#I think I've seen this film before and I loved the ending

[genderqueerdykes]

this is prob silly but i appreciate you being so candid about not interacting with much media (like film/tv/pop culture stuff). it's kind of hard to be on tumblr or really even exist if you're not able to interact with media but it's a big trigger for me so i just... can't. like, i've never had anyone understand that it's not a choice i'm making to be special/different/lazy i just have extreme and unhealthly reactions to most media, except some books and comics. which idk if that's how it is for you (its not my business or anything) but i've never felt seen/represented about it before so im thankful, yk?

i appreciate you for sending this! i don't find it silly at all

i think it's very good for you to acknowledge that you have an unhealthy relationship with most forms of media. i'm sorry that you're going through this, but consuming media is not a requirement nor is it something that you genuinely need for your mental health, so it's okay that that's how you feel. i appreciate this because it gives me a chance to talk about something that is important to me, but people struggle to understand why that is

my parents used to make fun of whatever i was watching or playing as a kid over my shoulder. i used to get relentlessly mocked every time i put on a show i liked or played a game in front of either of them. it caused me to have severe trauma for years where i couldn't watch or play anything around other people at all. i still don't like when people ask me to put on things that i do like for a big group. the stress i feel when other people don't enjoy it is not worth it. i'm still very uncomfortable doing this to this day

i've felt pretty alienated all my life due to this. it seems like now more than ever, media, especially fictional media, is so important to general modern culture that it creates a barrier between people who do and don't engage. and it's not like it's a passive thing, i have people get offended at me when i say i haven't seen a movie or TV show. not talking about anyone on here, or any anons i've answered about media! people have been kind and respectful here. but in my real life and in conversations with other people, i have genuinely been mocked or insulted because i don't engage with most television, movies, books and comics.

i've had people question my autism over this. when i've told people in the past that i do not engage with pop culture, fictional media and so on, i've had people actually say "but i thought you were autistic????" like it's genuinely frustrating that it seems like people have shifted to thinking that autistic people's special interests are always cartoons, games and TV shows. it worries me because at times it feels like people are turning the common definition of autism into Media Consumption Disorder. my special interests are queer history & culture, animals & nature, and medicine & psychology. i genuinely enjoy research, it's something i happily do for hours because it stimulates my brain and motivates me. it excites me just as much as i think fiction excites people who can enjoy it. it's more than okay for autistic people to have a piece of media as their special interest, i'm not saying that its not! but it frightens me that people seem to conflate "autistic" with "loves fictional media".

due to my DID, i can't remember plots. like at all. plots confuse the ever loving hell out of me because i can't keep track of what's going on. real life doesn't have a plot. science doesn't have a plot. i don't know if fully understand the point of a plot, honestly. expecting people to be able to remember such an absurd amount of information in order to figure out something that happens down the road or at the very end feels like a herculean task to me. i can't remember what happened to me 10 minutes ago, there's no way i'm remembering a tiny event that happened hours and hours and hours ago. scripted interactions feel so stiff and unnatural to me

people tell me i'm saying i don't know what they're talking about to "be an asshole". i used to have a best friend who got really into dungeons&dragons and it traumatized me for years because i got into at first, then quickly lost interest once i realized how boring actually playing the game is for me. my friend did NOT take it well. he continued to force me to play. if i would ask him to please change the conversation topic he would start insulting and berating me and telling me that i was pretending to not be interested anymore to be mean to him. he couldn't understand that i grew out of it. he never got any better with this, as he was obsessed with marvel films and would get super pissed off if i told him i had no interest or didn't know what to say to him. it was frustrating because i didn't have a choice whether or not i could like something. it was "if you don't like this, you're an asshole."

and it's not just him that's treated me that way. it's been most of my friends. for whatever reason, when you tell the average person that you haven't seen, or god forbid don't like a piece of media, they take it personally for... some reason. as if i said "no i don't watch that because that's bad" as opposed to what i actually say is "i don't know what that is" or "i haven't seen that". you would not believe how insecure people get when you tell them you don't like a piece of media they like. i'm not sure why people feel like their favorite media is an extension of themselves, but it's an unhealthy relationship. it's not healthy to get offended if your friend tells you they haven't seen a piece of media that you have.

i have aphantasia, which is the inability to picture things in my head. i don't get "sucked into" media like people with clearer mind's eyes do. i don't picture anything cool or epic or fun happening in my head because i can't. as a result, i don't get pulled into shows, i don't get invested in tabletop games, i don't really get that affected by the media that i watch because i am painfully aware that i'm staring at a pre-recorded and scripted show the entire time. i'm painfully aware that i'm staring at an actor in a costume i just cannot get immersed in most forms of media save for very rare video games but even then, i immediately stop thinking about it the second i'm done interacting with it

i just don't listen to music and that one baffles people as i'm punk. most music is just straight up overstimulating to me due to my autism. i'm not saying that music is bad, it just overstimulates the everloving hell out of me. most of the time it just hurts my ears or gives me a headache or triggers my misophonia, which results in me getting irrationally pissed off. it's not something i can control. i prefer to listen to nature sounds, very simple meditation music that is a few simple tones, or nothing at all. i actually enjoy silence. i enjoy not overloading my ears. i enjoy being alone with my own thoughts. i can't think when there's too much noise happening

video games are more enjoyable than anything else due to the interactive element, but that does not mean i am paying attention to the characters or the story. it's very rare that a game can actually make me get interested in the characters themselves. i'm just there for the gameplay. generally i prefer games like rollercoaster tycoon, tower unite and other games that don't have a plot at all and are strictly focused on gameplay. i have no idea how people memorize all the different characters and interactions and story beats in games that have an overarching plot.

it's a personal choice. you're allowed to choose what your hobbies and interests are. if pop culture stresses you out, you do not have to engage. i just straight up do not get pop culture references at all and i've had people laugh at me for it but i just really don't care, it's not what i'm interested in as a person. i feel like a lot of people aren't quite realizing that most popular media is made for profit, not to be something genuinely well written or entertaining. i'm not saying those things are bad but what i am saying is that it's a product meant to be consumed in order for you to help a generally huge company profit. there's very little soul and whimsy when it comes to most AAA games and big box office films. the artistic integrity is severely lacking

anyway, thank you for giving me a chance to talk about this more at length! it's why i'm just very honest about it because i'm not going to force myself to change my interests because some people find how i approach life strange, or take it personally. you're allowed to choose what you interact with and don't. you're allowed to define your own interests and hobbies. and i think you're doing a great thing by acknowledging that you have an unhealthy relationship with pop culture. a LOT of people do right now. it's manufactured to be addicting on purpose. binge watching things is encouraged and is becoming seen as a new norm. i don't think people like you or i deserve to be mocked for approaching life in ways that make sense to us. take care of yourself, i appreciate you!

[the-crooked-library]

I noticed something near the end of Dracula when Jonathan and Mina separate for a final time (so she can go to Dracula's castle), that a difference between Harker and Hutter is also near the end.

For context, several chapters earlier Jonathan gets two weapons “put these flowers round your neck”—here he handed to me a wreath of withered garlic blossoms—“for other enemies more mundane, this revolver and this knife;.

Then when Mina and Van Helsing are about to depart for their ride to the castle, Jonathan keeps the knife and gives the revolver to Mina. Even for me a large-bore revolver; Jonathan would not be happy unless I was armed like the rest.

I know the phallic analysis of the weapons in the book are overstated in scholarship but I think it's telling that Jonathan insists Mina to be armed with a big gun while he lets her go do what she wants without him. Thomas didn't arm her and likely wouldn't even it were suggested imo.

omg yes! That is definitely another detail that really stood out to me during my watch, and yet another reason I genuinely start getting annoyed whenever people conflate Thomas with Jonathan - because frankly, that is allowing Thomas to reap what Jonathan sowed, so to speak. I've seen a lot of people absolutely in love with him, and yet the traits they list as the reasons are none that he possesses; in fact, the great majority of them are in exact opposition to his canon personality, and this is one of them.

Don't get me wrong, I love Thomas as a character. I think he is quite sympathetic - and, on the Watsonian level, really trying his best; but at the same time, I think it is essential to acknowledge that he is deeply flawed, if only because on the Doylist level, these flaws are fundamental to his arc in the story. It is purely a question of structure and function; because, at the end of the day, he is a fictional character, and thus, a narrative component, rather than a person.

In this case, his choices prior to the vampire hunt provide the viewer with further evidence -> of an aspect of his characterization -> that acts as one of the driving forces behind the plot of Nosferatu. Specifically, he does not notice that Ellen is lying to him; he leaves her at home as he goes off to "fight"; he doesn't even consider arming her; and he does all these things because, even though he does care for Ellen, he never really thinks of her as a person.

Thomas doesn't notice that Ellen is lying, even though she is clearly nervous when she does it, because he doesn't know what she looks like when she's hiding something (I personally think it is because she masks around him, at least to some degree - throughout the film, he is uncomfortable every time she's honest). He doesn't bring her to the hunt because it doesn't occur to him that she could help with tracking down Orlok - despite him being aware now of her immense psychic abilities, despite Von Franz describing her as a native in a world he is only visiting. And, exactly as you said, he doesn't even think to leave her a weapon; because, even as he sets out on his "quest," even after she's told him of Orlok's obsession, even though the point of the hunt is apparently to "save" her, he doesn't consider the possibility of Orlok going after her.

Contrast that with Jonathan - who knows Mina so well that they can get concerned over three lines of writing, who works with Mina's brief psychic connection to Dracula in order to track him, and who arms Mina before the final fight, because he is not satisfied unless he can do everything in his power to ensure her safety. When it comes to their relationship, Mina's revolver, while not exactly phallic (seriously, why is that topic so overwrought?..), becomes a narrative symbol of his thoughtfulness.

The difference here is that, while Ellen is important to Thomas, this importance only extends insofar as she is his wife. He sees her as a responsibility, but never as herself; and, ultimately, he never actually considers her a factor that could conceivably affect his - or anyone's - decision-making. He plans their life without even asking what she wants from it, he neglects her emotional needs, and he leaves her like a sitting duck during the hunt, without a weapon or anyone to guard her. She continuously slips his mind, utterly inconsequential beyond whatever their surrounding society defines as her role and value; and Thomas, tragically, is unable to overcome this ingrained, rigid set of rules.

This is an essential aspect of his character - because, as stated previously, the plot wouldn't happen without it. If Thomas took Ellen's wants into consideration, he wouldn't have been so hell-bent on chasing a promotion, and he wouldn't have left her right after their honeymoon to go to another country, especially if she begged him to stay. If he knew her better, he would've picked up on the plan she made with Von Franz - or she would've told him!.. Most certainly, if he saw any real personhood in her, he wouldn't have dreamed of leaving her unarmed and undefended.

Nosferatu is about Ellen's continued systemic dehumanization. The point of the story is that every single human character contributes to it on some level, despite whatever love and best intentions they might have for her. It's about the inherent monstrousness of being othered by humanity, and Thomas is - inherently, narratively, crucially - human.

[heartmix]

Never Be - Jack Hughes

Pairing: Jack Hughes x Fem!Reader

Word Count: 1.4K+ (with lyrics)

Warning: theres angst, pre-devils Jack

A/N: inspired by never be by 5sos. this is not how i wanted to end the fic but it just went in that direction

Masterlist \ Hockey Masterlist

We'll never be as young as we are now It's time to leave this old black and white town

"Let's leave."

"What?" Lifting your head to look at him beside you on the couch to ensure you heard him right. Both of you were in the Hughes family basement enjoying a film you knew he wasn't really paying attention to. Everyone else was asleep upstairs, ditching the both of you two movies ago.  

"Let's leave, go somewhere. No turning back." He repeated giving you a serious expression. Jack was full of surprises and you've learned to love that about him but the look in his eyes tonight was different. There was no pinpointing what emotion he was feeling but you knew he needed this, whatever this was. 

"What's gotten into that brain of yours Hughes?"

"This is the last time we get to be young and dumb. By next week, we'll be both adults off to do our own thing. Just one last time being a teenager with you."

"Well, what do you wanna do? Where do you wanna go?"

"Follow me." He said holding out his hand. Glady taking it you let him pull you off the couch and straight to his car. 

Jack wasn't exactly sure where he was driving to; he didn't have a destination in mind. He just wanted to leave the town with you and soak in the few moments you had left together before his world changed. By this time next week, he would already be practicing at the devil's rink and you would be moving into your new college dorm. As much as he didn't want to think about it, he wouldn't get the chance to talk to you every day. From the stories Quinn has told he would be lucky to catch you when you both are free or when in the same time zone when he's away for games. The Hughes brothers, as close as they are were lucky to catch a back-to-back conversation when the season started. 

I've seen myself here in your eyes I stay awake 'til the sunrise I wanna hold you hold you all night I wanna tell you that you're all mine

The farthest place Jack could think of going was the lookout where the both of you were frequent visitors. He remembered the first time he took you here. It was just a few years ago when he was learning how to drive and accidentally took the wrong turn. Between the nervousness from driving and you teasing him every second of being so nervous, he ended up on the lookout. A happy accident that became both of your spots.

"This might be your last view of our spot for a while." He looked over seeing you take in the sight yourself. 

"Same goes for you, you had to move away for college."

"You had to move away for hockey." teasing back, Jack couldn't help the hint of a smirk pulling from his lips. 

A moment of silence passed through. The only sound was from nature surrounding you both. There was no telling what time it was, time seemed to not exist but at the same time moving faster than he would like. If he could take this moment with you in his arms watching the slowness of the town, he would hang it on every wall so it would make it feel like it never ended. 

"What's going on with you Jacky?"

"I'm just taking this in before leaving." He didn't want to meet her eyes, he was holding on by a thread, and with one more push, he was going to spill his guts. 

"I thought we came to terms with this changing?"

"We did. I came to terms with leaving for New Jersey, not leaving you." There it was. The thing he was trying to hold back and not tell you. He didn't want to guilt trip you and make you feel bad. This occurrence was part of growing up, they weren't the first people to experience this change. 

"Jack.." 

"You are the only constant I had in my life these few years, I don't remember a time we've been apart for a long period of time."

"We'll see each other at Christmas right? that's just a few months away." He knew what you were trying to do and although you giving him hope usually cheered him up, it didn't work this time. 

"Might as well be a whole lifetime."

"You're not making this any easier for me." looking at you he saw tears welling up in your eyes. That wasn't what he wanted to do and he wished he could take back what he just said. 

"I thought you accepted it already." 

"I accepted it until tonight. I've been trying so hard to accept it and it took me nights of crying to be okay and here you are not moving on and it's breaking down my walls." at this point the tears couldn't stop and just kept following. he's never seen you like this, breaking down about the two of you being apart. You were always the strong and level head one out of the two, so seeing this right now he wished more than anything he could be in control of time. Reversing it so he never poured his heart out or freezing it so the both of you could stay like this forever. 

"Why didn't you tell me you've been crying?" The crack in his voice snapped something in you.

"Because you're going to the freakin NHL. I was with you on draft day and saw all the excitement from everyone. How selfish would I be if I told you I was sad about you moving away from me."

"Now you know how feel when I read your acceptance letter to a school on the other coast."

A beat of silence passed before either of them said anything. This was the first time both of you confessed how you were really feeling. Jack knew you were feeling upset about the change just like him, but hearing you confess how it was affecting you tugged at his heart even more. 

"Can you promise me one thing?" Her ask almost came out as a whisper, like she wasn't sure if she wanted to say it.

"Anything you want."

"When you make it big, and you get new friends, a new life in Jersey, a girlfriend, and start a family, promise that you'll never forget me. I'll be good with one call a year or a text for my birthday. I don't think I could take being out of your life for good." The confession made him mad. What was she even talking about? Did she really think that she could be replaced so easily, after being connected by the hips since grade school? 

"Baby, what are you saying? I'm never ever going to forget you. You are my person and the only constant I want in my life. If you are down the road from me or on a different coast, you'll always be mine. Don't think for one second I'll want to find someone else. I want you and I'm happy with any way I'll get that."

"Jack you're not saying what I think you're saying." He was. He didn't want to confess it this way but hearing all the nonsense she was talking about, he needed to end those thoughts right now. 

"I am. I just haven't had the courage to tell you until now."

"I need to ask you for one more thing." The tone in her voice made him scared. Of course, she wouldn't feel the same way. 

With the last bit of dignity he had left he still wondered what she wanted to say, "What is it?"

"I need you to tell me this when we aren't about to move away from each other. It can't be at Christmas or off seasons also. I need you to tell me this when we have adulthood somewhat figured out. If you still feel the same way, tell me then." Although it wasn't what he wanted to hear, he was glad she felt the same way. Of course, she wanted to be logical while in the heat of emotion. 

"I've felt like this for years, if I have to wait a bit longer I will." A smile cracked through. He wasn't kidding. He's waited years since they first entered high school, what difference does it make if he has to wait for her to finish college? 

"We'll see."

"Can we pretend for the last few hours we have tonight? I wanted to remember this."

"You got until sunrise Jacky." With a content smile, he pulled you into his side, entangling your fingers together and pressing a kiss to your knuckles. If he had to wait a few years so be it. 

We'll never be as young as we are now As young as we are now

[patheticblorbloscholar]

Since we know Jake is an unreliable narrator; the line "To Neytiri he would always be one of them." IS FALSE. Look, I know I'm spoiling the movies for the rest of y'all that haven't hyperfixated to my point yet but..... It was a GIGANTIC hint into what is her character development. James laid it on thick as to what will occur next. There were hints throughout the movie and Spider Sully has been canon the entire time.

[wavesoutbeingtossed]

The way Taylor spent years repeating patterns in relationships (as we all do) and falling for the same type of partner in different window dressing (namely, pretentious art bro men who ultimately gave nothing back and let her shoulder the burden) and then after ~everything~ just seemingly broke the cycle like "enough" and is not only happier and healthier for it but has found a partner who is pretty much the polar opposite of all that in every way that counts really needs to be studied because that is some seriously impressive growth that was pretty much on display in real time and wheeeeeeeew

[bluespiritshonour]

I'm kicking, screaming, crying, throwing up, pulling my hair out by the roots—

Exile by Taylor Swift is such a Maiko-coded song. Like, it doesn't get more perfect. Literally every single line of that song fits with Maiko perfectly ugh!!!

The way I'm feeling right now has no solution, no relief. It's like how you want to crush cute things cause there really isn't any response that would deal with the stimulus called cuteness? I'm going crazy because I can't express how much I love this song and I love maiko and sometimes words aren't necessary. Sometimes it's just the vibes and exile is so maiko in vibes—I feel like I've understood a lot of things I feel like throwing up.

It's like Zuko and Aang looking at the dragon flames and understanding firebending. I listen to exile and it's just—maiko in my head...just pictures and vibes and feels. No words apart from the ones in the song and they fit, okay?

[arewillselectric]

i think it's so crazy that i returned to fandom, specifically tumblr after being away for years because of the overwhelming need to consume byler content, and ever since then basically every other byler shipper i've come across has so so many shared specific interests and experiences just like mine?? and it's like, so incredible to find such a big group of people that has so much in common with you beyond the one reason that brought you together in the first place i get the feeling that even many many years after st has ended, the byler community will still be so tight and united, and even with people moving onto other interests, it's so likely that those new interests will also be shared

[honey-on-your-tongue]

heyyy I was wondering if you could do pornstar! Logan x pornstar! reader, where they're doing a scene together and Logan's being a little more gentle with her and cooing at her and calling her sweet things because she's so blissed out by him fucking her so good. (the reader hasn't been fucked that good in a while) and it ends with them going out or becoming fwb idk.

this is prob the most explicit I've requested so I totally understand if you don't wanna do it, also feel free to take your time thxx

Omg I LOVED this idea!!! I was so inspired ughhh I want this man so baaaad

You have the perfect performance. Perfectly practiced moans, perfectly practiced expressions. You've got it all down, from the curl of your toes to the elegant arch of your back and the tilt of your head against the pillows.

You expect this new shoot to go the same. The usual age-gap thing, you innocent-looking vixen all-too-willing to let an older man fuck you.

You've never filmed with Logan before, but you've seen him around. And you've seen some of his videos.

At least he's hot and well endowed, you think as the sex scene comes up. The makeup artist fixes your makeup some and then you're sent to lie on the bed.

You can feel Logan's eyes on you as you position yourself on the bed. You glance over at him and he gives you a small grin, as if he knows something you don't.

At first, you're expecting the usual. Men that just fuck you like you're a toy and not caring for your pleasure.

But the moment Logan's hands are on you, you can tell it's going to be different.

His fingers trace your body like he's exploring precious, untouched terrain. Like he sees you.

The way he touches you and the way he looks at you like you're some precious thing has you plenty worked up.

His hand moves between your thighs, his breathing heavy. His fingers spread your folds and he groans, leaning down to lick at your entrance.

You shudder, a small gasp leaving you. You're shocked, amazed, exhilarated. Something about this is different—something about him is different.

You actually enjoy yourself. You don't have to fake anything. Every moan that leaves your lips is coerced by him and his talented tongue and fingers.

By the time the scene moves on to the actual sex, you're soaked and ready for him. And more than that, you're eager.

Logan holds your gaze as he slips his hard cock into you slowly. You gasp, he grunts.

“Fuck. So tight,” he says lowly as he starts thrusting.

He gives slow, long, deep strokes that almost feel like torture. He lets you feel every fucking inch of him with each thrust.

It feels so good that you almost forget about the cameras and the microphones and the crew that's recording and watching.

It feels so good that you allow yourself to get lost in the moment and you just feel it all.

You're moaning, hands grabbing onto his shoulders with a fierce grip as you try your best to remember the script. But no, you're too out of it. So Logan takes over.

“Yeah, baby, I know.” He chuckles as he grabs your leg and wraps it around his waist so he can fuck you deeper. “I know you like my cock in you, you ain't gotta say it.”

You whine, nails digging into his skin. “Fuck!” you squeal, words barely understandable through the mewls of ecstasy you let out.

“Such a good girl, hm? So obedient f’r me.”

You gasp, body trembling.

He smirks. “Can you say my name f’r me, darling? Hm?”

You mumble incoherently, remembering your lines from somewhere deep in your mind. You just can't say them. Literally. He's fucking you dumb.

“C'mon, baby, you can do better than that,” Logan taunts, kissing your neck. “Do better.”

You whimper, gasping, struggling to say the simple word you know he's wanting to hear.

He grabs your leg and moves it from around his waist to rest on his shoulder. He stops fucking you and lets you catch your breath. “Say it, bub.”

You meet his gaze through half-lidded eyes and say, “Daddy.” You're surprised at how hoarse your voice is. How long has he been fucking you for? It feels like it'll never be enough.

“Atta girl.” He grins, his cock twitching in you when he takes in the expression on your face. He starts fucking you again, harder and deeper this time, with more intention.

You're gasping, moaning, blubbering. And Logan fucks you harder.

You can feel that tight coil in your womb as the pleasure grows and spreads and threatens to take you over.

One of Logan's enormous hands comes down on top of your womb and he presses down. “I'm right in here. Can you feel me? Can you feel my cock so deep in this pretty cunt of yours?”

And that's it. That's all it takes for you to come on his cock. Your mind goes blank and you see stars.

Fuck the elegant arch of your back and the carefully practiced curl of your toes. Fuck the expressions you're supposed to make. You lose it. Your orgasm is messy and needy and intense and raw, and you love it.

By the time you come back to, Logan's already pulled out and come on your thighs, as per the script. He's already put on his robe and is drinking some water.

You sit up, body sore and exhausted, and the assistants are quick to help you into your robe and hand you some water.

You're still trying to get your bearings when Logan walks over to you. He smiles down at you as you sit on the edge of the bed and he holds out a piece of paper.

You take it. It has his number on it.

“’f you ever want a proper fuck again, bub, just call me up.”

---

Blog masterlist

[simpingland]

Req: Can you write something with Ewan Mitchell and his co-star (pronounced feminine) where they are on the set of season 2 and how he is surprised by every performances that fem gives (Fem's character is bad and perverse), since since the recordings of season one he was already staring at her surprised by her actings and now with Season 2 he wants to spend more time with her, plus he likes her.

The Rehearsal// Ewan Mitchell x Fem!actress

Summary: Ewan is a method actor and it has been working fine for him. But he regrets this decision when season 2 of HOTD starts with a love scene, being partner with a lovely talented actress who propaply hates him and his mathods. But nothing is better than asking for help when one needs it, right?

|~~~~~~~~~~~~~~~~~~~~~~~|

Ewan watched from the monitor, patch removed but wig still on, your close-up was impressive. One look at you and you could see all the ambitions that were going through your character's mind, and he himself regretted not having told you yet. The good news was that filming for season two had just begun, and in this new season, Ewan had the opportunity to do scenes only with you.

They shouted cut, and you immediately broke into a smile, laughing after such an intense scene. You received compliments as you were photographed to keep the raccord straight.

"Congratulations, that's a good start," the director said to you. "Remember you have a special sequence tomorrow, get a good rest."

Yes, you remembered. And Tom (who played your brother Aegon) smiled mischievously at you. It was a kissing scene with Ewan, with whom you had barely exchanged a word since the moment you were confirmed as part of the cast, a year and a half ago. You only spoke a little at the audition, which was a chemistry test, and he was a sweet, unassuming guy. When he was announced as the official actor of Aemond... it was something different. You didn't interact in the scenes in the first season, his scenes were shared more with Fabien and Tom, while you had shared scenes with Olivia and Phia (Alicent and Helaena). The chemistry your characters were supposed to have was only hinted by the placement of you both in the scene or montages of shots that you only saw once the series was released. And in the meantime, Ewan had stayed away from all those with whom he didn't share any dialogue, with the excuse of staying focused on his character. Tom had already told you numerous times that Ewan thought you were a fantastic actress, but you always responded the same way.

"If he does, let him tell me so. Then I'll be flattered.”

When the script for the second season came, both of you, in your respective homes, had your hearts skipped a beat. Your character would approach Aemond in the throne room in the middle of the night. And there they not only talk, but share a kiss that promises to go further in the following seasons. Aemond confessed his love for your character, and being that it was a story taken from the world of Game of Thrones, it was sure to end in much more intimate scenes. Normal for actors and comfortable for a cast that was so friendly and close. But with Ewan being so distant and serious? It was difficult. You didn't even dare to call him. Nor did he call you. What you did do was call Tom.

"She hasn't spoken to me once since we started filming. I've seen her look at me sometimes, like she's trying to talk to me but then, before I could say a word, she's gone quiet again. Tom...I don't think I should take being a method actor so seriously," he said to the other actor.

"It amuses me immensely to be the connecting point for both of you. Don't worry, Ewan, she's a sweetheart, and very understanding. She knows that everyone has their own procedure. So if she has respected your method, you should respect hers."

"And what is her procedure?"

"According to Phia, she loves to walk back and forth repeating her lines in a thousand ways."

Right, Ewan saw the video Phia sent around the group so everyone could see how lunatic you looked. And even there, after discovering you were being filmed, you smiled tenderly at Phia asking her to stop. What else would he have missed since you weren't talking?

You had already taken off your wig, your hair was loose and your dress had been off for quite a while. You were waiting to take off your make-up when your trailer was called. You were expecting anyone, happy to have any interaction with the wonderful team around you, but when you saw Ewan, the smile must have dropped a little.

"Sorry if I'm intruding. Is it late?" Ewan asked you as he saw your friendly greeting getting lost in the air.

It wasn't dark yet, and the next day's filming was starting early, so you genuinely didn't know what to say to him.

"Well... I have to finish off some of the lines for tomorrow.’

The lines you had to say with him, and he knew that. But since that wasn't an invitation, Ewan understood instantly and nodded.

"Well, I just wanted to tell you...it's been an awesome first day of shooting for you. It's no wonder you're a fan favorite."

That made you blush.

"Well, that means a lot coming from you."

He smiled sheepishly at you, you were taller than he was, standing on the trailer and he was on the grass a few stairs down. And yet he seemed way too big.

"I promise I'll be on time tomorrow so we'll have plenty of time to rehearse," he said, trying to get out of the strange conversation he had started.

You nodded and watched as he walked away, the patch in his hand and taking off his seatbelts. Did he come with the intention of chatting? My God, you'd had a chance to talk at length with your fellow cast member and you'd wasted it? You needed to go over the scene as much as possible!

"Ewan!" You called out to him, hanging almost on your doorstep, he turned with that agility that is so engaging on screen (and in person). "Are you done for the day?"

"I've got to get out of my costume. But...yes, I'm done."

"Would you mind..." you mumbled in an exaggeratedly loud voice for him to hear. How embarrassing. "Would you mind dropping by again to rehearse?"

Ewan stood still for a second. He watched you from afar, so affectionate and shy, totally contrary to your character, and felt a deep tenderness.

"I'll be back in half an hour," he promised you.

You looked forward to it, and you'd be lying if you didn't say that you'd put your make-up back on a bit. Ewan, on the other hand, was hurrying more than usual to remove his own clothes, forgetting to remove his fake scars in the rush that followed him. He was punctual, and in thirty and a half minutes, he was knocking on your door again.

"I really appreciate you doing this, Ewan," you said as he climbed into your trailer.

"Don't worry, it's going to be fun."

You looked at each other for a second, smiling, kind of gawking, which was nothing like the scene you had to recreate.

"How do you prepare for a scene?" You ask.

"I listen to some music. But I want to try what you do. "

He looked at you expectantly, and you suddenly felt embarrassed. Like the girls at the school function.

"So... I close my eyes, and I create a map where everything looks a little bit like the set."

"And what do we choose to be the throne?" Ewan smiled, which made you blush even more.

"Well... "There was a fully finished teacup, with the inelegantly squeezed bag next to it, dripping. You'd forgotten to clean it up completely. "That cup itself."

Ewan frowned slightly, teasingly, and nodded. The next step for you was harder to explain.

"Now, Ewan, I need some space."

He sat down on your couch, script to one side, the bastard having already memorized it all. And from there he watched live what he'd been craving for months, watching you pace back and forth. You read the annotations and your lines.

"They will never forgive our family for what I did," Ewan replied, intoning in the silky voice he gave Aemond.

"If it's any consolation, I doubt they would be willing to let us live even if we had given them the throne willingly, Aemond..." though you paced, your hands and gestures maintained theatricality, and you repeated the phrase three more times, all with trapped deliberation. "This pantomime of repentance can only convince Mother...but not me."

"What pantomime do you mean?" replied Aemond.

Then your character stopped looking at Aemond to stare at the Throne. In this case you stopped to stare at the ugly teacup. You had to hold back a smile. Ewan looked at it too.

"It's impossible to fool you, it always has been." Ewan got up from the sofa and approached you, as Aemond does with your character. "It is a crude, chaotic and ugly object, but always that which I have desired."

Then the laughter you'd been holding back escaped, unable to think of the mug as anything else. And Ewan laughed with you, all the tension disappearing instantly. Now he could understand the affection with which everyone spoke of you.

"I'm sorry, really," you said, getting serious again. "I'm sorry."

"Don't apologise, this is fun. I'm going to try your method. Shall we close our eyes?"

"That's right."

You closed them at the same time, thinking about the huge room, illuminated by a silver light that simulated the moon. And after a few seconds, Ewan opened his eyes to look at you. Although you didn't have your white hair, or the elegant dress, your eyes were the same, as beautiful and bright as they were behind the cameras. And he had the privilege of being the focus of your attention and having them in the foreground.

"Though I think I was always more subtle with another of my longings..." he whispered close to your lips.

"That you tried at least" you whispered back.

"When I get the throne I'll need someone as sharp as you to accompany me. There is no woman in the seven kingdoms who compares to you."

Then came the kiss. You looked into Ewan's eyes, up his nose and down to his lips. What was there left to throw yourself? Not much, but with him being so reclusive, with that being one of the few times you spoke to each other, it felt strange to pounce on him without consent. So you walked away, leaving the scene there.

"We can work this out with the director and the intimacy coordinator, if you like," Ewan suggested, a little flushed and extremely sweet.

You poured him a cup of tea while you discussed the romance that your characters might have developed over the years that the series skips. You imagined romantic scenes that might have led up to that kiss and concluded that they were a toxic couple, but possibly better than Rhaenyra and Daemon.

"You know, I love the way you act and I love that I discovered your process," he confessed. "I think the admiration part is not going to be too hard to act out."

"Oh...my process is really ridiculous, everyone laughs at me. I'm glad it at least works. But it gives me a hard time at auditions," you laughed nervously.

"Well, it's true that it's fun to watch. But it's certainly worth it. I don't think you have anything to envy the others, you're...magnetic." He said it with a seriousness that moved you, adding to his intense gaze. "I'm sorry I wasn't smart enough to tell you sooner, because I've been thinking about it since the day they put me in the same room you were in, back at the audition.”

You froze a little, so you just said what you felt in the simplest way and with the most honest smile.

"Thank you."

Ewan took the last sip of his tea and before he left you remembered one of the thousand questions you had for him.

"Is there a reason you haven't removed the scar? Something to do with method acting?"

"Scar?"

You touched his cheek, where the scar began, and Ewan understood instantly.

"Ah, gee, I completely forgot to go through makeup. I'll get a telling off tomorrow."

"Not if you sleep on it until tomorrow" you joked. "Let me help you, I love fake wounds."

You stood next to him, towering over him a little, and lifted the thin layer of silicone with the delicacy you had seen in make-up artists. You were envious of the woman who was in charge of characterising a person as curiously attractive as Ewan. He also smelled exaggeratedly good.

When you took it off, you threw it into the creepy teacup from earlier.

"I've almost run out from, the costume department before," he justified himself. You took the opportunity to wipe that part of her face with a makeup remover wipe. "I usually do this part myself..."

"I know, but I like it..."

And while you were stroking his face with the excuse of cleaning it, Ewan was watching your lips, and didn't notice that you had noticed. You pushed the wipe away, stroking his chin, and at the same time, you both pressed your lips together. A strange kiss, something special, sweet and soft. You stretched it out, standing almost still, afraid of what would happen if you broke apart. When you finally did, you looked at each other with a look of confusion, though neither you nor Ewan pulled away.

It was a dangerous idea, he was your partner, and you had been unprofessional. You broke away.

"I think you should rest. I've distracted you too much." Your tone came out agitated and Ewan rose slowly.

"No, it's all right. I liked it. I liked everything. Didn't you?" He had emphasised the word 'everything' and was looking at you with lambent eyes.

"Yes...I loved being with you."

He said goodbye with a smile of his, and you bowed at your door like a little girl. Most of the team had already gone to rest and you barely noticed.

You had to put on more concealer than usual the next day because of the lack of sleep you'd had from that strange kiss. Ewan had kept his promise and had arrived a good while earlier to re-rehearse the scene. You did it without the kiss or the lights, just with the director's instructions and with your cheeks flushed as you exchanged glances.

"Did you practice with the kiss?" the intimacy coordinator asked you.

You were completely silent. Ewan answered for you.

"Not really, maybe it's better to give a first kiss at the moment of the shot. More realism."

"Well, then I guess you've worked out the sexual tension and dynamics of your characters."

Ewan nodded and smiled, which made you smile. Had he put hours of sleep into your little meeting yesterday? Yes, he had, and he told the woman who was putting on his scar who asked him who had removed it the day before. When you returned to the set, lights on, costumes on, cameras rolling, Ewan looked at you in the distance, asking you with his eyes if you were ready. You nodded with a shy smile, and began to act when they shouted action.

Aemond, still dressed and coming from the castle library, walked into the empty throne room to watch you. You walked behind him, in a smart dressing gown, your hair loose and trying uselessly not to make a sound. Aemond then spoke aloud.

"They will never forgive our family for what I did."

You approached Ewan, who still wouldn't look at you.

"If it's any consolation, I doubt they would be willing to let us live even if we had given them the throne willingly, Aemond..." You leaned into him a little, as the director had recommended. He was so tall and so tense that you felt as safe as if you were leaning against a stone pillar. "This pantomime of repentance can only convince Mother...but not me." Then Aemond would look down to see you out of the corner of his eye, which made your character - and you - nervous.

"What pantomime do you mean?"

Then you looked at the throne, now there was no laughter to disturb you, only the terrible seat of swords before you. And Aemond was looking at it too.

"It's impossible to fool you, it always has been. It is a brutish, chaotic, ugly object, but always that which I have desired."

After a pause, he turned fully around to look at you, his height becoming primordial in that short distance. In that low light, Ewan's visible eye looked into your eyes, dropping to your lips subtly.

"Though I think I was always more subtle with another of my longings..." he whispered in his velvety tone.

"That you tried at least" you replied trying to keep your composure. If they knew how hard you were struggling not to fall to your knees at that moment they would have nominated you for an Emmy by now.

"When I get the throne I'll need someone as clever as you to accompany me. There is no woman in the seven kingdoms who compares to you."

He stroked your face gently, something that coming from Ewan was tender and expected, immensely pleasing, but then you remembered that Aemond could never be so gentle in the face of his urges, and you let your own out. You pressed yourself against him, pressing your lips together with all the assurance you had longed for the night before. You could feel Ewan intensify your kiss even more, placing his hand on your neck. All the possible kisses that had been going on in your head during the night were now dwarfed by the kiss that was happening right there. As fierce as your characters, with the longing you had just discovered that you and Ewan had shared for a year and a half.

It was only when they shouted 'cut' that you broke apart, catching your breath and barely breaking away. Some applause, chatter and comments from the team, you could hear little of what they were saying. You pulled away flushed, laughing at the sudden intensity. You looked at the director as Ewan smoothed his jacket.

"Let's look at the shot, I think it was simply perfect, congratulations."

Another round of applause, and you felt Ewan brush your unruly hair out of your face, stroking it as he ruffled your hair.

"What a pity not to have to repeat this scene..." He confessed.

"That's the thing about being so talented," you joked.

"Obviously..." he removed his patch and turned back to you to ask in a quieter voice, "although I'd love to have more private acting classes with you..."

You smiled at the hint.

"I'll give them to you if in exchange you let me remove your fake scars again."

"Deal."

[antiquatedmagic]

tag drop.

[thankskenpenders]

Thoughts on Sonic 3!

On December 10th, 2018, I was on the last day of a trip to Milwaukee. The night before, I'd attended the wedding of one of my best friends, Jake, who I've known since high school. Even though half of us were sick the whole trip, it was a great time. Derek had asked the wedding DJ to play "One Week" as the first request of the night, and proceeded to lip sync the entire song on the dance floor. On that cold winter morning in a hotel room hundreds of miles from home, Derek and I groggily checked Twitter on our phones and saw the shocking news: Paramount had teased the design for Sonic from their upcoming live action film. Even in silhouette, the shape of his face and the realistic curvature of his limbs made him look like a grotesque little homunculus. This movie was going to suck.

Six years later, I've now seen the third entry in what's become a hugely successful Sonic film franchise. It features Keanu Reeves as the voice of Shadow the Hedgehog in a fairly faithful adaptation of his story from Sonic Adventure 2. At the time of writing, it currently sits at a whopping 86% positive rating on Rotten Tomatoes, vying for the title of the best-reviewed theatrically released video game movie of all time. Critics are saying nice things about the emotional journey of Shadow the Hedgehog. Never in a million years did I think I'd see this day.

I, too, have now seen this movie, and... yeah, it's pretty good.

I'm gonna get deep into spoilers here, so I'll just say up front that I liked the movie. It feels like just about the best possible execution of this version of Sonic. But that's also damning it with faint praise, depending on who you ask.

If you're a fan of the games who didn't like the second movie, you probably won't get much out of this one, either, unless you just really love Shadow so much that nothing else in the movie matters to you. It doesn't reinvent the wheel for this film series. It's still got a heaping helping of broad comedy, cheap pop culture references, bad one-liners, and characterization that diverges greatly from the source material. This is not high art, nor is it a direct adaptation of Sonic Adventure 2. If you're the kind of person who hates this portrayal of Sonic and Eggman, or a lore nerd who'll hate that they let Shadow do Chaos Control without an Emerald, then just don't bother with this.

On the other hand, if you did enjoy the last movie, then you'll probably have a fun time here, too. Shadow is very cool. The action is the best it's ever been. There's a bit more focus on characters from the games, and less on human characters invented for the movies—with the exception of Agent Stone, who's in this a lot because everyone likes him. There's a lot of SA2 fanservice. They even play "Live and Learn." It's a fun time! Be sure to stick around through the end credits.

And now, to dig deeper, let's get into the spoilers! I'm gonna jump around a lot and talk about different aspects of the movie, spoiling everything along the way.

Shadow and his reams of lore

Here's the main thing you came for: Shadow is great in this! They really did him justice. Keanu Reeves is extremely solid in the role. He can be a bit flat as an actor sometimes, but I think he did well here. He can be tough and menacing, but he can also be earnest and emotionally vulnerable. Good casting call. Excited at the prospect of seeing more of him in the future.

Really, as a Sonic Lore Nerd I'm most interested in discussing the changes they made to Shadow's backstory. I'm sure there will be many fans upset with the changes, but for the sake of streamlining a complicated backstory that was subject to a bunch of retcons and multiple layers of amnesia and fitting it into a 110-minute movie, I think they generally made smart choices.

For one, Gerald didn't create Shadow using Black Arms DNA, because Gerald didn't create Shadow at all! Instead, Shadow arrived on Earth inside a meteor, and Gerald was merely the prominent GUN scientist who studied him after he was captured. (That meteor does have very strong Black Arms vibes, though, so I wouldn't rule out the possibility of them exploring that stuff in the future.) This simplifies things a lot and allows Shadow to be a direct foil for Sonic, kind of a version of our hero who was treated as a lab rat and lost the only human he considered family instead of finding happiness like Sonic has. Then later Shadow hurts Tom and Sonic wants revenge, and it mirrors Shadow's feelings about Maria, and after they fight they can empathize with each other over this, Shadow sees the error of his ways and helps save the world, yada yada yada. You get it. People predicted 95% of this movie's plot from the trailers, but it's effective.

Likewise, all of the stuff about creating Shadow as the ultimate life form who's immune to all disease to cure Maria's illness is completely cut out. Shadow's still called the ultimate life form, but he's treated as more of an energy source than a genetic research project here, playing off of the stuff about Eggman wanting to harness Sonic's natural Chaos Energy in the movies. The original intent behind the ultimate life form project was always hard to explain in the games and doesn't even come up that much, so I don't blame them for cutting it.

Because Gerald isn't doing genetic experiments and creating artificial life, the Biolizard also doesn't exist. It does, however, appear in an old monster movie Shadow and Maria watch in a montage, with Shadow later commenting that he worries he's a monster like the one he saw in the movie. That's a clever way to include it, I think.

The ARK sort of exists. There was no space colony back in the '70s, all of the events of Shadow's flashbacks just took place at a secret GUN base on Earth. Fair enough for a version of the story ostensibly set in the real world. The big space laser in the third act of the film is obviously supposed to evoke the ARK, but it's referred to as simply the Eclipse Cannon. It's still not a full-blown space colony, just a weapon of mass destruction Gerald designed for GUN in exchange for his release (while also secretly planning to use it to blow up the planet in an act of revenge). I am, however, pleased to report that the Eclipse Cannon still has a giant Eggman face on it.

And as for Maria: I like her in this! She's obviously not going to get a ton of screentime, and she's always going to be a very straightforward character, but she's more playful and lively here. She teases Shadow for being grumpy and plays with him a lot. She feels less like this perfect embodiment of everything good and pure in the world and more like an actual kid. She's still not a complex character, but it works.

And the most important question: do they show a child getting shot and killed by the military? The answer is almost. In the flashback, GUN soldiers chase Maria, Shadow, and Gerald and ready their guns, but the young Commander Walters (who's in his 20s rather than being a kid) grabs them and tries to stop them from firing on a child. In the chaos, a soldier fires, missing Maria but hitting a generator that then blows up and kills Maria. So, y'know, close enough I suppose.

So, yes, many of the details change here, but they captured the gist of Shadow's story from SA2. The emotional core is there. I will say, though, I almost feel like Shadow isn't in this movie as much as I thought he'd be? I think he's used effectively in all of his scenes, and they make room for his backstory, and BOY does he get to kick ass in his fights, but for much of the middle part of the movie he's overshadowed by Ivo and Gerald. Though this might be a compromise to leave more screentime for...

Tails and Knuckles

I'm relieved to report that Tails and Knuckles both get a good amount of cool stuff to do in this! They don't feel like an afterthought.

I was worried that Tails in particular would completely fall by the wayside, since even his debut movie didn't entirely know what to do with him. But he's good here. He pretty much just feels like the Tails from the games at this point, especially since they dropped that fawning admiration he had for Sonic with that running gag of him going "Only Sonic the Hedgehog could do that!" He often chimes in as the one who wants Team Sonic to stick together when Sonic and Knuckles bicker. He particularly gets to shine in the Mission Impossible-inspired heist sequence at the GUN headquarters in London that serves as the climax of the second act, which feels like it was tailor made to let him shine as the tech guy of the team. He also gets several opportunities to swoop in and catch someone for a save in an action scene. He's good in this!

Knuckles is... fine. He's definitely fallen into the role of the comic relief dumb bruiser since joining the good guys, but he's at least a little better than he was in his own streaming show. The jokes lean more into him just being really brash about his strength and skill, rather than him being this archaic warrior who doesn't understand anything about the modern world. He also gets a few more serious bits in the back third of the movie where he gets to shine a little more, so overall it evens out to him being fine. They could've done way worse.

As for the relevance of the Knuckles show: Knuckles is now said to be the guardian of the Master Emerald, like in the games, though with no Angel Island this amounts to him hiding it somewhere for safekeeping. It's eventually revealed that he just gave it to Wade, who gets exactly one scene (sorry, Wade-heads) for a joke about him using the Master Emerald as a hockey puck. So, the miniseries explained why Knuckles has a connection with Wade. That's it! Also I think Knuckles might use the Flames of Disaster a bit in fights, but they never called the technique out by name, so I never really thought about it. So, yeah, the six-episode streaming miniseries about Wade bowling has zero meaningful relevance to the Shadow movie. Who could have seen this coming?

Miscellaneous humans

For that matter, the human supporting cast is MASSIVELY downplayed in this one. Tom and Maddie are there for two key sequences (the beginning of the movie and the GUN HQ heist), but otherwise they disappear for long stretches of the movie. They don't go to Japan in act I, nor do they go to space in act III, and there's no subplot for them during those periods, either. There's nothing like the wedding subplot in Sonic 2 where they'd constantly cut back to Hawaii for comic relief with the humans and only reveal why this was relevant to the plot near the end. (There's also no random dance battle in Siberia.) If a human character is here, it's because they have something to contribute to the plot right away. Most people will probably consider this an improvement, and I'd certainly say it makes for a much tighter script, though I have to remind everyone that I thought the wedding being a GUN sting operation was such a funny twist that I'm a defender of the Hawaii subplot.

On the subject of Tom, something funny I've noticed is that they've just completely downplayed the fact that Tom and Wade are cops. Tom being a cop never comes up once. Wade being a cop only gets referenced via the fact that he's practicing hockey on the roof of the police station in his one scene, but he's not in uniform or anything. They clearly got the memo that we don't want Sonic to hang out with cops.

Here's something else funny: Rachel and Randall got character posters, but they're actually not in the movie! Not technically, anyway. During the heist sequence at GUN HQ, Tom and Maddie use some gadgets Tails invented to holographically disguise themselves as those other characters. But the real Rachel and Randall never show up in the flesh. It's a very odd way to shoehorn the actors into the movie. (Jojo is also absent. They did not give her Amy's role of being the girl who reminds Shadow of Maria. Instead they just let Sonic have the big heart to heart with Shadow that makes him switch sides.)

You know who IS in this movie? Krysten Ritter. Not as the voice of Rouge, as the fandom once hoped, but as a director for GUN. She gets like three scenes and she feels completely checked out the whole time. Can't say I blame her! She's not really a character, just a plot necessity. Commander Walters dies in Japan but gives Sonic one of two keycards needed to activate the Eclipse Cannon, and then Ritter's character assumes Sonic stole it and labels him a bad guy. So that's why they have to break into GUN HQ in the second act instead of just talking things out with them. Still, I am at least relieved that Sonic doesn't work with GUN for most of the movie.

I gotta be honest: when Walters pulled a credit card-shaped object out of his pocket, I thought he was about to give Sonic another Olive Garden gift card as his final act before dying. Part of me wishes that happened.

The supporting human character in this who really gets to shine is Agent Stone, which I'm sure most fans will agree was the correct choice. There's a LOT of Agent Stone in this. He's good. I don't have much to say about him, but he's fun as usual.

But, of course, the ones who steal the show are Jim Carrey, and his costar Jim Carrey.

The Robotniks

I've gone back and forth on whether or not I can actually see movie Robotnik as Robotnik. I think with this third and final entry in the Jim Carrey Robotnik Trilogy, I've landed on... yeah, that's just Jim Carrey playing a Jim Carrey character. He's absolutely having fun with the role, and I enjoyed watching him, but I think a lot of that comes down to the fact that I'm a millennial who grew up watching Jim Carrey movies. If you didn't like him before, this movie will probably be nails on a chalkboard to you, because now there are two of him.

Ivo's arc here leans very heavily into the fact that he grew up as an orphan and never knew his family, a thing offhandedly mentioned in the first movie that's never been a thing for any other version of the character. Here, he learns that he has a living grandfather who's also a mad scientist, and it feels like a hole in his heart has been filled. It certainly makes sense for a place to take this version of the character, and it fits with the movie's themes of finding and losing family, but the cartoonish, childlike affection Ivo feels towards Gerald and all the scenes of them frolicking and dancing together have basically nothing to do with the characters from the games. He's a fun villain for this movie, but he's overwhelmingly used as comic relief this time rather than as a serious threat. He doesn't particularly feel like Sega's Dr. Ivo Robotnik, the arch nemesis of Sonic the Hedgehog who'd take over the world with an army of robots and a fleet of airships in the span of a day if Sonic wasn't around to stop him. He's a guy who lives in a big crab robot and has some drones. He has more in common with Carrey's depictions of the Grinch or the Riddler or Count Olaf than Dr. Eggman. Though he does, at least, finally get his outfit from the games by the end of the movie. So that's something. And also he's in a fat suit now. They only make jokes at the expense of his weight a little. Hooray...?

Gerald, meanwhile, is... largely the same character as movie Eggman, but older, so they can make jokes about him having saggy flesh and smelling funny and needing dentures. (Also, his voice kind of sounds like Homer Simpson sometimes?) To his credit, Carrey absolutely nails the handful of more serious scenes Gerald gets, whether it's Maria's death or his sinister turn when he reveals that he actually wants to destroy the Earth. But then it's right back to goofs about there being two of the same guy. Even the final battle features a lot of slapstick shenanigans with the two Robotniks fighting each other. I was able to enjoy the absurdity of it all, but if the humor doesn't land for you the dual Jim Carrey schtick is a hell of a lot of the movie. I wouldn't be surprised if there was more Gerald than Shadow in the movie, when you go and tally up their screentime. I was able to enjoy the sheer absurdity of it, but your mileage will vary.

I will, however, say that the split screen stuff they do with the two Carreys is EXTREMELY impressive, from a filmmaking perspective. They were absolutely flexing with their ability to pull the effect off. They don't rely on cheap tricks like cutting a lot, or having shot/reverse shot scenes where you're looking at the back of a body double's head. Instead they have a lot of long takes where the two Robotniks are talking to each other, you can see both of their faces, and they'll even hug and touch each other a lot, and the whole time the conversation maintains a natural pace like it really is two actors playing off of each other. It's really well done. It's an incredibly silly idea, but boy did they commit to it.

Sonic

I've hardly said anything about Sonic himself in all of this. It's his movie, isn't it! Well... I don't know, he's fine.

I feel like movie Sonic is a known quantity at this point, and either you like this take on the character or you don't. There was some speculation early on that this was supposed to be a younger Sonic who would grow into being the character we know from the games and comics, the one who's still got lots of quips but is also kind of aloof and cool, a free spirit who goes where the wind takes him, a figure the other characters look up to. And... no, that didn't happen. Once again he gets more serious as the stakes are raised, and he's totally badass when he goes Super, but the rest of the time he's still a little goober with tons of generic one-liners who learns schmaltzy lessons about the importance of family. He's still constantly going to undercut the tension of most scenes by cracking a pop culture reference that will make the average American parent go "haha I've heard of that." I don't think they're ever gonna change that. I think this just what the writers think Sonic is like.

And, again, for what it is, it's fine. He's a little annoying. You already know how you feel about movie Sonic. This third entry won't change that. But they do, at least, have him say "Talk about low budget flights, no food or movies... I'm outta here!" before jumping out of a helicopter. As my thoughts on the climax will show, I am not immune to fanservice.

The climax

God, the climax is SOOOOO fucking good. It's fantastic. Easily the best action these movies have ever done.

Rather than saving Super Shadow for the team-up with Sonic at the end, they have both of them go Super to fight each other first, and they just go full DBZ with it, fighting across the entire planet. It absolutely rules. I think this is the new coolest fight the two of them have had in anything ever. And then they have to stop the Eclipse Cannon together, and sure, there's no Biolizard. But Gerald DOES release a swarm of GUN Hunter robots, and the ensuing space battle turns into some Gundam shit. It's good! It's so good!!! The movie's flaws kind of melt away for me here when I'm watching Super Shadow take out an army of robots with Chaos Spears on the big screen. What a timeline we're living in.

And yes, they play "Live and Learn." They had to. They knew the assignment. They actually play a slight remix, but it's still got the original vocals, so it's perfectly recognizable. Actually, the tune of the song is used as a leitmotif for Shadow throughout the movie, first introduced via an acoustic guitar version played by Maria, and I really love that. I've been begging these movies to use more music from the games the whole time, and I'm glad they finally did so here. (They also use the traditional level clear jingle early in the film, and Eggman's theme from SA2 is very briefly used as a ringtone.)

... Anyway, uh, meanwhile Eggman, Tails, and Knuckles straight up just kill Gerald to save the world? They unceremoniously knock him into an energy field at the end of their slapstick fight aboard the Eclipse Cannon and he disintegrates like he hit a bugzapper. It's over in an instant. It's not graphic or anything, but it's, like... I didn't expect them to show it, or for it to be such a casual murder! Eggman has one quip about it and then immediately moves on.

Shortly after this, Eggman and Shadow sacrifice themselves to stop the Eclipse Cannon. Shadow's sacrifice doesn't stick, obviously (he's revealed to be alive by the end of the second stinger—pretend to be shocked), but Eggman's probably dead dead. I seriously doubt Jim Carrey's gonna come out of retirement for these movies again. His final moments before the big explosion are also SO dragged out and belabored. He has a dramatic final line like ten times in a row. It really just feels like the series saying goodbye to Carrey. And, again, it feels like a fitting enough end for this Eggman's arc, but it's an odd adaptation of the character from the games.

And so, that's what we're left with. This is far from Sonic Adventure 2: The Movie. It's not that, though there are many, many references made to that game in particular. It's a sequel to the film Sonic the Hedgehog 2 that has a similar tone and style, but Shadow and Gerald are in it, and Shadow gets some really cool fights, and there's a liiiiiittle more focus on stuff from the games than last time, and the script's a little tighter. If that sounds fun to you, you will have fun with this. I know I did. If it doesn't, you're probably better off waiting for them to inevitably do an animated reboot whenever this live action series runs out of steam.

It hasn't quite run out of steam yet, though...

The post-credits scenes, and the future

One of the big questions going into this was: what's next? How do they top a Shadow movie with heavy Sonic Adventure 2 overtones, in terms of hype for the fans? How do you fill Eggman's shoes after Carrey retires, for real this time? There are still more fan favorite rival characters to get through, but how many movies in a row can they introduce a furry foe for Sonic who inevitably turns good and helps him stop a larger threat by the end? And when the hell are we gonna see the girls?

Well, we now have our answer, and it's one I'm cautiously excited for: a whole army of Metal Sonics, and Amy!

Yes, Amy! Finally!! It's an absolute crime that we've gone three whole movies and a streaming miniseries without including the female lead of the series. I've complained about this ad nauseum (and also the fact that they cut Rouge from the story). But at least now they're finally doing something about it.

But now the question is, how will they characterize Amy? Sega's struggled with her for years, and there's a million different directions you can take her. Her one scene here has her smashing a bunch of Metal Sonics and wearing a cloak for the sake of a dramatic reveal, which gives her the vibes of a mysterious, badass action girl. This is, of course, completely different from how Sonic and Amy met in the games. What will her personality be like? She doesn't speak here, so who will they get to play her? Where did she come from? Will she even have a crush on Sonic? All of these have yet to be determined. So, like, I'm hyped to finally see Amy, a character who should've been in the movies from the start, but they could so easily end up playing it safe with an incredibly boring girlboss version of Amy who's no fun at all. We'll have to wait and see.

(My prediction: they're going to try to cast either Zendaya or Ariana as Amy.)

Metal Sonic, likewise, is very exciting, and he looks perfect. He looks just like the design from the games. But the question is: what will they do with this army of Metals? Will they be lead by one main Metal Sonic, perhaps Neo Metal Sonic, who gets to be a proper bad guy? Will they take some cues from Sonic CD, Heroes, and the OVA, or do something completely original? Where did they come from? Were they activated as a failsafe after Eggman died? Did they and Amy come from some sort of bad future, riffing on Sonic CD's time travel? Will they explore the fact that Metal wants to be the one and only Sonic? Or will they just be an army of disposable robot grunts for Sonic and friends to mow down like it's a Dynasty Warriors game, while some other villain takes center stage?

It could go so many different ways, and some prospects are more exciting than others. I mean, the Knuckles show had endless possibilities for what it could do with him, and none of the options on my bingo card were "Pachacamac's ghost tells him to help Wade win a bowling tournament." And while I'm a sicko who thinks it's funny that the Knuckles show is what it is, forgive me for keeping my hype about Amy and Metal Sonic in check here until we learn more.

Regardless of what they do, it'll still be hard to top the hype of Shadow, and it'll be hard to fill Jim Carrey's shoes for general audiences. So despite this clear statement of intent, I have no idea what the future of this film franchise holds. But regardless of what they do, I can say one thing for certain: the kids in my theater were hyped as hell for it. They popped off over Metal Sonic, and they were screaming their heads off with excitement over Amy. I heard a teenage girl on the opposite end of my row of seats say "finally!" over Amy's reveal, verbalizing my exact thoughts. She also said that this movie was "peak," though it diverged from the games, and she hoped they'd do a movie with Silver and Blaze someday.

The kids are gonna be okay.

[starkwlkr]

You know how Y/n is directing the next avengers movies? It would be so cool that she gets her own marvel movie series about her character. Like maybe she agrees to act for Marvel one last time. It could be at least 3 or 4 movies....if you don't want to write this, it's fine honestly...its just an idea that I've been thinking of.

something old, something new | hugh jackman

an: @shycollectionwolfstuff thank you for the request!! love this idea <3

You told Hugh and your kids everything when it came to your career. When you had gotten a call from Kevin Feige, you did it hesitate to ask for advice from Hugh.

“So you’re coming back to the mcu?” Hugh asked you. It was night time and your kids were all asleep. He was already in bed while you were in the bathroom getting ready to finally call it a day.

“I don’t know. Kevin asked me if I was interested in coming back for a series. I love being in the mcu, but should I? I think my time is up.” You sighed deeply. You did promise the kids that after directing the next avengers films, you would take a break and be with them, but now you had an offer that seemed too good to be true.

“I said the same thing about Logan. Remember when I told you I was done playing him?” He chuckled.

“You liar. Olivia wouldn’t talk to you for two weeks.” You remembered quite well the day Hugh told the family his big news.

“Point is, if you decide to come back, the kids and I will support you just like you supported me when i came back.” Hugh told you. He could tell you were thinking about it. You were already coming back to direct, might as well come back as your character.

“I’ll let Kevin know in the morning. I hope the kids don’t hate me for telling them I’m done after Doomsday and Secret Wars.” You finished brushing your teeth and walked to your bed.

“They love you too much. We’ll be fine, love,” Hugh assured you. He then asked an important question, well an important question to him. “Can I be in the room when you’re getting your costume fitted?”

“Why? You’ve seen me in the suit before.”

“Yeah, but you make the suit look so good. It’s been years, let me appreciate how beautiful you look in it.”

And that’s how Hugh ended up being in the same room with you as you got your costume fitted. You were nearly in tears at the sight. You were back in a different version of your character’s suit, but it felt right.

“So how do you feel?” Hugh asked.

“Like I can kick the wolverine’s ass.”

“You can kick his and mine any day if you’re wearing that.”

[froggerland]

Just had a revelation that the thing I love most about the terror above literally everything else is how serious it takes its audience

There are 40 white guys with enough screentime to be somewhat relevant and they all look vaguely similar and share the same 10 names? Yeah it's confusing as fuck but if you manage to remember (most of) them you discover how every single one of them has an arc and is a living breathing human being, not a background character simply there to drive the plot forward or lick the main characters boots.

There's little details that make no sense to you right now, like what does "E.C." stand for, whos that child next to Crozier in the final scene? Watch it again and again if necessary, I shit you not I've never seen a show that has (dare I say) zero loose ends like the terror.

The characters are just human at the end of the day, not chess pieces pushed around by the writers to get from point A to point B. It feels like the early seasons of Game of Thrones when it was really REALLY good, no one has plot armor, things happen because they're the logical consequence of what happened before.

I've seen Gladiator II a few days before I got into the Terror and I know the movie doesn't aim for historical accuracy over giving the audience something cool to look at, everyone knows that (case and point newspapers in ancient rome). But as a history lover and minor film buff it's kind of sad to me how much hype media like Gladiator II gets, stuff that has zero subtlety and basically spells everything out for you so that no one in the audience misses the point the director wants to make and you don't even have to use your brain. You can leave the theather thinking "yeah that was a cool movie" and forget about within a week.

I wish people would appreciate media like the terror more because without wanting to sound like a condescending asshole we NEED more media that gives you something to chew on, that you have to marinate in your brain a little before it all makes sense because THATS good media.

[artsekey]

Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

 When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”).  She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too!  Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

              What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

              But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

              In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

              While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.  

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

              But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

            It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

 But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

              Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

              It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

              They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

 The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

[yandere-wishes]

⋆⋅☆⋅⋆Doc-Ringo⋆⋅☆⋅⋆

✮ Yandere! Boothill x Reader

˚ʚ♡ɞ˚ Plot: There's a slick black-clad little gal who's been messing with his bounties recently. Boothill's been dying to rustle her up and take a bite

⁀➷ Warnings: Yandere behavior, blood, and gore, war trauma, Genie trying to do a cowboy accent.

⁺₊𝄞₊⁺: Crimson and Clover by Joan Jett

And I don't hardly know her,

But I think I can love her,

Ah, now when she comes walking over,

I've been waiting to show her,

My mind's such a sweet thing

I want to do everything

What a beautiful feeling

It's not like the movies, they fed us on little white lies.

~💜

The first time he sees you there's a tempest of bullets rattling off his chest. Metal singing metal, as shells vie for an opening. It's all very lethal,

like the center of a rabid dust storm. Kissing death and sucking in her poison. Boothill can't tell where the bullets are coming from only that there's a dozen at a time ringing over his head. He shields his face with the metal of his forearms peaking through the gap to catch a glimpse of black.

Pure black.

That's the first thing he notices as your frenzy yields, You're clad in black from head to toe, even going so far as to dawn an eerie familiar mask. He's seen this scene play out somewhere before, he just can't remember where. "Morning mister", he likes that voice, jejune and teeming with confidence. It reminds him of himself, back when the sunset used to mean something and he could still feel wheat stocks under his soft palms.

"Howdy lil'lady I reckon you're in my way. Mind stepping aside before you get yourself hurt?" Your answer comes in the form of an aimed pistol, spine straight, midnight serape caught on the wind. He thinks you look a little too much like the folks back home -back when there was a home- blood boiling over eager for a fight. His bounty is standing just over yonder, blocked partly by your stubborn shadow. Boothill doesn't think twice before firing two rounds.

He's met with four...

He's in a cheap motel on Penacony, screwing in bolts that came loose. In the end, you laid claim to his bounty. Dragging him away to the hills. He's left growling at the thought, bested by a muddle-fudging fox. Lil gal probably ain't never even been in a proper shoot-out. The screwdriver cracks under his metal fingers. Boothill ain't about to start letting some pretty little thing get in the way of him and his targets.

The TV screen flickers to a melancholy monochrome. The films are old, distorted, crippled in parts. But he keeps them around, much like everything else about him, it's a bygone thing refusing to die.

He still likes to play them from time to time, trying to elicit the tastes of home. Hearing Nick and Graey setting plates out for dinner as his siblings rush downstairs. The movies are older than the new universe in more ways than one.

They come from a simpler time.

He'd always wondered why someone would bother painting such precious things in black and white. Spilling melancholia into picture frames, leaving everything tasting of vodka and vanilla.

It doesn't matter though, not really. All that matters is the sound of hooves on sand and bullets shooting. So long as the cowboys live their stories, everything else can be forgiven.

But this time something's off. The bandit's black mask shines through, gleaming something awful making him grind his sharp teeth. That damn mask, sitting pretty over a sly smirk. it reminds him of you, little cutie with your slick attitude. What bandit goes around doing hero's work anyway? What kinda twisted little lady are you?

He's getting mighty sick of this. Do you think you own the universe or something? "Been seeing way too much of you lately." There's sand in his Synesthesia Beacon his voice coming out horse, brittle. He kicks the head of an IPC lackey trying to drive home a point. "You getting on my nerves cutie". The ground looks nothing short of a graveyard, bodies scattered some piled. The blood paints the sands in a deep maroon, reflecting the glint of the distant stars. The last soldier is cowering behind you, his whimpers singing in Boothill's ears, one more bullet, that's all it'll take. "This one's mine" you mutter, and he wonders for a moment if the dry weather is getting to you too. "Not a chance pumpkin" his gun's drawn, firing bullets before you can even feel for your holster. The smirking bullet impales your abdomen, aimed point blank at the officer's head. But before the last body can be claimed you kick the man out of the way.

"Damn it" Boothill's anger is tangible, he knows you can feel it between your teeth. He's going to kill you, tear off that star-saken mask, and riddle you with bullets. You're getting too confident.

He doesn't notice your bullets at first. Protostars trying to act all rough and mighty. There's a temporary cluster of dust, a fraction of a second where his eyes aren't pinning you down. That's all it takes and then you're off. Sinking into the darkness and swimming away, taking his target with you.

It's only after the initial anger wears off that Boothill notices a tear on his thigh. A letter scrawled on the frayed leather of his pants. So you've started leaving your own marks, ay cutie?

He almost wishes he could feel the sting of your blade on his flesh. Feel your nails scrapping along his shoulders as he pins you to the ground.

Boothill fires at the moon.

Next time.

Next time for sure....

He's been chasing you for some time now. But catching up with you isn't as easy as he first thought. Seems like you go wherever the wind takes you and he's too busy with revenge to be following your capricious whims. The IPC ain't going to kill itself you know. And Boothill damn well wishes you'd start sitting still. He's heard from a reliable source that the IPC soldiers are throwing a little get to together down in one of the bars. Just a happy birthday for a colleague, nothing fancy. The thought alone makes his mouth water, place will be crawling with pests just waiting to be gunned down. Maybe tomorrow he'll try looking for you again, but tonight? Tonight's his night.

The neons have dulled now, they never were terribly bright to begin with. Penacony may be the land of dreams but not even dreams can stop reality from seeping through. The bar's loud, some new pop singer's music blasting from every speaker. Boothill downs his drink, liking how the ice cubes chime like a bad omen. He shoots the speakers first, needing some peace to focus on what comes next. The peace corp's lackeys are drunk, they stumble over themselves trying to reach him. He shoots each one like a kid playing carnival games. It's almost too easy...

The door is stampeded over by a heard of reinforcements. Somehow even in his drunken daze one of those yella-bellied lapdogs called for help. They're swarming the place like panicked rats, pushing past tables and chairs. Firearms aimed at his head. And for the first time, in a long, long time, Boothill feels a sliver of panic run down his bionic spine.

Motherfudger...

Boothill hears the familiar tumult of bodies hitting the ground before he sees what's actually going on. He feels you before he actually sees you. You're pushed up against his back, guns drawn locked, and loaded. "Heard you needed some help" Even though you offer your usual bravado, Boothill still picks up the nervous lilt in your voice, despite everything he thinks he likes it. It almost tastes sweet. "Best get away before you get yourself hurt little fox." "And let you have all the fun? Never."

"Certe murmur pugnando" Boothill laughs, he remembers those very words coming from a buddy of his before a duel. 'At least we'll die fighting' Somethings never change, even if you've carved out every principle from your body with a rusted kitchen knife. You'll always have those pesky morals stuck inside. He hears you chuckle, wonders if you find it odd that a rowdy galaxy ranger such as himself knows a dead language.

Well, he knows a lot about the dead.

The shoot-out lasts longer than he'd have expected.

But the real surprise lies in how neither of you are dead. Boothill's half laid across the bar, looking at you from under his hat. You're making him a drink following his instruction like a good little wife, not contradiction dressed in ebony. Gunpowder withers on his tongue, the bullet smoke permeates the air mixing with the gleeful tang of spilled blood. "Your drinks sure are complicated" you mutter pushing him his cup before picking up a bottle and reading its labels. "What's so hard about it pumpkin? Little bit of white gem and gin. All's you need." He sips your drink slowly, savoring your flavor. He imagines he's gulping you down, holding you for ransom behind his teeth, feeling your delicate little fists pounding against him. "I don't drink" you mumble as you sit across from him, you look so damn elegant, like a little princess from a fairy tale he use to read to a certain someone. You drink deeply from your glass of ice and water. Boothill focuses on the gentle motion of your throat. He licks his lips, trying to push down the thought of ringing such a fragile thing between his palms.

"So little lady, s'about time you start answering some questions...The hell you doing? Running off with my targets?" You set your cup down, eyes locking on his, there's the deficiency he's missed all night. The trigger hair that's just waiting for the right push. "They're not your targets...not really. They're just people. People whose planet got muffed up. I've been trying to gather them all in one place." For a second Boothill thinks you're talking about his planet, his home, his people. But it only takes one more look at you to understand.

"So, how'd yours die?" There's shrapnel in his throat when he asks, open wounds bleeding once more, filling his throat with bitter memories.

You stiffen, and he knows he's thumbing a broken bone, letting his finger dig between the cracks and snapping their frail linings. "Don't know, wasn't there. All I ever got to see were a few limbs, nothing enough to make a full person." you squeeze the glass until your knuckles turn white.

There's vindication rooted in your veins.

He knows the feeling all too well.

"We ain't so different you and I, reckon we make a pretty good team." His metal fingers lace between your soft skin, tracing the lifelines like an old map.

There's a goldmine hidden behind your lips, he imagines he'll have to kiss you to find the little nuggets. Your lips part, eyes filled with an odd-looking sympathy. What he wouldn't give to feel your plump lips bleed between his jagged teeth. "So..." you ask as his mechanic heart skips a beat. "What about yours?"

You've been laughing for five whole minutes. Boothill shouldn't find the noise as ethereal as he does. His anger lays heavily on his bones, he should be even angrier, lounging a bullet through your thick skull. But he finds the noise a little too perfect to disturb its source. Even if it's only created at his expense. Instead, he has half a mind to slap you, hard enough to shut you u and another to kiss you so hard you forget to breathe. "Damn hell so funny, cutie"

You look at him with those luminous eyes. Filled with pain and riddles. Boothill never did like solving puzzles. He only likes tearing things into bits. He needs you spartan, easy to read and use, and kiss. Not something he needs to piece together first.

"Dear stars you have no freaking idea how ironic you are." You say between bursts of spiteful-rooted giggles.

Why do those words sound so haunting like a ghost kiss? they should open phantom pains, but they sure as hell don't. Why do you always leave his head spinning? Boothill rolls his eyes, then leans over to pull down your mask. You jerk back, rewarding him with a dark grimace. You're out the window before he can ask your name.

"See you next time, cowboy"

"Next time I'm drawing blood"

The moment's over.

Fiddlesticks..

That night, Boothill dreams of you. He's lying in a stiff musty bed. It's too dark, even the moon is scared of showing her face.

Boothill dreams of the old saloons back home. Of their cracked wooden floorboards and the worn-out plush of chairs. In the dreams, you're wearing a black lace gown, like the saloon girls used to. He finds it all too funny that even in his dreams you still haunt him in black. Only now you're smiling, really smiling. Not that sly smirk, or mirthless grin you gave him back in the bar on Penacony. No, this here is a genuine smile and he's damn sure he's the one who put it there. You reach out for his hand, he feels warmth.

His

Yours

The dream is thick and dense like swimming through molasses. In another scene he's dragging you through the old doors, laughing as bullets and card chips hit the floor. There's a horse waiting outside. His horse. At least he thinks it used to be his. He pulls you up roughly in front of him. He's high off the feeling of his fingers wrapped around the rugged reins. High off the steed he holds in a vice grip between his thighs.

He's riding faster than he's ever ridden before, clambering for the sunset trying to engulf the sun. You hold on tight, pressing your cheek to his chest. His heart is beating something fierce between his ribs. He feels like an Aeon watching the universe collapse under his galloping feet.

He feels alive.

With the sun's rays behind you, Boothill could almost mistake you for the star-dwelling angels Nick used to tell him about. There's something poetic in all of this. The cowboy standing off against the black fox.

Dare he call it cinematic?

Boothill creeps closer. Tilting his hat and watching you flash a nervous smile through his lashes. "Volo sentire te inter dentes meos" so you know that dead tongue too. "You will soon darling, that's what I'm hoping for" his reply only dwindles your smile.

He's missed the old duels. Missed staring into the eyes of the one who could kill you. It's all a matter of skill and luck. Whose faster, who the aeon will trust?

Somewhere in the distance, the tumble weeds begin to rattle.

"Now"

His bullet glides through the air, piercing through the dust and sand. Your bullet reverberates from your gun a fraction too late and ricochets past his cheek. Leaving a juicy trail of blood.

But his bullet was aimed at your chest.

And Boothill never misses...

You want vengeance he won't deny you it.

So long as you stay by his side.

He'll tuck you away somewhere safe.

Somewhere you won't be leaving him again.

Boothill cradles your body to his chest. "I promised you blood little fox, and Boothill never goes back on his word." His cheeks hurt from smiling as he lays his hat atop your head. He's Picking you up and walking into the sunset. He knows a good ol'doc who'll patch you right up. And then it's a happy life together.

Well for him anyway.

The end

Taglist: @hihellomy @salhanskkdbfkekfb @gasoline-eater @sp1cym0chi

[love-byers]

we all know about the parallel of mike hugging karen when he feels like he's lost will, but i've never seen anyone talk about the other parallels in the s1 and s3 heroes scenes. there are more than you think!

will's fake body being pulled out of the quarry VS will (+ the others) pulling out of the driveway for california

a close up of mike looking at both

mike leaving the scene on his bike after 'losing' will

in one, he has no hesitation. he gets his bike and doesn't look back. not at wills fake dead body, not at el (which would be odd if he knew he was in love with her then...), not at dustin and lucas, not at anyone. he keeps moving forward.

in the other, he is full of hesitation as the other bike away, not looking back. mike stays back and takes one last look at will's house, looking nervous, before hesitantly tearing his eyes away and biking off, trailing behind dustin lucas and max.

do i really need to explain the implications of that....

mike entering the wheeler house visibly upset after losing will, and karen immediately noticing

mike seeking out a hug from karen, something he rarely does

mike hugging karen

note how both clips end with mike moving/sinking deeper into the moment. i'm not sure what the best way to describe this is, but im talking about mike shoving his face into karen's shoulder in the s1 scene and his eyes flicking down in the s3 scene. i know it seems like it doesn't matter, but it does. sprinkling things like that in as a director is purposeful! it's showing how mike is processing the events. in s1 he sinks deeper into karen's comfort, further breaking down because he thinks will is dead. in s3 he doesn't do that. he is extremely still, eyes not moving as he is in shock. then his eyes do move at the last moment, showing he is further processing whatever event has occurred, transitioning from shock to really processing whatever happened.

raw emotion vs icy shock.

and oomf @reo-bylerwagon who is a film major told me that the way the camera tilts upward in the s3 clip is used to show that a realization has occurred, or that something new is being revealed. does that not PERFECTLY line up with:

1. the way mike seems extremely shocked as though he has realized something huge

2. the fact that LITERALLY over that moment is a hopper voice over where he says "to turn back the clock, to make things go back to how they were"

and 3. the way he behaves in s4 (being weird about touching will, rink o mania, etc.)

so yeah, these are definitely parallels through and through and it's really interesting. mike has lost will in both, but in different ways. his reactions say a lot about how he's processing the events and how he views them/his relationships.

also reminder that this is not delusional in the slightest because heroes has only played twice and it's in these two sequences.

and to anyone thinking "well they're just trying to show that mike deeply cares for will, just not in a romantic way!"

......

why in the fresh FUCK would they eat up SO MUCH screen time to show that mike platonically cares about will, rather than use that time to develop his relationship with el and, i don't know, show that he loves her??? why would they feed into will's unrequited love like this??? spoiler alert: THEY AREN'T.

that would be doing WAY too much for a relationship that will end in an amicable split so one can get married and one can get over his deep seeded love for the other and navigate the (extremely homophobic) world alone.

like yall are very clearly not writers or creatives in the slightest 💀💀💀 any writer (or anyone with the faintest creative/analytical bone in their body) will immediately understand why that's fucking dumb and makes no sense. yall are just heteronormative af and instead of admitting that it's greatly affecting your perception of the characters you double and TRIPLE down until you sound like a homophobic disaster

also

season 1 - heroes plays (when mike feels like he lost will)

season 2 - heroes does not play

season 3 - heroes plays (when mike feels like he lost will)

seasons 4 - heroes does not play

season 5 - heroes will play...? perhaps the original david bowie version? and byler will finally kiss as though nothing could fall and the shame will be on the other side? and they can be heroes? just for one day?

so yeah anyways byler endgame