#Yes Danny makes The Departed references

[memetic-trigger-hazard]

Wow this gained some traction.

In my mind Danny was Sir Not Appearing in this Film. Setting some basic rules for the ghosts so Amity is still standing when he gets back. Beyond that, have fun guys, let's go Little Comet! (Ellie: :D)

Slight problem with that. Danny always beat the ghosts before they could get situated in Amity let alone travel elsewhere.

The JL and Young Justice haven't heard from Red Huntress in a while, and now with these ghost entities travelling to other cities and causing problems they need her expertise, so they assume something has gone wrong.

They arrive in Amity. It looks like a war zone, Val is covered in plenty of mud 4 other substances. Her suit looks trashed, her hair has the Murder Frizz going.

"WHAT DID YOU DO!?"

"What? Red Huntress are you al-"

"NO. I am NOT ok. I would like an explanation for this!"

Before he left, Danny meticulously wrote a 4000 page contract for the Justice League covering Every. Single. Issue that he has with them. And he's not returning to superheroing until that gets signed.

He has sacrificed his time, his GPA and chances at even graduating high school. His sleep. His relationship with his family. His dream career. Hell he's even been suckered out of having a responsibility free afterlife. All so the JL can call him a Villain? Nah, F that.

That 4000 page contract not only covers his demands as King for repealing the Anti-Ecto laws and the non negotiable public arrests of every single politician and GiW agent, including public apologies and retractions, it also contains the breakdown for wages owed to Danny by the Justice League as a subcontractor.

After all he's been on call 24/7, as a front line fighter while keeping public order(National Guard) , emergency first responder, an Ecto-Scientist, and a variety of other roles. When including danger pay, overtime, increased pay to afford tutors due to superhero commitments causing issues with school and compounding interest. Danny calculated that the Justice League owes him $148 million dollars in back pay and owed wages.

And worst of all?

Danny keeps sending vacation snaps of him and Ellie having fun across Time & Space to Val's phone.

I'd love to see a dpxdc story where the Justice League knows about Amity Park and the Ghosts the whole time, and does think the ghosts are rogues to be addressed. Doesn't agree with the GIW, maybe doesn't even know about them? THE IMPORTANT PART.

The Red Huntress is the only active vigilante in Amity Park, according to the JL. Phantom is marked as one of her rogues. Maybe the Fentons even are marked as rogues from all the property damages and random shooting/sliming of citizens. Valarie is the only person successfully taking care of the ghosts, masking and suiting up in the classic vigilante way the whole time.

[arbiterlexultionis]

Danny and the Spooks

So first things first, my initial idea is that this prompt takes place in a no one knows AU, and Danny somehow gets his ice powers earlier than he otherwise would, though really this could work without those two if need be.

So Danny got his ice powers pretty early in his ghost fighting career, and because he doesn’t have the support from his friends or raw power he would gather up later on he relies far more on Fenton tech to get by. That reliance on weapons means that, upon realizing that his ghost ice 1) doesn’t melt and 2) is Ghost Ice, and therefore can’t really be phased through by most ghost that arn’t him, immediately begins thinking of ways to make long term weapons out of the stuff.

A little while into his experiments with that he’s fighting Skulker and gets thrown into the house of some poor civilian, and while taking cover behind the kitchen counter looks over to see the (slightly disgruntled) homeowner doing the same while holding a 12 gauge.

“You think you can land a shot with that thing?”

“You think it’ll matter if I can?”

To which Danny replies something along the lines of “it will with this” before handing over his latest creation, a 12 gauge slug that’s had some of the material removed and replaced with his ice. Danny distracts Skulker, and his new friend pops up and puts a hole through the spine of Skulkers suit, allowing Danny to capture him. Danny thanks Mr. Civilian, who is apparently a retired Navy Seal or something, and they wind up staying in contact with each other, sometimes helping each other out with stuff and Mr. Seal testing out new weapons for Danny. Then some punk kid(yes a punk kid, doesn’t matter that he’s older than Danny, Danny still refers to him as a punk kid) decided that he wants to help defend the town and starts following Danny around, trying to help him in fights, and just refuses to stop putting himself in danger. Eventually Danny “relents” and says that he’ll let the kid help out, but only after he gets proper training from Mr. Seal, with the real plan being for the training to be way to intense for the kid to make him give up.

One problem though, the kid just doesn’t give up. Like, at all. One day Mr. Seal pulls Danny aside and tells him that Punk has finished his training and Danny gets all exited that the kid finally gave up, only for his bubble to be burst. “No no, he hasn’t given up, he just finished my training. He’s ready for combat.” And well, a deals a deal. So both Punk and Mr. Seal start taking more of an active roll in ghost fighting.

And then another idiot with more selflessness than sense shows up. And another. And, whoops three more just showed up. Eventually, Danny wound up as the accidental leader of a vigilante/ghost fighting organization dubbed the spooks by the local news. Comprised mostly of volunteers, with the best and brightest getting a rank all their own and proper pay, comprised of donations from both normal people and members and “donations” from criminals they stop because it’s not like they need the money now that they’re in prison.

I’m just imagining Danny with this rag tag group of humans doing what they can to help people.

After Danny finally manages to get some time with his friends for a movie marathon, he decides to form a new branch of the group called the R.I.P.D., the Rest In Peace Department, which is basically meant to help ghost fulfill their Obsessions and stuff in a safe, peaceful manner.

Boxy gets a abandoned warehouse full of boxes that’s been covered and insulative materials to keep ghost hunters from tracking him there.

Lunch Lady gets a great big soup kitchen which promptly morphs into a whole ass shelter for anyone and everyone that needs it so long as they’re okay with having Lunch Lady seemingly appear out of nowhere worrying about how skinny they look and shoving food into their arms.

They also have an absurd number of homemade gadgets and weapons. Think like, the entirety of the slingshot channel, ZnA productions, hacksmith and all those other types of channels combined, but their arsenal is hopped up on ghostly BS, as well as stealing equipment from Vlad and the GIW.

Skulker: I WILL MOUNT YOUR PELT ON MY WALL GHOSTCHILD

Fredrick “Dakka” Stevenson, flying the ancient crop-duster they got from old man Elijah and strapped every weapon they could to: I’m gonna do what’s called a pro gamer move.

Every other spooks member on the coms: groans

Dakka: if you want me to stop making lame meme references stop using a lame meme reference as my nickname.

Pt 2

[mjjune]

is it too much to ask for 1-13 for the pride asks for helio bc i’m obsessed with him 🙈

Only because it's you, Ren. I'll do it for you, specifically /j

I'll put it under the cut so it doesn't clog everyone's dash!

Ask me Pride Asks!!!

1 & 2. What's your oc's gender identity? What's their relationship to their gender? What's your oc's orientation? Do they have opinions about it?

Honestly for both Helio and Danny I don't use labels. Helio uses the word gay to describe himself in book one, and there is literally an entire chapter called The Queer Crisis dedicated to Helio's self-perception regarding gender and sexuality so I don't want to spoil it since you will eventually read it. Take this as encouragement to go read my damn book, Ren 🔪

3. How did your oc discover themself? Did something cause them to question, or did they always know?

The latter part of the question actually isn't discussed much. In terms of discovering himself, he's still doing that LOL I would say by the end of book 1 he's getting somewhere in the discovery department. But I think he did always know. Maybe not that he was Gay™ specifically, but that he was different.

4. Is your oc's environment supportive about their identity? How does this impact them?

Siblings are very supportive. Parents are... a work in progress. for actual environment his friends and NYC are progressive, so it's not too much of a problem. I think the werewolf pack being heavily Catholic impacted him a lot when he was younger, re: making him feel unsafe to come out -- but he hasn't lived within that environment in close to 10 years.

5. How did you figure out your oc's identity?

Honestly, exploring him and Danny's relationship on the page. I went in with the presumption that he was going to be a Cis Gay™ but... I also went in with the presumption that he was white, so we see how far I got with that character design 😂

6. How does your oc feel about labels? Theirs, or in general?

Does anyone in my book use labels, is the real question lmao Like I said he uses the word "gay" for himself, but that's just to Come Out To People™, I wouldn't say that he thinks of himself as any label in particular, especially by the end of book 1 after being with Danny and seeing how labels just... are completely insufficient for describing Danny in any capacity lmao that made him less inclined to use them for himself.

7. Is there something that could cause your oc to question their identity? What?

Lmao again let me refer you to The Queer Crisis chapter.

8. Have they had struggles with their identity, be it due to internal or external reasons?

I think the biggest struggle was to come out, and the internal battle of choosing how and when and if. In high school he was just trying to survive being a werewolf so any romance or coming out was on the back burner, and then in his 20s when he finally started acting on his feelings, there wasn't that much time between that happening and shit hitting the fan (re: chapter 7) where coming out was no longer an option, or in his control at all. But honestly Helio's entire existence is a struggle so... yes. Is the short answer.

9. Are there cultural or lore specific aspects to their identity? If applicable, does their species affect it?

Born werewolves in my story do tend to have... mating practices? Lmao not like Bonding or Fated Mates or anything like that, but typically they do choose a mate and stay mates for life, monogamously, and (since their lifespans are 250+ years) they tend to have kid(s) somewhere between 20-200 years into the relationship. Since Helio's parents are high up in the pack, and so were his grandparents, there is extra pressure for him and his siblings to adhere to this (which is... going super well :/) Anyway, all this to say: even if Helio were cishet, there were expectations that he very likely wouldn't have been able to meet. There is also The Treaty, which maintains civility between werewolf packs and the vampire order, which forbids vampires/werewolf relations SO YA KNOW THERE'S THAT TOO

10. Does your oc celebrate Pride? How?

Uhhh Pride has not happened on the page in my story but?? After book one, definitely! Before book one he's too in the closet for it. After, though, I'm sure Danny's bar has huge pride parties lmao

11. Is your oc open about their identity? Are they more lowkey or more blunt about it? Why or why not?

After book one, yes. Lowkey for sure, though he does wear leather jackets and has long hair but I wouldn't say people's gaydar goes off the charts when you spot him. It's just in his nature to be lowkey in general, even though the universe (aka: me, the writer) obviously says otherwise.

12. Does/did your oc ever wish they could change the way they are? Why? If it's in the past, how did they get over the feeling?

Nah, I don't think so. Even before he came out and thought his parents would disown him (which they didn't). I think he wishes that it was easier to be himself, and less stressful. But especially after meeting Danny I think if he ever wished he could change it would be to be more like Danny 😂 (re: fluidity, openness to change, not using labels, self-acceptance, and shameless lmao)

13. Would your oc be open to a poly relationship? Why or why not?

He is in one :P

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

AVOF TAGLIST: (ask or comment below to be +/-) @aritany @artbyeloquent @bebewrites @ceph-the-ghost-writer @elijahrichardwrites @eventideintrigue @faithfire @flowerprose @garthcelyn @ghafasinej @jezifster @knosium @isabellebissonrouthier @lexiklecksi @little-mouse-gardens @mr-writes @thyroidhormones @vacantgodling @wildswrites @wip-nook

[rip-a-dip-dip-you-potato-chip]

what have I created?

idk if yall like this, but they just exist not i guess :/

ok the the first one is Royalty AU

first things first, when I say Royalty AU, I don't mean the classic shit we've all become accustomed to. Im talking about the good old Chinese royalty! And I want to emphasize that these guys will/should be dressed in century appropriate attire. As someone thats read a handful of 'marinette, princess of china' fics from the ML Fandom, I've noticed a common trend. Marinette wouldn't be in the culturally appropriate clothes, always ballgowns. Not that there's something wrong with it, its just most of if not all these fic are set in China, so I'd expect Chinese royalty to dress as THERE dress code calls for. And since this AU takes place far in the past like, it won't make sense for any of the characters to be in royal clothing that wasn't from there region. I'm not trying to white knight/gatekeeping. Im Guyanese not Chinese. But since JTTW and Monkie Kid take place in China, it's only right. In my opinion that it. You don't have to outright agree with me.

With out of the way, it's time for that good old AU crack

- Wukong is the king of the Flower Fruit kingdom(or a different one if you'd like, again I'm only familiar with what western culture has taught me, but I'll try my hardest) 

- he’s single but rumor has it he used to/still is dating the Vigilante/thief The Six Eared Macaque

- *chants ShadowPeach violently* 

- no one know whether it true or not

- On of his wanders around the kingdom he finds an abandoned baby in a basket. 

- and no shit sherlock it's fucking baby Xiaotian 

- I think we all know where this is going because i'm a simp for Monkey Dad & Monkie Son shenanigans

- Xiaotian becomes prince

Shit, ill be referring to Xiaotian as Mk from now on, I mentioned this before in a fic I wrote for lmk that Mk's a nickname for Xiaotian for some reason- wait i don't have to explain my self to you people!

- Sun loves his son

- MK is treated differently by staff and others because he's not blood related to the king

- no one mistreats MK per say, because there King loved his adopted son, but words are said behind his back

- Sometimes MK hears what’s said, and he feels as if he won't live up to his dad’s legacy.

- He meets Mei during a festival

- Mei is from a noble family, that wouldn't mind if they got a connection into the royal family.

- but it becomes hella clear to Mei’s family very fast that the two are just friends, and will always will be. but hey there daughter is bffs with the prince so that's a plus.       

_

- the Demon Bull Family is rules a kingdom as well, I dont/am not creative enough to think of a name I leave that to you.

- It's a common misconception that DBK is a tyrant, when he’s not. 

- most of the time...

- they have been at war with the Monkey King for some time now and settled for a peace agreement.

- that agreement being there sons to marry

- oooo original i know

- MK and Red Son are roughly the same age, Mk being 20 and RS 22

- RS is revolted/disgusted at the idea of being wed to the Monkey Kings child, even more so when he realizes MK is adopted,

- but, that all changes the second he meets MK while he meets him by accident when he gets kinda lost in the palace when he and his parents go to discuss the arrangements.

- the second he looks at MK, he's instantly in love. MK less so, he's nervous and honestly kinda bummed he's not marrying someone he loves but it's for the good of his ppl, and he'll do anything for them.

- RS isn't even aware that MK is Suns adopted son until MK walks him back to the meeting room.

"Oh There you are MK! I was about to have a servant go fetch you!" Sun Wukong says, gesturing for his boy to come sit with him.

"S-sorry for keeping you waiting I got caught up in my lessons with Mr. Tang" MK responds, sitting next to his father. Red Son looked gobsmacked. The beautiful young man he had bumped into, was the prince of this land? Damn, life truly blessed him. Or cursed him depending on how you looked at it.

- the two are left alone in a separate room for a while.

- And MK straight up tells RS why he's agreeing to this union.

"Look Red Son. I've dreamed about meeting my one true love for a while. And I would give almost anything for that dram to be real. But I wouldn't ever dare give up my people, for as there price they mean more to me. I'm doing this for them, no other reason" MK says, his back straight and hands folded neatly in his lap. The look in his eyes was a mix of sadness, but that was drowned out by loyalty and determination. It just made Red Son fall for him even harder. Clearing his throat Red spoke.

"I understand, for im doing this for the betterment of my people to. But I propose a wager"

"A wager?"

"Yes, if i can make you fall in love with me by years end, before our marriage, we can live together like in the fairy tales from far away. But if I fail, in a years time afterwards you will be permitted to find your own path in life" Red Son stated. MK took a moment to process what was happening.

"So, if you succeed in making me fall in love with you, before our marriage we can live happily ever after?" Red Son nodded in response, letting the younger continue.

"And if I shouldn't fall for you, in a years time after our union, im free to leave?" Red Son nodded once more.

"So, what do you say?"

...

"Deal"

In the end, your free to choose their fate, should Red Son win the hart of Mk? Will he fail? Or will he let him go, and let him travel the country, after all Mk's a free spirit and keeping him trapped in a big house is like keeping a cannery trapped in a cage only for its song, only for it to dul. Or will the unthinkable happen and will both boys find their freedom? together or appart? I don't know, because that's all up to you 😉

personally, I’m partial to where MK and Red Son both find freedom together. Like they straight up run away together to somewhere far away and just live out there lives together. 

this could also be genderbent thing as well. MK or Red as their respective counterparts. Again it doesn't have to be, but it’s whatever bro. im just spitting out the idea. 

Also, there is a main side plot that they fight the WBS throughout the year as well, along with other shenanigans you wanna throw in.

____

The second is a My Hero Academia/BNH/MHA AU

truth be told i'm not a big fan of MHA i think it to over hyped(this is also coming from the same person that’s a Fairy Tail fan lol), and the fandom i don't even know how to describe that mess, but I will admit not the whole of its toxic since every fandom has some toxic members, some even more so. 

I just sometimes find myself enjoying MHA AUs like the Fullmetal Alchemist, Danny Phantom, Evil!Deuk AU and several others. 

to make it clear I don't see this AU taking place the same time as the main plot of the actual Anime/Manga. This could be either like 6-10 years before or after the plot idk bro. But i’ll do this after the main story plot of MHA, so keep that in mind ya? another thing, the gang is still in China, the top hero school in the world just so happens to be in Japan, and it’s only ever mentioned by Sun wukong and other pro heros. So MK never attended AU. in short it’s only ever mention/ reference.  

_

- Mk was considered Quirkless as a kid. 

- he was just a late blumer, i swear  

- Mai’s Quirk is called Dragon. 

- it pretty much works the same way as it does in the show(duh)

- Tang’s got a knowledge Quirk, 

- my man can retain information and he’s basically an archive of information drawback being his personality lol 

- Piggsy is a Animal that gained a Quirk

- in cannon to my current knowledge, there are two other characters that can confirm animals can become sentient. the characters being Fumikage Tokoyami, & Nezu the principal at the school UA.  

- Sandy is just Conner Kent, aka he like superman but can't fly, or shoot lasers from his eyes. And blue.  

I have two scenarios for Macaque and Wukong  

*- The first one is that, Sun Wukong & Macaque are brothers. twins to be exact. 

- they where legit people, but have mutation quirks that made them too like monkeys. 

- the added powers were just a boues. 

- Sun and Mac are close growing up, like there brothers but also best friends.

- the draw back to there quirks could honestly be whatever you want bro idk, same with the others tbh. Personally I like to think Sun just has lack of motivation, and Macaque needs to draw on other people's energy.

- Sun is a hero, Monkey KIng and Mac is a villain Six Eared.

- Sun was always treated has the golden child in the family, Mac always resented that, but there shitty up bring didn’t stop the two from being good brothers to one another.

- soon tho the resentment became hatred when Sun was able to attend UA in Japan, while Mac didn't.

- Mac be angy 

- so he became a villain, and joined the Chinese branch of the LOV(league of villains)

- Sun doesn't know this till he finds out during the all out war during the main story. and by that time he’s a full on hero with is own agency(The Flower Fruit agency)    

- when the hero's ultimately win and Mac is arrested 

- This ultimately hurts Sun a lot, his brother was in jail now, arrested for his involvement and wrong doings, he knew nothing about this! this brother, his blood. A bad guy? why? he hadn't seen his brother since he left for UA, he hadn’t seen him when he came home, and started his agency. 

- this just puts Sun into a funk so he’s not as active as he used to be, and he starts thinking he might need a successor 

*- The second one is that they were two separate people that had similar quirks and both attended UA but Sun ended up in the hero corse. so 1A.

- Both Macaque and Sun have similar quirks, Sun’s is obviously more light based while Macaque’s is more shadow based(this applies to the first one as well)    

- Macaque was placed in class 1B, U.A.’s High's Heroics Department, I believe, you can correct me. 

- In cannon Class 1A and 1B both went to the training camp. I can see the teachers pinning Sun and Macaque against each other to hone their skills. 

- And because of that they become great friends    

- In fact when they graduate they both co-found there hero agency together in China and are a duo.

- But due to Monkey King’s popularity and Six Eared's association with shadows(people sometimes saying he has more of a villains quirk than a heros) the public see’s Macaque as Sun’s sidekick when thats far from the truth. 

- now it’s up to you whether you think that Wukong and Macaque would be in a relationship together, but knowing how cooked we all are, ShadowPeach is a thing here more than likely. 

- If you do or don’t support/ like the ShadowPeach aspect, the two would be living together regardless since its more cost efficient. 

- They my be heroes but living costs are expensive!   

- I would imagine there would have been a huge fight/argument between the two in privet of course, at there home.(or in there shared office if you want the extra angst of the other people they work with hearing them fight)   

- If the two are dating, then this would either lead to an out right breakup, or Macaque just up and leaving with Wukong thinking he’ll come back once he’s cooled off. But after a week, with no sign of his partner, or him answering texts or calls, not even coming into work. Wukong gets worried that something might have happened to him. so there wouldn't be a confirmation if they were still a thing or not. 

- But Wukong remains hopeful, despite the nagging at the back of his head, and gut telling him to go find Macaque, or atleast make a public statement, or even just tell another pro hero about it.   

- on the not so shippy side, Macaque and Wukong still have there argument, and much like the ShadowPeach esc side, Macaque up and leaves, and isn't seen for weeks. the only difference here is that when Wukong comes home one night to there flat, most if not all of Macaques stuff is gone. 

- where as if this was the ShadowPeach side, Macaque leaves all of his possession in the flat he and wukong share. for the simple reason being, he still loves him and wants to go back, but Macaque being Macaque can’t bring himself to do it, especially after seeing just how hurt Wukong looked when he yelled at him just before he left.  

- in other words, ANGST DIALED UP TO A 10 BABY  

- in either case, its a news report that confirms Wukong's suspicions that he desperately didn’t want to believe, and that is Macaque turning into a villain.

- much like if the two were brothers, Wukong just can’t take it and is no longer as active as he once was, and is thinking about, either A) Retirement  B) Saying, “Fuck Society, Be Gay Do Crime” and join Macaque as a villain himself, or C) find a successor, and a way to bring Macaque back to there side, but most importantly, back to him.    

- also extra points if you're after people's hearts and want to make them suffer;  - If there dating, Wukong curle’s up in the bed he and Macaque shared, holding/wearing something of great value to Macaque and just crying himself to sleep, where as Macaque is getting wasted on alcohol, as he stumbles out of the bar he’s in, he either see’s something that reminds him of Wukong or while he’s trying to put his wallet back into his pocket, a photo of them on their first date fall’s out. and Macaque just cries in a nearby alley way. And it’s there where he gets indoctrinated into the League.

       - If there just friends, macaque heads to the nearest forest and just levels it, where as Wukong just gets engrossed into his work, trying not to think about it. you could add you own spin on this, again i'm just spitballing.             

- NOW BACK TO MK! :D     

- Obviously MK is a huge Monkey King fan     

- at Twenty MK has come to terms he's quirkless (HE’S NOT)

-for ANGST reasons MKs fokes kicked him out at this realization at 13.

- he works at Piggsy's Noodle shop, and has been since he was 14.

- don't need a quirk to drive or cook!

- the boy lives a content life with his new family, till DBK happens :D

- DBK runs a Mafia(in conjunction with TLOV) and has been in jail for like 5 years thanks to Monkey King, PIF and RS brake him out one night when MK's out making a late night delivery since Piggsy had the bright idea to go 24/7 service!

- one thing leads to another and Mk somehow manifest what looks like the Monkey King's staff, but its not, it’s MKs powers, it just so happens to be the same power the Monkey King has. And it practically goes down the same way in the pilot. 

- but unlike the pilot Mk and Mei go straight to the FF Agency, after making a panicked call to Pigsy and Tang.

- one way or another Mk are lead into Wukongs office. Mei being forced to stay in the lobby.

- they have there convo, butterfly monkey squishing included.

- "And so, I want you do be my success-" BOOM 💥

- from there they rush downstairs and see that the lobby has been infiltrated by the DB fam, and you know fight.

- once the DB family seems like there down, PIF wisks them away. Much to Monkey King’s displeasure.

From there stuff kind plays out like cannon, the calabash ep is just a conjoint quirk the Demon bros have. As for EP9, ill have to script that one out myself lol. I'll get onto it as soon as my will to commit stabs me in the face. Till then have a dancing Kermit the frog.

Now if you'll excuse me, am about to Kermit a felony :D

(For legal reasons thats a joke)

Psst @writingamongther0ses its done

[365days365movies]

February 16, 2021: Carol (2015) (Part 1)

...Harold...

Yeah, I had to do this one. Partially because I knew about this film previously, as it was kind of a smash hit when it came out in theaters. It was about as big of a deal as Blue is the Warmest Color, which...we might get there. But, yeah, Carol was already on my radar when I decided to dip into LGBT cinema.

But also...you can thank my girlfriend again. There she is (as she’s choosing to represent herself through GIF form) below.

We love The Owl House. Anyway, I wasn’t aware of the meme until we were watching a movie, and she just screamed “HAROLD THEY’RE LESBIANS!” And after doing some research on that statement...that’s goddamn hilarious. And it all started with Carol, so the writing’s basically on the wall there.

Here’s what I know. This movie stars Cate Blanchett...OK, that’s it! Shall we find out more firsthand? SPOILERS AHEAD!!!

Recap

In New York City, a man enters a bar and restaurant, where he sees an old acquaintance, Therese Belivet (Rooney Mara), who is having dinner with another woman, Carol Aird (Cate Blanchett). And, uh, lemme just say, we’re jumping off RIGHT away, and my girlfriend immediately starts screaming “HAROLD” at the screen.

Anyway, Jake invites her to a party with mutual friends, and Carol and Therese end their dinner date early. As Therese looks out of the window of a car on the way to the party, she thinks backwards through time, and takes us with her. FLASHBACK

Therese wakes up one morning around Christmastime, only to see her boyfriend, Richard Semco (Jake Lacy), ready to take her to work on a bicycle though Central Park. They talk about going to Paris on vacation, an idea about which Therese seems nonchalant. Therese works at Frankenberg’s, a department store that doesn’t exist. As is typical of the season in NYC, shoppers and their children flood the place. We went there on Christmas of 2019, and I grew up in the area. Trust me when I say Christmas in NYC is FUCKIN’ NUTS.

Therese works at the toy counter, and that’s when Carol arrives to get a doll for her daughter. Unfortunately, they’re out of the doll she’s looking for, so Therese offers a model train set to her instead, and the two hit it off basically immediately. And when I say hit it off, they HIT IT OFF. Like...the chemistry is IMMEDIATE. Maybe that’s Cate Blanchett’s pure charisma, but I’m just saying...they have the fastest chemistry establishment that I’ve seen yet.

But oh no! Carol’s forgotten her gloves! However, it doesn’t seem like much results from that, as the work day is soon over, and Therese and Richard go to a movie and a beer with friends Phil (Nik Pajic) and Danny McElroy (John Magaro). That night, having returned home, Therese looks at Carol’s gloves. Using information obtained during the department store visit, she mails the gloves to Carol, at her gorgeous mansion.

Carol is combing her daughter’s hair, as her husband Harge Aird (Kyle Chandler) arrives home with the mail. Things seem somewhat amiss, as Carol seems extremely unhappy. She later calls her at the department store to thank her for the gloves, and offers to buy her lunch that afternoon. She agrees, and the two head to a nice restaurant.

Over the course of the meal, it’s revealed that Carol and Harge are going through a divorce (yeah, that tracks), and Therese’s conflicted on how she feels about her relationship with Richard. Carol invites her to come over at some point, and she agrees.

Later on, while in traffic in the car of a friend, Abby Gerhard (Sarah Paulson), she seems to acknowledge potential attraction between her and Therese, although it’s not exactly set in stone. She heads to a party that evening. Meanwhile, she visits her friend Danny, an aspiring writer, who inquires about her hobby of photography, and then...kisses her...even though she’s dating a friend. Fuckin’ OH BOY, DANNY.

Harge takes Carol home, and he’s 100% still in love with her, and she’s just not feeling it. This may be related to the fact that she and Abby were also once a couple. Yeah. Harge is aware of this, and they were DEFINITELY a romantic couple in the past, which means...yeah, Carol’s a straight-up lesbian, it would seem. Harge says it “shouldn’t be like this,” and it’s not clear whether that refers to Carol’s attraction to women, or the divorce in general. It is the 1950′s, after all.

OH WAIT. Forgot to mention that, didn’t I? This film takes place in the 1950s, I think? Hasn’t been made super clear as of yet, but the aesthetic is certainly the 1950s, without much doubt. The next day, Carol goes to pick Therese up, and meets Richard. Richard tells Therese he loves her as they depart. Therese doesn’t return the sentiment. FUCKIN’ OOF.

As the two drive through Lincoln Tunnel together, their dialogue is quieted, and we get some interesting close-up shots of their eyes, lips, faces. And it’s definitely meant to suggest something more physical, something without words. In other words...Harold’s wife is starting to get the idea. Harold’s not quite there yet, though.

Carol and Therese go to Carol’s home in New Jersey, where she meets her and 4-year old Harge’s daughter, Rindy, who Carol obviously loves VERY much. That night, Therese plays the piano, and also shares her passion for photography with Carol. Carol shows interest in her hobby, when Harge suddenly shows up to take Lindy unexpectedly for Christmas with his family, away from her.

The argument that this results in quickly envelops Therese, as Harge confronts Carol about her presence there. The ending result, though, is that Carol is forced to let Rindy leave early with Harge. And yeah, it’s sad for her. Harge, on the other hand, is being an absolute dick. The two have a verbal and PHYSICAL argument outside, which Therese partially overhears.

As an apology for bringing Therese into this marital struggle, Carol gives her a ride to the train station, so she can make her way home that night. On the train, Therese cries. Is this because of Harge, because of Carol, because of a struggle with her own feelings? I’m honestly not sure. And it’s a good question.

Carol seems to believe that it’s because of her, though, as she turned her away somewhat abruptly. However, she quickly tries to make up for it by calling and apologizing. Therese says that she has questions for her, and Carol is more than willing to answer them. The next day, Carol goes down to her divorce attorney’s office, only to discover that Harge is trying to take away ALL of Carol’s custody.

And the reason for it? You guessed it! Carol’s a lesbian! Sooooooo, FUCK HARGE!!! With this otion, Carol won’t be able to see Rindy for several months, which hurts her greatly. Again, fuck Harge, he’s a dick who’s taking away Carol’s joy and time with her daughter solely because Carol isn’t attracted to him. GODDAMN, that absolutely sucks.

Meanwhile, Therese’s struggling with her own feelings, some of which may be for Carol, and actually STRIGHT-UP asks Richard his opinions on the origins of homosexuality. He believes that it can’t just happen like heterosexual love, which...I mean, 1950s, what can I tell ya, it wasn’t great. He point-blank asks her if she’s in love with a girl, and she says no, and leaves him in the street in a huff. And real talk, I feel bad...for Richard. Therese, too, but dude is genuinely in head-over-heels with Therese, and is just NOT getting the hint.

Carol and Abby go to have lunch, where Carol breaks the news. They share tenderness, as they have in the past, and Abby’s pretty clearly out of the closet, as much as one can be in the 1950s. Also, quick aside to note that Sarah Paulson rules...and moving on.

Carol then visits Therese, and gives her new camera equipment as a kind gesture. Carol shares with her the news of the struggle with her husband, and says that she’s going on a trip, to get away for a while. She invites Therese to come with her, quite spontaneously, and Therese equally spontaneously says yes! Fuckin OOOOOOOF to Richard, goddamn.

Also, exactly the halfway point! See you in Part 2!

[bowlofworms]

When Danny first arrived in Gotham, a city failed and neglected while Pariah Dark slept in his coffin, he was unsure how he would be received. Spirits are territorial beings and City Spirits, borne of territory, are especially so. He expected the spirit to be ragged and angry after all the time spent fighting the curses and trying to keep up filtering the sheer amount of rank smelling ecto that clung to the city like its smog.

Lady Gotham was unlike his expectations. He stood at the edge of her haunt, not invading or trespassing, but making himself known. He had anticipated a greeting via punch, but was pleasantly surprised by the spirit who materialized in front of him in a hiss of steam, an emergency siren, and a barely there hysterical laughter on the wind.

She was affected by the state of her city, yes, but not to the degree at which Danny expected. Lady Gotham appeared like a pale skinned woman with dark wavy shoulder length hair. She wore a gorgeous black dress with the occasional pearl sewn into skirt, matching her broken and blood splattered pearl necklace. She wore a hat with a half veil, hiding her eyes. She wore red lipstick and greeted Danny with an amused smile.

“The Boy King, welcome. I am Lady Gotham.” She said and offered a bloody gloved hand. Danny shook it.

“Lady Gotham, on behalf of the Dead Crown I formally apologize for the neglect you have suffered under my predecessor and I apologize it has taken so long to get to you.”

“I harbor no ill feelings, my King. You have done my knights a great service by cleaning up what the livings call ‘Lazarus Pits.’”

“Of course, Lady Gotham. I have a gift for you, to assist you in filtering the large amount of ecto here and help you gain strength against the curses that plague you.

I died in a town called Amity Park, of which I am considered the Spirit Of, though I am not a true City Spirit. The people of my haunt have domesticated blob ghosts. We refer to them as boba blobs, due to their small size and aptitude for liquids, especially drinks. They are much more docile in nature and live in hives, which they return to after filtering.

For you I have a tanker truck of them. Along with five liminals whom specialize in their care. The blob ghosts are familiar with these handlers and are likely to return to an unfamiliar hive if they are tending it. They will each set up a few modified hives in each of your boroughs, and stay in the city until the blob ghosts have familiarized themselves with the area. Once the blob ghosts naturally return to their hives, they will return home to Amity Park.”

Danny let the Blob Keepers know they were good to move into the city and begin their work. He and Lady Gotham spoke logistics for some time, then she thanked the Boy King for his help and insisted he must meet her Knights. How could Danny decline? What a gesture it is for a city spirit show someone, especially one much more powerful than oneself, their protectors. The closest human equivalent would be simultaneously showing someone your security system while proudly showing them your kid’s fridge art. It is a vulnerable thing, but to show Danny specifically it is also similar to giving fealty, as if to say “These are my knights; they fight for me, so they will fight for you.”

So, with the diplomacy lessons Dora shoved down his throat in mind, he gratefully accepted. Lady Gotham led him through her streets, to where the houses got larger and farther apart, then farther still to where manors stood over great acreages. She turned at the gates of a gothic manor, then went around the back to a well long-dry. They flew down the well and into a cave, then walked until it opened into a great cavern.

“It is here I must depart from you, my King. I am the spirit of Gotham and I am shaped by its tragedies. I unfortunately bear the visage of a woman whose death echoed around Gotham, I do not wish to pain one of my Knight’s with my appearance.” She said, bowing before dissipating into smoke and smog and a brief glimpse of city lights.

Danny waved off his royal regalia, now just in his normal hazmat suit/armour combo, flicked into visibility, and wandered further into the cave. It was fascinating, really. There was a dinosaur sculpture and an absurdly large penny among other objects and trinkets. He was floating over by the display cases housing various suits when he heard someone on the other side of the cave.

“Agent A to all, unknown individual in the Belfry. Alien or Meta.”

It was clear to Danny that whomever Agent A was, he was speaking at a level that a normal human wouldn’t’ve been able to hear, so he politely decided not show any outward notice that he had heard the man until he was addressed. Jazz says it’s rude to eavesdrop and he wouldn’t want to be rude to Lady Gotham’s Knights. So, he continued looking at the cases, but did put his feet on the ground so he was standing rather than hovering in what Jazz would probably call a “blatant and unnecessary show of power.” Thank the Ancients for Dora’s diplomacy lessons and inner-Jazz. No idea how he’d do all the King stuff without it.

Several vehicles and people entered the cave over the next twenty or so minutes. Danny did not stop looking at the cases even though, to be frank, he had finished looking at them not long after Agent A notified the others. He just stood in front of what must’ve been a memorial case because the uniform was tattered and bloodied. There was a plaque in front of it, bearing the name Jason Todd, that read “A Good Soldier”.

He mouthed the name to himself. Jason Todd. Definitely tasted like a dead name. A little weird though. Maybe a ghost rather than just a dead? He doesn’t really call ghosts their name at death, as most go by a new one, so he hasn’t really tasted a ghost name before, but their new names do have a taste so maybe that is a ghost name after all and this is different thing altogether?

He was startled out of his thoughts by a gruff voice behind him.

“Who are you and how did you get here.”

Danny turned around. There were nine people —wow that was a lot — behind him. A man in all black and a cape stood the closest, presumably who the gruff voice came from, a guy in a black suit with a blue bird on the front, a dude in a red helmet, a guy in a red and black suit with a metal stick, a kid wearing red, green, yellow, and black — weird colour combo but Danny wears a Hazmat suit so who is he to judge — also with a cape, a blonde girl who’s dressed like if Grimace had a vigilantesona, an extremely still figure in all black that, if he wasn’t sure they weren’t here earlier, he would’ve assumed was a weird mannequin, a dude in bright yellow, and an old guy dressed like a butler with a shotgun. They were all wearing domino masks, except for mannequin girl, red helmet, and streetlight, who’s faces were completely covered, and the butler guy, presumably the Agent A from earlier, who was wearing a… masquerade mask?

“Er… hi. I’m Danny. Lady Gotham led me here.”

They did not lower their various weapons. Grumpy Gus spoke again.

“Who is Lady Gotham?”

“You don’t know who Lady Gotham is? You’re her knights!” They looked at each other. This time bird guy spoke.

“We don’t serve under anyone. Who is Lady Gotham?”

“Can you guys, like, put your weapons down? I haven’t done anything wrong.”

“Not until we know you’re not a threat. You’re an unknown who trespassed into the BatCave. Why were you sent here by ‘Lady Gotham’? How did you get in?” Grumpy Gus said.

“Uh, I’m not trespassing. Lady Gotham led me here so it’s not trespassing. We went down the well. Cool entrance by the way.” Grumpy Gus did seem a little uneasy at that, uneasy in a different way than before.

Metal Stick mumbled, presumably into a comm, “Oracle, presume identities breached.” Again, this was probably not something he was supposed to hear so he ignored it.

“You are trespassing. Lady Gotham does not have the authority to bring you here. You’re not in trouble, just give us more information about Lady Gotham.” Bird Guy said.

“Well, I promise I’m not trespassing. Lady Gotham has dominion over Gotham.” They looked alarmed at that. “Do you guys really know nothing about her? You’re her knights.”

“What does it mean, that we’re her knights?” Metal Stick said.

“It means that you’re her knights? You protect her domain and fight for her.”

“How do we fight for her? What, exactly, is her domain?” Bird Guy asked.

“Well her domain is Gotham and its surrounding areas, she recently gained the area across the bay too. It didn’t have a spirit and since one of her knights patrols it, it became hers. That’s one of the ways you do your duty as her Knights, patrolling her land; also protecting and helping her people, maintaining the city, and inspiring hope.”

“What does it mean, that Blüdhaven didn’t have a spirit?” Bird Guy asked.

“It means it didn’t have a city spirit.” Blank stares. Alright. “A city spirit is a Neverborn, it is literally the city given form. They’re pretty territorial so it’s not surprising a city spirit didn’t fully develop this close to another one. City spirits form slowly, the emotions of the city, especially personification by its people, help it grow. When the people are happy, the city spirit is happy, when the people are in pain, the city spirit is in pain, when the city is hurt, the city spirit is hurt, and vice versa. A city spirit IS the city.”

“So Lady Gotham… is Gotham?” The Grimace Kinner said.

“Yup!”

“And Gotham, the city itself—“

“Herself”

“— the city herself, brought you here?”

“Yes.”

They looked around at each other, lowering their weapons a bit.

“Why should we believe you? What proof do you have?” Wow, definitely calling fucked up colour wheel kid “Grumpy Jr.” now.

“If I may, Master Batman, I suppose that is why they came through the well. Who else would know the true symbolism of that place other than Gotham herself?”

Everyone besides Agent A and Grumpy Gus, apparently he’s called Batman, but Danny likes Grumpy Gus better, seemed confused by that, but Grumpy Gus made a hand signal and everyone stood down.

“There’s a meeting room around the corner here. We can sit and discuss this further now that you are no longer an active threat.” Grumpy Gus said. Grumpy Gus Jr. did not seem pleased by this, but off they went to the meeting room. Agent A did not join them, stating he was to make sandwiches for the meeting.

Unexpectedly, the meeting table was round, leaving no heads of the table. Everyone was on equal footing. Grumpy Gus did choose to sit directly across from him though and no one sat on the chairs directly to either side of Danny.

“First and foremost,” Grumpy Gus started, “tell us more about yourself.”

“Well, I’m Danny and I’m a ghost” Everyone except Grumpy Gus, Grumpy Gus Jr., and Haunted Mannequin groaned. Bird Guy even slammed his head on the table.

“Yowch, you got something against dead people or something?” That got a laugh out of Red Helmet, for some reason.

“Does this mean we have to call Constantine?” Bird Guy said.

“Like the soul whore?” Everyone looked at him, then Bird Guy broke down laughing.

“What do you mean by that?” Grumpy Gus asked, ignoring the giggling from around the table.

“Oh there’s this guy named Constantine who keeps selling his soul to a ton of people. People call him a soul whore. It’s just funny you know a guy with the same name.”

“That sounds like John, actually,” said Metal Stick.

“You know John Constantine! Tell him to stop being such a soul whore! The amount of paperwork I have to do because of that man alone!”

“I’ll… pass on the message,” Grumpy Gus said, “What’s the paperwork for?”

“Oh well soul-whoring pisses off a lot of people, so they write complaints to the Ghost King. Then I have to sort through all the complaints and figure out which ones actually need royal attention.”

“There’s a ghost king?” Metal Stick said.

“Obviously?” Danny said. Dead silence. Ha! Dead, get it? He didn’t say his dead silence joke out loud though so no one laughed.

“So if you typically do paperwork, how did you come to meet Lady Gotham?” The Grimace Kinner asked.

“Oh! I came here to give aid to Lady Gotham!” Danny smiled. He was totally gonna get a good grade in being interrogated (something that’s both normal to want and possible to achieve).

“Aid? Why does Lady Gotham need aid and how did you give it?”

“Dude, no offense but have you seen this place? It’s cursed six ways to Sunday and the ecto here is RANK! I bet the crime here is insane!”

“A+ wording on that last bit .” Mumbled Red Helmet.

“I came here did my spiel ‘on behalf of the Dead Crown I formally apologize’ yadda yadda yadda. Then gave her some boba blob ghosts to help filter the nasty ecto so she can gain strength and better fight the curses that plague her.”

“What are boba blob ghosts?” The Grimace Kinner asked, smiling.

“Oh they’re domesticated blob ghosts!”

“And what are these ‘blob ghosts’ you speak of?” Grumpy Gus Jr. asked.

“Oh! I can show you! These are boba blob ghosts! Totally harmless!” Danny tore a small portal, just large enough for his arm, stuck his arm in and rummaged around a bit, couldn’t find any, then tore the portal open wider so his torso could fit. A muffled “Aha!” Then, he pulled back out of the portal with an armful of boba blob ghosts. “Sorry! They were in my cappuccino maker again!” When he finally looked up everyone had weapons again.

“You domesticated pit demons!” Grumpy Gus jr. hissed.

“What are pit demons?” Danny asked.

“Like those, but larger and more aggressive.” Red helmet said.

The boba blob ghosts, about 20 of them, were just kinda dumbly ambling along, regularly bumping into things. Metal Stick had his metal stick poised at one that was dipping in and out of his coffee mug, splashing a bit. About half of them were buzzing around Red Helmet, bumping into the front of his helmet where his mouth presumably was. Three were in Grumpy Gus Jr’s hair and he was desperately swatting them away.

“Uh, aggressive how?”

“Like trying to shove themselves down your throat aggressive!” Red Helmet said, trying unsuccessfully to shoo the boba blob ghosts away.

“They’re blob ghosts. You’re supposed to eat them.” Danny said, and plucked one out of the air and swallowed it. Everyone froze.

“Why would you eat them!?” Grumpy Gus Jr. shrieked, still batting at the ones around him.

“It’s like… their whole job. Blob ghosts are filter feeders. They filter ecto. They literally evolved to have a symbiotic relationship with restless dead—”

“Hate that term for it,” said Metal Stick. Danny ignored him.

“They wander around absorbing and filtering ambient ecto, but that’s not a strong source of ecto at all, so they get weaker. As they get weaker they develop a sweeter taste which entices a member of the restless dead to eat it, the blob ghost then stays in the being for a period of time, filtering the ectoplasm until it becomes stronger and leaves. We get nice filtered ectoplasm and they get a nice source of ecto. Of course, blob ghosts can survive only on ambient ecto and ghosts can filter their own ecto, but blob ghosts are just way better at it. Besides, a lot of ecto-reliant beings don’t have cores so they need blob ghosts to filter the ecto for them!” Danny paused and thought for a second.

“That’s probably why you thought they were aggressive! If someone had a bunch of unfiltered ecto and a blob ghost was really hungry, they would probably try and throw themselves at your mouth. They’re not the brightest little guys.”

“What exactly is ecto and does unfiltered ecto happen to be neon green and bubbly, per chance?” Red Helmet said. He had given up on shooing the boba blob ghosts away and just let them run into his helmet a couple times before trying a different angle and repeating the process.

“Oh ecto is ectoplasm! It looks like this!” He made some ecto pool in his hands. They eyed it warily. “And yeah unfiltered ecto does look kinda like that! Are you talking about the cesspools? Lady Gotham said you guys had dealt with them before. Called them Lazarus Pits or something.”

“Cesspools?” Grumpy Gus Jr. asked.

“Yeah they’re basically ecto sewage. Super super nasty unfiltered and corrupted ecto. They’re gone now. Apparently some dude was bathing in them! Gross!”

“They’re gone?!” Metal Stick said.

“Yeah. We got rid of them like two weeks ago. That was the last thing we had to do before coming to help Lady Gotham.” The table seemed stunned. “She said you have experience with them, is that why you guys all stink so bad?”

“We don’t stink!” the Grimace Kinner said.

“You stink,” Danny said. Then he took a closer look at Lady Gotham’s Knights, one by one. “In fact, you reek. Are you guys okay? All that unfiltered ecto must suck. Please, eat a boba blob ghost, I insist. I have tons. I can even bring more.”

“We have unfiltered ecto?” Bird Guy asked.

“Yeah, the side effects must be awful.”

“How would side effects of unfiltered ecto appear in a living person?” Grumpy Gus said.

“None in a living person. Livings don’t have or need ecto. Liminals like yourselves however—”

“What are liminals?” Grumpy Gus interrupted. He had a habit of that.

“Liminals are like you. Livings become liminal through long term exposure to ecto or short term exposure to being dead. Liminals typically have a bit of ghostliness.” They looked around at each other again.

“So, we’re all liminal? Does that mean we’re not alive?” The Grimace Kinner asked.

“No, liminals are alive, they’re just not quite livings anymore. Liminals almost always become ghosts when they die. Some people are more liminal than others. As far as if you’re all liminals, I’d need to take a closer look to tell you how exposed you are, but all of you are at the very least liminal, a living cannot be a Knight.”

“We would appreciate that information, and if you could elaborate on what you mean by ‘a bit of ghostliness’,” Grumpy Gus said.

Danny floated up a bit, startling some of them. He flew over to each person, one by one. Reaching Red Helmet last. Danny stiffened, then flashed his eyes at him. He could see a green flash back through the helmet. When the green came through the helmet, everyone burst up and got in ready positions.

“My apologies, Revenant. I did not recognize your status. I thought you simply liminal,” Danny said.

“Uh, what.” The Revenant said.

Danny turned around, looking at all the others still ready for a fight. “You guys good?”

Bird Guy sat down first. “Yeah, sorry, typically the green eyes are a bad thing.”

“Huh, interesting.” Danny floated back to his chair. The rest sat down as well, occasionally casting wary glances at the Revenant. “So you’re all liminal like I said, barring the Revenant of course. Streetlight is the least liminal, then the Grimace Kinner—”

“The WHAT?!” Said the Revenant.

“The Grimace Kinner,” Danny said, gesturing at her, “is the second least liminal.” Danny gestured at each person as he addressed them. “Then Bird Guy, then Grumpy Gus, then Metal Stick, then the Haunted Mannequin, and Grumpy Gus Jr. is the most liminal.”

“What’s with the names?” Bird Guy asked, “and can I get something cooler than Bird Guy.”

“You guys didn’t introduce yourselves.”

Agent A appeared with a tray piled high with sandwiches.

“What’s his nickname?” The Grimace Kinner said, pointing at Agent A.

“That’s Agent A.”

“That I am. Here are your sandwiches, I made extra.” He set down a second plate with fewer sandwiches. “These are vegan with gluten free bread. Do you have any food allergies or restrictions I should be made aware of, Mister Danny?”

“No, but thank you, sir,” Danny said.

“What is all this discussion of nicknames I walked into?” He said.

“Oh, well I don’t know anyone’s names so I’ve just been referring to them by nicknames in my head, but then I had to specify who I was talking about so I called them by the nicknames I gave them.”

Agent A slowly turned to face the rest of the people in the room and gave them a look, then turned back around. “My nickname is Agent A? How apt. I must ask how you came up with such a clever nickname.”

“Oh, I overheard you earlier when you were telling everyone else I was here. I didn’t mean to eavesdrop, I promise!”

“All is well, young sir. I am Agent A. Surely the rest have deigned to introduce themselves.” He said, turning back to them again. Danny heard and audible gulp from Bird Guy. Note to self: Agent A is clearly in charge.

“I’m Nightwing,” Said Bird Guy. The rest quickly introduced themselves.

Metal Stick was called Red Robin, the Reverent was Red Hood, Streetlight was Signal, the Grimace Kinner was Spoiler, Nightwing introduced the Haunted Mannequin as Black Bat, who signed her name as the letter B on both hands quickly moving into the sign for Bat, Grumpy Gus Jr, who was clearly unhappy with his nickname, was Robin, and Grumpy Gus, who was just as unhappy as his smaller counterpart, was Batman.

“What was Hood’s nickname before you called him the Revenant?” Robin asked.

“Oh he was Red Helmet. Honestly I think I was the closest with that one.”

“So,” Batman cleared his throat. “You were telling us about liminals and ghostliness.”

“Ah, yes. Ghostliness typically manifests in liminals in physical traits such as pointed ears or teeth, and abilities such as being very quiet or stealthy, empathetic senses, strength, durability, and faster healing. Most liminals also feel an urge to fight that may be perceived as aggressiveness.”

“And how would unfiltered and or corrupted ectoplasm impact a liminal?” Batman said.

“Well for one, liminals need clean ecto. You guys are basically starving. I don’t know how you’re functioning. We’re talking drowsiness, fits of unfriendly rage, irritability, that kind of stuff.”

Danny turned towards Red Hood. “If you wouldn’t mind, Revenant, I would like to take a closer look at you. You shouldn’t be starving like the liminals.”

“Why? What is a revenant?” Batman demanded. Danny did not look at him, only at Red Hood.

“What’s a revenant?” Hood asked.

“A revenant is a type of restless dead who revived themselves through pure willpower and determination for vengeance. Their need for vengeance is personal and often directly related to their death. Revenants, like ghosts, have an obsession that must be fulfilled, but it may or may not relate to their quest for vengeance.”

Danny stepped closer to Red Hood, peering at his chest, occasionally sniffing then making a grossed out and regretful face. “Have you been experiencing bouts of uncontrolled rage? Particularly in relation to your obsession?”

“I don’t know what an obsession is, but definitely.”

“Cool, cool. So all of you are starving. Please eat the boba blob ghosts. They taste good. You’re not killing them, they’re ghosts, and it’s healthy for them anyways.”

Danny snatched another boba blob ghost out of the air and ate it.

I want to merge the trope that ghost blobs re basically party snacks with the trope that ghost blobs are special blorbos that other ghosts instinctively protect.

So i propose: symbiotic ghost blobs. When they're strong, they wander around and explore. When they're weak, their ecto changes so they're tasty to other ghosts. The other ghosts then eat them whole, and the blob settles around the ghost's core, semicorporeal, helping to filter ecto in return for taking a small portion of the ghost's strength, as well as benefitting from the stronger ghost's protection. In a few days to weeks, when they are strong enough, they phase right out and reform, off to go exploring again.

The ghost gets a boost in vitality from the blob, as the extra filter makes up for the tiny energy loss. Most ghosts can take on half a dozen blobs at a time, while more powerful ghosts like Danny could easily take dozens, cause thats how many blobs it would take to filter through the large quantities of ecto that they burn through.

Human liminals benefit from one or two blobs. Maybe its borderline required, as humans might not have the faculties to filter their own ecto, and subside entirely on the ambient ecto, which is maintained by the strongest ghost in the area (whoever owns the haunt).

Basically, eating blobs every few days to top off the ones that left is basically equivalent to taking probiotics to help digestion.

So we have Amity Park, maintained by Danny and his small army of blobs that he's constantly rotating though, and Gotham, maintained by Lady Gotham who is overloaded on too many curses to properly filter the city, no matter how many blobs she collects.

Jason is a sick halfa because corrupted ecto, yadda yadda. Only its not "dumped in the lazarus pits and never got filtered," but "gotham is literally so toxic that all of his power goes to filtering and it still doesnt make a dent, so he presents as powerless and possibly hangry." He may or may not know that he's passively absorbing blobs to help filter, or maybe Lady Gotham hoards them all so he has no concept of symbiotic blob relationships.

Or even better, blob ghosts are what the LoA call pit demons. They think the amorphous red-eyed blobs are aggressive because their constantly throwing themselves at the liminal assassins' faces to try to help filter the atrotious ecto. The pits are extremely corrupt because the LoA keeps chasing away and or destroying the blobs.

For extra angst, Jason and batfam are aware of the pit demons and have no reason to believe that the LoA's interpretation is incorrect.

So everyone is suitably horrified when a visiting Phantom brings a legion of blobs (a typical "I come in peace" gift for Lady Gotham), casually snacking on a few of them. Even more so when he offers a few to the batfam, like one would a piece of candy.

[princeescaluswords]

I stopped engaging in fandom debates a long time ago because frankly, there are smarter people than me fully capable of handling it that I can support. But I still love it and media discussions and criticisms. So I tried to watch a video on queerbaiting and they started by mentioned examples of currently big name ships that were ‘baited’. They included Sterek and I just had to leave. Will fandom ever see the difference between their crackships and what’s actually baited? Cuz I’m tired.

First off, you have to, if you want to talk about queer baiting and Sterek, that there are two different things here: the Teen Wolf canon and the MTV Public Relations complex (which includes Jeff Davis and the actors themselves).  

When you talk about the Teen Wolf canon, there is not a single line or action that can be even remotely interpreted as romantic interest between Derek and Stiles.  On Stiles’s side, he spends the early seasons trying to separate Scott and Derek, even going so far as to scheme to get Derek killed by the Argents by hiding from Scott the truth about the phone.  There’s not a single piece of concrete evidence of attraction. He never compliments Derek’s work-out routine.  He never even mentions Derek’s attractive to anyone or wonders if Derek likes him.  He wonders if Danny likes him.  He jokingly calls Jackson pretty.  His romantic focus, though, is entirely on Lydia.  Instead of pining, he is alternatively mean to Derek or scared of him.  

Derek, for his own part, does what deranged Sterek fandom accused Scott of doing, only coming around to Stiles when he needed something.   In Wolf’s Bane, he’s in Stiles bedroom because he wants information.  In Abomination, he kidnaps Stiles because he wants information.  He doesn’t ask after Stiles.  He doesn’t ask for Stiles to be around.  He doesn’t seek him out.   If showing up in his bedroom once is indicative of repressed romantic feelings, then Derek is madly in love with Scott, too.

They’re hostile at worst and reluctant allies at best.  This changes over the course of the show, but it never changes to one of romantic interest.  There are no scenes of even referenced lust like there is between Scott and Danny.  Of course, there is that scene in Fury (2x10) where Matt literally mocks them being together.   If you consider being paralyzed by madman romantic, then that’s one scene in which the romance never shows up on the pair’s faces.  Teen Wolf’s canon jokes about Sterek, but it never says “These are real feelings.”  Even the scene in Smoke & Mirrors has Stiles expressing concern for Derek’s health, but there is no reason it’s romantic.   They’ve become close friends and allies, but there’s nothing else there.

This is why Sterek mystified me when I first entered the fandom, but then I learned that the MTV’s Public Relations department fed fandom mania to shove two white men together as a way to promote the show.  Hashtags appeared on the show itself.  Activities that hinted at them possibly being together.  Photo opportunities like on a boat.  All things separate from the show’s story that promised that they could be a couple, even as the narrative never even hinted at a sexual attraction between them.  

And yes, there was the “Do you?” scene in Illuminated, but there was not even a reference to Derek in it.  And even if they suggested that Stiles was questioning his sexuality, Derek never did.   

So yes, there was queerbaiting over Sterek, but it wasn’t part of the show’s canon.  Eventually, they cut it out, because they realized that promoting a radical alternate reading of the show’s story lines with no backup wasn’t fun for the audience, it was enraging.   Vocal factions of the fandom demanded what was promised by things outside of the show, so they decided that to slowly dial it down.  It didn’t work.

Because then, there’s the racism.  All the things that happened between Stiles and Derek that was interpreted as “chemistry” -- the hostility, the banter, the sneaking into bedrooms -- happened between Scott and Derek too, but that’s not important to them.  Danny and Ethan had an important relationship to the plot with an actual make out scene, and that’s not important to them.  Corey and Mason had a relationship that lasted longer than Scott and Allison’s, but that’s not important to them. Brett was bisexual and showing off for Mason and Liam, but that’s not important to them.  The show thought they’d include these things to satisfy people who wanted Sterek, even if Sterek wasn’t going to happen for narratively coherent reasons, but they underestimated the rage for white mlm fantasies.

So what the production did was promote a ship that was never going to happen in the show because it was ‘fun,’ but by giving attention to that ship, they poured gasoline on embers.   They misunderstood that this would encourage others to ignore what actually happened on the screen to the point where they though that the real central relationship, Scott and Stiles, was a farce.  It should have served -- it should serve -- as a warning to other productions about the dangers of indulging fandom’s urge to make everything about sad white men.

[kaptain-k-pop]

Alright ladies!!! After a full 65 hours of the album being out I am Finally sharing my Thots 👀

I have three full 8 hour shifts of listening to Nothing Else under my belt, (plus an unspecified number of hours listening outside if work...) so I'm Basically an Expert 😌💗

Dear my universe: We love a space/space-adjacent themed Astro song in this house 😌😌😌 this is such a nice choice to start off the album (also I'm a fucking nerd and so the way that the First Song on The Album is called 'Dear my universe' like addressing a letter? Like as if the album itself is kind of like a love letter from Astro to Aroha?? 🥺 Okay I'll stop. But it's just a thot that came into my head and now I'm having Feelings 🤧💜) the echoey parts and the harmonies?? So yummy, so pretty, I love it 💗

Butterfly Effect: HELLO my Love 😍💓💌💝💜💞💖💘💕💗 I was Warned by @entry-777 to be prepared for Rocky Vocals, which is a Good Thing bc if I wasn't ready for it I probably would have started crying or somethin lame like that and looked Quite Foolish in front of my coworkers, however I was NOT warned about JINWOO VOCALS (Danny you slipped Queen!!! 😭) It was like. 6 seconds. But it was there and it's gonna live in my head rent free for the next full calendar year, also Moonbin and Eunwoo's falsettos??? GOD everyone sounds so great in this song. I love our Six Vocalists 😪💜

ONE: my ONE opinions have Grown and Matured over the course of listening to it quite literally like 75 times. Do not be mistaken, I never disliked it, but I did have Certain Opinions. For example, it is a Certified Fact that I have stated before: an Astro Title Track is not an Astro Title Track without MJ throwing up Angel High Notes above the last chorus. And when I listened to ONE for the first time I was not satisfied in that department. He did like, A Few, but I was waiting for more to come and like picturing in my head what it was going to sound like and then they didn't come and I was Mildly Disappointed. So that was just one thing that like, I wanted a little more than what I got, which does not mean that I didn't like what I did get!!! Anyway, after listening to it Many More Times and paying close attention to harmonies and such I am a bit more satified with the ad-libs he did get, it's just that this song is Different than other Astros Title Tracks, it is a different style so I guess what they gave him fits more with that style than what I was expecting (still wish he had gotten to shine a little more in this Title but what are you going to do?) It could very well be the 'you listened to this song so much you are tricking yourself into liking it more' thing, but my love for this song has definitely grown in the past few days (and again!! I never disliked it in the first place!) it is still not one of my top faves on the album but that's only bc Astro are B-side Kings! I still do really like this song

Someone Else: (okay at first I Did Not Realize this was just an MJJinjinMoonbin song?? I did not Know we were getting unit songs in this album, but that explains why I didn't hear anyone else's voices in it 🤷 agdjahdjakd) in any case, I like her! She is very Fun and Funky 😌 definitely one I will continue to listen to often (also fun fact: that electronic sound at like 2:32 the first time I heard it my body physically reacted like one of Pavlov's dogs bc that same sound is also in the song that I have set as my alarm ahdjskahdjsj 'oh? we are Waking Up now? :)' Queen calm down, you are awake lmao)

SNS: Ma'am..... Hello????? Omg I love this song so much, the beat, the vocals, the soda can (yes I noticed!!! Omg when I tell y'all I got a rush of serotonin when I heard that...) another thing I absolutely adore about this song is the 'ah-ahhh, ah-ahhh' part bc it makes my brain do the same thing as when it sees an optical illusion where the thing I'm seeing switches back and forth based on what I'm focusing on like 'oh, now I see a vase, oh now it's two faces' that except with sound (so an aural illusion I guess is what that would be??) Like 'oh, that's Human Voices making that sound' but then if I focus on it it sounds like an Electronic Phone Buzzing Text Notification Sound (and then I focus on it again and it's Voices) which is probably what was intended considering it's a song named after texting? I just think that's so cool, I love that they did that and it sounds really Neat

All Good: oh my GOD this song, oh 👏 my 👏 G 👏 O 👏 D 👏 All Good........... my BELOVED™ 💜💜💜 Mental Illness?? Idek her. Lee Dongmin said "Gonna be alright" so Everything is Fine now actually. I'm gonna Do Drugs (this song) and forget my problems 😌 this song qualifies as a Hardcore Party Drug. I am going to grind this song up into a fine powder and snort it like cocaine. Holy FUCK this song is good. I'm saying something controversial (it's not controversial, lmao, I know I am not the only one who thinks this) yet brave: Miss All Good is Title Track Material 👀 now idek anything about marketing so maybe ONE was a better choice for Title Track from a marketing standpoint idek, all I know is that All Good FUCKS I literally could talk about this song for hours omg, I need to stop this post is already so long but ALL GOOD I LOVE YOU QUEEN 👑 😭💓💘💗💕💜💌💝💞💖

All Stars: "yeah let's go haha" alright yes, whatever you say 😍 okay so in this song ofc I immediately noticed the "you're my one&only" we love that self reference 😌💜 but when I was looking at the lyrics I also noticed that we have "When you call me I'll run to you" and the Very First Line is "I've got a dream, when I run breathlessly" coincidence??? 👀 ....... yeah probably, I analyze things way too much agjdjdjdjd but ANYWAY I Love MJ's bridge(? is that the right word? the '이룰 테니까' part. U know what I mean) and the "everything is OK (lala la la)"??? Alright, Depression Cured, thanks Kings 😌👑💗

Our spring: if ONE left my thirst of Angelic MJ Runs not fully satisfied Miss Our Spring came through for me I LOVE ALL HIS PARTS IN THIS SONG SO MUCH AND THE R U N S yes 👏 king 👏 yes 👏 king 👏 thank you SO much 😌💖💜💗 Idk why but I just really latched on to this song, I love the chorus and Rocky's (설레는 날에) part, also I believe if I am Not Mistaken Rocky contributed to the lyrics on this? 👀 we love that for him! Especially bc the lyrics are so pretty and not just bc I am biased 💜

Stardust: another Space themed song it's my favorite concept again 😌😌😌 and y'all know that I am a Strings Appreciating Bitch 💗 so ofc I immediately had Feelings as soon as I heard them in the back. This song is so so so pretty?? the instrumental, the vocals, the lyrics? It's so calming and peaceful listening to this song, it feels so nice and cozy 😔💗 On all levels except physical I am laying on the roof stargazing and Astro is wrapping a blanket around my shoulders and giving me a lil kiss on the top of the head. This song would really be the Bloom of the album, if not for.....

gemini: the BLOOM of the album 😭💓💌💝💘💗💕💜💞💖 Miss gemini my beloved... 😔💜 "will you protect me? Even after the long night passes the place we embroidered together stays in our hearts" Don't TOUCH me 🤧🤧🤧 I can, have, must, am, and will cry about this song if I think about it for too long. Myungjun contributed to the lyrics, arrangement, and composition and it turned out so good?? (I mean of course it did) I'm very proud of him and I got more pretty Angel High notes in this song so I am Very Satisfied, I LOVE her so much 💗💗💗

And that's that!!!

If you are reading this, ps I love u for sticking around to read all my rambling pls accept a hypothetical forehead kiss or some fingerhearts sent @ u from a respectful distance 💗

Also my askbox is always open if you want to share your opinions, I love talking about these boys..... 👀

[lesbeet]

wait I would love to know what you think is wrong w oceans 8 I'm v curious I really loved that movie

i’m so sorry in advance but you’re basically getting the word-vomit version of the hypothetical script i would write for this hypothetical video essay so it’s gonna be long lskdjfksjd

but i mean don’t get me wrong i find ocean’s 8 entertaining and i’ve seen it a good number of times, but honestly i kind of consider it like. entertainment junk food lmao

i’ve never seen the original ocean’s eleven that the 2001 remake was based on, but i grew up watching the remake with my dad and i’ve always loved it (i’ve only seen ocean’s 12 and 13 once each and didn’t really care for them, though), so that’s also a factor, but not necessarily in the way you might think

most of the criticism i’ve seen of ocean’s 8 is either 1. along the lines of the criticism disney has (rightfully) been getting for rebooting/remaking/etc all of their older movies just to make money—except considering the 2001 remake is just that, a remake, i feel like that particular critique doesn’t really hold up in this circumstance—or 2. “why do we need a remake with women, this is just ghostbusters all over again, blah blah blah feminism bad” which again like. yes i think the motivation for making the film was more to jump on the trend of #girlboss remakes than anything else, but that doesn’t necessarily result in a bad movie, and i don’t think that was where the movie fell short. in other words, my problem with ocean’s 8 isn’t that it’s a remake, nor that it’s a remake with women

i spent some time this morning watching certain clips from both the 2001 movie and from ocean’s 8, and i think if anything the problem is that ocean’s 8 tried so hard NOT to be a carbon copy of ocean’s 11 that it ended up losing the emotional core that i personally think makes ocean’s 11 so interesting, and more than just a heist film  (ok from here on out i’m just gonna call them 8 and 11 bc the word ocean doesn’t even look like a real word to me anymore)

i like that 8 mixed up (some of) the characters’ roles and personalities in comparison to 11; i would’ve been really annoyed if nine ball, for example, had basically just been a female version of livingston, or if constance had been a female version of linus, etc. my biggest gripe in that department is that they clearly tried to make lou (cate blanchett’s character) the female version of rusty, and she just...does not cut it imo. debbie is hardly a female version of danny, but i don’t think they were as overtly trying to paint her that way, which makes their attempt at framing the debbie-lou friendship as analogous to the danny-rusty friendship seem lazy 

beyond the characters, the writers (et al) of 8 basically had two other aspects of 11 to evaluate, and to decide how similar or different they wanted their version to be: structure/style, and substance. i think they emphasized the former over the latter, and i think that was the mistake

i wouldn’t necessarily always classify structure and style as a singular aspect of a work, but i think in this case it makes sense, if only because those are (imo) the more recognizable aspects of ocean’s 11, and ones that are most readily available for someone wanting to make a parody or homage or remake or whatever—primarily, the plot beats and the stylistic elements like the visual editing and the soundtrack

in vague terms, the plot is almost identical (excluding the bloated ending of 8). the film opens with ocean convincing a parole board to release them from prison, where they’ve spent their entire sentence plotting the heist. then ocean seeks out their blond best friend and tells them about the elaborate heist, blond best friend tells them they’re crazy but is quickly convinced. ocean and blond best friend travel around to collect old associates and/or other recommended con artists. the group plans and prepares the heist. blond best friend finds out that there’s a hidden element of revenge in the plan and confronts ocean. the plan more or less goes forward as it’s been presented to the audience. then it turns out that there was a whole secret plan unbeknownst to the audience, and we get to see how it plays into what we already knew. the heist is pulled off successfully, including the secret revenge plot by ocean against someone who wronged them. (here’s where 8 departs into what i find to be a really slow-moving and unnecessary thing with james corden the insurance man who does nothing lol)

likewise, imo 8′s aesthetic comes across as a fair ~feminine~ met gala equivalent to 11′s vegas aesthetic, including some similar jazzy guitar/bass action in the score, and the screen wipe transitions 

but ocean’s 8 has no substance. that’s the problem.

i referred to a secret revenge plot in my summary, but honestly that’s less my own interpretation than the interpretation i think the writers of 8 were working from. debbie’s secret plot is revenge against whatshisface who wronged her, but danny’s secret plot is to win tess back. he obviously fucks over benedict both romantically and financially in the process, but his primary motivation for everything he does with his heist is to win back the love of his life. 

tbh i probably would’ve been annoyed if they’d made debbie’s secret plot an attempt at winning back an ex bc that’s boring and too on the nose for a remake, but in their attempt at not making a carbon copy of 11, the writers of 8 lost the heart of the story. debbie isn’t doing anything for love. (what i think they should’ve done is had it be related to danny somehow, especially bc they killed him off instead of having george clooney make a cameo for some reason). she’s done all this for money and self-satisfaction and revenge, which makes the emotional stakes more or less nonexistent. 

we want danny’s heist to succeed because we know how much he loves tess and how desperately he wants her back. we’ve seen benedict treat her like shit and even though danny wasn’t the best husband, he obviously truly cares for her and is putting everything on the line to prove it.

the audience has no reason to cheer debbie and her team on aside from like... #girlpower. the rest of the ensemble is made up of pretty flat characters—which is fine, imo, as long as SOMEONE is the emotional backbone of the story. but in ocean’s 8, there’s none.

like honestly i think community’s ocean’s 11 homage episode does a better job of referencing the structure and style of ocean’s 11 while still rooting itself in its own unique pathos (the study group realizing the dean had been kidnapped bc they realized the real dean loved them and would never have expelled them, and subsequently planning their heist to rescue him (and greendale as a whole))

so ocean’s 8 feels like junk food. it’s flashy and fun and entertaining to watch, but there’s no heart. there’s no reason to root for the protagonist and her team beyond the fact that...she’s the protagonist, and it’s her team. it’s empty calories.

[vi-joo]

Things I can(not) do at Arcadia High

Give trolls a guided tour of the school

Steal from the props department without good reason. Note the trolls were curious about budget costumes from x years ago does not count as a good excuse. The clothes are sweaty, what did you think was going to happen?

Steal everyone's socks to pay of Bagdwella

Steal everyone's socks with help

Shade Mr Stickler and tease him about the time of the month because no one understands that reference except us

Terrify the freshmen with true tales from gym which are actually from our Trollhunter training

Start speaking in trollish. Or Changeling. Only English. Note, no awkward flirting Spanish either

No using the Shadow staff as a euphemism. There are only so many jokes you can make before Claire uses it (heh)

Wonder in halfway through a lesson and when asked where you were answer dying. Stop challenging trolls! And Nomura

Set the goblins on Steve. Steve helps us now. Steve is friendly (really though?) [Yes]

Start a gnome choir. The goblins get jealous and then it gets dicey (how do you know this?) [You don't want to know]

Paint Uhl's truck because white is so boring these days. Saying it was the Reckless Club's idea does not clear you of the crime, YOU ARE PART OF IT (not my best excuse) [ya think, Jimbo?]

Inspired by RedHeadsRock1010 Danny Phantom fic of the same name, but in Amity Park. Feel free to add, and who would read this?

[night-unfurls-its-splendour]

I'm watching the entire series of Game of Thrones for the first time. I've made my way to season 3, making sure to watch as many commentaries as I can. Last night I listened  to the Set Design / Costume Design commentary for S3 Ep 4: "And Now His Watch is Ended".

I know most historical costume Enthusiasts / Critics either don't touch, or make exceptions for Fantasy productions and on the whole I agree with that. But something about the Game of Thrones costumes (and how the show's popularity has impacted costume design on productions actually set in the medieval / Renaissance time period) has just really been bothering me.

(Perhaps you see what I mean here with Contessina De Bardi in Medici: Master's of Florence and her sneaky mini structured neckline)

It may be a couple of things, but lots of the ... insights from Michele Clapton shed some light on this for me. I have a few questions.

First: North of the Wall, we spend some time in this episode with The Night's Watch at Craster's Keep. Of Craster's wives, Clapton said [Disclaimer this is not an *exact* quote because I couldn't find a transcript anywhere and my sister sent back the Netflix DVD and I do not have an idetic memory - but the important parts of the comment are, in my own estimation, accurate] : "With Craster's wives I got this idea of them just having bits of rabbit, whatever they can get, woven with grass..." this raises in my mind, SO many questions.

Firstly - we ARE north of the Wall, yes? Where,  as we have seen, the ground is just about ALWAYS covered in snow, or 90% mud. So where is the grass coming from? And also what they are wearing is so clearly not grass?

This also provides a segue into my second question.

Do sheep exist in Westeros?

Why is it that this show has such an aversion to wool? Every man wearing protective clothing is wearing Leather (or rather I should perhaps say "vegan leather"). Every Hearty Weave (TM) appears to be an attempt at Linen; and every Fine Lady is wearing Silk satin, or if you're Olenna, silk brocade (in obviously hot weather, because naturally elderly ladies benefit from heat stroke).

I've not seen one woollen cloak. Not. One wool... anything really. I ask myself "Why?"

100% natural wool is wondeful. It's naturally flame retardant; it keeps you warm; it breathes well; it's soft in a light weave; it's strong in a heavy one; its water repellent. So what is with this endemic erasure of wool? Even productions like 2018's Mary Queen of Scots have had costume designers like Alexandra Byrne who, when searching for a durable fabric for cold and rainy Scotland, came out with a wardrobe comprised entirely of DENIM. Which,  as we all know is the WARMEST AND MOST COMFORTABLE of fabrics when damp. Now we all know Byrne's real reason for using denim is because it's cheap. The problem is Byrne tried to justify it by saying all of that guff about wanting a fabric that wears well in rain (Which,  I cannot stress this enough- denim does not) and, of course because denim would be "ReLaTaBLe". But I digress.

All that aside, perhaps the things that bother me most are components and composition. Which is where we get into the wooly (heh) area of me being a person with interest in HISTORICAL costume, critiquing a FANTASY series.

So let's just get this out of the way: I'm not saying that anything that the costume Department did with this series was "Wrong" [with one exception, but we'll get to that when we get to it]. I'm just going to say that I don't like the way it was approached, and my reasons on WHY. 

I think I have a modicum of justification for my opinions here because, fantasy is fantasy, yes but the concepts of "Fantasy" and "Medieval" have become so strongly connected that the line between them has become so blurred in the modern mind as to be almost non-existent anymore. We're in a strange cycle here. "Fantasy" was directly inspired by Medieval and over the years took more and more creative wiggle room because, the great thing about fantasy is, you can make it whatever you want it to be aesthetically. But as Fantasy and Medieval have become so intertwined, more and more creative license has been taken with the latter, so that the original inspiration has become beholden to imitate the art it inspired.

But I'll save my pontification on the modern eye and Medieval fashion for another post, and try to keep on track only as far as this affects my feelings on Game of Thrones.

My justification is that GoT is not just inspired by Medieval England/Europe in the broad sense that most Fantasy of the Sword and Sorcery variety is; it was SPECIFICALLY inspired by ONE ERA of English History, The Wars of the Roses [15th century] (with character inspiration from other eras, as recent as the 16th century).

The thing about being interested in Historical Fashion is, once you know it, you can't UN-KNOW it. For example, my understanding of the medieval approach to clothing composition is "Cut as little as you need to because sewing is tedious". You don't want to have to sew more than you have to because what's the point of that? Practically no clothing in the medieval period was tailored because why bother doing that when you can just sinch it with a belt, or lace it up the sides? Is any of that applied here? Nah. Because when we look at Sansa's dresses, look at those obviously machine stitched, perfectly pristine seams. ~whistles~.

I'll never throw shade at a costume department for using sewing machines, but I will shade them for not bothering at all to make clothing for a universe that has no sewing machines look like it was made in a universe that has no sewing machines.

  I can agree with not holding Fantasy series to historical standards - to a point. To wit: as long as it's believable IN-UNIVERSE.

AS FAR AS WE KNOW, the GoT universe doesn't yet have Mechanized looms. Now I know that they make some pretty unreal lace in Myr, but I just can't think of any in-universe justification for the texture of Danny's blue number in season 3.

Another thing that bothers me is the proliferation of corsets and how those corsets are approached.

Here are some historical corset facts.

• the term 'corset' wasn't widely used to refer to structured undergarments outside of France until the late 18th century (1700's). Before tart they were called "stays" (16th-17th century) or "a pair of bodies" (15th-16th century)

• structured undergarments first appeared in the 15th century, as the bodice of under-dresses(kirtles) were lined with reed or Buckram to provide back and breast support and provide a smooth surface for the gown worn over it. It also provided a foundation for multiple layers of petticoats, so the waistbands wouldn't dig into your sides.

• Structured undergarments that existed independent of a kirtle or petticoat aren't in evidence until the 16th century (Elizabethan/Renaissance) and aren't widely used by all classes until the late 17th century.

• Most 16th-17th century boned foundation garments had straps, since they didn't reach down much farther than the natural waist,  unless they were designed with a high back.

• Corsets, stays and other structured undergarments were never worn without a shift/chemise/slip underneath because...

• Corsets chafe.

• Corsets are difficult to clean, but shifts are easy to launder. Shifts protect your skin from chafing and protect your very expensive corset from the oils produced by your skin

(Reproduction example of 15th century style kirtle, from Prior Attire. Source video here)

(Sansa's... corset here has this bizarre low back and 18th century style tabs on the bottom? It also seems to lace only down to her navel. Not quite sure what's going on here, it really doesn't seem to be supporting her at all.)

The reason I hate, hate, hate the way Sansa is costumed under her...  very suit-like gowns is  because she never ever is shown (so far) wearing anything under her corset; her gowns are all long-lined, flowing and loose fitting; and show only wears (usually) one petticoat under them. So in short, I dislike that Sansa wears a corset because Sansa has NO REASON to be wearing one.

◇◇◇◇Another Thing◇◇◇◇

I want to spotlight on a little thing from the commentary that really hits on one of my larger problems with the aesthetic interpretation of this show in general.

During one of the scenes with Stannis and Melisandre, Clapton mentions that they made Melisandre's hair a darker shade of red in season 3 than it was previously. She says the phrase "sort of makes her more earthy".

Yes. Let's make the FIRE priestess more EARTHY. LET'S JUST DO THAT. AS OF THIS SHOW ISN'T "EARTHY" enough.

There's this fantastic quote I read somewhere by GRRM about how he loves fantasy because it's colorful, where real life is gray and brown and olive and dull. Melisandre is arguably the most colourful character in the show/series. In the books, EVERYTHING about her is Red. And not just red. She's scarlet and crimson. When she's introduced there's this fantastic description of her wearing flowing robes of scarlet silk with slashes in it revealing a darker, blood red fabric underneath.

That was passed up for a monotone, very simply cut red gown and I can't stop asking myself why a designer would scrap something like that without even trying to pay homage to it.

This show just sort of takes everything colourful in Martin's world and MAKES it gray and dark for the sake of Gritty Realism (TM). I suppose that's part of trying to appeal to a wider audience, but I just find it increadibly visually uninteresting.

◇◇◇◇ONE MORE LITTLE THING◇◇◇◇

Is this the sofa from the Study in Clue?

???

[tnbc-thoughtsandheadcanons]

@ to all the people over-crediting Tim Burton on The Nightmare Before Christmas,

Honestly, I get it. Tim was important with production because he protected a lot of it from Disney. There were only a few changes made at Disney’s expense because Tim ensured the crew could handle the movie as they wanted. And he was the one responsible for even creating the characters, the story, and the world - yes, the movie is based on the poem he wrote, and yes, he worked with the crew to introduce their designs, characters, and their stories.

To a more controversial opinion, Tim WAS busy directing his Batman movie at the time, so he couldn’t work on Nightmare. But at the same time, the whole reason he approached Henry Selick for directing it was because he didn’t want to deal with the “painful process of stop motion”, and had a “”thing”“ about the whole situation with directing it. He only visited the production studio a few times out of the whole 3 years, and where anyone wants to put that blame is really up to themselves. It didn’t help that Disney wanted to market the hell out of this movie and shoved his name in the title without good reason.

But does all of this mean that Nightmare is his movie? No. Does it mean he should be credited as much as he is for its final form? Also no.

Because you want to know where the credit really should be? Everywhere else. To the actual director, to the animators, to the OTHER writers, to the OTHER producers and its management, to the man who wrote the music, to everyone in the art department, etc. etc. etc. Because there are other people who were extremely important to the creation, development, and execution this movie in all of its aspects, and the fact that Tim Burton gets credited for it all is a thing that really needs to be stopped.

Yes, we know that if it wasn’t for Tim, the movie wouldn’t even exist and that it’s based on his work, but Nightmare is different than his poem for a multitude of reasons. And no one ever credits that to Caroline Thompson, Danny Elfman, or Henry Selick as much as they should, who all worked to give more development and purpose to the characters, the story, and the overall message of the movie. Danny Elfman poured a lot of work into it, from having the storyboards based on the songs he wrote first to his own personal background he implemented into Jack & his story, to the work Caroline Thompson did to get Sally included in the story and give a character with reason and strong will, and to the direction Henry Selick guided with the movie in every aspect, oversaw so much of production, and poured a lot of effort into the animation.

I believe Tim should be credited for making this movie happen in the first place; for creating these characters and the world we know, and for protecting Nightmare from Disney’s greedy hands. But I don’t believe he should still be credited as much as he is for the movie -- there was a lot of work executed in many other people’s hands, and I believe that by giving THEM more credit instead of BURTON in regards to this movie, we can support the cast and crew who made the film what it is. And if we had even done this in the first place, there wouldn’t be so much confusion and mistaking Burton for its director.

If Neil Gaiman, the author of the original book of Coraline, can refer to its movie as “Henry Selick’s Coraline”, why can’t we do the same for Nightmare? Why can’t we appreciate the rest of the cast and crew as much as everyone does with Burton? Just because Disney wanted Tim’s name in the title doesn’t mean we can’t call it “Henry Selick’s The Nightmare Before Christmas”. So, can people stop feeling obligated to justify Tim’s involvement with the film by just...acknowledging the people who worked on it instead?

(If anyone would like any sources, feel free to ask.)

[cookiedoughmeagain]

Haven DVD Commentaries: 4.11 - Shot in the Dark

Notes on the DVD Commentary by Nick Parker (Writer for the episode) and Brian Millikin (also a writer on Haven). In which both men talk at a gazillion miles an hour and with much enthusiasm throughout the whole episode. And we learn that the Darkside Seekers are partially inspired by Supernatural’s Ghostfacers. And all kinds of other fun facts.

Both Brian and Nick were previously script co-ordinators for Haven (“the most junior member of the writing staff”) and this is Nick Parker’s first ever episode of TV he’s written. NP is really modest about his writing throughout, balanced out by BM being very enthusiastic about how well written it is and what a great episode it is. And they are both so enthusiastic in general and have so much to say, I love them.

[I haven’t necessarily quoted everything word for word and I have paraphrased sometimes. And they refer to all the full names of the guest actors and the director etc. but I haven’t put the names in (except the ones I already know) because I didn’t stop to figure out how to spell them because … I am lazy :p]

NP: We got to do something really fun here with this hand-held camera, found-footage look. Both Brian and I are big fans of X-Files and one of my favourite episodes was X Cops ... and one of my favourite television writers wrote a couple of episodes of Supernatural called Ghostfacers in this kind of style. And I always thought those were really cool episodes and break the mould of the show a little bit and particularly in this case allow for outsiders to come in and comment on Haven. BM: The found-footage documentary crew thing was something from the get-go that we were always going to try to do at some point in the series. [Brief interlude while they laugh at Seth falling over the pile of trash :) ] And my favourite thing about it is how funny it is. This is not only the funniest episode of the season, but is crucial to the season because it has been so dark that we knew that we needed (particularly before epsiodes 12 and 13 which are like a two-part season finale) a little bit of levity. And because our characters have so much going on, you sort of need that to come from guest characters. And this is easily the funniest episode of the season and I think one of the funniest ones we’ve ever done. NP: You’re being very sweet. I think a lot of that humour actually comes from our guest cast for this episode. Chris who plays Seth is one of the most talented people I’ve ever met. And he and Danny (who plays Anderson) - Seth and Anderson are named after my two brothers by the way, and I based the back and forth teasing between them on my brothers, because that’s how brothers are - are friends in real life and were able to play the humour really well. BM: I remember when we were casting this episode we reached out to Danny (who is good friends with Shawn Pillar) who was interested in the role, but felt that he was better suited to the cameraman role and suggested Chris for the role of Seth. And it couldn’t have worked out better. NP: It could not have worked out better. When Danny made the suggestion and I watched a movie him and Chris did together called Alter Egos - if you haven’t seen it, go and watch it - and as soon as I saw Chris in that and the style of it and the tone that he brings; this very dry humour .. he was perfect for it. He is more perfect for the role than the version I had in my head when writing it. BM: We so enjoyed Chris in this role that Seth is making a return appearance in season 5. They’re shooting that episode right now and from all reports on set, it’s awesome. He’s doing a great job once again. BM: We always knew from the get-go that there was going to be a lot of found-footage and the camera pov in this. And we just hoped that the director for the episode would be on board with it. You know, you hope that your vision and the director’s vision line up. And as it happens, with the director for this epsiode we got crazy lucky. NP: Yes. She is amazing. It was incredible the way everything came together. In the concept of the script, the original drafting of it, there were all kinds of limitations on the script for a variety of reasons but when we started to get on set and look at locations and I was meeting with the director and everything - it all started to fall into place. I was so impressed by how everything came together; from the casting, to the prop department making Seth and Anderson’s props, to the art department and the sets. It really just came together well.

NP: I love this moment here when Gloria goes to flick Anderson off. The timing of that shot where Seth steps into the frame in front of her took us maybe 5 or 6 takes to get the timing just right, but when we did we knew we had it. That parabolic microphone that Seth has there - there was something wierd about the plastic that whenever it would heat up stank like old vomit. It smelled so bad. So Chris was an amazing sport for holding that. BM: This is a small thing but it’s something we’ve never been able to do before; Adam Copeland looking right into the camera. This is something you never usually want to do, and there’s something unsettling and hilarious about our characters finally being able to look back out at us. It’s great, I love it.

BM: Just boucing back to a line earlier, we had a shoutout to the Haven Herald when Seth is mentioning all the crazy coverup stories and he’s like “How many gas leaks can a town have beofre they just buy new pipes?” and that was a line I had always wanted to work in. BM: Yeah and we need to throw in those types of lines once in a while to add some level of groundedness. Because while this is fiction, it is set in the real world. BM: This is the first episode since Fraudrey in season two where we have the outside world arriving in Haven and threatening to expose it. Which is something we always talk about and which is why Vince and Dave - and even Dwight when he was the cleaner - do what they do. And I love it like in this episode when we can make it more than just an intellectual threat that they are forced to protect the secret that is Haven. NP: Yeah, it puts it in context. BM: And it’s something we talk about in the writers’ room that Haven has been like this, with the Troubles, for hundreds and hundreds of years, but keeping the secret of the town is getting exponentially harder and harder in the 21st century and the information age. You know, when the people who made the Barn at the time I don’t think they expected things like the internet or cell phones. NP: Yeah, Sarah wasn’t having to worry about high-tech recording devices being pointed at her or camera phones carried in people’s pockets. BM: Exactly. We talked about it a ton back when we were doing the pilot and conceived the show, and we all knew that Audrey Parker - Emily Rose Audrey Parker - was not the real Audrey Parker, that she had the borrowed memories of a real FBI agent. So one of the questions that we always got was; Why doesn’t anyone try to friend her on Facebook? Why doesn’t anyone google her and look it up? Becuase they would see, clearly, that there is an Audrey Parker and she doesn’t look like Emily Rose, she looks like Kathleen Munroe. And we sort of had to just fly past that for the whole first season and just hope that people didn’t really do that. NP: And I think generally the show has done a good job of cleverly skirting those questions. And I think that’s part of what gives it a bit of a timeless feel, and a feeling that Haven has always been this way. And I think it works well. Ah I love Richard here, playing Vince, he’s amazing. BM: He is so one of our favourites on the show, he is so good. And this [as Vince talks to Audrey in her hospital bed after Nathan and Duke have left to investigate the Trouble] is one of several big emotional scenes about Audrey and who she really is that the two of them have had. There’s that one outside the Gull after he was tortured by Tommy, that was terrific,. There’s that one at the end of season two when she comes to Vince and Dave asking for answers when she’s found out about the existence of Sarah. And now this. And it’s almost like every season we get a chance to have this kind of conversation between the two of them. Because he knows previous versions of her, and here she is beginning to lear more about herself - to learn things now that even he doesn’t know. NP: Yeah, and I think the reason we always end up using him for those scenes - it’s not necessarily a conscious thing - is because he so well represents what Haven is, and the history of Haven. He embodies Haven in an interesting way, and so it just makes sense that it’s always him. BM: Absolutely. And he’s also such a deeply felt actor. He can say a lot without saying anything, which is one of my favourite things about him.

BM: I love how this all looks [as Duke and Nathan confront the Seekers in the warehouse/store room where they are talking to Jemma]. I think this is one of the best directed episodes of Haven that we’ve ever done. They totally nailed it. NP: I was really impressed. It was way better than I could ever have conceived it. And that it all down to the director and the DP Eric Cayla. They did an awesome job. The sequence here after the lights go out, after this was shot, Eric Balfour came over to the director and I and said he thought this sequence was the most dynamic and energetic thing we’d ever shot for the show. NP: There’s one moment here that we buried for Gingersnap fans where Seth repeats the line ‘I think it’s gone’ right before the monster busts through the door. Which is exactly what happens in Gingersnaps so we wanted to bury that for Gingersnaps fans. And there’s the monster, which was a very very nice, and very very tall man in a suit. And this is a very scripted and choreographed sequence to get all this in. We rehearsed it a bunch of times and we were shooting this for the majority of the day. And there’s a couple times where the camera sweeps over the ground [so all you see is darkness] and they would use those moments to match and morph different takes together. So it looks as though it’s one continuous shot but it is actually several different takes stitched together. So we shot several takes of each section, knowing exactly where we were going to sweep to the floor so that we could stitch it all together. And i think it looks great. BM: It does look great. And the director really embraced this approach from the beginning and ran with it. NP: And what I love about her is she’s this really energetic spitfire running about the whole time, so when we were talking about this sequence she’s running up and down the aisles acting like she’s got a gun and everyone else was just trying to keep up with her becasue she was moving so quickly. She was so enthused and really energetic about the entire sequence and I loved it. She was awesome. BM: She’s my hero.

NP: Eric Balfour and Danny [who plays Anderson the cameraman] are good friends in real life so it was nice having them all there together. BM: I could be wrong about this but I don’t think they’ve ever acted on screen together before, despite being really good friends.

NP: So the guy in the suit, is a man in a werewolf costume, which the wardrobe department did a great job of modifying to make it look spooky. And the guy who played that role was probably about 6’10”; he was really tall. And he was so nice to come in because that suit was a lot of plastic and a lot of fur and it was incredibly hot. And he did take after take and was awesome and never complained once.

[As we see Gloria talking to Duke and Nathan in the morgue] BM: I’m jealous that you got to write some Gloria scenes. I didn’t get to do any of that. NP: I love writing for her. And the actor was also in Dawn of the Dead and she is awesome. BM: She was great in Dawn of the Dead. NP: Her energy and her really dry and biting sense of humour is great. And I love the dynamic she has with Duke. They’re kind of oddly flirty, in a way.

[As Dwight is threatening Seth in the corridor outside the morgue] BM: I think Adam Copeland is one of my favourite parts of this episode. He is so good at being frustrated and angry at people. And he seems like he really relishes it. And he is also really good as Dwight, but it’s like with epsiode 9 where he got affected by the paranoia Trouble, where he gets to step out of the usual thing and show some attitude, he dives into it. NP: He nails it. I loved this moment where he’s threatening Seth; I think this is the closest we’ve ever got to representing Adam in his former career as WWE’s Edge. He goes full wrestler on Seth right now. We did a bunch of different takes where he was getting really intense and almost screaming, or a more quiet and controlled threat. But this was a super-fun sequence to shoot, just because we got to see WWE Superstar Edge coming out. BM: Who is in reality the nicest person on the face of the planet. NP: Incredibly nice. BM: I aspire to be more like him one day. NP: That is a goal we should all pursue. He is just a super-nice really good person. And so seeing him act like this is what makes it so terrifying. BM: I would have wet myself. NP: Yes! BM: He is huge. NP: And in incredible shape. I always feel bad that he has to wear this bullet-proof vest all the time, which makes him about 10 degrees hotter than everyone else in every scene. BM: Ardent fans might notice that his vest has changed from the one he was wearing last season. They made one specifically for him; fitted to him and as light as possible but still using bullet proof vest material. Just to give him some relief, even though it is still hot and constricting. [Some back and forth about how hot and humid it can get in Nova Scotia in the summer.]

[As Duke is asking Nathan if he’s OK] NP: So this is the big emotional scene between Duke and Nathan where Nathan reveals his fears about this connection between William and Audrery. BM: Back from when we were first talking about the details of this season, we always knew that was the one where we were going to learn who Audrey really was, and that we were finally going to meet someone who was like her, whatever she is. So that was why we had William in the Barn and he hitched a ride with Lexie to come to Haven and now we’re learning what his ultimate plan is that he wants to turn Audrey back into Mara. But we always knew that we would have Colin Ferguson in the first four episodes, and in episode 9 and 10. And because he’s the Big Bad for the season we knew he’d be in the two-part finale episodes 12 and 13 - and that left out episode 11 which we did not have Colin Ferguson for. And yet he is the main topic of conversation for the episode. NP: Which worked out interestingly. It was a restriction that we knew about and it made things difficult at first but in the end we were able to talk directly about what he was doing. BM: It kind of allowed our characters some space, which we don’t often have, to talk about what’s going on. And how they feel about what’s going on. NP: And the same is true for Jennifer. We only had Emma Lahana for two days of filming for this episode, so that was also a restriction. BM: This location here, the back room of the Haven Herald (which is a real location that we own in the middle of Chester) is the exact same layout as the Gun & Rose diner, which we outfitted this room to be, back when we had Jordan at work. NP: And what a great job the art department did with showing the effects of the rougarou trashing everything. BM: Oh it’s amazing. NP: Every time that I walked onto a set that they had set up as a post-crime scene, I was just blown away. BM: As an example of how good our art department is, when Duke was kneeling down just now [where he found Jennifer’s phone on the floor] there was a golden vase over his shoulder, I’m pretty sure that’s the exact same vase that Dave picked up in 3.12 and knocked Vince out with when they were interrogating Arla. NP: They’re smart about it. BM: They do their jobs well.

[As Duke Dwight and Nathan find the Seekers at their van] NP: So we always knew that we wanted to do this found-footage style, and we knew we wanted to tie that into the Season Four Digital Initiative. So if you happen to follow Haven on Facebook or Twitter you will know that the Darkside Seekers supposedly took over the Haven accounts and were reporting that Haven was this place with this massive cover up and all these supernatural things. BM: And it wasn’t just a few tweets, there was also footage shot for this with Chris and Danny. NP: Yep and it was a lot of fun to be able to do that and tie it in to the episode, which you don’t often see so we were lucky to be able to do that. BM: And we had that pitch from the get go and you were overseeing a lot of that digital stuff. And it was always going to be the Darkside Seekers (though we went through a thousand different names for them before we got that one cleared) and the pitch for that was always that those guys were eventually going to show up on screen in the show in Haven. And it made sense to slot it in to episode 11 because we knew that William wasn’t going to be in this episode so it gave us a bit of a pause for the series arc. NP: Right, and we also needed to build a mouting threat; it needed to be something more than just a normal Trouble of the Week.

NP: Ah Stan the Cop; one of my favourite characters. And Glen who plays him is nice as can be. BM: He’s been around since season one and he’s a bedrock of HPD. NP: Absolutely. Everyone knows Stan. BM: And he has a little bit more to do every year. We love Stan. I’m always wishing that we could do an All Stan episode, but we’ve only got 13 episodes a season and so much other stuff to cover. There’s unfortunately just not enough room. If this was a 22 episode season show, we would absolutely have had a Stan episode. It could have been called Stan the Man, and Stan would be in every scene. And you know, he saves the day and the rest of the characters have no idea what he’s doing. NP: Like that Xander episode [in Buffy] BM: Yep, ‘The Zeppo’

[They discuss the restrictions in terms of actor availability becasue as well as Emma Lahana only being available for two out of the seven days of production, they also only had Emily Rose for a few days becasue she “was also due for a break” because she had been “working like a dog” having been in every scene in episode 10. And also they didn’t have Colin Ferguson, so when we see a glimpse of William in the hospital - that is not Colin.] BM: So there are all these various restrictions and you have to write your scripts within these painted lines that are set out for you. NP: Which is why Chris as Seth ended up with such a big role, and this is one of the biggest guest actor roles we’ve had. It’s good that he’s so good. BM: And it’s not a co-incidence that this has a lot of humour. Not that our cast aren’t often hysterical, but there’s not always a lot of humour just because our characters, after four seasons, are saddled with a lot of emotional baggage and weight. NP: Yeah and the nice thing about a role like this [Seth] is that they can comment on the ridiculousness of the situation. BM: Jennifer and Lexie were examples of the same thing; they were able to bring some of that lightness because they were yet to be weighted down.

[As Seth is telling Dwight how he spent his summers in Haven as a kid] BM: This hill I think is the same spot that William brings Audrey to in 4.09. NP: Yes, I think it’s one of their favourite places to shoot just becasue it has such a beautiful vista and it’s close the production office as well. The prop department did an amazing job building Seth’s equipment here. BM: Everything looks fantastic.

[At the Teagues warehouse where Jennifer is hiding out] NP: This all looks fantastic. We shot a lot of this at this place called the Aspotogan Spa, but if you try and look it up online you’re not going to be able to book tickets for becasue it was this huge multi-million dollar spa idea that they had, up near Chester? BM: Yeah from Chester if you head up eastward up through Hubbards where the Grey Gull is located, around the corner on the tip of that peninsula is this big abandoned structure with parking lots and everything but it’s this half-finished spa that they started building years ago and the economy fell through and they never finished it. NP: It’s actually incredible because the whole thing is built, there’s pools, the windows are in. We filmed in the basement. BM: We filmed there before in 2.08; Friend or Foe. NP: Oh yeah. BM: And we always wanted to go back because inside it was fantastic. And this was the perfect opportunity. NP: But it’s crazy when you go in there, it’s like all of the worker’s just suddenly disappeared. BM: We do a lot of on location filming for Haven … and we could not have possibly built something this big to film in. NP: There are hallways upon hallways and it worked out great because the place was big enough for us to run two units at the same time. Shawn was off with one of these handheld digital cameras with Lucas, Eric and Chris running around the hallways while the main group [Audrey etc] was here. And Eric Cayla, our DP would do a lot of shooting with these handheld cameras, or one of our camera operatives. So they would run around with Danny on their shoulder giving the diagloue, and then they would hand the camera off to Danny and he would do the same thing again for a different take.

BM: I would like to talk about Unstake My Heart for a second, which wound up being extraordinarily important. We always knew that it was going to be. We knew that it would be useful when it turned out to be Fraudrey’s favourite book - oh poor Dwight! NP: Yeah Dwight is knocked out there because Adam had to go do a WWE event. BM: Ha! Amazing! NP: This was a change the day before when we found out that Adam had a chance to go promote Haven at a WWE event. So we wrote him out of the last day. BM: That’s right because the season was about to start airing. So anyway, Unstake my Heart wound up being this important thing that Agent Howard had used, and so here we needed Agent Howard to have left Jennifer something that was going to help her personal journey. And it seems like it’s a magical book but really we always thought of it more that it’s more like a placebo effect that allowed Jennifer to realise some of her capabilities. And this was always how we intended the episode to wrap up, that Jennifer was going to realise a little bit of why she was the target of Williams’ creatures. And sort of end up saving the day as a result (with an assist from Seth). NP: Yes exactly. The guy who plays Sinister does a lot of our stunts and he was Seth in that moment [attacking the monster as Jennifer grabs the book off the floor] knocking the rougarou off his feet. We had so much fun up there saying that word especially with so many French Canadian, they love saying ‘rougarou’; [rougarou in a French accent!] BM: A rougarou if I’m not mistaken is a kind of European werewolf. NP: Yeah, it’s a French werewolf legend, kind of a cousin to the werewolf. Way back in the day I used to play this old role playing game called Werewolf of the Apocalypse, and in that all werewolves call themselves garou and so I suppose ‘le garou’ is what a werewolf is in french. BM: And do they actually eat your hearts? NP: That is a thing that we created for the Haven version, to give them a signature. BM: Like a serial killer calling card.

[As Seth and Andersen get ready to leave and Seth is talking to Nathan] NP: This scene originally was not Nathan saying goodbye, it was Dwight because Dwight had had that moment with Seth before. But because Adam had this great opportunity to go promote the show, we reworked this scene the day before it was going to shoot, to be Nathan instead. BM: That’s crazy. And initially there was also a third Darkside Seeker. There was going to be this host of a reality show and two other guys as his back up. It was crazy because we were initially writing it for (we can’t tell you who) a bigger nam- or I guess a different kind of actor who was going to do the role. He fell through really close to production. NP: Days before. BM: And so we - or rather Nick - streamlined and reconceived the episode and made it just about Seth and Anderson. And it turned out far better. NP: I definitely like this version more. It was always one of those things were I was trying to fit a square peg into a round hole. BM: And the amount of restrictions we had on what we could and couldn’t do and who we could and couldn’t use, was more than I’d ever seen in four seasons of the show. But they say in TV you embrace the limitations, and it’s like why a bottle episode can end up being the best eipsodes. Those are the episodes you do to save money because you’re shooting the whole thing on one set; but they can end up being the best. And it’s the same thing here. This is one of the best epiosdes of the season and in many ways it’s because you had these parameters to work in. NP: That’s very nice of you. But I always think whenever you’re writing with restraints, whether they’re self imposed or due to what you’re working on, you’ll often end up with a better product just becasue you have to focus. Having everything wide open and being able to anything and everything doesn’t always turn out as good as you think it will in your head. BM: Yeah absolutely.

[As we see Jennifer joking about being Hermoine] BM: This is a big moment for me in terms of the Duke/Jennifer relationship which going into the season has always been a big deal for us. And here she is starting to learn that she is more than just Troubled. That there is clearly a major stake in what is going on in Haven tht involves her. It’s not just this book; it’s her. And that is going to come to bear on herself and her relationship with Duke. We had always known where we were going with her character when we introduced her and that it was going to get a little bit heavy in the next episode or two. And we love Jennifer and Duke, and we’re really happy that we earned their relationship.

*cell phone rings* NP: Oops that would be me. BM: That was the Game of Thrones theme? NP: In like old, midi form.

BM: Oh this is so sad with Nathan and Audrey too we knew what was going to happen at the end of the season. We knew what William’s plan was going to be for her. And it’s kind of a bookended season in that we started with introducing Audrey as Lexie and then now we’re going to learn who she really was; the original person.

[As Jennifer tells them about the riddle in the book] BM: How many versions of this cryptic message were there? NP: it’s funny, this was being changed up until the moment that we shot it. And actually Emma was nice enough to do a couple different takes with different versions of what she was saying. BM: There was a lot of debate about this. And that was my favourite version!

[roswelldetails]

RNM 2x07 - Como La Flor

Apologies for being so late this week!! Lots of translating to do, and research. Mucho gracias to @queenrikki for reviewing this one for me!

EPISODE SUMMARY:

OLD WOUNDS — Liz (Jeanine Mason) is forced to revisit a painful part of her past when her mother Helena (guest star Bertila Damas) shows up at the diner unexpectedly. Michael (Michael Vlamis) urges Maria (Heather Hemmens) to seek help after she experiences a strange vision, and Kyle’s (Michael Trevino) attempt to get Steph (guest star Justina Adorno) to open up doesn’t go as planned. Finally, Helena’s arrival in Roswell sends Rosa spiraling. Nathan Dean and Lily Cowles also star. Barbara Brown directed the episode written by Danny Tolli & Carolina Rivera (#207). Original airdate 4/27/2020. 

DETAILS:

Max and Isobel both describing to Rosa how it feels to use (and control) your powers.

Isobel:

"Ground your intention.  Feel the current running through your body, your hands guiding it with purpose."

Max:

"Okay, draw energy from your spine…"

Arturo on Rosa:

"I heard a little mouse crying in her room this morning."

Escamoles - like Liz says in the episode, they're ant larvae. One article I found called them "the Caviar of the Mexican desert". 

Helena calls Liz "mi corazón", which means "my heart".

"Arturito, te ves bien."

Arturo, you look good.

Adding "ito" to someone's name in Spanish can both be positive or negative.  It can refer to smallness or also tenderness (like an affectionate pet name).

@tasyfa pointed out that there was a little timeline error in this scene.  Arturo says that he hasn't seen Helena in 7 years, since Jim Valenti's funeral, but last season it was established in 1x12 that Valenti died in 2014.  Also, remember the show is a year behind reality right now, so it's still 2019. So off by 2 years.

The reason for Helena's visit - transferring her ownership of the Crashdown for Liz so that Liz can sponsor Arturo's residency for citizenship. I did a lot of research trying to understand and clarify why this is.  Thanks to those who weighed in when I was struggling to find a clear answer. Eventually I reached out to Define American, the non-profit org that provides support to the show on racial and immigration related issues.  Here's the response:

The short version is that Liz has to meet minimum income requirements in order to sponsor Arturo, because she has to be able to certify that she can financially support him.  Since she's currently unemployed except for the Crashdown, transferring half of the ownership to her makes her a business partner and helps her to meet the income requirements. 

The Spanish:

"¿Cuánto quieres, Mamá?" 

How much do you want, Mama?

"She has a very thoughtful manicure."

If you don't understand, it's cool. I'm not going to explain here.  Feel free to DM me though! I won't judge, promise!!

Narrative thread about Max's nightmare/memory continues from 2x03 and 2x06.  Don't forget that 2x03 was just Isobel remembering it. Max was a hallucination. So when he brings it up here, it might be something they haven't discussed in a very long time.

The Spanish from Rosa on her red jacket:

"Eres una mujercita."

Basically translates to you're a little woman or young woman.  I assume the "cita" is supposed to be diminutive here.

"Mom is an opportunist.  If she found out she had a kid who came back from the dead she would use you to get to Anderson Cooper. And then she'd use him to promote her latest lounge singer gig."

"Isobel pays double.  Becky tax." 

A Becky, according to common colloquial use, is an annoying white woman, usually entitled and privileged.

Lead bartender quit..meaning there's a job opening at the Pony…hmm. Wonder if any of our characters need a job... 🤔

Maria's vision:

Michael drops the change

Flash to Kyle dropping his keys & bending down to pick them up.

Kyle staring into a bright light.

Maria shouting his name.

"My heart was broken.  Liz ended things and a part of me died."

Max's story to Valenti… not all THAT far off from the truth.

Note: has anyone told him about Valenti investigating him? We know Liz and Isobel were questioned.  Michael was present when Liz was questioned. Kyle knows the whole theory his mom was pursuing. And he just wanders in there like nothing happened?

"Try leading several short staffed investigations with the mayor breathing down your neck."

Another subtle reference to the mayor, including the election banners hung around town in S2 and his "anti-immigrant agenda" which was referenced in S1.

Max has been with the department since he was 18 - this is the first time we learned that.  In 2x05 we learned he was there at 21. So that timeline has now been further clarified. Which also means he was hired during Jim Valenti's time as Sheriff.

"I need eyes on you at all times now."

Definitely implies a lack of trust, or possibly still wanting to keep an eye on him for the purpose of her investigation (not a fact, just a theory).

Steph tells Kyle that she's always hanging around the hospital because she's doing admin work for her dad.

"I'm starting to feel like you're a ghost who only I can see."

"Ask them if they can see me. Or if you were just talking to a ghost." 

Note that ghosts have been a running theme this season with Rosa returning from the dead. This seems to be in line with that. Or are they subtly tying Steph to Rosa (I'm grasping at straws here, probably).

Liz leaves the safe on 3...but before she changes it is on 81. Helena leaves it on 78 after stealing the ring. Good continuity, RNM!

The whole "my mom hates cops" theme is a little confusing to me.  I mean, it makes sense given what we know about Helena. Except that she had an affair with Jim Valenti, who was… a cop. And also an addict.  Maybe it was different because they rehabbed together (just an assumption, not a fact). Or maybe the Jim experience contributed to her dislike of cops.

Liz...might be grasping at straws when she refers to police work as "something you love" to Max.  He didn't exactly seem enamoured by the job when we first met him in Season 1.

First time we learn Max and Isobel's father's name. And it is… Dave. 🤔

The Spanish Helena uses when she meets Max:

"Pero que guapo estas."

But how handsome you are.

"Cuidado Arturito."

Careful, Arturo…

Helena found Liz and Diego's wedding registry online. 

“Look there are medical reasons for non-drug-induced hallucinations - epilepsy, schizophrenia…”

“My mom has a degenerative brain disease. My grandma did too. I've always known I'd be next.”

Helena wanted to be Selena.

Which fits with Liz's lounge singer comment earlier.

And the "drunkenly singing in the car with your daughters in the backseat" fits with the story Liz and Rosa discussed in 2x02 about the car accident they got into as kids with Helena driving drunk.

Helena shows Liz her ten years sober chip, suggesting that she's been sober since Rosa died, but Rosa finds pills in Helena's car later in the episode.  Oxycodone. The same drug that Rosa used to steal from her mom as a kid (which we learned about in 2x04) and the same drug that she and Kyle discussed when he was checking her health in 2x01.

During Helena's toast to Rosa:

Preciosa = precious

Rosa Linda… still not sure personally if this is a continuity error or a pet name.  I’m inclined to go with a pet name. Throughout the whole episode Helena uses lots of pet names, nicknames, diminutives to address people. Rosa Linda may be just another version of this since Rosa's middle name was pretty well established as Helena in Season 1 between her grave, memorial pamphlet, etc.

Kyle calls attention to Steph's bandage on her arm.  She says she gave blood, but it feels like she's evading.

Also she calls him McDreamy, which is a Grey's Anatomy reference. Kyle called himself McSexy (another Grey's nickname) in 1x08 as well.

Note: I've seen some people talk about the speech about his sick friend as being about Maria, but I think he's really talking about Steph.  Or both, vaguely. He's certainly trying to get Steph to open up to him. Here's what he says:

"I just found out a friend of mine is sick. And I can't do anything to help her. And I hate feeling helpless."

Only after Steph puts her walls back up, does he gesture to Mimi's files.

The Spanish:

"Oh, ándale, gùero."

Ándale is like, go! Or let's go! Gùero we discussed earlier...basically white boy.

Por favor - please 

Rosa's art that we first saw in 2x05 now looks finished:

Isobel's graffiti "In Pod We Trust"

Both Isobel and Rosa's graffiti:

Isobel's assessment of Rosa's art

"That's a black hole. An unstoppable force of destruction. And it's getting closer. I see a girl looking into her own doom. She thinks it's inevitable, that she can't stop it, but she can. See, she created it. That means she can destroy it."

Rosa on Isobel's efforts to help her:

"You and Max, you keep talking about harnessing emotion and grounding myself, right? But I can't do that.  It is in my DNA to be screwed up. Literally. My mom's mentally ill. So, so am I. I was broken long before Noah did what he did. That's why he chose me to prey on.  That's probably why he chose you too."

Maria on her grandmother:

"When I was a child my Grandma Patty was the only adult who understood my make-believe world. Thing is, I was six.  So my favorite things about her were just illness, I guess…"

Maria on her mom:

"She was always kind of out there.  By the time I realized it was more than that, I just became obsessed with money. Wanted to be able to take care of her. I invested everything Grandma Patty left me, and I worked, scrounged.  It was about three days after my mom was finally fired from her job at the Pony, I bought the place."

Maria's blood does not contain the alien protein that Kyle found in the Pod Squad and Rosa after being in the Pod for a decade. (and yes, he actually said Pod Squad, which feels like an OG fandom victory)

"Look, there is one thing I noticed in your grandmother's file. Her insurance company is the same one that paid for my dad's cancer treatments...My dad got cancer because of an alien incident at Caulfield Prison. A fake insurance company established by Project Shepherd covered his bills."

"Okay so my grandmother got sick at the same alien prison where your mother died?"

More Spanish (there's lots of it this week).

Helena, when she gestures to the present:

"Abre tu regalo."

Open your gift.

Quinces is just slang for Quinceanera.

Just in case you're not familiar with quinceaneras (Liz's was also referenced in 1x02).

"Mija, me enseñas tus prom photos?"

Daughter, show me your prom photos.

Regarding the power outage.  Liz thought it was Max. Max thought it was Rosa. But the wire is frayed, like it was cut or chewed through. So it wasn't alien power related.  When Arturo finds the wire though, he says, "Must have been a little mouse." Which is how he referred to Rosa earlier in the episode. So the question is, does he actually think it was a mouse? Or does he think Rosa cut the wire? And if Rosa did cut the wire, then why? To distract them while she goes after her mom's car?

In the big Liz/Helena argument, Helena calls Max “a güerito cop”.  Güero means white person, similar to the more commonly used gringo.  But by adding the “ito” onto the end (like discussed before), Helena is basically diminuitizing Max.  She’s using the “smallness” above to basically imply that he’s some white nobody.

“I may not be the PTA mom who made cookies for bake sales or hosted sleepovers, but I sacrificed everything to come to this country to give you a better life.”

This is...not actually true.  Liz and Rosa are both natural born U.S. citizens, born in Roswell.  So she didn’t “come to this country” for that reason. She was already here when Liz and Rosa came into the picture.  And it’s not like she came pregnant with Rosa or anything, since Rosa is Jim Valenti’s daughter.

The ring that Helena took was ARTURO'S mother's ring.  It wasn't even Helena's family's heirloom.   

Liz and Arturo sharing flan for dessert.  At the start of the episode before Helena arrived they discussed making flan for Rosa.

Arturo admits that he always knew the truth about Rosa's heritage. (*fistpump* that's one of my headcanons coming true). 

"Rosa es mi hija, siempre y para toda la vida."

Rosa is my daughter, always and for life.

"Maybe you're right. I am playing the hero. Just like you're playing the politician's perfect arm candy.  See, I did a little digging. And your boyfriend, Dirk-- he ran for city council. It's very impressive. But there's no mention of your daughters. I'm guessing Dirk doesn't even know about Liz or Rosa.  Does he know anything about you, Helena? 'Cause it would be such a shame if he found out about a little town called Roswell."

Helena gives Max the ring, but keeps the box… maybe that's what Helena really wanted?

Huevos = eggs.  Basically, slang for balls.

"I know that face.  You uncovered a massive conspiracy."

"I checked the Caulfield drives. No sign of a Patricia DeLuca, but there was a Patricia Harris. Her maiden name. She signed up to participate in an experimental trial. Government was interested in weaponizing alien abilities. They wanted to create super soldiers. Your grandma was one of the first human subjects."

"Kind of wish I was an alien instead."

"What happened to the experiment?"

"It was a total failure. Caulfield shut it down in the '70s after people started dying. I don't understand how your grandmother got involved."

"I do. Henrietta Lacks, Tuskegee, Holmesburg.  The DeLucas aren't the first black people to be secretly experimented on."

Highly encourage you to read these if you're unfamiliar with any of these references.  It's African-American history (and really a black mark on U.S. history) that's rarely taught in schools.

Henrietta Lacks:

Tuskegee:

Holmesburg:

Reality versus Maria's flashes… great gifset by @rosaortecho on this here:

Kyle rips his jacket, staggers out to the parking lot, drops his keys, and is almost hit by a car, but Michael throws him out of the way with his powers (and Kyle still ends up injured because he lands on a glass bottle).

"Now that we know your illness is related to Caulfield we can find a cure for it."

"Maybe it's not an illness. I saw the future today, Guerin. When I first found out Grandma Patty was experimented on, I was furious.  But what if my genetic inheritance isn't just injustice? It's also actual superpowers. Saved a life today. And not just any life-- Kyle Valenti's. Tomorrow he's gonna turn around and save five more lives."

Liz and Rosa's dueling big sister act is super fascinating.  Rosa admits that she wasn't going to burn the car, and then she saw Liz crying, felt helpless, and that's when her powers went all wacky and caused it to explode.

Meanwhile, Liz has spent the whole episode trying to keep Rosa safe from Helena, and is trying to comfort her here by talking about Helena's sobriety.

But--Rosa stole Helena's pills, so she knows Helena is not sober, and she doesn't tell Liz that.  Why? To protect her.

At some point these two should probably stop keeping secrets to protect each other and start actually sharing what they know.

Kyle stitches himself up.

Steph quoted in this scene:

"I was up in the gallery contemplating American downfall thanks to progressive socialism."

"People tend to bail when things get real. I'm not into that."

Cameron's car was impounded a couple hours away.

Max is turning in his badge and gun and is turning down desk duty to search for Cam.

Isobel and Michael's discussion at the Pony:

"Do you think that Noah chose me because I was already broken?"

"I think you are the only one of us who ever keeps it together."

"I'm serious, Michael. The night that drifter attacked me, why am I the only one who started blacking out? I mean, Max literally murdered a man, but I'm the one who breaks?"

"You were traumatized. We were kids. At that age, trauma gets etched on to your soul."

"But what if it's not in my soul? What if it's in my DNA? Look, my whole life, I've played Stepford wife, because I thought that's what I was supposed to do. But...I need to understand myself now. I need to know where I'm from.  And if I don't know who my biological parents are, how am I ever gonna know who I really am?" 

"What are you saying, Iz?"

"I know that we said we shouldn't look into the past, but…"

"It keeps pulling you back. Me too. I spent my whole life thinking I'd build a ship and blast off into the ether. And then the minute I decide to leave that all behind and focus on this good thing in front of me, I'm sucked back in. Maria's family was experimented on at Caulfield. I need to find out more so I can find a cure for her illness."

Rosa takes one of her mom's pills. 😭

MUSIC:

1. Cactus Groove "This World"

2. Shelly Fairchild "Drive"

3. Mathis Hunter "Mrs. Vinegar"

4. Big Stone City "Good For Zero"

5. Big Stone City "Way Down Below"

6. Selena "Bidi Bidi Bom Bom"

7. Elizabeth Moen "Best I Can Do"

8. Wagons "Keep Coming Back"

9. AG "Where Is My Mind" (Pixies Cover)

[spectralarchers]

Christine! Writing help question here, if that's okay with you: I saw your reblog on Crowley's blubber/stutter at points throughout GO series and wanted to ask how to make dialogue realistic? Like irl we say uh and backtrack and stuff a lot but I'm wondering how to pull it off well... and kind of on a tangent, I struggle with finding a balance between dialogue and action (too much dialogue in my case). Any tips?

Hi, Ver!

Sorry it took me so long to reply to your ask, I wasn’t around on my laptop much and I wanted to give you a proper response! The post @verdelet​ is refering to is this one, which is a compilation of all the times Crowley in Good Omens just makes noises instead of saying stuff, where I used the following tags:

#HONESTLY THOUGH #THIS IS A GREAT EXAMPLE OF HOW DIALOGUE WORKS THOUGH! #SOMETIMES WHEN I READ A FIC AND THE AUTHOR INCLUDES THESE SOUNDS IN THEIR DIALOGUE I GET ALL HAPPY! #BECAUSE PEOPLE MAKE THOSE SOUNDS WHEN THEY TALK! #AND LIKE!!! YES!!! #EXCELLENT ACTING CHOICES!!!!

I don’t think I have any specific tips, but let me try. 

There’s one scene I always, always, always think about when I think about my dialogue and writing it, and it’s this one from Ocean’s 11:

Which in the script of the movie looked like this:

DANNY (V.O.) And Saul makes ten. 

48 INT. BAR - NIGHT 

48Danny and Rusty look weary from all this recruitment. Anearby TV with the sound off plays a promo for anupcoming Tyson fight. 

DANNYTen should do it, don't you think? 

(as Rusty shrugs)You think we need one more? 

(as Rusty shrugs)You think we need one more. 

(as Rusty shrugs)Okay. We'll get one more.

It’s super simple, but it works so well, because it feels genuine - the whole Ocean’s franchise is really good with its dialogue (a lot of it was scripted, but a lot of it was unscripted too). This was just for inspiration.

But, like, when I write dialogue - especially in action scenes - I try to let it flow naturally, as much as possible - if that means I have to cut up the description of a car flipping over in order to get the swear word in, I’ll do that:

He’d miscalculated the stickiness of the road - or rather, lack thereof. The moment he felt the car skid off the ice, his heart took an unexpected leap into his throat. 

“Fuck!” 

He immediately gripped the wheel tighter and stopped pressing the brakes in the hope of steering the car back on track. “Fuck, fuck, fuck, fuck,” he muttered under his breath as he tried to figure out how long he had before they were done for good.

You can also use the dash to cut up your dialogue: 

The road ahead seemed to be going into a tight turn, though, and in spite of his efforts he may not be able to get the car to stop before they hit the bedrock.

And so, the only thing that came out of his lips as he felt the car skid onto the patch of black ice was “Jesu- fu- hold on!”

“Hold on to what?” she yelled from the passenger’s seat, her fingers gripping the safety belt. 

Turning the wheel completely to the other side, in the hopes of forcing it onto the side, he clenched his teeth. 

It’s like a natural cut up of the word, sometimes people get interrupted in what they’re saying, and it’s totally fine to do it in the dialogue as well. I usually keep in mind that the words needs to get cut off in a place that’s logical - for example, if you’re going to cut off “fuck”, better either cut if off at “f-” or at “fu-” because “fuc-” just doesn’t make a lot of sense, if that makes sense?

I also quite like having my characters repeat things, or look for their words when they’re mumbling, so I consciously try and get them to say things either twice or mumble, like I would in real life. It’s like letting the dialogue tell the story, rather than try and say that they’re mumbling or looking for their words: 

Finally, as the car skid to a halt, she hit him in the shoulder. “You! You absolute- you absolute idiot!” she shrieked as him, as she tried hitting him again, but this time, he caught her wrist.

“I’m sorry- hey, stop- I’m sorry, alright?! I didn’t- I didn’t think the road was going to be frozen tonight!”

“You should have known!”

He made a sound, sharply inhaling. “Huh?! I’m sorry I didn’t! Because I don’t control the weather, okay? And can you please stop trying to hit me?!”

He caught her other hand this time and immobilized her in her seat. 

“Uhhh, yeah, pfff.” She paused for a couple of seconds, before resuming: “You’re always, always, always going on about how well you know these- these- these stupid roads!”

One of my favorite parts of dialogue I’ve written is in chapter 7 of Nothing Burns Like the Cold, when Clint is explaining to Steve why the American military is in Greenland, and he’s explaning the Monroe Doctrine and the whole World War II shebang up in the North Pole, because I feel like I made Clint’s long, long, long monologue break up into more understandable pieces of dialogue. I’ve highlighed the ‘dialogue things’ I did in bold in order to make the monologue feel more natural: 

“Well, I’m not sure if you know this, but the Danish Ambassador to the United States during World War Two decided he wasn’t going to take orders from occupied Denmark, and so whenever he spoke to American politicians or diplomats, he would do it on behalf of the ‘free’ Denmark. He thought that because the King and Government were being held prisoner, none of their orders mattered, and apparently we liked that a lot. Especially because of the Monroe Doctrine, I think- I- I think that was it. Because we got afraid that Nazi Germany would establish bases in Greenland, so when this guy, when this uh- this- Kauffman? Yeah, that was his name, it was a big deal when Kauffman came into the picture and said that he was giving the United States authorization to defend Danish colonies on Greenland from the Germans. He was sentenced for treason by everybody back home in Copenhagen, but it’s basically because of his agreement that we’re still in Greenland. He never put an end date on the agreement, I think they called it something like the ‘agreement relating to the defense of Greenland’ but I’m not sure on the exact phrasing. It just states that the American personnel can stay on site until- until- uh, ‘for as long as there is an agreement’?”

Clint rubs a pearl of sweat off his temple, as he takes a breath.

“The US Coast Guard and War Department established some weather and radio stations, and it didn’t really matter after a while, once the war ended. But, a couple of years after the German abdication, stuff happened - NATO, and other agreements, Denmark ratifying the agreement and everything. It made Denmark and the US closer allies. In 1951 though, the Danish and American nations forced native Kalaalit people out of their homes in Thule, because the establishment of the airbase was of “more importance” than them living there, where they’d been living for centuries.” Clint pauses, as he looks over at Steve.

“It was bad, man. Governments said it was on voluntary basis, but it wasn’t. Kind of like when we put the Native peoples of the Americas in camps and called it a good thing,” Clint spits, as he clenches his hands. “After all of that, Greenland became a key point in the Cold War. I mean they set up… They set up 14 bases in Greenland, Bluie West, and Bluie East. And then, when Operation Chrome Dome sailed around, they used Thule as one of the bases where they could re-fuel and load up the B-52s that would fly around 24/7. That operation ended in 1968 when one of the planes crashed.”

He pauses.

“In Greenland. On the - the indlandsis? The ice sheet? Right out of Baffin Bay, they think. They were carrying four hydrogen bombs aboard. Thankfully, there wasn’t a big nuclear explosion because the safeties prevented it, but the explosion caused the sheet to melt and a huge area to become contaminated with radioactive material. It also sank to the bottom of the ocean.”

Clint rubs his face and spits to the side.

“The clean-up, they called it Crested Ice, I think. I mean the plane crashed and burned, and there was a patch of blackened ice which was just- just huge, man. I’ve seen the aerial picture that was taken then, and it was terrible. Some documents which were released from the clean up revealed that plutonium contamination reached extremely high levels, and there was… It was bad, Steve. The workers who helped clean up were poisoned, and they still haven’t received compensation for their work.”

Sighing, Clint finally says the truth that he doesn’t want to tell Steve: “Part of the entire Chrome Dome operation and the Thule Air Base was to patrol the Arctic border to the USSR and to find you, Steve. ” Clint takes a deep breath, as he sees Steve’s head drop next to him.

And, the whole above quote, which is practically 600 words of Clint monologuing, all the while I was writing it, I was sometimes stopping up and reading it out loud to see where would someone pause, where would someone search for their words, where would they be thinking about another word?

I remember when I wrote it, it was difficult because there was a lot of information I had to write correctly (the whole Kauffman and Monroe Doctrine is historically accurate, as is the displacement of the Kalaalit peoples) but also make it seem like it was someone trying to recall something they’d learned a long time ago all the while explaining it to someone who had never heard of it before.

It’s the same thing when your character doesn’t know the thing and motions for it instead. If we continue in the car crash example I was writing earlier, it’d give something like this:

“You told me the bend would be like- like this,” she says, as she moves her fingers in an S-shaped formation, and he shakes his head.

“Nah, it’s more-” he moves her hands closer together, “-like this.”

It’s breaking up the lines and introducing the actions you need to convey where your words can’t do it for you - in the above example with Clint, when he’s looking for his words, I like to think that the reader can imagine him either moving his hands or looking thoughtful because he’s repeating himself, or he’s mumbling, or talking to himself, and therefore, I don’t have to tell the reader that he’s mumbling, because he’s doing it himself? (Does any of this even make sense???)

And, FINALLY, to answer your last question, any tips on finding a balance between action and dialogue would be writing the thing, and then leaving it be for a couple of hours and coming back to it, to read it with a pair of fresh eyes.

If the action scene slows down too much because of the dialogue, you don’t have to interrupt it with actual dialogue, but you can just write that they’re “exchanging swear words” or “yelling whenever their body takes a hit” instead of wanting to force the swear words into the narrative text, if that makes sense?

Otherwise, I don’t have any tips, other than reading your work again if you feel like you were struggling with it. Eventually, if you have someone who is willing to help you out, get a beta and ask them to look out for your pacing. 

@kate-katiehawkeye helped me SO MUCH with Swallow Your Soul, like, the only reason that story makes a bit of sense if thanks to her amazing eyes. 

I hope that this large and long pile of blubber managed to help you out a little bit? I am not the best at giving advice because I feel like half the stuff I’m doing is a total improvisation thing, so... I hope this helped! :D

[cinephiled-com]

New Post has been published on Cinephiled

New Post has been published on http://www.cinephiled.com/interview-costume-designer-anna-robbins-returns-us-sumptuous-downton-abbey/

Interview: Costume Designer Anna Robbins Returns Us to Sumptuous ‘Downton Abbey’

Like many diehard fans, I was beyond excited when I heard that Julian Fellowes’ popular British TV series Downton Abbey was following its six-season run with a full-length feature film. Taking place between 1912 and 1925, the television series had introduced us to the aristocratic Crawley family and their domestic servants who lived together in an incredibly grand Yorkshire home called Downton Abbey. Throughout the series, the Crawleys and their servants snaked their way through many of the big historical events of the early 20th century. As the film picks up the story in 1927, the Crawleys and their intrepid staff are preparing for one of the most important experiences of their lives: a royal visit from the King and Queen of England. This exciting experience will ultimately unleash scandal, romance, and intrigue that will leave the future of Downton hanging in the balance.

Among the joys in revisiting these beloved characters is seeing the amazing work of costume designer Anna Robbins (Emmy-nominated for her work on the series) which is even more spectacular on the big screen. This is a time just beyond the Gilded Age, entering the modern one, which is reflected in great detail in the costumes from Dowager Countess of Grantham Violet Crawley’s (Maggie Smith) pastel, formal Edwardian garb to the more flapper-friendly styles favored by Lady Mary and Lady Edith (Michelle Dockery and Laura Carmichael). For the latter pair, the silhouettes and color schemes reflect their outlook – Lady Mary in more angular blacks and whites for instance, and a beautiful gold flowing 1920s gown for Lady Edith, a gorgeous use of fabric and pattern and color where you can really see the texture and detail. I loved sitting down for a chat with the talented Anna Robbins about her work on the film, even if I did feel painfully underdressed.

Danny Miller: I so loved being with these characters again. And as far as I’m concerned, your work is one of the most important stars of the film. It was already so gorgeous on the TV series but am I correct in noticing that it all seems ramped up a bit for the movie?

Anna Robbins

Anna Robbins: Oh, yes, it is definitely ratcheted up a notch! We set a high bar for the show, with all the departments really pushing to elevate everything, but I think watching it on television we all thought it could be even bigger. And then along comes the opportunity to make it literally bigger which was so much fun to do.

I know, I just wanted to stare at the threads on the fabric seeing all those beautiful clothes on the big screen.

Yes, which is exactly what made it so challenging since I people would be able to see the threads and the quality of the craftsmanship in such detail. I like to use as many originals as possible and those had to be of a very high quality to withstand that scrutiny.

Wow, how on earth do you find 90-year-old dresses that are in good enough shape to look new?

For women’s wear I’d say it’s about half and half. I use more originals in evening wear because those dresses were often carefully preserved and they weren’t the kind of things to be worn every day so they haven’t worn out. Some pieces do require restoration, of course, and if it can be done to a very high standard, we do it but sometimes the fabric is simply too fragile so I might be able to re-imagine it as something else or take the fabric and rework it somehow. It’s a combination of a lot of things, but yes, I really had to raise the bar for the film and make everything even more sumptuous.

And, of course, this film includes the royal visit, so I’m sure that storyline also ramped things up.

Yes, that definitely upped the ante but it also meant you weren’t going to be exploring the most up-to-the-minute risky trends in women’s wear because there’s a very specific elegance and classicism to how you would dress to meet a royal.

I would imagine that you get to know these characters better than almost anyone. Do you have to think beyond the script to the whole of their personal histories? For example, Cora (Elizabeth McGovern) having been raised in America, do you think that influences her clothes?

Oh yes, where they came from is very important. The wardrobe’s got to say as much about the past as it does about the present day. It’s a very intimate process as well, working with an actor to find that characterization and it becomes a very important tool for them. But I have gotten to know the characters really well which meant I had a shorthand when I went onto the film that allowed me to work at pace right from the beginning without needing to do the huge amount of research that I did when I first came on board.

Shorthand like you could see something and think, “Oh, Lady Mary would never wear that.”

Yes. At this point I can walk into a vintage shop and see a Lady Edith dress across the shop and know it’s going to work.

Lady Edith is someone who really interested me in this film because, as we know, she had a big change at the end of the series. It did seem like her new status was reflected in her clothes.

I think Edith had one of the biggest journeys of anyone throughout the series. I remember in Series 5 her wardrobe was very restrictive and pared back, very autumnal colors during the period when she was estranged from her daughter and just very low emotionally. Then in Series 6 she literally blossoms as a human and finds her identity and she’s suddenly in this literary world so I created this London working woman’s wardrobe which was very different from her estate wardrobe. It still felt like the same person but she was far more adventurous and bold in her choice of prints and color.

You can literally see her self-confidence change over the course of the series and it was amazing to watch how her physical appearance reflected that.

Yes, I loved dressing her. And now in the film it was important that we didn’t lose that sense of style she had found even though now she’s no longer a magazine editor in London, she’s the Marchioness of Hexham and outranks all of them. So we took everything that she’s learned about herself including her self-assuredness and sense of style and moved it up into the position that she’s in now. But still always focusing on the level of craftsmanship in the textiles, it might be embroidery, it might be devoré, it might be printed silk. There’s always some sort of interesting surface to the fabrics that I use for Edith.

Was there at all a touch of rubbing her new status in Mary’s face with her clothes at all? A bit of showing off?

I don’t think so because I don’t think Edith has an ego like that. And she and her husband are very modern in their approach to their high positions. Remember — they arrive at Downton without a nanny. They call themselves “modern folk.”

I guess just the fact that she’s happy now is enough for her to stick it to Mary.

(Laughs.) Yes, exactly. I love dressing the two of them in their scenes together. Even when they weren’t at each other’s throats, there’s always a contrast, I always look to create some kind of dichotomy between them. Their dresses should always work with each other but create a nice contrast. And, of course, as individuals they’re very different.

I know the film takes place in 1927, which is a few years after the series ended, but do you have to think about certain characters like Violet (Maggie Smith) who may hold on to past styles in some way?

Well, Violet is a Victorian/Edwardian lady and that will never change. But the fabric choices may change. Where she once wore a fabric with an Edwardian pattern, that may become more art deco. You’re always looking for different micro trends that affected clothing manufacture, the way they were put together. And her jewelry might go from being more square cuts to show more modernity. I like to find ways to show that sense of modernity without changing her very recognizable silhouette.

Dame Maggie Smith

Did you know that there was a movie coming as the series was ending? Were things saved in a different way than they might have been otherwise?

No, we didn’t know. We hoped, but nothing was certain back then. Luckily, the main jeweler I worked with wasn’t organized enough to disband the collection and use it in other things so it was mostly intact.

Plus, the series was so popular, you could take the whole collection on the road!

Yes, we did work on a touring Downton Exhibition over the years so we’ve always been aware that there’s a life for the costumes after filming whether or not they ended up in a new film. But really getting to create new costumes for these wonderful characters was just a hypothetical dream that has thankfully now come true.

We’re talking so much about the women and my first instinct is to assume that costuming the men isn’t as interesting, but then I see their gorgeous clothes on the big screen and I’m totally fascinated.

Oh God, I love working with the men, I love tailoring. If you get that right, everything just looks so good. And the fabrics are fantastic. I was talking about using original pieces with the women, but it’s very rare that you’ll find any originals that you can use with the men.

Because men back then wore their clothes so much more often and they just wore out?

Yes, exactly, they just haven’t lasted. But the bits we do find are wonderful references for the cut and shape and how the pieces are constructed. I also work to make sure the men’s clothes complement the women’s and that all the scenes work together in composition. But the detailing in the menswear is just wonderful. And if you look closely in the film, the men change as often as the women do. I think Robert changes four times on the day that the Kind and Queen come to Downton. I was even able to design new dress uniforms for the livery staff with the Crawley insignia in the fabric, it was wonderful, those beautiful green tailcoats with silver frogging and lacing with the white breaches and stockings. Just brilliant.

Matthew Goode, Michelle Dockery, Allen Leech

So incredible. And then you leave work and go out into London and see people dressed like I am right now — it must be so depressing!

(Laughs.) I mean, I’m sure it was very hot and uncomfortable at times, so it’s good that we’ve moved forward, but those clothes do look so fabulous and I’m glad I get to spend such a huge proportion of my life with them!

Is designing for the servants more of a case of strict research on what the staffs of big houses would be wearing in 1927?

Well, there is lots of research and looking at what would have been worn but then you design touches for each character. For example, there is always a sort of very subtle floral pattern within the silk for Anna. And it may be more geometric for Baxter, with a more complicated cutting technique since Baxter is a dressmaker.

Is the implication that the servants would be mending their own clothes?

Yes, to some extent, so you’re going to see differences. They’re all designed to the character and to make them identifiable even if there’s a common look.

Lesley Nicol and Sophie McShera

I imagine at the first fittings for the film it must have been heavenly for the actors to slip back into these costumes to get back into character.

It was wonderful seeing them literally step back into their characters’ shoes. And it’s always been a very collaborative process working with them. It’s a joint effort to find the right looks. I lead it, for sure, since I have an overview of how the whole thing has to look and I know what’s going to work together in each scene such as they’ve got to start off in this setting which may be against red and then move into this room which might be green.

Oy, that seems like so much to keep track of. And it’s not like in real life we ever know the colors of every room we’re going to walk into!

Exactly, but I have to create these huge charts that allows me to painstakingly keep track of all those different elements. I work very closely with the director, production designer, the DP, and the actors. I have to think about lighting and how the colors are going to behave on camera.

I remember reading about the making of Gone With the Wind and how Selznick and costume designer Walter Plunkett tortured the actors with real corsets and other undergarments from the period even though they would never be seen. Are you a stickler period detail as well?

I am all about what makes the right silhouette but I might make the garments worn under the costumes more comfortable than the originals might have been. Remember, they didn’t have the luxury of stretch materials! Unless you actually see the underwear, as you do in some scenes in the film, then I absolutely insist on the real thing, of course.

Of course, the 1920s were more kind to women than previous eras in terms of undergarments.

Absolutely. You had underwear then that created a more boyish silhouette which could still be confining for some. But I also find that actors are quite keen to use whatever underwear creates the foundation that makes the clothing look more authentic and therefore more believable. And sometimes the underclothes affect posture and even the way you speak. I think it’s worth noting that while the girls lost the corsets, the gents were still wearing stiff-collared shirts full of starch with starch-fronted shirts. These are very uncomfortable, and you shouldn’t even be able to get a finger down the collar. So, rest assured, I still put the actors through the ringer.

I used to love the original Upstairs, Downstairs before Downton Abbey and I remember the actors talking about how they tended to be treated differently on set depending on what class they were playing. I remember Jean Marsh, who played the parlourmaid Rose, once said to the people on set, “Hey, I created this series, why is everyone treating me like I’m not as good as Lady Marjorie?” Did you ever notice anything like that on your set?

Oh, that’s funny. No, I wouldn’t say so. We were really like one big family and very equal. I think something the downstairs characters might get a bit of envy in terms of all the beautiful fabrics and costumes that the upstairs characters got to wear, but by the same token the upstairs characters had to do fittings week upon week upon week. The downstairs characters had a much easier time of it pre- and post-filming where they could just get into their cars and leave whereas I had to drag Lady Mary to do the fifth fitting that week for a new dress that she was wearing the following week.

I do feel inspired by your magnificent clothes in this film. As God is my witness, I want to start dressing better!

Go for it! The thing is, a bespoke suit can be very comfortable because it’s been made specifically for you. It molds to your body.

Thanks so much for chatting with me. I’m excited about all the Downton Abbey frenzy I’m seeing. This is definitely the movie that we need right now in this country, if you know what I mean.

Oh, trust me, we need it right now in the UK, too!