sorry if it’s repetitive. I saw this prompt list online and thought ‘why not?’ ALSO. I don’t know who to credit for the list. So, if you know��tell me and I’ll give credit where it’s due! :) 

A = affection (how affectionate are they in day to day life? Do they show affection publicly or keep that more in private?)

It’s no secret that Arthur is touch starved. He is always finding some way to show you his deep and meaningful affection for you. He’s not used to public display’s, and he likes to keep you all to himself, so he’ll typically opt for private moments over public ones. He absolutely adores playing with your fingers, placing soft kisses on your neck, or drawing patterns across your skin. He has to feel you to know that you’re really there.

B = best memory (what is the best memory they have with you)

Arthur finds something new every day that he swears will be his favorite memory. He cherishes every single moment with you, even the little arguments, because it all reminds him how much you love him. If he was forced to choose, he would say that his favorite memory is the first time he opened up about his mental illnesses to you. You, of course, were incredibly supportive and patient. He had never felt so loved before in his life.

C = cat or dog person (this is pretty obvious)

Arthur loves all animals, but he has always wanted a little kitten. They are playful, but not too hyper. They also don’t require as much care, and Arthur already has a lot on his plate. Although you’ve never talked about it, he secretly hopes you both will get a pet one day. 

D = dreams (what do they want to do in life?)

Besides spreading joy and laughter, his biggest dream has already come true. If Arthur could, he’d spend the rest of his life making sure that you’re happy. He wasn’t sure if he’d be a good father or not, but if a baby was something you wanted or desired, he would put every last inch of effort into making that a reality when the time is right. He barely believes that you love him unconditionally, let alone another little human. He would be grateful either way.

E = evenings (how do they spend their evening? Do they go out? Do they read?)

Arthur’s perfect evening would go like this: cuddle with you, cook you some dinner, practice his standup routine to see your pretty little smile, cuddle with you, watch the Murray Franklin show, and then cuddle with you. He couldn’t get enough of your arms around him, and if he had to save up a little extra money to buy a few more soft sweaters (just so you would lay your head on his chest), so be it. Let it be known that he’s also not opposed to spending the evening in the bedroom. He can always watch Murray another time.

F = first date (what was it like?)

It was a little awkward for the both of you. Arthur was still so new to dating, and he didn’t want to do anything wrong. Plus, neither of you are rolling in money, and so you just stayed in at Arthur’s apartment. He cooked a nice meal for the both of you, put on a Charlie Chaplin film, and introduced you to his mother, Penny. It was unconventional, all over the place, and different from what you were expecting. However, you wouldn’t trade it for the world. The night was very Arthur, and it only made you fall harder. 

G = giggle (what is their laugh like? What makes them laugh?)

He has different types of laughs. Some fill you with absolute adoration and joy. Others fill you with sadness and pain. His attacks come when he’s feeling anxious, dissociative, or under-appreciated. His beautiful, real laugh comes out while watching Murray, joking around with one another, and when he plays practical jokes on you. You taught him a few pranks because you knew they would make him happy, and boy did they. Switching sugar for salt is funny, but only the first time.

H = hugs (do they like hugs?)

He LOVES hugs. He likes ‘goodbye, I’ll see you after work’ hugs. He adores ‘we just had a fight, and I’m really sorry’ hugs.  He fonds over ‘I missed you so much’ hugs. He feels lucky to get ‘it’s okay, I’m here for you’ hugs. But his favorite hugs are ‘there’s no reason, I just wanted to be near you’ hugs. Yeah. He loves hugs.

I = instrument (do they play an instrument?) Arthur doesn’t play an instrument. When he was a child, he never had the time or money to learn. As an adult, he thinks it’s too late to try and get into the hobby. He figures he probably wouldn’t be very good at it. You assure him though, if he wants to try, you’ll find a way to make it happen. He feels music deep within him, and you know he’d be a wonderful musician.

J = joy (what brings them joy in life?)

You do. Nothing brings more happiness to Arthur’s life than you. Your smile, your laugh, the way you look at him. It’s all so overwhelming sometimes. Not many other things bring him to pure joy; Gotham hasn’t been kind to him. However, the city almost seems like Heaven when you’re around.

K = kisses (what kind of kisser are they? Shy? Passionate?)

It depends. When Arthur is feeling confident, he can take charge and definitely get caught up in the moment. His first priority is pleasing you. Early on in the relationship, he was incredibly shy. He felt like he would break you, or scare you away if he touched you too much. He’s come a long way, but he still has days where all he can give are small, timid kisses. Either way, you love them. 

L = love (how do they act when they have a crush)

Arthur doesn’t mean to, but he’s pretty obsessive. As soon as he set his sights on you, he knew he had to be near you. It took him awhile to get the courage to actually talk to you, but he admired you from afar quite a bit. 

M = memory (what’s their favourite memory?)

Again, Arthur loves every memory with you in it. His childhood memories weren’t exactly pleasant, and life before you was…difficult. He can’t wait to spend the rest of his life creating new memories with you.

N = no (what is their pet peeve?)

His biggest pet peeve is unkind behavior. Sure, he hates when people are so mean to him. Especially when he’s only been kind to the people of Gotham. But no. Unkind behavior to himself was one thing, but unkind behavior to you? It made him livid. If someone was rude, said a snarky comment, or harassed you in any way, he would furiously write his feelings down in his journal. So much so that his therapist asked when his joke diary turned into a Y/N diary. He just blushed at that.

O = occupation (what’s their dream job?)

It’s always been Arthur’s dream to be a comedian. Well, except for that one brief moment when he was a child when he wanted to be a pirate. But he doesn’t talk about that. He knows just how cruel this world can be, and he wants to spread love and joy as much as he can. What better way than making people laugh?

P = parent (what kind of parent would they be?)

Arthur would be a…nervous parent. During the pregnancy, he would be constantly afraid that you or the baby would get hurt. Not to mention, he’s read stories about women dying during labor. 

It terrifies him to think of that. 

After you and the baby were safely home, he would always make sure you both were happy and healthy. He often wrote his worries down about parenting in his notebook. A few of them being: “What if my kid thinks im as weerd as other people do?” “My baby mite have some of the same mental illnesses as me. Maybe insomneea.” Arthur also knows how bad he is at spelling. What if his child needed help with their homework? Would he be smart enough to do so? Would his kid be embarrassed by him? These thoughts often plagued Arthur’s mind. He kept it to himself for now though; he didn’t want to worry you.

Q = questions (do they believe in the super natural? Aliens? Anything along those lines)

Arthur doesn’t even know what’s real in the natural world around him. Or at the very least, he questions it quite a bit. He spends too much of his time trying to convince himself that you’re real; he hasn’t had time to think much about ghost or aliens. 

R = romantic (are they romantic during the relationship?)

Of course he is romantic. He gets discouraged by his gestures, and he wishes he could do more for you. He hopes every day that you’re not disappointed in him (you aren’t). He loves cooking you good meals, buying you flowers when he can, or taking an extra shift at HaHa’s in order to buy you a gift. He’s seriously considered selling his Charlie Chaplin movie collection to take you out to a fancy dinner. The only reason he hasn’t is because he knows you’d be upset if he did.

S = smile (what makes them smile without fail)

Is this even a question? YOU! When you’re smiling, Arthur’s smiling. The Murray show often makes him smile too, but he still loves you more. (You hope!)

T = together (how clingy are they? How long do you two spend together per day on average)

He’s pretty clingy. Being apart from you for too long makes him anxious. You’re the one who grounds him and makes him think positively. Without you, all he’s got is himself and his thoughts. Both of which, can lead him down a spiraling path. He prefers to be with you at any hour he can; if he could spend all 24 hours with you, he would.

U = unbearable (what habit do they have that’s unbearable? What habit do you have that they find unbearable?)

You love Arthur, but you hate how insecure he is. You’re patient because it makes sense, and you understand him. However, you wish more than anything that Arthur could see just how beautiful and amazing he is. You hate when he talks down about himself; after all, that’s the man you’re in love with. As for you, he likes everything about you. The only thing that irritates worry’s him at times is your need to make sure he’s okay. You’ve nearly fought people who are blatantly rude to him, and it upsets him to know that you could be hurt in the process. 

“I’m not worth it,” he’ll tell you. 

There’s that self-doubt again.

V = videos (do they take lots of videos or photos during your relationship?)

You don’t really take any videos; neither of you have the money to spend on a video camera. You do have a polaroid camera that you’ve kept with you, and you love taking pictures of Arthur. Pictures of his face are scattered around your apartment. Sometimes you’ll take pictures of yourself too and tape them where he can find them. It helps remind him that you’re real, and you love him.

W = wedding (what will the wedding be like?)

The wedding is small. Neither of you even expected to get married when you did. Arthur decided it was time to marry you, and so he asked. He saved up money for months to buy you a ring. The ring still wasn’t all that big, but you didn’t care one bit. It was beautiful to you. His speech was short and sweet, complete with nervous stutters and blushes. 

“I-I’m sorry I couldn’t buy you something better,” Arthur blushed, looking a little ashamed at the small ring he held in his hand. “But-but I wanted to marry you now. Or, I wanted to ask you. Shit! I didn’t- I didn’t ask you. Do- do you want to marry me?”

It was perfect. You both were so excited to marry one another that you couldn’t care less about the actual wedding process. That night, and way into the morning, you both surely had fun celebrating your love. 

X = eXtra (what’s an interesting fact about them that they don’t tell anyone about?)

The 1920′s silent film Treasure Island made him want to be a pirate when he was younger. He thought he would go on adventures, find treasure, and sail the open seas. As a kid, that looked like ultimate freedom. 

Y = yuck (what do they hate? Could be a food, scent, word, anything)

Arthur hates bully’s. He also hates when you shrug after he asks you something important about yourself. For example, all the times he asks what’s wrong, or why you feel insecure, or if you think you’re beautiful, and you shrug? Yeah, he hates that. He knows you might just need some time, but he doesn’t like to see you upset.

Z = zzzz (how heavy of a sleeper are they? How do they sleep? What mood do they wake up in? Really any sleeping headcanons)

Arthur is a heavy sleeper when he can actually fall asleep. Because of his insomnia, he has a hard time getting to sleep and staying asleep. You often find yourself awake with him, keeping him company or stroking his hair until he’s tired again. When he does get a few hours in, you try to be as quiet as humanly possible so you don’t wake him up. Arthur loves falling asleep with you tucked into his side, or he into yours. He has to admit, he’s never slept more peacefully than with you by his side.

[ramblings-of-a-mad-cat]

I don't want Percy to be MC's friend. He's a complete jerk who only cares about himself more than his friends, parents and siblings but at least, he learned his mistake in the last Harry Potter movie. Watch the video called "The Entire Life of Percy Weasley (Harry Potter Explained)"

I can’t say that I agree, anon, though I can understand finding Percy obnoxious, especially in this game. His personality can definitely rub people the wrong way. However, having just watched the video, I have to say that I think it’s very one-sided. I’ll try and go through everything that it talks about - under the cut because I have no filter.

Fred and George

To say that he didn’t like his brothers Fred and George, and that he wanted to control them, isn’t really accurate and it doesn’t acknowledge that whenever Fred and George were mentioned in conjunction with Percy, they were usually bullying him. Vandalizing his Head Boy badge, even though he was proud of having gotten the position and it meant a lot to him. Or the time that they literally sent him dragon dung. Or the time that they tried to leave him for dead in a Pyramid tomb. And it was played for laughs. I’m not condemning Fred and George because they were the human embodiment of the chaos alignment, so it makes sense that they would butt heads with Percy. Brothers pick on each other, I know it happens. But it’s not fair to act like Percy feeling distant from his other siblings was his own fault. Fred and George were really popular with the Weasleys and other kids. Percy, by comparison, was just tolerated. Even though he was the model student and the one who followed rules, and the twins were constantly causing trouble. Why should Percy be ashamed of doing what he’s supposed to do? Why shouldn’t he want attention and validation from his family? Maybe the reason he talked constantly about his accomplishments was because he wanted to be appreciated.

The other Weasleys

Most of the moments where he doesn’t get along with his family in the early books are not moments that Percy himself initiates. It’s primarily Ron, Ginny, or the Twins picking on him. He didn’t even feel like he could tell his family he was dating someone because he guessed (correctly) that they would bully him for it. Speaking of that, Ginny promised she would keep Percy’s secret, and then turned around and told basically everyone. 

Despite all this, Percy very clearly cared about his family, well before Deathly Hallows. Like the time he boasted about Ron helping to win the House Cup. The time he tried to comfort Ginny, believing she was upset about Ron. The time he scolded Ron over this and warned him to stop going near the site of the Basilisk attacks because of how it would look. Or the time he watched out for Harry because Mrs. Weasley asked him to, “like an extremely pompous guard dog” as the video says. (Like I said, very one-sided.) Or the time that he refused to let go of Ron after Ron was used as a hostage in the Second Task. The video also attributes the end of Percy’s relationship with Penelope to him working too much in GOF...but there’s literally nothing in the books that ever suggests that.

The Triwizard Tournament

Like Bill, Percy is show constantly shown to be a good leader. He was named Prefect and Head Boy and he utterly embraced the positions. But the video mostly focuses on how proud he was of having gotten these positions and now enough on how he got them...because he earned them. In the same breath as talking about how he would apparate in the house every morning just to prove he could the video also talks about how Crouch barely gave Percy the time of day. Couldn’t be bothered to remember his name and just gave him pointless tasks. Despite how excited Percy was and how eagerly he would talk about all this to the rest of his family, who found it boring and avoided the topic. Percy is all alone in GOF. Even more so than he has been before. It’s really no wonder that he poured himself into his work and looked to the Ministry for support and validation, because he wasn’t getting any at home. He was just being belittled and humiliated at every turn. Of course, once Crouch was imperius’d, Percy thought he was finally getting recognition, but he was just being used. He was being set up as the fall guy. Even the villains are indirectly dismissive of this character! 

Because Crouch was out of commission, Percy was having to deal with all his work. So to say that he valued laws and rules over his own family is not only cruel, it’s completely wrong. Percy is resentful of them because to him, it feels like their actions are creating more stress for him at work and ruining that environment for him too. Ruining his dreams. The Ministry (and the video) blames Percy for not figuring out that something was off about Crouch, but it was still the same hand-writing, so why would Percy question it? 

The Estrangement

His supposed reprieve came when Fudge hired him as a Personal Assistant. Percy was excited and came home, hoping his Dad would be proud of him. But like always, Percy was disappointed. Arthur was right in his suspicions about why Fudge hired Percy, but that doesn’t matter. What matters is that Percy heard “You aren’t good enough to have gotten this job.” He heard Arthur refuse to believe that he might have actually earned this. That he was succeeding. “No Percy, this job isn’t real. The one person who’s actually valued you in recent memory is just manipulating you and it’s totally our fault for siding with Dumbledore, but I won’t admit to that.” That’s how it felt. And yeah, it was one time too many. The Weasleys have never conveyed to Percy that they appreciate him or want him around, so why should he want to stick around? Why didn’t anyone step in sooner, or come to his defense when he was taking the fall for Crouch? Why is it only when their agenda is threatened that they say something? And Percy is the selfish one? Why should he believe Voldemort has returned? I agree that what he said to Arthur about Arthur’s reputation and their family was horrible...but I think Percy-Antis view this as totally without cause. And the cause is clear. 

I take issue with how the video describes Percy slamming the door in Molly’s face “without even giving her a chance.” Because that scene was never depicted. We don’t know what happened or what was said. We don’t know how long the conversation may have lasted. But y’know, if I was Percy, I don’t think I’d even answer the door. He’s made his choice - cut ties with his family. To Molly’s credit, she was one of the only Weasleys who praised his accomplishments...but neither she nor Arthur ever did anything about the constant, constant bullying. That might be pretty hard to forgive, and Percy never receives any apology for it. He’s the only one who apologies in the end.

The letter that Percy sends Ron seems pretty terrible until you look at it from from the perspective that he’s genuinely trying to protect his little brother. Which he has always done in his own way. It’s an olive branch. Look, the word on the street is that Harry Potter is constantly lying and potentially dangerous. Percy might very well have made the judgment call that his family was blinded by their loyalty to him. It’s not like Percy and Harry were ever close. Think about it. After befriending Harry, Ron consistently got involved in dangerous adventures like confronting acromantulas, dementors, devil’s snare, the list goes on. It’s not unreasonable at all that Percy might want Harry to stay away from Ron. I’ll agree that giving Umbridge an endorsement is jaw-dropping...but we don’t see them interact. Umbridge might have put on a completely different face around Percy. Or he might have simply trusted Fudge and repeated his words. We just don’t know.

Fudge’s Departure

Dumbledore said that it’s harder to forgive someone for being right, then it is for being wrong. I’m not going to go off on a Dumbledore-bashing tirade right now, because that’s hardly the point -  but while that is very wise advice in general...it completely misses the real point of why Percy left. It doesn’t matter if Dumbledore was right and Fudge was wrong. (Though Percy no doubt felt horrible and humiliated yet again when he realized that.) What matters is that Percy’s family pushed him away and made him feel so isolated that Fudge valuing him was the only good thing going on in his life. Percy leaving doesn’t make him an asshole. But it does say a lot, not about him, that he decided Fudge’s approval and his job at the Ministry were worth moving out and cutting off all contact with his family. Dumbledore's assessment of Percy’s feelings once again ignores any responsibility that his family has in why he left in the first place.I genuinely do love the Weasleys to no end (just look at my URL) but their relationship to Percy was toxic.

 Scrimgeour, like Fudge, used Percy to get to the Weasleys, and forced him to pretend that he wanted to see them when he didn’t. Try to imagine being in that position, especially when Molly was the only one who even acted happy to see him. Fred, George and Ginny threw food at him. Literally why would Percy ever want to see them again if this was the welcome that he got? It was already painful for him and they did not make it any easier. Sure, I know that it was probably painful for them too, but they were once again not even considering Percy’s feelings, just their own. 

The Battle of Hogwarts 

I’ve already talked about how Percy apologies for everything, and the other Weasleys apologize for nothing. Not gonna lie, this is realistic to an uncomfortable level. Family members who have been mistreated wind up being the ones to apologize because they miss their family, even though they often aren’t completely to blame. But this is probably never going to be addressed because immediately after the reconciliation, Fred died. Just imagine how much undeserved guilt Percy felt about that. And then look to the epilogue where there’s one final humorous moment about Harry seeing Percy at King’s Cross and making a mental note to avoid him. Literally nothing has changed. Percy is still the joke of the family. He’s just accepted it because without them, he’s alone. He’s learned to see himself as the problem, and not them. 

...I am such a nerd. But I hope you can see where I’m coming from as well. Again, I love The Weasleys. I adore Fred and George. But Percy is not, and was never a bad guy. In some ways, he’s my favorite Weasley. I do love his character arc. But...I just...I wish there had been some apology from the twins as well. 

[thejamesoldier]

A Single Frayed Rope

AO3 Link

Chapter 2 

A/N: Hey guys! Sorry for the long gag between updates! Should have some marvel stuff updated next!

Chapter 3 - Horseshoe Overlook I

Horseshoe Overlook ~ May 1899

The tree Kieran and you are tied to feels like a cheese grater against your back.

Every time you flinch or breathe too heavily the bark chafes against you and its agony. You haven't sat or laid down since the mountain cabins and only a lady who you have learned is called Mary-Beth comes to feed Keiran and you small rips of stale bread or sips of water regularly. She does it quickly and when the least amount of people are watching, but you're grateful for it. It's the first display of genuine kindness you've been shown since...traveling. Time traveling.

Yeah you still haven't come to terms with that.

Most of the camp has come by to take stock of the two of you, some to antagonize and demean while others offer small tokens of food or coffee if you both are looking particularly pitiful that day. Some of the gang have beaten Kieran and to your horror beat you too, some have dropped food just out of your reach, tossed their still lit cigarette buds at your faces, talked to you like you were the worst scum of the earth. You had never been in a situation where nobody...cared, nobody cared what was done to you and everybody relished in your discomfort and pain. These people were cruel, the kind of cruel you read about in history books and news headlines and watched in movies. The kind of cruel you believed you'd never have to experience like your ancestors did.  

"Mercy! Please!" Kieran moans to a passerby, his voice a racket in the quiet foggy morning and effectively wrenching you from your thoughts.

You try to tamper down the brittleness threatening to shatter your chest and allow your senses to distract you from your fear. The abuse has become so regular you eventually reached a point where you began trying to anticipate their cruelty, desperately trying to find a pattern to it. And in doing so you unintentionally became an expert on these people. At first you started discreetly observing how they treat each other, how each person does their chores, how they act when eating together or singing together. Then you learned each of their names and cataloged their habits, committing every little interaction and detail to memory. You have to know the enemy to defeat them, or in your case simply survive them. Apart from your rapt daily assessment of your captors, there's not much else for you to do other than suffer. Though you choose to do it silently unlike Kieran for you fear if you open your mouth god knows what will come out of it. Plus the second you allow yourself to truly indulge in your fears, is the moment you lose your ability to be present in any given situation and survive it.

The passerby Kieran is wailing to is a big heavy set man who you've guessed is the camp cook, or something like that. Pearson is what everyone calls him. He is always one of the first to wake, preparing a communal coffee pot which he sets by a fire pit that burns a couple paces in front of Kieran and your tree, and then sets to work on various chores like chopping up fresh game or tanning leather, before starting on a stew of some sort for dinner. The smells of food, actual hearty food, has been the worst torture thus far. You've shit and wet yourself more than you'd care to keep track of and it makes you wish for death more than wading through miles of hip deep snow did. You're constantly terrified your body will shut down without your consent too, rendering you unconscious and unprotected. You hadn't slept a whole week after you were first tied to the tree, and you've barely done so since. It's been about three weeks now.  

Pearson doesn't even look your way, much to Kieran's disappointment, and continues on with his routine deaf and blind like everyone else is to your pain. You don't know why Kieran's trying so hard. I mean yeah you want mercy too but from the welcome you've been given, you seriously doubt begging for scraps of kindness like Kieran is will give you much favor when they do eventually decide what to do with you. You want to think it couldn't hurt to try, but with these kind of people you figure compassion is a tall order to expect of them, let alone ask of them.

"When is this gonna end!" Kieran cries to no one in particular as he sags against the tree and hangs his head. His defeat you feel in the core of your being.

"Speak! Don't cry, boy." Someone barks suddenly, making you both jump at being addressed directly as it usually foreshadows bruises and split lips.

A figure appears out of the heavy morning fog like a menacing monster from a story book. Reality soothes your strained imagination when you recognize the man as Arthur as he bends down over the fire to pour himself a cup of coffee. A strange kind of relief twists in your gut -- at least it's not Bill. Bill had yet to take up on his promise to 'break you for his own' and 'make you squeal'.  

"Speak. About your gang." Arthur stands to his full height once he's done with the pot, walking lazily over to stand in front of the both of you with all the causal menace of a great predator.

Blowing gently on the hot beverage Arthur settles his weight in one hip before taking a measured sip from the steaming tin cup, his free hand adjusting his ammunition belt that hangs low on his hips. When he brings the cup away from his face and swallows with a soft hum of contentment, Kieran drops his head at the display and starts honest to god sobbing.

"I can't..." Kieran whimpers, his lungs working against the tightness in his throat.

"Boy," Arthur warns, violence coloring his eyes as he just stands in front of the both of you and sips. He knows Kieran and you are close to breaking, knows it and relishes in it.

Fucking bastard.

"Excuse me?"

Your heart jumps when you realize you had just said that out loud. Dread promptly drains all the blood from your face.

"Wanna say that again?" Arthur turns his full attention to you as Kieran heaves around tears that won't come because the both of you are too dehydrated.

Your first instinct is to cower, to submit, to survive, but there's something severe in the way Arthur makes you feel as he glares at you. A dare. A threat. And now that you've opened your mouth, the first time doing so since the mountains, you can't stop yourself from repeating with perfectly articulated diction,

"Fucking bastard."

"First time you've spoken since the mountains and that's what you choose to say? Aw that's not too smart. Not the language of a lady, is it?"

As you press your lips together your chin gives a violent quiver at the clear implication in his tone. Your eyes grow guarded and your fear swiftly resurfaces and makes itself known by twisting your gut into knots. Arthur locks you into a staring contest you can't escape from. Unfocused, directionless rage holds court in his eyes, looking like its lived there unchecked for some time -- grown rotten -- though the rest of his expression speaks to a more complex range of emotions you don't know him well enough to decode. Of all the people in the gang, Arthur you know the least about. He's a ghost. He's rarely in camp and when he is his stays are short. This makes Arthur and his actions impossible to predict. Which makes Arthur the most dangerous. What you are able to gather though besides the undercurrent of rage, is an unimaginable need to unleash said rage on anyone or anything. You refuse to be the excuse he needs so you shut up and just stare back, unsure of what you are attempting to prove or accomplish by not looking away. What you gain by facing all that rage.

"Woah, hold your horses," Comes a new voice as another monster emerges from the fog.

It's the man with curly black shoulder length hair, the one with the authority, the one that everyone seems to listen to without question. Dutch is his name. Your first impression of him pleading in that cabin in the mountains with the man you've remembered to be Hosea, contradicts the swaggering asshole he presents himself as to Kieran and you. Though he's a swaggering asshole to everyone but these people...this gang. His gang. You made sure to pick out the leaders and sort out the hierarchy first.  

Dutch saunters up to stand beside Arthur followed by that horrible wretch Bill.

"It seems the cat has got our friend here's tongues." Dutch continues in a colorful drawl, "I was thinking Mr. Williamson could have a word."

'The pleasure of breakin' you for my own is gonna be so much fun.'

You violently shove away the memory of Bill's promise before it shows on your face. You pretend you don't remember the fact that they took the metal cot from the mountain cabin with them, and that Bill is probably itching to stretch you out on it and torture you for information you didn't have.

"You ready to talk boy?" Bill snarls as he gets up in Kieran's face before turning his eye on you and giving you a toothy sneer, showing off all of his yellowing teeth, "What about you? You ready to share?"

"I told you mister," Kieran all but whimpers as his eyes jump between all three men with a desperation you are currently trying to swallow. Bill swings his attention away from you, "I told all of you. I don't know nothin' okay? Th-they ain't no friends of mine. I've just been ridin' with 'em for awhile --,"

"Horseshit!" Bill interrupts with a loud curse, causing you to flinch so harshly against the tree you slice one of your raw fingers on a peeling piece of bark. Arthur almost startles because of how badly you startled. He notes the steady stream of blood dripping down into the grass from your fingers tied behind your back. His eyebrows furrow. He says nothing. "You see we heard that part so how about you tell the truth."

Bill turns to you for an answer, receives none, then turns to Dutch.

"Dutch what do you want me to do?"

"Hurt them so the next time they open their mouths, it is to tell us what is goin' on!" Dutch nearly shouts, causing you to involuntarily shut your eyes and shake as your fear gets the better of you despite your efforts to be brave. They all pick up on your fear now, blatant as it is in the wake of such a threat of violence. "Ah who am I kiddin'," Dutch lowers his voice to almost a hush, tone growing oddly intimate as he pushes his face closer and closer to yours, "O'Driscolls won't open their mouths, unless to tell a lie."

There's a beat of silence as Dutch eyes you up, then Kieran -- determining how hard it'll be to break you.

"Screw it. Let's just have some fun!" Dutch turns to Bill and scissors his fingers, "Geld him."

"Oh yeah!" Bill whoops as he bounds off to get whatever torture instrument they have ready.

Dutch turns to you then as Kieran's panic rockets alongside yours, "Arthur,"

Arthur has been quiet this whole time, so you jolt when he adjusts his weight between his feet at being called upon. He's standing closer to you than you thought.

"If you'd be so kind," Dutch says as he holds his hand up in a clear gesture for Arthur to back hand you across the face. You can't even look at Arthur, at either of them as Kieran's wails fill your ears and your heartbeat suffocates the breath in your dry swollen throat. Your eyes close again and like when you were young, you somehow hope that if you can't see what is trying to harm you, then it can't see you either.

--

Arthur hesitates.

He hesitates too long and something shifts in Dutch's eyes then. It's small and Arthur doesn't notice because he can't pull his gaze away from the woman shivering in front of him. What kind of a man beats a cowering helpless woman, Arthur thinks to himself.

What kind of man would ask you to do that? A tiny voice deep in his mind furthers.

Arthur can feel Dutch scowling at his hesitation, though he remains silent until Bill returns with a pair of hot iron tongs. Dutch and Bill cajole the O'Driscoll boy about losing his balls and Dutch goes on about eunuchs in Rome or something, but Arthur can't do much else but watch the woman try to breathe. He hears it wheeze a little whenever she inhales and it makes something in his gut twist uncomfortably. Bill snapping the hot tongs inches from the boy's crotch catches Arthur's attention and he finds himself whiplashing back into the present, not realizing he'd been transported from it in the first place.

"You sick bastards! What do you want from me!" The O'Driscoll cries out as he squishes himself as far back against the tree as his bindings allow.

"Well, you are going to talk," Dutch says, his bravado restored as Arthur's attention returns to the present at his words, "The only question is now, or after we got these little fellers off?"

"Okay! Okay! Listen! I know where O'Driscoll's holed up and you're right, he don't like you any more than you like him. He's at Six Point Cabin, I'll take you there! Serious, I don't like him. I mean I like him even less than I like you -- no offense."

Dutch scoffs, "None taken."

He then puts a hand on Bill's arm, and Williamson lowers the tongs.

"Okay then partner," Arthur starts, "Why don't you take a few of us up there right now."

Arthur turns to Dutch and nods, "I got this Dutch. Should be fun!"

As he moves around Bill and begins to untie the boy, Bill says, "Well what about the whore?"

Arthur's fingers slip on the knot he'd been working on. He grunts his frustration and pulls his hunting knife out, cutting clean through the ropes in one deft swipe.

Dutch hums to himself, appraising the woman with something entirely wicked gleaming in his eye.

"Do what you want with her. She might know more... personal information on Colm than the boy. Women I have found are always harder to break, so don't go easy on her."

Bill cackles at that and starts to move towards the woman and Arthur can't --

"Dutch," Arthur hears himself interject, chest tight, "Lets leave her alone for now. Brute force ain't gon' work on this one anyway, I can feel it. She seems the smart silent type."

Arthur sees something foreign swirl in Dutch's irises, something he's never seen there before -- can't identify -- which is strange because he knows Dutch better than he knows himself, but its then that Arthur realizes he'd subconsciously moved to place himself between Williamson and the woman. Shuddering breaths sound quietly from behind him and it makes him clench his teeth.

"Plus," Arthur forces out of his tight jaw, "I think Williamson should come with me to shoot up the O'Driscoll's our friend here will be leadin' us to." Arthur nods his head at Bill, "Go grab Marston and tell him he's ridin' with us."

Bill looks to Dutch,

"Go with Arthur," Dutch says, "We'll leave the other O'Driscoll here to contemplate her options."

Arthur turns then, actively choosing to ignore the subtle complexity of what just happened, as he hauls the O'Driscoll boy along threatening him the entire short way to the hitching posts.

--

Across camp Hosea had been watching the whole exchange. His eyebrows dig low into his gaze when he catches the undecipherable look Dutch gives Arthur's back.

--

The second you're left alone, you feel exposed in a way you hadn't before. With Kieran gone you find your fear has tripled. There is no one to share the horror with, no one to exchange small whispered words of comfort in the middle of the night, no one to just be there beside you. It's just you, freshly re-tied to the tree, by yourself and vulnerable. It hits you then how truly alone you are, and you realize that you literally don't know anybody. Even if you escaped or were miraculously let go, you couldn't reach out to anyone not because there's no cell phones or any means of getting in touch with someone, but because no one you know has been born yet. You are alone in the world, alone like you've never been before. You have no one.

You have no one.

--

The punch of devastation lands swiftly against your chest. The feeling takes your breath away and despite all your success in not showing your true feelings thus far, your face crumples and your head, suddenly much too heavy to hold up, lowers to hang. And like a button was pressed your lungs heave dry sobs past your lips. You're so distracted with your sorrow you forget to stifle your noises.

"Miss?"

Your head shoots up and a painful gasp wrenches open your cinched airways.

"I'm sorry! I didn't mean to startle you."

It takes your eyes a moment to settle on the tiny figure before you. The sun has journeyed over the sky some since Arthur took Kieran, so evening shadows have begun casting themselves low along the ground. The young boy Jack's shadow stretches all the way to your feet. Your heart settles some from its frantic galloping when you take in the boy's face. Curiosity holds most of the real estate on his features at the moment and you try to soothe yourself as he prepares to talk.

"I was just wonderin' if you were alright?" Jack has his hands knotted together like he knows he's doing something he shouldn't be. You figure talking to the camp prisoner fell under things his mother Abigail would firmly disapprove of.

"I'm okay Jack, go back to your mother. She'll want you near since its getting darker." You manage to say after wrestling your heartbeat and breathing back to normal.

Jack scuffs the tip of his small worn shoe against the dirt, eyes down, head cocked a little as he thinks.

"I just heard you makin' sounds I make when I'm really sad," Your heart clenches at his innocence, at the free kindness of a child, "And I just wanted to tell you that I hope you feel better."

With that Jack quickly turns and scampers away -- only to run smack into Javier who happened to be walking by.

"Woah!" Javier exclaims as he trips over the small kid and Jack tumbles to his knees with a small 'oof', "Slow down Jack,"

Jack mumbles something to Javier you can't hear (you assume its an apology), before Javier helps him to his feet and watches as Jack sprints off in the direction of his mother. Javier looks after Jack for a moment before retracing the boy's initial direction and finding his eyes landing on you. Your heart stops and you immediately lower your gaze. Besides Arthur, Javier is the hardest to get a read on, the hardest to predict. Even towards his own gang members the man keeps people on their best behavior and at a distance. You feel him deciding whether or not to come over, a few throbbing beats go by then -- thank god -- you hear him walk away towards one of the main campfires where most of the camp is collected. Everyone is currently eating dinner and you're grateful the beginnings of a song is enough to coax the man away.

As you sag against the tree you can do nothing but hope for Kieran's return...if he returns at all.  

What if Arthur kills him? What if Bill or John kills him?

What if Kieran is set free or escapes and never comes back?

You're especially terrified of that. Of him choosing to leave you even though you wouldn't blame him if he did and would probably do the exact same if the situation were reversed. You know you're just being selfish and awful but you can't help it.

You have no one.  

"You're free!"

Your head jerks up at the sound of a familiar voice a few hours later and the loss of tension in the ropes holding you hostage. You don't have the ability to respond as your lungs decide to freeze solid in your chest while your mind works to digest his words. You near collapse as the meaning of them finally settles.

"Wha --," You start with your eyebrows low, chest tight, and scarcely believing what you're hearing.

"Just what do you think you're doin'?" Kieran and you both jump at Arthur's booming voice as he manifests out of the murky evening shadows to loom behind Kieran.

Kieran pivots, "I-I-I thought you said I was one of you now? I th-thought --,"

"I said you's apart of us now, not her."

"But I told you she ain't an O'Driscoll! I told you she --,"

"Just because she ain't an O'Driscoll don't mean she's not a spy." Dutch boasts as he exists his tent, approaching the situation with a very unfriendly look in his eye that does not bode well for you.

You shrink back against the tree, no matter how much the action hurts your back and savagely kills your hope.

"The second you're told you're allowed to live you try settin' our prisoner free? That ain't makin' me too happy boah," Arthur grits through his teeth at Kieran who is quickly backing away from you, arms thrown up in surrender.

"That's not what I meant!" Kieran rushes to explain as you stare up at Dutch who watches you cower before him, "I didn't mean no offense! Promise! I thought --,"

"Well it don't matter what you thought! You may be travelin' with us now but you is still an O'Driscoll, you still hold no respect or position in this gang let alone have the freedom to choose whether or not to release goddamn prisoners!"

Kieran stumbles on something as he'd been backing up from a slowly advancing Arthur, and he trips and falls. He scrambles to his knees and stays there.

"Please sir I didn't mean nothin' by it! I'm sorry!"

"What is it you want Miss?" Dutch drawls as he addresses you. Arthur turns his attention towards you at Dutch's words.

"What?" You whisper, not able to manage a stronger tone.

"What is it, that you want?" Dutch repeats with diction so sharp it could cut.

You know this is probably a trick question, but you're too scared and your mind is too scattered by panic to think of anything clever.

"I want to go home." You reply in hushed devastated defeat.

"And where is home exactly?"

You pause at this, unsure of what to say.

Ah yes I'm from the future and I don't know how to get back! I've time traveled you see and have no idea where I am, what year it is, or who the fuck you people are! Also time traveling is apparently a no shoes no shirt no pants kind of service and you loose any recent memories on top of it! I don't know where I was when I traveled, if I did anything specific or was with anyone when it happened. I remember everything up until the big black space in my memory! Very confusing I know, but if you'd be so kind as to not burn me alive for witchcraft and send me on my way that'd be great!  

"Where are you from?" Dutch demands again, moving closer to you and becoming more menacing as you hesitate.

"Up north mostly." Is the weak answer you end up going with.

"Where up north, mostly?" Dutch immediately furthers.

Your mind goes blank when Arthur moves closer to you, both men crowding you into a corner, pushing you back into the tree with each step towards you.

"Why won't you tell us where you are from?"

You silently apologize to your family and friends, but mostly to yourself as you finally...after all this suffering...despite your promises to fight...

Silence reigns, signaling your choice to give up. These people want to kill you, hurt you, have been wanting to finish what they started and you're done denying the inevitability of your situation. You're done.

You hear the click of the safety before you register the hollow barrel of a revolver Dutch points straight between your eyes. No reaction claims your body though, no emotion runs through your heart, no clever escape plan tries to desperately form in your mind...just emptiness and a hollowed out feeling you assume used to be your agony.

"I'll ask you one last time, where are you from?" Dutch pauses then adds, "And who do you work for? Is it the Pinkertons? You have a contract with them?"

"Who?" You find yourself breathing out on a weak exhale, unable to do anything else but stare through the barrel of the weapon aimed at you, past Dutch, and into the nothingness you would soon join.

"They say they'll pay a handsome sum if you bring us all in?!"

Your face smoothes out as Dutch becomes more impassioned. Here it comes.

"You workin' with the law?! You an agent from Blackwater?!"

"Dutch --," A new voice attempts to interrupt. The older man, Hosea, appears at Dutch's flank. His eyes alight with alarm.

"How much money they offerin' you?! They holdin' your secrets hostage?!"

You close your eyes. Any second now.

"Dutch!" Hosea yells, but Dutch remains undeterred.

"You apart of a network?! Huh?! Are there people you workin' with?! Do you have people?!"

"I..." The world crystallizes into glass around you, immortalizing the moment, "I have no one." You whisper, voice collapsing as your soul wrenches itself free with each breath, preparing to depart. "I have nothing. I am no one." In this time.

A feeling so volatile and destructive ignites in your chest then and it reminds you of dying stars. You fall to your knees.

--

Arthur feels violently uncomfortable as he watches the woman once again dissolve into misery, not even afraid anymore just...done. She's given up. To see someone let go like that makes Arthur cling to his desire to stay alive even more fiercely than he already does. The simple cosmic irony of giving up in a world where dying happens so easily anyway is wrong -- unnatural, it goes against everything Arthur knows.

Two graves. Ten dollars.

Arthur's chest seizes as his reality spins, no one should give up like that. But its not until Arthur sees the look on Hosea's face that the true severity of what they're doing to the woman sinks in. Arthur feels like a hole has just been punched straight through his chest, leaving a gaping gory mass of space where his heart should be as he realizes the look on Hosea's face is disgust.

Disgust.

And its aimed at Dutch.

An inhale forces itself past Arthur's lips and burns in his chest when Hosea steps in front of the woman, and slowly crouches down before her.

"Wha -- Hosea," Dutch attempts to explain, affronted and just as shocked as Arthur by the look he'd been given, "I had to get the truth out of her! You know how watched we are these days. It was for the safety of the gang! I had to do it for us!"

Arthur thinks that's a good reason, he'd do anything for the gang too even if the method didn't sit well with him and it cost him hours of sleep at night, but Hosea doesn't even bother to respond as he starts murmuring soft things to the shaking woman on the ground.

--

When you hear the safety click back on and Dutch smoothly holster his weapon, a surge of sensation overwhelms you. It feels like breaching the surf of a raging ocean, sound-sight-smell-touch-breath-life roaring at you from all sides. The high that comes after surviving hits you hard -- your soul resettling in your body -- accompanied by a few choice emotions; surprise in yourself is one of them, relief is the most prominent, but that disturbingly detached sort of defeat still lurks in the middle of it all.

You realize with a start that you just evolved, you were presented with an opportunity to fail -- your life literally on the line -- and you survived, even if just barely. A man, Hosea you think, is crouching in front of you, voice gentle words soft trying to coax you away from the emptiness as Dutch rounds on Kieran.

"Whats your name?" He inquires delicately, a kind of respect lining his tone that wasn't there before.

The only hard confirmation you have that you are no longer a prisoner.

Fuck him, you seethe as suddenly that void in you is lit up and replacing it -- manifesting from it -- is insurmountable wrath that burns through what's left of your reservations, fuck all of them.

Eyes a riot of chaos and emotional carnage, you lift your gaze up to Hosea. You watch him take in your expression, watch him as he realizes how dangerous it was to mistreat you. He falls silent, weathered face dropping from its genuine sympathetic plight to one of poorly masked weariness.

You say your name and its a promise, "Y/n."

--

Arthur knows then that if they don't make her one of them, have her truly believe she has a place in their gang, she would find a way to kill them all.

He witnesses as her will rises from the ashes of her defeat like a phoenix, sparking an invisible fuse with an unpredictable and inevitable explosion at the end of it. Her rebirth is the most magnificent, humbling, and terrifying thing he has ever witnessed. It puts him in sheer trembling awe of her, the kind of awe he gets when watching a bear fight off a pack of wolves single-handedly and win. The kind of awe that leaves him speechless, that appeals to his own unyielding will and tells him he doesn't stand a chance, not really, not if its important, not against her.

He sees the fury take hold of her, relishing in its newest host, and the twisted part of him that's sick with violence grins.

Unable, or more like unwilling, to process the swath of emotion currently attempting to suffocate him, Arthur tears his gaze away from her -- away from her fury that threatens to ignite his own, and heads straight for Sabine before getting the fuck out of camp.

--

Thoughts? Share them if you’d like! xxx

Chapter 4

Masterlist

[wonderfulworldofmichaelford]

Michael After Midnight: Heathers

Heathers is a film that in some ways has not aged well, due to the plot involving bringing guns to school, murdering bully classmates, and an attempted terrorist attack on a high school by an angry, disaffected white boy. Back when this came out in the 80s, there was far less concern about things like school shootings, so this film could play these things up for black comedy rather than try to portray it seriously. But really, this is one of those rare occasions where it’s actually true to say “a film like this could never be made today!”

And it’s a real shame too, because beneath the pitch black comedy and dark subject matter there is a lot of solid, resonant messages and a plot that actually deconstructs the shallow view imitators and even some fans have of it.

I think perhaps the most important thing this movie did was show high school as it is: a miserable, shitty pile of cliques and unhappy teenagers struggling to make it through a single day without desperately wishing for their untimely demise. There is rampant bully, belittling, lies, slander, cruel pranks… this movie doesn’t waste any time sugarcoating things. And while yes, some things are played up for dark laughs, I can confirm myself that the cruel and miserable atmosphere of this film’s high school is barely off base from reality. I think just about the only thing lacking in realism is the fact that a guy like J.D. wasn’t called to the office on day one and grilled extensively by the principal, but hey, it was the 80s.

Another thing is how this movie deconstructs its core concept as the film goes on. Everything is set up as a movie where the miserable, bullied, browbeaten Veronica rises up with her handsome new boyfriend and strikes back at the nasty bullies in her high school, killing them off one by one. Fuck yeah! Revenge is awesome! Except… it isn’t. It’s shown that, as awful as these people they killed were, they still had families and friends who loved them, they had so many people who cared, and even if that wasn’t enough the way they set up their deaths as tragic suicides only goes to make them martyrs, rendering the vengeance hollow as in death all their sins in life are erased and ignored and people look far more fondly on them. Hell, by framing the jerk jocks as gay lovers killing themselves because they couldn’t openly be together, they managed to make a bunch of people in the late 80s be less homophobic! Need I remind you this was the decade in which the F-word was a pretty casual curse word instead of one of the absolute worst things you could possibly say? Their revenge was just that toothless.

And it all comes down to J.D. While he’s built up as this cool, rebellious figure bent on teaching society a lesson, as the film goes on it’s shown that even with all of his excuses, even with his shitty life, he’s still ultimately just a pathetic, angry, broken loner lashing out at the world around him without a care for who he hurts. Ultimately this is what helps drive Veronica away from him and reject his ideals. J.D. is a truly interesting villain; in many ways, he’s a prototype for Arthur Fleck from Joker, a broken man with a shitty home life who is driven to madness and murder because of the cruel, remorseless society he lives in; Christian Slater even seems to be doing his best Jack “The Joker” Nicholson impersonation in this film, even. And much like Fleck would decades later, J.D. shows that a shitty life never justifies atrocities, and for all the sympathy he can be afforded he definitely does cross the line, and the movie doesn’t really pretend otherwise.

This movie is filled with dark social satire of things like the sensationalizing of teen suicide, the awfulness of high school, the hollowness of revenge, and all of that, and yet it feels that far too many people take this movie at face value, viewing it as some sort of deranged power fantasy in which the bullies get what’s coming to them and their victims come out on top. I’m not sure where they get this idea because by the end of the film J.D. is dead, Veronica has survived but is fundamentally changed as a person, and all the people who bullied them are now forever remembered as tragic angels with their bad qualities brushed aside, because sometimes dead is better, as they say.

It’s interesting to note that the original ending of this movie would have been far darker than the ending we got, with the bomb going off and J.D.’s deranged worldview - “Let's face it, all right! The only place different social types can genuinely get along with each other is in heaven.” - being reaffirmed. I think that such an ending would have utterly ruined the film and made it a hard sell to anyone with a shred of decency. It would just be far too bleak and joyless, and not even in a fun way. It’s just depressing. The ending we got, where Veronica rejects J.D.’s insane bullshit and decides to live, is far more powerful and resonant.

This movie is such a brilliant deconstructive parody of 80s teen movies, shining a dark light on the less pleasant aspects of being a teenager while showing the futility of revenge, the baggage that comes with dating a quote-unquote bad boy, and sort of deranged mindset that would lead someone to think murdering their classmates could somehow make the world a better place… And yet so many fans take it at face value and just see at as “Wow! Cool revenge against the bullies story!” This movie is so much more than that, and to reduce it down into something s tacky, tasteless, and just plain not what it is at all is disturbing, to say the least. Let me put it this way: if Heathers actually was what some of its fans believe it is, I would probably agree that the movie shouldn’t exist.

But thankfully the movie isn’t that; it’s an absolutely brilliant dark comedy and an 80s classic. If you can stomach some truly dark and unpleasant subject matter and laugh at some really fucked up things, this is the movie for you, though I really hope you can use your critical thinking skills and not come out thinking J.D. had a point. It’s a fucked up movie about fucked up people showing the dark underbelly of high school and the society that produces that dark underbelly, and in that regard it excels. It’s the perfect cup of drain cleaner to wash down all those John Hughes movies.

[cosmicjoke]

Why the condemnation of “Joker” by certain people on Social Media is the real Threat

I’ve got to talk about all this “controversy” surrounding “Joker”, and the hypocritical absurdity of it. 

Well, firstly, the vast majority of the social media criticism being leveled at the film is coming from people who haven’t even seen the movie, and yet are already condemning it as a dangerous, threatening, irresponsible work that somehow is going to endanger our very society.  I would laugh if the very thing these people are themselves doing wasn’t, in fact, the actual danger.  Because, whether these dimwits are aware of it or not, what they’re promoting is a thing called “censorship”.  Big word kiddies, I know.  They would have us believe that “Joker” needs to be shut down and suppressed as a film because it’s “dangerous to our society”.  Gee, I wonder where I’ve heard that before?  I seem to recall innumerable instances throughout history where the suppression of expression was excused by oppressive governments and regimes because, they claimed certain things being expressed or conveyed or examined was detrimental and dangerous to the society and culture.  I mean, usually those sorts of things are, in retrospect, acknowledged as a consequence of living in a police state.  You know, a society where individual thought and expression is deemed unacceptable, and where historically, if anyone dared break the law of what the ruling party deemed acceptable, they would be thrown in jail.

This all just brings me back to the sickening stupidity of these people now wailing about the dangers of “Joker” to our society.

Because god forbid a film should examine and depict the suffering of a mentally ill white man who’s been dismissed and neglected by a casually cruel and uncaring society.  God forbid a mentally ill white man should be shown any compassion at all, or understanding.  Because that sort of things doesn’t exist in the real world, hahahaha.  Because bad people are all born in a vacuum, evil isn’t a man made concept but an actual, tangible and definable human trait that’s completely independent of any other factors of the human condition, and their circumstances and environment have nothing whatsoever to do with how they turn out.  Oh no, chemical imbalances in the brain aren’t a real thing that can cause compulsive disorders in people.  That’s not real.  White people aren’t real people with real problems.  What a hilarious and absurd notion!  There’s no such thing as a white person that’s poor.  There’s no such thing as a white person who’s treated like trash by society.  There’s no such thing as a white person whose anything but fabulously wealthy and privileged and educated, and accepted with open, loving arms by the whole world. 

That entire paragraph was sarcasm, for the slow people in the back.

It’s funny, though, how these same people that claim those things like social and mental factors have nothing to do with people committing crimes will turn around and talk about the higher percentage of crime rates among minorities as being a direct byproduct of them living in socially disadvantaged circumstances.  I guess environment and mental health problems do effect people’s behavior, as long as they’re not white.

The point is, the people that are condemning “Joker” and shouting from the rooftops that it’s a “dangerous” film that should never have been made are by their very words promoting censorship and suppression of artistic expression, which in turn leads to an oppressed, police state society, where any given countries citizens are essentially prisoners of their own government.  THAT’S dangerous.  “Joker” isn’t dangerous.  It’s a movie about something real.  About how mental illness is something that often gets ignored by a society which isn’t comfortable with acknowledging it’s existence, and how that neglect of the problem only leads to it’s exacerbation.  How people’s casual and thoughtless cruelty towards those who suffer with mental illness can have a devastating impact on those people.   How unchecked extreme social injustice and obscene economic divides can reach a boiling point and explode in violence and rage.  About compassion and understanding for the disenfranchised and neglected and abused.  About how simply labeling someone as “evil” won’t ever solve any problem, because it’s an absurd and grotesque oversimplification of what really causes violence.  The character of Arthur Fleck is depicted as a multi-layered, complex human being, suffering human frailties and living under the intense burden of a callous, cold society which has little to no regard for the people that don’t fit in, or conform, or fit the profile of normality.  He isn’t a force of nature, or a being of pure, unstoppable evil, but a frail, vulnerable, broken man who, because of the stigma and ostracization of the world around him in relation to his mental illness, feels trapped and alone and misunderstood, with no outlet to express his pain, and no one to speak to regarding his darker, destructive impulses.  “Joker” is a film that deals with real world issues.  That doesn’t shy away from the ugly reality of those issues, and how those issues are treated by the world, and the responsibility of our society and our responsibility as individuals to help and look after those who can’t look after themselves.  To do what we can to make those who are laboring under intense negative thoughts and emotions feel as though they can speak to someone about those thoughts and feelings without being dismissed, or made fun of, or just flat out rejected or even recoiled from.  It’s a cautionary tale about what can happen when we as a society and as individuals fail to do our part and really allow ourselves to examine the true causes and reasons for why a person might resort of violence.  When we’re simply more comfortable with the idea that “evil” as a concept actually exists, is something born out of nothing, and how much easier it is to simply label people that lash out as such, rather than acknowledging that they, too, are human beings, and to reflect that their violence and destructive acts are things we ourselves would be capable of, were we to find ourselves suffering under the same mental problems and experiencing the same environmental circumstances they do.  Because it makes us uncomfortable to see these people as human beings, to see them being mistreated and abused, and to then feel sympathy or empathy in our hearts when we see them being hurt.  Because we would much rather believe they have no true feelings, no true emotions.  To believe that they aren’t people, but just things that should be regarded as nothing but repulsive monsters.  To convince ourselves that they can’t be hurt by the things we do to them, so we don’t have to experience all those awful feelings of compassion and empathy for their suffering, or feel guilt for treating them as less than human.  

Anyway, that’s my rant.  It isn’t this film that’s a danger to society.  It’s the people who don’t like what the film is expressing, and don’t want to acknowledge that what it’s expressing is based in reality, that are the real danger.  They’re promoting censorship, which in turn can lead to suppression of artistic, political, and religious expression.  Which leads to the destruction of freedom of expression.  That’s a real world, tangible threat, and it’s being proposed by people who claim to be looking out for the welfare of our society.  

[firestorm26621]

Top 10 Most Anticipated Movies of 2020

A new year is upon us, and with it being such a visually impressive numbered year as 2020, it’s hard not to think we’re living in the future.  For me, though, it mostly means another year full of movies, many of which I’m very much looking forward to.  

So, without any further ado, here are the ten I’m looking forward to the most...

#10 – A Quiet Place Part II

A Quiet Place was #4 on my list of favorites movies of 2018; at that time I praised it for being tense and riveting but mostly for doing an excellent job of using the monster scenario to illustrate its themes of anxious parenthood in a dangerous world.  A sequel, in theory, was probably not a good idea, especially considering the track record on sequels to horror movies in general.  And yet, I still find myself excited; it has the same hand behind the wheel and cast, and the trailer looks like it is maintaining the intensity if nothing else.  This one has the greatest potential to disappoint, but I remain cautiously optimistic.

#9 – The King’s Man

The first Kingsman movie was a fun blast that walked a fine line between bad-ass, charismatic action and goofy, over-the-top comedy, and it did it wonderfully.  The second film fell way over that line, becoming a goofy pile of cartoony gimmicks.  Thus, I was very nervous when I heard they were making a third, but based on the trailer, they are trying their best to reclaim some of the more serious elements that worked the first time.  Plus, I think it was a smart move to make it a brand new story with new characters in a new time period, as it allows them to make unburden themselves of the weight of the previous films.  I won’t be terribly disappointed if this ends up being bad, but I will be very happy if it rights the Kingsman ship and recaptures the charm of the first.

#8 – The Gentlemen

Guy Ritchie is making another gangster movie, and I am here for it.  In all honesty, I kind of fell off with Ritchie as a director over the last ten years; Aladdin could have been directed by anyone, the Sherlock movies are fine at best, and his takes on King Arthur & The Man From UNCLE were genuinely bad.  He can bring his style to anything he directs, but it seems he has devolved from gritty yet charming film-making to be more of a director-for-hire, without much artistic vision in place.  But go back in time, to RocknRolla and Snatch and Lock Stock, and he could bring a style that no one has been able to replicate to date.  With this, I hope he can bring the old magic back, even if it’s been absent for a whole decade.

#7 – Black Widow

This one is a pure MCU fanboy entry, for sure, but I can’t help it.  I’ve wanted a Black Widow for a long time, since back when it would have actually made sense in the timeline.  I do still think this timing is odd, but it is absolutely a case of better late than never.  I’m unfamiliar with the director who seems to have done television and a couple female-led thrillers which I haven’t seen.  But what’s really exciting is the trailer, which recalled the way The Winter Soldier trailer played out, and since that is still my favorite MCU movie, I’m alright with getting my hopes up.

#6 – Top Gun: Maverick

This one is a bit of a surprise to me to be excited about.  I have no real nostalgic feelings for the original, I think I saw it far too late for that.  Instead, I recognized it as a pretty great, if dated, action drama full of repressed homoeroticism and a very cool style (I’d later fall in love with Tony Scott’s style, but I didn’t know who he was at the time).  No, as fun as that movie is, my excitement for this has nothing to do with then, but now.  Namely, the two names attached, the director Joseph Kosinski has been doing solid films with fantastic visual styles for a few years, and recently proved he can do films with real heart with Only the Brave; and then, of course, there is Tom Cruise, who has reinvented himself in the last few years as a high intensity, all-or-nothing, thrill-seeker willing to go to any lengths to put dangerous scenarios on the screen.  The kind of person who would actually learn how to fly a fighter jet for a movie; which seems like a good fit here.

#5 – The Personal History of David Copperfield

Armando Iannucci is one of my favorite comedic directors working right now.  His comedy is of a sly, sharp, often cunningly cruel variety while also somehow seeming whimsical, which is a feat.  With Veep ending, it leaves a hole where I can experience bad people saying mean things to each other in hilarious fashion, and this will fill that nicely.   Add to that a fantastic and sizable cast, which is an almost given for his work now, and I can’t wait for this one.

#4 – No Time to Die

The Bond franchise is wildly varied in quality, especially Daniel Craig’s run, going up and down in succession for years.  I still think Daniel Craig is the best Bond we’ve had, and I still think his first entry, Casino Royale, is the best Bond film, it’s just that the franchise has changed hands so many times and everyone seems to have different ideas of what he should be, which leads a bizarre jump where he goes from brand new 007 in one film to aged, retiring Bond in the next.  So, for the most part, I’m trying to take these one at a time, not together, and basing my estimations of them by who is helming them.  And this one is being helmed by none other than Cary Fukunaga, a director who exudes artistic vision.  I haven’t loved everything he’s done, but nothing has been middling; he swings for the fences with everything he makes, and so I’m very excited for what kind of vision he’s going to bring to the latest in the 007 series.

#3 – Last Night in Soho

I know almost nothing about this one, but it’s a new Edgar Wright movie, and that’s really all I need.  Seriously, there is a very vague description about a girl time traveling to meet her fashion icon, but it honestly doesn’t matter what it’s about, Wright never fails to bring his intricate, precise, magnetically charming style to anything he does, so a new movie from him after three years without is all I need to get excited about it.

#2 – Tenet

Much like the previous entry, I don’t need anything else to get excited for a Christopher Nolan movie.  He’s an unmatched storyteller who revels in complexity and telling stories in unconventional ways, and with this one, he is going back to messing around with time, something he seems to love doing, with a story that seems set to dig down into that particular inclination to an extremely high degree.  The first trailer was promising if vague, and that’s perfect; I don’t want to know any more about what I’m going see, I trust Nolan to take me on a memorable, mind-bending ride.

#1 – Dune

I don’t want to say that this film was crafted specifically for me, but it just might have been.  Dune is my favorite book of all time, and I’ve read a good number in the sci-fi/fantasy genre, but it has eclipsed all of them with the sheer power of its ideas; ideas that have lodged themselves firmly in my head and formed a good deal of my personal philosophies.  And then, it is being directed by Denis Villeneuve who is one of, if not the single greatest director working today. Sicario was one of my favorite movies of 2015.  Arrival was my absolute favorite movie of 2016.  Blade Runner 2049 was my favorite movie of 2017, and one of my favorite of the decade.  And unless something disastrous happens, there is very little chance that Dune does not become one of my favorite films of all time.  How’s that for getting my hopes up?

[popwasabi]

“Joker” Review: Send in the (Problematic) Clowns

Directed by Todd Philips

Starring: Joaquin Phoenix, Robert De Niro, Zazie Beets, Frances Conroy

 “Joker,” on paper at least, has a message most us can all agree on.

Over the last five or six years, mental health has been a subject of increasing importance for a variety of reasons from millennial burnout, substance abuse, increases in suicide and the stigma is slowly dying away. People are more concerned than ever about it and, generally speaking, everyone wants the system to do better at addressing it in society.

(”Office Space” continues to be more and more relatable every year...)

Throughout its two-hour runtime “Joker” makes the case for better mental healthcare and a society that’s more empathetic to the mentally ill. For some viewers this is a much-needed discussion on a complicated topic through the medium of pop culture’s most famous psychopath. 

For others (me), the problem is it goes about this in an extremely problematic way that grossly mischaracterizes the problem, the people afflicted by it and namely who the victims really are, making some of the pre-film controversy unfortunately not all too inaccurate.

“Joker” takes place in early 1980s where a man named Arthur Fleck cares for his disabled mother in an increasingly hostile Gotham battling the unfair social structures of society. Arthur struggles with his mental health, seeing a social worker each week, taking multiple psychoactive drugs to keep his mind intact, and failing to keep down a Tourette like laugh that estranges those around him. As the world gets increasingly more difficult to live in around him Arthur begins to see himself in a new way and wonder’s what the point of participating any longer in it, thus beginning a series of events that will change his life and the city forever.

One of the core appeals of Gotham’s most sadistic psychopath, The Joker, has always been that the motives behind his violence have rarely had a clear reason behind them.

Other than to piss off Batman, The Joker just kind of does things because he can and kills for the exact same reasons. There’s no reasoning behind it, he just doesn’t believe in much of anything. It’s just chaos and he loves it. There’s some twisted nihilistic appeal to that in a cruel world that relentlessly reminds us many times of it and it’s what made the Clown Prince of Gotham such an iconic villain across all forms of media.

Because we all kind of want to stop caring, even just a little.

(Iconic.)

But what happens when you try to give a character like this a reason behind his twisted psyche? Does it take away or enhance the character? Many writers have toyed with this concept but never concretely answered it whether it was Alan Moore alluding to him having a “bad day” in “Killing Joke,” or the intentionally vague and confusing backstory Christopher Nolan gave the character in “The Dark Knight.”

The question behind who The Joker is, and why he is, is never truly answered in any case. They still tend to keep it mysterious because well, giving a concrete reason to this character’s particular madness kind of takes away from what makes him interesting. To quote Ledger’s Joker he’s an “Agent of Chaos” and nothing more. The Joker doesn’t care so why should we?

(Let’s really not care about this version though. Like seriously. In fact, throw it in the trash and shoot it into the sun...)

But director Todd Philips decided to give the character his first real motive behind his psychosis in “Joker” and while it can be admirable that he attempted something no other writer or director has done, and in some small way has a positive message to it, the results is at best a boring slog of a movie and at worst a problematic depiction of the mentally ill.

“Joker” certainly get’s A-pluses in plenty of areas of course; Joaquin Phoenix probably deserves an Oscar for his twisted depiction of a pre-clown prince Joker as he fully takes on the character’s twisted, emaciated skin and Philips certainly creates a believable pre-Batman Gotham city with some effective Scorsese-esque shot creation and sets. The movie though is extremely predictable as nothing all that surprising happens from beginning to end. It’s just one shitty moment for Arthur after another, culminating with (SPOILER) Arthur’s encounter with a young Bruce Wayne that leads to the final moments of the film.

(Did we really need to put Bruce through this again onscreen? The MCU gave Uncle Ben a reprieve at least...)

I wish I could get into the more superficial reasons this movie doesn’t work, such as its overly self-serious dialogue, Philips making some perhaps unintentionally humorous moments in the movie but the problem is truly it’s muddled script that appears to not really understand what mental health issues look like and who the real victims are.

“Joker” appears to make the case that society has largely ignored and left behind those with this stigma, that we are responsible for not engaging with the problem actively and not caring about the problem. Throughout the film, Gotham and its inhabitants are relentlessly cruel to Arthur, sometimes to the point where it can be over the top, showing that this is what we do to people like Arthur in the real world. They are beaten both physically and mentally and we refuse to understand or acknowledge their existence and their problems.

In this way the film almost endorses Arthur’s eventual turn to violence as the price paid for ignoring people like this.

(I’m amazed how literal some of these memes ended up being after watching this movie...)

Again, the problem with this film isn’t that this isn’t a tremendous issue in society because it is; suicide rates are climbing, despite progress in mental health awareness many country’s still stigmatize it as a “you problem,” and healthcare in this country, well you know the drill. The problem is the film seems to make the claim that these folks who are left behind by these broken systems are in danger of becoming violent monsters and it’s fucking gross.

I cannot stress this enough when I say this but there is NO CONNECTION between mental health problems and an increase in violence. In fact, they are far more likely, ten times more likely in fact, to be the victims of the kind of monster The Joker is in this movie.

The idea that simply better healthcare will make those with mental health issues less likely to commit violence isn’t a new one. The NRA and other small-brained politicians (left and right) have been scapegoating them since the days of Columbine and our doofus of a “president” isn’t far behind in licking those boots. 

In the wake of the Marjory Stoneman Douglas shooting, as protesters did walkouts to decry gun violence, the mental health “advocates” made a counter protest called “walk-up” encouraging students to talk to each other more and engage with the outcasts in their schools.

While I certainly can agree that we should all try to be nicer to each other instead of not at all, it grossly ignores the fact that the shooter, Nicholas Cruz, was reportedly abusive, sexist and racist to his fellow classmates. Tell me, in what world would it be smart or safe, especially for a female student, to engage with a guy like this? Cruz didn’t kill people because he had “mental health problems,” he killed people because he was evil asshole.

(Yup, these people definitely look just some misunderstood social outcasts who were just in need of a few more hugs and some happy pills. Yup....)

Again, I can’t stress this enough lack of mental healthcare doesn’t make super villains; it’s pure fiction like this movie. Throughout the film Arthur is bombarded with slight after slight after slight be it from the institutions that leave him in the dust or the people around him. The movie kind of wants to state that the intuitions need more help but weirdly at the same time shouldn’t be trusted as Arthur is openly hostile with them throughout the movie. It’s almost comical at times as after a while and some viewers might find themselves after a while going “ok, we get it. The world is really mean to this guy, when does he become The Joker?”

The point is though, the motives behind great acts of violence have rarely, if ever, been about not being able to get access to some guy’s prescription drugs. In fact, the truly mentally ill are far more likely to be a danger to themselves than to others (as stated in a few of these articles linked already).

But for argument’s sake let’s pretend that this is not meant to be a literal depiction of how mental healthcare in society has failed people. Let’s say its metaphorical instead, that those with mental health issues become monsters within their own minds, hell the movie kind of alludes to a bent reality that may or may not have happened within Arthur Fleck’s mind.

(It’s actually one of the few narrative choices I liked about this movie, so A for effort, Mr. Philips.)

The problem with that is that again it depicts the mentally ill as monsters instead of the victims of those kinds of people. The movie does make a point of depicting the system as monstrous but again a person like The Joker as a product of that is misleading of what is actually going on.

Depicting the mentally ill as monsters, be it metaphorical or literal, will do more harm than good to those who are afflicted by these issues.

While I do not subscribe to the idea, necessarily, that movies create shooters these films definitely don’t exist in a vacuum either. Afterall there are still d-bags who think Tyler Durden is the real hero of “Fight Club,” and idolize maniacs like Al Pacino’s “Scarface” because they’re “badass’s.” I went into this movie thinking the pre-trailer controversy was likely overblown but I came out of it thinking some incel asshole could absolutely find something to relate to in this particular version of The Joker.

This movie has proven to me that the Joker’s origins are simply best left mysterious. He is just best used as a stand-in for chaos and anarchy with no specific goals or ideologies. Though his psychosis has certainly been the stuff of speculation behind his motives for decades by the fans its never been about him being crazy so much as it is about him being the antithesis to Batman’s ridgid sense of law and order.

(Probably the best cinematic depiction of that clash of ideologies.)

The Joker is a fascinating character and there’s a reason fans have gravitated to him for so long and inspired plenty of writers, directors and actors to try their hand with him. But any amount of understanding regarding what’s going on with mental health in society will take you out of this movie almost instantly for most people.

I think fans of this movie have perhaps latched on to the right messages of the movie, namely that we do need to do better with mental health and the mentally ill in this country, and I definitely don’t disagree with that, but the conclusions this movie appears to come to just aren’t right and it makes the movie damn near unwatchable for myself at least.

I’ll close with this though, “Joker” is inspiring in one way and one way only for me and that’s that it may cause a change in the way Hollywood see’s this genre of movies. I’ve written extensively myself about how, at times, the MCU has too rigidly adhered to the blockbuster formula and created almost a factory-line style of movies for the general populace to devour but a film like this, that is enjoying quite a bit of success right now, could change the way major studios approach these characters.

(The blockbuster formula can be great though sometimes if done right. Exhibit A ^)

Superheroes are modern Greek myths these days and have tons of source material and nuance to mine for directors and writers. Restricting them just to simple heavily CGI, action blockbusters is a disservice to their extensive catalog of stories and the comic book writers that made them famous.

While “Joker” is definitely not my favorite comic book movie of all-time I can respect that it took the risk of doing something different and going against the grain of most of the rest of the genre. If it inspires Hollywood to greenlight newer and more unique depictions of these characters I’m all for it.

In the end though, “Joker” is a mess of a movie that sends some right messages but ultimately the wrong one. If you enjoyed it great, I won’t stop you but I do ask  you to think about how this movie could be twisted in the wrong ways as well.

After all, we live in a society...

 VERDICT:

2 out of 5

Can we all agree at least this is still the best version of The Clown Prince of Gotham?