#all in all good characterisation in terms of writing AND costuming

[ackermental]

Honestly, Hollywood should be grateful that China has cenzorship fucking their shows up, because otherwise they would take over the market, just like manga did with comics.

[diorkyeom]

THE @diorkyeom / @fairyhaos AO3 FIC REC LIST

last updated: 16/09/2023

masterlist. part two. part three.

a compiled list of all the ao3 fics that i've read for seventeen which i've loved, kudosed, and proceeded to download so i'll always have with me. to be updated whenever i have new recs!

are you soaked in dreams? - poppyseedheart

verkwan, non-idols, f2l, oneshot

hnggghhhhhh the softest, most caring fic ever. literally i adore when fics have hansol as this calm and loving force for seungkwan and seungkwan doesn't even REALISE that hansol is always by his side until something happens and he's hit with the full force of how much he adores him

stumble and fall (stage left) - pocketpastel

verkwan, uni au, romeo and juliet production, chaptered

the seungkwan characterisation is off the charts level of accuracy. i loveeee when people have kwan being as obsessed with hansol as hansol is with him pls it makes my heart so happy :< also theatre kid seungkwan and awkward skater boy hansol is just so sweet

Adventures In Fiction - thanku4urlove

verkwan, canon au, crack, fluff, oneshot

the hilarity and the feels are just sooo prominent. also reading fanfiction out loud to one another as part of bonding activities feels like a very very seventeen thing. i can imagine them doing it together and also seungkwan getting so emotionally attached to a fic??? the funniest and realest thing ever actually

i like you a latte - mysterywoozi(writers_haven)

soonhoon, coffee shops, uni au, fluff, oneshot

fluffy. so so fluffy, the kind of strangers/friends to lovers that really fits soonhoon so well. ngl i'm not too keen on reading loads and loads of enemies to lovers fics for soonhoon bc people don't understand that that's their banter, that's how they are as friends, and so i love when fics appear where they are these friends who have fun ribbing off each other. also it's the best when woozi is Whipped and he doesn't even realise it.

Skin;Heat - kwanies

soonhoon, synaesthesia, fluff, oneshot

it is INSANE how much i adore this oml. the idea of jihoon with this type of synaesthesia where he hears sounds and music for people? gorgeous. utterly incredible and so so him. and then soonyoung acting as jihoon's opposite and also his equal.... it's beautiful

Fast Pace - Mistehri

soonhoon, choreographer!hoshi, producer!woozi, crack, oneshot

funny!! so so funny and the rivalry of soonhoon despite being strangers is utterly hilarious. i just. love the soonhoon dynamic so much and this one feels like it encapsulates it so well and makes it lighter and cooler and sweeter and yes i adore it too

I'll Be Your Man - jeosheo

meanie, office au, rivals to lovers, fake dating, crack, chaptered

this author literally writes such gold in terms of humor oml. this is one of my favourite meanie fics bc it feels so so them and also?? mingyu and his family as these people with weird entrancing abilities is so so funny. also the FEELS wtf it's so good

spooked - lunahui

meanie, uni au, strangers to lovers, crack, oneshot

TOP TIER MEANIE FIC. the characterisation is so so them and i love the idea of mingyu hot guy who's actually lowkey just a soft loser. they're so sweet and so lovely and it's such a fun fic

Habit - alswiffy(lunahui)

meanie, canon au, falling in love, soft, oneshot

CRYING. I ONLY JUST REALIZED THIS IS BY THE SAME AUTHOR AS THE OTHER MEANIE FIC I ADORED. i love the domesticism of this, of loving someone like breathing, of working through feelings together and realising that you've been in love with each other all along

How Sweet It Is - orphan_account

gyuhao, baker!gyu, costume designer!hao, idiots to lovers, oneshot

SO FUNNY. SO THEM. i adore when people manage to get minghao's internal monologue right, (along w wonwoo's) and the way minghao also just becomes so stupid when he's found this hot guy to have a crush on??? gold. i love it sm.

press restart - Acavall

seoksoo, clap era, feelings realisation, oneshot

so so so soft oml. i don't actually read seoksoo a lot bc imo people don't really get their characterisation right, but this is just gold. it's the standard. i love it so much

The Light of Ulleungdo - Mistyreflections

seoksoo, village au, feels, chaptered

(check warnings for this fic)

i could talk for years about this fic and never be able to fully articulate how much it means to me. the imagery and the descriptions and the way it just instantly had me hooked?? i was originally sceptical about reading it but then i opened it, read the beginning in hao's pov, and the next thing i new it was 5 hours later and i had tears streaming down my cheeks and my heart thumping so hard in my chest

[zahri-melitor]

I know you've all been waiting for this one: Sum of Our Parts (yes I finally got to Meghan Fitzmartin).

The very first thing I'll say: yeah, I see why DC commissioned more stuff from her after getting this and seeing the response. It's a solid opening showing her ability to write Tim.

There were a lot of moving parts that needed to be re-established and tidied up in this story, and I can see the list being worked through:-

Name: being very clear Tim is currently Robin, because since Tynion's 'Tec run ended, his name and costume have been varying by who is writing him with very little consistency.

Tim not going to university: this probably did need a push back on, because Tynion just waved the door open on that again during Joker War.

The fact that Tim and Steph are broken up (sort of essential for the plot being told)

Playing with the themes of moving on from Robin (but in this case using it as a frame to actually be the bait and switch that it's coming out instead)

Bernard is clearly an OC from the ground up who shares a name and hair colour with his previous existence. Which, look, Bernard was a pretty thin character with basically two personality traits (conspiracy theorist/trying really hard to project cool), and it is of course fairly arguable that Bernard was projecting a front at 16 that he no longer needs now he's accepted his identity. But it would be nice to have that conveyed in the text, rather than something you infer to try and connect two characters who are otherwise unalike. Especially given how much of the story is Tim reflecting on himself.

Even a line or two more about how he doesn't feel the need for a front anymore to line up with Tim having revelations. "Tell Tim Drake...he helped me realise my true self. Who I am" is nice enough but it could still use some more acknowledgement of how that changed his personality. It's just this nice parallel that could have helped develop the themes more securely. There's a bunch of possible implications you can read into the story (particularly in terms of how the Dowd parents really ARE characterised lightly as Fanon Drakes, between the polite fronts and implications that Bernard was previously abused at home in this) and this is one of the things that while I don't mind how much of this story Fitzmartin was telling via implication, a few more concrete things confirmed would have helped.

If I were going to make a solid stab of a guess at what sections of Robin Fitzmartin liked/reread in the lead into writing this, I honestly think it was Fabian Nicieza's Robin run (and probably parts of Red Robin). It's just...a lot of the characterisation has some very similar notes to it. Tim's got the same sort of smug confident edge to his internal commentary, the ways his skills are portrayed, and Detective Williams even reminds me quite a bit of Officer Jamie Harper. (I don't think she actually looked back over Willingham).

It's also very much a coming out story, and I do appreciate in that Fitzmartin does try to be delicate about it and doesn't whack you over the head with the bluntest lines possible (I just suffered through that in Infinite Frontier #0 with Alan Scott and good god did I cringe the entire way through the 'yes while you are my biological children and I have indeed been married. to women. I am gay. Listen to me come out.'), the amount of implied themes she levels through it is still substantial. It could have used slightly more focus on the actual underlying mystery.

I can also see the start of the situation where the story needs to decide whether Bernard Knows or Doesn't Know. Because both states would allow for situations with a lot of drama (and potentially identity shenanigans which are the best shenanigans), but just having it as sort of vacillating in the middle as something that doesn't need to be investigated? It's leaving a lot of potential storytelling on the floor that could instead be used to send Tim through the wringer. (Also Tim wow half of that cult probably could have figured out your identity, you weren't subtle)

Look, I don't think this story contained the greatest Barbara Gordon characterisation ever written, but it was within the bounds of overly-interfering, self-righteous and pushy Babs, which is something that does pop up at times. It felt in conversation with her characterisation in Batgirl 2009, and while I don't LIKE the way Babs is written in it, especially in regards to Steph, it makes sense in terms of the direction DC was pivoting at this point in terms of leading into the whole Batgirls title.

Fitzmartin was also clearly using Steph characterisation from very late Robin/BFTC/start of Red Robin, when they were fighting, in terms of how she's trying to have Steph needle at Tim's sore points, and set up a dichotomy of 'Steph has it together/Tim does not'.

And yes, Belén Ortega's art is very, VERY pretty.

[katatonicimpression]

Some thoughts about Monet’s writing during the X-Factor era

This would’ve been a high effort mini essay with screencaps and everything but I cba. So prepare yourself for a wall of text.

This iteration of X-Factor (the Jamie Madrox team - starting with X-Factor: investigations then later being folded back into the 1986 title) is probably the first comic series I ever got into. I still really like it to be honest… most of the time. It has comedy that’s genuinely funny, a really cinematic feel to it and (the key to my heart) a strong commitment to soap opera-style drama. It’s definitely a mixed bag in terms of quality and in my opinion it clearly gets worse as it goes on. A while ago, I saw a post where someone suggested that they make it into a TV show and honestly I think that’s a brilliant idea. It would make a really compelling series if adapted right, and they could use the opportunity to maybe smooth over some of the things that don’t work.

Anyway, this was the first thing I read with Monet in it and I absolutely loved her. I found her hilarious (I really gravitate towards mean-girl bitchy characters) and I also remember being drawn to her pain in the moments of vulnerability she gets. Let’s be clear, those things are still there when re-reading it. But I recently finished going through the whole thing again (skipping anything that wasn’t her or ricstar because I’m impatient) and I’m left with a bunch of thoughts.

There is something deeply weird about Monet’s writing in this series.

This weirdness isn’t there the entire time - it’s mostly in the latter half of the series. At the beginning her characterisation is good; we get a serious look at her trauma from what Marius did to her, her mental health is taken seriously, her family and backstory is referenced on multiple occasions in ways that really make it clear that the writers had read Generation X and paid attention to it. She’s drawn too pale, which is obviously a bad thing, but overall she still feels like Monet and the writing is pretty good. I’d say the strangeness starts shortly after her dad gets kidnapped. I.e. a little bit after when the boob outfit first appears (#215-ish). Okay, actually let’s put this whole thing on hold and talk about that for a second.

A Tangent about Sex and Race:

If for some reason you’re reading this and haven’t read this series (or if it’s been a while), here is the boob outfit for reference:

So that’s a pretty shameless bit of costume design right there. It’s very silly. It defies gravity and anatomy. It’s so silly that the characters even comment on it at one point… like lampshading the choice makes it magically immune to criticism. But okay, focusing on the point I want to make: Monet is sexualised in this series - heavily sexualised - and it’s done in a way that really doesn’t do it for me.

Don’t get me wrong, Monet is a sexual person and I think it’s important to include this in her character (I’ve talked about this before). Also I don’t want this to come across as a strawman “no boobies in comicbooks” thing either. That’s not what I think.

The pervasive idea in the art in the second half of this series is that Monet is sexy, but she doesn’t get drawn as pretty. Seriously, this girl is a fucking supermodel who is known for being hot, but rarely gets drawn with a pretty face in this series. Layla, Rahne and Theresa, on the other hand, get to be pretty all the time.

Similarly, Layla, Rahne and Theresa are drawn with more dignity than Monet is. They’re all still drawn sexy, often shamelessly so, but they each get plenty of panels where they’re drawn as hot, without it being so gratuitous. Moreover, they’re presented as earnestly desirable in their own right. This is important here. Monet is constantly portrayed as sexy - she’s tits-out in most panels - but not as a serious love interest. Guido likes her, but it’s a comedic storyline. Darwin loves her, but it’s supposed to be pathetic. Meanwhile, Jamie is uninterested after their hookup: he prefers Theresa then, later, Layla. Shatterstar comments that she’s hot, but prefers Layla. Pip the fucking Troll thinks she’s hot. Like… really?

A similar thing happens in 2016’s Uncanny X-Men. Betsy is portrayed as sexy, but with modesty and dignity. Meanwhile, Monet is heavily sexualised but only actually considered desirable to Sabretooth. 

Make no mistake. This is racist. Sexualising a black female character while also portraying her as not somebody who a heroic lead could seriously, earnestly be interested in? The black female character is drawn with cartoonish, over the top sexual traits in every panel? The black female character is allowed to be sexual, but not pretty? That’s racism. 

Back to the Point:

Right, so if it wasn’t obvious by now, the writing in this series develops a strong sense of hostility towards Monet as a character. She is portrayed with very little dignity and it feels very uncomfortable to read. This isn’t necessarily that surprising, right? And yeah, okay. No, it isn’t surprising but I noticed something weird about how they go about it and I just wanted to put it out there. There are some contradicting ideas going on here:

Monet’s anger is portrayed as disproportionate, irrational and annoying.

Her reasons for being angry are correct and reasonable.

Monet’s pain and humiliation is portrayed as humorous.

The reality and seriousness of Monet’s pain is emphasised.

As the series goes on, Monet’s characterisation goes from funny, bitchy quipping to full on just yelling at everybody all the time. She’s portrayed as incredibly quick to anger and unreasonable to be around, berating people constantly. This didn’t go unnoticed by readers. She becomes angry and shouty and the whole thing lacks development or even a sense of purpose. There’s no arc or storyline here; they just started writing her as a shouty rage-monster for no clear reason. She gets portrayed as a massive inconvenience to the group. Suddenly, none of them even seem to like her anymore, except Guido who… well he still hates her he just happens to also want to fuck her.

But, she’s right. Her reasons for being angry are right. This is the weird thing. She yells at Guido for being a soulless monster… but he’s being a soulless monster. She yells at Pip and Guido for saying creepy things about her body… but they’re saying creepy things about her body. She has a falling out with Theresa because (I kid you not) Theresa is upset that Monet didn’t tell her that she’s a muslim… but Monet rightly points out in an earlier issue that it’s frankly bizarre that everyone assumed otherwise. She yells at Lorna for ordering her around, threatening her, and making light of her abuse… but Lorna does all of those things.

So, now we’re at number 3. Monet is wronged, Monet is hurt, Monet is humiliated… but it’s a joke. Her reactions are ridiculous, over-the-top, clearly intended as comedy. Moreover, in universe, the other characters laugh at her pain. They literally think it’s funny when her body is taken over by a perverted troll who attempts to sexually assault her. Like, what the fuck? Do the writers hate the character that much? 

That’s the obvious explanation, right? That the writers just hate her. It would explain why she gets violently beaten to death at the end of the series.

…

…

Although… She gets immediately resurrected, right? Which seems like a weird choice if it was all about punishing the character, right?

And I mentioned the gang laughing at Monet being possessed by Pip, but they don’t all laugh. Shatterstar doesn’t think it’s funny. He plainly explains that it’s a violation and no laughing matter. So, the writers definitely do see that Monet has a right to be angry here. Similarly with all the above examples. It’s not a subtle, emergent detail of the story that she’s in the right. It’s all there plain as day, very deliberately. But, nonetheless, she’s still acting in this cartoonish rage-monster way and not being given any dignity to her reaction.

There’s a scene when she talks to Layla about her decision to bring Guido back to life without a soul. It’s one of her few non-shouting scenes from the back-half of this series. It clearly tells us that Monet is consciously distancing herself from other people, that she finds comfort in doing so. It’s so empathetic to her point of view that honestly it feels like it came from way back at the beginning of the series. Even right up to the end, where they’re writing her so hatefully, they’re still putting in these moments of pathos. It’s just so deeply, deeply weird.

Conclusion?

The first time I read this series, I came away from it really liking Monet but re-reading it, I wouldn’t be surprised if it had the opposite effect on a lot of people. In fact, I know it did - I’ve read plenty of comments saying as much. But what’s interesting (to me) is that all of this weirdness - the contradictions in how her anger and pain are portrayed - is probably why I managed to form such a positive opinion of a character who is portrayed so negatively. So kudos to inconsistent writing, I guess.

While this has been a really negative rant, I want to reiterate that, when taken as a whole, this run of X-Factor holds up pretty well. I wouldn't have written this whole thing if this was just a generic call out post for the latter half of a decade old comic. I'm not in the business of call out posts anyway. Like I said, the first half or so has some great writing for Monet as well. It just has some gnarly things towards the end that I wanted to write about and if you’ve made it to the end of this, then I am genuinely surprised.

[ohpleaselarry]

Annual Writing Self Evaluation 2021

Thank you to @brightgolden and @twopoppies for tagging me! Loved reading yours, this is so fun :)

1.Number of stories posted to ao3: nine! (Would’ve been ten if I’d have finished editing my upcoming one twelve hours ago haha)

2.Word count posted for the year: 314,760 honestly more than I thought

3.Fandoms I wrote for: one direction

4.Pairings: Larry

5.Story with the most kudos, comments, bookmarks: Violent Delights won all three!

More questions below ⬇️

6.Work I’m most proud of (and why): honestly this would’ve been violent delights a few months ago but the drabble series has been the most challenging (and therefore most rewarding) thing to work on. I’m pushing myself with every chapter to try something new and upload it in a timely manner and it’s unlike anything else I’ve done this year.

7.Work I’m least proud of (and why): Just in terms of writing and characterisation and work put in, slip into your arms was the only one this year that I didn’t “try” that much on, but people seem to enjoy it anyway which is lovely haha. (Maybe it’s just the lack of angst that made it feel simpler lol)

8.Share or describe a favourite review you received: honestly it doesn’t matter whether the review is bad or good, long or short, it always genuinely makes me inspired to read comments and keeps me writing. But since I hate to give a non answer: comments that quote parts of the fic and give their reactions/thoughts to those parts bit by bit really make me happy.

9.A time when writing was really, really hard: I can’t think of a time in my life when writing isn’t hard but there was a gap between fics from February to July when I couldn’t do much of anything. It was a really bad time for me mentally but I came back with my biggest fic of the year so maybe the break was a good thing?

10.A scene or character that you wrote that surprised you: Harry’s whole character in imagines just sailing (away, away). I wasn’t even planning on writing this fic but the song just tossed me right into it. The Italy hotel scene with the costume was something inspired by a friend’s own experience and them letting me add it was very unexpected, but finishing this one felt important to me.

11.A favourite excerpt of your writing: (I’ll try to keep this as minimally spoiling as possible) the Jupiter chapter in the drabble series, there’s a scene near the end when they’re sitting in the doorway of the house. This scene was one I’d had pictured months ago, and was the original thing that made the idea happen. While writing this scene it also inspired me to continue the fic and start working on the sequel (which should be coming in the next month or so). There isn’t much dialogue and it may not seem like a lot, but it’s sort of the foundation for the au as a whole.

12.How did you grow as a writer this year: I tried my hand at scheduled writing (violent delights) and it’s something I’ve never seriously dared to do before, seeing as my inspo to write is never consistent nor is my will to edit (I don’t use betas), so it was a lot of work, but clearly it paid off!

13.How do you hope to grow next year: I hope to try a longer fic again. I have a few ideas, nothing concrete yet, but I want to overstep the longest word count I have on a single fic (100k) and post something even longer, with a world even more detailed, and even more thought out. It likely won’t happen for a long time, but it’s still a goal I have.

14.Who was your greatest positive influence this year as a writer (could be another writer or beta or cheerleader or muse etc etc): Dunno if this counts as a real answer but music. I listen to music 90% of the time I write (usually classical) and it helps me focus and flow so much better, and I truly don’t think I’d write as often or as much if I didn’t have it.

15.Anything from your real life show up in writing this year: I mentioned this in the authors note, but nearly every single bit of Deux Fantômes. It’s probably the most personal fic I’ve posted to date.

16.Any new wisdom you can share with others writers: Don’t focus so much on making everything perfect during the first write through. Even if it feels bad, write it anyway. You can fix it all later, but I’ve come back to shit I wrote while pissed at 3am and sometimes it’s honestly better than my usual writing haha

17.Any projects you’re looking forward to starting (or finishing) in the new year: I have a good few fics I’m working on right now, but the sequel to Jupiter is the one I’m enjoying the most at the moment and it’s turning out to be longer and longer the more I write. I just really like aliens I guess haha. Other than that I’ve got one coming either in the next few hours or tomorrow, depends on when I post it, and it’s one I’ve had finished since November!

18.Tag some writers whose answers you’d like to read: I think everyone’s probably done this by now but I tag those of you who probably haven’t been tagged. Tag me in your posts I’ll reblog them <3

This was really fun, can’t wait to see what the 2022 post will be like! Thanks to everyone to gave feedback, kudos, reblogs, etc this year, it really makes me feel good!

[amphtaminedreams]

Farewell to Spooky Season, AHS Style: Lookbook no.12

Hi to anyone reading,

Happy belated Halloween!

I capitalise it because if I'm gonna recognise any day as sacred, it’s the spookiest one of the year! Halloween 2020 obviously hasn’t been as exciting as usual, parties and club nights being banned has meant there’s been far less opportunities to dress up, but I still managed to get out for the night before they announced the upcoming second lockdown and do a couple of spooky movie nights (and carve a pumpkin!)!

I originally intended for this lookbook to be last minute halloween costume inspo but I was lazy and didn’t manage to get it out on time-a lot of these looks minus the makeup and maybe an accessory or two could work on any day or night out so I thought I’d go ahead and post it now anyway. Celebrating the fashion moments of American Horror Story is something I’ve wanted to do for a while; it’s probably not the first show you’d think of for sartorial inspiration but Mr. Ryan Murphy has fucking fantastic taste in stylists and the first five seasons of AHS in particular, which I’ll be focussing on in this post, have given us SO many amazing looks. The man may be guilty of many things-subjecting us to the character of Will Schuester, trying to turn Richard Ramirez into a thirst trap, embarrassing everyone who raved about how good Scream Queens was when he wrote season 2-but costume related laziness is not one of them. We see more consistency in a Ryan Murphy character’s wardrobe than we do in their story arcs and I respect that because honestly, as much as I love joining in when it comes to ripping into his ability to cohesively bring an AHS season to a close when it airs, I’d probably be the same; if you put Lady Gaga in front of me and told me to write her lines I’d probably end up getting overly invested in what her character was going to be wearing in the scene too. 

So! Enough Ryan Murphy bashing from me! I’ll get on with it! Starting with 3 season 1 inspired looks:

Murder House: Elizabeth Short, Tate Langdon and Violet Harmon

-striped jumper from caitlinlark on Depop, kick flare jeans from ellagray-

When it comes to reflecting on season 1 of American Horror Story, all I can say do is thank the internet overlords that Tumblr has moved on from the romanticising school shooters and wearing normal people scare me tops phase to instead collectively taking the piss out of the “GO AWAY, TATE!”, “YOU’RE ALL THAT I WANTTT! YOU’RE ALL THAT I HAVEEE!” exchange. 

In terms of fashion *moments*, whilst season 1 doesn’t stand out as much as the seasons that come after, Violet and Tate’s wardrobes did give birth to a bit of a 90s grunge renaissance with their oversized knits and faded jeans and layering of textures. It did also give us good costumes in the form of Alexandra Breckenridge’s Moira O’Hara and Mena Suvari’s portrayal of the Black Dahlia, Elizabeth Short; unfortunately, I didn’t have a slutty maid costume lying around so I did the best I could at giving the outfit Elizabeth wears when she makes that fateful visit to the Murder House a modern, more party appropriate update.

In terms of season rankings, Murder House isn’t my favourite. It starts off really great but lulls a bit towards the end and I could never get behind Violet and Tate as a couple because you know, one of them is a school shooter who sexually assaults the other’s mum, and that’s a hurdle that I think most couples might struggle to get over irl. That being said, it was the season that started it all and showcased some of the most innovative writing and directing on TV, and it opened up a spot for horror on primetime television which as far as I know was kind of unheard of before then. Back when I first watched it, I had no idea what to expect not only because I’d never seen horror in a serial format but also because it seemed to be able to get away with the kind of storylines you’d expect network executives to fire people over. It introduced us to Jessica Lange and Sarah Paulson and Evan Peters and Denis O’Hare who would go on to make the show what it is today and more importantly, through Jessica’s glorious portrayal of Constance Langdon, provide us with an endlessly versatile meme format for this trying time.

Asylum: ‘60s Lana Winters, ‘70s Lana Winters, and Sister Mary Eunice McKee

-afghan coat from louisemarcella on Depop, red AA skater dress from julietramage, pink gingham co-ord from zshamim-

I think we can all agree: Asylum would’ve been a perfect series of television if it wasn’t for the completely unnecessary alien storyline. Like, I get that they fit in with the whole good vs. evil theme as a kind of non-biblical alternative to the idea of a higher, all-powerful being but there was already so much going on that it just wasn’t needed. Aside from that, I think the general consensus amongst watchers of the show is that Asylum has the best writing of any season and I think I’d tend to agree. It’s not my favourite because it’s too depressing to rewatch but if we’re talking the first time round, this is the series that had me hooked. Lana Winters?

Iconic. 

Sister Mary Eunice? Iconic. The Name Game? Iconic. Remember when you couldn’t go a day on Facebook without seeing that one photo of Naomi Grossman as Pepper used as the go to “what I really look like” photo in one of those “expectation vs. reality” style posts on your newsfeed? Those were simpler times.

Because this season was mostly situated within the hospital, we didn’t get that many proper outfits but when we did, they were stunning; if I had to state my absolute favourite AHS character of the entire show I’d probably go with Lana Winters and the part her wardrobe played in her characterisation would 100% play a part in that. The late 60s/early 70s was such a wonderful period for fashion and through her character we get to see both of those explored a little. Of course there’s also *that* Sister Mary Eunice scene with the red slip dress and suspenders too which yes, could be a perfect halloween costume, but I also strongly believe should be a perfectly acceptable outfit for any day of the year. 

Coven: Misty Day, Madison Montgomery, and Zoe Benson

-chiffon dress from rags_to_riches on Depop, pinstripe corset from hanpiercey, and tennis skirt from mollie_morton-

I hate to be a basic bitch but I have to say it: Coven is my favourite season of American Horror Story. Once you get over the complete waste of Evan Peters’ acting capabilities that resulted from the *choice* to have him play Kyle, the unnecessary rehash of the Evan/Taissa pairing from season 1 in what I can only assume was an attempt to capitalise on the popularity of the questionable Tate/Violet relationship, and the subsequent sacrifice of any interesting character arc we could’ve foreseen for Zoe Benson beyond her obsessing over a resurrected, non-verbal frat boy, it’s a perfect season. A supreme (heh) balance of horror, humour, and character drama, as well as the stunning aesthetics and forever quotable dialogue, make it my go-to season if I’m ever considering a rewatch. And if you disagree, let me jog your memory with the most mainstream (not to get all “normal people scare me” and suggest AHS is not a mainstream show, I literally just mean in the sense that even those who have never watched the show will have seen this)  reaction GIF set any FX show has even spawned:

Buzzfeed employees had a field day, Emma Roberts enthusiasts (I mean me) finally saw her cemented as the pop culture icon Scream Queens has since showed us she deserves to be (because not enough people have seen Unfabulous, Nancy Drew or Scream 4) and the gays everywhere rejoiced at the year’s worth of meme fodder they’d been provided with. It was Madison Montgomery’s world and we were truly just living in it.

And the fashion! I mean, Stevie Nicks meets 21st century teenage witches! Come on! 

Freakshow: Dandy Mott, Maggie Esmerelda and Elsa Mars

-olive green satin skirt from morganogle on Depop, headscarf from tonijordan, platform sandals from elliefewt, PVC skirt from bethpin_, corset top from sadieflinter, beret from house_of_erotique, flame detail platform boots from mad_rags_vintage-

When people talk about the declining quality of AHS, they usually point to Freakshow as the beginning of the end, but I have to completely disagree. I wasn’t a fan the first time round but on rewatch it’s probably the most emotional season of them all; no, there aren’t as many “horrifying” moments as in other seasons and Elsa is probably Jessica’s worst performance (which is still an incredible one by anybody else’s standards), however it makes up for it with the most sympathetic bunch of characters yet, and on the flip side, also one of the most amusingly depraved with Finn Wittrock’s Dandy Mott. Fans usually argue that the season went downhill once *SPOILER* Twisty the Clown was killed off but for me, he really primarily served as the catalyst for the far more interesting devolution of Dandy, who, imo, is the show’s strongest villain to date, rivalled only by Bloody Face. Then there was the episode Orphans too which made me cry buckets, the sole AHS episode to do so. 

We got a lot of great fashion content in this season too: the theatrical opulence of Elsa Mars’ wardrobe, “Maggie”’s nomadic fortune teller costumes, and all those twee suits we saw Finn Wittrock in. Highly underrated if you ask me. It seems an odd choice for me to use Elsa’s Dominatrix look as an inspiration for one of my looks here when we have that Life on Mars performance outfit and all the extravagant robes Jessica got to waltz around in for reference buuuut I didn’t really have anything to do the vibrancy of either of those justice so I went with the black leather option which is much more me. Am I saying I moonlight as a dominatrix? Maybe. Lol, no. I wish. It’s not for lack of trying. WHERE ARE ALL THE GENUINE TWITTER PAYPIGS AT!? Your girl wants to insult creepy men and get some new clothes out of it xoxo

Hotel: Hypodermic Sally, Liz Taylor, and The Countess

-silk white bralet from xlibby_maix on Depop-

Hotel is another season that I liked a lottttt more upon rewatch, once I knew I was okay to tune out the (completely predictable and utterly nonsensical) Ten Commandments Killer storyline that so much of the season initially seems to hinge on. I love Chloë Sevigny but the fact that her and Wes Bentley’s wooden John and Alex Lowe are positioned as the protagonists at the expense of the far more interesting Liz Taylor, James March and Hypodermic Sally really does a disservice to what is an otherwise great season upon initial viewing.

The visuals this season are magnificent and I think if I had to pick one character’s wardrobe to steal from the entire cast of AHS characters, it would be The Countess (a toss up between her and Misty Day tbh, so I kinda just settle for low-key channelling both). No fucking idea where I'd wear any of her clothes to but I’d make it work. Liz Taylor and Hypodermic Sally have some amazing looks too-there’s just honestly so much to choose from; that being said, this post wouldn’t be complete without a specific ode to the vampire goddess Elizabeth Bathory, who is everything I want to be in life minus the murderous qualities:

Everything. EVER-Y-THING. LOOK AT HER!

Lady Gaga is really a fucking goddess isn’t she. And people were claiming before they’d even seen it that she couldn’t act? A patriarchal society doesn’t like women that can do it all. Just saying. 

Anyways!

That’s it for now! I hope you enjoyed the post if you did read til the end! Sorry I couldn’t get this out before Halloween, I was typing and Picmonkey-ing madly from 2 in the afternoon on the 31st but I taking fucking forever to get ready and had to abandon all hope of getting it out on the day by 4PM. I’ve got so much content planned and it sucks because a couple of them are lookbooks which now feel completely redundant given we’re heading into a second lockdown, but maybe I should just do it anyway? The grunge inspired moodboard I just did seemed to get a good reception too so I’ve got some more of them planned. 

As always, hope everyone is keeping well, and feel free to inbox me with any suggestions, queries or even just to say hi if you need someone to talk to! I check here quite a lot so I should see it. Lots of love to everyone in this time!

Lauren x

[foxghost]

This week's read: Qiang Jin Jiu

all 1.1 million words, plus the 21k of weibo extras. Did I sleep? Not really.

THAT WAS GOOD.

excellent fighting scene / battlefield planning

excellent political intrigue (terrible exposition to get there)

ships you can totally get behind (your side-CPs are all quite lovely)

I wanted to adopt Xiao Chiye 10% of the book in

the BANTER IS THE BEST. Sometimes a bit OOC but they're fun enough that I don't really care

You can see the character deaths from a mile off, but that's a good thing I guess

there aren’t any real title case Evil villains (A+), everyone has their motivation and tbh I kind of want to root for the bad guys

(technically by Confucian standards MC is the bad guy)

all the minor characters are really colourful and 3-dimensional

your MC is intelligent, but not invincibly so (he is not winning bc he’s the smartest, it’s because the smartest ppl want to work for him, power of fear friendship and all that)

the bad guys lost because they’re conservatives Confucian, i kid you not (wasn’t that also how sha po lang went)

the smut is pretty and M-rated

HE (not for everyone, but hey nobody got sentenced to death of 3,000 cuts or anything)

9/10 will recommend, memorise the map and keep a list of names handy, it's impossible to read otherwise. Those exposition paragraphs does not care that I have a bad memory. Think of it as a 56 episode period drama.

Minor gripes, tried my best not to post any spoilers (past the first few chapters) under cut

This book would have been so much better if the story started earlier — take the "past" extra, stick that in the beginning minus the shippy bits, and give us the politics and geography like they're teaching it to CHILDREN as a flashback AND THEN take it all away from us with the war. That or at least go back a week before the war so I have some time to get attached to "the good times". I get starting with a bang, but that sense of loss and despair that should have been passed along to me just wasn't there, because I can't lose something I didn't HAVE.

Alternatively, the whole idea of the beginning is that cities were massacred and messages never passed on so nobody got away (except for Shen Zechuan) so just give me a prologue of war and excitement of destruction, skip over to Shen Zechuan’s very idyllic life miles and miles away, and then have the war GET TO HIM.

As is, the beginning is this lump of word-salad death and torture and beatings and I almost didn't want to keep going — because I didn't have the motivation to see it all get better, and the writing style itself is so so, what is pacing. The beginning is a bit of a trudge.

There's also a bit about the ending that went against MC (Shen Zechuan)'s consistent motivation. On the one hand, we can interpret it as love has given him a new way to live, that the past is forgiven and he's moved on, but the way I read it, the author just wanted to write smut taking place on a certain chair, in a certain costume.

And lastly, Shen Zechuan, while being the MC, is overshadowed by pretty much everyone else in terms of characterisation. Everyone is so colourful that he seems grey by comparison, if that makes sense? I can feel what other characters feel. I can’t really feel what Shen Zechuan feels.

But overall It’s a good book. It’ll probably be better on a re-read.

[incoherentbabblings]

top ten AUs for Timsteph? Just like plots you enjoy for them

Well I am currently trying to get @thatblondeperson to write a mermaid au because I want it. Steph escaping down to Gotham docks or further up to the beach and coves and meeting this quiet fish boy in the water and they strike up a weird friendship and then I don't know but Steph ends up going under with him a la Pirates of the Caribbean or something so that's number one at the moment. Please Sofie. I need it. 😩

Other ones I enjoy/would like to read/write one day:

Post RR/Batgirl stories. Doesn't matter how many variations I read of that plot, I like to see different interpretations of how they can reunite

No cape au. Maybe they're both at college? Tim is feeling directionless meets Steph who is working part time at the library to put herself through uni?

Steph as Robin and Tim as a civilian au. Let's say Steph has only been Robin for a very short amount of time, around the time Tim's parents get taken, only this time it's in Gotham. She manages to save them?

Tim gets to be with Steph when she is dying. I wish they'd gotten one last conversation. Maybe it would have put things to rest more than what happened in canon

Halloween! I have been mulling over it for ages but does anyone remember that one Halloween episode of Buffy were everyone became their costumes because of curses doodad? I thought it could be fun where (either or for whatever dynamic you prefer) one's a vampire and one's the bite victim and when the spell kicks in the blood spurts out their neck and the other is like oh no for all kinds of reasons like oh dear don't die but also oh dear that smells good oh no and then it just spirals from there. As a side note Cass as a sheet ghost becoming a genuine ghost would be funny as she'd be the only one in the right frame of mind to figure out what's happening.

The Everyone's Either a Villain or at the Very Least their Moral Compass is Completely Shot au which is the one I am writing at the moment... I've been watching and listening to too much Heathers and debating where's the best place to off someone in a school. It's fun to play with characterisations. Like a how much can you stretch things until your essentially writing original stories basically...

Courtly love stuff. Again I bought myself a Nintendo Switch and finally getting to play Legend of Zelda Breath of the Wild for myself and the reborn soul of the hero as the chosen knight of the descendent of a goddess hits all the sweet spots you know. But it doesn't have to be fantasy. Just the Knight/Prince and the Princess stuff is so gooddddd

Closer to home an AU where Steph's return from the dead is just handled better and what knock on effects that would have had for Battle for the Cowl and Tim's Red Robin run. If Tim was in a better place would have have stayed in Gotham? Would Bruce had ever returned then? Would Steph have become Batgirl? That point in time needed them to be in the outs for the wellbeing (long term) for themselves, Gotham and the world. It's a nice paradox to think about.

Tim actually went through with murdering Captain Boomerang...where do you go from there. What happens to his relationship with the family and how does it relate to Steph and her development which went in the complete opposite direction from her first appearance attempting to murder her father to her refusal to shoot Roman. Is she sympathetic? Does she feel betrayed? Is she just sad? Idk, it's juicy to think about...

[mattelektras]

Another q. I'm sure you may have answered this in the past, so I'm sorry if I missed it. But what is your favorite characterization of Elektra? I mean, which characterization from the different writers over the years was your favorite? Or who did her character the most justice in your opinion? Also, dream casting for an actual great solo Elektra movie?? I'm attached to Elodie somehow. Just bc I could tell she loved our girl so much, but also open for surprises..

i alwayyyys point to the redeemer as the best elektra writing. she’s solemn and thoughtful but also still caring in her own way. it does her justice a lot in terms of both like. personality and skill and mentality and thought processes. and everything else. generally, books where she’s with wolverine without fail!!!!! write her very well. probably because she’s a lot like wolverine and there’s not huge amounts to change. but yeah, always go w wolverine team ups for good elektra characterisation.

greg rucka wrote the redeemer but also wrote her in v3 which was kind of messy?????? but i think he could do her well in a third attempt… i’m willing to allow it. peter milligan in v2 is underrated elektra content. she’s trying to live a more normal life which isn’t something we’d really seen before and it was interesting to see her in that context n i think he did a pretty solid job??? like she’s not all fixed and mentally stable but she’s trying. v2 is good like. healthy (or as close as) elektra content. v4 by haden blackman was really getting somewhere with her before the book ended. he was very introspective n included her past n upbringing which i think a lot of writers THINK they do, but don’t. i would love to see the v4 creative team try her again.

personally i’d love to see zeb wells who did her fear itself tie in do more with her.

re: castings. elodie w better writing and a show or movie that cared about her would be the best thing that ever happened to me. other favs: sonoya mizuno, sofia boutella, and controversial but. i make the rules re:elektra. so. megan fox. i think she would rly GET elektra as a character and she’s generally not taken seriously as an actress despite having legit skill n i just think elektra would work for her w the right costuming/hair/makeup etc. but my fav has always been sonoya

[grubbyduck]

No Man’s Land - an essay on feminism and forgiveness

I have always proudly named myself a feminist, since I was a little girl and heard my mum proudly announcing herself as a feminist to anyone who would listen.

But I believe the word 'feminist' takes on a false identity in our collective imagination - it is seen as hard, as baked, severe, steadfast, stubborn and rooted. From a male perspective, it possibly means abrasive, or too loud, or intimidatingly intolerant of men. From a female perspective, though, these traits become revered by young feminists; the power of knowing what you think and never rolling over! My experience of being a feminist throughout my life has been anything but - it has been a strange and nebulous aspect of my identity; it has sparked the familiar fires of bravery, ambition, rage, sadness and choking inarticulacy at times, sure, but at other times it has inspired apathy, reactionary attitudes, bravado and dismissivness. And at other, transitive times, it caused me to rethink my entire outlook on the world. And then again. And then again.

In primary school, I read and re-read Sandi Toksvig’s book GIRLS ARE BEST, which takes the reader through the forgotten women of history. I didn’t feel angry - I felt awed that there were female pirates, women on the front line in the world wars, women at the forefront of invention, science and literature. I still remember one line, where it is revealed that NASA’s excuse for only hiring six women astronauts compared to hundreds of men was that they didn’t stock suits small enough. 

When I was 13, I tried to start a girl's rugby team at my school. I got together 15 girls who also wanted to form a team. We asked the coaches if they would coach us - their responses varied from 'maybes' to straight up 'no's. The boys in our year laughed at us publicly. We would find an old ball, look up the rules online, and practise ourselves in free periods - but the boys would always come over, make fun of us and take over the game until we all felt too insecure to carry on. I shouted at a lot of boys during that time, and got a reputation among them as someone who was habitually angry and a bit of a buzzkill. Couldn't take a joke - that kind of thing.

When I was around 16, I got my first boyfriend. He was two years older (in his last year of sixth form) and seemed ever so clever to me. He laughed about angry feminists, and I laughed too. He knew I classified myself as a feminist, but, you know, a cool one - who doesn't get annoyed, and doesn't correct their boyfriends' bulging intellects. And in any case, whenever I did argue with him about anything political or philosophical, he would just chant books at me, list off articles he'd read, mention Kant and say 'they teach that wrong at GCSE level'. So I put more effort into researching my opinions (My opinions being things like - Trump is a terrible person who should not be elected as President - oh yeah, it was 2016), but every time I cited an article, he would tell me why that article was wrong or unreliable. I couldn't win. He was a Trump supporter (semi-ironically, but that made it even worse somehow) and he voted Leave in the Brexit referendum. He also wouldn't let me get an IUD even though I had terrible anxiety about getting pregnant, because of his parents' Catholicism. He sulked if he ever got aroused and then I didn’t feel like having sex, because apparently it ‘hurts’ men physically. One time I refused sex and he sulked the whole way through the night, refusing to sleep. I was incensed, and felt sure that my moral and political instincts were right, but I had been slowly worn down into doubting the validity of my own opinions, and into cushioning his ego at every turn - especially when he wasn't accepted into Oxford.

When I was 17/18, I broke up with him, and got on with my A Levels. One of them was English Literature. I remember having essay questions drilled into us, all of which were fairly standard and uninspired, but there was one that I habitually avoided:

'Discuss the presentation of women in this extract'

It irritated me beyond belief to hear the way that our class were parroting phrases like 'commodification and dehumanisation of women' in order to get a good grade. It felt so phony, so oversimplified, and frankly quite insulting. I couldn't bear reading classic books with the intent of finding every instance that the author compares a woman to an animal. It made me so sad! I couldn't understand how the others could happily write about such things and be pleased with their A*. As a keen contributor to lessons, my teacher would often call on me to comment in class - and to her surprise, I think, my responses about 'women's issues' were always sullen and could be characterised by a shrug. I wanted to talk about macro psychology, about Machievellian villains, about Shakespreare's subversion of comic convention in the English Renaissance. I absolutely did not want to talk about womb imagery, about men’s fixation and sexualisation of their mothers or about docile wives. In my application for Cambridge, I wrote about landscape and the psyche in pastoral literature, and got an offer to study English there. I applied to a mixed college - me and my friends agreed that we’d rather not go if we got put into an all female college. 

When I was 19, I got a job as an actor in a touring show in my year out before starting at Cambridge. I was the youngest by a few years. One company member - a tall, handsome and very talented man in his mid-twenties - had the exact same job title as me, only he was being paid £100 more than me PER WEEK. I was the only company member who didn’t have an agent, so I called the producers myself to complain. They told me they sympathised, that there just wasn’t enough money in the budget to pay me more - and in the end, I managed to negotiate myself an extra £75 per week by taking on the job of sewing up/fixing any broken costumes and puppets. So I had more work, and was still being paid 25% less. The man in question was a feminist, and complained to his agent (although he fell through on his promise to demand that he lose £50 a week and divide it evenly between us). He was a feminist - and yet he commented on how me and the other woman in the company dressed, and told us what to wear. He was a feminist, only he slept with both of us on tour, and lied to us both about it. He was a feminist, only he pitted me against and isolated me from the only other woman in the company, the only person who may have been a mentor or a confidante. He was a feminist, only he put me down daily about my skills as a performer and made me doubt my intelligence, my talent and my worth. 

When I was 20, I started at Cambridge University, studying English Literature. Over the summer, I read Lundy Bancroft’s book ‘Why Does He Do That’ which is a study of abusers and ‘angry and controlling men’. It made me realise that I had not been given the tools to recognise coercive and controlling behaviour - I finally stopped blaming myself for attracting controlling men into my life. I also read ‘Equal’ by Carrie Gracie, about her fight to secure equal pay for equal work at the BBC in 2017-2019. It was reading that book that I fully appreciated that I had already experienced illegal pay discrimination in the workplace. Both made me cry in places, and it felt as though something had thawed in me. I realised that I was not the exception. That ‘women’s issues’ do apply to me. In my first term at Cambridge, I wrote some unorthodox essays. I wrote one on Virginia Woolf named ‘The Dogs Are Dancing’ which began with a page long ‘disclaimer for my womanly emotions’ that attempted to explain to my male supervisor how difficult it is for women to write dispassionately and objectively, as they start to see themselves as unfairly separate, excluded and outlined from the male literary consciousness. He didn’t really understand it, though he enjoyed the passion behind my prose. 

The ‘woman questions’ at undergraduate level suddenly didn’t seem as easy, as boring or as depressing as those I had encountered at A Level. I had to reconcile with the fact that I had only been exposed to a whitewashed version of feminism throughout my life. At University, I learned the word Intersectionality - and it made immediate and ferocious sense to me. I wrote an essay on Aphra Behn’s novella ‘Oroonoko’, which is about a Black prince and his pursuit of Imoinda, a Black princess. I had to get to grips with how a feminist author from the Renaissance period tackled issues of race. I had to examine how she dehumanised and sexualised Imionda in the same way that white women were used to being treated by men. I had to really question to what extent Aphra Behn was on Imionda’s side - examine the violent punishment of Oroonoko for mistreating her. I found myself really wanting to believe that Behn had done this purposefully as social commentary. I mentioned in my essay that I was aware of my own white female critical ingenuity. For the first time, I was writing about something I didn’t have any personal authority over in my life - I had to educate myself meticulously in order to speak boldly about race.

As I found myself surrounded by more women who were actively and unashamedly feminist, I realised just how many opinions exist within that bracket. I realised that I didn’t agree with a lot of other feminists about aspects of the movement. I started to only turn up to lectures by women. I started to only read literary criticism written by women - not even consciously; I just realised that I trusted their voices more intrinsically. I started to wish I had applied to an all female college. I realised that all female spaces weren’t uncool - that is an image that I had learned from men, and from trying to impress men. The idea that Black people, trans people, that non binary people could be excluded from feminism seemed completely absurd to me. I ended up in a mindset that was constructed to instinctively mistrust men. Not hate - just mistrust. I started to get fatigued by explaining basic feminist principles to sceptical men.

I watched the TV show Mrs America. It made my heart speed up with longing, with awe, with nerves, sorrow, anger - again, it showed me how diverse the word Feminism is. The longing I felt was for a time where feminist issues seemed by comparison clear-cut, and unifying. A time where it was good to be angry, where anger got stuff done. I am definitely angry. The problem is, the times that feminism has benefitted me and others the most in my life is when I use it forgivingly and patiently. When I sit in my anger, meditate on it, control it, and talk to those I don’t agree with on subjects relating to feminism with the active intent to understand their point of view. Listening to opinions that seemed so clearly wrong to me was the most difficult thing in the world - but it changed my life, and once again, it changed my definition of feminism. 

Feminism is listening to Black women berating white feminists, and rather than feeling defensive or exempt, asking questions about how I have contributed to a movement that excludes women of colour. Feminism is listening to my mother’s anxieties about trans women being included in all-female spaces, and asking her where those anxieties stem from. Feminism is understanding that listening to others who disagree with you doesn’t endanger your principles - you can walk away from that conversation and know what you know. Feminism is checking yourself when you undermine or universalise male emotion surrounding the subject. Feminism is allowing your mind to change, to evolve, to include those that you once didn’t consider - it is celebrating quotas, remembering important women, giving thanks for the fact that feminism is so complex, so diverse, so fraught and fought over. 

Feminism is common ground. It is no man’s land. It is the space between a Christian housewife and a liberated single trans woman. It is understanding women of other races, other cultures, other religions. It is disabled women, it is autistic women, it is trans men who have biologically female medical needs that are being ignored. It is forgiveness for our selfishness. It feels impossible.

The road to feminism is the road to enlightenment. It is the road to Intersectional equity. It is hard. It is a journey. No one does it perfectly. It is like the female orgasm - culturally ignored, not seen as necessary, a mystery even to a lot of women, many-layered, multitudinous, taboo, comes in waves. It is pleasure, and it is disappointment. 

All I know is that the hard-faced, warrior version of feminism that was my understanding only a few years ago reduced my allies and comrades in arms to a small group of people who were almost exaclty like me and so agreed with me on almost everything. Flexible, forgiving and inquisitive feminism has resulted in me loving all women, and fighting for all women consciously. And by fighting for all women, I also must fight for Black civil rights, for disabled rights, for Trans rights, for immigrant rights, for homeless rights, for gay rights, and for all human rights because women intersect every one of these minorities. My scoffing, know-it-all self doing my A Levels could never have felt this kind of love. My ironic jokes about feminists with my first boyfriend could never have made any woman feel loved. My frustration that my SPECIFIC experience of misogyny as a white, middle-class bisexual woman didn’t feel related to the other million female experiences could never have facilitated unity, common ground, or learning to understand women that existed completely out of my experience as a woman.

My feminism has lead me to becoming friends with some of those boys who mocked me for wanting to play rugby, and with the woman that was vying with me over that man in the acting company for 8 months. It is slowly melting my resentment towards all men - it is even allowing me to feel sorry for the men who have mistreated me in the past. 

I guess I want to express in this mammoth essay post that so far my feminist journey has lead me to the realisation that if your feminism isn’t growing you, you aren’t doing it right. Perhaps it will morph again in the future. But for now, Feminism is a love of humanity, rather than a hatred of it. That is all. 

[forgottenlivesobverse]

Philip Purser-Hallard Q&A

Our final Q&A is with Forgotten Lives’ editor Philip Purser-Hallard. His story for the book, ‘House of Images’, features the Robert Banks Stewart Doctor, and opens like this:

‘The usual dreadful creaking and bellowing from the rooms above the dusty office informed me that the Doctor would soon be coming down to check on my progress. I really don’t know what he does up there to make that racket. If you asked me, I’d have to guess that he’s trying to invent a mechanical walrus, and enjoying some success.

‘Honestly, Auntie, I wouldn’t put it past him. My employer is a strange man, with obsessive interests and a deeply peculiar sense of humour.’

 FL: Tell us a little about yourself.

PPH: I’m a middle-aged writer, editor and Doctor Who fan; also a husband, father, vegetarian, cat-lover, beer-drinker and board games geek.

A couple of decades ago I wrote stories for some of the earliest Doctor Who charity ‘fanthologies’, Perfect Timing 2 and Walking in Eternity (whose co-editor, Jay Eales, has contributed to Forgotten Lives). These led directly to my published work in multiple Doctor Who spinoff and tie-in series, starting with Faction Paradox.

Since then, among other things, I’ve written a trilogy of urban fantasy political thrillers for Snowbooks, and two Sherlock Holmes novels for Titan Books. I’ve also edited six volumes of fiction for Obverse Books, in the City of the Saved and Iris Wildthyme series. And I founded, coedit, and have written two-and-a-half books for, The Black Archive, Obverse’s series of critical monographs on individual Doctor Who stories. (Mine are on Battlefield, Human Nature / The Family of Blood and Dark Water / Death in Heaven.)

But those two anthologies are where it all started.

FL: How did you conceive this project?

PPH: I’m fascinated by unconventional approaches to Doctor Who, an interest fostered by three decades spent reading the Virgin New Adventures, the BBC Eighth Doctor Adventures and such experimental spinoffs as Faction Paradox and Iris Wildthyme. (Again, I’m glad to have worked with alumni of those series, including Simon Bucher-Jones and Lance Parkin, on Forgotten Lives.) I love the Doctor Who extended universe when it’s at its most radical, questioning, deconstructive and subversive. The Morbius Doctors, standing outside the canon with a foot in the door, are a great vehicle for exploring that.

Once I had the idea for the anthology, the charitable cause followed naturally. These are the lives that the later Doctors have forgotten, and that loss of identity and memory could only put me in mind of the experience of my grandmother, who lived with Alzheimer’s for many years before her death. Gran was a shrewd, intelligent woman, and it was deeply upsetting to see her faculties steadily deserting her. All charities are going through straitened times at the moment, of course, and all of them are in need of extra support, but I felt Alzheimer’s Research UK was particularly worth my time and effort.

FL: Each story in the book features a different incarnation of the Doctor. Tell us about yours.

PPH: As I’ve written him, the Robert Banks Stewart Doctor is a grumpy, ebullient name-dropper with quietly brilliant detective skills and a penchant for deniable meddling. So far, so quintessentially Doctorish, but this incarnation also has an unusual interest in magic and alchemy, a long-term mission on Earth, and an old nemesis demanding his attention.

FL: These Doctors only exist in a couple of photos. How did you approach the characterisation of your incarnation?

PPH: The photo of scriptwriter Robert Banks Stewart that appears onscreen in The Brain of Morbius has a grim look on his face, but there’s another where he seems to be having a lot more fun in the costume. I played with that contrast by making his Doctor a man of excessive, rather theatrical moods, curmudgeonly and charming by turns. With his fur collar, there’s something rather bearlike about him, which made me envisage as quite physically large.

I also love Paul Hanley’s artwork for the character, where he elaborates on the costume to portray this Doctor as a kind of renaissance alchemist – Paul says ‘I like the idea that this is the Doctor who was most interested in “magic”, psychic phenomena, etc.,’ and I certainly leaned into that.

Banks Stewart’s own persona comes through in the Doctor’s Scottish accent and in some of the story choices. Both the Doctor Who scripts he wrote are set in contemporary Britain, so this Doctor’s story is a ‘contemporary’ one – though the timeframe I was envisaging for these forgotten Doctors means that works out as the 1940s. Banks Stewart created the TV detective series Bergerac and Shoestring, and so this Doctor fancies himself as a detective. And he also wrote for The Avengers (and for the Doctor and Sarah rather as if they were appearing in The Avengers), so there’s a flavour of that in the action, the whimsy, and the relationship between the Doctor and his secretary, Miss Weston.

FL: What's your story about?

PPH: The Doctor is in early-1940s London, observing the geopolitical progress of World War II on behalf of the mysterious power he represents, when he’s distracted by a burglary carried out by men bearing a close resemblance to the comedy duo Laurel and Hardy. This brings him into conflict with a figure from his past, a sorcerer known as ‘the Magus’, who represents another cosmic faction with its own agenda.

FL: The stories are intended to represent a ‘prehistory’ of Doctor Who before 1963. How did that affect your approach?

PPH: Since the eight forgotten Doctors are supposedly the incarnations preceding Hartnell, it was part of the concept from the first that these stories would reconstruct – thematically and narratively, though not in terms of TV production values – Doctor Who as it ‘would have been’ in the 1940s, 50s and early 60s. In one sense that’s a very conservative approach, but it also highlights the ways in which Doctor Who in reality has been a product of its various times.

For my own story I drew on two mid-20th-century influences – Charles Williams, a friend of CS Lewis and JRR Tolkien, who before his death in 1945 wrote occult thrillers infused with his own very eccentric brand of Christianity; and the Basil Rathbone Sherlock Holmes films set during World War II. Between them they led me to this story of a magicianly Doctor doing detective work and getting involved with affairs of state during the Blitz, and to provide him with his very own sorcerous Moriarty.

FL: Who would be your ideal casting for a pre-Hartnell Doctor?

PPH: The other authors have given most of the good answers already – Margaret Rutherford, Alec Guinness, Waris Hussein or Verity Lambert, Peter Cushing – so I’ll say either Boris Karloff or a young Mary Morris, depending on taste.

FL: What other projects are you working on at present?

PPH: I’ve got a short story and a novel for Sherlock Holmes in the works; plus another Holmes novel partly written, with a more unusual premise, that I’m trying to persuade someone to publish. I’m editing the next batch of Black Archives, of course, and writing our book on the Jodie Whittaker story The Haunting of Villa Diodati, which is due out in December 2021. And I have further ideas for original novels that I really need to devote more of my time to. One of them’s got vampires in.

[moviestorian]

Im glad the asks helped! I have anxiety and depression and can understand what youre going through. My ask today is what are your thoughts on Bo Rhap as a movie?

Thanks! :) I’m above all extremely happy to see people on this site being so kind and supportive in time of need, it’s a human quality that will never get enough praise! I’m also really sorry to hear about your problems. :( I send you lots of love, I can imagine how difficult it must be for you, but I’m sure you're strong and coping❤️

As for your actual question - that’s some truly excellent and interesting timing, considering that I rewatched BoRhap (with @incblackbird) literally three days ago. :P It was already my third rewatch, and while I enjoyed the movie overall, I liked it quite significantly less than upon the last time I saw it. Of course, there’s been gazillion discourses about BoRhap, whether it’s genius, extremely evil, etc., but since it’s such a broad topic (and I think some of my opinions could potentially outrage certain parts of the fandom), this time I’m going to stick to purely cinematic terms.

Needless to say, the soundtrack is excellent - with music such as Queen’s you don’t really have to do much, but they made a good choice of songs, alternating between their best known hits (We Will Rock You, Somebody to Love, Bohemian Rhapsody) and songs to fit the narrative (Doing All Right, Now I’m Here, Who Wants to Live Forever, Love of my Life). It’s practically impossible to leave the screening of BoRhap without at least one Queen song stuck in your head.

The cast was overall very good, too. My personal favourites in terms of acting were Gwilym Lee (who I liked even more than Rami), Rami Malek, Lucy Boynton and Allen Leech - I think they did a great job with their roles as they were written (whether their characters were well written or not is a subject for a whole another discussion). All the side characters were well acted, too (Mike Myers, Meneka Das and Aaron McCusker, for instance, I found particularly memorable), but I must admit I wasn’t a big fan of Joe Mazzello and Ben Hardy, but even they weren’t bad. So, acting is definitely one of the strongest points of the film.

Moving on, I also think they did a great job when it comes to costumes (Brian lending some of his old clothing definitely helped) and make-up (except for Roger’s wigs, perhaps); the choreography and stage movement for the characters were super well done, too - and it definitely wasn’t an easy task!

Now, let’s discuss cinematography. I will talk about editing in a separate paragraph, so for now I’m gonna stick to other aspects. The composition of shots struck me as rather mediocre, nothing particularly exceptional in either good or bad way, it was pretty basic but rather correct. Of course, there were some shots I really liked, but if I were to start adding screenshots the post would become way too long. XD The colours I really liked, especially in the musical scenes - they were vivid and lovely, and they used a combination of colours that I tend to appreciate in cinema, like various shades of blue and red. Finally, the camerawork - for dialogue scenes it was correct; again, rather average with some use of handheld camera which served no particular dramatic purpose, but it wasn’t nowhere near very bad, also it’s quite a common thing in modern biopics I would say. Handheld camerawork isn’t bad in default, but my comment largely comes from my personal preferences: in most cases I don’t really like it, especially when it’s particularly shaky. Then, there are scenes in BoRhap which display excellent camerawork, namely Live Aid and We Will Rock You scenes. If most scenes were filmed like that, I would give the movie a higher rating.

Before I move to the worst (imo) cinematic aspects of the movie, let’s have a look at writing. It is probably the most divisive thing in the fandom - people seem to either adore or absolutely loathe it; my stance lies somewhere inbetween. The first time I saw the film (I’m gonna remind you that I’ve seen it four times), I had certain objections, but the script didn’t bother me all that much; I was mostly simply having fun in the cinema. With every next watching, the experience was getting gradually worse, but even now I don’t hate the movie. Yes, some of the dialogue is cheesy, trite and makes me cringe a bit - certain parts of the script definitely end on an “overly sentimental” territory, I can’t deny that. Knowing quite a lot about Freddie, Queen and their stories, I generally think they deserve a better script; some characterisation was a bit offputting and chronology was all over the place. Having said that, I understand where some of those narrative choices come from, as scripts for mainstream movies require oversimplification of events, archetypes, and patterns. And quite frankly, I don’t think BoRhap differs any drastically from most modern biopics; it’s not a masterpiece, but - in my opinion - it’s also not bad overall. Regardless the flaws of the script, the movie still managed to emotionally affect a huge, if not major, portion of viewers, entertain and move them, and honestly? I think that was pretty much the point. Btw, there were some lines that I really loved, like “Puritans in public, perverts in private”, and I still think that their decision to cut from Live Aid performance to Ray Foster’s grim face during We Are the Champions was the funniest shit ever. XD Would BoRhap’s script benefit from sticking to historical accuracy? I’m gonna say yes, I think so - the scenes that were the closest to actual events are definitely the strongest - but this approach would require tons of changes, including narrowing down the narrative scope and probably the characters, too. Also, a lot of people keep forgetting that this is not an arthouse, niche film and therefore resorts to narrative and cinematic choice that compromise between satisfying the fans and the newbies; it’s meant to tell a (simple) story and entertain, not educate and provoke existential and philosophical debates. Still, I think the script could have been done a bit better, because some scenes  (the tour “Now I’m Here” montage) feel a bit...random?

Finally, the infamous editing. I totally agree that it was one of the most undeserving Academy Awards that year, because some scenes were simply atrocious, with their unmotivated and overly fast cuts and unreasonably ridiculous face that doesn’t fit the dialogue scenes, and those are honestly the worst when it comes to pacing and editing. I think the editing is the worst aspect of BoRhap; but even here, I could point at some examples of pretty amazing editing (Oscar-worthy? Not necessarily, but definitely very good); again, I’m gonna bring up Live Aid and “We Will Rock You” scenes, especially the latter, because less people talk about it. I already mentioned that it has some really nice camerawork AND colours, but also the editing is actually really cool, because it’s cut to the music! Which makes me think: “what a shame!”, because if they went with different editing choices, the movie would be affected in a positive way. The way we have it, it’s either a hit or miss (sadly, mostly miss), and the badly edited scenes are pretty striking, so the ones that are done nicely are unfortunately a wasted potential.

Okay, this is already waaay too long, so I’m just gonna finish with a few general remarks. Well, despite BoRhap’s flaws, I still like and enjoy it. With every screening slightly less, but enjoy it anyway. I don’t think any amount of discourse will ever take away my positive experiences and memories from seeing it twice in cinema. It sparked my previously dormant love for Queen and united me with some people in the fandom and in real life; making this movie made Brian and Roger happy; as a result, I like this movie. It brings back a lot of positive recollections, which sometimes is more important than critical discussions. And boy, do I adore those - I’m often critical and I adore analysing stuff academically; but I think that not all daily interactions require those and depending on who’s asking and what about, I’m capable of switching between the two options. If somebody asks me in 25 years whether I remember the times of BoRhap’s release, I’ll be far less likely to say “yeah, the editing sucked and writing was cringy, I remember the discourse on tumblr and instagram” than “Yes, I remember that chilly evening in December when I had a really fun time and ended up with 10 Queen songs stuck in my head”, because the latter is the experience I want to remember.

Thank you for this ask! Hope it wasn’t overly exhausting to read, I didn’t proofread this, sorry! xx

[zahri-melitor]

Recent Reads: Batbooks to December 2020

Batgirl 2016: Let's run through all the writers.

Hope Larsen (#1-23): I think my most overwhelming reaction to this run was at least it's not Brendan Fletcher. I think Larsen was still struggling with writing Babs as way too young during her run, though it was at least feeling like her early-mid 20s rather than an 18 year old. In terms of direction, it felt a bit aimless at times; it was still trying to find a direction to take Babs in. The best parts of the entire run were a single issue where Babs rescues some kidnapped animals with one of the kids from her coding class and Selina, and a flashback story with Dick looking at their earlier days, that ended with something that ends up turning up a lot over 2016: Barbara's implant shorting out.

There's a constant drumbeat all the way from the end of the n52 run through the 2016 run about Barbara facing the fact that her spinal implant won't last forever, and multiple occasions damaging it. It's clearly a lot of writer time spent setting up justifications to move Babs back into a wheelchair if anyone would sign off on transitioning her back to Oracle full time.

As we all know, that still hasn't happened, but the intent is there; DC editorial just has to commit and set the style on what Barbara should and should not be allowed to do in costume.

Mairghread Scott (#25-36): best writer on Batgirl for Babs since Simone, without a doubt. She does a lot of the work towards putting Babs in a situation where she's accepted she likely only has so long left as Batgirl; she writes the most adult and mature DickBabs since probably Chuck Dixon; and she's clearly fond of pre-Crisis Babs, because she's the one that brings back the concepts of redoing both Babs' relationship with Jason Bard, but also Babs' involvement in political campaigning. It's a run that feels like the intent is to provide a modern version of Babs' past as Batgirl for when she is Oracle again, because the history that n52 gave her was so minimal.

Cecil Castellucci (#37-50): Better than Larsen, not as good as Scott. A lot of this is just continuing playing out the rewritten political history and romance with Jason Bard. Castellucci's just a noticeably weaker writer, and less aware of what's going on with her character elsewhere; Babs is fairly involved in the background of Event Leviathan, which was happening at the start of Castellucci's run, but there is absolutely no acknowledgement that she's just been deep undercover and helping to betray the organisation from the inside. Ends with Babs and Jason Bard being fairly serious about each other and the two having somewhat dealt with what the absolutely appalling events of Batman Eternal and Batgirl causing Bard's leg injury mean in terms of Bard's feelings towards Batgirl and Babs' guilt towards Bard. Ah well. I'm sure they will have a lovely breakup off panel.

Batman and the Outsiders 2019: I am also going to include Bryan Hill's 'Tec run (#983-987) which is the prequel and testing ground for this run.

I enjoyed this, but I was also surprised by this run. I guess I went in expecting for Jeff and Tatsu to be more established and confident heroes than how they were written here. My brain was importing 'these two have been teammates since the 1980s', people Bruce knows well and would trust to mentor two of his sidekicks who needed more personal attention. And yet this run was about the beginnings of that relationship with each other and with Bruce.

I think as a run it had a lot of heart, and gave more depth and rounding to both Duke and Cass' characters in the context of Rebirth. It was interesting in what threads it picked up from both of their earlier stories in particularly 'Tec and All-Star.

I also note the continuity of Shiva in this title with how she was characterised in Tynion's 'Tec. I think Ink is right that this Shiva is interested in the concept of what being Cass' mother means, in comparison to how Shiva's interest in Cass in post-Crisis was far more focused on Cass' potential as a fighter, weapon developed by David Cain, and person who could defeat her; rather than their actual biological connection.

It's interesting, as it's got echoes of how Shiva is fascinated by both Dinah and Tim in terms of she finds them interesting and compelling and she's drawn to push them to be better; and while she did have elements of that with Cass before and not just in Cass' Potential To Kill Her, it now also has overtones of what does being your mother mean to us both? This is a Shiva that I think would still be hung up on Cass even if Cass didn't have the fighting skill she does, which was not nearly as obvious in preboot.

Catwoman 2018 (Joëlle Jones): I could probably subtitle this 'Selina finally properly gets her Rebirth moment'.

I haven't read more than a few issues of the n52 Catwoman run, but I understand it to have been one that went some divergent places. Jones takes the Selina that King had been writing, and goes "well the thing is, you didn't actually ground her in terms of Which Selina Is This sufficiently for her history" and...gives her audience a Selina that is parts Mindy Newell, parts Ed Brubaker, with a sprinkling of Jim Balent and a desire to be doing her own thing and walking that tightrope of crime v crimefighting.

I don't mind Villa Hermosa, as a place to put Selina while she figured herself out after running from the idea of marriage. It was a run intended to reset and regroup, and that's exactly what it did. The occasional fills from Ram V during the period showed the promise of how the following run can be even better, as did his parts of Joker War.

Nightwing 2016 (The Ric Grayson Era): So this really has two parts to it.

There's the first part, #50-58, which goes through 4 writers, 7 artists and accomplishes exactly nothing other than establishing what to my eye looks like a set of dictates from On High: Dick must have no memories and push away his family; Dick must go by Ric; Ric's not allowed to act like Dick or be a hero.

The fact it's plotted by Scott Lobdell certainly does not help the situation, but this is the section that is clearly written with the intention that we might be stuck with this for the long haul. Zack Kaplan's writing on #57-58 works really hard to try and get Barbara (who along with Alfred has been the people really trying to reach out to Dick) to accept that the situation has changed.

And then...Dan Jurgens comes in from #59-#77, and some stability returns to the title. I tend to regard Jurgens as one of those writers who DC can just rely upon to turn his hand to anything and produce consistent house style work. But in this case, I honestly think he is the one who finally pitched "I have a way to make this story work". I don't actually think there was a plan for what was happening until Jurgens took over.

He picks up the threads he's been dealt (Dick has a wiped memory; there are four cops & firefighters running around in Nightwing costumes; Dick has helped them out in an emergency) and blows up the city a little so Dick's natural leadership qualities shine through: and then he gets underway with his actual plans. This is all the Court of Owls' fault. They're the ones who exploited the opportunity of the head injury and secretly brainwashed Dick to forget his past.

It's a cop out, and there is SO much brainwashing over the course of the next 13 issues (Dick ends up with three separate versions of his teen years in his head), but it's clear from the moment all this starts that there is a path out of here. Dick will get his memories back.

This must have been epically miserable to read while the issues were coming out, because it would have felt even more lost when you were getting it dripfed out monthly. But it does turn around from #62 onwards and become a story with an actual trajectory.

Also once the actual story starts, Jurgens manages to get a consistent artist in Ronan Cliquet to work on the title. Which also makes an incredible difference because the art style isn't ricocheting back and forth wildly anymore. I had to chart out how bad the art situation got:

Just look at the Lobdell section. This was clearly something nobody wanted to be involved in and where they were struggling to get it to print.

It's unpleasant and it's probably one of the most miserable eras of Nightwing as a title that I've read, but I have a lot of respect for Dan Jurgens after reading it. Like. That was a massive hole he had to dig the title out of.

Detective Comics (James Robinson, #988-993): This is just a really nice little Bruce Wayne, Jim Gordon and Harvey Dent story, looking at how their past working together affects their present, and setting up a bunch of back and forth about what Harvey and what Two-Face knows. I don't think it does anything particularly revolutionary, but it's just one of those stories that give you a window into how interesting he is as a villain and at causing conflict.

Detective Comics (Peter J. Tomasi, #994-1033): If I were going to particularly comment on something that stood out for me about this run, it's the ways that Tomasi's writing reminded me of Paul Dini's 'Tec run in places, particularly how he focused in on stories with a specific Rogue, and kept changing which one. It wasn't the same one-shot episodical style, but it spent a lot of time with different villains and so made a pleasant counterpart title to Batman, even if it was still very much a Bruce focused title.

I think it got bogged down for a bit too long in the Victor Fries story, and I also think there were a couple of moments where it was very clear that Tomasi was mad about what was happening elsewhere to his Special Little Boy (Damian) and tried to counteract that in the title, with accompanying return of the primacy of Damian over any of Bruce's other kids, but it was a decent run. One that you could pick up any trade in the run as a stand alone read and be able to follow along, which honestly is valuable.

Batman (James Tynion IV, #86-105): Tynion hasn't left the title yet, but I want to discuss it, particularly up to #100. The most interesting thing about this whole run is that it has been, from its very inception, a run that wasn't supposed to have happened. King was supposed to have Batman to #100 but got cut off at #85. Tynion was then a temporary fill on the title and supposed to hand it over after #100 to John Ridley for the Fox family taking over as Batman in all of the 5G storytelling. Then Didio got fired, COVID hit, everything got restructured, and Tynion had to pivot from working up to an event that had been designed to tie off a lot of storytelling and go 'so where do I want to take Bruce Wayne?'

Honestly, I've loved it. The first thing I want to point out is the very clear pivot from 'Tec: Tynion used 'Tec the way it should be used; to tell family and wider universe stories. He therefore took the opportunity with getting Batman to really focus in on Bruce; breaking him down and building him back up. He picks up the plot threads that King has left hanging (Alfred's death; the effect on the city from Bane being in control and Rogues running wild) and sets up to build an event, because Batman #100 was accompanied by anniversary issues in Nightwing #75, Batgirl #50 and Catwoman #25 all within a month. It's a situation that did deserve something big. Four of the big Rogues (Joker; Riddler; Penguin; Catwoman) are reasonably pissed about where Bane left things. Joker does want to stamp his authority on the city and betray the others. The whole run up to #100 is the set up of Joker War and then executing it, including using Alfred's death to specifically isolate Bruce and push everyone else away (because where would we be without one of the base Batman plots), and so in the aftermath, launching into a small stakes plot introducing Ghost-Maker feels like a relief.

It's just structurally really impressive work. Tynion can turn a tale and he can pace a story, which is a relief after King's run, which while it did contain a whole bunch of highs that I enjoyed, was also extraordinarily uneven and beset particularly with pacing issues.

I wasn't hugely optimistic for this run, as I knew it was going to be a lot of Joker, and it's not talked about in the same way his 'Tec run is, but I have to admit I was impressed. I think Tynion's just one of those writers who really understands how to tell stories in a shared universe in a way that tracks other titles, acknowledges past ones, and leaves stories in a good position for future writers, and we always need more of those in comics.

[ratemysheppard]

42) Firefly

Title- Firefly (Serenity 1x1, Shindig 1x4)

Year- 2002

Character- Badger

Synopsis- Joss Whedon writes cowboys in space.

Medium- DVD

Entirety or episode?- Entirety

Overall verdict- I’ve always had a weird relationship with Firefly. I was introduced to it years ago by a really overenthusiastic fanboy of the SIT DOWN! WATCH THIS! persuasion, and my initial response was not as good as it may have been if I’d found the show under my own steam. Fast forward, and I’ve known several people who have Really. Loved. Firefly. To the point that I’ve got a bit sickened of it being constantly quoted at me. But, all that said, I went for the rewatch (because, let’s face it, Badger) and I’m really enjoying it. Firefly is very, very good. It’s a space Western, which could be cheesy af and is in fact cheesy af (with tons of delightful details like holographic saloon windows that remake themselves every time someone’s thrown through in a bar brawl). For some reason, everyone dresses like the Old West, and there’s a distinctly steampunk vibe that is totally at odds with the advanced technology, but for some reason it doesn’t matter a bit. The characterisation is phenomenal, the characters are loveable/likeable/despicable as required. The writing is fantastic, tight, excellent dialogue. The costumes, sets, everything looks gorgeous. The ‘space western’ aspect is all just tongue in cheek enough, and the comedy is actually hilarious. This is just a really wonderful, quality sci fi.

That said, and I’m only gonna say this briefly, Firefly is also intensely problematic. I have SUCH an issue with the whole ‘Companion’ thing. I think I see what they’re trying to do with it, and I am absolutely not down on sex workers, or on women who enjoy lots of casual sex, but the idea that the most valuable thing that a woman has to commodify is her body really sits awkwardly with me. I think it would perhaps have worked better if there had been male companions shown too, but you get the distinct impression that it’s a female-only trade. And despite how we’re repeatedly told that it’s a high-ranking, respected, desirable profession, we still hear Inara called a ‘whore’ repeatedly (especially by Mal, who is supposed to be her friend). There’s a lot of this kind of casual sexism in Firefly, directed against all of the female characters. I just think it’s a shame that that’s the main ‘nope’ for me in an otherwise really well-realised show. I also personally find Firefly’s diversity slightly problematic. It’s nice to see they tried, especially back in 2002 (which is not long ago, but somehow feels like ancient history in terms of representation in fiction), but whilst there’s diversity up to a point, there’s not enough and it can come across rather appropriative. They have something that could be great, with the Chinese influence on a future homogenised society, but despite that, the cast are still all mainly white and there’s not a single major character who is Chinese. It just feels off.

But all that said, it’s an excellent, well-made, fun show.

Screen time- Mark is actually in this only really briefly, but it’s worth it

Accent- Cockney

Mark’s character- Badger was the first Mark S character that I properly noticed. He’s just a lovely character design – the dialogue, the costume, he’s just entire-package gorgeous. I did forget (or perhaps repress) actually how gross Badger is, which really struck me on the rewatch (that ‘let me see your teeth’ line he opens with, ugh what) but it’s easy to handwave, with how River’s interaction humanises him later on.

There are a couple of characters that Mr S doesn’t so much play as inhabit and Badger is one of them. He just IS Badger. You can’t get much better than that. He’s played flawlessly. He’s an awful, mercurial, petty, unscrupulous small-time thug. But he’s also hilarious, charming and a survivor. He reminds me of a Jack Russell terrier and they are basically my favourite creatures on earth, so there you go.

Highlight- The music is really great, and so is the effective use of silence (so effective I actually noticed it!)

Wash playing with the dinosaurs.

Badger’s apple peeler tho.

“The wheel never stops turning.” “That only matters to the people on the rim.”

Kaylee. I feel weirdly protective over her in a way that I do not feel about many characters. Kaylee and her love for Serenity ‘my ship’s the prettiest’. Kaylee and strawberries (heartbreaking <3) Kaylee and the ugly pink dress. Kaylee charming every single dude at the ball because she actually has stuff to say. I just love her so much.

Although Jayne is frequently awful he’s undeniably hilarious and gets some great one-liners. “You only gotta scare him.” “Pain is scary?”

Most of Badger’s lines too “I got my hands on a couple” FNAR his face when he realises what he just said <3 He’s that lovely balance of smart, scary, ridiculous, pitiful and relatable that works so well in any character.

That scene between Badger and River, and Badger’s reaction to it, and his facial expressions – such pure gold.

This is a minor point but I just really like the foldaway sink/toilet design, OK?

Rewatch?- Repeatedly.

[madluv]

olddustybooks said: What character traits do you think make a solid Joker characterization? How they look, sound and act.  An example would be, I like the overall look and sound of The Joker on Young Justice, but the writing and  delivery of some lines aren’t up to snuff

first and foremost – writing wise, joker’s characterisation should be contradictory and complicated. i say this a lot because I think it’s one of the most important elements of the joker. he’s manic, sporadic, spontaneous – unpredictable. his moods and morals change in each and every situation he finds himself in, and his stance doesn’t always match with how he may have handled a similar situation previously.

for example, joker could threaten to slaughter the entirety of one of gotham’s libraries on one particular day. on bad days he may just do that, on good days, it might just all be an elaborate ploy to get under batman’s skin. both would, but he’s not always seeking the long and lengthy death toll in every action he takes. this is something EDGIER writers tend to forget. joker is associated with chaos and carnage, but that could come from just turning up at a high-end restaurant & forcing the cooks to serve suspicious looking cake, holding hostages with not a hair on their heads harmed throughout – Joker doesn’t have to kill or maim everyone in sight to be the joker, or to cause chaos in the city. he is both an entertainer and a performer, and there is a particular kind of method in every manic or mad stunt he pulls. or sometimes there isn’t, but in that, there is always a point being put across to the audience.

live-action wise I personally think joker has to be distinctive. his voice certainly is one of the most important aspects – and that can be high, it can be deep, or it can be scratchy and weird, the tone doesn’t matter, but distinctive is certainly what is required. visually too, this can vary – I much prefer a more unique looking joker ( face wise ) more unusual and magnetic and engaging visually. i think traditionally handsome or cookie-cutter hollywood rockstar doesn’t quite fit. joker should stand out by being joker, and he embraces his own weirdness with absolute confidence. a cookie-cutter look does not appeal to me, there needs to be an element of true, unusual uniqueness imo that makes the joker believable ( and real ) onscreen. 

as for his “look” and style, this can vary. there are 75 odd years to pick from all kinds of fashion disasters. an amalgamation of these would work fine in any setting and any live action work, regardless of the timeline. joker works to his own set of rules, and beats to his own drum, his statement fashion reflects this, both because he doesn’t care – and because he really does care about it. (See, another contradiction in his character.) 

I really like the look of Joker’s character design in The Dark Prince Charming – but some of the dialogue is just off. I know what you mean when you appreciate a look, but not the dialogue, since for the joker, people struggle to write him, since he is fairly complicated. this will probably sound seriously EDGE LORD to say, but I find a lot of joker’s characteristics relatable. I don’t obviously go out of my way to dress as a gangster clown and spray laughing gas onto unsuspecting victims, but I do struggle terribly with mood swings, behavioural & emotional problems that spiral madly and quickly and out of control. I use this when writing / referencing joker because his mind/emotions are also unpredictable and rapidly changing, and it’s organic to him yet equally abnormal to an outsider looking in.

in terms of acting, it needs to be fluid and believable. when watching leto joker, i felt like i was watching jared leto dressed as the joker, i wasn’t watching the joker. this is just something that comes naturally if the part fits, or it doesn’t. joker needs to exist like an entity on screen at all times, or it just doesn’t work. the person who plays him needs to be unrecognisable in their performance, not due to a radical costume/appearance alteration.

i don’t know if this is what you meant by the question. hopefully ! because I’ve babbled loads already…

[sceawere]

We’ve lost more than just the plot: my thoughts on the season 4 finale

I have a lot of problems with this season. I have problems with characterisation. I have problems with storylines. I have problems with the way things were shown (I’m looking at you, informed consent).

But last episode was so good! The Luca/Alfie scene was one of the best pieces of television I’ve had the pleasure of consuming. So, there were problems, but I went in with high hopes because, you know, it’s Peaky Blinders, and I love it, so I ignored stuff. But how am I supposed to ignore that raging inferno of a dumpster fire that was the finale. Look. I’m so mad I’m using Americanisms. On that note, give me a Changretta spin off because we deserve it.

A lot of the arguments I make here are going to circle back to a few main points which can be covered by various subtitles such as: ‘Holy Fuck, is someone going to jump a shark in the cut at some point?’, ‘Tommy Shelby is a 4D chess master, except he hasn’t told anyone else where the board is kept’, and ‘Why?’.

This is rambing and probably at times confusing but bleh. Let’s begin.

-

Major shout out to dorahog for her comment where she said that it seemed very truncated – I think the events of the finale should have been spread over at least two episodes, and maybe three. A lot of the tying of the knots to me still left loose threads and didn’t really seem complete.

I think this, and some of the editing as a result is what causes some of the major problems I have with the episode. Lots of rushed finishing off to introduce too many new lines, idk. Anyway, I’m going to walk through it pretty much scene by scene, so buckle in.

We spend at least the first quarter (in terms of irl play time) of the episode at the boxing match. I was pumped. It was great. The Gold’s are my new faves, and while I may try to present myself as a refined you know, whatever, I love watching two people kick six shades of shit out of each other in a semi controlled manner any day of the week.

Even better when everyone is wearing sharp tailoring and it was someone’s entire job to light the place fantastically. I was about to write an ode to the costumes and props people but then I got a shot of Abbeys wig and the feeling swiftly fled.

Still, I will give the editing people props for this particular section. The pacing was great, the frenetic activity, the flicking back and forth between sets. Here, the editing was spot on. It built up the feeling of not only the excitement, but a sense of panic. Arthurs paranoia really seeped into me and I was on edge about whether Bonnie might be just a little over his head.

Since I’m going to reference pay off recurrently, I want to point out these elements. Arthur is always a paranoid, frenetic, madman. Bonnie has been woven into this season and everything has been building to this moment. The scene with the garotte and Bonnie winning the match – that’s how you do payoff.

Before we move on, I’m focusing on Alfie’s story a lot more later, so I’m skipping over that particular scene for the moment.

I loved the scene in the loos. It was funny, it was an accurate depiction of the politics and preening that goes on, the interplay between the women was indulgent. We got exposition, we got characterisation, we got costumes that made me salivate. More of all of this please.

I’m assuming that Linda is going to get a bigger role in Season 5 – the focus on her descent into Shelby Ladyhood, and the mentions of her past and family (especially her mother) seems to point that way. Which, I for one would enjoy. I think Linda gets a lot of hate because she’s written to. She’s portrayed as the shrew who tore poor little rabid dog Arthur away and leashed him up. I don’t think their relationship is completely healthy, I think there’s co-dependence issues there. But the way I’ve seen her described in fandom is eye-rolling to an extent that I physically injured myself on at least three occasions. So, please, give me more of her as a character and less as a caricature.

I’m so upset that Tommy would lie to Finn about Arthur being dead. Finn, the baby of the family, who wasn’t in the war, and doesn’t think and feel the way they do, was lied to about his brother dying just months after his other brother died. I think it’s sick emotional manipulation and unconscionable on Tommy’s part. If you can’t trust Finn, don’t bring him near the business. You can’t have it both ways. Either he’s in and you bring him in, or you don’t, and he needs to leave. I understand keeping the circle small, but they’ve just learned with the ‘don’t tell Michael about the plan’ plan that it doesn’t really work, and you just end up causing more problems.

Tommy has no consideration for people’s emotions or their state as beings of their own. They’re players to him, pieces on a board, and he’ll move them how he wants. He gets to make all the decisions, they don’t have any real input, and they have no ability to decide if they want to accept the consequences or not, because they’re already five steps deep in the process by the time they learn about it.

Side note: I’m bored of all the plans being made off screen and magically revealed to us later. If you’ve seen the really good video essay about why Sherlock is shitty for doing this, that’s the basis of my argument. It’s not smart or exciting to say ah! Got you! When I never had a chance to work it out in the first place. It’s just kind of lazy and boring.

Also, Tommy lied to a pregnant woman and caused her great distress, so that’s nice.

I cannot believe this is the first proper scene with Isaiah we get, because opening car doors and skulking in the background doesn’t count. Jordan Bolger is a great actor who brings so much to the character and they continually waste him. Isaiah could be so much more – he’s a black, working class kid, with a preacher for a father, in a crime family, and all he gets is a two-minute scene where he’s a bystander to Finn’s character development. Give me his struggle, give me him working through the moral conflicts – even the times they’ve just shown him to be a young lad being a young lad it’s been great, give us more. I assumed with the including of him in the heist plot that he would be stepping up into actual business, but they seem to have abandoned that idea and it’s disappointing. He can firmly join the ‘they deserve better’ club.

Finn should be left to be smol and soft, those are my complete thoughts.

Also, Tommy terrifies and holds hostage a whole room of innocent people as a charade because he doesn’t give a fuck about anyone else’s feelings or autonomy any longer than they are useful to him.

Also, I love Goliath and I’m sad that with Alfie gone we’re probably not going to see anymore of him, my big son, I loved you while I had you.

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We move away from the boxing scenes and get Arthur’s ‘funeral’.

I will say, I bloody love the wagons and wish my alternate theory that the Shelby’s did in fact lose everything to Luca and have to start from scratch could have happened because they were would have got more shots of them being ethereal in the forest somewhere surrounded by beautiful woodwork a la the Polly/Abbey scenes, but alas…we get this instead.

The shot of the empty room and the fireplace was beautiful, and poignant, and I’m gonna give them that.

Also, was that Karl? Thank fuck if it was because I had assumed Ada had abandoned him in the states somewhere for all we’ve seen/heard of him so far. It’s not as if any of the children are seen to be particularly important or have any type of characterisation of their own though so why am I surprised?

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The way that Tommy treats Michael is ridiculous. You can’t complain about Michael keeping something back from you when you are lying to him about the exact same thing. I am so heartened by Michael saying, ‘I chose my mum’ because it not only shows that Michael isn’t Tommy Jr after all, but also that there’s a chance that the new generation will succeed the old guard after all and that this won’t just carry on forever.

Also, if Tommy can’t trust Michael with his life of all things, why would he trust him to handle the American business alone? How ridiculous. If I think someone was willing to screw me over in a double-cross that led to my death, I wouldn’t hand them the key to my secondary kingdom. Sense – this makes none.

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Audrey Changretta turning up at the funeral like the badass she is and I’m so sad that her whole life has been torn apart in order to make Tommy Shelby look like a big man. Honestly, if you ask me, the Shelbys should have lost. Luca should have won. It would have made more sense, and provided such great material for next season.

The Shelby’s, having lost everything and become the people they used to rule, must fight to get back to the top. It should have been everything this season was meant to be, getting back to their roots, scrapping again. It would have provided stakes again. They need to be taken down a few pegs. If I know that Tommy is just going to fix everything off screen at the end anyway and everything turns out the same, then why am I wasting my time?

But that’s what the show has become. It started off as an interesting look at the moral complexities of the family, how they worked together, struggling to be something other than what they were destined for by the people who consistently maligned them. Now it’s a show about how amazing Tommy Shelby is. But the only way they’ve made Tommy Shelby great, is by making everyone else an idiot.

Tommy is a 4D chess-master, but only because no else knows where the table is being kept.

Luca Changretta was introduced as what should have been the most terrifying antagonist yet. And they turned him into an idiot. Luca Changretta, mob boss, doesn’t know to leave men behind to keep an eye on the kingdom? Bullshit.

I understand that Tommy is the main guy and has plot armour, but he doesn’t need to be the centre of the universe to be compelling as a character. This guy has manipulated Churchill and the king, got a city, a country, and an empire revolving around him, been given an OBE and now is an MP. But he can’t count two steps in front of himself and predict that killing a mob boss’ father might bring the mob down on him? He never really sees the consequences of his actions. His wife dying didn’t change him as a person, he just got meaner. His brother dying didn’t change him as a person, he just got reckless. I need a little bit more.

Alfie is such a beloved character not just because Tom Hardy plays him so well, not just because he belts out hilarious nonsense like a slightly faulty spitfire, but because he’s a match for Tommy. A much-needed match. He can go toe-to-toe with him, hell, even half the time get one over on him. He tells it straight when he knows Tommy needs it, and he doesn’t take his bullshit. He’s a breath of fresh air in a show that wants to convince us the literal world (or at least the empire, and America, and the political-social climate of the period, and every woman in sights life) revolves around Thomas Shelby.

Even add Campbell to that pile. He was a shit show. He was disgusting. He was mildly inept at times. But he was menacing. He had political connections. You knew he was the guy they sent out to do the work that everyone turned an eye to, and how much damage he could cause without official recompense. But in the end, it wasn’t Grand Master Tommy who got him – it was Grace, and then Polly. Hell hath no fury like women scorned, and the beauty came so much more from the fact that it wasn’t the person who he perceived as his adversary that ended up doing him in. Someone he trusted, and someone he abused, doing what needed to be done. The priest last season was menacing because of the same, and in the end, it wasn’t Tommy that brought him down, it was Michael. It meant something because it was Michael.

I don’t see how killing Luca makes sense except it as a way to make Tommy look good and have the big Arthur reveal, which was bullshit anyway. There was little pay off there.

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And Alfie. Oh, sweet love, Alfie. So, not only do they take what is pretty much the most beloved character in the fandom, even casuals love the shit out of this man, and dispatch of him like a secondary mop up, but they do it in such a shitty way.

When the spoilers came out about Alfie’s cancer I had a personal reflexive ‘well fuck off with that’ having just lost someone irl to a long and messy cancer battle, so mainly I pushed it away and thought ‘ah, that won’t get dealt with yet, they’ve done nothing about it for season upon season, it’s probably just internal backstory bullshit’. Nope.

Alfie has been chronically underused in this show, and I understand it. I think the rare glimpses we get are so powerful that it makes sense. It’s Christmas Day. It’s an island in the sea of winter, and the anticipation’s half the fun. You get presents every day, and you’re just going to turn out to be a spoiled brat. But we spend seasons adoring this guy who lives in the damn shadows, scrapping together parts of his life so that we can better understand him, only to be fed a massive plot point as an offhand spoiler and then have the entire thing resolved in what felt like 20 minutes? There was no anticipation. There were no stakes. There was no payoff. I was just…sighing, mostly.

I knew when he started talking about Margate that I was about to be emotionally ruined, but I expected at least to get a fitting end. But no. We got Alfie screwing Tommy over again in a predictable but fucking useless way. We got Tommy shooting him on a beach and walking away. And that was it.

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I think the Tommy breakdown scenes would have had a bigger impact on me two seasons ago when I still had care for his character, but I just used the time to check my messages, so it didn’t really land with me tbh. The whole last segment of this ep just flew over me.

The malignment of Jessie Eden’s character will likely get a post of its own soon. Except I am going to say here that I’m entirely sure that what Tommy is doing counts as sexual assault – see the case of the woman who had a child with someone she didn’t know was an undercover agent in her what I think was also Communist action group, and also the new laws that stop undercover people from sleeping with those they are surveying. Because you can’t give informed consent. But they’re probably not going to address that, because we have a love triangle to deal with now.

Also, Tommy abandoned a dog and tampered with an election so he’s everyone I hate now. You don’t come for the animals or the democratic process. Taking inspiration from my dear love, Alfie Solomons, what a fucking cunt.

But besides that, it was fine.