#Reading about Andrew's mum has me SO emotional
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'Andrew Scottâs success did not arrive overnight. His has been a slow and steady ascent from supporting player to leading man. But his status is now assured: at 47, the Irishman is among the most talented and prominent actors of his generation, on stage and screen.
Dublin-born and raised, Scott first took drama classes at the suggestion of his mother, an art teacher, to try to overcome a childhood lisp. At 17 he won his first part in a film, Korea (1995), about an Irish boy who finds himself fighting in the Korean War. By 21, he was winning awards for his performance in Eugene OâNeillâs Long Dayâs Journey into Night, for director Karel Reisz, no less, at The Gate. He arrived in London, where he continues to live, at the end of the 1990s, and worked regularly, with smaller parts in bigger TV shows (Band of Brothers, Longitude) and bigger parts in smaller plays (A Girl in a Car With a Man, Dying City). By the mid-2000s he was well established, especially in the theatre. In 2006, on Broadway, he was Julianne Mooreâs lover, and Bill Nighyâs son, in David Hareâs Iraq War drama, The Vertical Hour, directed by Sam Mendes. In 2009, he was Ben Whishawâs betrayed boyfriend in Mike Bartlettâs Cock, at the Royal Court. He won excellent notices for these and other performances, but he was not yet a star. If you knew, you knew. If you didnât know, you didnât know. Most of us didnât know; not yet.
That changed in 2010 when, at the age of 33, he played Jim Moriarty, arch nemesis of Benedict Cumberbatchâs egocentric detective, in the BBCâs smash hit Sherlock. The appearance many remember best is his incendiary debut, in an episode called âThe Great Gameâ. When first we meet him, Moriarty is disguised as a creepy IT geek, a human flinch with an ingratiating smile. Itâs an act so convincing that even Sherlock doesnât catch on. Next time we see him, heâs a dapper psychotic in a Westwood suit, with an uncannily pitched singsong delivery and an air of casual menace that flips, suddenly, into rage so consuming heâs close to tears. Such was the relish with which Scott played the villain â he won a Bafta for it â that he risked the black hat becoming stuck to his head. In Spectre (2015), the fourth of Daniel Craigâs Bond movies, and the second directed by Sam Mendes, Scott played Max Denbigh, or C, a smug Whitehall mandarin who wants to merge MI5 and MI6, sacrilegiously replacing the 00 agents with drones. (If only.)
There were other decent roles in movies and TV series, as well as substantial achievements on stage, and he might have carried on in this way for who knows how long, even for his whole career, as a fĂȘted stage performer who never quite breaks through as a leading man on screen.
But Scott had more to offer than flashy baddies and scene-stealing cameos. His Hamlet, at The Almeida in London, in 2017, was rapturously received. Iâve seen it only on YouTube, but even watching on that degraded format, you can appreciate the fuss. Scott is magnetic: funny, compelling, and so adept with the language that, while you never forget heâs speaking some of the most profound and beautiful verse ever written, it feels as conversational as pub chat.
Another banner year was 2019: a memorable cameo in 1917 (Mendes again) as a laconic English lieutenant; an Emmy nomination for his performance in an episode of Black Mirror; and the matinĂ©e idol in Noel Cowardâs Present Laughter at Londonâs Old Vic, for which he won the Olivier for Best Actor, the most prestigious award in British theatre.
The second series of Phoebe Waller-Bridgeâs phenomenal Fleabag, also in 2019, proved to a wider public what theatregoers already knew: Scott could play the mainstream romantic lead, and then some. His character was unnamed. The credits read, simply, âThe Priestâ. But social media and the newspapers interpolated an adjective and Scott became The Hot Priest, Fleabagâs unlucky-in-love interest, a heavy-drinking heartbreaker in a winningly spiffy cassock, and an internet sensation.
Fleabag began as a spiky dramedy about a traumatised young woman. Scottâs storyline saw it develop into a bittersweet rom-com, brimming with compassion for its two clever, funny, horny, lonely, awkward, baggage-carrying heroes, lovers who canât get together because, for all the snogging in the confessional, one of them is already taken, in this case by God.
It was the best and brightest British comedy of the 2010s, and Scottâs fizzing chemistry with Waller-Bridge had much to do with that. The ending, when she confesses her feelings at a bus stop, is already a classic. âI love you,â she tells him. âItâll pass,â he says.
Over the past 12 months, in particular, Scott has piled triumph on top of victory, and his star has risen still further. At the National, last year, he executed a coup de thĂ©Ăątre in Vanya, for which he was again nominated for an Olivier. (He lost out to an old Sherlock sparring partner, Mark Gatiss, for his superb turn in The Motive and the Cue, about the making of an earlier Hamlet.) For Simon Stephensâs reworking of Chekhovâs play, Scott was the only actor on stage. On a sparsely furnished set, in modern dress â actually his own clothes: a turquoise short sleeve shirt, pleated chinos, Reebok Classics and a thin gold chain â and with only very slight modulations of his voice and movements, he successfully embodied eight separate people including an ageing professor and his glamorous young wife; an alcoholic doctor and the woman who loves him; and Vanya himself, the hangdog estate manager. He argued with himself, flirted with himself and even, in one indelible moment, had it off with himself.
Itâs the kind of thing that could have been indulgent showboating, a drama-school exercise taken too far, more fun for the performer than the audience. But Scott carried it off with brio. In the simplest terms, he can play two people wrestling over a bottle of vodka in the middle of the night â and make you forget that thereâs only one of him, and heâs an Irish actor, not a provincial Russian(s). An astonishing feat.
For his next trick: All of Us Strangers, among the very best films released in 2023. Writer-director Andrew Haighâs ghost story is about Adam (Scott), a lonely writer, isolated in a Ballardian west-London high-rise, who returns to his suburban childhood home to find that his parents â killed in a car crash when he was 11 â are still living there, apparently unaltered since 1987. Meanwhile, Adam begins a tentative romance with a neighbour, Henry (Paul Mescal), a younger man, also lonely, also vulnerable, also cut off from family and friends.
Tender, lyrical, sentimental, sad, strange, and ultimately quite devastating, All of Us Strangers was another potential artistic banana skin. At one point, Scottâs character climbs into bed with his parents and lies between them, as a child might, seeking comfort. In less accomplished hands, this sort of thing could have been exasperating and embarrassing. But Scottâs performance grounds the film. He is exceptionally moving in it. He was nominated for a Golden Globe for Best Actor, losing to his fellow Irishman, Cillian Murphy, for Oppenheimer. Earlier this year, he made history as the first person to receive Critics Circle awards in the same year for Best Actor in a film (All of Us Strangers) and a play (Vanya).
Finally, last month, the title role in Ripley, a new spin on the lurid Patricia Highsmith novels. That show, which unspools over eight episodes on Netflix, was a long time coming. Announced in 2019, it was filmed during the pandemic, at locations across Italy and in New York. Scott is in almost every scene and delivers an immensely subtle and nuanced portrayal of Highsmithâs identity thief, a character previously played by actors including Alain Delon, Dennis Hopper, and Matt Damon in the famous Anthony Minghella film The Talented Mr Ripley, from 1999.
The fragile almost-charm that makes Tom Ripley such an enduring antihero is there in Scottâs portrayal, but so is the creepiness, the isolation, the fear and desperation. His Ripley can turn on a smile, but it quickly curdles. Filmed in high-contrast black and white, Ripley is a sombre, chilly work by design, but doggedly compelling, and not without a mordant wit. Again, critics swooned.
So the actor is on a hot streak. Later this year heâll appear in Back in Action, a Hollywood spy caper, alongside Cameron Diaz and Jamie Foxx, above-the-title stars with dazzling, wide-screen smiles. But could they play Chekhov single-handed? Theyâll need to be on their toes.
Before our shoot and subsequent interview, in April, I had met Scott briefly on two previous occasions, both times at fancy dinners for fashion brands. Compact, stylish, dynamic, he is impishly witty and charismatic: good in a room. Also, obliging: the second time I met him, he took my phone and spoke into it in his most diabolical Moriarty voice for a wickedly funny voice message to my son, a Sherlock fan.
At the Esquire shoot, on an overcast day in south London, Scott again demonstrated his good sportiness: dancing in the drizzle in a Gucci suit; generously sharing his moment in the spotlight with an unexpected co-star, a local cat who sauntered on to the set and decided to stick around for the close-ups; and entertaining the crew â and hangers-on, including me â with rude jokes. At one point, while for some reason discussing the contents of our respective fridges, I asked him where he kept his tomatoes. âEasy, Tiger,â he said.
At lunch the following day, upstairs at Quo Vadis, the restaurant and membersâ club in Soho (my suggestion), the actor arrived promptly, settled himself on a banquette, and we got straight to business. Itâs standard practice now for interviews published in the Q&A format to include a disclaimer, in the American style: âThis conversation has been edited for length and clarity.â (Well, duh.) In this case, we talked for close to three hours. Inevitably, paper costs being what they are, and Esquire readers having busy lives, some of that verbiage has ended up on the cutting-room floor. But not much! Iâve tried to let it flow as much as possible, and to keep the spirit of the thing, in which we toggled, like all good performances, between light and dark, comedy and tragedy.
In early March, a month before this interview took place, Scott and his family suffered a terrible and unexpected loss: his mother, Nora, suddenly died. He went home to Dublin to be with his dad, Jim, his sisters, Sarah and Hannah, and their family and friends.
As an interviewee and, I suspect, as a person, Scott is thoughtful, convivial and solicitous: he doesnât just answer questions, he also asks them. He is not above the occasional forearm squeeze when he wants to emphasise a point. He seems to possess a sharp emotional intelligence. Perhaps one should expect empathy in a great actor, but in him it seems particularly marked.
Before we began talking, there was some studying of the menu. Scott wondered, since I eat often at Quo Vadis, if I had any recommendations. I told him I had my eye on the pie: chicken, ham and leek. âWhy would you not have the pie?â wondered Scott. A good question.
So, how was your morning? Where have you come from?
This morning Iâve been at the gym, Alex.
Are you working out for a specific reason or are you just a healthy man?
Just trying to keep it going. Exercise is so helpful to me. I donât know if you know, but my mum died four weeks ago.
I did know, and Iâm so sorry.
Thank you. So, yeah. Just trying to keep it going. They say your body feels it as much as your mind.
The grief?
Yeah, the grief. My friend said a brilliant thing last night. Sheâs been through grief. She said, if you think of it like weights, the weight of it doesnât decrease, but your ability to lift the weights does. So, if you go to the gym and youâre completely unpractised you wonât be able to lift the weight. But the more you get used to it, the more you can lift. Thereâs a slight analogy to grief. Iâm just learning about it.
Have you been through grief before?
Not really. A little bit, but not to this extent. And itâs a strange thing because, obviously, Iâm in the middle of having to talk a lot [promoting Ripley] and making that decision of whether to talk about it or whether not to talk about it. Iâm finding myself talking about it, because itâs whatâs going on, and without giving away too much of it she was such an important figure. It feels right. Itâs such a natural thing.
Is it helpful to talk about it?
I think it has to be. I feel very lucky with my job, in the sense that, all those more complex, difficult feelings, thatâs what you have to do in a rehearsal room; you have to explore these things. So strange: a lot of the recent work that Iâve done has been exploring grief. With Vanya, and All of Us Strangers. So itâs odd to be experiencing it this time for real.
I wasnât planning on making that the focal point of this piece, so itâs up to you how much you feel comfortable talking about it.
I appreciate that.
Was it unexpected? Did it happen out of the blue?
Yes. She was very alive four weeks ago. She just deteriorated very quickly. She got pneumonia and she just⊠it was all over within 24 hours.
What sort of person was she?
She was the most enormously fun person that you could possibly imagine. Insanely fun and very, very creative. Sheâs the person who sort of introduced me to acting and art. She taught me to draw and paint when I was really young âthatâs another big passion of mine, drawing and painting. She was amazing with all of us. My sister Sarah is very talented in sport, sheâs now a sports coach. And my sister Hannah was very artistic and sheâs an actor now. So, she was really good at supporting us throughout all our different interests. What I say is that weâve been left a huge fortune by her. Not financially, but an emotional fortune, if you know what I mean? I feel that really strongly. And once this horrible shock is over, I just have to figure out how Iâm going to spend it. Because I think when someone else is alive and theyâve got amazing attributes, they look after those attributes. And then when they die, particularly if they are your parent, you feel like you want to inhabit them, these incredible enthusiasts for life. She just made connections with people very easily. I feel enormously grateful to have had her. Have you had much grief in your life?
My mother died, during Covid. She had been ill for a long time, so it was a very different experience to yours. But I think they are all different experiences, for each of us. I donât know if that loss would be in any way analogous to yours. But like you, I love art and books and music, and thatâs all from her. Last night, I watched a rom-com with my daughter, who is 14. And I donât know if I would like rom-coms so much, if it wasnât for my mum.
Love a rom-com! What did you watch?
Annie Hall.
Did she like it, your daughter?
She absolutely loved it. She was properly laughing.
Oh, thatâs great!
And sheâs a tough one to impress. But she loved it, and my mum loved Woody Allen. My mum canât recommend Woody Allen to my daughter now, but I can, and thatâs come down from her. So it goes on.
Thatâs what I mean. Your spirit doesnât die. And Iâm sure you went to bed going, âYes!â
I did! It was a lovely evening, it really was. Tonight weâll watch something else.
Are you going to watch another Woody Allen? Which one are you going to watch?
I thought maybe weâd watch Manhattan? More Diane Keaton.
Or Hannah and Her Sisters? Thatâs a good one. Insanely good. Yeah, itâs amazing that legacy, what youâre left with. My mum was so good at connecting with people. She was not very good at small talk. She was quite socially bold. She would say things to people. If she thought you looked well, sheâd tell you. Sheâd always come home with some story about some pot thrower she met at some sort of craft fair. Being socially bold, thereâs a sort of kindness in it. When someone says something surprising, itâs completely delightful. My mother sent me something when I was going through a bad time in my twenties. It was just a little card. It said, âThe greatest failure is not to delight.â What a beautiful quote. And she was just delighted by so many things, and she was also delightful. And like her, I really love people. I really get a kick out of people.
I can tell.
But thereâs a kind of thing, if you become recognisable, people become the enemy? And itâs something I have to try and weigh up a little bit. Because people are my favourite thing about the world. I think itâs part of my nature. My dad is pretty sociable too. And so itâs weighing that up, how you keep that going. Because certain parts of that are out of your control: people treat you slightly differently. But this phase, the past four weeks, it still feels so new. Just thinking about legacy and kindness and love and the finite-ness of life. All that stuff.
Big stuff.
Yeah, itâs big stuff. And itâs very interesting, talking about grief. Because itâs not all just low-energy sadness. Thereâs something galvanising about it as well. I donât know if you found that, too?
One of the things about someone else dying is it makes you feel alive.
Yes, exactly. Even though we have no choice, it does that. Itâs that amazing thing, the year of magical thinking.
[Waiter approaches. Are we ready to order?]
We are.
I think so. Are we two pie guys?
Weâre two pie guys!
Weâre pretty fly for pie guys.
Are we salad guys? Tomato, fennel and cucumber salad?
Yeah.
And chips, maybe?
Listen, you only live once.
So, the year of magical thinkingâŠ
You know, when youâre walking along, are you allowed to have a surge of joy? Or are you allowed to just stay home and⊠Itâs extraordinary when it gets you.
Like a wave of emotion?
I had one on the rowing machine today. Iâm glad of it, though.
That was sadness.
Just loss, yeah. Just loss.
So, thereâs two ways to do this. You can choose. We can do the usual interview where we start at the beginning with your childhood and go all the way through to now. Thatâs totally fine. Or, I can throw more random questions at you, and see where that takes us?
Random!
Shall we random it?
Letâs random it.
OK. That means I might sometimes read questions off this piece of paper.
Reading takes just slightly away from the randomness of it, AlexâŠ
That is a very good point. You are quite right. But I donât read them out in order! Theyâre just prompts.
[Sardonically] Oh, I see!
Talk me through what youâre wearing.
Oh, this is so old. What does it say?
[I peer at the label on the inside of his shirt collar. It says Hartford.]
What colour would you call that?
Iâd call it a bit of a duck egg, Alex, would you?
Iâd go with that. And itâs like aâŠ
Like a Henley?
And these [pointing to trousers]?
Mr P trousers. And a pair of old Nikes.
And sports socks.
When I am off duty, I think I dress slightly like an 11-year-old. You know, when youâre just plodding the streets, I wear, like, a hoodie and trainers.
And you have a chain round your neck.
This is a chain that I bought in New York. No, maybe I bought it in Italy. It was a replacement chain. Iâve worn a chain for years. Sometimes I like to have it as a reminder that Iâm not working. When youâre in character, you take it off. Because when youâre in a show or a play, they sort of own you. They own your hair.
They own your hair!
Or sometimes you have to walk around with, like, a stupid moustache. Or, worse, chops. Actors fucking hate that. Like, nobody suits that, I donât think. Right? Iâm trying to think of someone who suits that.
Daniel Day Lewis, maybe? He can carry it off.
Heâs got the chops for chops!
Whatâs something about you that you think is typically Irish?
It goes back to that people thing. When I go home to Ireland, Iâm aware that people talk to each other a lot more. And I think thereâs a sense of humour that Irish people have that I love. And I suppose a softness, too, that I love. Those are the positive things. And then the guilt and the shame is the negative stuff.
Catholic guilt?
Catholic guilt. I feel very strongly, though, that Iâve worked to emancipate myself from it. Thereâs a certain unthinking-ness to guilt. Your first thought, always: âWhat have I done wrong? Itâs gotta be me.â That doesnât benefit anyone. And with shame, I donât feel shame anymore. I think I probably did before. But in a way, itâs an irrelevant thing for me to talk about now. The thing I prefer to talk about is how great it is not to have that anymore. Rather than how horrible it was. The thing I feel enthusiastic about is how there are so many beautiful and different ways to live a life that arenât centred on the very strict, Catholic, cultural idea of what a good life might be. Namely, 2.4 children and certain ideas and a very specific life.
Are there positives to be taken away from a Catholic education?
The rituals around grief, I think, are really beautiful, having gone through what Iâve just been going through. And the community that you get in Catholicism. Because thatâs what Catholicism is about, in some ways: devotion to your community. The amount of love and support you get is to be admired. Itâs the organisation that has been the problem, not the values. Random question number 16!
Whenâs the last time you were horrifically drunk?
Good question! I was in New York doing press recently for Ripley. And I met Paul Mescal. He had a negroni waiting for me. Love a negroni. And then we went dancing.
Are you a good dancer?
Iâm pretty good, freestyle. Slow on choreography but once I get it, Iâm OK. I love dancing.
I love dancing.
Do you really? Do you do, like, choreographed dancing as well?
No! But Iâm a good dancer.
Do you have moves?
Oh, I have moves.
Ha! I love that!
Itâs so freeing, so liberating.
It totally is.
And itâs sexy and fun.
Exactly! Itâll get you a kiss at the end of the night.
Itâs sort of showing off, too, isnât it?
But itâs also completely communal. It connects you with people. Also, you can learn so much about someone by watching how they connect with people on a dance floor. How much of communication do they say is non-verbal? An enormous amount.
If you didnât live in London, where would you most like to live?
I suppose Dublin. I do live a wee bit in Dublin. But one of the things I feel really grateful for is that I have sort of been able to live all over the place. I lived in Italy for a year, during the pandemic.
You were making Ripley?
Yeah, we were all over. Rome, Venice, Capri, Naples⊠A bit of New York. Iâd love to spend more time in New York. I was very lucky recently to have my picture taken by Annie Leibovitz. We were outside the Chelsea Hotel, and this woman came up. [Thick Noo Yawk accent, shouting]: âHey, Annie! Why donât you take a picture of this dumpster? Itâs been outside my block for two months! Take a picture of that!â Thereâs something about that New York-iness that I love. It still has such romance for me.
How old do you feel?
Really young. I donât have an exact age for you. Thirties?
Some people feel in touch with their childhood selves, or almost unchanged from adolescence. Others seem to have been born an adult.
Thatâs really true. I think of playgrounds for children: youâre actively encouraged to play, as a kid. âGo out and play!â And I hate that at some point, maybe in your mid-twenties, someone goes, âNow, donât play! Now, know everything. Now, turn on the television, acquire a mortgage and tell people what you know.â I have to play for a living. Itâs so important, not just in your job, but in life. Itâs a great pleasure of life, if you can hold on to that. Talking about my mum again, she had an amazing sense of fun.
She was a funny person? She made people laugh?
Absolutely.
Thatâs important, isnât it?
Itâs really important. I think having a sense of humour is one of the most important things in life. Itâs such a tool. And you can develop it. My family were all funny. Laughter was a currency in our family. Humour is a magic weapon. It separates us from the other species. Like, I love my dog. I think dogs are amazing. And he can have fun, but heâs not able to go, âThis is fucking ridiculous.â Heâs not able to do that! So itâs a real signifier of your humanity, in some ways.
Also, being a funny person, or someone who can connect with people through humour, thatâs how we make friends.
I think actors make really good friends. Because youâre in the empathy game. And because youâre making the decision to go into an industry that is really tough, you need to have your priorities straight: âI know this is tough, I know the chances of me succeeding in it are slim, but Iâm going to go in anyway.â It shows a sort of self-possession that I think is a wonderful thing to have in a friend. Also, actors are just funny. And a lot of them are sexy!
Funny and sexy: good combination.
I know! Not that you want all your friends to be sexy, thatâs not how you should choose your friends.
Oh, I donât know. Itâs not the worst idea.
Itâs not. But I think itâs something to do with empathy. And itâs a troupe mentality as well. Youâre good in groups.
Itâs a gang.
I love a gang. Do you like a gang?
I do. Magazines are like that. A good magazine is a team, a great magazine is a gang. And the thing we produce is only part of it: you put it out there and people make of it what they will. The process of making it is the thing, for me.
Oh, my God. Thatâs something I feel more and more. Process is as important as product. I really believe that. You can have an extraordinary product, but if it was an absolute nightmare to make then, ultimately, thatâs what youâre going to remember about it. You make good things that are successful that everybody loves? Thatâs lovely. But also, you make stuff that people donât respond to. So, if you have a good time in the process, and the attempt is a valiant one, and thereâs a good atmosphere, if itâs kind and fun, thatâs the stuff you hold on to. One of the reasons I love the theatre is you donât have to see the product. You just do it, and then itâs done. Itâs an art form that is ephemeral. Thereâs a big liberation, too, in discovering you donât have to watch any of your films if you donât want to.
Have you watched Ripley?
I watched Ripley once.
And?
Itâs a lot of me in it! Jesus!
Is that a problem?
I find it hard to watch myself. I do. Thereâs something quite stressful about looking at yourself. Have you ever heard yourself on someoneâs answering machine? Horrific! Youâre like, âOh, my God, that canât be me. How do they let me out in the day?â Itâs like that, and then itâs your big, stupid face as well. Mostly, I have a feeling of overwhelming embarrassment.
On a cinema screen, I canât even imagine. Your face the size of a house!
The size of a house, and thereâs 400 people watching you.
Nature did not intend humans to ever experience this.
That is so true. Itâs not natural.
I mean, even mirrors are to be avoided.
Maybe looking in the sea is the only natural way?
Well, Narcissus!
Yeah, true. That didnât turn out well. Iâd love for that to be a tagline for a movie, though: âNature did not intend humans to ever experience thisâŠâ
But equally, nature didnât intend the rest of us to gaze upon you in quite that way. We sit in the dark, staring up worshipfully at this giant image of you projected on a screen for hours. Is that healthy?
Without talking about the purity of theatre again, when youâre in the theatre, you, as the audience, see someone walking on the stage, and technically you could go up there, too. Thereâs not that remove. Itâs live. Thereâs a real intimacy. Thatâs why I feel itâs the real actorâs medium. Your job is to create an atmosphere. I always find it insanely moving, even still, that adults go into the dark and say, âI know this is fake, but I donât care: tell me a story.â And they gasp, and they cry, or theyâre rolling around the aisles laughing. Itâs so extraordinary, so wonderful that it exists. I really do believe in the arts as a human need. I believe in it so deeply. During the pandemic, our first question to each other was, âWhat are you watching? What book are you reading?â Just to get through it, to survive. Itâs not just some sort of frivolous thing. Itâs a necessity. As human beings, we tell stories. Expert storytellers are really vital. No, itâs not brain surgery. But, âHearts starve as well as bodies. Give us bread, but give us roses.â I love that quote.
Tell me about playing Hamlet. Was it what you expected it would be?
Itâs extraordinary. Loads of different reasons why. From an acting point of view, thereâs no part of you that isnât being used. So you have to, first of all, have enormous physical stamina, because itâs nearly four hours long. Our version was three hours, 50 minutes. And you have to be a comedian, you have to be a soldier, you have to be a prince, you have to be the romantic hero, you have to be the sorrowful son, you have to understand the rhythm of the language, you have to be able to hit the back of the auditorium â there are just so many things about it that require all those muscles to be exercised. You know, itâs so funny that weâre talking about this today. Because at the beginning of Hamlet, itâs two months since his dad died. His mother has already remarried, to his uncle! What are they doing? I mean the idea that next month my dad might marry someone else is so extraordinary! So, Hamletâs not mad. Of course he would wear black clothes and be a bit moody. The more interesting question [than whether or not Hamlet is mad] is, who was he before? I think heâs incredibly funny. Itâs a really funny play, Hamlet. And itâs a funny play that deals in life and death: the undiscovered country from which no traveller returns. Itâs about what it is to be human. And what itâs like to be human is funny, and sad. The language is so incredibly beautiful and itâs also incredibly actable. And itâs also a thriller.
And a ghost story. Itâs supernatural.
Itâs a supernatural ghost story. And because the character is so well-rounded, I always think of it like a vessel into which you can pour any actor or actress. So, your version, the bits you would respond to if you were playing Hamlet, would be completely different to mine or anyone elseâs. It can embrace so many kinds of actors. So Richard Burton can play it or Ben Whishaw can play it or Ruth Negga can play it or I can play it, and itâs going to bring out completely different sides. Did you do much Shakespeare at school?
I did. I studied Hamlet.
I remember Mark Rylance saidâŠ
[The waiter arrives with our pies and we both take a moment to admire them before breaking the crusts⊠The following passages are occasionally hard to make out due to enthusiastic chewing.]
You were about to say something about Mark Rylance. I saw his Hamlet in⊠must have been 1989, when I was doing my A-levels. He did it in his pyjamas.
Iâve heard. He came to see [my] Hamlet. He said, you feel like youâre on a level with it, and then in week four, you plummet through the layers of the floor and youâre on a deeper level. He was exactly right. Something happens. Itâs just got depth.
Does it change you? Do you learn something new about yourself, as an actor?
I think because itâs such a tall order for an actor, itâs sort of like you feel you can do anything after that. Like, at least this is not as hard as Hamlet. You know you have those muscles now. We transferred it from The Almeida on to the West End. So, we did it loads of times. Thatâs a big achievement.
How many times did you play him?
One hundred and fifty. Twice on a Wednesday, twice on a Saturday. Eight hours [on those days]. Even just for your voice, itâs a lot.
We keep coming back to theatre. Is that because you prefer it?
It goes directly into your veins. Itâs pure. You start at the beginning of the story and you go through to the end. When youâre making a movie, itâs a different process. Your imagination is constantly interrupted. You do something for two minutes and then someone comes in and goes, âOK, now weâre going to do Alexâs close-up, so you go back to your trailer and weâre going to set up all the lights and make sure that window across the street is properly lit.â And thatâs another 20 minutes, and then you try to get back into the conversation weâve just been having⊠And so the impetus is a different one.
The Hot PriestâŠ
Whatâs that?
Ha! I watched Fleabag again, last week. Itâs so good. But The Hot Priest, heâs a coward. He gets a chance at happiness with the love of his life and he doesnât take it.
Well, not to judge my character, but I suppose thereâs an argument that he does choose love. He chooses God. Thatâs the great love of his life. Whatever his spirituality has given him, he has to choose that. Is there a way that they could have made that [relationship] work? Of course there is. Weâre seeing it from Fleabagâs point of view, literally, so of course it feels awful [that Fleabag and the Priest canât be together]. But I think we understand it, the thing that is not often represented on screen but which an awful lot of people have, which is the experience of having a massive connection with somebody, a real love, that doesnât last forever. I think somebody watching that can think, âI have my version of that. And I know that I loved that person, but I also know why we couldnât be together.â And that doesnât mean those relationships are any less significant. It just means that they are impossible to make work on a practical level. Not all love stories end the same way.
Annie Hall.
There you go! La La Land. Love that movie.
The Hot Priest is damaged. Thereâs a darkness there. Journalists interviewing actors look at the body of work and try to find through lines that we can use to create a narrative. Itâs often a false narrative, I know that. However, thatâs what weâre here for! Letâs take Hamlet, and the Priest, and Adam from All of Us Strangers, and, I guess, Vanya himself, even Moriarty. These are not happy-go-lucky guys. Ripley! These men seem lost, lonely, sad. Is it ridiculous to suggest that thereâs something in you that draws you to these characters â or is it a coincidence?
Thatâs a really good question. I think it canât be a coincidence. Like, even when you said âhappy-go-luckyâ, right? My immediate instinct is to say, âShow me this happy-go-lucky person.â With a different prism on this person, there would be a part of him thatâs not happy-go-lucky, because thatâs the way human beings are. If we could think now of a part thatâs the opposite of the kind of part [he typically plays], a happy-go-lucky characterâŠ
How about the kinds of roles that Hugh Grant plays in those rom-coms? Yeah, the character might be a little bit repressed, a bit awkward at first, but basically everythingâs cool, then he meets a beautiful woman, it doesnât work out for about five minutes, and then it does. The end.
[Chuckles] OK, yeah. Iâd love to have a go at that.
Wouldnât you like to do that?
I would! I really would.
Why havenât you?
I donât know! Itâs weird. That is something I would really love to do. Because I love those films. Thereâs a joy to them. Itâs something I would love to embrace now. When I was growing up, as a young actor, I did want to play the darkness. With Moriarty, I was like, âIâve got this in me and Iâd like to express it.â And, conversely, now I think the opposite. I know thatâs a little bit ironic, given Iâve just played Tom Ripley. Ha! But I have just played it, and I have spent a lot of time in characters that are isolated. And I was in a play [Vanya] that was one person. I donât feel sad doing those things. Itâs cathartic. But I would love the idea of doing something different.
Also, you donât strike me as a person who is especially morose.
No! No, no, no. Iâm not. But again, we all contain multitudes. My motherâs legacy was so joyful. Not that she didnât have her soulful moments, because of course she did. I mean this as the opposite of morbidity, but it doesnât end well for any of us, it really doesnât. So bathing in the murkier waters, itâs wonderful to be able to explore that side of you, but also the opposite is true, the idea of joy and fun and lightness is something Iâm definitely interested in. Like a musical! Iâd love to be in a musical. Iâve just done a cameo in a comedy that I canât talk about yet. It was just a day, with someone I really love, and it just lifted me up. But of course, thereâs the stuff that people associate you with, and thatâs what brings you to the table.
You played a baddie really well, so you get more baddies.
Yeah. You have to be quite ferocious about that. You have to go, âOh, wow, that really is a great film-maker, thatâs a lovely opportunityâŠâ But how much time do you have left and what do you want to put out to the world? I feel like I want to be able to manifest what I have within me now. Thatâs a wonderful thing to be able to do. Itâs such a privilege. And I feel so grateful for the opportunities Iâve been given. But why not get out of the hay barn and play in the hay?
Ripley has been well received. Do you read reviews?
I read some of them.
Why?
Iâm interested in the audience. You know when people say, âYou should never care about what other people think?â Of course I care what people think.
Ripley is excellent, but itâs quite gruelling to watch. Was it gruelling to make?
Yeah.
Because you have to inhabit this deeply unhappy person?
Maybe not unhappy. But very isolated, I think thatâs key. It was hard. There was a huge amount of actual acting. Doing 12-hour days for almost a year. Iâm not necessarily convinced you should act that much.
Ripley is himself an actor. He puts on other peopleâs identities because he doesnât like his own. He doesnât like himself. Some people think actors are people who donât like themselves so you pretend to be other people, assume other identities. Or maybe itâs that actors are hollow shells. When youâre not acting, thereâs no one there. No you. Sorry to be rude.
No, itâs not rude at all. I totally understand it. But I find it to be completely the opposite of what Iâve learnt. The essence of acting, for me, the great catharsis of it, is that youâre not pretending to be somebody else, youâre exploring different sides of yourself. Youâre going, who would I be in these circumstances? Some of the darkest, most unhappy people I know are the people who say, âI donât have an angry bone in my body.â Then why do I feel so tense around you? People who have no anger⊠I remember I used to have it with some religious people when I was growing up. People proclaiming that theyâre happy or good or kind, that does not necessarily mean that they are happy or good or kind. Thatâs the brand theyâre selling. Iâve always liked that expression: âfame is the mask that eats into the face.â How do you keep a healthy life when youâre pretending to be other people? You do it by going, âIâm going to admit I have a dark side.â Itâs much healthier to shout at a fictional character in a swimming pool [as Moriarty does in Sherlock] than it is to be rude to a waiter in a restaurant, in real life.
You find that therapeutic?
Yes, youâre still expressing that anger. I think it is therapeutic.
So playing Tom Ripley every day for a year, were you able to exorcise something, or work through something?
Well, thatâs why I found Tom Ripley quite difficult. Heâs hard to know, and a harder character to love. If you think of Adam in All of Us Strangers, you go, âOK, I understand what your pain is.â What I understand with Tom, the essence of that character, is that heâs somebody who has a big chasm that is unknowable, perhaps even to himself. Weâre all a little bit like that, weâre all sometimes mysterious to ourselves â âI donât know why I did thatâŠâ â but to have empathy for someone like that is difficult. You know the boy in your class who gets bullied, and itâs awful, and you try and understand it but he doesnât make it easier for himself? Thatâs the way I feel about Tom Ripley. Itâs a thorny relationship. Your first job as an actor is to advocate for the character. Thatâs why I hate him being described as a psychopath. Everyone else can say what they like about him, but I have to be like, âMaybe heâs just⊠hangry?â So you have to try and empathise, try and understand. When we call people who do terrible things monsters â âThis evil monster!â â I think thatâs a way of absenting yourself from that darkness. Because itâs not a monster. Itâs a human being that did this. You canât look away from the fact that human beings, sometimes for completely unknowable reasons, do terrible things. And thatâs why itâs interesting when people talk about Tom Ripley. They say, âHave you ever met a Tom Ripley type?â The reason the character is so enduring is because thereâs Tom Ripley in all of us. Thatâs why we kind of want him to get away with it. Thatâs [Highsmithâs] singular achievement, I think.
I find reading the Ripley books quite unpleasant. Itâs a world I really donât want to spend any time in. I read two of them preparing for this. Sheâs a great writer, but theyâre horrible characters; itâs a depressing world.
I agree. Thatâs what I found most challenging. Where is the beating heart here? How much time do I want to spend here? And when you do, well, it took its toll. It did make me question how much time I want to spend with that character, absolutely. Thatâs the truth.
The way you play him, heâs very controlled. You didnât play him big.
I think itâs important to offer up difference facets of the character to the director and he chooses the ones he feels marry to his vision. And those are the ones [Steven Zaillian] chose. And he executed those expertly.
Are you a member of any clubs?
Yeah, Iâm a member of the Mile High Club. No, noâŠ
Thatâll do nicely.
OK, thatâs my answer.
Whatâs your earliest memory?
Do they still have, I think itâs called a play pen?
Sort of like tiny little jails for toddlers? What a good idea they were!
I remember being massively happy in it. My mother used to say she just used to fling me in that thing and give me random kitchen utensils. I donât know, like a spoon. Iâve always been quite good in my own company. I really remember being left to my own imagination and being very happy.
Do you live alone now?
Yeah.
Is that not lonely?
Of course Iâve experienced that but, ultimately, no. I donât know if thatâs the way Iâm going to be for the rest of my life. But I certainly donât feel lonely. Iâve got so much love in my life.
Would it be OK if you lived alone for the rest of your life?
Yeah. It would be OK. One of my great heroes is Esther Perel.
I donât know who that is.
Esther Perel. Sheâs a sort of love and relationships expert, a therapist, and sheâs a writer. A real hero, I think youâd really dig her. She talks about relationships and the mythology around them. The difference between safety and freedom. She talks with real compassion about both men and women; she talks about this idea of what we think we want, and what we really want. And how thereâs only one prototype for a successful life, really, or a successful relationship. Which is: you meet somebody, da-da-da, you fall in love, da-da-da, you have kids, da-da-da. And that prototype just canât suit every person in the world. There are some people who live in the world who might see their partner every second Tuesday and that suits them. And to be able to understand and communicate your own preference at any given time is really the aim. To be able to say, âAt the moment Iâm happy in the way I am, but maybe at some pointâŠâ Iâve lived with people before, and maybe I will again, but at the moment it feels right to sort of keep it fluid.
The difficulty, of course, with relationships, is thereâs another person with their own preferences. Maybe youâre OK with every second Tuesday, but they need Thursdays and Fridays, tooâŠ
But isnât that the beauty of love? That you construct something, like a blanket. You stitch all these things together. One of the things about being gay and having a life that ultimately is slightly different from the majority of peopleâs, is you learn that you can create your own way of living, that is different and wonderful. A homosexual relationship doesnât necessarily have to ape what a heterosexual relationship is. Thatâs a very important thing to acknowledge. I mean, of course, if you want to do that, thatâs brilliant. But you donât have to. To me, the worst thing is to be dishonest or uncommunicative or unhappy or joyless in a relationship. Itâs much more important to be able to have a difficult conversation or a brave conversation about how you feel or what you want. So many of my gay friends, I feel very proud of them, really admiring of the fact we have these conversations. It seems very adult and very loving to be able to acknowledge that the difference between safety and freedom can be real torture for some people. How do I love somebody, and still keep my own sense of autonomy and adventure? Thatâs a real problem. Thatâs what Esther Perel says. Itâs one of the biggest causes of the demise of a relationship. That people coast along, they canât have that conversation, and then the whole bottom falls out of the boat.
I wasnât necessarily going to ask you about being gay. One tries to avoid labelling you as âgay actor Andrew Scottâ instead of âactor Andrew Scott, who happens to be gayâ. But since weâre talking about it already: because youâre famous, you become a de facto spokesperson for gay people. People look to you for the âgay opinion.â Are you OK with that?
Iâll tell you my thoughts on that. If I talk about it in every interview, it sounds like I want to talk about it in every interview. And, of course, Iâm asked about it in most interviews, so Iâm going to answer it because Iâm not ashamed of it. But sometimes I think the more progressive thing to do is what youâre saying: to not talk about it and hopefully for people to realise that if you had to go into work every single day and they said, âHey, Alex! Still straight? Howâs that going?â⊠I mean, being gay is not even particularly interesting, any more than being straight is. But I understand, and Iâm happy to talk about it. I suppose it depends on the scenario. I just donât want to ever give the impression that it isnât a source of huge joy in my life. And at this stage in my life, rather than talk about how painful it might have been or the shame, or not getting cast in things [because of it], actually, Iâm so proud of the fact that Iâm able to play all these different parts and, hopefully, in some ways it demystifies it and makes people â not just gay people, but all people â go, âOh, yeah, thatâs great that itâs represented in the world, but being gay is not your number-one attribute.â The problem is it becomes your schtick. Frankly, I feel like Iâve got just a bit more to offer than that.
Two reasons I think you get asked about being gay. One is just prurience ïżœïżœ youâre famous and we want to know who youâre shagging â and the other is that identity politics is such an obsession, and so polarising, and we hope youâll say something controversial.
I think thatâs right, I think thatâs what it is. But sometimes people think thereâs just one answer, in 15 characters or less. Thatâs something I resist, slightly.
All of Us Strangers is about loads of things, about grief, love, loneliness, but itâs also very specifically about being gay. To me, anyway.
Yes, it is.
I thought, in particular, that the scene with Claire Foy, where your character comes out to his mother, was incredibly moving.
Isnât it extraordinary, though, that you, who is not a gay person, could find that so moving? Thereâs no way youâd find that moving if it was only about being gay. I always say that coming out has nothing to do with sex. When youâre talking to your parent, youâre not thinking, âOh, this is making me feel a bit frisky.â Anyone can understand that this is about somebody who has something within them â in this case, itâs about sexuality â that he hopes is not going to be the reason that his parents donât speak to him anymore. And I think we all have that: âI hope you still love me.â And the great pleasure about All of Us Strangers is that itâs reached not just a particular type of audience, but all types of people. And I love theyâre able to market it to everyone. Usually they do this weird thing where they pretend the filmâs not gayâŠ
Right. There would be a picture of a woman on the poster.
Exactly. Someone whoâs playing the neighbour! But now youâre able to market a film with Paul [Mescal] and I, and the fact is that thatâs going to sell tickets. I know thereâs a long way to go, but that is progression. Before, that wasnât the case. This time, no one gave a fuck. Nothing bad happened. The world didnât explode. Family didnât collapse.
Identity politics question: thereâs an opinion now frequently expressed that gay people ought to be played by gay actors, and so on. What are your thoughts on that?
The way I look at it, if somebody was to make a film about my life â itâd be quite a weird film â would I want only gay actors to be auditioned to play me? I would say that Iâm more than my sexuality. But there might be another gay person who feels thatâs incredibly important to who they are and how they would like to be represented on film. How do we balance that? I donât know. I donât have an easy answer on that. I think itâs a case-by-case thing.
Youâve played straight people and gay people. Youâre Irish but youâve played English people and American people. I would hope you would be able to continue doing that.
The question I suppose is opportunity, and who gets it. It was very frustrating to me, when I was growing up, that there were no gay actors.
Well, there were lots of gay actorsâŠ
But not âoutâ gay actors. Now there are more. Representation is so important. So I think itâs complicated, and nuanced. And talking about it in a general way rather than a specific way is not always helpful. It depends which film we are talking about. Which actor.
You were spared the curse of instant mega-fame, aged 22. Would you have handled that well?
No. I think all that scrutiny and opinion, itâs a lot. Now Iâm able to look at a bad review or somebody saying something really horrible about the way I look, or even someone saying really nice things about that, and go [shrugs]. Before, when that happened, it was devastating. But I survived and it was fine, and I got another job and I was able to kiss someone at a disco, so⊠Whereas if youâre 22 and you donât have that experience behind you, you go, âOh, my God. This is horrible, what do I do?â And also, thereâs much more scrutiny now, so much more. I think that must be really hard. Social media is a crazy thing, isnât it?
I think itâs a horrible thing, on the whole.
That thing you were saying about cinema, about how itâs not natural to see yourself, or other people like that⊠The amount of information that weâre supposed to absorb and process? Wow. You wake up in the morning and youâre already looking at it.
They used to say that the fame of TV actors was of a different order because they are in your home. People felt they knew the stars of Coronation Street in a much more intimate way, while movie stars, Cary Grant or whoever, these were much more remote, almost mythical creatures. People who are famous on Instagram or TikTok are in the palm of your hand talking to you all day.
And itâs so interesting what people on social media choose to tell you about their lives, even when nobodyâs asking them any questions. Like, is that person insane? Itâs a very dangerous thing. I find it troubling.
Do you think things are getting better or are they getting worse?
Thatâs such a good question. I have to believe theyâre getting better. I donât know what that says about me.
It says youâre an optimist.
I think I am an optimist.
Whatâs the weirdest thing youâve ever put in your mouth?
Fucking hell. Do you know what I donât like? Any food that you donât have to put any effort into eating.
Give me an example.
Custard.
Yes!
I donât mind ice cream, because itâs got a bit of texture. But I donât like mashed potato. I donât like creamed potatoes, or creamed anything.
Risotto?
Absolutely borderline. So if itâs got a little bite to it, itâs OK. But baby food. Ugh! Makes me feel a bit sick.
Whatâs your favourite of your own body parts?
Ahahah! What do I like? What have we got? I donât mind my nose? My eyes are OK. Like, my eyes are definitely expressive, God knows. Fucking hell. I remember I was in rehearsal once, and the director said, âAndrew, I just donât know what youâre thinking.â And the whole company started to laugh. They were like âYou donât? What the fuck is wrong with you?â Because I think Iâve got quite a readable face.
Which is a tool for an actor, right?
It can be a tool for an actor. But you have to learn what your face does, as an actor. On film, your thoughts really are picked up.
Whatâs your favourite body part that belongs to someone else?
I like hands. And I like teeth. Someone with a nice smile.
Are you similar to your dad?
Yeah, I am. Heâs pretty soft-natured, which I think I am, to a degree. He likes fun, too. And he likes people. Heâs good at talking to people. Heâs kind of sensitive, emotional. Heâs a lovely man, a very dutiful dad to us, very loyal.
Would you miss the attention if your fame disappeared overnight?
I definitely think I would miss an audience, if thatâs what you mean. The ability to tell a story in front of an audience, Iâd miss that. Not to have that outlet.
Before you got famous, you were having a pretty decent career, working with good people, getting interesting parts. Would it have been OK to just carry on being that guy, under the radar?
Oh, my God, yes. Absolutely.
Would you have preferred that to the fame?
The thing is, what it affords you is the opportunity to be cast in really good stuff. You get better roles, particularly on screen. And Iâm quite lucky. I have a manageable amount of fame, for the most part.
Some people are born for fame. They love it. Theyâre flowers to the sun. Others should never have become famous. They canât handle it. Youâve found youâre OK with it.
Do you know what I feel? I feel, if I was in something I didnât like, if I was getting lots of attention for something I didnât feel was representative of me, I think Iâd feel quite differently. I feel very relaxed, doing this interview with you today. I feel like, whatever youâre going to ask me, I would feel self-possessed enough to say, âAlex, do you mind if we donât talk about that?â
Shall we leave it there, then?
Thank you. That was lovely.'
#Andrew Scott#Jim Moriarty#Sherlock#Nora Scott#Hamlet#All of Us Strangers#Paul Mescal#Ripley#Negroni#A Girl in a Car with a Man#Longitude#Band of Brothers#Korea#Long Day's Journey Into Night#Reading about Andrew's mum has me SO emotional#I just want to give him the BIGGEST hug#I love that a cat just randomly decided to join in the shoot#Almeida Theatre#Dying City#Broadway#The Vertical Hour#Bill Nighy#Julianne Moore#Ben Whishaw#Benedict Cumberbatch#'The Great Game'#Sam Mendes#Spectre#Max Denbigh#Annie Leibovitz
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Drunken Dares
Prompt + paring: Tattoo Parlour au, ânightâ + SolangeloÂ
A/N:  Hellooo- i had the choice between a tattoo parlour au or a flowershop au but I'm already writing a pjo flowershop au so I thought I'd spice it up with a tattoo parlour au! I kinda wanted there to be a part two becuase I wanted a bit of bonding between the two so maybe if i remember, that may happen? Anyway- enjoy <3 from phi phi!
Read on A03Â Â Â Â Â Writersmonth 2021Â Â Â Â Masterlist
âDo I really have to do this?â Will groaned slightly. It was late at night and here Meg was, pushing him in a tattoo parlour.
âYep!â She hummed as she pushed him forward.He tripped over his own foot as he flung through the double doors. He was about to continue reluctantly before realising the short minion who had forced him here was no longer by his side.
He turned around and frowned. â Meg? Why arenât you coming in?â
âIâm underage,â She hummed.
âYou know you can just stand to the side?â Will asked, a slightly desperate undettone to his statement which Meg noticed. He was begging her not to leave him in the scary dark tattoo parlour which was full of buff, scary people.
âSorry- but I must not break the law!â
âLast week you happily started trying to drive my car!â Will yelled at the glass doors. Alas, his yells were ignored as Meg blissfully ignored him as she continued her walk home, leaving William Andrew Solace in a tattoo parlour.
What was he meant to do?Walk up to the guy at the counter and tell him that he wanted a tattoo? He should have never gotten drunk and played truth or dare- he should have known that the first thing Leo would dare him would be to taint his beautiful freckled skin. The worst part ultimately was the fact that he had to get it on his chest.
Perhaps the gods above saw Willâs freak out or perhaps Leo was simply being extra nice when he saw Will in the middle of the parlour looking so out of place it was painful but either way, the next thing Will knew, he was being taken by the wrist towards the counter by none other than Leonidas Valdez; the very bastard who had gotten him into this mess.
âIâm surprised you actually came,â Leo commented.
âMeg forced me,â Will grunted.
âSo,â Leo sighed as he tapped at the cigarette in between his fingers, â Do you know what youâre getting?â
âUhh⊠no, not really., How does this work? You tell them what you want and then they stab at your body with a needle?â
Leo let out a small scoff which had smoke billowing out of his lips and nose as if he was a chimney. â No, darling- they shave, sanitise and then they stab at your body with a needle.â
âThat made me feel so much better.â
Ignoring the evident sarcasm, Leo simply smiled. â Youâre welcome, blondie.â
Wil, ruffling at his hair, mumbled, âShut up.â
Leo, who was significantly enjoying teasing Will, was cut off by Piper- one of the last people Will expected to see at the tattoo parlor. But on a second look, the tattoos on her abdomen spiraling up to her breasts and arms made Will wonder why he never noticed them.
âOh Will- youâre actually here?â Piper's surprised voice rang out.
âUnfortunately.â
âWell the artist is ready for you,â Piper ushered him towards the dark room, only illuminated by the UV lights.
Will visibly gulped. Leo and Piper couldnât help but interlock eyes and snort a little- after all, it was simply adorable at how nervous this newbire was.
Will took small steps and the second he passed the door, it slammed shut.
What the fuck- do the doors here have a mind of their own?
âCome in- take a seat,â A voice commanded. Will, who didnât really have any choice but to listen to what he was being told, fumbled around, trying to figure out where he was meant to be going. It seemed that Will, in his internal chaos, did not notice the tattoo artist's leg propped up to the side and therefore, when Will finally did notice the leg- it had been the hard way.
He tripped and the next thing he knew, his wrist had made a new best friend. Bruised and swollen, Willâs wrist heavily ached- forcing him to let out a small groan of pain.
âFuck, are you okay?â the voice rang out. Will heard a relative amount of fumbling and heavy footsteps and suddenly the room was flooded with light.
The face that he was met with was not one he was expecting. The boy had mid length hair- while it wasnât really long, it was flowing over the nape of his neck slightly and it looked like it really got in the way of his eyes. He watched as the boy seperated the pieces of hair covering his eyes, creating an effortless look.
His face radiated an emotion that Will couldnât describe- sadness? Or was it simply the face of someone who was content with little?
âAre you okay?â The man asked. Will watched- he had never seen such dynamic expressions and the way this man's face morphed into an expression of concern had him wrapt with all.
Will could only nod stupidly, his hand still clutching at his bruised wrist.
âDya mind if I have a look at that anyway?â The artist insisted as he grabbed a med kit and sat on his spinning chair before wheeling himself towards Will who now sat on the chair that he was originally appointed.
He gently cradled Willâs wrist between his fingers, turning it round and round. His face contorted between emotion of worry and concern.
âItâs okay,â Will re-assured . â Itâs not sprained or broken, just a bit of bruising and swelling. Should be gone by tomorrow morning.â
âYou sure?â
âIâm a doctor.â
âAh,â He smiled slightly. â I shouldnât question you, Dr..?â
âSolace- but Will is fine. How about you?â
âNico- Now let's have a look at what you want huh?â He closed the notebook he had been creating designs in before Will walked in and pulled out a collection of the most popular designs so far.
âThese are the trending ones currently but I can always pull out something else if you want. Or if you have your own design that you wanted, I can try with it,â Nico offered. He pulled out a cigarette and flicked his lighter.- once, twice and a third time before grunting and pulling out a different one. Will watched, hypnotized, as Nico lit the cigarette.
Nico looked up and caught Will staring and shyly asked. â You donât mind do you?â
âNo⊠but you should try and refrain from smoking. Itâs really, really bad for you and I say this as a doctor.â
âYouâre the 4th person today who has said that.â
âIâm alarmed that you managed to smoke that many times today,â Will said with concern.
Ignoring what Will had said, Nico continued. âAnyway, have you chosen anything yet?â
Will let out a heavy breath. â Ah, no. My friends kinda forced me here but nothing here really matches⊠me.â
âWhat about this flower? Or the skull? â
Will shrugged. â I don't think Iâd want those on my skin permanentlyâ
Nico nodded and continued smoking, while Will flipped through the latest designs. Nothing seemed to catch his eye as much as something he could have sworn he saw earlier. It was a stylised sun tatoo- nothing necessarily special but it reminded him of his mum- and his home.
âExcuse me,â Wil started, causing Nico to put his cigarette down in the ashtray, â I was just wondering if the designs in that were available?â
Will pointed to the notebook That Nico had closed earlier. He watched as Nico hesitated. His face seemed to be stuck between wanting to let Will sneak a peek but it also seemed to want to tell him to stop.
However, his hand simply made up his mind and shoved the book across the table in Willâs direction.
Daintily, with the utmost care, Will opened the first page and his eyes almost watered at the immense detail and beauty poured into these designs. It looked like the heart and soul of the artist had been etched into every little petal, every small ray and eventually after gaping at each page he found the design he had spotted earlier.
The sun wasnât special but it held Willâs eyes so much that Nico told him, â Close your mouth. Youâre practically drooling.â
âThis one,â Will pointed to the stylised sun, â I want this one.â
Nico scanned his eyes over it before humming and nodding. He put out his cigarette and got up.
âWhere d'ya want it?â
âChest- left side,â Will blurted out. He didnât know why he wanted it there- perhaps because he wanted the thing that reminded him of his mother to be as close to his heart as possible.
Nico nodded as he prepared everything. Then he turned to Will. â You realise youâll need to take off your shirt?â
Will blushed and looked away as he started unbuttoning the top of his shirt. Meg had dragged him out of the hospital as soon as his shift had ended and thrown him into the tattoo parlour and therefore he was still wearing a crisp white shirt.
âDo I need to take off the whole thing?â
Nico took a quick look at Will. The sight that met his eyes was surprising- he used to seeing the chest of his clients but for some reason the sight of a very attractive and intelligent young man before him was very different. He seemed to be looking away as a blush graced his cheeks and ears. His shirt was unbuttoned just enough for Nico to see Willâs muscled chest.
How did a doctor have enough time to work out like that?
âUh... just a bit more, I donât want the needle to catch on the side of your shirt.â Nico reiterated, even though he was lying.
âOkay, so now, I'm just going to clean the area and then Iâll trace the sketch before tattooing it on. Do you want red or black?â
âUh- you can choose,â Will sighed, desperate to get it done and over with.
Nico nodded. He slipped on some gloves and wiped at Willâs chest with an antiseptic. Will flinched at the cold wipe and the soft touch of the artist before him .
âSorry,â Will murmured, â Itâs cold.â
Nico simply nodded as he began sketching the outline of the tattoo. Will tipped his head back, unable to meet the eyes of Nico ro even look at what was happening. He could feel the tickly touch of the pen on his skin and the soft brush of Nicoâs glove on his skin every once in a while.
âAll done. Now for the painful part. You may feel like youâre getting stung by a bee a lot,â Nico warned. âTry not move a lot, it will make it harder for me.â
Will, who couldnât formulate words at this point, simply nodded. âIâd let you squeeze my hand, but unfortunately- I need both,â Nico smiled as reassurance.
He heard the buzzing of the gun and braced himself. The needle poked and prodded as he expected and at times he did wish he had stolen some morphine from the hospital beforehand but all in all, he managed to get the tattoo without bursting into tears and without ruining hids tattoo.
âAll done,'' Nico said as he covered the tattoo.
âWhen do I get to see it?â Will asked, curiously, happier that it was over.
âIn a few days- it just needs to sink in.â
Wil sat there, unsure of what to do next. He had paid and was now just sitting in an empty room with his tattoo artist. Was he meant to just say goodbye? Wasn't that kind of harsh?
But Will realised, had this been anybody else or any other appointment- he wouldn't want to be staying for any extra time. Did he want to be friends with this guy? Maybe it was that- yes, it would be that. As someone who was socially awkward, Will knew that he liked hanging out with people; he simply wasn't very good at it
Just as he was going to ask for his number, Nico passed him a slip of paper. â Hereâs my number. Call me when youâre free.â
With that and a wink, Will was left in the empty tattoo room.
#writersmonth#solangelo#will solace#nico di angelo#leo valdez#piper mclean#meg mcaffery#will solace fic#nico di angelo fanfic#nico x will#will x nico#solangelo fanfic#leo valdez fanfic#piper mclean fanfic#meg mcaffery fanfic#nico x will fanfic#will x nico fanfic#solangelo fluff#will solace fanfic#hoo#pjo#pjo fanfic#hoo fanfic
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The acts of kindness.
Henry Cavill x Single Mother / Reader
words: 943
previous chapter: The Lawyer.
Mr. Barber rang you on early Saturday morning and arranged the meeting with you on Monday a week after. You were glad Henry helped you with the custody case. You didnât know how you're ever going to re-pay him. Since that horrible day when you have received the letter from your ex-husband, you couldnât sleep. Henry was waking up to calm you down, but then when he needed to leave to work, you couldn't sleep without him. You have officially moved to Henry's house. Henry insisted on moving you in as soon as possible, giving you the physical and emotional support that you really needed, especially after the paparazzi discovered your identity. Â
Even though you were under big stress, you wanted to cherish and celebrate this moment of moving in together as it was one of the big steps in your relationship. You didnât have much money so you decided to do the small acts of kindness to Henry, showing him love and adoration. You have started with smiley faces on his pancakes for the breakfast, placing printouts of funny memes into his wallet, always making sure he has clean t-shirts and snacks when he is going to work. Â
Henry was over the moon that you and your son had finally moved in. You brought the best of him every day, you kept him sane. He finally has something to come back home to. Henry could see the dark circles under your eyes. He really wanted to do something for you, which will bring a peace and smile to your face. These small acts of kindness you are doing every day? His heart melted, and he even cried once when he found the love letter from you during his lunch break. Â
It was Monday and time to meet Andrew Barber. You were glad that the time has come to discuss a case and get some clarity on what might be expected. The meeting was arranged at the small French cafĂ©, hoping it wonât be crowded and no one will take a picture of Henry. You have arrived with Henry a few minutes early surprised, Andy was already waiting for you. Andy greed you with a warm smile kissing your hand like an old gentleman. You felt your cheeks burning. Henry didnât notice your redness only laughed and told Andy: Â
âForget it man, she is mine.â Â Â
You ordered your drinks and started a meeting. Everything was straightforward, there is no reason why the judge would give custody of your son to your ex-husband. Even though there is 80% that you will win, it is still a stressful situation to go to court and be interviewed like you were a criminal. The meeting has ended, Henry excused himself to go to the bar and pay for the drinks. Andy quickly pulled out a business card with his private phone number from his wallet and handed it over to you. He kept the little card longer in his hand, didnât want to release it, making you look at him. Â
âYou are an extraordinary woman Y/N. Please keep my number. Whatever will happen, even after the case, please know, you can come to me for help. I will take care of you. â Â
After his statement, Andy let you take the card. You felt uncomfortable after these words. This is the last thing you need now- a new admirer. You thank him and left to see Henry. Â
The drive home was quiet. You were very tired, was dreaming about the bed. Henry noticed this and came up with a brilliant idea. Just a mile from your home, he took a different turn and drove in an unknown direction. Â
You looked at him, and he had a mischievous smile. Â
âRelax love, I want to show you something.â You nodded and smile for the first time in over a week. Â Â
Henry parked in front of the old Christmas tree farm, which is now converted into a fair. He hoped that the memory of your first meeting will bring you joy. Â Â Â
You were at the edge of happy tears. Your man can always read you like a book and come up with ideas to comfort you when you really need it. Â Â
You gave him a peck on his lips and place a fake glasses on his nose, so he can be undercover. Â Â Â
âThank you for bringing me here Hen, itâs a perfect date.â Â Â Â Â
Henry responded with another kiss, a more passionate one. After he stopped the kiss, he stroked your cheek and told you: âThank you for being with me, Y/N. Also, thank you for choosing this farm to buy your Christmas tree. â Â
You both laughed and went to explore the fair. Â
After eating multiples waffles and playing multiples games you were ready to go home. Henry had a different idea, there was the last thing he wanted to show you. He took your hand and pulled you into the carousel. Â
You quickly asked him: âReally? â He only nodded and bought the tickets for both of you. Â
You chose to sit on the horse in the carousel, Henry sitting behind you wrapping his arms protectively around your waist. Within a minute the carousel moved. You close your eyes knowing Henry wonât let you fall. You finally felt completely free and let yourself process all emotions. The tears left your eyes. Henry let you process your feelings. He was whispering sweet words to your ear : Â
You are intelligent.Â
You are beautiful.Â
You are strong. Â
You are the best mum.
This night you finally fell asleep in peace, in Henryâs arms.
@severewobblerlightdragonâ
#henry cavill#henry cavill oneshot#henry cavill imagine#henry cavill x reader#henry cavill x you#henry cavill x ofc#henry cavill x fanfiction#henry cavill x y/n#henry cavill x plus size reader
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How Bridgerton is poised to revolutionize romance on television
Lace up your corset and put up your dukes.
Words by Maureen Lee Lenker, November 13, 2020
It is a truth universally acknowledged that a Regency romance must be in want of glittering ballrooms, witty banter, a dashing leading man, and a piquant heroine.
Bridgerton, Netflixâs first scripted title with ĂŒber-producer Shonda Rhimesâ Shondaland production company â under its headline-grabbing $150 million deal â has all of this in abundance. Not to mention a diverse cast thatâs a far cry from the typical lily-white hues of Jane Austen adaptations and their ilk. Oh, and the narrator is a Regency-era Gossip Girl voiced by Julie Andrews. As showrunner Chris Van Dusen puts it, âItâs not your grandmotherâs period [piece].â
Based on a series of romance novels by Julia Quinn  â beginning with The Duke and I, which offers the season 1 blueprint â Bridgerton follows Daphne Bridgerton (Phoebe Dynevor), a debutante whoâs thirsty for a love match. Buoyed (and slightly overprotected) by her family, including her marriage-obsessed mum, Violet (Ruth Gemmell), and her seven siblings, Daphne embarks on a fauxmance with Simon, the Duke of Hastings (RegĂ©-Jean Page). âWhen we first meet her, sheâs this young, naive woman whoâs been in this little bubble and doesnât know anything about love or sex,â says Dynevor.
Simon, meanwhile, is hell-bent on avoiding matrimony, as part of a vengeful vow he made to his execrable father. Page drew inspiration from the classic Romantic poet Lord Byron to craft a character who is part aesthete, part brooding enigma. âYou have this beautiful, shadowy, broken, thoroughly complex man, who is as glamorous as we all wish we were on the outside,â notes Page. âBut [heâs] trying to figure out who he is.â
Itâs standard fare for Shondaland: men and women looking to find themselves within the social confines of their reality. This time itâs in a completely different world, one that shares the female-gaze ethos that often defines Shondaland series â think Greyâs Anatomy, Scandal, and more. Romance novels account for nearly a quarter of all fiction book sales, yet theyâre rarely fodder for splashy screen adaptations. âI never thought this would happen to me,â Quinn says. âNobody was adapting romance novels, and if somebody was going to do a period piece, they wanted to do another adaptation of Jane Austen or the BrontĂ« sisters.â
That prestige gap between Austen and mass-market historical romance was something executive producer Betsy Beers admits she bumped up against when Rhimes first recommended the novels to her. âI didnât take what the books were as seriously as I couldâve initially,â she says. âBut there should be no pejorative association with romance novels. Nobody sneezes at suspense, at action, at true crime. These are just good stories about relationships, about emotional politics, about how you juggle duty, love, and lust.â
For Van Dusen, the 280-year evolution of romance writing was something to exploit. âI wanted to infuse everything with my own unique, modern lens,â he says. âThe tone is very spirited and daring. Everythingâs fresh and youthful. Thereâs a little effervescence to everything.â
That freshness manifests throughout â from the score, which features classical string arrangements of contemporary pop songs (Ariana Grandeâs âthank u, next,â Shawn Mendesâ âIn My Bloodâ), to the costumes (âJane Austen loved her bonnets, but Bridgerton is a bonnet-free world,ïżœïżœïżœ quips Van Dusen). But nowhere is it more evident than in the casting.
The series looks like any Shondaland show: multi-hued and reflective of the world we live in. Romance novelists like Vanessa Riley and Diana Quincy are challenging the established narrative of who inhabited the 19th-century aristocracy. Austen herself featured a mixed-race heiress in her unfinished novel Sanditon. But such a cast is still dismayingly rare in period pieces.
Though the casting here is a far cry from the source material, Quinn wholeheartedly endorses it. âBridgerton isnât a history lesson; itâs a show for a modern audience,â she notes. There were, of course, people of color who existed in this time and place, but the show hands them more power than historical assumptions allow. It imagines a British aristocracy where Queen Charlotte (Golda Rosheuvel) is of mixed race (a fact some historians suggest thereâs evidence for), thus elevating other people of color to dukedoms and positions of status. âItâs not color-blind casting,â explains Beers. âWe try to imagine history and the world in the way we wanted to see it.â
Itâs what allows Page to play the powerful, devastatingly handsome duke, a role that previously would have been the exclusive domain of white actors. For Page, who made his U.S. TV debut as Chicken George in the 2016 remake of Roots, it makes Bridgertonâs romantic narrative even more potent. âWith color-conscious casting, I get to exist as a Black person in the world,â he says. âIt doesnât mean Iâm a slave. It doesnât mean we have to focus on trauma. It just means we get to focus on Black joy and humanity.â
That joy opens up another narrative component often left behind closed doors in period drama: intimacy. Typically, the Regencyâs idea of sexual tension is the brush of a gloved hand, but in the world of Bridgerton, audiences find themselves in an opera singerâs boudoir within the first 10 minutes. âThe sexiness and the steaminess was always going to be there,â says Van Dusen, adding that itâs core to the âeducation of Daphne Bridgerton.â
Dynevor echoes this, explaining that the showâs sex scenes, overseen by an intimacy coordinator, were as intricately choreographed as a fight sequence. But for Dynevor, it was a key part of Daphneâs arc, one that foregrounds her characterâs wants above any objectified desirability. (What other Regency literary adaptations feature a heroine experimenting with self-pleasure at the suggestion of her suitor?)
âItâs not often you see sex [treated] in that way,â Dynevor reflects. âIt wasnât gratuitous. It was so essential in Daphneâs journey and sexual awakening. I love the fact that it is very much the female gaze.â
That gaze is the connective tissue between Shondaland and romance publishing, a match so fortuitous it could only end in happily ever after. â[The show] is not going to be so different from the experience of reading a romance novel,â Van Dusen concludes. âItâs sexy and a little dangerous and fun. It leaves you a little hot and bothered and breathless.â Fetch the fainting couch â and the remote.
Bridgerton hits Netflix on Dec. 25.
#long post#bridgerton#the bridgertons#bridgerton netflix#netflix#netflix bridgerton#daphne bridgerton#simon basset#julia quinn#ew#entertainment weekly#article
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(1/2) Hey, I'm the anon from the last request. Just have a few follow up q's if you're alright with that (dont have a tumblr to message directly rip)? With Gerri, its strange that she's Shiv's godmother yet both Shiv and Roman dont really know her in the pilot- was there a prior schism? Also did not know about St Andrews, if its not a military school then do you think it adds another layer to the dog kennel story?
(2/2- sorry!) I get what you mean when you say he also coddles Roman but to me its the emotional detachment thats striking. Like in the car post-slapgate, its obvs awks from the slap but they also don't seem to have natural connection or conversation vs Logan and car scenes with the others. There's also the references to him beating Roman (not to say he didn't beat the others but its only Roman mentioned). I think in s3, his new status as fave son might bring up some old wounds for Roman.
(x)
Hey! Ooo, these are really great follow ups, thank you! I hope you don't mind me breaking them into sections!
Is it strange that Shiv and Roman don't really know Gerri well in the pilot?
It is strange, but I also think it's just the result of a few things being shuffled around post-pilot. Pilots are usually shot months if not a whole year before the first season is as the point of them is to sell the network on the show. In that sense, they're effectively proof-of-concept tools and so it's common for things to change. I'm not sure if you're a crossover anon, haha, but I talk a lot about Good Girls as well, and the pilot of that even had a completely different lead actress they had to do re-shoots around for 1.01.
Jesse Armstrong, the Succession showrunner, has said that a few things were shuffled around after the pilot â one of the biggest things for instance is that Roman wears a wedding ring in the pilot and Grace is supposed to be his wife (she's even listed as Grace Roy in 1.01 on IMDB!) and Isla their daughter together. They changed that after the pilot though because they thought it worked better with Grace as just his girlfriend, and Isla as Grace's daughter, not his.
I think Gerri's role in the show really bulked up between the pilot and episode 2, and that's why there's more distance between the Roy kids and Gerri in the first couple of episodes than there is later in the season. Gosh, even the fact that she's not at Logan's 80th birthday party in the pilot feels so weird now with how much they've shifted her role in the family, haha.
Rest of the answers under the cut!
Does St. Andrew's not being a military school when Roman attended add another layer to the dog kennel plot?
Yeah, I think it does, but I also think more than anything, it's reiterating what's already there. That entire subplot is really steeped in how Kendall, Roman and Connor all have different memories of this same game. For Roman it's formative, for Kendall it's just a memory of a childish game, and for Connor, it's seen as through older eyes and, more than anything, an insight into their father, not an insight into Roman and Kendall.
In a lot of ways, Roman stressing that St Andrew's was a military school when it wasn't undermines his own memory of the game, just as Connor telling him it wasn't dogfood it was chocolate cake does, just as Connor telling him he asked to be sent away does. Does that make it any less real for Roman? I don't think so. It's obviously something he's remembered as traumatic, and it resulted in a very real, tangible removal of him from Manhattan, where Kendall and Shiv stayed and went to school. Regardless of whether or not it was military school, it was a boarding school, and I think that feeling of distance and isolation was likely very real.
I'm really curious though about Connor's different stories to Kendall and Roman. He tells Roman that he asked to be sent away, and Kendall that their dad sent Roman because you separate fighting dogs and you send the weak one away so that everyone knows the hierarchy. The interesting thing though to me is that I think Connor was telling the truth in both instances, but the former does make the latter read differently.
If Roman wanted to go, it undermines Connor's memory of Logan, because Logan was not only giving Roman what he wanted, but he was giving Roman greater freedom, greater independence, greater agency at an outdoorsy boarding school that wasn't actually a military school at all. So does that mean that Logan saw Roman as the weak dog, or Kendall? Who he kept close and on a short leash in the comfort of home?
Kendall obviously takes Connor at his word, but I'm not so sure that we're supposed to as an audience. I think the story can be read in a lot of different ways, and more than anything, I think it can be read as Logan understanding that Kendall and Roman were not (and are not) the same, and needed different things as children. How that can be spun though is anyone's guess.
Are Logan and Roman emotionally distant?
That's an interesting point about the emotional distance there. I think there is and there isn't? Logan obviously dotes on Shiv and pendulums between coddling, controlling and bullying Kendall, but I think both of those things are more just indicative of really different dynamics. Roman's clearly got a 'class clown' sort of personality that Logan obviously doesn't appreciate and struggles to deal with, particularly given he's a pretty humourless guy (gosh, I think a lot about the fact that one of the only times we've seen Logan actually laugh was when the kids didn't want to see their mum, haha).
In that sense though, I think Logan doesn't understand Roman. It comes back to what I said in the other post â I actually do think Logan sees Roman's strengths, and the fact that Roman doesn't utilise them is, I think to Logan, unforgivable. Logan had to claw his way out of abject poverty through whatever it was he could get, and while Shiv, Kendall and Connor lack, I think Logan looks at Roman and sees waste.
It's why he doesn't have a stomach for the jokes, or the immaturity, and I think contributes to this failure to connect emotionally because he doesn't understand Roman in the way that he understands Shiv's rebellion and Kendall's foibles.
The aftermath of him hitting Roman is interesting too, because I actually think Logan's not trying to create distance in the aftermath, I think he's trying to re-write history to preserve his sense of self. He offers the untruth to Roman as an opening â a map for them to navigate unstable and uncertain terrain, and Roman takes it and follows his lead because he doesn't know how to navigate it either.
Does that make it right or forgiveable? Absolutely not â Logan hit his son, and trying to make everyone pretend that that never happened is an awful example of gaslighting â but I also find it really indicative of the cycle of abuse. We know that Noah was horrifically abusive to Logan, as seen by the scars on his back, and I actually get the impression that Logan tried not to be abusive to his children, but sometimes was because of his temper and his health.
Like, I think when he struck Iverson in the thanksgiving ep it was the first time he'd ever raised a hand to one of his grandchildren, especially given the reaction of people, and even hitting Roman summoned a pretty huge reaction from people, and seemed not to be something Roman was prepared for. It also I think stems back to that point of Logan not knowing how to handle Roman (or Iverson!) and resorting to violence he very quickly regrets because for a man who runs the news, he very rarely utilises words.
Logan was raised in violence, and I think it's a language he's both fluent in and has tried to reject, but one he falls back on when he can no longer communicate.
It's wrong, and awful, of course, but I think it's really interesting because I think it's deliberately a part of this broader theme with the Roy's about how fractured their communication with one another is. They don't know how to connect or talk to each other, and so frequently that breaks down into violence, whether to each other or themselves or to the collateral damage - the NRPIs.
I totally agree though that I think some Thoughts around all of this is likely to resurface for Roman in season 3, especially as Logan no doubt starts to lean on him as the new heir.
#these were v meaty questions to answer haha#i've been thinking sooo much about the communication on this show it's f.a.s.c.i.n.a.t.i.n.g.#roman roy#logan roy#logan + roman#gerri kellman#kendall roy#connor roy#shiv roy#hbo succession#succession 1.08#succession 2.06#welcome to my ama
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AWAE 2x2 rewatch: thoughts and reactions
I see work has been in full swing on the ship and our two honorary brothers have reached Trinidad, Bashâs homeland. I love Gilbertâs instant fascination with it and its smells.Â
âI like potatoesâ... Gilbert must be the whitest of white guys Iâve ever seen, and I can say that because Iâm a white girl who also happens to love potatoes in any shape and form. Also, I havenât tasted a hot pepper in my life either, and I donât think of starting now. To each their own, I say.Â
Gilbert is painfully uneducated about black slavery, but Iâm glad to see heâs eager to learn and correct himself.Â
Wait, was that the first ever cold open not to feature Avonlea at all? it seems it was. That was kind of weird.
Nate smokes, too? Well, thatâs the least of his vices. Also, âdonât have an expert eyeâ? I bet thereâs no gold at all in that sample.Â
Marilla is once again the only sensible person here. Sheâs right for the wrong reasons, but heâs right anyway.Â
Wait, Anne is getting a new slate just now? Wasnât it over a year ago that she broke her old one? And âdefending herselfâ- from whom? Gilbert? Iâd much have preferred to see her smash something into Billy Andrewsâ head.Â
Well, leave it to Diana to remind Anne how much she really is worth. I believe she played a crucial part of making Anne the activist she became in season 3.Â
I love Jerryâs smile so much and I absolutely hate seeing it fade away at the sight of Nate. This fraud must pay for all the harm heâs done and is going to do, both financial and emotional.Â
Wait, is this... can it be... it is. Itâs really Cole. Iâm so glad to finally see him again. But is this a plot hole - how can Anne know him if he definitely wasnât there last year?
Shut your filthy mouth, Billy! Name-calling is so immature, and heâs obviously jealous of Cole who doesnât need to be rude to prove his worth. Billy fully deserves what Cole does to him later after he finally snaps.Â
Billy is just a horrible, horrible person. And what does Philips want? First of all, what Cole is doing is too brilliant to be brought down to âdoodlingâ, and second of all, I myself sometimes draw in class instead of taking notes, and it hasnât once affected my marks. In fact, it sort of helps me remember better.Â
âDraw that.â I love how literally Cole takes the words literally. Also, excellent calligraphy. Bullet journalists have nothing on this guy. And Philips can only dream of having such perfect penmanship. Internalised homophobia is a [no swearing on main]... curse. Heâs just jealous that Cole can be so unapologetically himself, while he wonât dare to and prefers to bully literal children instead.Â
There she is... Hazel Lacroix in all of her matronly glory. It just breaks my heart how slavery has affected her mindset. And that boy looking like âa wet fowlâ (love this simile, btw) - sheâll come to call him Mr. Blythe, and that breaks my heart, too. Heâs a friend and a brother, not another white guy who will treat her like an object.Â
No, Gilbert, slavery has sadly not ended yet, and in some places itâs very much a thing even today, in the 21st century. This is the painful reality and something must be done about it. Kudos to AWAE for raising awareness of this very real and important issue, among many others. #renewannewithane
Is this because of Nateâs stupid compliments? Marilla experimenting with her hairstyle, I mean. Sheâs falling into his trap, too, and I really donât like it.Â
Itâs awkward that Josie should, as the girls suggest, have a thing for Cole, since she moves on to the polar opposite, Billy. But then again, so does Ruby, doesnât she?Â
I love seeing Jerryâs writing and reading progress. Itâs like when I watched my little brother grow up in front of my eyes. And Iâm so glad heâs making this effort for his own sake. Jerry is an icon and thatâs that on that.Â
In a brilliant adaptation of that beautifully frightening scene from the book that is a cautionary tale about letting your imagination get the best of you, Anne is battling her own fancies on her way through the woods. This is just as chilling as the bookâs version, and even a bit more.Â
Hey, thereâs the fox. I donât remember exactly why it was important, but I do remember Billy hunting it. Weâll have to wait and see.
Dunlop might not be the bad guy here, itâs likely just Nate. I mean, he wouldnât just give her a fancy pen... wait, is it the pen? Things just got way too curious.Â
Ok, now I want to be at this party. I usually run away from any gathering of more than 10 people, but this is lovely. And Iâm in love with Diana and Dunlopâs performance.
Practically part of the family? Jerry, yes. Nate, big NO. I mean, nobody was talking about Jerry, but I am and thatâs that.Â
Minnie May always knows whatâs up. Kicking Nate in the shins, what an eloquent and brilliant move. I loved seeing that.Â
I mean, Marilla is right, but whatâs not real isnât always not good. And whatâs real isnât always good. Thatâs important to remember. Moderation is key.Â
âThomas Lynde never makes decisions without consulting Rachel.â I mean, heâs kind of under her thumb, but once again, moderation is key.Â
âThereâs this girl over in Avonleaâ... someoneâs in love, and Bash is about to become captain of the Shirbert ship. I love this.Â
Aww, Cole is using the stains on his sketchbook to draw Anneâs freckles. i love it. I love it so much, but I canât help feeling sorry for all the damage that ink did to the sketchbook. Pages upon pages wasted because of stupid Billy... and even though I find it charming, I also feel bad for the drawing of Camelot.Â
And so the Shirbert written correspondence continues... with the pen this time. but alas... another ink stain. Those are such a nuisance. Iâm glad we donât need to worry about them so much anymore nowadays.Â
To sum up: Gilbert gets to know Bashâs homeland and his mum, is very white, learns about black slavery; Nate is a scoundrel and a big jerk - whatâs new?; Jerryâs literacy progress; Coleâs first appearance and a blatant case of internalised homophobia from Philips; Anne is a victim of her own imagination; the fox and the pen appear; Dunlop is not the bad guy; big gold rush party at the Barrysâ, Dunlop and Diana make a lovely musical duet; Minnie May is God; ink stains and Shirbertâs written correspondence.
#anne with an e#awae#renewannewithane#renew anne with an e#anne shirley cuthbert#gilbert blythe#diana barry#ruby gillis#cole mackenzie#billy andrews#minnie may barry#marilla cuthbert#matthew cuthbert#jerry baynard#sebastian lacroix#hazel lacroix#jnk watches awae
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No one is gonna âgaslightâ you about the pandemic. They donât need to
I took a break from my daylong panic attack to read through a piece that I saw dozens of people sharing on social media. If youâre in the mood to take a glimpse into the abyss of hopelessness, give it a read.Â
This is one of the dumbest things I have ever read, but itâs instructive in the sense that it shows us just how absolutely liberalism is not prepared to handle the current moment. If this is the intellectual vanguard of the #Resistance (and judging by those who have shared it, it seems to be), then we should begin mentally preparing ourselves not just for Trumpâs reelection but for the very real possibility that heâs just going to be president forever.Â
The piece is called âPrepare for the Ultimate Gaslighting,â so right away you know where itâs coming from. âGaslighting,â has recently surpassed âmansplainingâ as the liberal buzzterm thatâs become the most meaningless due to overuse. It used to refer specifically to emotional manipulation. Now it basically means âanything that a liberal doesnât like.â Liberals read a neurotic amount of importance into petty matters of taste and interpersonal relations. They begin, at times, to understand social problems in a structural sense, but they always--always--turn their analysis back to meaningless bullshit that takes place on an individual level. The liberal would never be so gauche as to indict an entire system, no matter how at fault it may obviously be. Instead, he will place blame upon the individuals within the system, those selfish and savage brutes who betrayed the magnanimous intentions of societyâs elite engineers.Â
This authorâs analysis is unsurprisingly very muddy. He mentions, correctly, that there is an eerie serenity to scenes of American cityscapes already being reclaimed by nature. He cannot, however, decide whether or not this is a good thing. This is because of the liberalâs fundamental ambivalence toward malignant social structures. Their ethos is founded on pretending to sympathize with societyâs misbegotten, but their status and jobs and personal standing demand that they also apologize profusely for the institutions that reap so much misery upon us. This neurosis is somewhat politically viable only because it usually goes unspoken--and thatâs why this piece is worth digging into, since itâs so rare to see them attempt to actually articulate this shit.
The author realizes that our society is deeply poisoned. In a twist, he says that such a sad state is not due to any of the litany of usual, intersectional reasons, but because of the pace at which our social lives are conducted. I am dead serious:
The cat is out of the bag. We, as a nation, have deeply disturbing problems. Youâre right. Thatâs not news. They are problems we ignore every day, not because weâre terrible people or because we donât care about fixing them, but because we donât have time. Sorry, we have other shit to do. The plain truth is that no matter our ethnicity, religion, gender, political party (the list goes on), nor even our socioeconomic status, as Americans we share this: We are busy. Weâre out and about hustling to make our own lives work. We have goals to meet and meetings to attend and mortgages to pay â all while the phone is ringing and the laptop is pinging.
The problem is, see, that weâre thinking about stuff wrong. Not that the ruling elite are openly corrupt or anything. Oh no. I mean, they must be since theyâre about to gaslight us, but also theyâre not, theyâre basically okay:
The greatest misconception among us, which causes deep and painful social and political tension every day in this country, is that we somehow donât care about each other. White people donât care about the problems of black America. Men donât care about womenâs rights. Cops donât care about the communities they serve. Humans donât care about the environment. These couldnât be further from the truth. We do care. We just donât have the time to do anything about it. Maybe thatâs just me. But maybe itâs you, too.
Again, heâs coming to the precipice of a worthwhile realization--that we all know society is unsustainable but we canât do anything about it--but he has to pull back so as to avoid implicating any of the people who actually wield power. Thatâs the main thrust of contemporary liberalism: sure, society may be fucked, but thatâs your fault, not ours.
The ending is a tour de force of empty liberal platitudes that is breathtaking in its ability to place blame upon anyone and anything aside from the people and things that are actually to blame:
From one citizen to another, I beg of you: take a deep breath, ignore the deafening noise, and think deeply about what you want to put back into your life. This is our chance to define a new version of normal, a rare and truly sacred (yes, sacred) opportunity to get rid of the bullshit and to only bring back what works for us, what makes our lives richer, what makes our kids happier, what makes us truly proud. [ ⊠]
We can do that on a personal scale in our homes, in how we choose to spend our family time on nights and weekends, what we watch, what we listen to, what we eat, and what we choose to spend our dollars on and where. We can do it locally in our communities, in what organizations we support, what truths we tell, and what events we attend. And we can do it nationally in our government, in which leaders we vote in and to whom we give power. If we want cleaner air, we can make it happen. If we want to protect our doctors and nurses from the next virus â and protect all Americans â we can make it happen. If we want our neighbors and friends to earn a dignified income, we can make that happen. If we want millions of kids to be able to eat if suddenly their school is closed, we can make that happen. And, yes, if we just want to live a simpler life, we can make that happen, too. But only if we resist the massive gaslighting that is about to come. Itâs on its way. Look out.
Just⊠dear god. Dear god.Â
We are not facing a crisis of conscientiousness. We are not suffering through mass existential dread because we werenât mindful enough or didnât make the right consumer choices or didnât, like, live in the moment, man. We are staring down the absolute end stage of global capitalism and the complete abandonment of all the pretenses associated with liberal democracy. We are at the start of a very different and much worse stage of existence.
This is why the pieceâs central conceit, gaslighting, is so fucking annoying. Because if weâve learned nothing else from the past 12 years (and apparently we havenât), itâs that the ruling elite do not need to bother establishing pretense any longer. No one thought the recent Corona bailout was anything other than an upward transfer of wealth and a complete abandonment of the wretched--no one even bothered to argue otherwise, because they knew they didnât need to. At least a half dozen US senators received advance notice of the pandemicâs severity, and instead of warning people or otherwise working to help their constituents, they sold off stock and kept mum. None of them have received any formal censure, as their behavior was absolutely within the realm of what is acceptable in 2020. Andrew Cuomo, the man presently being lauded as the firm and competent opposite of Trump, used the pandemic as a pretense to push through cuts to social services and renege on bail reform that was past just weeks ago--undoing the last vestiges of progressivism both old and new. Even bleaker: an EU member state is now being ruled by dictatorial fiat under the pretense of the virus, and everyoneâs just kind of rolling with it. I mean, really, whatâs gonna happen? Brussels gonna step in? NATO gonna invade? Pfft⊠Not for such a trifling matter as the abandonment of democracy. If they missed a debt payment, on the other handâŠ
The point is, youâre not going to get gaslit because thereâs no need for that any longer. The people who are profiting off of the collapse and destruction of society donât even have to bother to lie about it. And the only ones doing any gaslighting are the smug liberal twerps who are too scared of upsetting their boss to allow anyone to point out this fact.
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I downloaded In Flanders Fields to read on my phone and just finished it and đđđđđđđđđđđđ!!!!! It's so beautiful, I'm going to have to read it over and over. There are so many things that had me tearing up, but especially Aaron when he got a picture of his girls at Christmas because it hits close. I'm going back to crying over this fic now đ
Thank you all so much!!!! Is it terrible to say Iâm glad you cried and you couldnât sleep? I mean to say, it means a lot that this fic pulled emotions from you, ah, golly
I didnât go too much into Aaronâs daughters in-text (didnât get a chance, really, and if Nora gave them names I couldnât find them, which made it more difficult), but theyâre young enough they probably have few if any memories of what it was like during the war, without their dad.Â
I doubt they understood much of what was going on, but still, kids are perceptive, and though Katelyn and Aaron tried to hide it I think some of the pressure the two of them felt to have the twins feel comfortable around Aaron was picked up by them.
Because of that, I imagine at least for the first few months, the twins got on a lot better with all their new uncles and aunties than with their father. They follow Andrew aroundâ he LOOKS like dad, just like the twins look like each other! And he doesnât seem all weird and sad when they try to teach him their games. He grumps at them, which is very funny.Â
Aunt Bee always makes them eat, though itâs more fun when itâs sweets she has and not vegetables. Aunt Renee tells the BEST stories. Uncle Nicky is practically a kid himself and heâs always up for a good chase (though his chair gives him an unfair advantage. How are they supposed to be as fast as wheels?). While Uncle Erik and Mum are figuring out how to talk to each other, the twins delight in playing telephone, mixing things up for fun; they think theyâre quite clever, tricking the two of them (Katelyn and Erik indulge them).
Uncle Kevin likes to go away in the evenings and wonât come back until the twins are in bed, but when heâs there heâs good to play in the same room with, because he wonât ask silly grown-up questions about what the dolls and the little toy wagon are doing, just listens to the updates when they come. He goes on about aeroplanes a lot, which is boring, but some of the things he says are okay.
#fic: in flanders fields#it's okay the twins and aaron do get there as father and daughters#and the twins don't remember how it was weird because they were too young#Anonymous#someone says something wrong about aeroplanes and allison and kevin are ready to correct them#but one of the twins jumps in and the other backs her up and kevin is so proud#(poor kev. jean listens to you sweetie and so do the others though they won't admit it)
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My thoughts and feelings on the Great British Divorce, as written on January 18th (and updated on February 19th)
I wrote a very long and detailed essay on my feelings when the Sussexes stood down and it was super cathartic. Iâve not reread it since (although I have added one final paragraph) but I am going to make you all read it...
Prince Harry announces he is dating Meghan Markle
I had Meghan Markle down with Ellie Goulding, Mollie from The Saturdays, Caroline Flack, and Jenna Coleman as famous women Harry has âdatedâ that would never come to anything. Then, on a completely normal day when I was at work, Harry released his statement. It was completely unprecedented. Everyone in the staffroom was talking about it, saying things like âI didnât even know he was dating/Diana would want to see him happy/Who is she?â. And I knew they would be for keeps. This one would become Mrs Harry.
Engagement announcement
Do you want to know what my initial reaction was when the engagement was announced? Fear and worry. I was so so scared that Harryâs fiancĂ© would be put through the same awful treatment Kate had gone through. I was also worried that Meghan would be pitted against Kate and vice versa â I hadnât spent all those years watching people drag Kate against Diana/Sophie/Camilla/[insert female royal here] to live it again with Harryâs fiancĂ©. But, despite my fears and the initial sinking feeling of dread, I was still excited. Apart from Georgeâs first day at school, Harry and Meghanâs engagement announcement remains the only event with no Kate appearance that has a tag on my blog. I fell in love with the brilliant, charismatic, intelligent woman in the engagement interview. I was excited for the future.
Pre-wedding engagements
My main memory of how I felt at the time was disappointment at Meghanâs outfits. Where had my stylish young professional gone? Why was she wearing these wide-legged trousers that dragged on the floor with long coats? But I genuinely thought they both did really well. Meghan came across as personable and warm and intelligent. They were clearly in sync. They were a modern young couple and the perfect counterpart to the stability of the Cambridges.
Wedding
I was at uni when the wedding happened. I took the day off work and travelled home for one day to surprise my mum and watch the wedding with her. My auntie called me minutes before Meghan appeared to talk to me because she was watching it and she âknewâ I was on my own in Bournemouth. When Meghan appeared, I literally crawled in front of the TV and sat inches from the screen so I could see her emerge in her dress in all its glory (I was disappointed, ngl). I cried during her wedding. Iâd spent the morning spotting celebrities and Kate was there and the bridal party was fantastic. Meghanâs tiara shone like the jewel she was. Charles, Camilla, and Doria were literally angelic. After the wedding I went to my auntieâs house to watch the FA Cup final (as a family, we always do that and have a BBQ) and I spent all my time on my phone waiting for photos of their evening outfits. I cried again when I saw Meghanâs Stella dress. Itâs one of my favourite wedding outfits of all time. Iâm a super fussy bitch and I had plenty of complaints with the wedding and I have aired them before but it was a truly happy and wonderful day and I was happy and content.
Post-wedding engagements
I know Iâm literally only talking about Meghan but I donât pay attention to Harry so I barely know if heâs there or not. I think Meghan hit the ground running. She did some brilliant engagements during the time post-wedding and pre-Archie. Her patronage choices were inspired and the work she did with her patronages is some of my favourite Meghan work. Obviously, she also created the Together Cookbook, which doesnât need going into. Iâve said it before and Iâll say it again, Meghan would have been the Anne of this generation of royals, quietly getting the numbers and doing fantastic work. Meghan was connecting with people no one else could in a way no one had since Harry himself. She quite literally made the role her own.
Faux Pas
Meghan had teething problems but, most of the time, I put them down to cultural differences. Things like talking about abortion in Ireland â any British person knows not to do that. More importantly, it was a political statement, which is, essentially, âagainst the rulesâ. I think Meghan would have grown out of these, as she was making far less of them already, in the same way Kate, Camilla, Sophie, and Diana grew out of them. I also think the general public opinion wasnât as positive as social media has people believe. I was talking to Cece about this but the Africa documentary went down badly. If it wasnât for Andyâs well-timed interview, I think it would have been a much bigger deal but, as it was, it was swept under the carpet. Donât get me wrong, I think Meghan made some incredible points in the documentary that deserved being aired BUT I never heard anyone in the real world say anything positive about those decisions. I think, during their time together, both Harry and Meghan made mistakes that warranted criticism and I donât think they ever received that criticism becauseâŠ
Press treatment of Meghan
Has every royal woman received incredibly negative headlines? Yes. Has Kate and her family been treated awfully by the press? Yes. Do I find it funny when people make comments like âlook, Meghan touched her baby bump and people hate her and they loved it when Kate did itâ when I had to sit through people talking about what trailer trash Kate was for touching her bump in her first two pregnancies? Yes. Was Meghan compared to Kate in the same way Kate was compared to Sophie and Sarah compared to Diana? Yes. Was Meghanâs coverage actually that different from the coverage Kate got? No. Did Meghan receive worse coverage than any other British royal? Yes. Without a doubt.
Iâve stayed away from talking about race too much. I am a white woman. I look like a âstereotypicallyâ Jewish woman as my family is Jewish. A large proportion of my family is either from the Republic of Ireland or the Irish travelling community. Iâve seen my family be subject to abuse because of their ethnicity. My mum has scars because her house was set on fire as a child because her dad was Irish. Despite that, I have no idea what it is like to experience racism. Iâve had the most closeted white woman life when it comes to matters of race. None of the things I described was racism in the way Meghan experienced it and none of it means I am in a position where I can join in on this conversation. I have spent years learning about racism and every day I find myself coming across something that I hadnât considered, like the idea that Meghan is a good mum for going back to work so quickly is a form of positive discrimination and we should tackle that. I genuinely donât know how much I should get involved in these conversations but I also donât want to add to emotional labour by continuously directing these conversations towards people of colour.
Coming from my position of privilege, Meghan received some truly awful and horrific treatment at the hands of the press and the public. She was humiliated, her family history and private life was raked over, she was blamed for war because she ate an avocado one time? I can only assume Harry is really good in bed because there is no way I would have stayed with him if I had to go through what Meghan went through. Announcing they were suing the press was still the dumbest thing Iâve ever seen though.
BRF & Meghan
The BRF could have â and should have â done more to protect Meghan from the press. However, I think it was naĂŻve to ever assume they would. I could talk until Iâm blue in the face about how it would have helped Meghanâs confidence (and the BRFâs PR) to make a statement like âThe Queen and the royal family are greatly distressed at the treatment of the Duchess of SussexâŠâ. I could talk about how the BRF uses symbolism rather than statements and I watched you all talk about how the Queen loves Meghan because she went on the royal train and had a solo engagement with the Queen so donât pretend for one minute that you all donât know that. I could talk about William releasing a statement (which everyone glosses over but go off, I guess). I could talk about how, if the Queen did not release a statement, Kate couldnât very well have gone off and released one on her own (also, how come itâs always The Queen, Charles, Will, and Kate, where is Camilla?). But thereâs no point. They should have done more. It was a massive oversight not to consider how being a woman of colour would affect Meghanâs treatment after becoming a member of the firm and they had a duty to help protect her. But no one should ever have thought it would have happened. The BRF look after number 1 and that, right now, is the Queen. Thatâs how it has always been. They treated Meghan the same way they treat everyone who isnât in the direct line (also Andrew but thatâs Andrew). As Katie says, anything else would have blown up in Meghanâs face. If I was in charge of the BRFâs PR, I would not have advised them to say anything.
Archie
Archie is a precious angel and I refuse to hear otherwise.
Archieâs birth was poorly handled by Sara but I donât care. It was cute. Archieâs christening was foolishly handled by the Sussexes. I also donât massively care. Itâs miniscule in comparison to the bigger fish at play. Despite that, the only people who would have cared who Archieâs godparents were, are on this site. By refusing to allow the small bit of access the public get to christenings, it annoyed people who barely even know who Archie is. And weâre still talking about it today. I said to a friend recently that most British people only care about royals when it comes to weddings, babies, and money. With a wedding in Windsor, not London, and on a Saturday (meaning no bank holiday), coupled with a messy birth announcement, no âLindo Wingâ appearance, and the godparent faux pas, they missed golden opportunities to help the public fall in love with them and their family. Thereâs a reason the Cambridge kids are always seen after a PR disaster.
Sussex Statement
My opinion on the statement? Massively poorly handled. I think the BRF knew the Sussexes wanted out but did not know the statement would be released. This doesnât contradict anything anyone has said. Harry and Meghan are right to leave. Mentally, and also for their family. They will flourish outside of the confines of the BRF. I also think Harry messed up by releasing the statement when he did. By forcing the hand, the public was calling for them to lose their funding before a decision had to be made (and lo and behold, they lost their funding), rather than being able to release a full statement confirming how much money they would keep. TLDR; good idea, hope it all works out, awfully handled.
Sussex/BRF Resolution
I think it was the best possible solution. Iâm a little shocked they are completely stepping down but, as time goes on, Iâm not surprised. I think the Sussexes clearly expected to be more half in/half out because their website had a whole section dedicated to royal work and supporting the Queen and taxpayer funding. The website used their titles. There are still things to work out (Duchy funding? How will they repay the taxpayers? Will they go to Trooping? Will they answer letters? SussexRoyal) but I think itâs a good middle ground.
Overall thoughts
The Sussexes are right to leave. The way they left was messy af and I blame Harry for that. I donât think Meghan was innocent in how they left but I blame Harry for being so trigger happy. They made some bad PR moves in the last few months: announcing they were suing the press (do it quietly or theyâll just come after you more), the documentary, the statement. I think the press will be after them even more now and I think itâs interesting looking at how many times weâve seen Meghan papped in Canada this year compared to the times we saw her papped in the UK since 2017. I also think, long term, they will lose their star power and become Reese Witherspoon levels of famous. Everyone knows who she is, most people like her, she does some good philanthropic work, she gets freebies, thatâs pretty much it. Meghan and Harryâs appeal (and this goes for every single royal) is in the fact they are royal. Without the connection to the BRF, theyâre just rich people preaching.
Iâm also very sad. I thought Meghan would come back, post maternity leave, with a new project and put everyone else to shame. I thought she would take on new patronages, do a solo overseas visit, and generally flourish as a young working mum. We will see far less of her than we thought we would. I doubt weâll see little Archie much at all. As for Harry, I can officially say that the most amusing and upsetting thing to come out of this has been seeing good, kind, left-wing people brown nose a rich, privileged, racist, quite frankly dangerous white man because he married a good woman. I think he will struggle more out of the royal bubble than in it because heâs lost the little structure he had.
Harry was always going to leave the royal family. Meghan might have been a catalyst, but she is not the cause. There is nothing the BRF could have done â no statement â that would have stopped him. He did a whole interview about how much he hates being a royal and then said the public need royals. In his new life as a whatever he is now, my biggest worry is that he will spend more time talking publicly about issues like mental health, without understanding what he is saying. I hope Iâm wrong and that he flourishes and becomes a force to be reckoned with. But, while I know Meghan will do brilliantly, I have no idea what heâll do.
Meghan, Archie, I hope you flourish. I canât wait to see what you do next. Harry. Sayonara, biatch.
A final update
I thought I should give my thoughts on this now â mid-February â after the dust has settled. I genuinely miss a lot of the people the Sussexes brought to the fandom. I miss planning outfits for Meg to wear to events, I miss predicting what Meghanâs next patronages might be. I miss seeing Meghan interacting with the public, because that was where she shone. We now know the Sussexes will formally split on March 31st, after a final set of engagements. Iâm super looking forward to these engagements and judging the vibe from everyone there. We also know itâs likely they will have to rebrand (my bet is Sussex Foundation) and Iâm assuming this rebrand will happen in April/May time, possibly around their anniversary. Honestly, I was expecting to see more of them. I was expecting more posts on their Instagram about private visits to charities. I was definitely not expecting them to jump straight to JP Morgan and start attending exclusive events. Rich people going to rich people, I guess. Despite that, Meghan and Harry could start a business selling rubber ducks and, quite frankly, itâs none of my business. If we never see them again, thatâs their choice as private citizens and I have to respect that. Iâm still fascinated to see how this will all turn out but they are now free to live their own lives and, because of that, Iâm going to live and let live.
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If You Donât Love Me, Pretend - Chapter One
itâs finally here, lads. buckle up, because it will be a long one. updating schedule is (tentative) weekly
read on ao3
Words: 12.1kÂ
Summary:Â All his life, Dan has wanted to have the chance to be a parent someday. He would be the best parent that ever existed, he was sure of it. Fostering might not be the most traditional way on the road to parenting, but Dan's dead set on doing it anyway. But, well, it would be easier with a co-parent, right?
the self-indulgent, bed-sharing, fake relationship, friends-to-lovers, parent fic i was desperate to read; when i shouted into the void and was met with silence, i decided i'd do it myself
Warnings for this chapter: swearing, references to child abuse
If there was one thing that Dan had learned while working within the education system is that life sucked; and if youâre a kid, it seems to suck a lot more, just behind closed doors. He didnât know if he was just jaded because he was an adult, and therefore life seemed to suck endlessly for him, or if it was because of the job he was stuck in. Being a school counselor hadnât been exactly where he thought his career was going, but it was a job and it paid the bills, so he stayed.
Thatâs not to say he was unhappy with his job. Quite the opposite, actually, because if there was one thing he enjoyed, it was being useful, and helping students sort out what they wanted out of their lives felt like being useful to him. But, like every job, there were things he didnât enjoy about it, specifically how hard it could be some days.
Today was one of those days.
A student, a sophomore girl called Charlotte, had come into his office during her study hall. He hadnât been at all prepared for the conversation that followed.
âWhatâs up, Lottie? Howâs band going? Did you land the flute solo in the winter showcase?â He had said cheerfully as he ushered her inside.
She shifted awkwardly in her seat, never taking her eyes off the floor, which was strange, even for a shy girl like Charlotte. âUm, yeah⊠Yeah, I got the solo, but IâŠâ She begins mumbling, ducking her head down so that he canât understand a thing sheâs saying.
âCharlotte? Whatâs going on?â He spoke softly and encouragingly, not wanting to pressure her, but wanting her to be honest with him if there was something bothering her.
They sat in silence for a few minutes, Dan studying the shaking girl for a few beats before he realized she was crying. He quickly pushed the box of tissues towards her, encouraging her to take one. âIâŠâ She starts quietly, choked up.
âCharlotte,â he speaks gently, causing her to look up at him, her eyes red and watering. âI canât read your mind, sweetheart. I wonât know how to help if you donât tell me whatâs going on.â He gestures to the tissues before settling back in his chair slightly. âTake your time, just know Iâm here to listen.â
Itâs a few agonizing moments of silence before she finally speaks. When she does, itâs not what heâs expecting in the slightest. âTheyâve been hurting me.â Her voice is almost entirely inaudible, but Dan catches it in the complete silence of the room anyway, although after he processes what sheâs said he wishes he hadnât.
âWho?â he asks, swallowing around the growing lump in his throat uncomfortably as he tries desperately to hope that she doesnât mean what he thinks she means. He had been expecting bullies in her classes, or a break up, or maybe even just bad grades. He had not been prepared for this.
âMy mumâs boyfriend⊠and, well, I guess her tooâŠâ She trails off, but her eyes immediately snap back up to his. She rushes to clarify, âshe hasnât touched me, but she...â
Dan clears his throat, straightening up in his seat. âWhat does she do when he does this?â He asks gently, his voice serious.
Charlotte looks down again, her blonde hair falling over her face, before whispering, âNothing. She does nothing.â Sheâs fully crying again, and he suddenly realizes sheâs got a hand covering her wrist tightly. He gets a horrible, sick feeling in his stomach as he rises, moving around the desk to sit beside her.
âMay I?â He asks softly, gesturing to her hand.
She studies him for a moment before nodding hesitantly. She tugs the sleeve of her shirt up slowly, and Dan suddenly feels himself go lightheaded. There are purple markings all around the wrist of her left hand, and he can tell thereâs some further up her arm.
He clears his throat twice before speaking, trying to recall exactly what he needs to do. Call the police, for one. Child abuse was entirely illegal, obviously, and since she came to him with the information voluntarily he had to report it to the authorities. He hated to think about what kind of effect it would have on her, though. Heâd been reading up on foster care more and more recently, as he had always wanted to do it himself, but he was sickened to think that this girl might end up in a bad home.
âWeâll have to report them to the authorities. Youâll have to tell them exactly what youâve told me. Do you think youâll be able to do that?â Dan asks her seriously, watching her face for any signs of regret or fear. Surprisingly, she does look frightened, but almost determined, too.
âYes. I have to. My brother⊠my little brother gotâŠâ She bites her lip, which had been trembling furiously the whole time. Dan hands her another tissue and gently rubs her back in a soothing pattern. âHe got hit last night. I canât⊠I canât let that happen again.â
Dan nearly chokes, his own eyes beginning to water. He had met her little brother Andrew at the beginning of this year when Charlotte had gotten in trouble for being late for school. She was walking him to the primary school just across the street since their parents had just dropped them both off at the secondary school building. When one of the teachers on duty saw this, heâd had a fit and tried to give her a detention, but Dan had stepped in and suggested that maybe they look at it from a different angle. The child had been terrified and clinging to Charlotte the whole time, thinking it was his fault that his sister was in trouble.
He was so furiously against any kind of child abuse or neglect, and the idea that her sweet little brother, who was barely six years old, had gotten hit by this man⊠well, it made Dan sick. He tried not to show his emotions to the girl, since he was supposed to be the mature, responsible adult in this situation.
âYouâre very brave for telling me about this, Charlotte. I just want you to know that this is going to be difficult, but you did the right thing. Iâm going to get Mrs. Pentland and let her know that weâll be calling the police. Can you sit in here until I get back?â He asks the girl, rising from his seat when she nods slowly.
Just as heâs walking towards the door, she speaks up again. âCan IâŠâ She stood up unsurely, and without her even speaking, Dan knew that she just needed a hug.
âOf course,â He said gently, wrapping his arms around her. He gently patted her head, his heart breaking as she cried in his arms. He hated this part of his job, seeing kids so young being so hurt.
âThanks.â She whispered when she finally stepped away, rubbing under her eyes. âReally. Thank you, Mr. Howell. I donât think I would have been able to tell anyone else.â
Again, Danâs heart broke for her. He didnât let her see that, instead smiling briefly and reminding her heâd be right back before stepping into the hallway to find their headmistress and let her know what had happened. He takes a minute to be fifteen again, hear the boom of his fatherâs voice and doors slamming, hard, before shuffling down the hall, off to do his job to the best of his ability.
~~~
When Dan finally manages to leave work that evening, heâs exhausted. The talk with the police and the case worker who had come along was long and tiring, but more so for Charlotte and her brother Andrew, he was sure. He felt awful about the whole thing, but sadly it was out of his hands. The case worker told him it was likely that they would be removed from the home and placed either with a family member or in a foster home. He tried his best to argue with her, saying that there was no way they could know if the foster home would be any better.
She subtly told him to mind his own business.
As heâs shoveling his papers into his messenger bag, his phone beeps with a text. Heâs unsurprised to see that itâs from his best friend.
Phil: Mario kart marathon tonight?
Phil: Iâll buy pizza
Dan barely smiles at the message, but heâs too tired for any gaming. Pizza, however, did sound good. He texts him back before he finishes gathering his things.
Dan: raincheck on mk but dominos sounds good Â
Danâs not even surprised when his phone beeps again less than a minute later.
Phil: uh oh Â
Phil: Rough day? Â
Dan: you have no idea
His phone doesnât immediately go off again, so he finishes gathering up his things and heads out, locking the door to his office on the way. Heâs unsurprised to see that Louise, the headmistress and one of his close friends, had already left for the day. She had two kids, one being a new baby, so he wasnât surprised that she had wanted to get home to them as soon as possible. He sighs, because as usual, heâs the last person to leave. Itâs almost sad, but he likes to think itâs because he just really cares about his job and not because he doesnât have a social life.
Walking to his car, he groans when his phone begins to ring. He pulls it out as he unlocks his car and tosses his bag in, sliding the answer button when he sees who it is.
âHey,â Philâs quiet voice fills the line. Dan can tell heâs trying to be careful and gauge his mood, considering Dominoâs was usually their comfort food when something particularly bad had happened.
âHi,â Dan responds, slamming his door a little too harshly before starting the car and pulling out of the parking lot in one quick motion. âSo, Dominoâs okay with you?â he asks tentatively, unsure if Philâs offer to hang out still stands if Mario Kart is off the table. He seriously doubted it, but he feels like he canât blame Phil if he wants to skip out on this particular mood that heâs in.
âOf course. Iâll order it to be sent to yours and meet you there in about fifteen?â Phil sounds soft and gentle, and Dan finds himself wanting to cry all over again after the day heâs had.
âYeah, okay. You may beat me there, Iâm just leaving work.â Dan would never turn down a chance to hang out with his best friend, even if his day had been shit and he was feeling like heâd be the worst company in the world.
âAlright. Want me to set up a movie?â Phil knew him so well, he wasnât even questioning that Dan wasnât in the mood for video games, and just accepted that this was one of those times where Dan just needed some passive entertainment and a load of carbs.
âYeah, something I can cry over.â He suggests, looking at his side mirror before making a turn. He doesnât elaborate, and he knows that Phil will understand, he always does.
âOkay. See you there.â He waits for Dan to respond in a similar fashion before the line goes dead. Dan sighs, setting the phone down on his lap, chewing his lip as he drives home. His thoughts are clouded with the events of today and his chest feels entirely too heavy. He knows that if he can just have a minute to cry it out, heâll feel better.
When he gets to his flat, heâs unsurprised to find the door unlocked, the sound of the tv greeting him as he walks through the door. âIâm home!â He calls out, so he doesnât freak Phil out when he walks into the lounge. He drops his bag off in the dining room, tossing his jacket onto the back of one of the chairs, rolling the sleeves of his button-down shirt up as he walks up the stairs into the lounge where he assumes Phil will be.
He smiles almost against his will at the scene he finds. Phil is curled into one end of his sofa with his laptop out, probably ordering the pizza, Danâs fuzzy blanket covering his lap, his glasses askew on his face. Heâs wearing an ugly sweater that he probably thought was really cool, which Dan finds endearing, if slightly annoying. He looks up as Dan enters the room, a small smile covering his face.
âHi,â Phil says softly, studying Dan, as if heâll be able to tell what had happened today just by looking at him.
âHi,â Dan mimics, walking over and dropping onto the sofa beside him. He drops his head onto the backrest, staring up at the ceiling, feeling Philâs stare burn into him.
Thereâs a moment of silence before Phil decides to prompt him again. âSo,â he says, lightly knocking his knee against Danâs. âDo you want to talk about whatâs got you so upset?â
Dan shakes his head slowly, his eyes not straying from the spot of ceiling heâs currently memorizing. He knows he should, and that if thereâs anyone he can talk to itâs Phil, but he feels like if he opens his mouth to speak, heâll start sobbing. Heâs not sure heâll ever stop if he does.
âOkay,â Phil says slowly, shifting. He seems to be pondering something before he taps Danâs thigh. âWould you like some tea?â
He very nearly rolls his eyes at this suggestion; theyâre so British it hurts sometimes. Instead, he shrugs. âHot chocolate?â he requests softly, glancing over at Phil, hoping that his best friend will take sympathy on him and make him a mug.
Phil grins as he stands up. âComing right up, with four marshmallows.â
Danâs relieved to be left alone for a moment, watching as Phil retreats downstairs to the kitchen. Itâs not like he really wanted to avoid discussing what had happened, he just felt that he needed a moment to process it in the comfort of his own home before sharing it.
He doesnât have to wait long before Philâs elephant feet are stomping up the stairs, two mugs of hot chocolate in his hands when he enters the lounge. He hands one to Dan before settling onto the sofa, pulling the blanket over himself before looking at Dan expectantly. âSo?â he says gently.
Dan knows he isnât about to force him to speak about it if he really doesnât want to, but he also knows what Phil knows; it would be so much better for him to speak about it to someone, and the only person he could really confide in was right there. Still, heâs silent for a minute, swallowing hard before whispering, âI had to report a girlâs parents to the authorities for child abuse today.â
His words sit heavy in the air between them, and Dan feels as if heâs suffocating under their weight. He takes a deep, steadying breath, or tries to, at least. It comes out staggered, and he squeezes his eyes shut, refusing to cry. He hadnât watched a sad movie yet. Dan didnât just sit around crying for nothing, at least not with company. His mind laughs at this, supplying the idea that Phil has seen him in much worse shape before. Dan kindly asks that little voice to take a hike.
Phil clears his throat, and when Dan tilts his head to look at him, heâs surprised to find Phil looking out the window, his mouth set in a thin line. He hated the idea of child abuse as much as Dan, and Dan suddenly feels guilty about telling him. He didnât want Phil to feel sad or guilty over it, since it wasnât his problem. Just as he opens his mouth to apologize for bringing up such a heavy topic, he feels Philâs hand come to land on his leg, just above his knee.
Danâs gaze drops to his hand, and Phil squeezes gently, causing Danâs gaze to dart up to his.
Phil smiles sadly. âIâm so sorry you had to do that, Dan. I⊠I canât imagine what that must have been like.â His friend sounds so sincere, and Dan has to look away, trying to get a grip on his emotions.
âIt sucked,â He whispers.
âI know.â Phil responds, squeezing his leg again. He goes to speak again, but just when he does, they hear a loud buzzer, indicating the pizza delivery guy is there. Phil releases his grip to stand and goes to buzz the guy into the building. âIâll be right back,â he says quietly before taking his wallet and going downstairs to get the pizza and pay the delivery guy.
Dan sighs before rising to go change out of his work clothes. He was already beginning to feel uncomfortable in the stiff-collared shirt that he was wearing. Unbuttoning it as he trudges down the stairs, heâs a little too lost in his head to realize that Phil is turning the corner with the pizza boxes before they nearly run into each other.
âSorry, I wasnât paying attention,â Dan mumbles, going to steady the boxes in Philâs hand. He had ordered pizza and chicken nuggets, as well as cookies. He must have predicted how bad Danâs day had been while they were on the phone, which Dan is grateful for.
âItâs fine. Go change, Iâll grab us something to drink.â Phil glances down at Danâs hands, which are still undoing buttons, and Dan flushes when he realizes that heâs basically just walking around stripping. He avoids Philâs eyes as he ducks into his bedroom to get his pajamas on. He reminds himself that Phil has seen him shirtless, they used to live together, after all. That had been so long ago, it seemed.
Back when Dan was contemplating dropping out of uni and Phil convinced him to switch majors instead. His family hadnât been thrilled of course, but Dan knew that if it hadnât been for Phil, he wouldnât have finished university at all. Or finished anything at all, for that matter.
Dan had been in an incredibly bad place for years when Phil came into his life, and the raven-haired dork would probably never realize how drastically he had changed Danâs entire life. But after living together for about three years, Dan had moved into his own place. Although it hadnât been life-altering in terms of their friendship, things had been really weird and hard to adjust to at first, although Dan definitely didnât regret it now. He had gotten a fairly good deal on his current flat, and they lived close enough they saw each other nearly every day anyway, just like best friends do.
By the time Dan manages to get into his pajamas and work himself out of his thoughts and up the stairs, Phil has already got their plates out and drinks poured. Dan smiles tiredly as he drops to the sofa beside him, tugging the chicken nugget box towards him and tearing the lid off, making Phil roll his eyes.
âI cannot believe you still do that.â His voice is light and teasing, which Dan thinks is good for while theyâre having dinner. He canât handle heavy conversation while heâs trying to eat.
Shrugging, Dan nods to the tv. âWhatâre we watching? Did you pick out something good and sad?â He tries to joke, but his voice sounds flat, even to his own ears.
Phil shrugs, studiously avoiding Danâs gaze as he organizes their fair array of dips on the coffee table. âYou can pick something else if you arenât up for it.â He shrugs again.
Slightly suspicious but not enough to be alarmed, Dan tosses the trash from the boxes heâs ripped apart to the side, looking at Phil again. âIs it The Notebook?â When Phil shakes his head, Dan shrugs and turns to the dips, peeling off the lids. âThen itâs fine.â
After a moment, Phil sighs and grabs the remote, pressing play, causing the previous screensaver to change to the movie heâd picked. Dan almost chokes when he realizes what it is, but he shrugs when Phil looks at him in concern. âThis is fine. I like this movie.â His lip curls up into a small smile, but he knows his dimple isnât showing.
âWe can change it. I wasnât thinking about- I didnât realize what had happened today, Dan. I seriously donât mind if you want to change it.â His best friend shifts on the sofa, trying to catch Danâs gaze.
âItâs fine. I havenât seen this in a while, and itâs a good movie. Sandraâs a good actress, even if she looks weird as a blonde.â He tries to crack a joke, but Phil doesnât react.
After a few minutes where Dan is actively avoiding looking at Phil as Phil does nothing but stare at him, he hears the older man sigh, before pressing play, allowing the movie to begin.
Dan glances at the tv, then at Phil, sending him a small smile, assuring him that heâs fine. Phil smiles back, although it doesnât quite reach his eyes. Dan knows his friend is just worried about him, but he feels that just avoiding how he feels about what happened will just be counterproductive. At least, thatâs probably what his therapist would say.
So instead of digging himself into a hole of sadness and guilt, he sits back with his plate of delicious food on his sofa with his best friend and tries to enjoy The Blind Side in all its glory.
~~~
An hour later, and Dan is slightly reconsidering his earlier thoughts. The food is long gone by now, so Dan is left with nothing to distract himself with from the emotional aspects of the movie. He had already teared up at the scene where Michael said he had never had a bed, and now his eyes were threatening to spill over again as the graduation scene is happening.
Phil has noticed, and while he tries not to be so obviously worried, at one point he pulled Danâs legs into his lap, which Dan has to admit does help slightly, if only because the physical contact tethers him to something real and tangible in this world. Dan tries not to sniffle too loudly, but heâs not sure how well heâs doing, given Phil is shooting him glances every few minutes.
Graciously, Phil allows him to cry in quiet, but he crushes any hopes that Dan had that he hadnât full noticed when he hands him the box of tissues that Dan keeps on the end table beside Phil.
âThanks,â he whispers wetly.
This time, Phil doesnât even bother pretending heâs paying attention to the tv, keeping his sole focus on Dan. âAre you okay?â He asks softly, one arm coming up on the back of the sofa while the other rests across Danâs calves.
Dan nods too quickly, and Phil tilts his head at him in disbelief. Sighing, Dan tilts his head to rest against the back of the sofa and studies a thread coming out at the top while he ponders over Philâs question. âI want to foster.â He announces quietly.
Philâs eyebrows furrow at this, and he glances at the tv. The movie is coming to an end, so he apparently decides itâs fine to put the sound on mute for this conversation. âLike you want to be a foster parent?â Phil asks for clarification, studying Dan in that careful, attentive way that he has.
Dan wraps a clean tissue around his index finger as he nods, still avoiding long periods of eye contact with Phil. âYeah. I want to help kids who donât have anyone. I just⊠I get so mad at them, Phil.â He seethes, steadily becoming more emotional and enraged as he just thinks about Charlotteâs situation, and others like hers. She certainly wasnât the first person who had come to Dan about something like this, but she was the first who he hadnât expected, as he had seen no warning signs prior to that.
Phil rubs circles onto Danâs calves, seemingly without noticing it, his eyes focused on Danâs face. âMad at who, Dan?â Phil asks, his expression slightly confused.
âThe parents, Phil. All these shitty fucking parents who donât know how to take care of their kids. I could do so much better than them. I just⊠I feel like Iâm not doing enough with the career Iâve got. I want to do something, you know? I want to make an impact in someoneâs life.â Dan is slightly aware of the way heâs basically rambling at this point, but he isnât quite sure where to stop.
Phil looks unsure as he speaks. âDan, you have an impact on the lives of all the kids you work with.â He hesitates before his eyes drift to his hands, on Danâs legs. âYouâve had an impact on mine,â He says softly. Dan isnât sure he heard him right, so he moves on.
âThat doesnât count.â He thinks he sees a flash of hurt on Philâs face before itâs quickly covered up by a look of concern. âI know that what Iâm doing at the school isnât, like, a total waste of time, but I just⊠I just want to do more. I wantâŠâ he takes a deep breath before continuing. âI want to be able to be someoneâs parent because I want to be the kind of good parent that mine never were.â His voice is near inaudible by the end of that, but he knows Phil has heard by the way his face falls, a soft look coming over his features.
âOh, Dan.â He sighs, shifting closer to Dan so that the younger boy is nearly in his lap, wrapping his arms around him in a tight hug. Dan hadnât realized how desperately he needed that hug until he feels Phil breathe, and then feels as his hand comes up to stroke his back soothingly.
And then, Danâs crying, just like he figured he would tonight. It had been a long time since heâd been held this way, but Phil was his best friend in the whole world, and so if anyone was going to be there for this slight meltdown, he was glad it was Phil. His best friend gently rubs his back with one hand, the other petting his hair. Dan wraps his arms around Philâs torso in response, openly sobbing at this point.
Dan isnât sure how long they sit like that, with Phil whispering that everything would be okay, before he finally realizes how gross he feels, gently disentangling himself from Phil, putting some space between them as he wipes at his eyes. âThanks,â Dan says wetly. âI think-â he pauses, his eyes widening as his attention suddenly drawn to the stain on Philâs jumper from his snot and tears. He brings his own sleeve up to his nose, wiping away the snot heâs embarrassed to realize has collected there. He canât help but make a face, waving the sleeve as if thatâll clean it off. âEr- sorry about your jumper,â he mumbles.
âItâs fine. I know you think this oneâs ugly anyway. Probably did that on purpose, if I had to guess.â Phil jokes quietly, causing Dan to laugh before gently shoving Phil in retaliation.
âNope, you have no proof of that.â Dan shrugs innocently.
Phil quirks an eyebrow before gesturing to the jumper to indicate that it is the evidence, and Dan only shrugs in response.
They sit in silence for a few moments before Dan finally speaks up again. âI think⊠I think tomorrow Iâm going to call a fostering agency.â He says softly, looking down at his hands.
Phil looks at him, nodding slowly. âYeah?â He prods gently, waiting to see if Dan would elaborate.
He does. âYeah. Iâve⊠Well, Iâve actually looked into a few already, but Iâm going to call one tomorrow and see if I can get the process started. I read that it can take up to six months, and I really want to do this.â He chews his lip before speaking again, glancing up at Phil timidly. âYouâll, like, still hang out, right? Like, this wonât completely destroy our friendship if I do this?â He asks, worrying his lip as he waits for an answer.
Phil frowns. âOf course, it wonât. Dan, if you want to do this, I support you. Iâll be there to help you, whatever you need. Okay?â He ducks his head to catch Danâs gaze.
Dan nods slowly, smiling tiredly. âThanks, Phil.â He glances at the tv, which has long since turned off due to inactivity. He checks his phone on the table next, surprised to see that itâs already pretty late, and heâs had a long day. âI think Iâm gonna head to bed. Are you staying over?â
Phil checks his own phone, shaking his head. âNah, Iâve gotta be at work kinda early tomorrow, donât wanna wake up even earlier to get home and get ready.â He stands up, glancing down at Dan. âUnless you need me to stay?â He studies Dan intently, his blue eyes searching for any hint of uncertainty.
Dan shakes his head quickly before standing as well, clearing the coffee table. âNo, itâs fine. Iâm fine. Just needed a cry, I guess.â He shrugs casually before nodding to the table. âMind helping out before you leave?â
Phil nods, bending to collect the dishes they used while Dan gathers up their trash. Phil heads downstairs to the kitchen to drop off the dishes while Dan tosses the trash into the bin. After washing his hands, he finds Phil already by the door, tugging his shoes on. Dan holds his keys out for him, smiling when Phil studies him with a frown on his face, clearly worried.
âIâm fine, Phil. I promise. Just had a bad day, thatâs all. And we watched a freaking sad movie. But Iâm fine.â Dan pushes the keys into Philâs hand before opening the door for him since heâd have to lock it behind him. Although Phil had a key, Dan always preferred to do it himself, so he knew for sure it was locked. He was paranoid like that sometimes.
Phil seems to take a moment to consider what Dan said before stepping through the door. He turns back around to say goodbye and catches Dan slightly off guard when he pulls him into a hug. Neither of them had anything against showing physical affection, as being best friends for nearly ten years definitely did that for a person. Still, it wasnât often that they hugged each other goodbye.
The surprise doesnât stop there, however, as before Phil steps away, he brings his lips up to Danâs forehead, pressing them lightly against his hairline, so briefly that Dan would almost think heâd imagined it, if it werenât for the unmistakable feeling of lips against his skin. âNight, Dan. Call me if you need anything.â And with that, Phil is off, down the hall and out of sight before Dan can even close the door.
After locking it and setting the alarm, he stumbles to bed in a daze, his head swirling with a million different thoughts. The loudest of which, shouting Phil just kissed you! On the forehead, but he kissed you! The thought isnât entirely unwelcome, as heâs still processing the oddity that that level of affection between them was. With that thought, others begin flooding his mind, most of them flashbacks to a different time, nearly ten years ago, an October full of first meetings and uncertainty and flirty banter and warm smiles.
While that time seemed so far away now, this eveningâs events were causing a whole barrage of memories long since buried in Danâs mind to resurface. He tosses and turns in bed, struggling to find a good, safe place to let his thoughts drift to as he tries to sleep. One thing is certain, though. After all that thinking, Dan goes to sleep that night with thoughts of blue eyes and Ferris wheel rides swirling in his head.
~~~
The next day is a Thursday, and Dan is nearly bursting with nervousness as he settles into his office for the day. Heâs already checked with Louise about Charlotteâs situation, but she didnât know much. They were informed that Charlotte and her brother wouldnât be in school for a few days, but that was it. It was incredibly ineffective to yank the children out of their routine, Dan thought, but it wasnât like he had any real control now. It was entirely up to the case workers and the system now.
He sighs as he sorts his paperwork out on his desk, fishing out the things heâd need today for the few meetings he had, as well as a black journal that he had been keeping all the information heâd found about fostering. There wasnât much to do at the moment, given he had about an hour before his first meeting of the day, so he decided to go through and pick a foster company to start the process with.
After scanning the websites of the three companies he had on his list, he eventually decides to go with one called Bridge the Gap, partially because they had earlier office hours than the others, but also because he liked the layout and design of their website. Leave it to him to be nerdy enough to consider graphic design when going into a situation like this. He double checks that his door is firmly shut before dialing the number on his cellphone, his stomach twisting with nerves.
The phone rings twice before a cheery voice picks up. âBridge the Gap Foster Care, this is Kacey, how can I direct your call?â
Dan stumbles with his response, as he hadnât expected such a prompt and efficient person to pick up the call. âUh, yeah. I need to speak with a case worker about fostering? Er- Iâd like to start, I mean, and so⊠Yeah.â He finishes lamely, clenching his eyes shut in frustration at how totally unprepared he feels.
The girl on the other end just laughs good-naturedly. âThen youâre in the right place. Give me just a second, and Iâll put you through to one of our caseworkers.â Dan responds with an affirmative, and then the sound of soft music begins playing. He perks up when he recognizes the tune as Clair de Lune. Just from that, he decides that heâs made the right decision. He begins doodling on the large calendar on his desk, a dog, and then a cat, followed by little stick children. He stops when he realizes heâd unintentionally drawn two children, a boy and a girl, beside a little figure of himself.
The wait isnât too long, and before he knows it, the music is drifting away, and another voice is speaking. âGood morning, sir, I was told you were interested in speaking to someone about becoming a foster carer?â The voice is Irish, which takes Dan aback for a second, as the other girl had been incredibly posh.
âEr- yes. My name is Daniel Howell and I read on the website that this was the best way to get started?â He doesnât mean to make it sound like a question, but it absolutely sounds that way. He has to remind himself to stop worrying so much about how he sounds. This person doesnât know him yet, no need to freak out any more than he already is.
âWell, hello, Daniel, my name is Hazel Hayes, and Iâm glad you called. It definitely helps to get the process started over phone rather than in person, so we have time to gather paperwork and things like that. So, have you done any research on foster care yet? Or are you calling to get more information?â Her voice is friendly but serious, as if sheâs done this long enough to gauge that itâs usually one of the two options.
âIâve actually done my research this time,â Dan laughs softly. âIâve always felt pretty strongly about wanting to do this, and Iâm not exactly getting any younger.â
Hazel laughs good-naturedly with him, and he hears the sound of papers shuffling as if heâs on speaker. His anxiety spikes slightly at the thought before getting over it. This person doesnât know him, itâs ridiculous to be paranoid about his voice. âRight, right. Well, normally I like to ask a few questions, and sort of go from there seeing if you qualify to start the process. Is that alright with you?â
Dan nods before realizing she canât see him. âYes, thatâs fine.â He sits back in his seat slightly, crossing one ankle over his other leg. Might as well get comfortable if heâs about to be interrogated.
âRight, so how old are you, Mr. Howell?â Hazel sounds friendly but business-like, and he wonders briefly how much she has seen in her line of work. She sounds happy and nice but working in the foster system had to have its downfalls.
âIâm twenty-seven.â He responds, glancing around his office absently. He needs to get some photos or something to put in here, he realizes as he studies his sparse desk. Heâs got motivational posters and some bookshelves in this room, but itâs fairly impersonal otherwise. The only picture he does have is a selfie of himself and Phil from a holiday they took to Japan a few years back, and thatâs attached to his filing cabinet with a magnet.
He tunes back into the conversation when Hazel asks another question. He barely catches the humming sound she makes when he tells her his age, but heâs more prepared for the next question. âAre you employed, Mr. Howell? And if so, could you give me a range of your income?â
âI am. I work as a guidance counselor at Queensbury Secondary School,â he pauses before responding with his salary, which admittedly wasnât too impressive, but it was enough for him. Hazel makes a similar noise as she had before, which is beginning to make him slightly nervous.
âRight⊠Okay, a little different now, but how would you say your support system is? Do you have family, perhaps some close friends who would be available for support within the home?â Hazel questions, sounding almost as if sheâs bringing the questioning to an end. He was surprised, as he had expected something fairly different during this call.
âOh, um. My familyâs in Reading, actually.â He hesitates, unsure if this is really something she needs to know. âAnd Iâm pretty introverted generally, so uh, Iâve got a couple of friends who would probably be my support system, I guess.â He hates how hesitant he sounds, but heâs unprepared for this kind of question entirely.
âWell, Mr. Howell,â Hazel begins, sounding like sheâs about to deliver some sort of unfortunate noise.
Dan canât stand the anxiety he feels, and he cuts her off. âCall me Dan, please.â He feels as if sheâs about to dash his hopes, heâd like to be addressed by his first name.
âDan, I want to be honest with you.â Hazel suddenly sounds far less happy, and more tired now, as if sheâs drained. âItâs hard to find good foster parents these days, you probably realize this if youâve researched it. That said, there are certain⊠qualities, I suppose you could say, that generally ensure that a potential foster carer will be more likely to be approved.â
This sounds a lot like one of those speeches where someone is let down gently, but Dan wants the cold, hard facts, not bad news wrapped up in a pretty bow to distract from the fact that itâs still bad news. âIâm not sure I follow. From everything I read, there wasnât much you could get disqualified for. Sexual orientation, religion, even the factor about employment didnât appear to be a problem.â He feels as if heâs jumping the gun with how defensive he sounds, but he honestly canât help it. Heâs wanted this for so long, it wasnât fair that it could just be taken away so quickly.
Hazel sighs as if she expected this to be his reaction. âI understand, and thatâs not quite what Iâm saying.â
Thereâs a pause, and Dan drops his leg, leaning forward to prop his elbows on his desk, one hand holding the phone up to his ear while he places his chin in the other. âWell, please, feel free to elaborate.â He says almost bitterly.
âThe factors you mentioned donât disqualify someone, youâre right. And Iâm not saying you are disqualified, but there are factors that can make getting approved harder, and I wouldnât want to allow you to start this process with false expectations.â She pauses as if sheâs waiting for him to process before she continues. âThe fact that youâre quite young, by our standards at least, is something to consider. The age is twenty-one and up, but generally the people who get approved the fastest are people who are around thirty or older. Another huge factor is support. This isnât like fostering puppies, Dan. You will have a childâs life in your hands, and itâs crucial to have a healthy support system around you in order to make sure that you are able to take care of the child to the best of your ability.â
Dan is reeling, as this feels an awful lot like a rejection. His thoughts are racing, stumbling for something, anything that can fix this. Hazelâs talking again before he can think of anything to intervene with.
âAnd the fact that youâre single, well⊠We donât discriminate on the basis of relationship status, but typically couples who decide to foster are generally approved easier than singles, simply because of the fact that two parents allow for more reprieve and a better support system for the childâŠâ
Danâs sure Hazel keeps talking, but heâs stuck on what she said about him being single. He knows sheâs right, but she hadnât asked, and he hadnât said any different. His conscience is screaming at him not to do what heâs thinking of doing, but he shoves that little voice in a drawer in his mind, blocking it out. He thinks itâs a shot in the dark, sure, but he did have someone who had promised to support him and do anything he could to helpâŠ
âWait, wait. Sorry, there must have been a misunderstanding. Iâm not single.â He interrupts Hazelâs train of thought, his heart now racing as he waits for a reaction. His stomach churns uncomfortably, and he tries to tell himself itâs just the waiting for her response, not because he feels guilty about lying.
âOh. You arenât?â Hazel sounds slightly surprised, and he almost feels offended.
âNo.â He says slowly and easily, trying to force himself into sounding as casual and natural as possible.
âMy apologizes, I just assumed- since you didnât say anything when I asked about your support system-â Before she can get much further, he interrupts her yet again.
âWell, yes, but you didnât ask specifically about partners. Itâs my bad, really, I think I just misinterpreted the question.â He lies easily, almost too easily, but heâs relieved that she doesnât seem to notice.
âOh, thatâs great. Not that it would have been impossible to foster otherwise, but you sound like youâve done your research, and we really need more people who truly care about doing this for the greater good. And I know that sometimes there are just setbacks for people who arenât⊠well, anyway. I assume this means youâll be fostering together?â She asks, her cheer restored in her voice as she speaks.
Dan shakes his head, surprised at himself for what heâs about to do. At least the little voice in his head has finally shut up. âYes, we will. My, uh, fiancĂ©, and I will be co-fostering.â
âLovely. Well, the next step in the process is to attend an information meeting here at the center. I can email you about dates and times, and you and your fiancĂ© can decide on something and just let me know.â The sound of typing fills the line, and Dan can only assume that sheâs pulling up her email. After telling her his address, she takes a moment before responding. âOkay! Thatâs sorted, so you should see an email soon. Thank you for calling, Dan, and Iâm looking forward to hearing from you soon! Have a great day!â
Dan responds slightly less enthusiastically before dropping his cell phone to his desk, following it with his head. He gently bangs his head on the smooth surface several times before thereâs a knock on his door. âItâs open,â he calls out, trying to settle his expression and his feelings with a sigh as he sits up to greet his guest.
Louise ducks her head in, a smile on her face. âReady for the meeting at nine?â She asks in that happy, motherly way she has when sheâs trying to keep him organized and on schedule. He nods tiredly rubbing a hand down his face, but she must assume itâs because of yesterdayâs events, and not due to the fact that he just destroyed his life over the phone. âGood. The boyâs parents should be here then, and weâll call him in from class to discuss the scholarship and everything in my office.â She smiles once again before giving him a look. âItâll be okay, Daniel, I promise.â
Dan tries to smile back at her, nodding. âI know, Lou. I know.â He watches as she pulls the door shut as she leaves, before dropping his head back to his desk. After allowing himself a few moments of self-pity, he picks up his phone, deciding to go ahead and face the inevitable. Dialing Philâs number feels a little like walking towards the edge of a cliff to his imminent death, and he selfishly hopes that he doesnât answer.
Sadly, whatever gods or beings that control his life arenât so graceful. Phil answers after the third ring. âHey, Dan. Are you alright?â Phil asks immediately after answering.
Dan clenches his eyes shut, seriously regretting the situation heâs gotten himself in. Who the hell does something this stupid? Him, apparently. âEr, not exactly. Do you have a minute?â Dan props his head up with the hand thatâs holding the phone, laying heavily on it. He briefly hopes that he somehow manages to hang up on him with his face, but he knows they need to have this conversation after what Dan just did.
âUh, yeah, give me a minute.â He hears Phil say something to his coworkers, probably excusing himself to go talk somewhere in private. Danâs grateful for this, as heâs probably going to want to yell after he hears what Dan did this time. âAlright, whatâs up? You sound really weird and itâs freaking me out.â The worry in Philâs voice is clear, and Dan tries to cling to that as he tries to gather his courage to speak. Phil cares about him, he canât do anything too drastic after he hears this⊠Right?
âWell, you see⊠Something super funny happened, actuallyâŠâ Dan begins, hoping that if he presents it as a funny little thing, Phil will be less mad. âSo, I called the foster company like I said I would, right? WellâŠâ
~~~
Unfortunately, presenting his mistake as a comedy had not had the desired effect. If anything, it makes it worse.
âYou did what?â Philâs voice is loud, overwhelming the phoneâs mic so it sends an inhuman wall of noise through the line. Dan cringes, his finger tracing over the keys on his keyboard as he lets Phil get his anger out. âDaniel, thatâs- is that illegal or something? Lying to someone like that?â
Dan shrugs before remembering Phil isnât there. âI dunno, Phil. Itâs not like I asked her if it was illegal to lie about being engaged to someone.â He snaps. He had no right to be angry, and he knew that, but he never fully knew how to act when Phil was angry, as it didnât happen very often.
âFuck.â Phil swears quietly, and Danâs eyes widen slightly. Phil normally didnât swear too much, so this was surely a testament to how mad he really was. âWell do you think youâll just tell her you were lying, or say that you broke up or something?â
âWhat? No! Phil, I canât. She basically said I didnât have a real chance at fostering if I didnât have this. This could be the only way I get to do this.â Dan sits up straighter, swallowing hard.
âSo, what are you suggesting? That you just keep lying to her? Seriously, Dan? What about when they do the information meetings? Or better yet, when they do the home inspections? What then?â Phil demands. Dan can almost see him pacing, as he tends to do that when heâs seriously frustrated. Dan almost feels bad for calling him at work, but he knew if he waited it would just drive him crazy.
âNoâŠâ He says slowly in regard to what Phil had said. He takes a deep breath, trying to steel himself for what heâs about to ask of his best friend. Although Dan knew deep down that their friendship had survived much worse, he felt that this was something he couldnât really compare to the situations theyâd been in before.
âThen what, Dan?â Philâs voice sounds almost suspicious, as if he knows that Dan has a solution, and he knows already that he isnât going to like it.
âYou said you would be there for me, right?â Dan says slowly. He glances over at the only picture he had in his office, an old one of photo-Phil smiling broadly over his shoulder. They had been through loads together. Surely, they could survive this together, too. That thought in his mind, he just blurts it out. âI need you to be my fiancĂ©.â
The line is completely silent for several moments. Dan almost thinks the call had failed, but when he pulls his phone away to check, itâs fine. He hesitantly brings it back to his ear, waiting.
Finally, after what seems like hours, Philâs voice returns. âWhat?â He whispers.
âPhil, please. I just need you to pretend, okay? Please. I donât- we both know I donât have any other friends I can ask. And you said-â Dan almost continues, but Philâs voice stops him.
âStop. Okay? Just stop. Iâm at work, Daniel. I know you probably felt like you couldnât just let this wait, but Iâm working. Okay? This is something we need to discuss in person.â Phil stops there, but Dan can tell he isnât finished, so he just waits quietly until Phil has gathered his thoughts. âYou canât just drop something like this on me and expect me to just agree to it. Just because you fucked up doesnât mean you can drag me into it too.â
That hurts, but Dan knows he deserves it, even though he also knows Phil will likely apologize for saying it later. âOkay.â He whispers back, nodding his head as he stares down at the little stick figures he had drawn earlier.
The line is quiet for a few more minutes before Phil sighs deeply. âIâll see you after work, yeah? Just⊠Give me some time, okay?
âOkay.â Dan says again. Heâs not sure when things had ever been less okay.
âI get off at five today, Iâll come by, so we can talk.â Phil hesitates before speaking again. âJust⊠donât do anything else until we talk, alright?â
âAlright.â Dan responds. âIâll see you later, Phil.â Before he hangs up, he repeats Philâs name. When he hears a hum of acknowledgement, he continues. âIâm really sorry.â
Phil sighs before answering. âI know, Dan. Iâll see you later.â
The call disconnects with a beep and Dan feels the guilt settle in, making its way right under his skin, making him feel filthy with it.
After checking the time and realizing heâs about to be late to the meeting, he quickly shoves his personal life to the back of his mind and struggles to force himself into his work life. There was no good that could come out of getting the two all mixed up, and Dan didnât intend to be one of those people who made that mistake. So instead, he shook himself and tried to put on a smile to go congratulate the parents of a child who had earned himself a full-ride scholarship to a great university. At least some people in the world werenât messing up their lives.
~~~
Several hours later, Dan is pacing his lounge nervously as he waits for Phil to get there. Heâs not sure if heâs nervous to see Philâs anger, rather than just hear it on the phone, or if heâs just nervous that Phil might refuse to pretend to be his fiancĂ© for the sake of his foster care situation. Probably a mixture of both.
He jumps a little when he hears a key being shoved into the lock downstairs before he reminds himself that Phil has a key. He forces himself to wait in the lounge instead of meeting him at the door, feeling like that last few moments of distance between them will be better.
âDan?â Phil calls out as Dan hears him taking his shoes off.
âUpstairs!â Dan answers. Heâs trying desperately not to look like a nervous wreck, but he knows he does. Heâs wearing his Game of Thrones pajama sweats and a t-shirt, but he suddenly feels like he should have just left his work clothes on. He feels too vulnerable like this, despite the fact Phil had seen him in basically every state of dress and undress.
Itâs too late for a wardrobe change, though, because Phil comes up the stairs then, pausing when he sees Dan pacing around in front of the large windows. He appraises him for a moment before raising an eyebrow. âYou look like roadkill, mate.â Phil deadpans, dropping onto the sofa, his eyes not leaving Danâs.
Dan only nods, swallowing the lump building in his throat. He absolutely would not cry. Crying would just be stupid and senseless. He had to be strong, because thatâs the kind of thing adults do. They own up to their mistakes and deal with the consequences, even if they suck.
Phil studies Dan for a second before sighing, patting the cushion beside him. âCâmere.â
Dan shuffles over unsurely, sitting down where heâs facing Phil, although he refuses to meet his eyes. âIâm sorry. I know I should have asked first, or just not lied period, but I canât un-lie.â His gaze shifts to the painting he keeps on the cabinet behind the sofa, and he stares at it just to give himself something to do. âI know that doesnât like, make it better, or whatever. But I am sorry, and I know I fucked up.â
Thereâs a silence before Phil finally speaks. âIâm not mad anymore.â He whispers softly. Danâs eyes tentatively shift to meet striking blue ones, and heâs surprised to see that thereâs no anger left there. âI was seething at first, sure. You lied to someone about being in a serious relationship, and thatâs bad enough, but then you just⊠Just asked me to do it, as if thatâs something you just ask someone.â
Dan tries to make a joke. âI mean⊠You kind of do ask someone to marry you⊠This is kind of like that.â He tries to smile, but Phil just stares at him.
âThis isnât real.â He says immediately. Danâs surprised at how much hearing that hurts, but he shrugs and looks away. Itâs not like Phil was wrong. It wasnât real.
WaitâŠ
âYou said âthis isnât realâ like you meant it was happening.â Dan is struggling to catch up with the tale he had spun just that morning. âI donât want to force you to do something you donât want to do, Phil. If this is going to make things weird, or like if it makes you uncomfortable, we donât-â
Phil cuts him off then, sighing. âDan, we both know I wouldnât have agreed to it if I wasnât sure I knew I could handle it. Besides, weâve known each other for ten years. Itâs not like either of us have much of a life outside of our friendship anyway.â His sentence is punctuated with a bitter laugh, and Dan canât help but feel bad, as if heâs the one really holding Phil back from having relationships outside of their friendship. But that would be crazy, because it wasnât like Dan was standing in his way.
âYeahâŠâ He studies his hands for a moment before looking up into blue eyes. His words are caught in his throat as Phil just looks at him with a sort of soft, fond look. He looked tired, probably due to the stress that Danâs terrible announcement of the situation had caused this morning. Even with as angry as he probably was still feeling, he still looked at Dan like there was something to be seen. Like Phil actually liked what he saw, even.
Dan shakes the thought away. He had never had the guts to feel the way he felt about his best friend. He certainly didnât have the guts now, not when it wasnât even real. But still, Dan allows himself to feel entirely grateful for the way Phil is handling the situation. The whole thing could have gone in a very different direction, but luckily, Phil was pretty much the best person in the world, and Dan wouldnât have wanted to be stuck in this situation with anyone else.
âWeâll have to figure a few things out, you know.â Phil says quietly a moment later, thoroughly breaking the spell Dan had been under, stuck in his own head.
âWhat sort of things?â Dan asks, shifting on the couch so he can tuck his legs under him. This gives him some extra height, and he props his elbow up on the backrest of the couch, dropping his chin onto his hand to look down at Phil.
âWell, for one, if weâre going to do this, we need to work out a convincing backstory. How we met, who proposed to who, all that. Also, might need to get some rings.â He holds up his bare left hand and wags his ring finger around. âIf Iâm going to be your arm candy, Iâm going to require some decent costuming.â His lips quirk into a smirk at the surprise on Danâs face.
âOh. Right.â Dan allows his gaze to follow Philâs hand as it drops back into his lap, and when he realizes that heâs practically staring at his best friendâs crotch, his eyes quickly flit away, his cheeks heating up. âWell, I figure we stay as close to the truth as possible. We donât change anything other than throwing in a convincing proposal story. Weâve lived together before, so we already know all of each otherâs worst habits, which will make it much easier to act like a couple.â Dan shrugs.
Phil shifts, licking his lips before speaking. Dan tries very hard not to follow that movement, but his eyes betray him. âAbout that, actually. You do realize that theyâll do home visits, right? And if weâre fully doing this, Iâll seriously have to co-foster with you, Dan.â
The truth hadnât been put quite so bluntly yet, and it wasnât until Phil said it that Dan fully realized just what he had gotten his best friend into. Not only had he asked him to pretend to be in a long-term, committed relationship with himself, but by doing all this he was also asking Phil to agree to be a parent. Theyâd have to sign the papers together and seriously commit to becoming foster parents as a unit.
âDid you think about this at all, Dan?â Phil is squinting at him, looking miles away and far too close all at once.
Dan suddenly feels nauseous as thoughts of Phil feeding a baby or teaching a little boy how to ride a bike, or even arguing with a teenage girl cycle through his mind, each of them making him dizzy. Not because he didnât like to imagine himself co-parenting with Phil; actually, quite the opposite. This future that heâs basically throwing himself into looks so good, and he feels like he might throw up with the thought that it wouldnât actually be real.
His current existential crisis comes to a screeching halt as he remembers Charlotte. He isnât doing this for himself or to satisfy some twisted fantasy he mightâve had ten years ago about having a family with Phil. He was doing this because he wanted to help kids like Charlotte, who didnât have a family that gave a damn. Throwing every other thought out of his head helps him get a grip on what he thinks heâs feeling. Itâs nothing other than some old memories and dreams that never came to be, and never would, either. Fixating on it now wouldnât help him, or the kids he truly wanted to help.
Dan doesnât realize how much heâd tuned out until he tunes back in and finds Philâs hand on his thigh, squeezing gently, his eyes wide with worry. âAre you alright? You looked sick. Are you⊠are you regretting this already?â Phil asks softly.
Shaking his head, Dan gives him an uneasy smile that probably does nothing to convince Phil that heâs alright. âNo, no. Of course not. I wouldnât have asked anyone else to do this, you know that, right? That may sound weird, but youâre the only person I think I could have trusted with this.â Phil nods, uncertain but the worry on his face softens. âI guess I just feel a little guilty. I get that Iâm asking more than just âhey, pretend to be engaged to me!â Iâm literally asking you to step into a parenting role, which is something I didnât even really consider when I asked in the first place.â
Phil nods slowly. âYeah⊠You know thatâs why I sort of freaked out earlier. It wasnât because of what you asked, exactly.â He hesitates then, looking away from Dan. âIt was mostly just the implications behind what you asked that made me a little⊠uneasy.â
âI know.â Dan nods, picking at the skin around his nails. âI realize that, now. If youâŠâ He takes a deep breath before offering Phil an out. âIf you donât want to do this, we donât have to. I donât want you to feel like Iâll be mad if you donât. I really want this, but that doesnât mean you do.â Dan laughs without humor. âHell, I really donât even know if you even want kids, let alone if youâre ready to start being a parent now.â
Thereâs a beat of silence where both men seem to be lost in their own thoughts before Phil speaks again. âI donât think anyone is ever really ready to be a parent, you know? I think they all just jump into it at some point, but I donât think the majority of parents are ever fully ready.â He shrugs then. âAnd Iâm probably not ready either, but I know I want to do this with you. I know how much this means to you, and I know Iâd hate myself later if I didnât at least try.â
Dan almost tears up, but instead he laughs, shoving Phil gently. âYou already sound like a parent, all wise and stuff.â They both laugh quietly before the silence resumes. âThank you,â Dan whispers.
Phil glances up at him, quirking an eyebrow. âYouâre welcome. But Iâm not just doing this for you. Iâve always said I wanted to foster if I could. Youâre just giving me a good excuse to do it.â Phil grins, and Dan rolls his eyes. He figured theyâd had enough serious conversation for one night. They still had a few things to work out, but he was starving right now, so he figured that could wait until after they eat something.
âRight.â He stands up to go fetch his laptop, so they can order something. After the day theyâd had, he figured they deserved to be lazy and eat takeaway. âDo you want Indian or Chinese tonight?â He asks as he pulls his MacBook off the desk across the lounge.
âChinese sounds good, actually.â Phil responds, reaching over to grab the remote before turning the tv on. They were so comfortable in each otherâs homes that it was almost comical.
A few minutes later Dan places their usual order before closing his laptop and putting it back where he got it. âDo you wanna talk about some of the stuff we need to work out before the food gets here?â He asks, suddenly feeling slightly awkward. He feels that his awkwardness is justified, however, seeing as itâs not every day you find yourself fake engaged to your best friend.
Phil nods, putting the remote beside him on the couch without selecting a show to watch. âYeah, thatâs probably a good idea. And then we can just lay around being lazy for the rest of the night.â He smiles at Dan.
Dan returns to his earlier seat beside Phil, nodding at his plan. âAre you staying over tonight?â He asks. He almost wishes Phil would say no so he could have some space to process all this, but then he feels bad because itâs actually been a couple weeks since theyâd slept over at each otherâs flats.
Phil nods, pulling the blanket from off the back of the couch where Dan had left it last night. âMight as well. Er- unless you donât want me to?â He asks, glancing at Dan with slightly pink cheeks.
Shaking his head, Dan shoves Phil lightly. âYou know I like having you around. Of course, I want you to stay.â He rolls his eyes at the absurdity of Phil suggesting otherwise. The thought of him sleeping over prompts a different thought, however. âSpeaking of that, though.â He almost blushes when Phil looks at him in question, but they probably both realized that this was going to come up. âWeâre going to need to live together.â
The surprise that briefly crosses Philâs face is quickly followed by understanding. âOh, yeah. I kind of just glossed over that part in my panic, I think.â He brings a hand up to rub awkwardly at the back of his neck, his eyes avoiding Danâs.
âWell, itâs not like weâve never lived together. Itâs just been like, what, three years? Four?â Dan honestly doesnât remember how long it had been since they moved out of their last shared apartment and into separate ones, but he knew itâd been at least a couple years. Honestly besides the fact that they no longer lived together full-time, not much had changed. They still saw each other basically every day, and they often spent the night at each otherâs flats. Yet somehow, they still werenât sick of each other.
âFour.â Phil responds distractedly. âYou know, my lease is actually up in about three months.â He says nonchalantly.
Dan smiles at this. It would make things much easier, especially since the approval process could take up to six months. If Phil was going to have to either renew his own lease or move soon, this was basically perfect timing. âWell, you know mineâs not up for another two years.â Dan responds in the same nonchalant fashion that Phil had.
It has the desired effect, and Phil laughs. âSo, I guess that means Iâll be moving in here?â He asks, leaning his head on the back of the sofa and tilting to face Dan. The way the light now falls across his face is a little too perfect, and Dan mentally curses him for managing to look so effortlessly brilliant. Thatâs a thought he can totally have about his best friend, right?
âWell, I mean, if you want. We could always just go with yours or into a new one, but I figure my flatâs pretty big as it is. I have the spare bedroom and that other room I have as an office but donât really use. I think it could work.â Dan nods, trying to act like he isnât as excited as he is about the prospect of them moving in together again. Putting the whole situation aside, he really did miss living with his best friend sometimes, even when he did annoying shit like leaving the cupboards open.
âI think thatâs a great idea. Iâve always liked your flat better than mine, anyway.â Phil shrugs as if itâs common knowledge, but Dan is honestly a little shocked. Phil must notice this, because he rolls his eyes. âCome on, Dan. I always prefer to come over here instead of us staying at mine.â
Dan pouts slightly at the way Phil implies itâs so obvious. âI just thought maybe you didnât want to tidy up, so you just thought it was easier to come here.â That earns him an elbow to the ribs, but he just laughs. âAlright, well if thatâs sorted. We can start moving your things in whenever you want to.â Another thought occurs to him then, and he blushes. âEr- when we get approved and we get a child placed with us, weâll probably have to share a bedroom.â He feels awkward suggesting it, but he knows itâs true.
Phil shrugs as if this doesnât bother him nearly as much as it bothers Dan. âI figured. I hope you donât steal blankets as bad as you used to.â
The comment is quick and just a general observation by someone who was close enough to Dan to have platonically shared a bed with him enough to know that sort of thing, but Dan still feels a blush crawling up his neck. Phil knew him so well, but sometimes the fact that he knew little domestic details like that still managed to surprise him.
âI do not do that. I donât really think I ever did.â Dan offers lamely in his own defense.
Phil shrugs, staring at the tv as it cycles through different Netflix options. âSay what you want, Howell, but when we start sleeping together the truth will come out.â
Danâs about to make a sarcastic comment, but the sound indicating that the take away guy is there is enough to make him think better of it, instead heading to the buzzer to let him in. âIâll be right back. Do you want Ribena or some wine?â Dan asks as he grabs his wallet from where heâd left it earlier.
âRibena, please.â Phil laughs as he allows himself to sink further down on the sofa. âI have to work tomorrow, and I donât exactly feel like getting wine drunk tonight.â
Dan rolls his eyes but finds himself unable to stop grinning as he goes to collect the takeaway. âBoring,â he teases.
Phil sits up a little, before nodding to the staircase. âWant me to help carry everything back up?â
Shrugging, Dan gestures for Phil to follow him downstairs, where the delivery man is probably tempted to just leave. He goes to open the door with Phil by his side, double checking that the cash he had was enough to cover the food and a tip.
âHere you go,â the boy says, holding the food out. Phil reaches for it as Dan finishes counting the money before handing it over. The delivery boy looks a little surprised at first but smiles as he tucks the tip money into his pocket. âThank you! You guys have a good night and enjoy your meal!â
Just as Dan goes shut the door, Phil calls out, âThanks, you too!â
The door closes with a click and Dan turns around, giving Phil a look, raising his eyebrows when Phil doesnât seem to catch on. âPhil,â he says slowly.
âWhat?â He asks, already halfway up the staircase.
Dan rolls his eyes as he follows. âYou said âYou tooâ to him,â he explains, exasperated.
Phil glances back at him before giggling. âNo, I- you! He knew what I meant!â
âYou should never be allowed to speak to anyone, ever.â Dan can only shake his head at his best friend.
âOh, thank god, I wonât have to talk to you anymore!â
#phanfiction#phanfic#phandom#if you don't love me pretend#iydlmp#fluff#angst#parent!au#foster parent#references to child abuse#swearing#school counselor!dan#bbc producer!phil#parent!phan
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Currently on Digital and coming to 4K Ultra HD from writer/director Andrew Haigh based on Taichi Yamadaâs Strangers and Searchlight Pictures is ALL OF US STRANGERS.
Adam (Andrew Scott) is living a very secluded life in his high tower apartment in London. A screenwriter, he spends his time writing and being alone until one night he meets neighbor Harry (Paul Mescal). A bit drunk, Harry tries to entice Adam to spend the night. Trying to be polite, Adam makes it clear he isnât interested. The next day, Adam is off to visit Mum (Claire Foy) and Dad (Jamie Bell) who are happy to see him.
Coming back home he sees Harry again but this time he invites him into the apartment. There begins their passionate relationship. They talk about their families as Harry tells Adam that there is a disconnect with his own parents. Spending a night out on the town, they drink and dance their troubles away. After a fitful night of dreams, Adam tells Harry about his own parents and wants them all to meet.
But reality slowly makes its way to Adam and he holds on to the things he loves.
Scott as Adam is stunning in the role of a writer who is dealing with so much emotion in his life. Relying on his parents for support, he is trying to come to terms with the events of his life. When a love enters into the picture, it is just another piece of his life that is blissful but filled with intensity. Scott moves in and out of the story like his feet are not touching the ground. He flows so smoothly and I am with him every frame through joy and heartbreak. This is a stunning performance by Scott.
Mescal as Harry is the larger-than-life person that seems to awaken something in Adam. He is light, funny, charming and has no judgements toward Adam. At first glance, his character gives off vibes that even had me backing away a bit and that says everything about what Mescalâs performance brings. This character draws you in slowly, is too charming to be ignored and it is all Mescal.
Foy as Mum is supporting of her son and shows him love and understanding. She listens to how Adam is feeling and is such a calming presence for him. That is what Foy brings to the story, with the grace she has come to be known for (watch THE CROWN for another stunning performance) and the eyes of an old soul. Bell as Dad has a history with Adam that is a bit strained as clearly there are things that need to be said between them. I enjoyed Bellâs performance as a man who has a difficult time sharing his feelings.
Searchlight Pictures is responsible for such films as SLUMDOG MILLIONAIRE, 12 YEARS A SLAVE, THE SHAPE OF WATER and THREE BILLBOARDS OUTSIDE EBBING MISSOURI. They have an extensive film library as well as documentaries, scripted series, and limited series. For more information, please visit www.searchlightpictures.com.
Bonus Features include Featurettes Roots of the Story â Uncover how the director blended his own personal story into the making of this moving film. Hear the cast and crew and learn how the filmmakers approached recreating the look and feel of the â80s, from the sets to the hair and clothing and Building Adamâs World â Discover how Adamâs isolated existence was shaped through constructed sets. Visit the locations of exterior shots and learn about the directorâs choice to have Adamâs world feel real, and yet not quite real.
ALL OF US STRANGERS has won awards from the Valladolid International Film Festival, Montclair Film Festival, British Independent Film Awards, National Board of Review, Los Angeles Film critics Association Awards, Kansas City Film Critics Circle, and London Film Criticsâ Circle.
This film is an emotional roller coaster from beginning to end with Adam at the helm. It is a story of loneliness, love, want of love and family. It is a powerful look at the complexity of life through the eyes of this haunted man. Director Haigh gives us nothing to hide behind when we feel as if there is an intrusion into Adamâs life. It is right before us and the emotion falls over us wave after wave.
Filmed beautifully with an amazing score, ALL OF US STRANGERS is insightful, complex, tender, and gauntlet of emotion. Might I suggest a box of tissue and someone to cuddle with as this moving piece of filmmaking doesnât mind the teardrops nor our own family emotions mixing with Adams. In fact, I think it wants exactly that.
In the end â the paths to love are many!'
#Andrew Haigh#All of Us Strangers#Andrew Scott#Paul Mescal#Claire Foy#Jamie Bell#Taichi Yamada#Strangers#The Crown
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Iâm Yours
Words: 1637
Pairing: Shawn Mendes x reader
Warnings: lots of tooth rotting fluff. and cute Shawn
Writers note: Iâm really back on my Shawn Mendes shit. but when have I ever stopped?
Shawn is on tour and is scrolling through old photos and videos. Desperately missing y/n and wishing she was there with him
Shawn was flicking through his photos. Smiling faces and happy people looked back at him and he sat on his plane. Shawn was on tour again and missed home, he thought that going through old memories might help but it seems to be doing the opposite. With every photo he looked at, he wanted to go back to that moment with them, with her.
Shawn asked y/n if she wanted to go on tour with him, saying that itâll be fun and she can see all the major cities with him. Of course, they both knew she couldnât, she had work and school to do and she couldnât just drop it all for Shawn, as much as they both wished she could.
So now Shawn is here, on his private plane, staring at old photos and counting down the days until heâs back at home with her.
Shawnâs thumb swiped to a video, the one where he caught y/n dancing to âIâm yoursâ by Jason Mraz. Shawn taps the play button and listens to y/n singing the words and dancing in his kitchen.
âIt cannot wait, Iâm yours,â y/n sings whilst making her coffee in the kitchen, Shawn is pretending to be reading the news on his phone but has been secretly recording her since the song started. y/n looks over and sees her boyfriend hiding his smile from behind his phone, âcome dance with me, Mendes.â
âNo, no, you keep doing your solo,â Shawn laughs as y/n makes her way over to grab his hand. Shawn props his phone up to rest on his mug so he can catch this moment together. The break in the song stops and y/n continues to sing whilst holding Shawnâs hands and swaying them.
âOpen up your mind and see like me, open up your plans and damn your free.â Her voice fills his ears as he smiles down at her, Shawn pulls her closer so theyâre swaying together. âlook into your heart and youâll find love, love, love, love.â
This is the moment Shawn realized he was in love with y/n. This small moment. It held such a sacred part in his heart and he couldnât be happier that he has caught it on camera. Her eyes light up every time they make eye contact and his smile couldnât be any wider. Theyâre both in sweatpants and oversized shirts, the whole arura of the moment couldnât be any better. Theyâre so relaxed with one another and so in love with one another.
âThereâs no need to complicate, our time is short,â y/n spins herself out of Shawnâs arms during the line and looks into his eyes, âIâm yours.â
God he wanted to marry her right then and there.
Shawn pulled her back in and spun her so her back was to his chest but they were still holding hands, they danced for a while like this before she spun back out and tried to get her coffee. Shawn didnât want to stop so he wrapped his arms around her waist with her back to him and sung the lyrics into her ear.
âBut I wonât hesitate no more, no more.â She was smiling down as Shawn pried her back away from the bench and back to the middle of the kitchen. âIt cannot wait, Iâm yours.â
The two keep dancing for the rest of the song. Singing the lyrics with each other and to each other. The song ends and Shawn leans down to kiss y/nâs lips, softly, before she smiled and pushed him away playfully to go get her coffee.
The video ends with Shawn staring at y/nâs back for a few seconds before walking over to his phone and stopping the video. The whole moment between the two was all caught on camera, the picture was perfect and the audio was amazing. The video even caught the hushed voices of them whispering the song to each other. Shawn cherished the video so much that watching it now filled him with sadness. He missed y/n so much that watching the video made him want to cancel the tour and go straight home to her.
âHey Shawn,â Andrew speaks up from his seat, gaining the attention of the curly haired boy, âweâre about to land. Grab your things.â
âOkay. Thanks.â Shawn turns off his phone and shoves it in his jean jacket pocket, packing up his scattered notebooks and pencils in the process.
The team were in France and had a deadline of 19 hours before his first show there, so there was a lot of rushing and trying to get past all the cameras and fans. Shawn tried to take a photo with everyone there but he really needed to leave.
Practice done, shower had, clothes changed and nerves high. Shawn was ready. 2 hours before heâs expected to be on stage and he gets a call from y/n. Shawn rushes to answer it with a swift hello.
âHey Mendes.â God her voice could make him drop to his knees.
âHey baby, Iâve missed you,â Shawn was always upfront about how he felt when it came to y/n, always telling her what he needed to say, âI know it has only been a few weeks but it feels like years.â
Y/nâs chuckle could be heard from through the phone, Shawn closes his eyes and smiles, âIâve missed you too.â
âWhen I come back, weâre going on hiatus until we get sick of each other.â
âCould that even happen?â
âNever.â Shawn looks around and sees that everyone is looking at him, the room is small but itâs not like heâs doing anything major to get their attention.
âWell,â her voice seems to transcend the phone and float around the room, y/n steps through a door that led into the room, âhope you donât get sick of me when I join you for a bit.â
Shawn throws his phone on the couch and takes two large strides before wrapping his arms around her waist and spinning her around. Shawn nuzzles his face into y/nâs neck and takes a deep breath, she smells like home and he has missed it.
Everyone laughs and claps, y/n is giggling and holding on tight, itâs a good moment.
âI thought you had finals?â Shawn is worried that y/n is leaving her responsibilities for him, he doesnât want to take her away from her own life.
âIâve finished them early, turns out Iâm pretty good at getting my shit together when I need to,â y/n jokes which earns a chuckle from everyone who is still watching.
âHow long are you gonna be with me on tour?â Shawn wanted her to stay for the whole tour but he knows that she needs to get back home, she feels scared that she will distract him too much and take his attention away from the fans. Maybe sheâs right but Shawn will never admit it, he wants her to stay.
âOnly for a few nights, enough time for us to see some touristy stuff and take really bad photos for your mum.â She smiles and sways his hands back and forth, biting her lip and staring up at him with those beautiful eyes of hers.
Shawn gives a little pout to express his emotions on her small stay but it slips away when she pulls on the front of his shirt and kisses him. He grins into the kiss and grabs a hold of her waist to bring her closer, leaning forward and pressing his chest to hers.
Groans sound throughout the room from everyone watching and they break apart, y/n hides her face in his chest as Shawn laughs at everybody's reactions.
âAs much as I love this,â Teddy speaks up, coming over to fix Shawnâs hair, âwe gotta get going.â
Within the chaos of people packing up and getting Shawnâs look ready, his eyes never leave y/n. Sheâs laughing with the whole crew and talking with everyone, Shawn had never met someone so beautiful.
30 minutes until heâs on stage and final adjustments have been made. Now everyone is waiting and talking about whatever but Shawn has huddled himself and y/n into a corner for some time alone.
âHow long have we known each other?â Shawn speaks up, earning a weird look from y/n.
âA few years, why?â
âI once said in a qna that if I feel the way about a girl the way I feel about music, then sheâs the one,â he pauses, looking down at her in his arms, âI never realized I felt like that already, I never realized it was already in love.â
âShawn,â y/nâs eyes were wide as she looked up at her boyfriend, her best friend, her Shawn, âwhat are you saying?â
âI love you, y/n. Iâve always been in love with you and one day Iâm going to marry you. Not now cause we both have so many things left to do in life but when weâre both ready, and if youâll have me, I promise myself to you.â Shawn hasnât looked away from y/nâs face, showing his vulnrability to her and waiting for her answer.
âAnd I promise myself to you too, Mendes.â
Shawn grabs the back of y/nâs neck and pulls her in for a deep kiss. Smiling so much that he has to take a break, resting his forehead on hers.
âShawn,â someone calls out but the lovebirds canât bother looking away from each other to see, âtime to go up.â
Shawn says a quick thank you and steps away from y/n, says a small goodbye to her and walks up onto stage. Throughout the whole concert, Shawn gives his performance, he sings his hardest and has the biggest smile on his face. Heâs doing it all for her and wants the world to know.
#shawn mendes imagine#shawn mendes#shawn#shawn mendes x reader#shawn mendes smut#jason mraz#imagines#imagine#fluff
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The House That Dripped Blood (1971)
Directed by Peter Duffell
Screenplay by Robert Bloch
Music by Michael Dress
Country: United Kingdom
Running time: 102 minutes
CAST
"Framework"
John Bennett as Detective Inspector Holloway
John Bryans as A.J. Stoker
John Malcolm as Sergeant Martin
"Method For Murder"
Denholm Elliott as Charles Hillyer
Joanna Dunham as Alice Hillyer
Tom Adams as Richard/Dominic
Robert Lang as Dr. Andrews
"Waxworks"
Peter Cushing as Philip Grayson
Joss Ackland as Neville Rogers
Wolfe Morris as Waxworks Proprietor
"Sweets to the Sweet"
Christopher Lee as John Reid
Nyree Dawn Porter as Ann Norton
Chloe Franks as Jane Reid
Hugh Manning as Mark
Carleton Hobbs as Dr. Bailey
"The Cloak"
Jon Pertwee as Paul Henderson
Ingrid Pitt as Carla Lynde
Geoffrey Bayldon as Theo von Hartmann
Jonathan Lynn as Mr. Petrich
NB: I watched this via the 2019 Second Sight UK Blu-Ray release and the picture is really fantastic (technical term there). So, if you were wondering, now you know; this is the copy to own.
The House That Dripped Blood is a British 1970s anthology horror movie from Amicus, and I make no bones about the fact that I am totally partial to that jam, pal. I grew up watching these movies, from a ridiculously unsuitable age, on Friday and Saturday nights with my mum while dad was down the pub. Their ridiculous delights are fused into my brain by the flame of nostalgia, more thoroughly even than those of â70s Jonah Hex comics. (And â70s Jonah Hex comics are pretty fused in there too. Tony DeZuniga; he da boy!). You came to the wrong place for impartiality, basically. The House That Dripped Blood is horrortastic.
Putting the lie to the spectacularly enticing title there is no actual blood in The House That Dripped Blood, but there is definitely a house. And itâs around this house that the four fear inducing stories revolve. But every proper portmanteau demands a framing device and so the movie starts with the arrival of uppity Inspector Holloway (John Bennett) who has been dispatched by Scotland Yard to investigate the disappearance of horror movie star Paul Henderson (Jon Pertwee) from The House That Dripped Blood. Obviously the house is never referred to as âThe House That Dripped Bloodâ as that would put prospective tenants off; bit of a real estate tip there for you.
Unlike most police investigations, Bennettâs takes the form of people telling him far-fetched stories about the previous occupants as though this might give him a clue as to Hendersonâs fate. Itâs an interesting approach to policework. Luckily, Bennett, a copper singularly lacking in ratiocination, at no point even begins to wonder how exactly the people telling him the stories know what happened, since most of the people who could have told them end up dead or insane. The answer would be that these are a bunch of punchy shorts scripted by pulp wonder Robert Bloch and the house is just a big old McGuffin to hang them off. And learning that might be a bit too meta for a common movie plod to handle.
First up is Method for Murder wherein debonair horror author Charles Hillyer (Denholm Elliot) rents the house to get some peace in which to write another of his (apparently terrible) potboilers. Unnervingly Hillyerâs new opus concerning Dominic, a strangler with a bowl haircut and British Teeth©âąÂź, starts to bleed into his reality, and the possibility that he may be losing his mind may not be the worst option on offer. Denholm Elliot (1922 â 1992) was never a star, but he was a fantastic actor all round; his particular forte was a kind of nervy self-assurance constantly on the cusp of crumbling into wild-eyed desperation. The kind of thing it takes a lengthy, poorly constructed sentence to describe in English but in German is probably encompassed by a single word that sounds like someone cheerfully stamping on chicken bones. Elliotâs very good at it, whatever it is, and he gets plenty of chance to demonstrate it here, as Blochâs plotting turns the screws until he pops. Everyone else is very good, particularly Robert Lang as Dr. Andrews, who is the perfect oily 1970s personification of a psychiatrist. And it would be remiss of me to omit to mention Denholm Elliotâs superb salmon pink shirt. Personally, I find fashion is one of the finest characters in British â70s horror movies, and in The House That Dripped Blood fashion is on fine form.
As is soon apparent in Waxworks when Philip Grayson (the always marvellous Peter Cushing) sports a spellbindingly classy cravat and jacket affair. His gobstopper red smoking jacket is also quite special, but itâs the cravat ensemble which carries him through most of the episode and takes the trophy. This eerie creepster is about a retired financier who rents the house to brood while listening to records and looking at a photo of a woman from his past. When he isnât posing by the weir in a melancholy way Philip walks into town where there are actual shops (this is before the Internet and 10 years of Tory government had reduced the English high street to charity shops, boarded up windows and Greggâs The Bakers) and finds the worldâs most morbid waxworks. Haunted by the display of Salome (who is supposed to look like the lady from his past; you have to take this on trust since the waxwork isnât exactly life-like) Philip is visited by his old chum Neville (the ever forthright Joss Ackland), who has a penchant for neck scarves that resemble an acid trip made silk. Both men have the woman in common but prefer to elliptically skirt around the troublesome issue and pretend it doesnât matter anymore; Bloch knows nobody does emotional cowardice quite like the English. Soon Neville meets Salome too and the blokes race each other to the horrific finish. Joss Ackland is great, obviously, but itâs worth noting that, as ever, Cushing puts in a performance far more moving and tragic than the material deserves, and so makes it sting all the more. Fans of â70s unconscious misogyny might risk getting all turgid since Waxworks is all about a woman who ruins menâs lives but doesnât actually feature a real woman. Ultimately though such people will have to go home empty handed as itâs clearly the men doing it to themselves and blaming it on a woman, which is a pretty clever bait and switch by Bloch.
Blochâs quietly understated intelligence is even better demonstrated by Sweets to the Sweet which looks like itâs about witchcraft but is actually about the damage a lack of love can do to a child. Widower John Reid (Christopher Lee) moves into the house so he can commute to the city and do his business in whatnot and whathaveyou and have his child Jane (Chloe Franks) home-schooled in a controlled environment. Reid is all about control and Christopher Lee is ideally suited to the role, bringing all his not inconsiderable clipped prissiness to bear without totally eliminating Reidâs humanity. Reid loves Jane but he also fears her. But why? (why does he fear her, not why does he love her; câmon, people, work with me here). Itâs a conundrum Janeâs newly appointed teacher Ann Norton (Nyree Dawn Porter) unwisely seeks to solve. Plenty in this one to chew on viz a viz kids, parental responsibility and the need to keep a close eye on candles and razor shavings. Probably enough for a dissertation in fact, but, putting the chalk and elbow patches to one side, it is mostly about witchcraft because thatâs spooky fun; no one wants to watch an unvarnished 20 minute segment on the emotional abuse of a child in a horror movie. Thatâs what Home Alone (1990) is for.
Seeking to send the audience out into the â70s night to catch the last bus on a bit of a high, the final terror tale, The Cloak, spoofs about in an enjoyably goofy fashion. Prima-donna horror star Paul Henderson (Jon Pertwee) moves into the house to be near the filming of his new (apparently terrible; probably based on a script by Charles Hillyer) movie. Being a great believer in authenticity and disappointed by the cloak provided by the doddering wardrobe mistress,  Henderson sources a suitably eerie item of attire from Theo von Hartmann (Geoffrey Bayldon), a ridiculously freaky tat shop owner with a suspiciously Teutonic moniker. When wearing the cloak  Hendersonâs portrayal of a vampire becomes a little bit too authentic for comfort and he learns a steep lesson in the Hollywood food chain from his comically pneumatic co-star Carla Lynde (Ingrid Pitt). Itâs slight stuff but pretty funny with everyone camping it up like a cub scout sleep out will be arriving imminently (camping; tents; scouts; câmon, folks). I vaguely recall reading that Pertwee claimed the whole movie was supposed to be in this mirthful mode, and that he based his character on co-star Christopher Lee, but didnât tell Lee (obviously). If I ever get the time to wade through the multitude of extras on the Blu-ray maybe Iâll find confirmation. As it is, watching the movie was pleasure enough for now. But like I said Iâm practically marinated in this stuff. Nevertheless I persist in the belief that people who havenât been knocking about for half a century would still find something to enjoy in The House That Dripped Blood; even if itâs just that cracking picture quality.
#The House That Dripped Blood#Movies#Horror#Anthology#Amicus#Peter Cushing#Christopher Lee#Denholm Elliot#Nyree Dawn Porter#Robert Bloch#Peter Duffell#1971#The 1970s#United Kingdom#Ingrid Pitt
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Growing Pains. Part 15c (NSFW)
Peter closed the door a little, âHollyâs really worried.â
"What about?"
âAbout mum, how ill she looks.â Peter sighed sadly, âAre you ok dad?â
"I'm fine. We've just got to get your mum through this latest relapse, that's what's most important right now."
âWhy has she relapsed?â Peter asked.
"I honestly don't know." Charlie sighed, rubbing at the back of his neck.
âHow can me and Holly help dad?â
"Just support and encourage her. That's all any of us can do."
Peter nodded sadly, âIâll do whatever I can dad. For both of you." He paused." Is Sarah still here?"
"She's out at the moment with your mum but she's still staying here and will be back soon. Is that a problem?"
âIts a bit awkward.â Peter replied, âItâs like one of your exes just rocking up and living here.â
"I know, I know. It was your mum's idea coz she was concerned about Sarah's living arrangements."
Peter frowned, âWhat are her living arrangements?â
"She was pretty much sofa surfing."
âOh...â Peter sighed, âShe needs to be safe, especially now sheâs pregnant.â
"Now do you see why your mum insisted she stay here?" Charlie asked gently.
âYes but...â Peter sighed. âIâm allowed to be angry about being lied to, arenât I?â
"Of course you are. You should have seen your mum the evening after she found out..!"
âLet me guess, she went ballistic?â
"She has a tendency to forget that you're a grown man now." Charlie chuckled.
Peter laughed gently, âHolly and I talked about our future last night.â
"Oh?" Charlie visibly brightened.
âIâm going to start looking at houses, so we can move in together.â
"So soon?"
âI want to find a house that Holly and I can raise a family in. In the future.â
"Just don't rush into anything son. Holly is a lovely girl but I don't want to see you get hurt again."
âIâll try not to rush into anything.â Peter hesitated before continuing. âI... I lied to Holly last night.â He looked down at the floor.
"What about?"
âShe asked me how I felt about finding out I wasnât the dad. I told her I was relieved but that wasnât entirely true.â Peter mumbled.
"Its understandable to have mixed feelings. I went through the whole spectrum of emotions over you." Charlie admitted.
âI was just getting used to the idea of being a dad. I brought something for it, for her.â Peter sighed. âYou did?â
"Even though I knew I was already a dad by that point I felt so conflicted over everything." Charlie paused. "You could still be a part of her life if you wanted to be. If this family shows you anything it's that it doesn't take blood to be family."
âYeah because thatâs not gonna mess with Sarahâs head at all, is it?â Peter rose an eyebrow. âIt wouldnât be fair on her.â
"She wanted so desperately for you to be her baby's father." Charlie shared.
âI know.â
"Maybe you, Sarah and Holly should sit down together and talk?"
âTalk about what?â
"What happens now going forward."
âI move on with Holly. Sarah moves on with her daughter.â Peter replied.
"OK. If that's what you both want..."
âIt wouldnât be fair on Holly or Sarah if I became part of that babyâs life.â Peter pointed out, âNor would it be fair on the baby either.â
"I totally agree. I just wanted to make sure you'd thought it all through properly."
âI have dad, you donât need to worry.â Peter smiled.
"I'm your dad, it's my job!" Charlie chuckled.
Peter was about to say something else when the front door opened and Sarah and Duffy arrived back.
They were chatting and giggling excitedly, both laden with several shopping bags.
Peter stepped into the hallway, an awkwardness instantly apparent between him and Sarah.
"Peter! I didn't know you were coming round." Duffy grinned.
âHi mum. I came to see if you were ok.â
"I'm fine. Why wouldn't I be?" As Duffy placed the bags down it became instantly apparent the kind of shopping she and Sarah had spent the morning indulging in...
âBecause youâre ill?â Peter looked at the shopping bags.
"Who told you that?" Duffy replied dismissively.
The bags were filled with various items of clothing and other equipment.
âI donât need to be told, I can see it when I look at you.â Peter answered back.
"You worry too much Peter." Duffy rolled her eyes. She turned to Sarah. "No you don't! I'll take those upstairs. You go have a sit down."
Peter sighed, âYouâre stubborn.â He replied to his mum.
"And you're fast turning into your father!"
âGood. Have you thought about going back to treatment?â Peter asked.
"I have an appointment booked for tomorrow actually." Duffy retorted, picking up the bags and heading towards the stairs.
âI only worry about you! We all do!â
Sarah remained stood in the hallway, âHi.â She said quietly to Peter.
Duffy harumphed as she walked up the stairs.
"Hi." Peter replied, his gaze still on the stairs.
"I'm going to check on the boys..." Charlie uttered, heading to the stairs.
âAre you okay?â Sarah asked as she moved closer to Peter.
"Yeh... Holly is here." He replied pointedly.
âOk.â
Peter pushed his hands into his pockets. He couldn't believe how awkward he now felt around someone he once loved. "How you getting on finding a place to live?"
âNot great,â Sarah shrugged, âI think Iâm gonna move back in with AJ. Itâs whatâs best...â
"Does he treat you right?" Peter wasn't sure why that was important to him but it was.
âNot really but Iâm pregnant with nowhere else to go.â
"I'm sorry. For all of this." He sighed.
âItâs not your fault.â Sarah pointed out.
"Still..." He shrugged.
âYour parents have been great.â She smiled, âIâve been lucky but itâs time for me to stand on my own two feet, wherever that may be.â
"OK. I'm sure mum will still make a point of checking in on you."
âProbably. Your mum cares too much. Sheâs got a heart of gold.â
"She cares about everyone except herself." He sighed.
âSheâs a nurse. Youâll find those that are healthcare professionals are the worst type of people to look after themselves.â
"My parents are a perfect case in point." He smiled slightly.
Sarah nodded, the awkward silence descending over them again.
"I... Erm... I... I bought something for the baby..." Peter admitted, his voice barely a whisper.
âYou did? What was it?â
"Its not much. Just a little stuffed toy." He mumbled.
âYou didnât have to Peter but thank you.â
"Its at the flat. I'll drop it round sometime."
âThank you.â
"Peter are you..? Oh!" Holly stopped just inside the dining room doorway.
Peter turned and nodded. He moved back to Holly and wrapped his arm around her waist, âMum and Sarah have been shopping.â
"Did someone warn your dad not to check the joint account?" Holly giggled.
âNot yet but I think he knows not to.â
The trio was prevented from further awkwardness when Jake burst through the front door clutching a letter. "Bro!" He grinned as he spotted Peter.
âWhat bro?â Peter wondered why Jake was grinning like a Cheshire Cat.
"I'm free at last!" Jake declared, holding up the letter.
âYou did it?!â
"Yeh. I mean, I know it's only a fortnight til I'm eighteen anyway but I don't care! It's done!"
âYes!!â Peter fist bumped his brother, âYou should go and tell mum! Sheâll be made up!â
"Yeh where is she?"
âUpstairs.â
Jake charged up the stairs, nearly flattening his mum as she appeared at the top.
"Woah! Where's the fire?" She gasped.
He jumped up and down with the letter in his hands. âItâs done! We did it!â
"What?" Realisation flooded her face. "You mean..?"
âYes! Yes!â He wrapped his arms around her, âWe did it! We did it mum!!â
"Oh sweetheart, that's wonderful." She couldn't help the tears that began to stream down her cheeks.
Feeling a tear roll onto his shoulder, he frowned. âMum, whatâs wrong?â
"I'm just... I can't believe it's all over."
âAll over mum. You won.â
"It was never about winning, it was about doing the best thing for you." She stroked his cheek.
He met his mumâs eye and nodded, âThe best thing for us, as a family.â
"I love you Jake." She smiled.
âI love you too, mum.â He kissed her cheek.
"I didn't realise you were home Jake." Charlie smiled as he arrived in the upstairs hallway after coming down from the younger boys' bedroom.
âWeâve done it, dad!â Jake held up the letter.
Charlie attempted to study the letter but it was pointless without his reading glasses on.
âAndrewâs no longer part of our lives!â
"The court granted your request?"
Jake nodded, âYes! Weâve done it!â
"I'm so pleased for you." Charlie smiled, squeezing the teenager's shoulder.
Jake threw his arms around Charlie, âLove you dad.â
"I love you too son." Charlie reached out to pull Duffy into the hug. "Its turning into quite the month for celebrations." He smiled.
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D-Views: Mary Poppins
Hello, everyone, and welcome to another installment of D-Views, my on-going written review series where I dive into and analyze movies from Disneyâs extensive film library, and even occasionally those influenced by that library. For other reviews in the series for movies such as Frozen, Enchanted, The Little Mermaid, and Lacewood Productionsâ The Nutcracker Prince, feel free to consult the âDisney Reviewsâ tag! And as always, if you enjoy any of my reviews, please consider liking and reblogging them!
Today, thanks to the votes cast by @karalora, @banana-9-pancakes, and @aceyanaheim, weâll be looking at the story of a magical woman -- one who is prim, proper, and practically perfect in every way...Mary Poppins!
Production-wise Mary Poppins is in some ways the culmination of everything Walt Disney learned in his thirty-year-long film-making career. It adapted a classic, whimsical story as an charming, emotion-heavy screenplay, like Snow White and the Seven Dwarfs -- it featured a fresh-faced, but extremely talented young singer in the title role, like Sleeping Beauty -- it seamlessly combined animation with live action, like Song of the South -- it had state-of-the-art special effects, like 20,000 Leagues Under the Sea -- and it featured music by two songwriters who later went on to write Disney film scores for decades. But all of that started with a tiny, little spark. As a little girl, Waltâs daughter Diane had started reading the Mary Poppins books, and when Walt read along with her, he was absolutely enchanted by them and knew he wanted to adapt the stories for the silver screen. All the way back in 1938, one year after the release of Snow White and the Seven Dwarfs, Uncle Walt had his first meeting with Mary Poppinsâs creator, P.L. Travers, but as anyone who has seen Saving Mr. Banks knows, the two did not see eye to eye. Uncle Walt spent the next twenty years trying to convince Travers to give him the rights to her stories, but unlike in the film where they had a sincere meeting of the minds, Travers recalled their final meeting where she gave him the rights as being more like Walt âholding up a gold pocket watch and dangling it tantalizingly in front of [her] eyes.â Admittedly one factor in the situation was that Travers herself had been having some financial trouble, and Uncle Waltâs payment for the rights to her books, as well as a portion of the gross profits for a film adaptation, was a boost that Travers severely needed. Despite the rights being given to Disney, however, Travers retained script approval rights, and for the next few years of production, she had quite a few complaints about the product. Even at the premiere of the film -- which, incredibly, she had not originally been invited to until she shamed a Disney executive into action -- Travers was very vocal about how much she disliked the film. The animation, done by some of the best in the business? Had to go. The story, which created such memorable and likable characters? Lacked teeth. The score written by the young Sherman brothers, who later went on to win awards for both Poppins and their other works? Left her cold.
Now, hereâs the thing...do I agree with Ms. Travers? No. Do I like her as a person? No -- one would be hard-pressed to really admire a woman who decided to adopt half of a pair of twins from a poor family, raise the boy thinking he was her biological son, and then try to prevent her son from seeing his twin when the twin came to see him. (Yes, she really did that.) Do I think she was a malcontent who probably wouldnât have been satisfied with anything? Absolutely. But at the same time, I must acknowledge, as a writer myself, it can be very difficult to share your creations with others. It can be hard even letting others read your works, given how personal and emotionally resonant the things you create often end up being, but itâs even harder letting others add onto your work. In a way, itâs like giving your child to a babysitter, except that unlike babysitters, most filmmakers who aim to adapt books donât have a great track record in respecting the author or their vision. And in regards to Walt Disney specifically, his studio has never exactly been very interested in âstaying true to the original storyâ -- the Walt Disney Company adapts the heck out of anything it touches. Even more modern Disney projects based on books like Ella Enchanted and Tuck Everlasting are great examples of this (if youâd like to delve into those films as adaptations, please look up Dominic Smith/The Domâs wonderful Lost in Adaptation episodes for them -- theyâre both fabulous!!). And in a way, Travers never saw her magical nanny as something light and cheerful -- this was an immortal woman who in later books once took the Banks children up into the Heavens on Midsummerâs Eve. Like the famous 1939 film adaptation of L. Frank Baumâs The Wonderful Wizard of Oz, there was definitely some dry wit and edge lost in translation from book to screen...and just like with The Wizard of Oz, Mary Poppins the film has largely taken the place of the original novels in the public consciousness.
But you know something? For what itâs worth...I think that, just like The Wizard of Oz, Mary Poppins succeeds in being a well-written, well-directed, well-performed, classic film, even if itâs so different than the book it was inspired by. And honestly, the world seems to agree. Mary Poppins grossed over $28.5 million at the box office, making it the most profitable film of 1965, and completely won over both critics and audiences alike. Even now at Rotten Tomatoes, it still boasts a rare 100% Fresh rating. It was nominated for 13 Academy Awards and won five (including Best Picture, which made it the first and only film Walt ever produced to win that honor) and also earned both a Golden Globe and two Grammys. Not only that, but the profits for the film were so high that they helped Uncle Walt fund his âFlorida project,â which would eventually become Walt Disney World Resort. Mary Poppins later went on to inspire both a Broadway musical and a sequel, Mary Poppins Returns, and even today you can still meet both Mary Poppins and Bert in the Disney theme parks. So yes, âI recognize Ms. Travers had her opinion, but given that it is a stupid-ass opinion, Iâve elected to ignore it.â
PFFT, IâM KIDDING, ONLY KIDDING. Letâs talk about Mary Poppins.
Perhaps itâs appropriate that from the very beginning, the overture embraces us with the melody that will become the storyâs main theme, Feed the Birds. The overture, like all the best Sherman brother overtures for films like Bedknobs and Broomsticks and The Sword in the Stone, is just a smooth, glamorous kaleidoscope of music. I also have to applaud the special effects team right off the bat with their overlaying of Julie Andrews as Mary onto the mat painting of London underneath our opening credits -- even now, when one can more easily guess how the trick worked, itâs still rather neatly done.
In this opening sequence, we also meet Bert, played by Dick van Dyke. The character of Bert was actually a compilation of several figures from the books, but that results in a very interesting, almost transient sort of character. This cheery, optimistic Jack of All Trades may have an accent that wouldnât convince anyone, but is nonetheless unbelievably charming, and van Dykeâs physical comedy is so ridiculously on point. My mum and I have had a soft spot for Dick van Dyke for a long time because my late grandfather, although he was quite a bit older, resembled him quite a bit not just in appearance but also in attitude. Even now I look at Bert and fondly remember going to see the Broadway production of Mary Poppins with my grandparents, who ended up loving it and its music just as much as I did. It all the more makes me lament the end of the Soundsational Parade at Disneyland, which always concluded with a Mary-Poppins-inspired float covered in chimney sweeps and merry-go-round horses, one of which was ridden by Bert.
One of the changes that Ms. Travers was most disdainful of was the idea that the Banks family -- especially Mr. Banks -- had flaws that needed to be addressed and fixed by Mary Poppins. The flaw in the parentsâ case is that theyâre so focused on their own work and goals that they neglect their childrenâs emotional needs -- a plot point that would eventually get beaten into the ground in films that came later, but is not done half bad here. After all, the film doesnât try to frame Mr. Banksâs job or Mrs. Banksâs activism as unimportant or bad in any way -- itâs just that the parents are solely focusing on those things. Mrs. Banksâs activism in particular, which is something that doesnât appear either in the books or in the Broadway production, is something I really like. Sister Suffragette, which actually helped bring Glynis Johns on board to play Mrs. Banks, is just such a ridiculously fun song to sing. Although I wouldnât ever say itâs the best song in the film by a mile, itâs still insanely catchy and entertaining, and I sing along to it every single time. WOMANKIND, ARISE!
David Tomlinson, who plays Mr. Banks, is easily the weakest link singing-wise, but fortunately he gives an acting performance that more than compensates for his poor vocals. From the very beginning, he comes across as incredibly pompous, self-centered, detached, and sexist, and yet heâs never shown to be an inherently bad person. He can be very cheerful, and even the way heâs framed makes it clear that a lot of his bluster is a front for his actual feelings, such as the way he falters when he realizes that Katie Nana has left the family. In the wrong hands, this role couldâve been despicable and shallow, but Tomlison handles it carefully enough that one can always see the emotion and suppressed softness in his eyes even long before he has his change of heart.
After an excellently paced entrance that involves effortlessly blowing away the line of nannies outside 17 Cherry Tree Lane, we are finally fully introduced to the magical lady herself, Mary Poppins. It is unbelievable when you remember that this was Julie Andrewsâs first film role ever -- sheâd previously only been a stage actress, but after finding success in both My Fair Lady and Camelot on stage and being denied the role of Eliza Doolittle in the film adaptation of My Fair Lady (which was later given to Audrey Hepburn), Julie accepted the role of Mary Poppins. Interestingly Julie was the only actor in the movie that P.L. Travers actually expressed some approval for, and honestly, I donât blame her -- Julie is just flawlessly cast here. The role combines all of her performing strengths -- a great singing voice, expert dancing, inherent charm, sophistication, intelligence, pride, grace, and a touch of sass -- together in a cohesive, memorable character. Maryâs first song, A Spoonful of Sugar, really showcases Julie in her prime, spotlighting her flawless falsetto and precise pitch (as well as her impeccable whistling), and beautifully accompanies some of the at-the-time-revolutionary special effects. Although yes, itâs easy in the modern day to see how the effects were done, theyâre never out-of-place or distracting, which is a testament to how much better practical effects can sometimes age in comparison to computer-generated effects. The things that tend to stick out most to my eyes are the green-screened stuff, simply because of how much that particular technique has been used in film and television since Mary Poppinsâs release, but the nice thing is that itâs only one of many effects used, which helps in distracting the eye away from getting too used to one effect. Sometimes the effect will be stop-motion; sometimes the effect will be reversing the film; sometimes itâll be green screen; sometimes itâll be combining separate shots together. It makes it so that you would have to watch every scene several times and very carefully in order to pick out specific techniques, rather than just being able to go, âThatâs fake, thatâs fake, aaaaand...thatâs fake,â the way you can while watching movies using only CGI.
Speaking of special effects, we have to talk about the sequence that made P.L. Travers the most upset -- the Jolly Holiday segment, set in an animated, living chalk drawing. Not only is the song just excellent, but the colors and energy of the piece are...well, practically perfect! It only serves to plus a song that was already pretty great and turns it into something amazing. Something else I like about Mary and Bert that I actually have to thank P. L. Travers herself for is that they are not romantically involved. Ms. Travers specifically indicated that that should be the case, and for a film made in the 60âČs when male and female characters were almost always neatly paired off, itâs really neat that the two characters, despite some faintly teasing, flirty affects, never act like a couple. And really, having had both male and female friends since I was a kid, I really enjoyed seeing an attractive leading woman and man as friends. On the note of Mary, Bert, and songs I love singing along to, I would be very, very amiss if I didnât also bring up Supercalifragalisticexpeliadocious. Itâs really a very short number, but packed into it is so much energy that it feels like it never takes a breath. Itâs like a sugar buzz, written into song form -- exuberant and big and loud and energetic...at least until the inevitable decrescendo as the rain wears away Bertâs chalk drawing and Mary, Bert, and the Banks children sadly return to the real world.
Our next adventure with Mary takes us to dear old Uncle Albertâs, where the aforementioned uncle, played by Mad-Hatter-voice-actor Ed Wynn, is rolling in the air laughing. This scene in particular showcases the various practical effects used in the film, whether hanging the actors on wires, putting them on one side of a seesaw, or even flipping the entire set on its side or upside down. Admittedly itâs very obvious that Katie Dotrice and Matthew Garber, who play Jane and Michael Banks, are having a harder time laughing convincingly than Dick van Dyke and Ed Wynn, which honestly is unsurprising given how many times they had to film this particular scene so as to get different shots. One story from the set of this film centers around Matthew Garber, after getting tired of recording the scene, receiving a nickle every time he had to go back onto the wires and in the end earning an âabsolute fortune.â For child actors, Katie and Matthew arenât awful, but itâs fortunate that theyâre almost never the sole focus of a scene, as the more talented adult actors understandably overshadow them. And before you try to tell me itâs unfair to hold child actors to the same standards as adult actors, I grant that thatâs true, but child actors can still give good performances that make them stand out as individuals...take Georgie Henley in The Chronicles of Narnia or Kirsten Dunst in Interview with a Vampire, for example. And as much as Iâll give Katie Dotrice and Matthew Garber credit for their performances, neither of them quite stands out that way. Itâs admittedly a little harder for me to be that critical of Matthewâs performance, though, given that ten years after he retired from acting, he sadly passed away of pancreatitis at the age of 21. Itâs very fortunate that thanks to his performance in Mary Poppins, Matthew will be remembered fondly for generations to come.
Walt Disneyâs favorite song is frequently cited as Feed the Birds, and honestly, itâs little wonder why. As I touched on earlier, the song sort of sums up what the film Mary Poppins is trying to say -- that the smallest, seemingly insignificant gestures can mean so much. And isnât that so integral to Disney, or even movies and entertainment in general? We all know of a character in a movie or TV show -- a line in a book -- a song someone wrote -- a simple smile from a stranger -- that somehow brightened up our whole world, that inspired us in ways we could never have imagined. And all of that comes back to sincere, gentle feelings, and how we can share those feelings with others. Mary Poppins, in short, is about compassion...and isnât it little wonder why such a message resonated with so many people?
After an absolutely disastrous visit to the bank, the Banks children run out into the streets of London alone, where theyâre fortunately found and walked home by Bert. Accompanying the jaunt back to Cherry Tree Lane is the Academy-Award-winning song Chim Chim Cheree, which is definitely catchy and, if I may say so, very fun to whistle. I admittedly am a little sour with Mrs. Banks that she doesnât get a bit of a reality check when she ends up choosing to leave Michael and Jane alone with someone whoâs effectively a stranger to her to go help her suffragette friends. Itâs just fortunate that the âstrangerâ ends up being Bert and that Mary Poppins ends up coming back despite it being her day off, as otherwise Mrs. Banksâs negligent parenting couldâve had serious consequences. But the leap in logic does end up leading us into one of the best parts of the movie -- Step in Time!
Step in time, step in time, come on, matey, step in time! Hahaha, yes, this sequence easily has some of the best dancing ever recorded on film, right up there with the choreography in West Side Story and Singinâ in the Rain. Itâs especially remarkable when you know that prior to Mary Poppins, Dick van Dyke had had no formal dance training, and yet he keeps up seemingly with ease with dozens of professional dancers. It blows me away every time. And despite the unending repetition of the song, it miraculously never becomes annoying due to the variety of the dance breaks and the high level of energy with which itâs performed. And really, despite the insane length of the song (it running over eight minutes all together), it amazingly never feels like padding. Perhaps itâs because the talent on screen is just so on display and integrated so perfectly with the building orchestrations and well-chosen special effects that it only serves to plus the musical action more and more and more until it finally culminates in the chimney sweeps escaping down the Banks familyâs chimney and dancing off into the street.
As fun as everything has been with Mary Poppins and the chimney sweeps, however, Mr. Banks is now in danger of losing his job at the bank, and Tomlinsonâs talent is made very evident once again in how, even after seeing all of his characterâs mistakes and faults, we still feel very sorry for both him and for his family. Mr. Banks at first feels the impulse to blame Mary Poppins for his change in circumstances, but thanks to some pointed guidance from Bert and some compassion from his children, he comes to see the cracks in the foundation of his world view. And this goes back to the entire family needing help -- Mr. Banks is a very, very flawed man, but at the same time, as Bert brought up to Jane and Michael, he feels he has to handle absolutely everything on his own, and itâs largely thanks to the support of his children that heâs able to face the threat of losing his job with his head held high. Something I love a lot about the part where Mr. Banks makes his way to the bank alone is the Feed the Birds instrumental that accompanies his walk and that comes to a head when Mr. Banks reaches St. Paulâs, only to see the bird woman no longer there. Whether you choose to read it as the bird woman simply having left or having died or whatever else, itâs clear that every opportunity for charity and kindness we are offered is fleeting. Compassion is and will never be a passive thing.
Fortunately everything turns out for the best. Mr. Banks makes up with his children and he, Michael, Jane, and Mrs. Banks go fly a brand new kite in the park, alongside the filmâs final song Letâs Go Fly a Kite. Mr. Banks even ends up getting his job back thanks to a joke that he told Dawes, Sr. the night we sacked. Even despite the cheer, however, it doesnât feel completely saccharine and lacking of substance to me because Mary Poppins does still leave in the end. She doesnât achieve the same kind of happy ending that she gave the Banks family -- instead she simply takes off into the air, presumably to give some other family help, with a faintly sad smile on her face. Itâs remarkably mature of an ending for something that P.L. Travers thought was âall fantasy and no magic.â
Mary Poppins is not that much like the Mary Poppins books originally written by P. L. Travers. Perhaps at some points it sanitizes or misses out on what inspired Ms. Travers to write the books in the first place...but for all that is lost, Iâm confident in saying that a lot was also found. There is a lot of heart in this movie, from a family growing and improving through the intervention of a wise, magical woman to finding deeper meaning in the seemingly insignificant things in our everyday lives. This movie is ridiculously fun to watch, but itâs not like the book Aliceâs Adventures in Wonderland, where there was never supposed to be a point and it was just there to entertain children. There are lessons one can learn here, and theyâre not heavy-handed or pretentious in their delivery. One can learn the value of a sunny disposition, resilience, and empathy in less than stellar circumstances and see how a family full of love is the wealthiest and luckiest of all. And the best part? Those are lessons that both children and adults could stand to learn and re-learn through watching this movie for many, many years to come. Mary Poppins is an immortal figure, and even if this film was made by human hands and so couldnât possible recreate P. L. Traversâs vision of her, the film is just as eternally relevant itself.
#d-views#disney reviews#mary poppins#disney#p.l. travers#opinion#analysis#reviews#walt disney#julie andrews#dick van dyke#pamela travers
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Guys.
I really don't think i'll ever be able to Stress Enough how much people should read the In the Company of Shadows series, specially the AFTG fans.
Why? Well, if you really miss the glorious but painful days of reading the AFTG series and going through the journey of Andrew and Neil learning to live their lives and realizing that there's more to it than just surviving; if you miss the brilliant, raw, and unique build-up that those boys had, both in their own lives and in their capacity to care and just love someone else and believe in them; and overall the jaw-dropping emotional rollercoaster that those books were, well, let me tell you,
In the Company of Shadows is all that, but in steroids.
Honestly, there's nothing that will ever compare to what i felt while reading AFTG. And honestly? There shouldn't be. The capability of a book to depict its own originality is a priority to me. But at the same time that reading ICOS is a whole new experience that fills me with whole new questions and answers that blend into actual, invaluable, new life experience, it is also extremely familiar to me.
Just the way Sin has been treated his whole life. How he's judged as nothing more than a weapon with its own twisted, psychotic mind instead of a trigger, just because he always could and chose to use his skills against unstoppable evil. How even though he had millions of reasons to do so, the fact that everyone looked at him like they would spit on him and sentence him to death because there was nothing worth understanding in him, nothing worth saving, made him actually believe he was the Monster, the psychopath, the crazy kid who left his therapist in a vegetative state (it was because she drugged him and sexually harrassed him while asking, during his alleged therapy session, disgusting questions about what his mum used to do to him when he was even younger that then, but who cares?) that everyone sentenced him to be. How he suffers from insomnia from fear of his own twisted and terrifying nightmares, which are actually just memories, and fears even more the thought of his only loved one ever trying to wake him up because when people wake him up, bad things happen. Or just snapping one day and hurting him because that's what monsters do.
How said loved one, Boyd, the thin, delicate-looking, blonde and long haired boy, was the first person to not flinch the slightest at the knowledge of it all. How Boyd and only Boyd stood fearless in front of Sin's worst bursts of violence because he knew Sin would never hurt him, rightfully so, as he was the only one who dared to see below the surface, actually believing there was gold behind it instead of corrossive madness.
How these books' substance, the way they make you question the line between moral and immoral, how they make you believe in people and make you care so incredibly much about the wellbeing of those misunderstood around the world, and hope that they find their own Boyd if that's what it takes for them to realize how much they actually deserve it.
How they make you appreciate the word Junkie in a way no one would ever understand because in these books, Boyd was called Junkie because he found something worth living for so much that he couldn't get away from it: the feeling of control over something, of responsibility, of having the power to decide whether it all went to shit or succeeded because of him; because that's a thing to get high on for someone who used to do little more than surviving the day like Boyd did.
How all of this resonates with the most amazing series i've ever read (and i know it does for you too) while being completely different at the same time, is what blows my mind. And i can fucking swear to you: it will blow your mind too. It will bring back all those feelings you had for All For The Game in the craziest, most emotionally impactful way possible.
And if you haven't read the AFTG series, well, it will blow your mind anyway.
Oh and please tell me if you will check out these books because of me cause that would make my whole week thanks
#brilliant books#the way andrew and sin are both labelled as monsters though.....#bc people can't seem to fucking pay attention......#and how neil and boyd are their personal emotional support junkies......#this is what i call literary conspiration#nora and santino do yall have smth to say?#anyway#b r i l l i a n t#read it#i'm willing to beg if that's necessary#in the company of shadows#evenfall#all for the game#aftg#the foxhole court#tfc#icos#neil josten#boyd beaulieu#andrew minyard#hsin liu vega#andreil
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