#Could add some compelling drama

[loriache]

Laishuro is like. It is absolutely just true that laios is into him. And toshiro absolutely admires laios despite finding him frustrating and difficult but I just dont know under what circumstances he wld reciprocate... the circumstances make any kind of "Relationship " difficult since obviously laios can't actually go east and marry toshiro no matter how much he wants to... immediately post canon I feel like toshiro would feel like his interest switching to laios would be disrespectful to falin. But after that, maybe a few years down the line he comes to stay for a diplomatic visit... seeing laios bloom as a leader (something he's always been taught to value), with both their social skills having been tempered by time and maturity... I think toshiro is kinda Elizabeth Bennett core in that seeing the merits of how laios treats people under his power would hugely compel him. And seeing how laios still absolutely lights up to see him, even after all that time. I think he'd find it flattering. so they maybe have a fling... and then their letters, which from laios' end were already Incredibly Borderline Inappropriately Intimate get even more so. The historian who gets their hands on them definitely has a field day

[twopoppies]

Are the any new fics (within the last couple months) that are good? I’m in a reading drought and I feel like I’ve read every Larry fic there is :( I got so desperate I even thought about looking into f/m fics..

NOOOOO NOT THE HET FICS. DON’T DO IT. 😆

I think I’m just going to use your ask to post my year-end favorite fics. Hope you don’t mind.

It’s been a tough year for me, and I haven’t gotten to read a ton, but these are all excellent.

Secrets, Santa? By @indiaalphawhiskey (E, 19K) disaster gay Harry in all his bumbling, endearing glory still manages to make his incredibly hot boss (Louis) fall for him. This one has snappy dialogue, great internal monologue, and scorching smut. I’d expect nothing less from this author.

your lips in the low light by etherealbliss / @givesuethemoon (E, 21K) It’s been a long time since I read a Larry Uni AU, and this one checked all the boxes. This author managed to really capture the immaturity and obsessive emotions of university age lovers arguing and breaking up, and making each other jealous, and fucking and fighting some more, and ultimately making up. Harry is bratty and sensitive and Louis is dense and long-suffering and they’re perfect for each other.

Scorpions et Madragores by Stria / @nooradeservedbetter (E, 23K) Read the tags and author’s note on this one because there are some themes that could be triggering. This is a dark fic and Harry is a pretty creepy vampire, but the story is very well told and there’s a happy ending.

2 a.m. texts by everysingleday / @sun-lt (T, 30K) This was very sweet and very funny and had just enough sexiness (although I wouldn’t have minded more. LOL!) Link is to a download.

The Doppel Effect by yeah_alright / @uhoh-but-yeah-alright (T, 6K) the concept for this fic was so original and a really compelling read, I can’t help but hope the author gets inspired to continue this ‘verse.

Danger I Can’t Hide by CelticSky (E, 227K) This one’s got all the tension and drama you’d expect of a World War II story—life and death high stakes, friends and lovers unexpectedly torn apart, battles and heroism, plus the added stakes of classism and homophobia—then add a slow burn, high risk, scorching love affair spanning years. If you want a story that’s complex and fantastically researched, plus lovers to root for, read it. It’s long. But I couldn’t put it down. When I finally did, I picked it right back up and read it twice more. It’s that good.

one conversation by fondleeds (NR, 1K) This really is just a couple of scenes, and the story is open-ended, but, if for no other reason, read it for the beautiful way the sentences flow. My notes on every fic of theirs begin with: “I wish I could write like this.”

Night Shift by banaanipoika (E, 9K) This was incredibly sexy and beautifully written. I loved that there was such a unique setting with so much descriptive language making me feel like I could smell and feel everything in that hospital room.

On The Pull by @homosociallyyours (E, 4K) Short, but really sexy and just the right amount of bittersweet and hopeful. Loved the characterizations and the smooth writing. So few people write canon Larry these days so this was a nice change of pace.

Devil in my brain, whispering my name by @lunarheslwt (E, 9K) i i thought this author struck a great balance between the dirtiness of a demon defiling an angel and the way the angel gave in to his desire to be defiled. Super sexy.

pull you closer (kiss me harder) by @sunshineandthemoonlight (E, 6K) This was absolutely beautiful — just the perfect amount of tension and wistfulness to make me tear up. But then it was sexy and full of hope at the end. I loved how Louis supported Harry and gave him exactly what he needed (and really, H gave Louis what he needed, too).

[lurkingshan]

Dead Friend Forever is a Marvel of Mystery Writing

I haven’t been watching Dead Friend Forever live, because I am not always that into the slasher genre and I figured I would wait to hear whether it holds up before jumping in. I admit, I was a bit dubious about a drama sustaining a slasher narrative for 12 entire weeks and didn’t want to spend time on something that might be too shallow to sustain and would end up falling apart. I basically told bestie @wen-kexing-apologist to vet it for me and holler if I needed to start paying attention. And a few weeks ago, they started poking me with increasing intensity, along with a few other friends, because the writing was holding up better than they could believe. I started asking questions, and once @ginnymoonbeam mentioned that Sammon was the writer, it all started to click and I dove into a binge to catch up.

And they were right! This show is excellent, and its strength is sourced in an incredibly strong script from a writer who knows how to construct a longform mystery. Because it turns out, that’s what this show actually is. How do you sustain a slasher for 12 weeks? By embedding a deeper mystery within the slasher framework and pacing your story so that the entire middle delivers a backstory narrative that is even more compelling than the current events. This show is expertly structured to grab your attention and then get you deeply emotionally invested in the coming bloodbath, which is crucial for a slasher to feel like it has any stakes. Let me also note that the excellent writing here is supported by extremely smart direction and editing and some standout performances from young actors. I am going to focus on the writing here because that’s what I do, but it should be said that this whole production is all around excellent. 

So let’s talk about why the writing in Dead Friend Forever works so well! Great drama mysteries should support two kinds of engagement from the viewer: 

no thoughts head empty engagement from the people who just want to be pulled along for the ride and be constantly surprised

red string board theory engagement for the people who enjoy finding clues and trying to solve the mystery in advance. 

It’s actually really fucking hard to thread this needle as a writer, because it requires seeding strong enough clues that attentive viewers could reasonably guess some of the big reveals, but not giving away so much that you are unable to surprise them. A reveal in a good mystery should have you saying “oh my god WHAT” and “of course, that makes perfect sense” at the same time. And the best mysteries support the viewer being able to go back and rewatch, find new meaning they missed the first time, and realize every single thing that happened adds up. A tight mystery has no loose ends and no false steps; it never lies to the viewer, it only works to draw your attention where it wants it at any given point in the story.

Dead Friend Forever does this masterfully with several of its reveals, but I will highlight the biggest example: the reveal of Phee and Non’s relationship in episode 7. In the first four episodes of the show, the story lets us in on a few crucial facts: Phee is newer to this friend group (along with Tan and White), he was not present for whatever went down with Non three years ago, he has some kind of fucked up not!friends with benefits relationship with Jin that involves lots of sexual tension and dick biting, and he seems interested in figuring out what the hell happened once all these dudes start acting crazy about the videos. The string board theorists had enough to go on there to reasonably guess that he was intentionally trying to uncover the truth—but not why—and the no thoughts head empty crowd could just vibe, enjoying his scenes with Jin and wondering how exactly he ended up hooking up with him and getting involved with this group of people he doesn’t even seem to like.

Once we get to the backstory and see Non’s narrative, additional clues emerge, like the existence of both an older brother and a mysterious sweetheart that is only saved as [heart emoji] in Non’s phone. No thoughts head empty is over here going huh I wonder who they’re gonna be and hey when are the rest of the characters going to show up; string board theorists now have two clear options for how Phee could tie in to Non’s story and why he might care enough to investigate, but no one knows for sure. So when the show ended episode 6 with Phee running into Non’s room and began episode 7 with The Most Effective Five Minute BL Of All Time, everything clicked into place. No thoughts head empty got to experience a very pleasant shock moment, the string board theorists got to feel satisfied that they figured out at least part of the reveal, everyone got to enjoy an unexpected shot of romance in the middle of this stressful narrative, and there were still parts of Phee’s motives and involvement with this group that we didn’t understand and would require additional reveals. That is great mystery writing in a nutshell.

And it’s not only the mystery construction that makes the writing here so smart. It’s also the way Sammon is weaving in tons of social commentary, embedding Thai cultural and religious values, incorporating complicated crimes with lots of players in the mix that somehow don’t get confusing, and drawing complex and nuanced characters whose choices and behavior you understand even if you find them abhorrent. It’s not easy to make a viewer both despise a character and still care what happens to them; when you write a story about despicable people you run the risk of inspiring apathy in the audience, which is a death knell for a mystery. We have to be invested for this story to work. We have to feel deep empathy for Non to the point that we fully support axe murdering his bullies, but we also have to be interested enough in the bullies and why they behave the way they do to watch 12 weeks of them running around being awful to each other and harming everyone in their paths. And Non, too, gets to have real complexity. He is not a perfect little Mary Sue who never does anything wrong. He makes big impulsive mistakes, and seeks attention and affection from the wrong people, and lies to the ones he loves, and doesn’t always ask for help when he needs it. He is a flawed human being and that’s so important, because he is the center of this story and we need him to feel real.

In conclusion: holy shit. I tip my hat to you, Dr. Sammon, and I am very excited to be on this ride for the final four episodes. 

[thebirdsareafterme]

maxiel, galex, scaniel, brocedes!

OOOH OK I am ready.

Maxiel: makes sense, compels the FUCK out of me

I genuinely don’t think there’s been a ship that has compelled me like Maxiel. They make me so insane and I’ve spent the last 8 months of my life going up and down all 200ish AO3 pages in the tag like some kind of deranged possum, searching for more Maxiel content. They just make so much sense in my mind. You have Max, who has been taught his entire life that his only purpose in life is to win races, who is this angry, strung up little kid when he first joins F1…and then he meets Daniel, who is so kind and charismatic and has always been taught to enjoy the moment and the process of it all and just treats him with so much love even when he’s not winning or when he’s getting criticized by the media…and Max finally learns how to enjoy life outside of racing for the first time. Even outside of the general RPF scene of it all, the absolute pivotal Maxiel moments are so important and have so much significance in the grand scheme of the sport. Daniel leaving Red Bull because of Max (to an extent) which then caused a ripple effect on a whole bunch of people’s careers and ultimately led to the Horrors that we are currently living through, but at the end of the day, it’s about “If it can’t be me, I’m glad it’s him” and that fastest lap into “Thank you, Daniel.” Yeah, I could talk about them for DAYS if given the chance.

Galex: makes sense, compels me

They’re everythingggg to me. I love the childhood friends to lovers thing they have going on. The Galex lore is so interesting, like the throat infection incident, the collarbone biking accident, the whole thing about George being Alex’s hype man/personal photographer as a kid… underrated ship fr. They have the best chemistry and their sense of humour actually work so well together, and I NEED more content from them. I also CANNOT ship either of them with anyone else because it just does! Not! Work! In my head. They are each other’s ride or die and I love that for them.

Scaniel: makes sense, does not compel me

I love their friendship a lot and I think they have so much weird gay energy between them, but unfortunately my day one Daniel ship is still Maxiel. I think Scaniel has potential for growth, but unfortunately they do kinda give off besties to me. I will admit they have had some good, shippable moments, but Scotty just feels like a straight man in my mind. I think it’s just the DR effect (every man within a 5 mile radius falls in love with him) that drives this ship forward tbh.

Brocedes: makes sense, compels me A LOT

THIS is THE SHIP of all ships. The lore goes so hard and it’s so devastating to me. I’m a sucker for a good childhood friends to lovers to enemies storyline, so they are right up my alley. It’s just the most insane story that when I tried explaining it to my casual F1 fan friend, they asked me if it was from a movie and I was like NO! This is irl!!! The way that they have a 6 hour, 3 part YouTube docuseries about their relationship is crazy. No other ship has as much angst as them, and no one will ever come close to being them. It’s the way that they fundamentally are a part of each other’s careers and that you cannot mention one without the other, it’s the way that Nico talks about that era of his life and how he could only stomach their childhood favourite cereal on the weekend before cinching the championship, how he ruined his body and soul to beat Lewis and how his retirement changed Lewis’ whole outlook on the sport!!! And through it all, there is an awkward third-wheel in the form of either Daniel Ricciardo or Sebastian Vettel just smiling through the most disgusting vibes a room could ever have, which, in my opinion, adds to the whole drama of the ship. This ship has so much narrative and character and it is so so devastating to think about, I need to see or make a Brocedes movie before I die.

[brian-in-finance]

Thanks for the message, Anon. 😃

So… 18 links… 🤯. Tumblr wouldn’t let me post your message as “was,” so I followed the links, played a mean game of Copy & Paste and added some pics.

Reading through the reviews on Letterboxd to find the six you chose revealed a few things about the film no mainstream review I saw had revealed. Note to self: think carefully about the viewing company you keep.

Caitríona Balfe from “Outlander” plays the boxer’s girlfriend Caitlin, who exists in a constant state of worry. Understandably. But it’s a dull part for a magnetic actress.

New York Post 8 September 2024

Caitlin (an excellent Caitríona Balfe of “Belfast” fame)… a movie that ultimately doesn’t quite add up to enough, especially when Balfe walks out for too long in the final act. See it for the cast, especially the three leads, but it’s more of a technical knockout than a stunning victory.

Roger Ebert 6 September 2024

Caitríona Balfe (“Belfast,” “Outlander”) can be an uncommonly grounded actress, and she and Bloom create a lived-in relationship that humanizes and creates real stakes for the pugilistic histrionics that surround it. His character’s lack of a name may position him as an everyman, but the little moments of their relationship – glances, raised eyebrows, tilted heads – give his couple a specificity and a shared history in a way exposition never could… film is bookended by quiet scenes between a man and a woman, by beautifully understated performances by Bloom and Balfe.

The Wrap 7 September 2024

The boxer’s wife and business partner (Outlander’s Caitríona Balfe giving more than her role deserves)

The Guardian 6 September 2024

… wife, business partner, and one-time boxing manager, Caitlin (Caitríona Balfe, the film’s secret weapon).

The Playlist 6 September 2024

Despite a trio of knockout performances, The Cut is a lackluster boxing drama… (Caitríona) Balfe gives a thankless role her all as the lone woman in this boys' club. Caitlin has a dark past too, alluding to a struggle with addiction. But we never learn any of her past in detail despite numerous and repetitive flashbacks to Boxer's bleak childhood. Instead, it's left to Balfe to convey it all through Caitlin's stricken expressions and misplaced devotion to Boxer. She even gets a few moments to shine as a fighter herself, training Boxer for his fight before Boz takes over… Balfe is a sublime talent, but she deserves far better material that doesn't rely on her to make up for deficiencies in the writing… Because despite these three strong performances… The Cut has the potential to be something fresh and interesting with three particularly fine actors at its heart.

Entertainment Weekly 6 September 2024

Caitríona Balfe and John Tuturo’s colliding performances gave the film a realistic edge, which makes the audience question their own morals.

Movie Scene Canada (Twitter) 6 September 2024

Caitríona Balfe is equally compelling as a supportive wife and coach to her boxer husband.

Movie Moves Me 6 September 2024

The Cut is it is one of few boxing films that gives the female lead a pivotal role that’s more than a love interest/nagging the fighter to quit. Caitríona Balfe is a tough-as-nails trainer who gets in the ring w/ Orlando & may throw a punch!

Flick Chick DC (Twitter) 5 September 2024

(Caitríona) Balfe is fierce as Caitlin. She’s simultaneously supportive and a fighter. Her verbal spats with Boz are a treat, and she’s honestly the character who best balances strength and emotional maturity.

Screen Rant 7 September 2024

Caitríona Balfe was the main highlight, for me. It's difficult to pull off the role of voice of reason against the hell-bent protagonist without coming off as annoying or making it feel like they're just slowing the story down, but she killed it.

Reddit 6 September 2024

(Caitríona) Balfe (and John) Turturro.. are never less than engaging and believable in their side parts.

IndieWire 5 September 2024

Bloom… gives a great, dedicated, and physically challenging performance — as does the wonderful Caitríona Balfe

Bloom promised us all a stiff drink for enduring this movie and I think that says a lot. (Caitríona) Balfe was great.

The cast is phenomenal. Turturro is marvelous as The Boss, pushing our fighters to their literal breaking point. (Caitríona) Balfe gives a heart wrenching performance of a former addict watching their partner fall into their own addiction.

I think Caitlin's character gets a little bit lost, and she was such a great part of the movie, I wish they did a little bit more with her.

Orlando Bloom and John Turturro are very good but I really think the star is Caitríona Balfe!! She was very underutilized.

Performances are good, especially Orlando's and Caitríona Balfe's. To me she was the standout.

Letterboxd 5 & 6 September 2024

Remember… what distinguishes modern art from the art of other ages is criticism. — Octavio Paz

[rabbit-surfboard]

Fictional podcast recs

One of my friends got into audio drama and I just sent them a whole list of recommendations to go through, I thought someone who follows these tags might also appreciate it and perhaps have some more to throw in. I resisted the urge to throw in the little blurb about audio dramas as a weird little medium and their tropes that I wrote up. It was something to the effect of nodding at how the medium has rapidly been improving since Welcome to Nightvale started, also how a lot of the tropes that tie the medium together are products of the indie podcast scene being accessible and primarily based in audio. Also at how well horror works in the format. Those paragraphs went unsaved but writing first about the medium in general helped me to reflect on a lot of the things that make audiodramas appealing or repulsive to me for discussing each show in brief beyond just explaining what they're about.

All recommendations are tagged for the tldr.

Fiction podcast recommendations in no particular order:

The Magnus Archives

Horror

The biggest criticism I ever had of this podcast’s voice acting from episode 1 turned out to be a relevant plot point. This thing is probably the best of the best, but I would never recommend it to someone unfamiliar with podcasts because the listener only notices a plot hook somewhere between episodes 20-40 and that’s daunting in the face of a 200 episode show. Getting sucked in rewards you with 200 episodes of thoughtful content and a great explanation for most of the weird things this show chooses to incorporate.

Old Gods of Appalachia

Horror

Fantastic production quality on this ongoing show. Many seasons with interconnected lore and a hell of a narrator. It’s not my personal favorite but it’s quite excellent.

Red Valley

Found footage mystery

One of the newer shows I’ve gotten into, Red Valley is well-crafted. It becomes compelling very quickly with a rapid pace that slows down to land in a neat spot for a while so you can savor the cool parts. The production quality is excellent and the two main voice actors have excellent chemistry. The third and final season is currently being produced.

The Silt Verses

Horror

Often compared to American Gods, this newer podcast made by an experienced team is doing a lot of creative and fresh things at once. The magnificently fucked up religious system of The Silt Verses is both a neat plot vehicle and cleanly works as a criticism of late stage capitalism, where many podcasts like to jab at capitalism this one is much more pointed in its commentary. Episodes are long and very well produced. All the credits in the third season have been mostly diegetic and add flavor to the world.

Archive 81

Found footage horror

Slow to start but by season 2 the production quality and plot are among the best in the game. Unfortunately, on an extended hiatus.

Ars Paradoxica

Science fiction, historical

Very well produced considering its age, this is a highly regarded show among people who follow the medium. Excellent time travel mechanics here. The plot drags a bit by the end because time travel stories must violently contort themselves into a conclusion, but the first season or two are fantastic and it’s always nice to have an ending instead of interminable hiatus.

Caravan

Gay demons n stuff

Showed up, did magic and gay shit, disappeared and went on hiatus probably with some kinda unsatisfying cliffhanger seeing as I don’t remember the plot. Could I recommend it in good faith? Not until they at least cough up season 2. I don’t remember it being bad and that alone is notable for the medium.

Mabel

Gothic horror

This is the deepest cut on the list except for maybe Caravan. Lesbians pine at each other for increasingly complicated reasons, eventually devolving into them doing datura and then spewing cryptic poetry together for the rest of their days. The production quality is fair. The slow windup and creepy house are American-gothic af. This show has had a few hiatuses, but each time it comes back significantly more intriguing.

Welcome to Nightvale

Goofy spooky news broadcast

Old and iconic, not very consistent. Sometimes explores emotional, tense, spooky, or funny scenes well, but the show is really focused on being local news for an ooky spooky desert town because Cecil is damn good at his job. Don’t come here looking for plot, it’s a fun vibe and I don’t know that anybody’s ripped it off and notably improved on this classic. Above average production quality for its time which improved through the years.

Alice isn’t Dead

USA road trip, horror

Made by at least one of the Nightvale writers, totally different show with a lesbian trucker making wry observations of some magnificently twisted shit seen around the United States. The producers know how to run a show, so the production is pretty good.

Tanis

Found footage horror

Tanis is not good. However, it was the first fiction podcast to make me ask “Is this real?” and hesitantly believe it for a frankly embarrassing number of episodes. The stories in the first season were interesting and the lore is just some big-tent conspiracy style of cramming a bunch of fun Wikipedia research into what turns out to be an increasingly nonsensical plot. Every season after the second, I return to hate-listen and am gaslit into thinking the show might low-key rock a few episodes before the finale, which is routinely frustrating and makes sure to throw out any good plot points Terry Miles comes up with. The acting is routinely terrible, and the frame narrative allows lazy and frequent retcons, ruining what I think is a good premise. Also it’s incomplete.

The Black Tapes

Horror

Terry Miles started this show before Tanis began releasing about 5 months later. I think of it as one of his earlier works because it behaves like Tanis with an added layer of cringe from a time waster of an awkward romance(?) between the two main characters. I couldn’t finish this show. You won’t see this recommended as often as it used to be online because there’s many better shows now, but this used to be a big deal. There’s a bunch of memes making fun of the annoying cadence of the characters’ speech and iconic sponsorship reads in both this and Tanis. If you’re interested in some cringe atop your creepypasta podcast, the two are interchangeable.  

Rabbits

ARG investigation

Not as horror focused as Terry Miles’ other shows, the cringe is dialed down and the show is better for it. Tanis and The Black Tapes are more well known, I think the only reason more people don’t think about this one is because the first two don’t inspire trust in the production or narrative quality of this show, but I remember it being fine for a season. I have not gone back to catch up now that more is out.

Malevolent

Horror

Inspired by The King in Yellow, one man performs two voices and verbally abuses himself with aplomb. Having a blind main character with an extra voice in his head is a frame story I haven’t heard yet (unless it came up in the magnus archives and I don’t remember), the concept works out great for the frame of a podcast to deploy the environmental imagery that foley cannot communicate. It also prevents the podcast trope of lengthy exposition about visual surroundings from sounding awkward or potentially impacting someone’s character development to show setting.

Wolf 359

Comedy, science fiction

A crew of whacky characters is stuck in deep space, hanging out and researching a star. Since that’s not actually very interesting they crack jokes and fuck around for a slow burn until interesting stuff happens. Good but not great, this one is long and satisfying and a bit less heavy than all the horror this medium often focuses on. Decent production quality.

The White Vault

Found footage horror

I lost patience with this podcast even though the overarching story seemed very cool – it progresses very slowly yet appears to grow bigger and more confusing instead of deigning to answer basic questions for a frustratingly long drag through the first four seasons. I worry that this frustration may be the point and the Patreon gated stories are the drivers for this tendency towards the confusing patchwork of ideas this show communicates. The production quality is good though.

The Left Right Game

Found footage horror

Genuinely great reddit creepypasta got turned into an overproduced podcast – I say “over” in comparison to the voice acting quality because it’s kind of impossible to sell some of the lines, which makes sense considering the source. Brief, complete, punchy, interesting, and just a little odd to hear such a clean production but a creepypasta this fun deserves the effort.

Wooden Overcoats

Comedy

Surprisingly good production quality for its age, and also a refresher from the usual tropes of the medium. Just a chill sitcom about a funeral parlor in a small town. I haven’t finished this 4 season show yet but its good.

The Black List Table Reads

Movie script readings

Some movie scripts just short of making the cut to be turned into a full Hollywood production were well liked enough by a group of film nerds that sat down to act them out as a podcast. Half of the episodes are interviews with screenwriters, and the other half see a script read all the way through by actors. They’re all rejected for different reasons so there’s a pretty broad spread of genres. My favorites were Blood From a Stone and Balls Out.

[canmom]

dog day

went down to a local queer film thingy today and saw Dog Day Afternoon, in which Al Pacino plays attempted bank robber John Wojtowicz (nicknamed 'Sonny' in the film) who in 1972 ended up running a hostage situation and siege he really didn't intend to be in - someone who's a bit of a cause célèbre in these parts because honestly what's more iconic than robbing a bank to pay for your trans wife's bottom surgery?

(this is the real Wojtowicz during the event)

as a movie it's absolutely really solid. Pacino definitely does a fantastic job giving us a sympathetic portrayal of the increasingly harried Sonny trying to juggle all the competing elements of the robbery - reassuring his partner Sal, negotiating with the cops outside, managing the hostages. on a pure narrative level, it's a great screenplay, both full of escalating tension and capturing the humour of the unlikely camaraderie that forms between the robbers and their hostages. they get a lot out of the contrast between mundane concerns (not swearing) and the extreme situation, and it generally works really well.

the film portrays Sonny accidentally stumbling into being a folk hero - his televised calls in which he mentions the Attica massacre, and interactions with the crowd outside, becoming central the narrative that forms around the attempted robbery. it's compelling stuff even today - indeed the whole sensibility of it, the sympathetic bi and trans characters, the sympathy for all the characters, felt very modern.

speaking of, not really quite knowing the timespan of Al Pacino's career (I've still seen very few of his movies), I kinda assumed this movie would have been made, say, a couple decades after the robbery. so I was very impressed with how well it nailed the 70s period aesthetic... which turns out to be for a very simple reason, this movie was made in 1975, just three years after the events it portrays. which is wild to me, don't filmmakers normally wait a bit for it to be less 'the news' before they fictionalise the events? anyway it was a big deal in its day, scooping up a bunch of oscars.

this makes it quite interesting to look back because it really is a slice of how people felt about shit back in the 70s - as edited by the filmmakers of course, but every sentiment in this film is a genuine 70s sentiment by definition, right? the justified distrust of the police, the highly political gay angle, that's all shit we're hashing out today still. all these characters feel very much like real people out of their depth, and it's interesting to read about the process of filming it involving a fair amount of improvised elaboration.

anyway that all has the fascinating consequence that Wojtowicz was alive and watched the movie made about him. apparently there was a whole campaign to get the film screened for Wojtowicz in prison, which meant he could make a critique of it. as a result, he could write to the newspaper criticising their portrayal (via wikipedia). evidently the filmmakers took quite some liberties for drama - Wojtowicz calls it 'about 30% accurate'.

for example they portray him as still having been with his cis wife 'Angie' (irl, Carmen) at the time of the robbery, and add a fictionalised meeting with his mother where she is dismissive of Angie for weight etc., suggesting that it's somehow her fault that Sonny should go and do something as unseemly as have a relationship with a trans woman. as I took it, it's a portrayal of his mother's prejudice which the film broadly rejects - but in any case, all of that was just straight-up made up for the film, presumably because of the drama that the trans wife vs cis wife angle brings. in reality it seems that Wojtowicz separated from Carmen two years before the robbery, and he disputes her characterisation in the film (he's actually quite rude about the actress who portrays her, who to me looked like a regular-ass woman).

A third scene shows me speaking to my female wife, Carmen, on the telephone. (The actress who portrays her in the movie is an ugly and greasy looking women with a big mouth, when in real life my wife is beautiful and very loving wife.) I did try to call her, but the F.B.I. cut the phone lines and air conditioning before I could get to speak to her on the line. I did not like the horrible way they tried to make her the blame or the scapegoat for everything that happened, especially because of the Gay aspects involved. (...) First, the actress playing my wife, Carmen, made her look horrible and inferred that I left her and winded up in the arms of a Gay man because of her. This is completely untrue, and I feel sorry for the actress for having to play such a horrible role.

this is perhaps something of an aspect where values drift between when the film was made and the present. to us the idea that 'cis woman is ugly/unloving so guy is gay' is just laughable homophobic nonsense, something that the mother or the unfortunate estranged wife might believe but clearly not true - but Wojtowicz apparently felt that was a plausible editorial angle being suggested by the film, which he needed to correct.

but honestly it's Sonny's partner Sal who truly gets the short end of the portrayal stick here. he is pretty much set up with death flags from the early on - he's got greasy hair, he's taciturn, glowering, religious, kinda ignorant, and the one who's actually willing to go through with killing the hostages - in contrast to the charismatic, beleagured Sonny who definitely is framed as being in over his head and not likely to actually do it.

so when Sal's killed abruptly at the end of the film it's essentially framed as tragic but kinda inevitable, the only way they were going to get him to stand down. according to Wojtowicz, he was actually already immobilised when the FBI killed him, and Wojtowicz disputes that it was necessary to kill him.

the only photo I have of the real Salvator Naturile is a grainy police mugshot which is inevitably far from flattering! in this portrait he has somewhat similar hair to his film portrayal but the actor in the film is 39-year-old John Cazale.

the film has the main FBI goon (truly the most FBI looking FBI goon you've ever seen) warn Sonny that they're going to kill Sal; Sonny hides this from Sal as the group make their way to the airport in the bus he demanded, allowing Sal to be tricked into lowering his weapon so the FBI can suddenly kill him and arrest Sonny. the way the film suggests it played out, Sonny implicitly figures out that flying to maybe Algeria was not really on the cards, but makes an effort to keep the ball rolling all the same, to stop Sal from killing anyone and perhaps from some delusional doublethink hope they'll all manage to fly away in the end.

the real Wojtowicz was pretty appalled at this implication. he writes:

Now to one of the most despicable parts of the film. In it they hint very dramatically that I made some kind of a deal to betray my partner, Sal. It hurt me that the same F.B.I. who cold-bloodedly killed an 18-year-old boy can be depicted as having me help then. This is not true and there is no human being low enough in this world who would let the F.B.I. kill his partner in order for him to survive. It can be labeled as just Hollywood trying to sell a movie or just to increase the drama, but I call it sick.

Wojtowicz's trans wife Elizabeth Eden is portrayed in the film with a male name 'Leon', by Chris Sarandon. As I read it at the screening, the film portrays a time the line between 'gay' and 'trans' was far less clear-cut; Sonny is declared a 'homosexual' for his relationship with 'Leon', and refers to her with male pronouns despite calling her his wife. This appears broadly to be accurate: in Wojtowicz's letter, he refers to Eden as Ernie, and calls her his 'male lover'. He praises Chris Sarandon's performance, writing:

I feel he did it perfectly. If in real life Ernie had said those things and done those actions, he would have done them exactly as Chris did them. In the telephone scene between Pacino and himself his performance was unfathomable and a tribute to his mastery of an unbelievably difficult role. I was moved to tears by it because the realism was there and so professionally done.

the film paints 'Leon' as not supporting the robbery and actually wishing to escape from the increasingly erratic and violent Sonny - there's a compelling scene where they speak on the phone while the cops tune in. but is any of that actually true? Wojtowicz doesn't defend himself from any of that portrayal in the letter beyond briefly saying that 'some of what they both said ... were true statements of facts', even though they weren't discussed during the actual robbery.

all these inaccuracies notwithstanding, some good did come of the film for the main couple. consistent with Wojtowicz's stated intent, the film portrays Sonny as motivated in large part by paying for Leon's bottom surgery (in the film they call it a 'sex change operation', and the suggestion seems to be that Leon will only be a woman after that), and a scene near the end sees Sonny dictating. in reality, the filmmakers paid Wojtowicz $7500 for the use of his story (though he says they had agreed to give him more and did not honour that deal), and he used some of that money to pay for the real Elizabeth Eden's bottom surgery so... in a sense robbing a bank does pay, if you do it in a stylish enough way to get a movie made of you!

looking back on this whole thing nearly 50 years after the event... both the main characters portrayed in it are dead. Elizabeth Eden died during the AIDS crisis in the mid 80s - by that point Wojtowicz was out of prison and was able to give her a eulogy. Wojtowicz himself made it to 60, dying of cancer in 2006. both seem to have lead pretty regular lives. and now what remains is this movie, which found in their lives a suitably dramatic 125 minutes of screen time, where they could both come to represent something bigger.

most films I tend to watch depict entirely fictional events, so it's interesting watching a film which purports to portray something real. I end up thinking about all the ways in which turning it into film makes it artificial, simplifies people into characters. the way camera angles and lighting are arranged to inform us of a character's emotional state. the way the chaotic events are organised into a series of arcs of rising and falling tension, the rhythms of tense confrontations on the street and quiet moments inside the bank, the sense of space it creates between the outside (full of crowds and cops with guns where every movement is risky) and inside (where people can, ironically, play around with guns or have mundane medical problems). everything gradually escalating as new problems arise and their consequences play out - and all the boring hours of the robbery are elided, but still suggested by the changing costumes and lighting.

sifting through the chaos of life and making narrative out of it is what films do of course, and this film does it better than most, but it's weird to think about that. to try and imagine what it would be like to have a film made out of me, what dramatic choices they would make. biopics of 'great people' are well established, but this is a film about pretty ordinary people who did something kinda crazy once, and about the systems that they acted within.

very interesting movie, definitely holds up very well, much to think about. big shoutout to Small Trans Library for screening it, really looking forward to whatever they have for us next in a couple weeks.

[creation-help]

Advice and tips on how to make your character feel more genuine/real

- Pettiness and shallowness. Obviously it can manifest in different ways, but IRL everyone has at least one or two little things that they're a bit surface level and "Just because!" about. Be it clothes, how they do certain rituals, what color m&ms they prefer ect ect. It can be little details or even major characteristics, and depending on which (and what) they are, it can be really telling about the character! Plus, it just adds a little extra depth and fun. Some examples including but not limited to: Being fussy over getting their clothes wet or dirty, only preferring some items because they look good, insisting on doing some action or tradition exactly a certain way, disliking an aspect of a thing or a person because they just don't like it, and so on. Obviously the big worldview points like morality and beliefs are very important, but when you've figured those out, take a moment to think about the smaller, everyday things your character feels about the world around them. No matter how good or wise a person is, they'll still always have some little thing that they can't give some profound noble answer to. Use this to your advantage to explore your character's shortcomings or flaws!

(In the same vein, Pet peeves is another detail that can flesh out a character!)

- How does your character perceive things? What do they notice about people first? How would they talk about, or describe another person to someone, if asked? How would they describe themself? And why? Just some things to consider. If your character maps out all the little details and deeply analyzes everything they see, it'll show in their interactions very differently than, for example, if they have the perception of a cabbage and are more oblivious than the love interest in a teen drama that the writers are stretching out for five seasons for no reason. Ykno.

- Additionally: what's their opinion of the people around them? Or if you've already mapped that out, what's their opinion of people they've never met before, or people who aren't in their immediate bubble, friends of friends, relatives of relatives, neighbours, or celebrities, mythical/historical figures and so on. Delve into hypotheticals sometimes, it can help you exercise your knowledge of the character. Even if none of these encounters or situations would happen in Canon.

- I'm sure you've already figured out what your character is most passionate about, ykno, whatever drives the story and impacts their relationships with other characters. But how about stuff they really don't care to think about? Just shrug? Not interesting? Doesn't pay attention to this? What is low on their priorities? It doesn't have to be negative (but can be!), it can just be "Meh", or something your character hasn't even noticed before, simply because it's not in their thoughtscape to think about.

- Does your character have any of those "What? I thought everyone did that/thought that/was like that!" - things? What do they take for granted, or weren't aware isn't a universal experience? Did they have a wildly different experience with something that most other characters hadn't even thought of? And yes I understand this is good for exploring trauma and other angsty things, but besides the obvious, think about maybe something that could be related to your character's species/living environment/abilities/opinions ect. This is great for exploring cultural differences, and anything that takes place in a fantasy setting. Very useful for villains and heroes alike! It's insightful. Everyone has small little perceptive differences or big and small thoughts that for some reason just haven't been properly challenged yet. Or brought up even. For whatever reason. Explore maybe what that reason could be, and figure out why it's been unchallenged for so long.

- Imperfections. Little divergences. It's fully possible to write a compelling and genuine feeling character using just archetypes, if you really explore them deeply. And whether you're doing that or not, think about the lines and molds you've set your character into, and let them spill out of them a little bit. Can be one huge aspect or one teensy detail, but make some diversion. Some crack in the picture. Doesn't have to be a flaw but can be! Just have some little aspects that set them apart and make the character themself. Get weird with it. Getting weird is one huge way you can truly make a character stand out and feel more unique and, oddly enough, genuine and real. Actual people have little oddities or things that don't line up with everything else about their person. And again it doesn't necessarily have to be anything big or shocking, in fact I'd argue it's even better if sometimes it's just a small, very ordinary, humanizing detail. Maybe unexpected, or maybe just something that doesn't factor into the surface image your character has. Think about characters similar to yours that you see often. What traits do they all share, or most usually have? Think about the kinds of people your character is inspired by. What are they often like? Make a diversion from that. Make multiple even? It can be the most random thing but think about it, even if you threw a dart at a wall of sticky notes, really chew out what this little thing says about your character. And focus on little cracks, imperfections, diversions and other odd details of your character. Over time they can grow bigger, or maybe not.

- Keep a clear picture of who your character is. Sounds obvious but I'll elaborate. Your character will obviously change and develop over the time you're working on them and whatever story events take place but I think it's very important to keep in mind who they fundamentally are. Basically I'm saying that try to keep them in character, yes even if you did drastic character development, you can still show that it's the same person in other ways even if one of their core traits was flipped. Be aware of what things will never change about your character no matter what they'd go through. Keep some consistency. Consistency matters alot in making a character seem genuine and, ykno, a good character. Even if that consistent trait is that they're inconsistent! The character can be that, yes, but as their creator, you should still keep sights of what's consistent for this character, you feel? If your character is a glunk of slime that slips out of it's container constantly and subsequently molds into whatever situation it gets put in, that's not really a character, that's.. Idk, plot device..? I know this may sound contradicting to my previous point but I fully think that, and this one can and should coexist.

You need to simultaneously be aware of the ways your character will differ from something and be fluid, and the ways your character will not bend, and cannot become. It's simply a matter of knowing their boundaries and restrictions, knowing which way they can lean and which way not. Obviously this'll be up to you as their creator, bc yeah you're allowed to drastically edit your character if you feel like it's for the better, but try to commit to that change then. Don't let the character slip from your hands, or let the story bend them into whatever shape it needs to make the plot go forward. Your character, and more importantly you, should be in control of that.

I emphasize the point of you controlling your character and not the other way around also. I've seen some character owners slip into "Well it's just what the character would do! I can't help it, it'd be out of character if they didn't do x!" even if the thing is completely awful, doesn't fit, or would ruin an aspect of the story. A smart writer will know how to work with your character's traits in a way that prevents them from running off the tracks and becoming their own little gremlin, while also complying with the story. Respect your character's.. Character, while also respecting yourself and the point of the story. This is even more crucial if it's a roleplay character, by the way..

I'm just saying, find ways to write the story in cooperation with your character. That means knowing what situations to avoid and which ones to steer for, in order to keep your character functioning with the plot and other characters. Sometimes you simply have to prevent some event from happening, or some characters from ever meeting, for the sole reason that it wouldn't make the story work the way it should. Or the way you want it to. You hold the pencil, be aware of what that means

[inevitably-johnlocked]

Do you have a list of Lestrade POV or Mycroft POV fics? I love reading what others think about these two idiots in love.

Hi Lovely!!

AHHH Okay I DIDN'T have a specific list, so I've gone through my bookmarks I've tagged as such with either POV, but I KNOW I've missed a lot of fics... I needed a list for this weekend so... VOILA! Sorry it's so rushed, and I will forewarn many of the links are from FFNet 💜🖤

If ANYONE has a Johnlock fic that that they would love to add to the list that I obviously missed, please do add them below!!!! I would greatly appreciate it!

MYCROFT or LESTRADE POV JOHNLOCK

See also: Mystrade Fics (MFLs)

The Most Awful Thing by whitchry9 (K+, 1,072 w., Ch 1 || Hurt/Comfort, Holmes Brothers, Seizures) – When Mycroft witnesses Sherlock having a seizure, he is at a complete loss as to what he should do. Thankfully, John is there.

Yorkshire Gold by Tammany Tiger (K, 1,467 w., 1 Ch. || Friendship, Holmes Brothers, Hurt/Comfort, Mild Angst, Open Ending, Grief, Implied Bondlock) – Mycroft may not mourn Sherlock's death-but even if he knows his brother lives, he's not without his own grief. It ain't easy being The British Government. But at least he's got good help. Set between the Fall and the Return.

It Was All Right There In Front of Him (A Five Times Plus One Story) by bees_stories (T, 3,191 w., 1 Ch. || 5+1, Protective Idiots, Grooming, Bed Sharing, Lestrade POV) – DI Greg Lestrade is a good detective. But sometimes he doesn’t trust the evidence in front of him, until there’s a compelling reason to do so.

The Warehouse Chat by AllesandraQuartermaine (K, 3,611 w., 1 Ch. || Meddling Mycroft, Canon-Compliant, Drama / Family) – When Mycroft Holmes learns about the presence of John Watson in his brother's life, he does what any brother who worries would do. He learns what he can and then abducts Doctor John Watson for a chat in a warehouse. Set in A Study In Pink.

This is my friend, John Watson by aaronisgay (T, 3,691 w., 5 Ch. || Established Relationship, Secret Relationship, Yard Finds Out) – Lestrade has known Sherlock for over three years, yet in that time barely learned anything about the man. Then one day, Sherlock walks onto the crime scene with a short army doctor in tow. As time goes on, Lestrade wonders why neither of them ever go on dates...could this mean something? Otherwise where Sherlock is married and the Yard doesn't even notice.

When Your Belly's in the Trench by Morgan_Stuart (T, 4,743 w., 1 Ch. || PTSD, Character Study, Rescue, Angst, Hurt/Comfort, Implied Torture, Trauma, Danger, Drama, Kidnapping/Captivity) – The next time that door opens, John Watson will kill the person on the other side.

Study in Mycroft by chappysmom (K+, 4,929 w., 1 Ch. || Character Study, Big Brother Mycroft, Mycroft POV, Nosy Mycroft, Holmes Brothers) – A look at Mycroft's thoughts and actions during a Study in Pink.

The Refining Fire by Arwen Jade Kenobi (T, 5,451 w., 1 Ch. || Post-TGG AU, Angst, Friendship, Alternating POV (Lestrade, Mycroft, Sherlock), Worried Sherlock, Hospital Recovery) – Fire can burn things to ashes, but it can also burn things together.

Our Sudden and Strange Return by Arwen Jade Kenobi (T, 10,314 w., 1 Ch. || Post-TRF, Friendship) – One year, eight months, and an odd number of days after the alleged fatal fall Mycroft gets a message from Sherlock saying that he's back.

Sympathy for the Devil and Mycroft Holmes by scifigrl47 (T, 18,535 w., 2 Ch. || Family, Canon-Compliant, Meddling Mycroft, Big Brother Mycroft) – Mycroft has always protected his younger brother, but there are some things he just can't control. Sherlock's relationship with John Watson is one of them. Set during the first two seasons of Sherlock.

Jack In The Box by Liketheriver (T, 30,785 w., 1 Ch. || Romance, Case Fic, H/C, Lestrade First POV) – John's been kidnapped, Mycroft has rules, and Lestrade has to do his best to keep up with Sherlock as they deal with a returning foe. Lestrade POV as he and Sherlock work to find John, even though that's the last thing John seems to want. Part 2 of Bedtime Universe

[watchnrant]

A Discovery of Witches Season 2: A Darker, Richer Narrative

If you thought A Discovery of Witches was just another fantasy romp with a bit of historical flair, buckle up for Season 2—this ride gets delightfully more treacherous. Based on Deborah Harkness’s All Souls Trilogy, the show kicked off with a seductive blend of magic, academia, and some good old-fashioned supernatural skullduggery. But with its sophomore season, it doesn’t just dip its toes into darkness—it dives headfirst into the murky waters of power struggles, betrayal, and Elizabethan angst. The result? A more prosperous, textured narrative that wraps around you like a cloak on a chilly London night, refusing to let go.

Power and Betrayal: The Core of Season 2

This season isn’t content with picking up where the first left off—it’s a full-blown transformation. Power dynamics take center stage; with stakes so high, you’ll need a ladder to catch your breath. In a world where every glance, whisper, and seemingly innocuous gesture could be a precursor to betrayal, the relentless pursuit of control gives the season its teeth. Whether safeguarding ancient secrets or simply trying to survive another day, the characters are pushed to their limits, leaving you glued to the screen, wondering who will crack under the pressure first.

From Modernity to Mystery: The Haunting Atmosphere of Elizabethan London

Say goodbye to the sleek, modern settings of Season 1—this time, we’re strolling through the gritty, shadow-laden streets of Elizabethan London. The production design team has outdone themselves, crafting an environment where every alleyway feels like it’s hiding something sinister. With dim lighting and claustrophobic sets, the atmosphere is laced with palpable tension. It’s a visual feast that perfectly complements the season’s darker tone, making you feel like danger lurks around every corner—and honestly, it probably does.

A Walk Through Time: The Immersive Historical Detail

For the history buffs out there, Season 2 is a love letter to the past, filled with all the pomp and peril you’d expect from the era. The Elizabethan setting isn’t just a backdrop; it’s a living, breathing character in its own right. Every detail pulls you deeper into this world, from the meticulously crafted costumes to the period-accurate architecture. This historical immersion doesn’t just serve the aesthetics—it enriches the entire narrative, grounding the fantastical elements in a world that feels as real as your own. Unless you know something we don’t, except for the witches and vampires?

The Dark Evolution of Matthew Clairmont

Matthew Clairmont’s past comes back to haunt him with a vengeance, and Matthew Goode’s performance is captivating. He expertly navigates the fine line between restrained intensity and explosive emotion, bringing the character to life with smoldering intensity and magnetic terror. It’s a masterclass in understated menace that makes for some compelling viewing.

Love and Power: The Shifting Dynamics of Matthew and Diana

The relationship between Matthew and Diana remains the beating heart of the series, but in Season 2, it’s fraught with tension from external threats and an evolving power struggle. Diana is no longer the hesitant scholar we met in Season 1—she’s coming into her own, challenging Matthew in ways that shake the foundations of their relationship. The patriarchal backdrop of Elizabethan society adds another layer of complexity, making their love story as much about power as it is about passion. It’s a push and pull that keeps the drama sizzling, and you’ll find yourself invested in every charged exchange.

Blending Fact with Fiction: Historical Figures in the Plot

One of the season’s most delightful tricks is its seamless blending of historical figures with its fictional narrative. Queen Elizabeth I and Christopher Marlowe are more than name-drops—they’re integral to the plot, adding a layer of authenticity that enriches the story. Their interactions with Matthew and Diana aren’t just for show; they’re pivotal to the unfolding drama, offering some of the season’s most electrifying moments. This blending of fact and fiction grounds the supernatural elements in history and sets the series apart from other contemporary fantasy offerings.

A Delicate Balance: Romance and the Supernatural

A Discovery of Witches has always balanced romance with its supernatural elements, and Season 2 is no different. The romantic tension between Matthew and Diana is as intoxicating as ever, but it never overshadows the show’s broader mythos. Instead, the romance enhances the narrative, adding an emotional depth that complements the dark intrigue at the heart of the plot. It’s a careful dance between the heart and the supernatural, and the show pulls it off with aplomb.

Star Performances: Matthew Goode and Teresa Palmer

Matthew Goode and Teresa Palmer continue to anchor the show with stellar performances. Goode brings Matthew Clairmont to life with a smoldering intensity and magnetic terror, while Palmer’s portrayal of Diana Bishop is a revelation. She embodies the character’s transformation with grace and strength, creating an electric dynamic that crackles with every scene. The supporting cast also shines, each actor bringing something unique to the table, further enriching the narrative’s tapestry.

A Visual Feast: The Cinematic Brilliance of Season 2

Visually, Season 2 is a triumph. The cinematography is nothing short of cinematic, with each shot meticulously crafted to enhance the story’s mood and tone. The interplay of light and shadow, the rich color palettes, and the precise camera angles all work harmoniously to create a world that is as visually compelling as it is narratively rich. It’s the kind of show where you could pause at any moment and find a frame worthy of hanging on your wall—a testament to the care and craft that’s gone into every aspect of its production.

Fan and Critic Reactions: Embracing the Darker Narrative

Season 2 has struck a chord with fans and critics alike. The darker, more intricate narrative has been widely praised, with many appreciating the show’s boldness in deepening its themes and expanding its world. The shift to the gritty realism of Elizabethan London has been a particular highlight, adding a fresh dynamic that keeps the series from stagnating. Critics have lauded the show for its character development, atmospheric tension, and historical detail, solidifying its place as a standout in the fantasy genre. It’s a season that doesn’t just continue the story—it elevates it, pushing the boundaries of what a fantasy series can be.

Building on a Solid Foundation: How Season 2 Outshines the First

While Season 1 laid the groundwork, Season 2 takes it to new heights. The progression in tone, plot, and character arcs is evident in every frame, with the creators intent on building something more ambitious and complex. The historical setting, darker themes, and more intense character dynamics contribute to a fresh yet familiar season—a continuation of the story, but one willing to take risks and challenge its audience in new ways.

Delving into Darkness: The Weight of Season 2

The thematic weight of Season 2 is undeniable. It’s not just a stylistic shift—it’s a narrative evolution that delves into the darker corners of its characters’ psyches and the world they inhabit. The exploration of power, betrayal, and control resonates deeper, making the stakes feel higher and the choices more consequential. This isn’t just about good versus evil—it’s about survival, legacy, and lengths to protect what one loves. It’s a season that engages the heart and the mind, leaving you pondering its themes long after the credits roll.

Season 2’s Triumph: A Captivating Blend of Fantasy and History

Ultimately, Season 2 of A Discovery of Witches is a triumph. It’s a masterful blend of fantasy and history, romance and intrigue, all wrapped up in a visually stunning package. The darker, richer narrative pulls you in and refuses to let go, offering an experience as intellectually stimulating as it is emotionally engaging. Whether you’re here for the history, the romance, or the supernatural spectacle, Season 2 delivers on all fronts, leaving you eagerly awaiting what the series has in store next.

[harukapologist]

Yesterday I was having lots of 09 thoughts & mainly talked about him, so today I'll talk about why I think Haruka will not die before T3.

First off, what is the point of leaving such an engaging mystery unsolved?

If you think about it, Haruka's death would add two things in the story: drama factor to test the fans' feelings, and a chance to learn more about the extraction system. For the drama/emotional factor, it would be more useful if he stayed alive in critical condition; the fans' feelings will change and that will affect how these fans vote for Haruka and the other prisoners. In the scenario that he dies, the other prisoners' character developments will get somewhat of a push but Haruka's case will remain unsolved forever; if he stayed alive, I think that would help him and everyone develop further. e.g we would see more tension with Muu as she seems to be spending less time with him, we would see how Haruka struggles to cope with his verdict, how he interacts with the other prisoners etc it is much more compelling that way in my opinion

There is a possibility the extraction system could work on a dead body but 1. there would be no VD and VDs are important because they force the prisoner to think about and focus on their crime before extraction, 2. I don't see it being worth killing off a character, there are other more effective ways to get a reaction out of the audience and keep all of the prisoners' fates tied. And if it doesn't work, then wasn't Haruka's death pointless? It is just such a fruitless way to seal his case. Him being dead has only one outcome, which is...well, being dead. But surviving his attempt may have many outcomes: he might not attempt at all and remain unscathed, he might get in critical condition, he might be punished for attempting to escape milgram's boundaries by dying; who knows?

Not only narrative-wise is Haruka important, but also Haruka is a fan favorite, at least in JP fandom. He is well-loved, a lot of fans are intrigued by his case and killing him off without even getting close to solving his deal—which I see as one of if not the most ambiguous in the prison for many reasons—will leave a lot of fans disappointed and some may quit milgram, so the sales and audience etc will drop.

You have to keep in mind that Jackalope is biased, loves messing with us and sometimes says or implies things that are not true (e.g implying Haruka and Muu's dynamic to be romantic "lovey-dovey" when they are just friends) so you should not take anything he says—much like most of the info we are presented in milgram generally—at surface level.

Something else to be considered but which I wouldn't rely on as heavily, is that minigrams have foreshadowed things before (e.g system Amane), and Haruka has been really in the spotlight in nearly every recent minigram. I take this as a sign that he might not only survive but also play an important role in T3.

[very-fast-frog]

List of unnecessary and weird character assassinations in the umbrella academy season 4:

- Five for uhh whatever the fuck episode 5 was. And its weird continuation into episode 6

- Lila for the same reason

- Ben just uh. Lost all free will part way through? Odd choice for a main character. And the only glimpses we see of anything resembling free will after that are more like the old nice Ben, not the asshole Ben from the Sparrow timeline, which isn’t the character they’ve been building up for more than one season

- Everyone watching the drama go down between Lila, Five and Diego in their family living room. Staring and eating popcorn and making bottled shock facial expressions. Bro this writing and direction was weird

I’ll probably add to this later but here are some more thoughts:

I thought the idea of Lila getting into a romantic relationship as a means of survival could have been interesting and even in-character for her, especially since she went back as soon as she could but uh. With anyone but one of Diego’s siblings??

The ‘Jennifer incident’ apparently had nothing to do with free will or actual character choices so it wasn’t compelling or interesting, so there was no payoff there

Like damn this season started so well but flopped so bad

[secondhandsorrows]

Some Vital Scenes to Include in a Romantic Subplot, Pt. 2

Back at it again with part two of some scenes to consider adding for a romance subplot. Before we get into it, just a brief reminder that everyone’s story is different. Take that as you will. I find these helpful for planning and keeping a solid foundation for a compelling romance. There's probably a lot more I'm missing out. Some of these tips, I'm thinking, could even be helpful for writing a platonic friendship, in cases like making mistakes or helping each other through tough times.

If there's anything you would like add or share about this process or some of the things that have helped you, let me know! ~

- Moments of intimacy:

This is rather similar to our last point about flirting, but what I’m trying to get across here is the things that are not said. The unspoken. The unmentionables, if we wanna go there. But I’m getting ahead of myself… this is the kind of scene that can be built up gradually as the romance between your characters grows and deepens. Moments of intimacy in a romance subplot involve deeper and more meaningful interactions between the characters, showcasing their emotional closeness. They include physical closeness, such as hugs, touches, or moments of shared proximity. 

It doesn’t have to be all touchy-feely, either. These scenes also might include gazing at the stars, a shared adventure, a sudden desire to reach out but chickening out at the last second, or a quiet moment of understanding during a tough situation. These gestures can convey a sense of comfort or safety. Intimate moments can also build anticipation and tension in the narrative, where readers may eagerly await these little, momentous moments as they read and become more invested in their relationship. 

- Helping each other out:

Nothing get me more invested in a romance than those moments where the characters offer support, assistance, or guidance to each other, thus reinforcing their bond and showcasing the strength of their connection. Also, while helping each other, the characters can also encourage independence and growth in each other. They can encourage each other’s goals and aspirations, allowing each other to maintain their own unique identity within the relationship. 

The characters could also perform acts of kindness, be it big or small — showing to the other character how much they care without explicitly stating it. There’s an element of vulnerability that can be explored here, in which the characters share experiences and insights good and bad — offering each other solace during hard times and joy during the best of times. 

Some examples!

- Character A solving a problem in a way that only they would know or character B wouldn’t have thought of in the first place. 

- Character B being understanding and listening without judgement to A’s opening up and venting.

- Character A offering support and clear-headed advice to B, who tends to get irrational. On the other hand, B standing up for A and protecting them from harm. 

- Character B teaching a new, valuable skill to A, thus providing great opportunity for them to get closer and connect. 

- Mistakes or misunderstandings:

Like many others, I’m not a big fan of miscommunication in romantic arcs … unless they’re resolved quickly (because they tend to be predictable, sometimes, or just frustrating when there's every opportunity for them to reconcile but they're ignoring it because drama).

Ahem. But, characters should be allowed to make mistakes and learn from them. It’s realistic, because who hasn’t made a mistake at least once in their life? Not every budding relationship is ever perfect. It’s rewarding to see characters learn from their errors and work towards a mutual understanding or reconciliation. This helps to show their emotional maturity and resilience, especially if its gradual or important for their character arc.

Narrative elements that introduce complications (often arising from bad impressions, flaws, insecurities, awkward moments, mistakes, or even just being at the wrong place at the wrong time) can add tension to the relationship while providing space for growth. When used right, this can add deeper strength to your characters’ bond as they eventually overcome the bumps along the road of romance. It’s always interesting to see how characters might react in certain situations, for better or for worse. This is also a great point as to force your characters to confront their true feelings and be able to recognize them or communicate them better.

- Declaration of feelings:

Finally! The moment we’ve all been waiting for! This is the special moment where one or both characters express their romantic feelings for each other, marking a significant turning point in the subplot that often dictates how the story would then play then on out. Think about how you want your “declaration” scene to play out and what emotions you want to invoke. Is it elation? Anguish? Confusion? Excitement? Sadness? I mean, not every declaration scene has to be perfect. It all depends on the story you’re wanting to tell, how focused you want your romantic subplot to be, and what your characters are like. 

Also consider how your characters are feeling in that moment and what brought them there. Have your characters been waiting for this moment for a long time now? Is it risky? Easy for them to declare their feelings out loud? Could it also be just not the right moment, so hopefully later their love will be fully understood and reciprocated? Just some helpful things to consider. 

[tessarionbestgirl]

I think is becoming even more apparent that tb is the boring team because even some normies on yt are commenting about it. Whatever why do you think this happens? Why they failed so hard to stablish tb as compelling characters as tg?

My friends that are Team Black also have told me the same thing. So yeah I share the feeling. Look I don't think people massively would turn to be tg or anything like that specially the normies, specially it still early in the show.

Whatever I think there is 2 major factors that play on this. First the actors. Tg have stronger actors as group than TB, and I say as someone that have nothing against Phobe, Harry or Bethany. But the actors on Tg are just in another level. Rhys and Tom are ridiculously charismatic that got even TB feeling sympathy or entertained by them. Even arguably the weakest actor on tg that is Fabien have been able to pull gold out of his character.

Team Black always have been carried by Matt, Emma and Steve. And doesn't help, the second factor that plays into this and is how the writers approach the teams.

Team Green despite Alicent being the core center of it, the writers approach them as not extension of Alicent but as individuals with their own personalities and motives. Their narrative core is much tighter because everyone has a play on to it, and this bring a level of tension that makes the audience engaged. Even Heleana, because of her nature as character you get interested when she show up on screen.

Meanwhile TB this season is approach as extension of Rhaenyra, and only is here to serve her as narrative tool, I don't even count Daemon become at this point he is so isolated that is easier to say he is his own team.

See for exemple Jace, why we didn't get a arc of him with Cregan despite the way they would profit with the popularity of the Starks? Because it doesn't serve Rhaenyra as character. Jace isn't a bad character but he would be mile away more interesting if we see his bromance with Cregan build up and his forbidden romance with Sarah Snow that could even bring a internal prospection in relation to one's own bastardy, than just see he going get allies in the twins for Rhaenyra. Even his romance with Baela, major of his interaction with her is about Rhaenyra in some form, and there is nothing romantically about it.

Rhenys, Baela and the white worm are just props for Rhaenyra with "strong woman" label put on to them. Rhaena arc have massively change for we know why. I am not even touching on this subject because I will pretend is not real when it happens.

Colarys may do something but will be like in the 2 left episodes of season if so and tb only will turn agaist him in similar fashion some people on tg does instead of enjoy the drama lol.

So is like, they wrote themselves in this corner this season with TB and I don't think they themselves realize that because they spend WAY much more time with TB than TG characters and they still failed to make them work as character. They are just there and they are boring because they add nothing to the storytelling besides moving the plot.

[he-is-lightning-in-a-bottle]

Top 5 Beloathed Tropes, in No Particular Order

Hi beloveds. Because of a recent certain episode of what had previously been a favorite drama, I feel compelled to share some hate. Hate for these godawful tropes!

Noble Idiocy - This is when one character sacrifices something dear to them (usually their relationship with another character) out of the mistaken idea that it's somehow better for everyone this way. LISTEN UP PEEPS! It's a lie. It's so disrespectful of others, especially if it's a breakup. It's assuming that you know what is best for them, that you know what they're thinking and feeling better than they do, that you know what they'll want. All without ASKING THEM or letting them make their own decisions. You know what this signals to me as a viewer? That your relationship is doomed to failure even if you eventually work through this stupidity. Why? Because if you're willing to do this once, what's to stop you from doing it again? Your worldview is inherently flawed in a deeply selfish way, particularly because you're passing off your selfishness as sacrificial "love" and "respect" when it is the opposite! I no longer trust you! In summary: don't sacrifice your relationship/work/happiness because of stupid reasons that you could easily work through with some decent communication!

Time skips for the ending. - Time skips can be a valuable narrative tool. They can give a character who just endured something dramatic or traumatic time to become stable again. They can provide a fluffy epilogue to a fluffy ending, demonstrating to the audience that a year later everyone is still happy. But time skips are evil if they come in the penultimate or final episode just to add drama, and they're particularly evil if they relegate character growth offscreen. THIS IS WEAK WRITING. This is wanting to correct a character flaw without doing the work to show me HOW it gets corrected. It's especially egregious if it's a character flaw called out by the narrative in prior episodes because then I have an emotional investment in seeing it resolved, and THE WRITERS JUST STOLE THAT FROM ME.

Intentional Miscommunication - Let's just call this what it is. Lying. It can be well done (and even humorous) if the main character is trapped in a lie by circumstances beyond their control and they must perpetuate that lie for Reasons. Think Unintentional Love Story and Business Proposal. These often begin as low-stakes lies of omission because a character doesn't know yet how involved they'll become in the other's life. But it gets dumb as fuck when it either drags on beyond a couple of episodes (think Twins) or involves an intentional outright lie (I'm looking at you, Last Twilight). Dear TV writers, as a good rule of thumb, please resolve all misunderstandings within the length of an episode. And if the entire plot happens to be built on a lie, at least make it accidental rather than intentional. Why? Because someone who intentionally lies to others, particularly someone they claim to love, is no longer trustworthy. If you throw this trope in at the end of the drama, I'm no longer going to believe these characters can have a Happily Ever After no matter how happy you show me they are on screen.

Mean/abusive tsunderes. - Everybody loves watching a cold or reserved or grumpy character come out of their shell and bloom. But stop making tsunderes who are downright mean or abusive! Particularly ones who miraculously fix fundamental character flaws as soon as they're loved by the right person. Do tsunderes right, please! They're supposed to begin the story coming off as harsh or severe, but it's supposed to be for a good reason that engenders sympathy once we (and the other main characters) understand them. They're not supposed to actually be abusers! And it's the worst kind of storytelling to show their abusive nature magically changing because they feel in love. All this tells me is that as soon as their fluffy in love feelings dissappear, their abusive nature will reappear. I actually fear for their romantic partner.

Amnesia. - I hate it when all the character growth gets undone by this magic trope. Not only is the amnesia portrayed on screen usually totally medically inaccurate, but it's just lazy and dumb to use this for drama instead of something more realistic or believable. I can only think of three stories that did this well -- Jack O'Frost, Naughty Babe, and Crazy Love. In those stories, the amnesia (if real) was momentary, but then they pretend it is still there for valid sympathetic Plot Reasons. I also don't mind if it's the literal setup of the plot, ie the whole story is about a character with some form of amnesia adapting to their new life (think: Momento, 50 First Dates, Eternal Sunshine of the Spotless Mind). But please stop throwing it into the middle of stories just to be Dramatique™

@lurkingshan This is for you! Thanks for your Last Twilight rant spurring this on.

[siremasterlawrence]

Biker’s, Banging & Shit

Part 1 - 3

The sound of the motorcycle engines are in a loud, roaring and soaring sound breaking through the Woodlawn areas as they come in through the room as they pass by my home once more. It is one night in the wee hours of midnight I step out of my house to get some air blow into my nostrils and film me up to the brim with everything that makes me health and happier. One in particular stops cold as he parks his motorcycle on the side walk in a fit of fury as he looks at me with this powerful intense fierceness in his eyes as they begin to spark at me and all I can see his eyes glint upward slipping of the motorcycle bike as he steps on to the sidewalk to the end of the steps as he climbs up to meet me halfway on top of the staircase.I am so confused at the moment as he is in a state of a power trip making his way to the top of the staircase watching over me with this evil glare as I begin to back up to the wall of my home and in the moment he comes face to face with me as I want to runaway and escape the drama but I felt compelled to deal with him in the way that I choose. Something is very crazy as he walks up to the wall pins me down placing my hand on to the wall as he leans in to me our lips match each other. He kisses me as I take my hand so slowly leaving it on his waist as I yank him closer till our bodies as in form him laying on me as we kiss making out over time it felt natural.

“Wait! Wish! What are you doing here?”

“I saw you from across the street as I eased in here.”

“Is that supposed to be some kind of metaphor?”

“Non intentional”

“I magically found you!”

“I am drawn to be with you “

“I can’t stop thinking about you “

“It is one kiss “

“Do you even know what you are doing?”

“I am about to claim you”

“Fuck off!”

“Listen to me nerd or else “

“Or else what?”

“Let me into your home”

“Who do you think you are ?”

“The man of your dreams “

“I’ll make a bet with you “

“What kind of bet?”

“If I win then you are mine”

“And if I win?”

“You can come in”

“Let’s do it then”

“You will be sorry”

“As if! I am real man “

“I dare you to stare into my eyes”

“Feel the cool air encircling you “

“Easily captivating you “

“You can’t look away “

“It takes one moment a simple kiss”

“Take the dive and lose yourself “

“You said that you could get in my head but you…” he says as his voice starts to slow down.

“You thought I failed huh? Tsk tsk” I say while wagging my finger.

“Jerk off” he is swearing stopping cold as he froze in time.

“Name calling? How feeble” the man adds up cusping his chin.

“Let’s commence…puppet mode “

“Look at you at my command ready to jump with a snap of a finger.”

“Face me! Listen to me every singer word”

“You can feel me he sensation of crackling thunder purge your nerves.

“Your mind fades to the back”

“My words swirling in your mind”

“You want to fight but are to weak”

“You are not a rough man has a pussy “

“Tough man don’t shake”

“They cry “

“They are not a massive muscled bitch”

“You love the touch of my hand”

“Press of my lips “

“My body crawling on yours”

“Mmmmm….yyyyeeeesssss”

“Ffffuuuucccckkkkk!”

“Oh you like that?”

“Love it”

“Address me properly “

“Yes Master!”

“Prepare I am about to whip your ass”

“Yes Master! (Gulp!”)

“Sir Yes Sir”

The end