#Mike Flanagan and his 'happy' endings

[starkwlkr]

Hi!! Can we have headcanons for all of the Jackman babies?

of course you can lovely anon 😘🫶🏼

alex

so he’s the firstborn and it’s canon that he was born in the year 2000 simply because i am so bad with dates (plus that’s the year my sister was born so it’s easy for me to remember)

he once told a girl at his school that his dad was wolverine to try to impress her and she didn’t believe him so he made hugh pick him up from school for a week even though he had his own car

he’s a big fan of horror movies, his favorite horror directors are mike flanagan and wes craven

he enjoys musicals every now and then though he’ll never admit it to anyone

him and reese are only two years apart so they attended school together for a few years. instead of ignoring reese, they would sit together at lunch and even had a few classes together.

he doesn’t go into acting like people expected him to. he goes to college and studies architecture (thank you to the anon that suggested this!!)

reese

my sweet middle child 🫶🏼

so he was very quiet and awkward in high school and his friend group was small. the only time he really talked was if he was with his friends/alex or if he was called on to answer a question

during parents teacher conferences, his teachers told you and hugh that the only complaint they had about reese was that he was too quiet and needed to participate. of course you got mad because if reese doesn’t want to participate then he doesn’t need to!!

dr. pepper lover i said what i said

his school didn’t have a film club so he made one with his friends and the first film they watched was chicago because why wouldn’t he want to show off how talented his mom is?? bonus: you attend one of their gatherings and talk about the production of the movie ☺️

btw if you didn’t read the other fic where i mentioned chicago the musical, it’s canon that marvel actress!reader plays roxie <3

he’s a big momma’s boy

his dream is to be a director and make a movie with you and hugh as the leads but he’s scared that the media is going to say that he only got the opportunity because he’s a nepo baby

his idols are marilyn monroe and his mom ❤️

his comfort movie is the muppets movie

olivia

olivia my queen 🫶🏼 so she is not afraid to tell it like it is

she’s close in age to dafne keen so they become best friends on the set of logan and have been ever since <3 of course dafne ended up becoming an honorary member of the jackman family

she follows in her parents’ footsteps and becomes an actress. she really doesn’t care if people call her a nepo baby, she knows she is 💅🏼

her first role was an A24 movie (of your choice) and she was going press interviews when deadpool & wolverine came out so she was asked a lot about the movie, mostly if she was in it

she was the valedictorian of her graduating class and included logan’s last words in her speech: “i’ve watched my brother, cousins and friends graduate and now it’s my turn. so this is what it feels like.”

have y’all seen the pic of romy mars, sofia coppola’s daughter, on the set of priscilla and jacob elordi is bringing her cake and singing happy birthday to her?? well olivia took some inspiration from romy and was on set of the new avengers movie that marvel actress!reader is directing and pedro pascal ended up being her cake and singing happy birthday to her 🤭

here’s the pic lol

ok that’s all for now <3 thanks for sticking around!! love y’all ☺️😘

@kellyxo1 @barnes70stark @flyestvenustrap @ru-kru @evasmlp

[thelifeofchuckmovie]

When it comes to ending the world, Stephen King is a repeat offender. He has brought life as we know it to a brutal conclusion several times over the decades, usually highlighting the cruelty and desperation that erupts among the last to go. But his 2020 story “The Life of Chuck” uses doomsday to evoke some unlikely sentiments: Wistfulness. Gratitude. Even joy.

The idea of creating an apocalyptic version of It’s a Wonderful Life is what led filmmaker Mike Flanagan to call dibs on the rights to the novella more than four years ago. The breakdown of society, extinction-level natural disasters, and the disintegration of reality itself is explored through the lens of one relatively meek and mild accountant, played by Tom Hiddleston, whose memories and choices are mysteriously connected to these tribulations. Retirement posters congratulating him on “39 great years” pop up everywhere. But who is this guy? What job does he do (or did he used to do)? And why does it matter so much to the fate of the world? This apparent nobody named Chuck Krantz has lived larger than anyone thought possible.

Having explored King country before in 2017’s Gerald’s Game and 2019’s The Shining sequel Doctor Sleep, Flanagan got involved after reading an early copy of “Chuck” before it was published in the collection If It Bleeds. The Haunting of Hill House and Fall of the House of Usher creator produced the film independently, believing it might be too offbeat for risk-averse studios to greenlight. He even secured a waiver from the striking Hollywood guilds last year to move forward with the shoot while the rest of the industry was stuck in the work stoppage. Now he and Hiddleston are ready to reveal the finished version of The Life of Chuck as it heads to the upcoming Toronto International Film Festival, where it will screen for potential distributors.

Among the skeptics about this adaptation was King himself, according to Flanagan. “His initial responses to me were a little like, ‘Oh, okay. Yeah. If you think that’s a movie…,’” he says. “He did say several times that he thought it would be a challenge to get it supported through traditional means.”

King has now seen the finished movie and no longer has doubts. He described it to Vanity Fair as “a happiness machine.”

“Well, he’s written something very tender and very wise,” Hiddleston says. “I think there is a great wisdom in the soul of the story, which is that it takes courage to hold on to what is good in a world that feels like it’s falling apart.”

Flanagan hopes others see it that way too, although the overpowering dread that begins the story may be more immediately relatable. “I’ve heard it said that every generation feels a little like the world is ending at some point, [but] I still feel like it’s different for us,” the 46-year-old filmmaker says with a mordant laugh. “Institutions we took for granted as propping up our society are failing left and right. Our politics have degraded spectacularly. The sense that it’s breaking down, that the world is moving on, has been increasingly palpable. When I talk to my parents or members of older generations who have been through their own turbulent times, the thing that strikes me is that they’re like, ‘Oh yeah, this is really bad.’”

But…it’s not entirely bad. And that’s the underlying message of The Life of Chuck as its various mysteries play out. “There’s no sense of terror in the way that King drew it,” Flanagan says. “Even as the world feels as though it’s ending, people become introspective, they reach into their past for loves that have left their lives for one reason or another. Strangers engage in open and fearless communication.”

It’s an indie-film variation on the big-budget cataclysm story. “A disaster movie has people meeting the end while running from tidal waves, and this story has people sitting quietly holding hands looking at the stars,” Flanagan says.

The key to it all is Chuck himself, although he doesn’t turn up onscreen until the second segment of the three-act story, which plays out in reverse chronological order.

The beginning is actually the end, as the whole world circles the drain. Caught in this spiral is Chiwetel Ejiofor (12 Years a Slave), a school teacher trying to apply logic to the planet’s troubles; Karen Gillan (Guardians of the Galaxy) is his ex, a hospital worker determined to save everyone she can; Matthew Lillard (Scream) is a construction worker neighbor who finds zen amid the chaos; and Carl Lumbly (Alias), plays a funeral director who has dedicated his life to easing people through death.

The end of the movie is actually the beginning, showing young Chuck (Benjamin Pajak) when he was a boy being raised by his grandparents (Mia Sara of Ferris Bueller’s Day Off and Mark Hamill). The insight of these two—coupled with the otherworldly revelations he finds in an eerie room tucked into the peak of their Victorian home—help him learn to seek out bright spots when life is marred by sorrow and darkness.

In elementary school, young Chuck discovers some important things about himself thanks to guidance from a brusque dance instructor (Samantha Sloyan), and a kindhearted English teacher, played by Kate Siegel, who gives the boy (not to mention the audience) some important information that serves as a code breaker for the story's more cosmic puzzles.

As for the middle of the film: It’s a dance number. That’s when Hiddleston steps in.

Compounding the peculiarity of The Life of Chuck is the question: Why is this song and dance sequence so important? The answer is for the movie to reveal, but it matters a lot. “The life of every human being is a constellation, as expressed in this film,” Hiddleston says. “There are certain moments which will burn most brightly as individual stars. Sometimes it feels like the world is going to hell in a handcart, and it’s full of pain and suffering, and it is—but there are moments of deep joy and deep connection.”

Hiddleston shows the audience this single moment in the life of a buttoned-up fellow who somehow controls the destiny of the world. It’s not necessarily the most important day in his life, but it’s a memorable one involving a street drummer (Taylor Gordon), a lovely stranger (played by Annalise Basso), and a fateful decision to cast aside caution and cut a rug. “It’s a reminder to do whatever it is that expresses whatever gives you that feeling of being alive,” Hiddleston says. “Whether it’s music or dancing or math or writing or creativity—do it. Do it now. Those moments are what you’ll remember.”

Flanagan considered casting a relative unknown as Chuck to “give the audience the experience of ��Who the hell is this person?’” as the peculiar retirement signs begin to appear in the midst of the apocalypse. But he felt the promise of the Loki star would build more curiosity as the world falls apart. “You grow an enormous amount of anticipation to finally spend time with an actor like Tom, who can be a literal god in one story, and then an everyman in another,” Flanagan says.

A TikTok video of Hiddleston getting his groove on sealed the deal. “He had a completely unfiltered joy on his face,” Flanagan says. “He was a good dancer, but that wasn’t what struck me. I wasn’t amazed by the technique so much as the degree of happiness that was radiating off of him. The look on his face made me smile the same way I smiled reading that particular portion of the book.”

The resulting scene was created in a month-long collaboration between Flanagan, Hiddleston, Basso, choreographer Mandy Moore (So You Think You Can Dance, and La La Land), and Gordon, a real-life percussionist who performs under the name the Pocket Queen. “Taylor was there for all of the dance choreography. She wrote that piece of music for that performance. They built it together,” Flanagan says.

Hiddleston rattles off the lists of influences: “I had to learn in six weeks the full regime of any dance training. We did jazz, swing, salsa, cha-cha, the Charleston, bossa nova, polka, quickstep, samba. We were trying to tip our hat to anything that might have influenced Chuck. It might’ve had a bit of Gene Kelly or Fred and Ginger. Certainly moonwalking—Stephen King is very specific about the moonwalk.”

Precision was not the goal, exuberance was what they sought. “We need to always bear in mind that this man is an accountant. We needed this to be an earnest, escalating explosion of joy, and a remembrance of who he was,” Flanagan says. “It’s a chance to step back into the skin of his younger self, not caring that his feet are going to kill him the next day, not caring that he’s going to wake up with a horribly stiff neck.”

A surprising thing happened while shooting the scene over the course of several sweltering afternoons in the deep South. “I burned holes in my shoes,” Hiddleston says. “I was dancing out on the asphalt in Alabama, and by the time we’d finished, you could see my socks through the soles.”

The sequence begins awkwardly: Chuck is self-conscious as he first hears the busker’s rhythm while walking back from a banking conference. That feeling quickly gets shaken off. “Tom was very committed,” Flanagan says. “He was like, ‘If I look silly, that’s fine. As long as I look happy.’”

Flanagan remembers being in a bad place when he first discovered “The Life of Chuck.” Then again, everybody was.

His copy of the manuscript arrived in March 2020. “That was just as the world shut down for COVID,” he says. “We had been a week away from starting principal photography on Midnight Mass in Vancouver and had fled across the border before it closed to make it back to the States. We were hunkered down in our homes and had no idea if this was going to last for two weeks or if this was going to last forever.”

With everything halted as the lockdown set in, Flanagan had plenty of time to do nothing but read. The new King book seemed like the perfect escape. Except…

“The first third of ‘The Life of Chuck’ just rattled me,” he recalls. “There’s no way he wrote this before the world ground to this bizarre halt—but he did. And the feeling of anxiety, and uncertainty, and that everything was falling apart came roaring out at me. I wasn’t sure I could finish it. It just felt too close to the anxiety I was feeling.” But he kept turning the pages. “By the end of it, I was in tears, and incredibly uplifted, and convinced I’d read maybe the best thing that he’d written in a decade. I just was floored by the thing,” Flanagan says. “So I fired off an email to him right away saying how much I loved the story, how incredible I thought it was, how meaningful, and important, and how it had really tattooed itself on my heart and said, ‘It’s the movie I want to make so that it’ll exist in the world for my kids.’”

King’s response: Not so fast. Flanagan and his producing partner, Trevor Macy, had at that point secured the rights to King’s fantasy saga The Dark Tower through their company, Intrepid Pictures. The eight-book series is threaded throughout King’s other works, and adapting it was a massive undertaking that Flanagan is still working to make happen. Other filmmakers had either abandoned the project, were canceled midway through, or bombed miserably. The author didn’t want him to be distracted. “He doesn’t like to give the same filmmaker more than one thing, because it typically means one thing is not advancing at all,” Flanagan says. “He said, ‘Well, let’s focus on The Tower and I’ll try to keep this one available for you for later.’”

The quest to The Dark Tower remains a priority for Flanagan, but a number of disruptions to that epic undertaking led him to reapproach King last year about Chuck. Intrepid’s deal with Netflix, where they had created Hill House, The Haunting of Bly Manor, and other shows, had come to a close, and Intrepid signed a new development agreement with Amazon. That meant starting over on The Dark Tower. Meanwhile, the threat of a double-barreled strike by writers and actors was on the horizon, stalling nearly every major new project. The industry plunged into another production-halting lockdown, this time over contract impasses rather than a virus.

Since The Dark Tower was suddenly further off on the horizon, Flanagan saw a chance to make The Life of Chuck happen in the short term. “It’s so rare that I get to approach any project that just has not an ounce of cynicism to it. I just really believed in this thing,” he says. “But it was also clear that we would have an incredibly uphill battle bringing the story to any major studio. They would try to make it as familiar as possible, instead of leaning into what makes it so different.”

King gave Flanagan his blessing to proceed. “I was off like a shot,” the filmmaker says. “I think I turned in the draft to him before he got around to sending the formal agreement.”

For everyone involved, The Life of Chuck became a bright spot in an otherwise dismal time, which matches the theme of the film. “There is a profound optimism in this story,” Hiddleston says. “As the world is spinning off its axis, there are moments of magic.”

[shorthaltsjester]

god i cannot express how impressed in general i am with the storytelling that cr is doing with candela obscura but what really strikes me is how evident it is that the storytelling they do is defined by the hearts of those who are putting it together rather than adhering to a specific idea or image of a given story that they want to uphold. there is such a stark difference between the tones of chapter one and chapter two (to the fault of neither, i’ve enjoyed them both immensely because they both happen to hit parts of the supernatural-horror genre that I am so deeply fond of and so happy to see in a real play medium).

there’s the obvious difference in gming styles, matt has fantasy running through his veins and that’s evident in the way that chapter one ends up having a tone akin to something like the scarier episodes of buffy the vampire slayer. spenser outright references mike flanagan in his pre-interview thing and good grief is that so so evident in his narration and the way he emphasizes the themes emerging in the story in the environment of the world they journey through and choices like the letter from sean’s mother that subvert the audiences ability to rely on a character’s perception.

but the energy the groups of players bring to the storytelling is obviously also so important, too. like, even just looking at the groups prior to watching each I probably could’ve guessed which might’ve had a more lighthearted tone. the combination of ashley, anjali, and robbie already would be one i’d guess a more warm/goofy vibe for (not to say they can’t be serious and dramatic, but the tone of the seriousness is still warm and the world that prompts them towards drama likewise feels warm) and laura, despite her propensity for goofs, does tend to be a chameleon with group make ups. likewise i think we all had a certain (affectionate) fear™ when it was revealed that marisha, brennan, luis, and travis would be reuniting in another short form story and that has certainly held up and been incredibly bolstered by zehra’s absolute commitment and immersion into the story (constantly fucking blown away that this is her first real play she’s incredible).

this is all just to say as someone deeply interested in digital storytelling, i am so so enamoured by cr’s commitment to following their own desires as humans telling stories to one another while adhering to the requirements they have as a company. and also if you haven’t you should watch candela obscura, especially now that spooky season is here.

[arizonaaaaaa]

GLEE LGBTQIA+ HEADCANONS- HAPPY PRIDE MONTH PART 2

11- Mike Chang- pansexual

-Goes with my Tina hc, he falls in love for who the person is, not how they are

-really supportive of Tina when she came out

-his father wasn’t supportive at first so Tina had to interfere again but now his cool with Mike

12- Matt Rutherford- gay

-he had a crush on Mercedes before he realized he actually likes guys

-I like to think him and Mike met again in university and they dated for a bit 👉👈

-he had so much potential😭

13- Jesse St. James- bisexual

-not calling Jonathan Groff a bad actor but not even for a second I believed this man was straight

-he was totally into Finn back in season 1

-bi4bi4bi St. HudBerry throuple?

14- Sam Evans- bisexual

-do I have to explain why?

15- Lauren Zizes- pansexual

-I mean, girl slapped Tina’s and Brittany’s asses while singing about what she knows what boys like

-she really deserved to stay in season 3, this 👆 is the only fruity scene she has😭

-her and Tina being goth girlfriends tho

16- Blaine Anderson- gay and trans

-canonically gay

-him being trans is not a unpopular headcanon surprisingly

-I don’t know why but this just makes so much sense

-I don’t have a lot to wright here, not the biggest Blaine fan out there

17- Sugar Motta- lesbian

-crazy how she radiates lesbian energy, like all woman surrounding her just becomes sapphic

-she has the biggest crush ever on Santana, like really, this girl was legit staring at her boobs in 3x04

-she and Unique are girlfriends I don’t make the rules

18- Rory Flanagan- gay

-“you now I wish I was Jessie’s girl”- Damian McGinty Jr on The Glee Project

-this was my Roman Empire

-totally had a crush on Finn and totally was flirting with Sam on Christmas

-Flanevans🔛🔝

19- Joe Hart- questioning

-he is a christian teenager of course he’s queer those are the rules

-not only that but he’s also on the glee club

-I think he never knew his identity, his parents always told him he was going to marry a woman someday so he thought that was the pattern…

-…until he saw Sam shirtless in the locker room

20- Dave Karofsky- gay and Bear

-canon

-in my opinion, as a gay man, he’s the most well written lgbtq character on the show, his story is perfect

- @starpawedart opened a universe of Karofsky ships for me, thank you king✊

-he out of all people deserved a happy ending

-anyways, kurtofsky 🔛🔝

-OMG I FORKGOR HOS ALSO CANONICALLY A BEAR IN THIS HOUSE WE LOVE BEARS, BEARS I LOVE YOU ALL❤️❤️❤️❤️❤️

[oceanic-sunsets]

Mike Wheeler and Will Byers, Character Arcs explained by the Duffers and Letting Characters surprise you

I’ve been so excited to write this analysis because I love talking about character’s arcs, development, and storytelling in general. For this particular analysis, I’m going to focus mostly on Mike, the Wheelers, and Will, but I’ll touch on a few other important characters too to draw parallels/give examples. 

Once again, I’ll remind you that I believe Mike is gay, so my analysis will touch a lot on the subject. 

Now let’s get into it:) 

I’m going to start this off with a few notes from the Duffer’s Masterclass, lesson 7: Character Development. They tell us their creative process, how they come up with characters, what defines them, and later on, what their main arc will be. 

So as we can see, some names were changed, Will was Tommy and Mike was Joel. Something that stands out is that Mike, since he was named Joel, has always been intended to be Will’s best friend, the closest one of his friends. 

Now, for Sheriff’s daughter, the Duffers mention how she didn’t make the cut, and this is only me assuming, but it sounds like the role Max would later on have: she’s the new girl who two of the main kids are interested on. 

Next we are shown the following characters’ descriptions: 

The Duffers then explain how a lot of it “mostly stuck”, how some stuff didn’t make it into the show, and then we have characters whose name changed but their purpose stayed the same, or those who got some traits swapped up with a different character. For example, how the “Billy Flanagan” role was first represented by Steve back in S1, and later on by Billy, even with the same name. 

I’ll talk about a few characters, their old traits vs what I think (based on the show) they ended up changing. 

Karen Wheeler: She's first described as a great, overprotective mom, who suffocates Mike and tries to protect him from the evil around him. She hides from his husband. Projects happiness but actually very sad inside. This obviously didn’t stick. This sounds an awful lot like Joyce, word for word. See, instead: Julie Conley. We’ll get to that in a bit.

Ted Wheeler: Suburban, always busy with work, never around and not close to his son.  This is still pretty spot on. Ted Wheeler was always meant to be exactly who he is. But wait, could there be more to it?

Mike Wheeler: --introduce him with DnD-- shy, birthmark on his face and neck, which he is bullied for. No confidence outside his friend group. Ultimately coming of age, falls in love with El.  Mike’s connection with DnD and being bullied stayed. The rest, however? it all changed. Notice how Karen used to have a role more similar to what ended up becoming Joyce. Now, look at Mike’s first description. Sounds familiar, right? That’s because it basically describes our Will: shy, with an overprotective mom, no confidence outside his friend group and with the ultimately coming of age. Falls in love with El Mike. I’ll get back to Will in a bit, for now, let’s go back to Mike. The Duffers also mention how his character completely changed and it was influenced by Finn Wolfhard’s performance: the Mike we know isn’t shy, quite the opposite! he’s brave and fills up the group leader’s role. 

What does this mean? It means his character arc can’t stay the same, because his fundamental traits, those that define him as a character and give him a drive, also changed. See one of Will Byer’s previous descriptions: More normal. Rings any bell?:) 

Lucas Conley: Nerd, dungeon master, dresses in black, glasses, LOTR and other fantasy books, videogames, unkempt. As the Duffers say themselves: this is nothing like our Lucas Sinclair. Instead, it sounds more like…

You guessed it, Mike! With his Hellfire t-shirt, long hair, more edgy look and interest in videogames and fantasy. This is not the only reason why I think Mike ended up filling this character’s role. Just wait until you read the next ones.

Terry Conley: Lucas' dad, disappointed in his son, makes him shave his head and hair, abusive with his mother. Very obviously not our Lucas’ dad. Instead, it’s a mix of both Ted (disappointed) AND Lonnie (disappointed and also abusive). Why do I include Ted, when you could arguably say he’s not disappointed, just never there emotionally? Because of the hair thing and his wife’s description. By saying he makes his son shave his head and hair, it’s implied that it’s because it’s long/not “normal”, or “adequate” enough. Ted Wheeler is an absent father, but he also represents conformity and traditional values: he would not support his son’s hairstyle choices. 

Julie Conley: Lucas's mom, very sweet, doesn't stand up for Lucas, should leave dad but doesn't. Again, not our Lucas’s mom. This is word for word the Karen Wheeler we know: sweet but doesn’t really stand up for her kids. Should leave Ted (see: the almost-cheating plot and their unhappy marriage), but doesn’t. 

This is the family that’s meant to represent normalcy, conformity and traditional values, but they happen to have a rebellious son. THIS is the role that the Wheelers ended up filling, you see it very clearly from the very start with Nancy, a little bit with Mike (who then retreats, trying to fill his expected role) and we start seeing a glimpse of rebellious Mike again in s4. 

Will Byers: Mike’s best friend, more normal, more shy, goes missing, killed by an entity.  He doesn’t have much of a description, but besides going missing, two traits stay: Mike’s best friend, and shy. As I mentioned when I talked about Mike, since his traits changed, so did his character arc. He’s still the shy, missing kid that drives the show, defined partly by this experience and the events that revolve about it. We just have to add the missing pieces to it: (see: Mike Wheeler’s original description) lacks confidence outside of friendgroup. Overprotective mother. Tied with DnD. Bullied. Ultimately coming of age. Falls in love with El Mike. 

Need more convincing, more proof? Let’s take a look at this section of the show’s bible. 

Now again, with my notes. The yellow highlighter represents what is true to Will’s character, and the blue one represents Mike (yeah, I know, I know). 

“He’s never had a first kiss, much less a girlfriend. [...] he will discover a courage he didn’t know he had. By the end, he will even kiss a girl.” This was meant to be Mike’s original character arc. You COULD argue that it’s only about season 1, but even then, it is not true to the events of the show. Mike’s s1 story was NEVER about his insecurities with girls, not having a girlfriend, and finding courage. The entirety of Mike’s actions in s1 (and therefore, his arc) are driven by Will’s disappearance and the goal of FINDING him. It’s NEVER, not even once, not even when other characters try to convince him of it, getting a girlfriend and kissing a girl, despite having kissed El by the end of s1. 

Instead, whose plot is intrinsically TIED with romance and a confirmed coming-of-age story about finding courage within yourself? 

Yeah:) And you KNOW what’s the logical conclusion the Duffers have written for this particular arc? “By the end, he will even kiss a girl boy.” That’s the resolution to this kind of arc. NOT rejection. It is a pretty clear example of “Taking a character from point A to point B”. 

The Duffers say: “you can’t give everyone an amazing, big arc. [...] We gave Mike the biggest arc in terms of him coming of age” and then explain how IMPORTANT it is to not try to explain everything all at once, instead, drop hints so you're telling the audience, "this is an important part of this character and we're going to continue to explore it, but we're just getting started you can't just include it all, reveal it all too soon”. You can’t make it too complex from the very beginning either, instead, simplify and slow down.

Then they mention how they like to take a character that's a stereotype, make the audience believe they know this character, make them believe it’s a comfortable portrayal, something they know. And then you flip it and reveal there's more to this character because no one can be so easily defined. However, just HINT it. The reveal will happen on its own, at the right time for the story.

So, based on all of this… What do I think that happened?

This might be an unpopular opinion, but I do not think they planned byler from the very start. I think they had an idea of what they wanted to do, of what message they wanted the show to send, but found out along the way a different, more natural, and groundbreaking way to accomplish that. And I think they realized as soon as early s1, when they knew they wanted it to become a several seasons show rather than a limited series. It’s no coincidence there are elements like Will’s sexuality, homophobia, and conformity present from the very beginning. But they also found a way to portray this in a subtle way so it made sense in both outcomes: if they didn’t get a s2, s1 could still stand on its own, make sense, and feel resolved enough. If they got more seasons, they had more time to hint at this story, get the greenlight, and develop it over the course of all the seasons.

I also think the characters themselves, despite being written by them, lead them to this conclusion naturally. As they say in their masterclass… 

“You can drive and throw obstacles at them, but they can become very real, and sometimes they end up doing their own thing, surprising you”.

To finish this analysis, let’s do a little exercise. 

What is Mike’s Overall Arc, considering the following? 

His family represents conformity, an upper-middle-class household that’s apparently normal and very traditional. 

Both Nancy and Mike are meant to be the Rebellious Children in their very normal, traditional family.

Mike goes from leader to comic relief, to the Angry-closed off-messes-up character archetype. This is so evident that he even becomes unlikeable to most of the General Audience.

The Duffers remind us that hints are important and addressed later. Seemingly ‘weird’ actions and off personality have an explanation: there’s something deeper going on with Mike. You cannot address it all at once, it has to be over the course of episodes and seasons.

More advice from the writers: sometimes you plan something but end up realizing it works out better in a different way. Sometimes your own characters surprise you, and take you to the path that is more natural for them, who they are, and their story.

Mike’s character arc was never getting the girl once the Duffers really established who Mike was. 

And with that, I conclude this analysis. :) Wait for the next one! Please tell me your thoughts if you liked this and read this far. I love reading your tags and comments.

[mazuru7]

Just Finished Midnight Mass and I have some (a lot) of feelings...

Finished watching Midnight Mass in two days and three days later it's still on my mind (along with fanfics in the works...)

Firstly, I like the setting of Crockett Island; it has this calming beauty about it with a clear sense of isolation. The houses on the island are small, fitting because they're on an island but the chippings and the bits of dilapidation on the house's exterior is a nice touch. I don't know if the chippings are an effect due to the salty beach air or whatever, but the dilapidation does show the poverty of the Islanders.

Warning I am going to ramble about characters while also adding headcanons for future fanfics...

As an atheist myself, I did like how they went about Riley's character, granted, Mike Flanagan is atheist too. I'm just glad he wasn't a God's Not Dead or a PureFlix stereotype about atheists. I loved his relationship with Erin and maybe because I've been watching a lot of decentering men content and just being emotionally unavailable and unimpressed with getting into a relationship but I liked how he wasn't jealous or had audacity about Erin being pregnant with her ex's baby. He just accepted it and still loved her. (Ugh, in an AU, he would be stepdad, the dad who stepped up). But even though he was an atheist, he respectful of the community's religion.

Me and a lot of other atheists while we don't believe in God, we can see why others do. It brings them peace and even joy and it let's them be apart of something. Hell, sometimes I'm jealous of those who has love and faith in their God. And just like Riley, I research other religions, I even watch Christian TikTok of TikTokers who don't fit into what "Christians" (you know the type) believe are good people. I watch a femme pastor who uses they/she pronouns, a Christian Witch, and Jegaysus. They have the historical and cultural and the linguistics understanding of the Bible, and I appreciate that as someone who wasn't taught that.

But anyway about Riley, what I love the most is his end. Tragic and beautiful. He didn't want to hurt anyone after turning, more than likely thinking he doesn't want to kill someone again like he did to Tara-Beth; he spent his last moments with the woman he always loved, but just like how the Islanders found peace and forgiveness with each other and by each other and God, like how John/Paul found peace and forgiveness with and by Millie while holding Sarah, Hassan and Ali found peace with Allah, Riley found peace and forgiveness within himself. And THAT is just as important as someone finding peace and forgiveness through religion.

And speaking of Erin, let's talk about her. I was sad that she lost her baby, she was so happy to become a mother (she would've been a better mother than her own). Her relationship with Riley is so sweet. I liked that she was quote unquote what "Christianity" (society too) would see as a "fallen woman." She left her Catholic community, she partied and was wild, she got a divorce, was going to be a single mother, but she was still and kind and compassionate person. Which side note, that whole "born from the dust, return to dust" thing can be applied to, I think, to her and Riley, they were from the Island, left, and returned.

Another side note, this, to me, think of the parallels to her and Millie, which in turn causes parallels to John/Paul and Riley. From what Millie talked about from what she was doing in her youth in the Uppards, "Boys and booze," and seeing how old she was and how the societal expectations of girls were (and honestly, still is), Millie too, had a bit of an adventurous side (well, adventurous as she could since she never left the island and was surrounded by her catholic isolated community) and she was called "the mother of whores" by Bev (who we'll get to). She had an affair with a priest.

So, Erin and Millie, being seen as "fallen women," but still being so kind and compassionate, and loving and having small support systems (Erin from Riley and his family, Millie from her daughter) and being brave and strong (Erin left her abusive ex, she literally uses herself to distract the vampire long enough to slice its wings and using the hurt "the clipped wings" trauma her mom did to her to save others, Millie in front of the whole congregation proclaims that her and Sarah will *never* go back into St. Patrick's when John/Paul was up there talking all sorts of wild shit and SHOOTS him, the man she loved, IN THE HEAD, to stop him when he goes all Jim Jones on his congregation. (I love John/Paul, but honey...no).

Both women were "fallen women" who were loved deeply by the men who loved them even when they were apart; who, at least at a certain time, were seen as, what society (Christian and the like) thinks are good men - John/Paul a priest, Riley the "Prodigal Son" (until they fucked up. John/Paul literally brought a vampire to the island and lead to its destruction and Riley killed a girl and was an alcoholic. Both were cast to side - Riley in beginning of the show by many and John/Paul by the end of it by many too. But at the end that didn't matter, because they had the women they loved with them at their ends).

Unlike Bev who uses and manipulates people and does terrible shit to get attention and power and was seen by those who she manipulated as a "good woman," she was abandoned at the end and died alone and a coward, Erin (and Millie), the "fallen women" had love and compassion, they were genuinely loved by those that truly mattered to them and they were saviors, Erin clipping the vampire's wings and Millie forgiveness to John/Paul.

Erin's speech at the end didn't make me cry, but made me feel deeply. You go, Erin and even though I'm iffy on my belief in an afterlife, I hope she's with her baby and Riley.

Now we'll talk about Bev Keane...*sigh.*

Bev, Bev, Bev; I love to hate her, I love the actress that just makes her hateable. She's like the actress who played Umbridge. Such good acting that you just hate them because they're real people who we've met. Granted, I've never really met anyone like Bev, but I've been around judgemental Christians, few in my family and a lot in the church my grandparents went to (non-denomination) just saying some shit about the queer people and Harry Potter (which granted that book should be judge, not because of concept of magic as a whole but it was written by a bad person).

But anyway, Bev got on my nerves the first time she just lets herself into the rectory (someone take away her keys and get her away from poison), because I raised to respect people's houses and it would just irritate me if someone just walked into my personal space especially without warning. Like girl, get out of John/Paul's ass and go home 🙄. Pike the dog was right to bark at you.

Bev's whole thing was about obtaining power and she could do that since the place they were on was an island. If she pulled this shit on the mainland, then yeah, she would have like-minded people listening to her, but she would have a lot of people argue with her and a lot of those people would have facts. But barely anyone on the island opposes her until the end. Sheriff Hassan, rightly, was concerned for the Bible being passed around the school, Bev with no knowledge of Islam or anything thought she knew better but when he corrects her, she freezes, has an "Oh, shit" look in her eyes while the rest of the PTA look actually interested and nodding, learning in what Hassan is saying about his religion and how there are similarities between Islam and Christianity, how Muslims love Jesus and study the Bible too, but Bev shoots that down, taking power by bastardizing scripture, something she does and something familiar to the community.

She doesn't want her faith and inconsequentially herself, even though how she believes is terrible, to have a connection with another faith, another person, that she deems as beneath her. Which is impossible because Islam came after Jesus and Jesus is a prophet in their eyes too, and before Christianity, there was Judaism and Jesus and his disciples were Jewish. Now I want to know how Bev feels about Jewish people, probably not in a good light, and probably refuses to acknowledge that Jesus wasn't white.

This just goes with the theme of not asking questions, not seeking knowledge, just blindly following. Bev takes advantage of that, and lets be honest, what average person actually learns the historical, cultural, and linguistics of the Bible to actually understand the scripture and unravel that what the institution has taught them wasn't right?

...Not that many, right? And you would think as a teacher, Bev would like to learn but doesn't.

I've seen posts around here saying that Bev wants to be John/Paul's Mary Magdalene to his Jesus. I've looked up about Mary Magdalene (love her by the way) and I can see the comparison even in an ironic way when I'll talk about the pop culture persona of Mary Magdalene and what I think is Bev's internalized misogyny and her obsession with Erin and what I think was jealousy of Millie.

Mary Magdalene was a close confidante to Jesus to the point that we today speculate that they probably had a romantic relationship. I, personally, just think that had a spiritually close bond that didn't have or need romance. It was Mary who told the people (while the men where hiding behind close doors) that Christ has returned. Bev sees John/Paul "resurrect" and goes on about spreading the gospel, granted when she figured out who Paul actually was, she was about that whole "he has returned!" thing, but was full on into it when he came back to life. And Bev and Paul do have a relationship, it's fucked up, Bev uses him for his high position and wants to be close to that proximity of power, but Paul uses her too; the island didn't know that he was Monsignor Pruitt, he was a new face to them, therefore not having a relationship with them and even when he is performing miracles, it's Bev telling the people what to do and he lets her because that'll further his plans and he knows what kind of influence Bev has.

But there's also this weird, inkling sense of care underneath. You can make the argument that Bev was just using him and discarded him at the end, that Paul was using her for his goals, but the way she rushed to him when he fainted and held his face, how she immediately wanted to take care of him, how she made him homemade soup, and how she held him when he "resurrected." She looked genuinely upset, thinking that he died but her instinct was to hold him, caress his face, connect their foreheads, whispering to him while crying and being genuinely happy that he was alive. Mike Flanagan on his tumblr said that Bev had feelings for the younger Monsignor.

And after Riley's death while he is grieving, Paul softly touches and caresses Bev's cheek. There is care underneath that fuckery. And I speculate their relationship before Canon. Bev is the only one with keys to hid rectory. Why is that? Was it because when John was starting to get dementia, she was given the keys to help him? Seeing how old he was, in his 80's, he had to have known Bev FOR YEARS; I'm going to use the actress's age for simplicity sake, which is 45 and we know that she was raised on the island. Her mother was the teacher and Joe Collie knew her since grade school, so that means more than likely (likely, I headcanon) that John/Paul watched her grow up. So, she has always seen him as an authority figure, a powerful figure, but not a romantic figure, yet. Through the eyes of a child, adults are gross (and seeing the kind of person she is, she had to learn that from somewhere, so I'm guessing her mother and I can see her mother being like, "we're not going to talk about your body or sex) and by the time she was an adult, 21, he would be in his 60's, still not attractive to a young person.

But John/Paul comes back de-aged, around her age, attractive, with power, but he needs her connection and influence, yeah, she's going to be attracted to that. But then here comes Millie, John's love and mother of his child, you can see at the last episode, Bev put the pieces together, she looks more hurt than angry to me. But instead of cursing John/Paul, she insults Millie. You can say she did it to hurt him to insult his love, but societal and in circles of religion, it's easier to blame and insult the woman than a man, a man with power, even though she discards him when he wasn't useful, told her to stop, and didn't have her in his heart. She still called Millie "the mother of whores," which is wild because pop culture sees Mary Magdalene, the woman Bev is supposed to mirror, as a whore.

Mary Magdalene wasn't a whore, even if she was, that's okay. Jesus hung around them, but there's still that negative connotation about sex work. Pope Gregory XIII in the 6th century combined Mary Magdalene, Mary of Bethany, and the anonymous woman from Luke 7:37, *"...And behold the woman in the city which was a sinner..."* to diminish women's role in Bible. We don't know who this woman is and from my quick research, in Jesus: A Life in Conflict, Crossley and Myles point out that the term "sinner" in the gospels does not have a sexual connotation but in fact refers to "exploitative rich people". They persuasively argue that the "sinner woman" was actually one of the core group of affluent women that were supporting the Jesus followers "out of their resources."

And Bev did that whole money laundering thing, so that with what you will...

So, here's Bev mirroring Mary Magdalene, one of Jesus's confidante and pop culture's hoe, she does help John/Paul and desires him but doesn't act on it because that's not what "good Christian women" do and she has an image to uphold, she looks down on the quote unquote "fallen women" Erin and Millie who are actual good Christian women. Kind and compassionate and was all about love. I think Bev was jealous, Erin lived life (even if she had an abusive mom and ex-husband) and Millie got with a hot priest who still loves her all the while Bev stayed on a boring island, seeped in poverty and the only power she obtained was through manipulation while not being powerful enough like a priest because the Catholic church doesn't really ordain women, I mean there are 200 ordained women priests in the States, but they weren't ordain in the traditional way and I don't think, maybe, more than likely that the institution sees them as real priests.

Oh, God, imagine Bev as a priest...

When Annie Flynn basically said that Bev couldn't stand the thought of God loving anyone else than her, I was thinking, "Oh, it's what Sara Raztresen said on TikTok..." Christians like Bev, I think now, are so and viciously and ferociously insecure in their own existence, their importance, and general standing in the world that they cling to some sort of outside force to validate their own existence. Projecting her own insecurity as faith...

It was really ironic that Bev met her end beside the two people she looked down on the most, Hassan and his son while digging in the sand screaming, alone without love, peace, and no forgiveness. I do love to hate her.

Minor stuff before we get into two hot men and cutie pie who I want to write fanfics of with headcanons, my personal feelings, and rambles...

All of the couples in this show are so cute and as a mainly Canon x Oc writer, I was shocked that I loved all of the couples. I can count on one hand of Canon couples who I don't see making Ocs for. Utena x Anthy (Revolutionary Girl Utena), Maomao x Jinshi (Apothecary Diaries), Darcy x Elizabeth (Pride and Prejudice), Mitsukuni "Honey" Haninozuka x Reiko Kanazuki (OHSHC)...

Uh...

I'll think about it...

Anyway, love the couples. Ed dancing with his wife, them finding each other at the end 😭. Annie calling out Bev was so good and her leading the singing when everyone made their peace, like what Paul said, in times of darkness, we sing. Although I do side-eye her a bit when she said she was glad that Ali "left that behind," and I'm pretty sure she meant Islam.

But everyone making peace and forgiving each other was just beautiful.

Sarah is my wife. She was just so loved by her parents and I just love that fact that she's just accepting the weird shit going on. Like her mom is just de-aging and her bio, true dad is a priest. She's just going with the flow and I liked how smart she was and nobody made a big deal of her being gay. Maybe some did internally but it wouldn't be a good idea to piss off the only doctor on the island. But when she spat out the blood given to her by Paul, rejecting it, even shaking her head no, she knew what would happen and didn't want that. If she was going to die, she was going to do it as a human.

Leeza's speech to Joe Collie was powerful and I hope this was a good representation of disability for disabled people, I can't say anything about it, because I'm not disabled (although I'm 90-95% sure that I'm autistic) and I do like with her and her mom Dolly that we got black Catholic representation. She was brave and badass too at the end.

Joe Collie deserved better, loved his bluntness. I loved that Riley related and cared about him. I wanted that friendship to blossom, dammit! His and Hassan's relationship I enjoyed. Pike deserved better too, he was a good boy. And I, personally, think that it's ironic that he, a dreg in Crockett Island's community, an outsider, someone Jesus would've fought for, literally got sucked dry, ate, killed by Father Paul, someone who represents the corrupted institution.

And now here we are where I babble about two hot guys and a cutie pie who I'll write fanfics of. And these fanfics will deal with and have intersectionality, especially with black women.

I been a nasty girl, nasty, I been a nasty girl, nasty, I been a nasty girl, nasty, I been a nasty, nasty, nasty...

This fine ass mfcker🫦 the reason I watched this show.

This man is clearly still grieving over his wife, he still wears his wedding ring which I just learned muslim men are prohibited from wearing gold and is allowed for women for spiritual reasons. He said that before he met his wife, he wasn't religious and Ali said that he became Muslim (or something along those lines) because of his wife. So, I imagine her having such an influence on him that he took religion seriously. From what him and Ali were talking about when discussing about the miracles, he talked about how kept her faith, even when she was withering away from cancer. He probably admired the way she worshipped and kept her faith.

Despite their disagreements, Hassan and Ali have something they can agree on, whenever Hassan tells Ali to kiss his mother's picture, Ali does so without question. That tells me he misses her too, I mean he is a child that lost his mom, that is something painful to go through. To me, it felt like Hassan was more upset over the possibility of Ali leaving his faith because it would feel like slap to his wife's memory. (And honestly, just me, I got a forced conversion fear feeling, but that's just me because if you know the history of Christianity and forced conversions...ick).

Hassan just wanted to protect his son and keep him safe, keep him away from the Islamophobia he experienced but he ironically brought him to a place where it's isolating and the Islamophobia is still happening, just on a small island. He didn't want to rock the boat and cause problems to people who just ready to jump him and attack. But honestly, it didn't matter if he didn't fit the stereotype or did, he wasn't respected some people because of who he was. And as a black person, this reminds me of respectability politics which has its own issues but still...

At the end, he did what did before arriving at Crockett Island, protecting people and got to do what he missed, praying with his son.

Fanfic Idea, probably an AU where vampires don't exist or follows Canon, I don't know yet, but anyway, black revert muslim Aaliyah Ambroise has been husband hunting for awhile and job hunting after she quit being a history professor for personal reasons. She and her friends go to a Muslim singles event (I decided it was a skating event) where she meets Hassan who's just there to support a friend. They surprisingly hit it off and afterwards she gets a job as a teacher on Crockett Island where she meets Hassan again.

This will have an older woman, 39-40 years old and on the thicker side in terms of body, hijabi fashion, a revert, a black woman, topics of ageism, misogyny, racism, colorism, stereotypes, toxic family, women's health issues (Aaliyah has endometriosis), finding love after losing a partner and connecting with a future stepson.

Since we did Hassan, we'll do cutie pie, his son, Ali.

He just wanted to fit in, to belong and I've been that only black kid in a classroom of white kids and it was so awkward especially when we had to talk about slavery, so I can guess how it was being the only Muslim kid. I do wonder if he had friends on the mainland when his dad and him went to mosque on Fridays, and maybe that made him feel connected or awkward because these are friends you only see on Friday while thinking about possibly choosing to go the Christian God.

But anyway who else felt so offended when Bev called him 'Boy' at the last episode? I did, I lurched. That was when he realized that it didn't matter, he didn't matter to these people, they just wanted him to be a sheep, and maybe Bev felt this condescending superiority for taking away Hassan's son from him. I've seen "Christians," you know the type, how they behave when they convert someone, there's this air of arrogance...ick.

But I'm so happy that Ali was the one to burn the last safe space on the island, realizing and coming to terms with that these people will never accept him, no matter what. And he dragged his dad east where mecca is pointed at, the beach is calm, the sun is rising, and he's leading the prayer, something his dad and him did together. And at the end, he's holding on to his dad as he burns, accepting Allah back in his heart. I've seen Muslim paintings of them on fire, but golden fire and as he burns he looks like something holy. Have you ever seen what a halo looks like in Islamic art?

Yep, looks like fire.

But anyway, fanfic idea of Ali. New girl Yelena Spinoza, she insists of being called "Lena," moves to the island to care for her grandma and she doesn't even try to fit in. She's a afro-russian-cuban Jewish girl and Goth, but from the few instances where they do talk, Ali finds her quite charming.

This will be more of a teen romance, first love type story, puppy love, school drama, food, antisemitism, racism, misogyny, health concerns (Lena is celiac), reconciliation between family, learning to accept yourself, finding who your real friends are, and a grandmother who knitted a black blanket with the star of david for her Lenochka, because that's what Goths like, right?

And now we're getting to this man who started everything...

Mummy don't know daddy's getting hot, At the body shop, doing something unholy, He's sat back while she's dropping it, she be popping it...

God, he's such a slut.

So much has been said about this man already and I agree with a lot of them, so I'll keep this brief. Although I will say, that while I do love the Islanders, their refusal to see that old man John was sicker than he was, riddled with dementia, sending him away by himself to Jerusalem, reminds me of the "Let God handle it" blind faith I heard when I was a child and not get any professional help. Granted that costs money, then granted again, get John, Leeza, Joe, the Shabazz's...get all of the traumatized people some actual help.

But anyway, this man has caused so much shit and I love him. Everything he did was for love, he cared so much, and wanted the life he didn't have with Millie and Sarah. But that was his downfall, the desperation, he wanted to help the islanders and the intensity of his feelings caused Crockett Island to burn. Very Shakespearean.

This main was still grieving over his sister Alice, he became a whole priest to understand why did she die, especially in a horrible way. How could that be God's plan? He couldn't accept that things can just happen for no reason and that there doesn't need to be a reason behind everything. Life can just suck. He couldn't accept that because, to me, that'll mean Alice's death meant nothing, that she meant nothing, which further means that his death will mean nothing, he means nothing, and that just means death means nothing and life means nothing. How could that be God's plan? Why make people? Why let them suffer? There *has* to be a reason for him.

He might be a calm person, but he feels intensely. He can hold in his irritation, staring on and moving his fingers, but damn, when he explodes...he screams at Riley when trying to gaslight him, his first response when Sarah is shot is to throw himself on Struge and strangle him, that was instinctual, and he screams "WHERE ARE YOU?!" outside of the rec center after pacing like a fiend needing a fix, wondering where his "angel" was (ironically happens after an AA meeting with Riley and Vampirism has been used as a metaphor for addiction).

This man felt so much, his stubbornness, his refusal to see the "angel" is a monster (once again, the theme of not asking questions and blindly going along with it) and it wasn't until the end, he realized his huge mistake. But at the end of everything, he doesn't ask for God's forgiveness, he throws away his clerical collar, becoming the father he wanted to be, and ask for Millie's forgiveness because that's who mattered to him the most and she, their relationship, their daughter wasn't a sin. How could love be a sin?

Now, here's my fanfic idea, it's 1967, pre-canon, when John Pruitt becomes the new priest for Crockett Island and the welcoming committee is one person because he was brought to them early. And from that moment, him and Lydia Mangiaracina were connected.

This is more of a forbidden love story between a priest and a lay woman, midwifery, fertility issues, medical fears, Island gossip, historical events, singing/music (especially opera), racism, misogyny, ableism (Lydia has a limp), societal pressures, war, herbs and witchcraft (African-American hoodoo and Sicilian stregheria, because that's her heritage).

So, yeah, those are my two cents, my thoughts, feelings, and future fanfics, and I'm done rambling.

[djwiththejd]

The Fall of The House of Usher (2023) Episode 2

I'm back, back in the New York Groove ~

Like I said before, I'm writing this because I need a hobby. I do feel like after sleeping on everything I typed up for with episode 1 that I can do with a reorganization of sorts. I simply cannot point out every one liner, clue, and reference to something obscure in this show without developing carpal tunnel.

So, with that, I'm going to change the layout of how I type up this episode and see if I like it better. At the moment of writing this, I have already finished Episode 2 and I'm chomping at the bit to write about it. SO without further ado, some analysis I was too tired to bring up in my first post.

Firstly, once I saw that The Murder in The Rue Morgue had its own episode title, I got the gist that each episode would be focused around the death of each sibling. I sincerely hope by now that this isn't a spoiler however, as the entire family has to die in order for the fall of the House of Usher to actually come to fruition. Luckily everyone in the family except for possible Lenore and Juno are shit people. So anyhow, the 8 episode layout where Episode 1 begins with the introduction, six episodes in the middle each center around the death of a sibling, and then the last episode will probably be reserved for the death of the twins. What's great is that you can assume that structure is what is intended and still be surprised by plot twists and modernization elements to make the story new, fun, and exciting. It's the journey, blah, blah, blah.

ALSO, I've never seen any other piece of Mike Flanagan's works, so this is my first time delving into a horror anthology. I am sure I liked Hill House things when it first came out bc people were very funny about it on here, but I was too much of a chicken to watch it.

Anyhow, now we move onto the next bit, background and plot!

So first, I have not read The Masque of the Red Death. I am literally just copy/pasting the first paragraph of the plot summary from Wikipedia, hyperlinks and all:

The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and "profuse bleeding at the pores", and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut to ensure no one enters or leaves.

Unfortunately, the episode does not start with our young prince Prospero. It starts with a flashback of Dupin in 1979 taking a photo of an exhumed and empty grave. At this point Dupin's plaque titles his as "Junior Fraud Investigator," and apparently isn't a police officer. The most important bit here is how Dupin pushes back against his boss and the boss asks him: "Say you win. If you could catch them all, take all of it, all the greed, the foulness, the rot in the world and sit down across from it, what would you say?" and then it immediately cuts to Dupin in that dilapidated childhood home of Roderick and Madeline Usher, and Dupin gets to ask "Was it ever going to be enough?" There's more there, but the callous way Roderick responds indicates that the mask has come up again briefly. He's defensive about Ligodone, he's defensive about his wife, he refuses to explain why there is no number of dollars in the world that will make him and Madeline feel satisfied with their success.

It was also important that in the past, Dupin tells his boss that "This world needs changing." This is the same ideal that the twins have, but the intent and the implication behind those same words these people said at approximately the same time culminates in them leading very different lives. For now, that's all I have to say on the matter.

Now, moving on. Perrie's corpse appears behind Dupin this time. This time Dupin does turn around but sees nothing, so we can assume that the corpses are just visions. The ghosts of Roderick's past coming back to haunt him, quite literally.

So when we first see Perrie in this episode, he's introduced in bed surrounded by naked bodies, sex toys, etc. I'm sure it is meant at first sight to shock the senses, but personally I couldn't stop thinking about how we are visually seeing Perrie being "boxed in" this hedonistic cage of his own making. This is Perrie's own bed, the people he chose to spend his time with, but as we see in the episode when we look at how his family interacts with him and how Verna speaks to him, Perrie has basically put himself into a box of his own deadly sin, Lust. In this vein, I wonder if I can do an analysis of each child as one of the deadly sins, omitting Pride. Pride has historically been seen as the worst sin, or the highest sin that brings forth all the other sins, so if I did do this analysis, I would immediately take Pride out of the equation only because I would ascribe it to the twins as the head of the family and as the parents of all of the other sins. I haven't watched the other episodes yet so I'm not sure if this analysis will keep up going forward but for now I have a general idea which sin I would ascribe to which child.

So moving on with the plot, Perrie wakes up and comes out to two people in his apartment and I recognized one of them! Molly Quinn, famously known for being Richard Castle's daughter and also the daughter of the other RV owning family in We're the Millers. She's a fond part of my childhood, and I'm loving her haircut. However, we see a weird, almost violent display of power when Perrie thinks his expensive eggs were eaten by his "friends" and I put friends in parentheses because I'm not entirely sure yet if Perrie does see these people as his friends, lovers, or even equals.

They discuss disappointment at Roderick vetoing supporting the Prospero club venture he had pitched, and Perrie says it might have been an overall good thing. He gets a call from Frederick, lovingly saved in his phone as Dickwad. Apparently he's supposed to be shadowing Frederick, but as soon as he walks in, his immaturity and naïveté derails the entire meeting with the Feds over Fortunato's poor environmental business practices. This enrages Freddie, and he accuses Perrie of being the mole informant. The continuous bit that Freddie struggles to differentiate between the two is actually quite funny, especially because Perrie has just shown his ass to not be the brightest bulb in the bunch, but even he can keep those two different concepts straight in his head. Freddie really says some demoralizing shit to Perrie though, you can tell he sees himself above the other children, similarly to how Tamerlane's musings about the informant likely being "one of the bastards" from the first episode. Just because Roderick says you're family doesn't necessarily show that the children saw it the same way even when paternity is established.

Perrie lays out the details for the sex and drug-fueled club event to his two lackeys, and Verna briefly pops up on the roof of the building before Perrie looks back and sees that she's gone. We cut to the Rue Morgue, and Victorine and Alessandra lose another monkey. Victorine takes it hard and Alessandra tells her the last thing they should be talking about right now is human trials. However, we see that she's lying through her ass to her father, who is fast tracking this process because he's the person who needs that surgery.

Cut to Perrie asking Leo for drugs. So many drugs. Leo has funny quip in heres, but he's important because he tells Perrie that he's "better than a dealer, smarter than a DJ," and that "this is beneath you." Leo sees potential in Perrie that I saw a glimpse of when he was crunching numbers and setting entry fees for the guests. It is a shame that Perrie doesn't choose to listen to him in the end. And yes, another funny viagra quip.

We cut to Bill T. Wilson's...workout video? So that's what BILLT nation is. I will say the half-confused, half-concerned, half-disgusted, half-almost fascinated face Camille has is priceless here. We then cut to her watching a testimony from an alleged whistleblower at the Fortunato trial. Camille's willingness to find something about this whistleblower if there isn't anything to find speaks a lot about how she is as a PR manager. Ruthless, merciless, and focused on the ends to justify the means. The informant issue is eating at her because it was a factor she could not see or control. She zeroes in on Vic's clinical trial because she thinks it stinks, and we know it does, but she's got some ulterior motive that we don't know yet. The guy was admittedly fair in asking what Vic did to her, but it was one of those things you keep inside and never voice because Camille 100% has the ability to ruin you. Her glare was iconic. I was scared but also a little excited. I was hoping for some action but we cut to Perrie again instead.

A drop of water from the ceiling drips and lands on a phone. We talk about how to access the party, Molly Quinn uses her vocal fry to whisper sing an ad-libbed version of WAP, and we see the sprinkler again while Perrie asks about the water. We move to discussing the sprinklers to "make it rain" for the party and the guy for it says the sprinklers are shut off and Perrie calls bullshit because they dripped on his phone. He has this entire bit about hooking up the sprinklers to the filtered water tanks on the roof, etc, and starts talking about "The Golden Rule." I know this rule well, and while Perrie doesn't get to finish saying it before we cut to Roderick, I can confidently say as someone without money that money can solve many, many problems. So yes, whoever has the gold, does make the rules.

Roderick tells Dupin about the comic where he read about it. Before he can also finish saying "rule" Perrie's corpse appears to stand before him, and WOW he looks horrific. The SFX team deserves major props for this work, because he looks like a human anatomy model. 100% my money is that there's acid rain in the sprinklers/in the water tanks in the roof, and I'm probably right, but once again, the beauty of good media/literature/stories isn't about guessing the plot twist or the ending of the story before you get to it, it's about enjoying the process as you go along. I'm having a great time.

Roderick switches to something called CADASIL. Cerebral autosomal dominant arteriopathy with subcortical infarcts and leukoencephalopathy. (The subtitle person for this deserves a raise.) It is apparently a hereditary form of vascular cognitive impairment. "Before it kills you, it causes symptoms very much like dementia. Affects thinking, problem solving, spatial reasoning and memory. It can even cause hallucinations."

Ah. There it is.

Roderick has this. And there's no cure. And he's refusing all the medications. AND the only hope is preventative. THE EXPERIMENTAL SMART HEART MESH HE SPENT $200 MILLION ON THAT HIS DAUGHTER IS WORKING ON?! Ah, so he is spending the gold to make sure the rules can work for him. Even if it means cutting corners and costing lives. Amazing how much money can really take away your sense of humanity though.

He brings up Rufus Griswold and that unfortunate cemetery business. What I laughed at was the dry, subtle way Roderick just calls Gris "the original gangsta." I had to rewind to make sure my eyes and the subtitles weren't playing tricks on me. So apparently all of this, as we are finding out, starts there. In Gris' office. With the Gris himself, "the original cocksucker."

Oh, it is a flashback. Young Roderick goes in to talk to Gris, but what about? Gris pours himself a drink and acerbically mocks the FDA. The "Fuck Dicks Association." Roderick is clearly not used to this kind of vibe, but he plays along poorly, not that it seems to matter much to Gris. Then again, this is a man who succeeded the helm of Fortunato. When he talks, he expects others to play along, he doesn't care how badly they do it as long as he's the one speaking and in charge. Roderick tries to make a pitch but Griswold is unhappy to hear it. He's about to kick Roderick out but decides fuck it, he's already here. Might as well just pretend to listen and kick him out. Obviously he doesn't say that, but I did debate for most of high school. Some judges walk in biased and you know you've lost before you even open your mouth. This happens with WASPy soccer moms judging their kids' debate tournament, this happens with judges on a local and federal level even though we pretend it isn't true, and it is certainly happening right now with Roderick Usher about to try to pitch something to Rufus Griswold. It is a shame Roderick doesn't know it yet.

He pitches ligodone, the same drug that dupin is in modern times currently trying to nail Fortunato and the Ushers for for falsely advertising as everything Roderick is pitching to Gris now. It is a really good pitch, very idealistic. I think Roderick may believe ligodone is the cure for everything, but I'm hooked on his line "this world...needs changing." He's as idealist as young Dupin at this time. I am so committed to seeing what goes wrong.

The pitch continues, Griswold pushes back, and Roderick suggests that Fortunato will become a miracle and Griswold will become the new Messiah. This piques my interest. We've got the ultra-religious mom, the children being allegories for the deadly sins, and a reference to the head of Fortunato with ligodone as the next Messiah. It certainly invokes a sense of hubris with inevitable downfall. But then Roderick brings it back to his mom and how much pain she was in. It really throws me for a loop because I think the humanity of it all is really at the bottom of Griswold's mind.

We cut to a new location and a crying baby. we see Madeline first and then a woman with the crying baby. We quickly figure out this is Roderick's wife Annabel (hur hur Annabel Lee) who consoles him for not winning his pitch. Madeline looks out of place, uncomfortable being there and more focused on things outside of the domestic sphere like Roderick's failed pitch. When we cut to the silent time after the baby is quiet at night, we see Roderick in the middle of these two women, with Madeline at his right hand side. When Annabel expresses remorse about the familial ties Roderick has with Fortunato, with his mother and father, Madeline seems shocked that he would have told his wife about such a detail? Like ma'am, that is your brother's wife. I just get this codependent vibe from the two of them that really gives me the ick. Annabel really does her best to bring them back to humanity by saying money isn't everything, but Madeline is not buying it. Madeline is completely jaded, turned off by men, turned off by love, basically anything where human emotion can show off even a sense of vulnerability. and she's just kind of disrespectful towards Annabel. (There's a bit here about AI writing movies and TV shows, I see that insert, I acknowledge it, I will move on.)

Madeline starts salivating at the thought of using algorithms to mimic human consciousness and ho it speaks to immortality. This is the first time I've seen her care about anything since I've seen her in this house, so I'm writing this immortality bit down as a note for later.

"Fuck that tiny little man in his big office with his tiny little ideas. WE are going to change the goddamn world, and if Fortunato won't help us get there, we will trample them on our way."

Ah. Spoken like a true capitalist, Madeline. Annabel can't fight off this insatiable, almost rabid thirst of Madeline's to move forward, and clearly since she isn't in the present with us, clearly Madeline must have won Roderick over to her side either by force or by choice. Shame, since Annabel was the paragon of virtue and humanity in this argument, and just goes to show how almost inhuman Madeline has become in this pursuit to change the world.

In the present, Madeline is talking to Lenore about answering a bunch of questions. Apparently she's making an Ai-approximation of Lenore by havingher write a journal every day for four months, answer 10,000 questions, and have it worm its way through the internet and collect all of her virtual data. This is impressive, actually. I'm doing some research on AI right now for an old law school professor so I've learned a lot about AI in the past few months and I have some background on this AI approximation that Madeline is trying to create. I might write a separate post about it altogether.

Back to Madeline. She assumes everyone wants to live on after they die, like the ancients. She had her Ancient Egypt phase, I see. This is Madeline's Roman Empire. She unboxes the mummification tools the Ancient Egyptians used to scoop out the brain, but there's a bunch of other artifacts behind her as well, propped up like trophies. She calls it her "immortality collection," so it isn't about Ancient Egypt, her hyperfixation is the concept of immortality.

Pym comes in and tells her she was right about something. Perrie's bank statements show that he's spending less. It either means he's "coming down in his old age" or that he's spending more cash. If so, he's dealing, pimping, or taking a payout in cash from the Federal government. Juno doesn't have her own accounts, she's co-signed on Roderick's. MAdeline here treats Juno with derision, calling her "the child bride" but ma'am. Once again, the common denominator here is that your brother picked these women to marry! Those are his decisions, deal with it! Either way, she's also intent on finding the informant.

Lenore walks in on Juno and Roderick being handsy in his office, but they quickly settle themselves. Juno is hilarious here, but it does highlight that Juno and Lenore are closer in age and interests than anyone else in this household. Blegh. Ok, maybe Madeline's comment about the whole child bride thing was on point. Juno is such comedic relief here, I'm not gonna lie, this actress is stellar, and I love her Irish accent. I think after all that tension and analysis, it was good to have a break. These things are too long, I need to shorten them for Episode 3.

Oh, cut to Perrie trying to drop off documents for Froderick. Dickwad. Frederick. Freddie. Morrie answers the door and tells him she's sorry about how Freddie can be. She tells Perrie she gets it, and idk, am I getting "battered wife" vibes here or is this just an act to try to get him to warm up? Perrie instead decides to be a degenerate and invite his shitty's brother WIFE to his expensive orgy. She scoffs and rebukes him, but he pulls some psycho manipulation about sex that as a demi person I can't relate to, but I appreciate her being all "How dare you!" about it. I still think if the show is going to put moving music in the background on it that she's going to end up going though, so maybe an early RIP to Morella Usher? Perrie's a whole ass freak, but Morrie is considering it, so wow.

Cut to Tamerlane. She's watching Bill set the table and then the bell rings. Off screen she invites a woman in who asks if a wig works for her? Ok, so this girl looks a bit like Chloe Fineman from SNL, but she just walks in wearing a wig and says hi to Bill like she's done this a million times before. Is this some type of roleplay? Ok, they're paying her in cash and Tamerlane is explaining her roleplay? She wants a romantic, intimate dinner? But she wants this girl to pretend to be her? Wait, she's sitting down and watching? Ok, so Tamerlane is sitting down and watching a hired girl pretend to be her, watch Bill treat her like he treats her, and Tamerlane gets off by watching it all as a third party observer? Her sexual fantasies literally start at dinner. I mean I just said Perrie's a whole ass freak, but Tamerlane kind of is one on a whole other, more voyeuristic, self-insertion level. I am confusion.

Cut to Camille watching Bill's workout video and kind of following his workout in a fascinated way? I'm also confusion. Anyway, her interns walk in and she turns it off, but then asks for updates on Vic's clinical trials and is frustrated that Toby can't get any results. She then goes into background of the testing facility "Roderick. Usher. Experimental." R.U.E. So she sets up the bit about the Rue Morgue. My favorite Poe short story. Tina goes into the paralytic nerve agent but Camille is uninterested. She looks through photographs and then..gets up to join them in bed? I had to rewind again. I didn't even realize they were undressing while debriefing her. And Camille's wearing a rope bra. And they're her interns! Besides the ethical and workplace violations from the freaking PR person for Fortunato, this whole family is FULL of sexual deviants. Wtf. I am confusion. AGAIN.

Cut to ships in a bottle. Frederick is showing Lenore how to make a ship in a bottle for Grampus Roderick. Morrie is headed out and apparently she's going to the orgy party. Great...

Everything is stuffed into lockers and masks come on. Perrie is overlooking this domain like the young Prince Prospero from the story. He gets excited when he sees and realizes his dickwad brother's hot wife showed up to his orgy. Morrie plays dumb, but Perrie tells her to try some drugs and one of the twelve bedrooms before he says he will find her later.

Cut to security cameras. Perrie points out all the famous/famous adjacent people who showed up. He reveals his plan to use the security footage form this hedonistic orgy to blackmail everyone who arrived at the party. Suddenly, inviting his dickwad's brother's hot model/actress wife makes a lot more sense, and he says it out loud. He drops a tidbit about Freddie is afraid of using elevators. Mght be useful for later. He then proceeds to give his lackeys ecstasy through mouth to mouth and they all head out to continue partying before a woman in a skull mask walks through the door. We know it is Verna, but Perrie doesn't know who she is. Verna and Morrie briefly make eye contact before Verna slips away and Perrie follows her to ask her who she is.

Verna finally removes her mask and she and Perrie somehow end up in a private bedroom. I don't know if the red lights are indicative of the seventh room in the original story, but if it is just a stylistic option, it also looks fitting. Verna tells him he can take off his mask. He asks her if she knows him, and she says she knows everyone here because this is her kind of party. She talks about the music, the lights, the beautiful flesh. She really leans into "the smells of it." And no, it isn't what you would think. "All the sweat, the perfumes, the lotions, the musk. sex, yes. But with a dash of Rome."

Verna asks him to tell her, and not lie, if this party is everything he wanted it to be. He says, "Not yet. Almost." She responds that "nearly realized is the sweetest. It is better...in the moment just before than in the moment after." She tells him he did it, and there's still time. For what? He asks. Verna responds..."To stop it."

She tells Perrie "Things like this, all things in fact, have consequences." He tells her that's not what is happening here based off of his invite (even though he KNOWS he plans to blackmail everyone in this room later.) Verna responds there are always consequences and talks about him. About choices that lead to consequences, and how his existence is a consequence. I wrote down the whole speech because those sequence of choices will likely be illuminated once the entire series is over, so I want that to reflect upon during each episode.

It is a shame, because even though Verna tells Perrie that tonight he is consequential, he doesn't even realize how serious she is. She gives him a chance to take it all back, and then the two of them could have had fun, and that she's got a weakness for bad boys. She tells Perrie "you are a pretty, pretty little thing" before she disappears into the party again. Perrie chases after her but she's gone. He takes something, puts his mask back on and returns to the party. Verna is seen whispering into the ears of the security guards, the bartender, etc before she appears behind Morrie and tells her to "Go. Now." So Morrie is given due warning. Now the decision is up to her whether to leave or stay as midnight approaches. Morrie stays, and has to deal with the consequences of her choices.

The acid rain in the sprinklers rains down and proceeds to basically liquify the entire party. Everyone looks like anatomical models, but Perrie is still moving a bit. Verna approaches his melted body and whispers "You beautiful boy" and kisses him on the lips as he dies before placing her skull mask on his face. And that's the end of the episode.

There's a lot there. I feel like I have to immediately start Episode 3 in order to recover from the whiplash of all of that, but this is going up now. I think for Episode 3 I will take it "scene by scene" as I plan to watch the entire episode in full since Rue Morgue is my favorite short story and I wanna see how it plays out with Camille. If I'm lucky I'll get Episode 3 up today but I am very much at the whim of my moods and medication.

Overall this was a good episode, we saw everyone else's freaky sex interests and I do think Perrie gives me "lust" deadly sin vibes, especially because his penchant for lust is what got him killed. Verna calling him beautiful before and after the acid rain is intriguing. She could be saying his demon-esque look is appealing because she herself is a demon. I got a google notecard/ad type of thing for an article saying that Verna is the Raven because it is an anagram, but I'm interested in seeing other explanations as to what Verna could be. She could be the literal devil that the twins made a deal with to get where they are, I'm not entirely sure. I just want to get through this series with as little spoilers as possible to see how accurate my guesses are.

[goayda]

I was thinking about OFMD s2 and I remembered Mike Flanagan's The Haunting of Hill House ending.

(that tv show is old, but still warning of spoilers under the cut, just in case)

I remembered that the ending was supposed to be quite bleak and Mike Flanagan decided to change it. These are his own words about it:

We toyed with the idea for a little while that over that monologue, over the image of the family together, we would put the Red Room window in the background. For a while, that was the plan. Maybe they never really got out of that room. The night before it came time to shoot it, I sat up in bed, and I felt guilty about it. I felt like it was cruel. That surprised me. I’d come to love the characters so much that I wanted them to be happy. I came in to work and said, “I don’t want to put the window up. I think it’s mean and unfair.” Once that gear had kicked in, I wanted to lean as far in that direction as possible. We’ve been on this journey for 10 hours; a few minutes of hope was important to me.

(Link to the full interview here.)

Different approaches to their stories and characters. Both absolutely valid and worthy of respect. But one of those shows was a comedy and the other wasn't.

[possum-quesadilla]

New ‘Time is a Flat Circle’ chapter is up, which means more details under the cut! The universe set out to kill me before I finished this chapter but it was unsuccessful

Chapter six:

- This chapter’s title is a continuation of the lyrics from the first chapter, which is again from “The Heroine” by Unwoman. Beetlejuice actually has to start facing and feeling all of the emotions and hurt from the loops!

- “She didn’t even get a “I sure hope it does!” To her “Road work ahead?”.” Lydia is, of course, referencing one of my favorite vines here. She forced Beetlejuice to watch a compilation right away so he could understand more of her jokes.

- “It had a strange metal lining she was sure wasn’t there before.” … “Yeah. Iron impedes ghosts. Duh.” This is all based on info that was told to me about an odd door in my great grandmother’s house that was lined with iron. A family member told me it was to keep ghosts out, and that “iron stops ghosts, obviously”.

- “Sweaters from Aunt Kerry” A fun little nod to Barbara’s original actor, Kerry Butler!

- “… as she stepped on something soft, squishy, and uneven,” This was his tail! That’s probably why he yelled so loud.

- Another note: I forgot to point out something that will not really be directly addressed from chapter five! “Adam heard a rythmic thumping noise from the demon that he wasn’t quite sure of the origin of.” This is from BJ’s tail hitting the ground repeatedly, like a cat’s does when it’s angry. I’m sure he’s glad it was too dark for them to see it!

- “Lydia! My best friend, my pal!” And “Lydia, my homeboy, my rotten soldier,” Are a reference to a line from What We Do in the Shadows that I quote way too often.

- “The pair of them stood out like horseshoe crabs in a freshwater environment,” This is a line from my favorite youtube series, Bigtop Burger. Check it out if you like dead little freaks like Beetlejuice.

- “The plain white shirt that said “human babies are mysterious and I don’t trust them” and the bright red long-sleeve that read “God won’t let me die”” Based on real thrifted clothing I’ve seen posted online and really, really want

- “He was even absentmindedly chewing on one of the plastic tags.” Haha, I do that.

- “hammer space” Is honestly a bit more accurate than ‘pocket dimension’, since he uses it mostly for comedic effect.

- Beetlejuice wants to watch Edward Scissorhands because he likes to see movies that make “monsters” sympathetic. He wants to watch The Princess Bride because he wants to see a happy ending.

- “a black leather notebook. She had many like it, and like all the rest, this one was unused. (They’re just too perfect to start using, y’know?).” This is taken straight from what many of my more artistically inclined friends do. The journals are only collecting dust, bestie!! Use them!!

- “Ah. He wants me where he can see me. Probably all screwed up from his mom and stuff.” As my notes so eloquently put it, “WRONG GIRLIE HE HAS PTSD FROM THE STABBING”.

- “He was cut off as Barbara grabbed him by his tie and tugged it to force him to look her in the eye.” Barbara discovered one of his tells for lying! She will exploit it ;)

- “… her Dead Mom could never pick between ‘Annabel Lee’ and ‘The Masque of Red Death’.” These are two of my absolute favorites! They are just so romantically macabre, I sometimes read Annabel Lee out loud to my cat to calm him down. Emily did the same for Lydia!

- “fleece tie blankets she had made for a charity drive. When asked by Beetlejuice why she still had them, she sheepishly replied that she kept forgetting to drop them off until it was too late to do so.” Based on something my favorite elementary school teacher did.

- “but it was perfectly splendid.” This is a reference to The Haunting of Bly Manor. Mike Flanagan’s work greatly influences my writing, so I wanted to put in a little nod to his most amazingly heart-wrenching series. <3

- “She was a sucker for a happy ending.” This is a reference to the Heathers musical, where a character expresses a similar sentiment towards the movie. Shout out to that soundtrack for getting me into musicals in the first place!

- “… he leaned down and bumped his head against Lydia’s shoulder. The impact was hard enough to make her stumble..” I do this quite frequently. I do not mean to knock people off balance, but I usually do! It is the easiest way for me to express affection without having to touch someone with my hands. It is less overwhelming for Beej in that way too!

- “I promise, I’ll do better for you, I’ll be better!” Haha what a fun callback that doesn’t have any implications about Beetlejuice’s mental state

- “I’ve always wanted to make a blood pact!” Me too. But don’t try this at home.

- “I, Lawrence Betelgeuse Shoggoth,” He is only able to say his own name when it’s a part of a pact or contract! That sucks.

[justreblogginfics]

Aw thanks so much for the tag @drabbles-mc! You know I love a good game 🤗

1. were you named after anyone? No, my siblings and I have Bible names. But my middle name is after my Grandma and she always bragged about it to everyone

2. when was the last time you cried? Today. About insurance. Long story short I am now a member of the Silver Sneakers Club 🤘

3. do you have kids? Nope (and at the rate I’m going it’ll be a spell 😂)

4. what sports do you play/have you played? Basketball, volleyball, and soccer (I’m not a pro at any but I was really good at running and really good at missing the ball in volleyball 😆)

5. do you use sarcasm? Absolutely I do

6. what’s the first thing you notice about people? Their smiles… and eyebrows. Please don’t ask why because I really don’t know

7. what’s your eye color? Brown

8. scary movies or happy endings? Occasionally happy endings, but I enjoy a cliff hanger ending too. I do not watch scary movies although I made an exception with Mike Flanagan because of one Sheriff Hassan (I’m just a girl 🤷‍♀️)

9. any talents? I can cook with my nose and I’m a pretty good listener (I have a running joke with my Mom about Sally and ¢5 cans [if you know you know])

10. where were you born? California

11. what are your hobbies? Cooking/baking, reading, going on walks, hiking, singing (I have a killer Céline Dion and Prince impression 😂)

12. do you have any pets? A cat. He is my sworn enemy and I am his (that sounded very Game of Thronesy)

13. how tall are you? 5’3”

14. favorite subject(s) in high school? I was actually homeschooled 🙂

15. dream job? A chef at my own restaurant where the meals are never the same but always delicious

No pressure tags (as always!): @lorenblack @xxdrixx @velocibeewords @sillyrabbit81 @kteague @just-chirpin @all-things-fic @tropes-and-tales @fabulaprima @darlingshane @laurfilijames @fallatyourfeet

[ojcobsessed]

how do you feel about the hill house theory thats about the fact that luke could still be in the red room??

basically its saying that since his two year anniversary cake was red and it was one of the central objects in that scene, it could be a hint that he never got saved and died in the red room.

personally i dont rlly like it because i just want luke to be happy lmao

(also sorry if my explanation of the theory was bad, im not great at explaining things 😭)

mike flanagan has said a few times that he toyed with the idea of having that ending but then decided these people had suffered enough and that since it was a story about people working through childhood trauma he didn't like the message that there was never any healing and the suffering was forever. i'm paraphrasing but basically if mf said it wasn't true then it's not. i have watched it all the way through many times and there's nothing else that says luke didn't get his happy ending and healing and so did everyone else that survived. i will go even further and say i think it's weird and media illiterate when people push this theory because the happier ending is "too happy" given that by that point half the family was dead and trapped in the house forever. it's fine if people find it more satisfying for whatever sadistic reason but the fact is that's not the intent of the ending. hope that answers your q!

[writeyourdarlings]

15 questions for 15 friends

thank you for my lovely mutual, tej @ohhsodebonair, for the tag😊💖.

1. are you named after anyone?

nope. my name actually comes from sanskrit language which means 'light'. my father was the one who named me:)

2. when was the last time you cried?

three days ago. i had an intense fever and headache. i also vomited like 3 times and then cried on the bed because i couldn't go to sleep the whole day

3. do you have kids?

no, i don't, although i'd love to have one when i'm already married❤️

4. what sports do you play/have you played?

volley, badminton, fencing, baseball, swimming

5. do you use sarcasm?

i do. only with the ones i trust and the ones who get my dark humor (just to avoid potential confusion, you know😁)

6. what’s the first thing you notice about people?

their eyes and lips😳

7. what’s your eye color?

black

8. scary movies or happy endings comedies?

both! i began to love scary movies after i watched mike flanagan's works. i fell in love with his horror miniseries (ex: haunting of the hill house, the fall of the house of usher). he's been bringing intricate and deep issues like mental health, family, addiction, etc in his works. and for comedies, i could never say no to them🤍. ghost (played by demi moore) is my favourite timeless comedy movie with a dash of horror.

9. any talents?

i don't know...😅

10. where were you born?

jakarta, raised and borned.

11. what are your hobbies?

reading and drawing

12. do you have any pets?

used to. a tuxedo cat, until i had to give him up to my aunt cause i found out that i have an allergy😭.

13. how tall are you?

5'2"

14. favorite subject in school?

math, just because i used to have a high school math teacher who made the subject easier and not scary. also he was very caring towards his students, always asking each one of us if we had any difficulty🤍

15. dream job?

children-book illustrator.

No pressure tagging: @stucky-just-stucky @mxaether @soliloquent-stark @citronbun @harleythealter @lavenderpanic

[couragehopelovefaith]

As an answer to @carladuquette:

Mike Flanagan character draft

Rules are simple: pick your top 6 characters from the Flanaverse. Series only! If a character appears at different ages, specify which one you want on your team. Can be characters you love, love to hate, whatever. Ready? GO!

(There will be no Midnight Club-characters, because I haven't been able to bring myself to watch it since I know that the cancellation would frustrate me to no end, if I got myself engaged to it.)

This was way harder than I thought it would be! So many others would deserve to be here as well. If you haven't seen these shows and want to avoid spoilers, stop here.

But okay, here we go...

Riley Flynn (Zach Gilford, Midnight Mass)

It tells a lot that I saw Midnight Mass for the first time just this Easter, but I couldn't imagine anyone else getting the first place. Such an underrated character. He had such a sad backstory and a kind soul...he truly did his best and helped so many people when he had every possibility to be selfish. His relationship with Erin was very special too. I guess he got his happy ending in a way, but all the possible could've beens and fix-it-fics about him that I will probably never write haunt me.

2. Luke Crain (Oliver Jackson-Cohen, The Haunting Of Hill House)

I debated with myself for a long time, which Crain-twin I should put here, but Luke and his journey just moved me deeply. I'd like to write much more about him, but it would become an essay so I'll pass. It would be so inspiring to see Riley and him to have a conversation, now that I think about it. During my every single Flanagan deep-dive, I am awed how Oliver could play both Luke and Peter - such opposite characters - so believably. *standing ovation*

3. Hassan Shabazz (Rahul Kohli, Midnight Mass)

I had an eeny, meeny, miny, moe whether the third prize should go to him or Owen, but I had to pick this loving father and a wonderful sheriff. In this case, I can't even fully explain why, but he just managed to stand out from the middle of all these other fantastic characters in an unique way.

4. Verna (Carla Gugino, The Fall Of The House Of Usher)

I feel like I don't really even have to explain myself when it comes to this choice. Carla has always been talented and beyond, but she really exceeded herself in this role. In the wrong hands, this character could've become very corny and comical, but with her behind the wheel, there was no fear of that. I lost count how many times I got shivers, was lifting my jaw off the floor and crying while watching Verna. I almost wanted to include a gif of her and Arthur (since I love him too), but I thought it might be cheating, so...

5. Hannah Grose (T'Nia Miller, The Haunting Of Bly Manor)

Okay, listen... I love Dani and Jamie, both as a couple and as individuals, and their story is very bittersweet and heartbreaking. But when I think of Bly Manor, my mind always travels first to Hannah, her relationship with Owen and to episode 5. She is amazing and deserved the world. A little restaurant in Paris, with the love of her life... Gaah, even writing about it makes me tear up!

6. Tamerlane Usher (Samantha Sloyan, The Fall Of The House Of Usher)

I almost feel bad for not putting Lenore here, because she obviously was the purest one of the Ushers and didn't deserve what she got in the end. But I can't help being intrigued by Tammy and her complexity. Surely, she is far from perfect - quite a despicable human being, actually - but the episode centered around her made me feel a bit sorry and sympathetic towards her. She is my favorite Usher-sibling (Leo being a really close second) and belongs on this list. Samantha deserves way more recognition of all her roles, to be honest.

Phew, I did it! *victory dance*

Anyone can participate. Let's show appreciation to this marvelous saga, pretty please.

[phoenixwatchesmovies]

What I'm Watching: November 2023

The Fall of the House of Usher

Sycrhjodxfhbaudiffebuvehtxt I'm obsessed with this show. So far, this is the first and only Mike Flanagan adaptation where I was familiar with the source material already, and it was a fucking BLAST playing Spot The Reference. Additionally, the conclusion of the rave scene has been burned into my memory ever since and I cannot for the life of me get it out of my head, in the best and worst way possible. Sooooooo good, but oh my fucking god. And it's been a long time coming, but this series has elevated Carla Gugino for me to Rachel Weiss meme status. You know the one I'm talking about. I just.... THIS SHOW IS SO FUCKING GOOD. The writing, the story, the performances, the cinematography, the scares, the all of it. It's split down the middle between stuff you can point and go "ha! I knew it!" and stuff you just can't see coming, and it's all top tier. I typically need a cool down period to recover after most Flanagan stuff, but I'm just itching to get back to this one as soon as possible. Is a good amount of that just me thirsting over Verna? Well, yeah. It's pretty much Gugino's show, and everyone else merely appears in it. Actually, that's not fair. Everyone involved not only fucking went for it, they fucking nailed it. This is Mike's last run with Netflix, and by god, the whole team went out with a bang.

Cowboy Bebop (2021)

Let me start by saying that my post mentioning how much I wanna bang Spike went as viral as things tend to go on this blog, so I'm glad that resonated with some folks. 😂 I'll admit, I have a lot less nostalgia for the anime as a lot of the audience for this, having only seen it twice, but as far as adaptations go, this was perfectly okay. As someone pointed out already on one of my posts, it's a lot less existential than the OG, and therefore a lot less heavy. And since all I wanted out of this was a good time, I was happy with it. I was EXTREMELY happy with the opening credits in particular. My stance on adaptations in general is that if a piece can stand on its own merit, I don't care how closely it adheres to the source material, and in my opinion, the live action succeeds. In fact, my one and only complaint is...not enough Ein!

Anne With An E

The books stay in my reading rotation, so despite my philosophy on adaptations, I had very high expectations going into this several years late, don't worry about it. And...I was not disappointed. I ended up crying over almost every episode, and that never happens, so... 😅 It's so sweet and I was charmed from the get-go. I've still got a season left, and since it seems to be doing its own thing apart from the books now, I'm really looking forward to it. I'm also dreading it, because I'm not ready for it to be over. Then again, that's how it feels finishing the books as well, so that's only how it should be.

Five Nights At Freddy's

Lemme tell you, I've known jack shit about FNAF aside from "evil Chuck E. Cheese" for years now. I've had the tags filtered for almost as long as I've been on Tumblr (I love the people I follow, but I gotta curate my experience). I've made it my mission to go as long as I can without knowing anything at all about this franchise if for no reason other than it's fucking e v e r y w h e r e and I was sick of the overexposure. But now because a relative of an acquaintance of a family friend was one of the cannon fodder characters, I got roped into watching this and my streak is broken. I can't unknow what I know about this franchise. Which I'm extra annoyed about, considering what the creator of the games tends to put his royalties towards. 😑 From a film standpoint, it's fine. I'm not sure what age range the target demographic is, but having the horror stuff happen off screen made it feel more vanilla than the average episode of Supernatural, and I'll let that speak for itself. The look and atmosphere were exactly what I'd imagine if told to picture an evil Chuck E. Cheese, the animatronics are appropriately creepy (though let's be honest, it doesn't take much to make ANY animatronic creepy), and I was a little surprised and impressed with the soundtrack. And it was nice to see Josh Hutcherson in something new, though it's still so odd seeing him as an adult. I'm most familiar with him as a kid in RV, and holy fuck, I feel old looking at him now. I could have used a little more Matthew Lillard--why would you get Matty Lilly in your movie and then NOT do something with him?!--but given the character/story/what have you, I get it. One plot point in particular didn't stick the landing, as far as I'm concerned. In an effort to tie up all loose ends, it made things too contrived in a "that's convenient but now it makes less sense" kind of way. Don't know if that's how it goes in the game, and I don't care enough to find out. All in all, I've seen worse, I still don't get the hype, and I'm still not the target audience. And that's perfectly okay.

Guillermo del Toro's Cabinet Of Curiosities

A horror anthology? With GDT?? Sign me up yesterday! I don't think there was a single episode I didn't like. And I wasn't prepared to recognize so many names in the credits. Actors, directors, composers, authors, you name it. And it was fun! The stories were bizarre, assorted creature designs were gnarly, and whatever else was going on with the vibes episode to episode, they all felt consistently creepy and sinister. "The Autopsy" has the distinction of being one of the few things I've watched that almost made me puke. "Pickman's Model" was the first thing to freak me out bad enough I stayed awake to get it out of my head in a Very Long Time. "The Viewing" was the only ending that felt unfinished, it was so abrupt, but the style and aesthetic was so *chef kiss* I'll overlook it. (Side note: that episode's director also did Mandy, which I've been meaning to get to for awhile now? Hoo hoo, have I got some visuals to look forward to!) I knew as soon as I saw Jennifer Kent did an entry that hers was going to be my favorite, and that's not even coming from a biased place. "The Murmuring" is beautiful and heartbreaking. Easily my favorite aspect of the series is how you get a sense of each individual director's style BUT the entries themselves are so flavored with GDT, the whole thing stays cohesive. Now all I can do is hope for another season. :D

[monstermonstre]

Faves of 2022

Self explanatory end of the year list of my favourite everythings I consumed this year. That includes things that came out before 2022 but that I read/watched/played for the first time this year. For those of you who are only interested in what came in 2022 I will put them at the top of each list for visibility.

Other than that, the lists aren’t sorted by any order of preference, that’s just too much to ask.

Films

🩳 for short films, 🏳️‍🌈 for queer films (how queer they are vary immensely here so please don’t take this as me putting them all in the same basket, it’s just to highlight which could be of interest for someone looking for queer narratives and/or point of views), and finally 🌐 for films that are not a North American production.

Everything Everywhere All At Once (2022) 🏳️‍🌈

Triangle of Sadness (2022) 🌐

Kimi (2022)

Barbarian (2022)

Starfuckers (2022) 🩳🏳️‍🌈

Prey (2022)

Turning Red (2022)

Love and Leashes (2022) 🌐

Rest of the list under the ‘read more’

Ringu (1998) 🌐

Keyboard Fantasies (2019) 🏳️‍🌈

Two Cars, One Night (2004) 🩳🌐

Meeting the Man: James Baldwin in Paris (1970) 🩳🏳️‍🌈

Tama Tū (2004) 🩳🌐

Paris 05:59: Théo & Hugo (2016) 🏳️‍🌈🌐

Next Goal Wins (2014) 🏳️‍🌈🌐

Knife+Heart (2018) 🏳️‍🌈🌐

I Lost My Body (2019) 🌐

Towards Tenderness (2016) 🩳🏳️‍🌈🌐

Danton’s Death (2011) 🩳🌐

All the Crows In the World (2021) 🩳🏳️‍🌈🌐

Ex Machina (2014)

The Texas Chainsaw Massacre 2 (1986)

The Samurai (2014) 🏳️‍🌈🌐

One Cut of the Dead (2017) 🌐

Prisoners (2013)

Rope (1948) 🏳️‍🌈

Frankenstein (1931) 🏳️‍🌈

The Old Dark House (1932) 🏳️‍🌈

Cat People (1942) 🏳️‍🌈

Happy Together (1997) 🏳️‍🌈🌐

Inside Llewyn Davis (2013)

Chris Fleming: Showpig (2018)

Rashomon (1950) 🌐

La Cage aux Folles (1978) 🏳️‍🌈🌐

Books

I don’t have a lot in this list so I feel more inclined to give a lil explanation for each entry.

To Strip the Flesh by Oto Toda (2022 for the translation, 2020 in the original japanese): an anthology manga with a main story about a preop trans man who makes a living livestreaming himself cutting meat from animals that his father hunted (part of his success relying on how attractive he is to his audience who perceive him as a woman) and his struggle around coming out to his father and pursuing gender-affirming surgery.

It’s a beautiful and visceral (in every sense of the word) manga and I can’t recommend it enough. With a caveat that it contains, both in its main story and the short that make the anthology, a lot of body horror that might not be for everyone.

No Sleep Till Shengal by Zerocalcare (2022): don’t know that I have much to say about this one. People familiar with his work might understand why.

Monstrous Regiment and Going Postal by Terry Pratchett: continuing my exploration of the Discworld and enjoyed the two a great deal. Monstrous Regiment has become my favourite Discworld and maybe a favourite in general as well. It’s rare (at least to me, but maybe I’m not looking in the right places) to find satisfying trans representation in fiction, even more so in genre fiction, and even more so in stories that are overall a fun time. The final few pages make me emotional every time I read them.  “Around him, the kitchen worked.” and “‘A choice?’ said Rosemary.” forever.

My Brother’s Husband by Gengoroh Tagame: just gonna copy the wiki summary “the series follows the relationship between single father Yaichi, his daughter Kana, and Mike Flanagan, the Canadian husband of Yaichi's estranged and recently deceased twin brother.” It’s a manga, it’s beautiful, glad I finally got around to reading it.

Crooked Kingdom by Leigh Bardugo: took me ages to get to this despite having devoured Six of Crows but here we are. Since it’s a sequel I don’t feel like I can say much other than I had a great time with it and the ending got me. It helped me get out of a reading slump I was in.

The Cabin at the End of the World by Paul Tremblay: checked this one out because I saw the trailer for the upcoming film adaptation and it hooked me. It was such an easy read I finished it in 3 days (which is very fast for me nowadays). I still don’t really know what to think of it, still recovering from the ending and trying to make up my mind, but it did its job of keeping me invested and turning the pages fast. I’m very curious to see how they adapt it too.

Dracula by Bram Stoker: so thankful for dracula daily for getting me to read this, joined the squad of “why the hell adaptations do this to Mina and why do they omit my man Quincey?”.

A Closed and Common Orbit by Becky Chambers: even less “plot” than the first book but I couldn’t give a shit. I love the Wayfarers universe and its characters and this was such a comfortable and satisfying read. It even made me reevaluate some of my stances on AIs.

Overall I only read 2 of the books I said were on my to-read for 2022 but I achieved my goal of reading at least 12 books this year (even beat it by 1!) and got out of a years long reading slump so it’s a win! Looking forward to my reading in 2023.

TV Shows

Faves new shows of 2022: Our Flag Means Death, Severance, The Bear, Murderville and Interview with the Vampire

Other than that I watch too many things and TV Time is awful to navigate but off the top of my head other shows that didn’t start this year that I feel the need to highlight: What We Do In The Shadows (this latest finale was a gut punch in the best of ways), Chucky (the most fun I’ve had consistently watching anything this year), The Night Of (took me a while to get to this miniseries but it didn’t disappoint to say the least), Taskmaster NZ (the superior version), Barry, Succession, The Casketeers, Los Espookys...

Oh and you should subscribe to Dropout

Everything Else

I don’t play that much video games but of the ones I played and finished (or that can’t be finished) I played and finished Spiritfarer this year and that didn’t disappoint. Also the new Just Dance (2023 Edition) is insane. Yes they sacrificed a lot in the process but if you only take the new songs and maps into account it’s the best they’ve ever done.

And music wise I already answered a lot of Spotify Wrapped questions and that’s probably that. I’m a filthy casual enjoyer of music, incapable of having any critical sense for it.

I made this list mostly for myself and also for those of you who might have similar taste as mine and looking for recs. If after reading this you think you might have recs for me, feel free to drop them in replies or DMs!

Happy new year!

[nicoleanell]

DEAR FESTIVIDDER,

Welcome and thank you in advance!! As I say every year (or every-other-year when I partcipate) these are just some thoughts, but feel free to focus on different characters/storylines/etc. I'm excited to see anything you're inspired to make from the sources below!

I also tagged all the fandoms so you can see how often I reblog stuff about them, consider it a vidding vision board. :D

If you're checking out any of these sources for the first time, content warning for some blood/gore in Renfield (played for comedy) and blood, jumpscares, animal death in Midnight Mass.

Film (Safety)

Renfield (2023) - Listen. Cinema peaked when Robert Montague Renfield decorated his little apartment in bright '70s colors and kitty cat bedsheets to Lizzo, and then peaked a second time when Ben Schwartz snorted a centipede. This movie is bloody camp nonsense but somehow also an earnest abuse recovery/revenge fantasy, and it gave me Emotions and a crush on Nicholas Hoult. His giant sad eyes and self-empowerment arc mean the world to me.

Television

Abbott Elementary - Wholesome sitcom in the vein of Parks & Rec following teachers in a Philadelphia elementary school (as a child of two public school teachers it hits close to my heart). I'd kinda like to see an Ava vid, she's so entertainingly terrible but then has great moments of growth as well. Or one centered on Janine, Janine/Gregory, or just any kind of fun ensemble thing!

The Afterparty - Murder mystery comedy with the twist that each episode, a character gives their version of events in the style of different genre parodies. Honestly I'd be fine with just a season 1 vid because I liked it more than season 2. (With the exception of S2 giving me the Sapphic Wes Anderson Movie of my dreams.) S1 had just about a perfect ensemble (Yasper being a highlight) and great execution of the Rashomon-style premise.

The Bear - Drama/dramedy set in the chaotic back-of-house world of a Chicago restaurant. I love how real the environment, relationships, and characters of this show feel. I adore Ayo Edebiri so I'd especially like a vid centered on Sydney, her ambitions and anxiety and passion, but again anything that inspires you about the show would make me happy! I love everyone in this dysfunctional restaurant fam. I don't really ship Syd with Carmy so I'd prefer not an explicitly romancey vid.

Midnight Mass - There's a venn diagram between Catholic Trauma and Vampires that Mike Flanagan seemed to crack like nobody else ever has lol. After Hill House (which I got an incredible vid for a couple years ago) this is my favorite of his horror-drama miniseries, I really love the mood and themes it explores about faith/religion a source of both comfort and harm. Pretty much a "do whatever you want with this source" request!

Web Series/Internet Content

Dimension 20 - There's a lot of source here and even I haven't made it through all the older intrepid heroes campaigns yet (not to mention all the side quests). I've basically seen everything from A Court of Fey and Flowers onward. Favorites include Neverafter, A Crown of Candy, and I'm really enjoying the current Burrow's End series. But honestly if there's any season or mini-season or general vibe YOU especially love and would like to focus on, feel free to do so! And if you want to incorporate stuff like art, minis, fan sources, or just rely on the player dynamics, go for it. I love basically everybody but special shout-out to Lou Wilson.

Amaury Guichon (the chocolate guy) (Youtube/Tiktok/he also had a Netflix show) - Guichon is a French-Swiss pastry chef known for making elaborate, edible chocolate sculptures, and posting usually wordless montage videos of his process. I'm just kinda curious what a Chocolate Guy vid would look like! Watching his videos and the work that goes into each piece is so fascinating, and he has a really charming and pleasant vibe. Love the technical skill, the commitment to the bit, and the fact they often look like they taste good on top of it!