#and I will NEVER get tired of the Jason Isaacs story

[swan2swan]

Thinking about the Azula scenes, and...oddly, despite my complaints earlier...I think they could have used more dialogue. Not exposition dialogue, but EMOTIONAL dialogue. Azula venting to Ty Lee, Ty Lee responding.

Kinda like the episode where she had the bow and arrow.

But a little more back and forth.

Problem is that this requires writers who can write gripping dialogue AND have faith in the actors and actresses to deliver said dialogue under the guide of a strong director. Which is...a risk with young staff who haven't had a lot of experience.

Hopefully we get more in Book 2.

[morganaspendragonss]

so so many thanks to everyone who read even one of these stories. i am forever grateful for all the support i've received; every comment, every kudos, every reblog, every like - they all mean so much. i'm overwhelmed, honestly, but in the very best way. ily all 🥰

day one: against all odds (we're still here) for @trkstrnd

Carlos will hate himself for it later, but he’s so focused on his task that the screech of tires coming around the corner barely registers as a blip on his radar. He doesn’t notice anything until TK suddenly barrels into him, throwing Carlos to the side just before something else, something heavy, crashes into them with a blinding flash of pain, and then—

Nothing.

*

a simple trip to the grocery store quickly turns to disaster for tk and carlos

day two: out, damned spot for anon

TK wakes up gasping, choking on air. The sheets are suffocating him and, when he tries to free himself, they only seem to get tighter. The hands reaching out for him, trying to calm him, are the final straw; TK throws himself from bed and sprints to the bathroom, slamming and locking the door behind him as he collapses against the sink.

On some level, he is aware that the hands were Carlos’s, that the sheets were theirs, that his hands are clean, and that the dream was just a dream.

But they weren't always that way.

day three: the meetings for those in my wake for @freddieholic

For years after the divorce, Gwyn came to learn that any call from Owen was almost certainly bad news, and almost always about their son. Things have been better in the three years since her time in Texas, which is why she thinks nothing of it when he calls just after she’s put Isaac to bed for the night.

“Owen, hey,” she greets. “What’s up?”

The silence she’s answered with is the first sign that something’s wrong.

The sob that follows is the second.

“Gwyn, it’s TK. He's... They think we should say goodbye."

day four: a friend in me for 📍 anon

Carlos has come to see Nancy as a force of nature, a woman who will let nothing and no-one stand in her way, whether that’s out on the field or during a game of Monopoly. But, right now, as she sits hunched over in one of the interrogation rooms, shock blanket around her shoulders, he's never seen her look so small.

or

the story of how nancy and carlos become the new champions of 126 games nights

day five: truth is heavier than fiction for anon

Carlos pauses with his hand on the doorknob, taking a moment to prepare himself before going inside. TK’s shift finished an hour ago and he’d texted to let Carlos know he was home, which means Carlos is going to be walking right into a conversation he’d rather avoid.

Not that he’d have much choice either way; he might be able to cover his cracked and bruised ribs for a little while, but the arm in a sling will tell on him as soon as the door opens. Carlos doesn’t want to hide his injuries—they’ve had enough conversations in reverse on that theme to make him a hypocrite if he did—but he may have made some choices that he doesn’t particularly want to go into right now. Not while he’s tired and aching and just wants to cuddle with his boyfriend.

He blows out a breath, then opens the door, bracing himself for TK’s reaction.

“Hey— Shit!”

day six: slowly, and then all at once for @pragmaticoptimist34

The realisation that he loves Carlos hits him like a bolt out of the blue.

And at the worst possible moment.

We are getting updates on the active shooter situation at the Four Seasons Hotel. Austin Police Department have closed off the area and officers are currently preparing to enter the building to detain the suspect. It is as yet unknown if there have been any civilian casualties, but—

“Paul, turn the damn TV back on.”

“No.”

*

five times tk can't admit his feelings about carlos, and one time he finally does

day seven: the promise of tomorrow for anon

Up until five minutes ago, Carlos had been terrified of never having TK in his arms again. Now, the thought of letting him go scares him just as much, and TK seems to feel the same, if the way he’s clutching at Carlos’s jacket and pulling it tight across his back is any indication.

Carlos hugs him close, sinking down to his knees as TK falls into the chair behind him, letting the rest of the room fade away to nothing as he realises that they weren’t too late—that TK is here, with him, alive and mostly whole.

day eight: we'll hold each other soon for @221bsunsettowers

“Be careful, please,” TK said, smoothing down the lapels of Carlos’s shirt. “Whatever happens out there, whatever you have to do, just promise me one thing. Promise you’ll come back to me.”

Carlos knew better than to promise something like that, and TK knew better than to ask it. But because it was him, and because it was TK, Carlos just nodded and leaned in to press a kiss to TK’s temple.

“I promise,” he whispered, pulling away.

It's the last good memory Carlos has, and he's going to hold onto it for as long as he has left. If he's going to die, then the last thing he wants to see is TK's smile.

day nine: now i am just but the wayward man for anon

Ben is glaring at him again.

Klaus is very familiar with this specific glare—it’s the one Ben breaks out when Klaus is being ‘stubborn’ and ‘stupid’ and ‘a fucking asshole junkie with no self-respect who only cares about the next high and, really, it’s a fucking miracle you haven’t gotten yourself killed yet, Klaus’.

He has to hand it to him. Ben really does have him down to a tee.

*

winter is approaching and klaus has nowhere to go. his siblings are his only option—meaning he effectively has no options.

day ten: i can't imagine my life without you for 📍 anon

It had come completely out of left field—one minute everything was fine, the next Carlos had turned to him with guarded eyes and a clenched jaw, and said six words that sent TK’s whole world crashing down.

“I think we need a break.”

*

nobody likes to be asked 'trouble in paradise?', particularly when the answer is yes.

day eleven: start again from the beginning for anon

Owen trusts his son. He’s watched TK fight his addiction and stay sober for the last six years, and he has faith that he can handle himself.

But when TK doesn’t show up for work the night after proposing to Alex, Owen knows that something is wrong. After all, they've been here before.

day twelve: let me love you when your heart is tired for anon

TK knows it’s going to be a bad day from the moment he opens his eyes. Slowly, slowly, each twitch like he’s moving mountains, he inches his hand blindly across the bed to reach out for Carlos. If he can just feel his boyfriend, if he can just see him—

But, of course. Carlos has a shift today. TK has a vague recollection of him getting out of bed at five this morning, rousing him with a shift to the mattress and a gentle kiss on the forehead.

If this were a normal day, he might smile at the memory.

day thirteen: couldn't utter my love when it counted for 📍 anon

TK takes his time in the bathroom, stopping to stare at his reflection in the mirror for several minutes and trying to talk himself down from any more-than-friendly feelings towards Carlos.

Later, they’ll tell him that this saved his life.

But that won’t be for a long time, until after the smoke has cleared and the dead have been counted and the statements have been taken. For now, TK steels his resolve and nods at himself, then turns to the door, a hand reaching out for the handle.

That’s when the explosion rips through the building.

*

after the boba date, tk lets carlos go. they're friends, which is working just fine, until a horrific accident threatens to take even that away from them.

day fourteen: if i walk out the door (a thousand eyes) for anon

TK gets this feeling sometimes, a sort of prickling at his back, like someone’s behind him, breathing down his neck. At first, it was only a once-in-a-while situation, so he thinks nothing of it; when it becomes an everyday occurrence, he starts to wonder, but he’s probably just being paranoid. The shooting, kidnapping, firehouse explosion, and the fire at his and Carlos’s house had all taken their toll, and TK’s just generally more on edge these days.

He doesn’t tell anyone about the feeling, not even Carlos. There’s no reason to fuck up everyone else’s peace with something so stupid. It’ll go away eventually; TK’s sure of it.

That is, until one of the lots just down from the firehouse gets occupied.

day fifteen: find you here inside the dark for @fanfic-corner

Yaz has walked this room too many times to count now; she’s traced her fingertips over the walls, searching for any cracks or crevices to indicate where there might be a door.

If the Doctor were here, she’d have her sonic out by now, spitting out words, only half of which Yaz could understand. She’d find a way out in no time. Or, if not, at least she’d be here. Talking a mile a minute, probably annoying the hell out of their captors. Yaz can almost hear her now—

Wait.

She can hear her now.

day sixteen: accidents happen for @ilovemosss

So, Jason reflects, it may not have been the best idea to take Pythagoras out training while they’re all suffering from a severe lack of sleep. Being the more logical of them, Pythagoras, to his credit, had attempted to talk him out of it, but Jason ignored him.

He very much regrets that decision now.

day seventeen: you and me (moving through this world as a two-man team) for @laelipoo

TK does not have a crush on the 126's latest hire.

Carlos Reyes: an Austin local, an incredible firefighter, and—objectively speaking—the most beautiful man TK has ever laid eyes on. Which is, in fact, the entire point; TK has eyes and, yes, he will use them to sneak a look or two when he’s suddenly sharing space with a man who looks like a Greek god.

That does not mean he has a crush, Paul.

(and, sure, maybe he does sometimes dream about how soft Carlos’s lips look and the little blush he gets when he laughs and those little flecks of gold in his eyes, but he’s only human)

(how TK knows about the gold in Carlos’s eyes is none of anybody’s business)

day eighteen: in perfect harmony for @anyotherheartwilldo

Here’s the thing—Carlos doesn’t believe in signs. He used to when he was younger, raised on his abuela’s stories, but as he’d gotten older his father had taught him that what mattered was the choices he made. He’s the only one who has a say in the way his life turns out, and if he wants something, he has to put in the work to get it.

But there comes a point—namely, after his fifth thwarted attempt to propose to TK—when he begins to wonder if the universe really does have something against him.

*

proposing to tk proves far more complicated than carlos had first thought.

day nineteen: whatever here that's left of me (is yours) for anon

“Are you…” TK leans closer, peering at the hoodie Carlos is wearing, and—yep. “Why are you wearing my hoodie? Was there nothing in your size from the crew? You should have said something. We can fix this, you don’t need to be uncomfortable.”

There’s a beat, and then Carlos, studiously avoiding TK’s gaze, clears his throat. “It smells like you.”

*

post-2.12, carlos finds comfort in tk's hoodies.

day twenty: can't smile without you for anon

Carlos would be lying to himself if the possibility hadn’t occurred to him before. He has always worried for TK’s safety, and the knowledge that a serial killer is on the loose in Austin has sent that worry skyrocketing. Especially because he’s the lead detective on the case; he’s spent hours poring over horrific crime scenes, examining all the facts until they’re burned into his brain.

Admittedly, the killers seem to be mostly indiscriminate in who they take, meaning the chances of it being TK are slim.

But there’s still a chance.

*

a before, during, and after of tk's kidnapping in a hole where your memory goes

day twenty-one: lately you've been searching for a darker place to hide for @freddieholic

“Can I ask you something else?”

TK stiffens at the sound of Mateo’s voice, a nervous note to it that wasn’t there last time. Something tells him he knows exactly what Mateo wants to ask; still, he turns to lean against the counter, crossing his arms as casually as he can manage. “Sure.”

“Are you…” Mateo trails off, biting his lip and avoiding TK’s gaze. “I mean, do you… I mean—”

“You can say it, you know,” he interrupts, not unkindly. “If you want to know if I’m thinking about heading out and getting high, then just ask.”

*

five times tk turns to unhealthy coping mechanisms when he wants to use + one time he finally asks for help

day twenty-two: know me crazy, soothe me daily for anon

It had freaked Carlos out the first time it happened.

“It was a seizure,” TK explained, after Carlos had finished telling him about it. TK had been disoriented and confused for about ten minutes after, and couldn’t even remember half of their earlier conversation. “I… It’s because of the drugs. They fucked something up in my brain, especially after my first overdose, and now I get seizures occasionally."

*

in which carlos gets a little over-protective and tk is mildly exasperated

day twenty-three: lover, be good to me for anon

Carlos holds his arms out, and TK comes willingly, setting what Carlos now recognises as a tray of food carefully on the bed. “What’s this?”

TK stares as if it’s obvious. “Date night.”

“What?”

TK pauses, then gasps. “You’re right.” He pats himself down frantically, then pulls an object out of his pocket with a dramatic flourish. It’s a little electric tea light—real candles long since banned from the bedroom—and Carlos watches in bemusement as TK flicks it on and sets it down on the tray. “Now it’s date night.”

*

his fiancé being bed-bound isn't going to keep tk from date night

day twenty-four: bring you in from the cold for anon

As a cop, Carlos has always been uncomfortably aware of his own mortality. He’s considered his own death more than is probably healthy, but when you’re facing down the barrel of a gun almost every single day, it’s kind of forced on you.

He’s imagined himself being shot, stabbed, strangled, and everything in between.

But he’s not sure he ever pictured dying in a walk-in freezer after getting trapped there by mistake.

day twenty-five: heaving through corrupted lungs for anon

TK is itching to go home and check on Carlos, to make sure he’s still breathing and actually resting like he’s supposed to be. On the other hand, Carlos would probably kill him if he left work, illness be damned. It’s just… Carlos had looked so ill that morning, skin ashen and voice all but gone, and it had taken a lot of convincing for TK to still go to his own shift. He’d insisted on making sure Carlos had all the blankets and water and snacks and anything else he could possibly want, but even so, he’s still uneasy.

His gut is telling him that something’s wrong, and TK doesn’t think he can ignore it for much longer.

*

when carlos falls ill, they think it's just a bad cold. but when tk goes to check on him, he's in for a nasty shock.

day twenty-six: slowly becoming lovers for @pragmaticoptimist34

Things don’t get fixed overnight. They agree to give them a shot, but that doesn’t change the fact that TK is still reeling from his break-up and overdose, nor that Carlos is still hesitant and afraid of pushing too hard at once.

But, slowly, they get to know each other. And, slowly, they start to fall in love.

*

tk and carlos, getting to know each other and falling in love

day twenty-seven: and curse the gods for @girlwhowasntthere

Jason knows what it is to be cursed.

day twenty-eight: ignoring every warning for @moviegeek03

TK is fine.

He is absolutely, 100% fine.

And, sure, maybe he’s not supposed to be at work right now, and maybe his hand hasn’t fully healed yet, but it’s nothing. His doctor cleared him to go back to work, which means it’s healed enough, and TK is certainly not going to admit defeat no matter how much he's hurting.

day twenty-nine: can you beat back the night? for @girlwhowasntthere

He misses the bard. Geralt won’t admit it, not even to Roach, but he misses him. After months—years—of Jaskier’s constant chatter and the sound of his lute, the silence, once valued above all else, is too much.

It’s been months since the dragon, since Geralt lost both Yennefer and Jaskier in one fell swoop. He’s cursed himself many times over for the words he said—to both of them—and cursed himself more for the mistakes he made to get in this position in the first place.

*

this is the lot of witchers, to be alone.

day thirty: ease my mind for @silvarafael

Briefly, Carlos considers calling TK and telling him about the accident. But… He only broke two of his fingers and it barely even classifies as a minor injury in his book, so there’s really no reason to bother his fiancé while he’s still on shift himself. He pockets his phone then looks around to figure out where the exit is.

Only, an all-too familiar laugh distracts him from his task, drawing his attention to the nurses station.

Where TK is standing, smiling as a nurse swats at him for stealing one of their lollipops.

Carlos is, beyond doubt, fucked.

day thirty-one: scars turn to memories for anon

Their front door is open. It’s wide open, and the wood of the door frame is broken, splinters littering the driveway and the floor of the front room. TK’s heart stops in his chest as he surveys the scene, his brain going blank, struggling to comprehend what he’s seeing.

Everything is quiet in the front room, not even a table setting out of place. TK creeps further into their home, his every nerve on edge as he barely breathes for fear of alerting whoever’s here of his presence.

And then, he remembers.

Carlos was off shift tonight. He was here. Alone.

[meta-enthusiasm]

You know what I am really fucking tired of seeing in popular media?

The "evil, hysterical woman in power" trope. The clichè that potrays women who are in a position of power as overzealous, unhinged, power hungry maniacs who are a ticking time bomb waiting to explode.

Female leaders are shown as less resonable and down to earth as their male counterparts, and are often villainized by either the fandom or the narrative of the story itself. They are doomed to fail because of their womanliness and need to be taken down before they enact their evil plans, preferably by a man, or a woman who performs the 'right' kind of femininity.

This trope relies on the sexist misconception that women are more fragile than men, more emotionally unstable and unpredictable.

"Women aren't cut out to be leaders, they should be nurturing and supportive and tend to their families. Having higher aspirations is against their nature and will eventually break them and drive them crazy."

That type of bullshit that was designed to keep women out of leadership positions and keep oppressing us. To keep us quiet and submissive.

Here are a few examples to further explain this stereotype:

Daenerys Targaryen is one of the most well known characters to fall victim to this trope. She is an abuse and rape victim, seeking to change the current social and political systems of the world because she knows how many people suffer under its injustice. ("Crush the wheel.")

For all her compassion and charity she has shown over the series, the writers decided that it would be reasonable for her to go crazy at the end of the show and, despite promising she wouldn't inflict more damage than necessary, kill thousands of innocent people whose government had already surrendered to her.

And guess who had to kill her in the end? Yup, another man. Her love interest, who was "forced" to betray her.

Next, we have:

Morgana Pendragon, from "Merlin". To remind you, she is an abuse victim who had to endure her father's controlling behavior and bigoted attitude towards people with magic abilities which, suprise suprise, she turned out to have. She had to watch as her father murdered and oppressed people just like herself, and when she challenged that behavior, he would come down hard with punishment. (Going so far as to actually throwing her in the dungeons for a couple days.)

Eventually, she rebelled against the corrupt system and had her genocidal father killed. She led a rebellion against Camelot after Uther's son (Arthur) continued to oppress magicians under his reign, and sought to create a better future for herself and her people.

So far so good, right? Well, no. The problem here is that she is the antagonist of the story. She is portrayed as being in the wrong for not quietly taking the injustice and watching it happen.

Halfway through the show, she becomes obsessed with power and status and desperately chases after the throne of Camelot. She is extremly vindictive, manipulative and cruel to others to archieve her goals. She is a "hysterical woman" who is out of control, emotionally unstable, challenges the patriarchy, and therefore needs to be defeated.

Her death was portrayed as tragic, yet absolutely necessary.

(Of course it had to be a man who killed her.)

Azula is the epitome of this horrid, misogynistic trope. She is a fierce, ambitious leader and highly skilled fire bender, respected and feared among her people. She is highly driven and succeeds at almost everything she sets her mind to.

Ever since she came into this world, she was better at everything than Zuko. She was a better fighter than him, a better bender, better strategist, better child. And that is precisely the reason why she had to lose in the end.

Despite coming from the exact same circumstances as Zuko, the story and the fandom at large see Azula as way less redemable and likable than him. Even though she is an abuse victim whose own mother hated her and is a literal child soldier, she doesn't get any sympathy from the protagonists of the story. The otherwise so understanding and wise Iroh even calls her "crazy", (which is, if you've done some basic research into misogynistic expressions, really fucking problematic.) and tells Zuko that there is no saving her. Why? He doesn't tell, but it's obvious that the writers made him say this because of their own internalized sexist beliefs. She isn't offered a way out of her toxic environment like Zuko was. She didn't get the support from Iroh because he had already given up on her.

To top it off, she has a nervous breakdown near the end and loses her remaining sanity. Because, you know, "She's craaaazy!! And SO unstable!! Typical woman." (Not to mention how this further stigmatizes mental illness and portrays it as something only evil people get.)

She was supposed to become the next fire lord, a position that carries utmost power and influence. Of course, such authority could not be given to a woman. That's why Zuko, a man, gets to be the next fire lord, and we are left assuming Azula will be spending the rest of her days in prison.

The writers assume the audience detests Azula and wants her to suffer. She doesn't deserve a happy ending, or the love and support that Zuko got.

Why? Because she poses a threat to the status quo, the patriarchy. She challenged the belief that men had to be the best and most efficient at everything they do, that women could indeed be better leaders and be happy with having a career and not be nurturing, motherly figures to the men in their lives. And for that transgression, for breaking gender stereotypes, Azula was punished.

(It's also why Katara, someone who performs the "right" kind of femininity by being nurturing, motherly, supportive, healing, doting, and is the care taker of the group, ends up taking Azula, the evil and perverted form of femininity, down. I believe @batboyblog has made a similar post about this.)

This is Carmilla from the popular Netflix show "Castlevania", and if you've payed attention to my previous points, it should be pretty obvious what her character represents and how her story ends.

Note that she is also an abuse and rape survivor who is represented as evil and cruel for being angry at what was done to her.

To top it off, she is also an example of the man hating woman stereotype, whose anger at the misogyny and sexism of the world is portrayed as an "overreaction" and as "too much".

At the end of the story, she had to be taken down by another man (Isaac) so that the status quo could be preserved, and the reign of a crazy bitch like her could be stopped. Horay, the day is saved from yet another unstable, selfish woman who would have brought suffering and pain over her country if allowed to rule. Hysterical women with their demand for equality.

Conclusion:

In all these examples, we can see female abuse victims thriving for power and status, for respect, being represented as something negative and something to avoid. Trying to fundamentally change a system that is rigged against women/female representing people is a fruitless endevour that will eventually fail and drive us crazy, because our minds aren't strong enough to handle this type of responsibility and status.

Holding on to anger and bitterness over what was done to us is the sign of a bad person, and the only morally acceptable path is to forgive/ignore our abusers and let the injustice continue to happen.

Strangely enough though, that same gaslighting, victim blaming mentality gets almost never applied to male characters. Men who seek vengeance are never portrayed as weak or crazy for giving in to the wish of changing a corrupt system/killing bad people. (Batman, the Punisher, Hawkeye, John Wick, Jason Todd, Erin, Scar from FMAB, Iron Man, and so on)

The reason why these stereotypes almost never apply to men but almost always to women is sexism. There is no other explanation for this. These tropes were specifically designed to make society believe that women aren't cut out for leadership positions and are happiest with domestic, easy tasks like watching after our children and taking care of the household.

Women who are angry, women who are dominant are to be feared and distrusted. They are represented as a danger to the general public and need to be taken down before they enact their evil plans.

Feel free to add further examples.

[beebubb]

I read your LJ and will headcanons and i really love them! Can you perhaps make some headcanons of when LJ had to take care of baby william? Like how would he treat him when he hated him and then when he actually grew to like him?

Ahhhhhh!!! Yessss!!! I'm gonna make this a post of LJ taking care or will from newborn to now

LJ taking care of william grossman headcanons (childhood all the way to now) + a bit of will's back story

Will as a baby

Will was assigned to LJ before will was even born

So while everyone was celebrating the pregnancy, LJ was just pissed

"GODDAMNIT THIS IS WHAT HAPPENS WHEN YOU DON'T USE PROTECTION!!"

no one could hear or see him obviously, so he could say what ever he wanted

He just look at the dad be like "i bet that brat isn't even yours!"

He would just DREAD the day will was finally born

When will was born, and his mom finally came back home with will in her arms, was when he finally met him

".....he looks exactly like fucking isaac goddamnit!!!!"

He wouldn't take care of will and could care less about him

He would appear to will whenever he was alone in the nursery room and just say the meanest things to him or just hate anything will did

".....you're the cum shot your mom should have swallowed...."

"can you shut the fuck up?!?"

*carrying him* "go to hell you annoying waste of space"

"i wish I could take your eye out like I did to your fucking grandpa....."

"you know I can gut you whenever I feel like it"

Or just make dark jokes

"i can knock all your teeth over just like isaac! Wait, you don't have any! Hahaha!!"

LJ doesn't admit but, when he was watching over will, he just started crying, he was just so overwhelmed by everything, especially knowing he was stuck with his enemy's grandkid "i hate that i'm stuck with you!!! Why the fuck would you even want me?!? You're just going to abandon me just like your damn grandfather!!!"

With time though, he started growing fond of him

Will was really close to LJ. He would just smile to him, laugh, grab his pointy nose, and even if jack rarely carried him, you know those feathers jack has on his shoulders? Will would immediatly fall asleep with those

Once LJ was a bit more ready to care for him, was when he actually started trying

"Alright, i'm your guardian! I hate it! But if i'm stuck with you, i'm going to raise you MY way!"

"I'm the one protecting you so you BETTER say my name as your first word, got it?"

It took him a bit to warm up to him but it eventually came along

Will was a cuddly baby, so he loved to sleep on LJ's shoulder and grab his nose

"let go of my nose before I kill you"

When he was finally attached to will, he was acting more of a parent than anyone.

He would hate it if someone didn't take proper care of him

"you're holding him wrong!"

"he doesn't like to be held like that!"

"you're supposed to put 2 scoops of formula! Not 1!!"

"goddamnit I'm doing most of the work here!!!"

"if yall wanted a kid you should atleast know to care for it!"

Will's first word was JJ.

It was his attempt at saying LJ

"holy shit!!! That's not my name but it's close!! I knew it!!"

His mom and dad saw it as insignificant and thought it was just those weird baby noises that babies make

But LJ knew what he meant and was more happy than ever

"he likes me more!! In your face assholes!!"

Will as a toddler

LJ was there for his first words, so he was also there for will's first steps

Will was also a very energetic kid, and once he started crawling and walking, it was more chaos for his parents

They had to baby proof a lot of things

But LJ could keep up with his energy, and sometimes even tire him

Though there was this one time when will called him "daddy" and his dad thought he was calling him but actually, he was talking to LJ

Many think that LJ might hate to be called that sense well, you know, he hates children, but he honestly didn't know how to feel. He was a bit surprised, a bit happy, and confused

He didn't deny it, it was just like

Toddler will: daddy! Daddy!

LJ: um....uh... Lets keep playing ok?

LJ loved will and was happy to care for him and pretty much the hate he had towards him was pretty much gone but, he didn't really know how to feel

He let it slide but will called him that a lot

LJ would get a bit emotional sometimes but he would just try to ignore it and keep playing with will

Or he would just slightly smile

Will as a kid (4-11)

Will was now more aware and way more energetic

Which was more fun for LJ

Will didn't have many friends, except for LJ

Even if he was happy and energetic, will was a shy child at school.

Also he didn't play with anyone except jack

The teachers thought that will was weird and called his parents a lot

The teachers would always say stuff like "he doesn't play with any of the other children, and talks alone like if he were talking with someone else especially someone he says is called" jack", is everything OK at home? Have you seen a family psychologist?"

Will was actually taken to a few therapy sessions but he wasn't diagnosed with any mental illnesses. So people just assumed that will just had a really active imagination and that jack was just an imaginary friend

Though will being "weird" just meant he was gonna be an easy target to get bullied

But jack wouldn't let that happen. He wouldn't let some asshole kids ruin will's childhood

Sometimes when the kids would go to the bathroom or just go to the hallway to the drinking fountain, he would scare them by turning the lights on and off

Or he would even follow them home and would make his claw like hands appear from inside their closets or under their beds.

Sometimes he would even grab their legs which would terrify the kids

They soon stopped bothering will because "jack will come and get you!"

So will had a pretty good childhood thanks to Jack sense he would protect him of pretty much everything

When will was in kindergarden they had arts and crafts, he would sometimes draw his mom and his dad together but mostly his drawings were of jack

The teachers thought the parents were irresponsible because lets say that sometimes will's drawing were a bit graphic or creepy and they thought that it was because will watched too much horror movies

Teacher: what are you drawing, William?

Will: it's Jack and I!

Teacher: oh that's nice! But.. What.. What are you doing with Jack?

Will: We're using the stuff inside the guy's belly to make balloon animals! *keeps drawing* jack said that I'll be a killer when I grow up!

Jack was just a proud clown guardian

Jack's prized possession was a drawing that will made of the two of them. It just made him feel really appreciated. Also he encouraged will to play with the kids but will just preferred LJ

LJ: you know that you can play with the other kids right?

Will: i don't want to! I don't like the other kids! I want to be with you, you're my best friend!

It was just fun with will that someday jack would spend days laughing and laughing that sometimes it felt like he would get his colors back

Also will learned to cuss at a young age. And everyone can already guess where he got that from

He was a horror movie fan

Which is why he always said "i want to be like Jason when I grow up!"

"i want to do what leatherface does!"

"I'm going to be just like ghostface!"

But when LJ told him about the pastas, is when he started admiring them

"when I grow up, I'm going to work for slenderman!!"

Also you know in that one comic page where will was at the institution and said "i am the one and only grossman! And I will become the greatest killer the world and the underworld has ever seen!"

Well he had been saying that ever sense he was a kid

Will's mom was a really caring and nice mother but she would soon start getting angry every time will said he wanted to be a killer

Everytime the family got together or the neighbors would ask will what he wanted to be when he grew up, will's mom would always get embarrassed and try to change the answer

Neighbor: what do you want to be when you grow up?

Will: i want to be a killer!

Mom: AN ACTOR!! he wants to be an actor!! He just.. Um... Has seen so many horror movies and well he likes the actors! So he wants to be one!

Will would always get scolded by his mom or get grounded

"William, i told you a million times!!! Stop saying you want to be a killer!!! That doesn't exists! Just choose something normal!!"

William would sometimes just stand or sit in the corner and cry

LJ was always there to comfort him

"Don't cry buddy! Don't listen to that bitch! You will be a killer!"

His mom would get annoyed a lot of will talking about LJ

"You're six!!! You're old enough to know that jack is just an imaginary friend!"

"He's not imaginary!!!!"

And ever sense will knew about the underworld, that's the only place he would talk about.

Will: LJ please take me with you!! I want to go to the under realm! I want to meet jeff the killer! And ben! And masky! And slenderman!

LJ: i can't take you now but i promise i will when you're older!

Will loved his parents but he slowly started disliking them.

His mom always seemed embarrassed of him and his dad was becoming distant

The day that his parents got divorced, he did cry a few days.

He would always ask LJ "did dad leave because of me?"

But jack was there to reassure him it wasn't his fault.

"He's just a deadbeat bitch dad! But i'll be here for you! You don't need him!"

LJ pretty much took a fatherly role to will but never realised it

In will's school he had this "bring your parent to school day" thing and he didn't tell his mom, he wanted LJ to come

LJ didn't have a human disguise like the other pastas sense he was technically an imaginary friend. So he had to consult the rulers of hell to give him a temporary one or grant him that ability

LJ: Come on please! He really wants me to attend! Lend me a fucking hand here!

Paimon: i don't know, your job is just to protect him, you don't NEED to attend something as simple as a school event, he has his mother

LJ: i know but my boy wants ME to come! He doesn't want his damn mother to go!

Yeah, LJ called him "his boy"

He was more of a father than ever even if he didn't admit it

Bael: *sighs* fine, we'll give you a disguise just for today

LJ: yes! Thank you!

And LJ was able to go to will's school, he just presented himself as will's uncle

Will was happier than ever

Jack tried to act normal so he made up lies of his career

"Oh um i'm a....surgeon!"

Being a surgeon was the closest thing to his actual job. I mean, they both take out people's guts right?

Will as a teen (13-17) (basically now)

Will had a bit of an emo phase but not completely. It only appeared whenever he was with his mom

Only when he was with his mom he was distant and always seemed annoyed

He became the typical angsty teen. Started drinking, getting piercings, dying his hair, wear black, eyeliner, etc

Mom: another piercing?!

Will: yeah! Why do you care!?! I'm already an embarrassment to you aren't i?!

They would get into arguments a lot

Especially because of his sexuality

His mom didn't respect will's privacy so he would always check his texts, pictures, etc

"You're talking with girls AND boys?!?!"

Will was bisexual but only LJ knew obviously.

"If my boy likes guys then fucking let him!!! Stupid bitch!!!"

Though no matter who won the argument, it always ended with will crying or just laying on his bed listening to music

William would run away a LOT

Him and LJ had found an abandoned hospital where they would always hang out.

Will could be himself with LJ

His mood and attitude completely changed there.

They would drink beer together, tell jokes, prank random people in the streets, or just do random things

"Look at this street sign i stole!!"

But how did will finally go to the underworld? A family argument in will's 16th birthday

His mom invited everyone to the house.

But will was uninterested

And his mom like always, didn't want to "be embarrassed" by will, so he forced him to wear something else besides black, to take all of his piercings off, and didn't let him dye his hair

Everyone was there eating together

But will, like always, was distant

Uncle: so how are things in school?

Will: everything's fine

Cousin: what college are you going to?

Will: *shrugs*

Will hated his party.

LJ: enjoying your sweet 16? Haha!

Will: i hate it....

LJ frowned seeing him upset in his own birthday, but he gave him something

LJ: hey, i got you a little something! I know you want to be a killer so here!

He gave will the bird mask

Will: ! My...my first killer mask?!

LJ: yep!

Will: holy shit!!! Thank you! *puts it on* i love it!! I look like an actual serial killer!

LJ: i knew you would like it!

Will was super happy with his mask but he was called outside to cut the cake

"Cut your cake bud! Once this party is over, how about we go get some drinks?"

Will smiled "alright!"

He went out to cut his cake.

A few hours later though, everything was ruined

Will had another argument with his mom.

Will: I'M your son!!! Not them!!! Why do you like them more?!

Mom: i do like you will! I just...i just want you to be normal like them! I want you to want a normal career! To do better in school! To dress differently, and like girls!

Will: i DO like girls!!!

Mom: then why were you talking to boys?!?

Everyone just looked at will in shock

Will: b-because.....because i'm fucking bisexual!!! I like boys AND girls!! I'm not gay!!! There's a difference!!!

Mom: but you like boys!! That's not normal!! Nothing of you is normal!! Liking boys isn't normal! And being a killer isn't normal either!!

Will: oh so you hate me for being me?!?! I fucking hate you!!! You make my life a living hell!!!

Will stormed off to his room and locked himself and started sobbing.

Jack saw everything. He would have killed will's mom but everyone was there, plus he wasn't allowed to (a disadvantage of having a deal with the rulers of hell)

Will felt humiliated infront of the whole family

Jack saw how upset he was, so that's when he finally made up his mind

LJ: hey, remember when i told you i was bringing you to the underworld one day?

Will: *wiping away his tears* y-yeah?

LJ: well, that's today!

Will: wait, really?!?

Will immediately sat up his a smile on his face

LJ: yep! How about we leave this place? Let's go to to the underworld! You won't have to worry about your mom anymore! Or that shitty family of yours!

Will: yes!!!!! Yes I'd love that!!!

LJ: then pack your things and lets go!

Will got up from his bed and started packing. And once he was done, he just stood up smiling with his bags in hand

Will: let's go!!

LJ covered will's eyes with his hands.

And before Will knew it, he was in the underworld.

And that's when will finally started a new life.

LJ didn't have a luxurious life to give will but will loved it. Even if they lived in a shitty apartment, will was more happy than ever.

Will was still underage so LJ took care of getting him registered as an official underworld citizen and getting all the paper work done to have full custody of will as his guardian

So he basically adopted will

Will: i can actually be a killer here right?

LJ: yep! There's actually an institution for killers! So I'll start working on enrolling you in!

Will: yes!!!

And that's basically how their lives started

[crowdvscritic]

round up // JULY 21

‘Tis the season to beat the heat at the always-cold theatres and next to fans set at turbo speed. While my movie watching slowed a bit with the launch of the Summer Olympics on July 23rd, I’ve still got plenty of popcorn-ready and artsy recommendations for you. A few themes in the new-to-me pop culture I’m recommending this month:

Casts oozing with embarrassing levels of talent (sometimes overqualified for the movies they’re in)

Pop culture that is responding or reinterpreting past pop culture

Stories that get weEeEeird

Keep on-a-scrollin’ to see which is which!

July Crowd-Pleasers

1. Double Feature – ‘90s Rom-Coms feat. Lots of Lies: Mystery Date (1991) + The Pallbearer (1996)

In Mystery Date (Crowd: 7.5/10 // Critic: 6/10), Ethan Hawke and Teri Polo get set up on a blind date that gets so bizarre and crime-y I’m not sure how this didn’t come out in the ‘80s. In The Pallbearer (Crowd: 8/10 // Critic: 7/10), David Schwimmer and Gwyneth Paltrow try to combine The Graduate with Four Weddings and a Funeral in a story about lost twentysomethings. If you don’t like rom-coms in which circumstances depend on lots of lies and misunderstandings, these won’t be your jam, but if you’re like me and don’t mind these somewhat-cliché devices, you’ll be hooked by likeable casts and plenty of rom and com.

2. The Tomorrow War (2021)

I thought of no fewer movies than this list while watching: Alien, Aliens, Angel Has Fallen, Cloverfield, Interstellar, Kong: Skull Island, Prometheus, A Quiet Place: Part II, Star Wars: The Empire Strikes Back, Star Wars: The Revenge of the Sith, The Silence of the Lambs, The Terminator, Terminator 2: Judgment Day, and World War Z. And you know what? I like all those movies! (Okay, maybe I just have a healthy respect/fear of The Silence of the Lambs.) The Tomorrow War may not be original, but it borrows some of the best tropes and beats from the sci-fi and action genres, so much so I wish I could’ve seen Chris Pratt and Co. fight those gross monsters on a big screen. Crowd: 9/10 // Critic: 6/10

3. Dream a Little Dream (1989)

My July pick for the Dumb Rom-Com I Nevertheless Enjoyed! I CANNOT explain the mechanics of this body switch comedy to you—nor can the back of the DVD case above—but, boy, what an ‘80s MOOD. I did not know I needed to see a choreographed dance routine starring Jason Robards and Corey Feldman, but I DID. All I know is some movies are made for me and that I’m now a card-carrying member of the Two Coreys fan club. Crowd: 8/10 // Critic: 6.5/10

4. Black Widow (2021)

The braids! The Pugh! Black Widow worked for me both as an exciting action adventure and as a respite from the Marvel adventures dependent on a long memory of the franchise. (Well, mostly—keep reading for a second MCU rec much more dependent on the gobs of previous releases.) Crowd: 9/10 // Critic: 7.5/10

5. Liar Liar (1997)

Guys, Jim Carrey is hilarious. That’s it—that’s the review. Crowd: 9/10 // Critic: 7/10

6. Sob Rock by John Mayer (2021)

It’s very possible I’ve already listened to this record more than all other John Mayer records. It doesn’t surpass the capital-G Greatness of Continuum, but it’s a little bit of old school Mayer, a little bit ‘80s soft rock/pop, and I’ve had it on repeat most of the two weeks since it’s been out. Featuring the boppiest bop that ever bopped, at least one lyrical gem in every track, and an ad campaign focused on Walkmans, this record skirts the line between Crowd faves and Critic-worthy musicianship.

7. Double Feature – ‘00s Ben Affleck Political Thrillers: The Sum of All Fears (2002) + State of Play (2009)

In The Sum of All Fears (Crowd: 8.5/10 // Critic: 7.5/10), Ben Affleck is Jack Ryan caught up in yet another international incident. In State of Play (Crowd: 8/10 // Critic: 7/10), he’s a hotshot Congressman caught up in a scandal. Both are full of plot twists and unexpected turns, and in both, Affleck is accompanied by actors you’re always happy to see, like Jason Bateman, James Cromwell, Russell Crowe, Jeff Daniels, Viola Davis, Morgan Freeman, Philip Baker Hall, David Harbour, Rachel McAdams, Helen Mirren, Liev Schreiber, and Robin Wright—yes, I swear all of those people are in just those two movies.

8. Loki (2021-)

Unlike Black Widow, you can’t go into Loki with no MCU experience. The show finds clever ways to nudge us with reminders (and did better at it than Falcon and the Winter Soldier), but be forewarned that at some point, you’re just going to have to let go and accept wherever this timeline-hopper is taking you. An ever-charismatic cast keeps us grounded (Owen Wilson, Jonathan Majors, and an alligator almost steal the show from Tom Hiddleston in some eps), but while Falcon lasted an episode or two too long, Loki could’ve used a few more to flesh out its complicated plot and develop its characters. Thankfully, the jokes matter almost as much as the sci-fi, so you can still have fun even if you have no idea what’s going on.

9. Double Feature – Bruce Willis: Die Hard With a Vengeance (1995) + The Whole Nine Yards (2000)

Before Bruce Willis began starring in many random direct-to-DVD movies I only ever hear about in my Redbox emails, he was a Movie Star smirking his way up the box office charts. In the third Die Hard (Crowd: 10/10 // Critic: 7.5/10), he teams up with Samuel L. Jackson to decipher the riddles of a terrorist madman (Jeremy Irons), and it’s a thrill ride. In The Whole Nine Yards (Crowd: 9/10 // Critic: 8/10), he’s hitman that screws up dentist Matthew Perry’s boring life in Canada, and—aside from one frustrating scene of let’s-objectify-women-style nudity—it’s hilarious.

10. This Is the End (2013)

On paper, this is not a movie for me. An irreverent stoner comedy about a bunch of bros partying it up before the end of the world? None of things are for Taylors. But with a little help of a TV edit to pare down the raunchy and crude bits, I laughed my way through and spent the next several days thinking through its exploration of what makes a good person. While little of the plot is accurate to Christian Gospel and theology, some of its big ideas are consistent enough with the themes of the book of Revelation I found myself thinking about it again in church this morning. (Would love to know if Seth Rogen ever expected that.) Plus, I love a good self-aware celebrity spoof—can’t tell you how many times I’ve just laughed remembering the line, “It’s me, Jonah Hill, from Moneyball”—and an homage to horror classics. Crowd: 8/10 // Critic: 7/10

July Critic Picks

1. Summer of Soul (…or, When the Television Could Not Be Televised) (2021)

Even director Questlove didn’t know about the Harlem Cultural Festival, but now he’s compiled the footage so we can all enjoy one of the coolest music fest lineups ever, including The 5th Dimension, B.B. King, Gladys Knight and the Pips, Nina Simone, Sly and the Family Stone, and Stevie Wonder, who made my friend’s baby dance more than once in the womb. See it on the big screen for top-notch audio. Crowd: 8/10 // Critic: 9/10

2. Good Morning, Vietnam (1987)

Robin Williams takes on the bureaucracy, disillusionment, and malaise of the Vietnam War with comedy. Williams was a one-of-a-kind talent, and here it’s on display at a level on par with Aladdin. Crowd: 8/10 // Critic: 9/10

3. Against the Rules Season 2 (2020-21)

Michael Lewis (author of Moneyball, adapted into a film starring Jonah Hill), is interested in how we talk about fairness. This season he looks at how coaches impact fairness in areas like college admissions, credit cards, and youth sports. 

4. Bugsy Malone (1976)

A gangster musical starring only children? It’s a little like someone just picked ideas out of a hat, but somehow it works. You can hear why in the Bugsy Malone episode Kyla and I released this month on SO IT’S A SHOW?, plus how this weird artifact of a film connects with Gilmore Girls.

5. The Queen (2006)

Before The Crown, Peter Morgan wrote The Queen, focusing on Queen Elizabeth II (Helen Mirren) in the days following the death of Princess Diana. It’s a complex and compassionate drama, both for the Queen and for Prime Minister Tony Blair (Michael Sheen, who has snuck up on me to become a favorite character actor). Maybe I’ve got a problem, but I’ll never tire of the analysis of this famous family. Crowd: 8.5/10 // Critic: 9.5/10

6. The Life and Times of Judge Roy Bean (1972)

This month at ZekeFilm, we took a closer look at Revisionist Westerns we’ve missed. I fell hard for Roy Bean, and I think you will, too, if for no other reason than you might like a story starring Jacqueline Bisset, Ava Gardner, John Huston, Paul Newman, and Anthony Perkins. Oh, and a bear! Crowd: 8.5/10 // Critic: 10/10

7. New Trailer Round Up

Naked Singularity (Aug. 6) – John Boyega in a crime thriller!

Queenpins (Aug. 10) – A crime comedy about extreme coupon-ing!

Dune (Oct. 1) – I’ve been cooler on the anticipation for this film, but this new look has me cautiously intrigued thanks to the Bardem + Bautista + Brolin + Chalamet + Ferguson + Isaac + Momoa + Zendaya of it all.

The Last Duel (Oct. 15) – Affleck! Damon! Driver!

Ghostbusters: Afterlife (Nov. 11) - I’m not sure why we need this, but I’m down for the Paul Rudd + Finn Wolfhard combo

King Richard (Nov. 19) - Will Smith as Venus and Serena’s father!

Encanto (Nov. 24) – Disney and Lin-Manuel Miranda making more magic together!

House of Gucci (Nov. 24) - Gaga! Pacino! Driver! 

Also in July…

Kyla and I took a look at the classic supernatural soap Dark Shadows and why Sookie might be obsessed with it on Gilmore Girls.

I revisited a so-bad-it’s-good masterpiece that’s a surrealist dream even Fellini couldn’t have cooked up. Yes, for ZekeFilm I wrote about the Vanilla Ice movie, Cool as Ice, which is now a part of my Blu-ray collection.

Photo credits: Against the Rules. All others IMDb.com.

[yououghtaknow]

5, 29 and 30? Also, I read all four seasons of Skam Brighton over quarantine and it was fantastic! The changed storylines were so refreshing and I’m so excited for season 5 💛

hi!!!!! thank you so much for asking and thank you so much for reading <3.

29. which version (og + adapts) does yours most closely resemble?

hmm. well i would say skam austin, definitely, as a western english speaking remake. also with the dance team/theatre club vibes and the music aspect. also skam españa, definitely, with the centring of the girls' stories and just the beautiful friendship tone of it all, which is what i really wanted to get across. also some druck in there, with the realism and fixing the trans wrongs they did. and alistair fletcher has the drama of skam france, just as a character. what do these remakes all have in common? canon wlw. which was the main thing i wanted to write in this remake. skambr has 11 canon named wlw characters who have all played major-to-minor roles in the plot of each season, with 5 of them being members of the girl squad and three of them being mains and having wildly different experiences with their attraction to women because you can’t sum up the lgbt experience with just one person.

30. free choice! just give us some fun facts about it!

fun fact: i have never physically been in brighton. i would like to be one day, but i will most likely not get there before the series finishes.

second fun fact: i was originally planning to write a skam remake set in derry, northern ireland before i wrote skam brighton. that idea has morphed into something else that i plan to write, but it is a fun fact!!

and now. the big one.

5. what are some iconic soundtrack moments?

here we go lads, seasons 3 and 4, like promised.

season three

tw for discussion of mental illness and suicide, drug abuse and violence throughout.

trailer

WE START OFF!!!! WITH A BANGER!!! "tainted love" by soft cell. it’s an iconic 80s banger that we all know and love, about a toxic relationship, and we see a type of favourite character that is niche to me (the guy with perfectionism/parental issues who did some fucked up stuff in a piece of media who not a lot of people like). it’s jake baby. it’s about him living his life and being like “i feel like i have to run away from all of this” (a sentiment which shall be echoed later on). and jake with all of his different masks…….. i was ahead of my time.

episode one

we open with “say amen (saturday night)” by panic! at the disco which is. kind of yikes now, but the song does have the vibes i desired for the opening scene. a party-esque banger. lyrics like “i pray for the wicked on the weekend / mama, can i get another amen?” for the catholic imagery and mommy issues. also panic! is known throughout history to be an lgbt band. 

then we get “get out of my head” by redlight”, just for the mental illness of it all. also it has been said that i do love a good party song with deeply depressing lyrics about the main playing in the background <3. 

and then we get me ripping off druck with “idontwannabeyouanymore” by the theorist playing because i just wanted to use a piano cover of the song because silence with just instrumental is just very dynamic and mentally ill. 

and then we meet eleanor with “insane” by sonny fodera and biscits, which is basically just the lyrics “girl you make me go insane” because. well. you hate to see it folks, but we gotta foreshadow the internalised ableism and the hating one woman as a treat.

and to close off a very music filled first clip, we got “drive” by halsey, a staple of tumblr culture back in the day because it is just like “all we do is think about the feelings that we hide”. literally when you are gay and alone and are just so desperate for someone to see you but also so deeply afraid of it because that means change coming <3 

AND THEN!!!! we meet the love of my life ms christine love as she hums “express yourself” by madonna as she cleans the house. i wanted to give christine a lot of 80s music in her scenes, to show that she’s living in the past in regards to jake’s dad. also it’s just a good song, “you gotta make him express how he feels” is me writing any of the characters having dialogue.

AND THEN BABY!!!!!!!!!!! we get a moment i love so deeply. “mama who bore me/reprise” by the sweet signatures. an all female acapella cover of the iconic spring awakening song. this song has everything - heavy metaphor about sex, wanting your mum to tell you shit, catholic imagery, teen angst, amazing belting. we get the slow part as jake is alone and just trying to work out how to help his mum, and then get the ANGRY BANGER as jake goes out to play with his dogs to get his frustrations out, because at the end of the say, all of these characters are still kids <3

then we get “young (club mix) by jaded because i just wanted kind of boring straight party music for the bryan and rory scene. 

BECAUSE THEN LGBT COMMUNITY!!!!! we get jake’s dramatic walk down the hallway as “somebody to love” by queen plays. it’s about the catholicism, it’s about the being gay, it’s about the being so fucking lonely and just wanting somebody!!!!! also the parallel between jake’s lonely scene with “somebody” playing and liz’s crowded scene with “nobody” playing…. it’s about mentally ill people being different but also the same <3

AND. NOW. THE MOMENT I’VE BEEN WAITING FOR. we meet Him. the most valid theatre kid rep in the world. mr alistair thomas fletcher, who enters our lives singing “shallow” from a star is born under his breath as he washing his hands. once again, i’m ahead of my time. but also the first lines al sings are, metaphorically, him talking to jake. like “aren’t you tried trying to fill that void / or do you need more”. and then we begin a piece of foreshadowing most pleasing to me. alistair in season 3 and the recurring motif of falling, which will climax at the end of episode 10. also foreshadowing of his experiences with bipolar disorder with “in all the good times i find myself longing for change / and in the bad times i fear myself”. and we also begin the motif of jake interrupting al’s singing. 

(you may be thinking, isaac tumblr user nickhealy, you’re putting a lot of thought into this. that’s because out of all of the characters, al’s the one who never really expresses himself with his words or actions - he usually expresses himself primarily through music, which is a very fun and autistic thing of me to write.)

(also, the og episode 1 bench scene did make me feel very. not good as a gay trans guy, with all the talk of penises and such. it’s just very sexy of me to change it to al talking loudly about ballet and elton john. and then we get jake up on the balcony and al down yelling up at him. because i have literally never referenced anything subtly in my life)

and we end with “how does it feel” by m-22. like: “how does it feel when your walls fall down /  how does it feel when you're lost and found / how does it feel / it's the sweetest sound”. like it’s about jake meeting al, king of not being Good At Social, fletcher, and instantly being like “yes, husband material, thank you”.

episode two

(yes, this episode is titled after the gay hsm song. yes i’m a genius)

we open, as all good things do, with a fun homoerotic punk song with catholic imagery “east jesus nowhere” by green day. it’s just jake being like “i am Trying to find the instagram of a cute guy outside of church, love being a sinner”.

and now we see the beginnings of Sad Boy Jake, with “it’s ok, i wouldn’t remember me either” by crywank. we got “i am looking for an easy place / to mask my thoughts behind my face” and “i can hide from friends but i cannot hide from you” because he’s gay and he has depression. 

AND THEN!!!! we get “i like you” by dandelion hands playing as he comments supportive things on the youtube video of al….. literally jacob love will see a pretty boy one time and be like “last time i had you i should have kissed you”. also his alternate name being jack valentine…. valentine and love ugh my brain is so big

AND THEN!!!!!!! slow mo time, with “bite” by troye sivan…… a gay classic, if i do say so. like it’s about jake seeing al casually walk past, being all prententious and out, and jake’s just like “please set me free and let me walk beside you” because of the gay experience of simutaneously wanting to be a person and kiss them.

and then we get “the daisy chain” by the growlers. “feeling pressure on every side” and “tired of waiting to be explained / weakest link in the daisy chain”. it’s just the vibes babe.

AND THEN!!!!!!!!!!!!! a brilliant moment in my bare a pop opera stanning career - we get jake watching a bootleg of bare 2004 as “role of a lifetime” from the show plays. literally one of the most gorgeous songs ever written, sung by matt doyle. like everything is an act when you’re pleasing everyone - which could be the tagline of skam brighton as a whole. also jake watching “see me” and beginning to tear up because he’s afraid to come out to his mother and get the same negative reaction….. and him watching “cross” and sobbing because he relates to jason so much and feels like he would also be better off dead than gay….. 

BUT AFTER THAT!!! we smash cut to al as jeremy in be more chill, singing the beginning of “more than survive”. absolute king shit!!!!! also, i don’t remember if it’s mentioned in canon, but eleanor is the person who plays the squip in this production of bmc, because i am not!! subtle!! with!! my!! metaphors!! 

and we return to sad boy jacob with “swear to god the devil made me do it” by the front bottoms, chosen because references to the devil and mommy issues <3

AND THEN!!!! A MOMENT OF GREAT FORESHADOWING!!! we get mister alistair fletcher practising alone in a theatre because he is dramatic, and jake walking in as he sings “broadway here i come” from smash. we got references to saints, we got hints at al’s anxiety, we got the falling motif coming back in a song explicitly about jumping off of a building, that also doubles as a song about wanting to do theatre….. also, al plays the last note wrong as a metaphor for al’s plan of suicide going well until the very end, where he ends up alive and goes home.

(side note, we also got the football team’s jackets and signature colours being black and white (straight pride flag colours babey) and then we see al in bright yellow. it also represents jake’s depression and al’s mania, the everything and the nothing of it all.)

AND THEN!!!! we get manic (in the most literal sense of the word) pixie dream boy al asking jake to dance with him to “movement” by hozier because. it’s literally just such a beautiful song. and jake is just watching al dance like “hm. no thoughts head empty just pretty boy”. also the scene itself is a reference to wicked, with jake doing an awkward and stilted dance and al taking it and turning it into something graceful (the glinda and elphie scene in dancing through life)

and then we get the return of blue neighbourhood with “youth” by troye sivan playing over a smoking montage with the boys, because they’re young, they’re gay, they’re vibing

AND THEN!!!! we get “talk” by hozier playing as the episode ends - a song that of course references orpheus and eurydice, as al also did in this clip with hadestown. it also plays over ellie talking because jake is just Ignoring her to pay attention to al. also the inherent homoeroticism of making eye contact while hozier plays

episode three

we open with “highway to hell” by ac/dc over a fun football montage of jake both playing the game and getting bored and checking out guys. it’s about the thinking he’s gonna go to hell for doing it but he literally Cannot Stop

AND THEN!!!!!! a moment. we get a performance of some of “all you wanna do” from six by al and ellie and their theatre kid friends as they rehearse for something at lunch and jake, bryan and rory watch them. ellie’s doing the whole flirty k howard thing, and not actually getting into the real feeling of the song, and the guy she’s dancing with it awkward as all fuck because he’s her cousin. so we get al stepping in and fucking going the fuck off. and we see how good of an actor al really is in this scene, as he’s legit scary. we also see ellie clearly having feelings towards al and him just being like “yep good acting! moving on!!!” because no thoughts just dance. also bryan and rory not understanding that the song is about assault and jake being genuinely concerned….. and then al and ellie’s kiss at the end as ellie “dies”..... god the real reason this show isn’t made is because i would be too powerful if i could make everyone see my theatre kid mischief.

AND ANOTHER MOMENT!!!! we get “like a prayer” by madonna playing as jake is living his life and taking some “am i gay” quizzes - the questions of which are comprised of actual am i gay quizzes i took to make the scene as legit as possible, and as a gay trans person. Did Not Like. Would Not Recommend. also jake admitting he’s gay to the quiz because he’s pissed about the concept of misgendering al….. also jake forcing himself to pick the straight options even though it’s emotionally hurting him…. and then we hear christine singing in the hallway “everyone must stand alone” because it’s jake pov at the time…..

AND SMASH CUT TO!!! fall out boy’s cover of “i wanna dance with somebody”, because at the last very gay house party “i wanna dance with somebody” played and i love a good parallel

AND THEN!!!!!! literally the hottest of all hot boy summer things, we get al and esther doing some karaoke at the house party with “don’t you want me” by the human league. (which, yes, is a glee reference.) THE LITERAL COURAGE OF THIS MAN!!!! alistair fletcher looked a closeted guy, who he has had three (3) interactions with in person, dead in the eye and was like “i know you want me”. as opposed to esther “just be her friend first and then see about anything else” montner and james “I Will Never Speak To You Again If You So Wish” cohen.

and then, because of course i did, we get “bad romance” by lady gaga playing over the next scene with the beginnings of the boy squad because it’s a gay house party and it’s a fucking banger for the ages

(also just the shift from al hot boy summer fletcher to al gay disaster fletcher with him running literally out of the house because he kissed a guy.)

“left handed kisses” by andrew bird and fiona apple plays after jake and al’s deep conversation outside. like jake’s really out here like “i don't believe everything happens for a reason” and “i don't go in for your star-crossed lovers / in the heart of a skeptic / there's a question that still hovers near” because al info dumped about his love for adaptation of romeo and juliet…. (side note, al is definitely an & juliet stan, as everyone should be, stream & juliet <3)

episode four

we open with a song i discovered when i was in a community theatre rip off version of cats, “the show” by lenka. it’s about a song about indecision in the middle of a church before confession, because jake can’t actually confess to the sins he believes to be true. it’s about the “'cause it's too much, yeah it's a lot to be something i'm not”.

And then we fade to “pink + white” by frank ocean (because mlm rights), and just like “you showed me love / glory from above / good glory, dear / it's all downhill from here” is a very al/jake line. also it’s a bop for a little football montage.

AND THEN!!!! on halloween, we get a little montage of jake dancing to “paradise by the dashboard light” by meatloaf as he makes himself a sandwich - it’s literally about just being happy and having a nice time. and also jake dancing to more old timey music because he’s going up to his parents’ old room and he’s also living in the past a little, with his childish snack and playful dancing.

(also, the phone call where al just infodumps about bare and jake’s listening and asking questions <3 it’s about the autistic love and friendship yet again)

and then we get “i’m so tired…” by lauv and troye sivan as we arrive at the very awkward ellie/jake/al pre drink, because Is Jake Not So Tired Of This Heterosexual Bullshit He Must Do.

(also, it is my personal headcanon, and therefore canon, that al convinced ellie to go with the angel and devil costumes so that he could pull up in his leo-as-romeo get up and live out his baz luhrmann esque fantasy).

AND THEN LGBT NATION!!!! we get “run away with me” by ms crj as jake and al literally run away from the party after al got misgendered and Pissed. it’s about the using romance and whimsy as an escapism from your shitty life, it’s about the being the in darkness and occasionally getting hit by the street light, it’s about the “i’ll be your sinner in secret”, it’s about the bare connotation with the “run away with me” parallels. it’s also about the song being one of the best songs ever written.

(and then we get the wedding, which, before i get into the song, is a reference to So Many Things. we got west side story with the fake wedding and first kiss, we got hadestown with al making the wedding rings from nature (a la wedding song), we got bare with wedding bells and the dream wedding, and in the scene, we get some vineyard scene from spring awakening vibes, with the discussion of the future and religion and philosophy…… quite literally i love art so much)

and then. ladies. a piece of writing written in Peak tender tumblr. al and jake have the kiss of their wedding to “pink in the night” by mitski. it’s literally about the “i know i kissed you before but / i didn’t do it right / can i try again?” of it all. like jake love voice “i glow pink in the night in my room / i’ve been blossoming alone over you”. the repression, the pining…………. i am such a talented man.

and then we end with a doctor who reference, with al saying “run”, taking jake’s hand and the two of them running out of the church as “run away with me” comes back in. it’s literally about al taking jake out of his dull life and helping him find his own happiness. it’s also about the inherent autistic culture of relating to aliens.

episode five

WE! OPEN! WITH! a song about being gay and falling in love with someone immediately after meeting them - “share your address” by ben platt. a bop for the ages. it makes me so happy, it’s a great “early stages of a relationship honeymoon stage” montage song.

(also, i just really love the detail i put in about al’s binder, because the cuddle scene with david and matteo in druck did make me worried because david was wearing his binder. like i understand why he wore it for the actor’s comfort but just the thought of sleeping in a binder…… terrible. awful. pain beyond my wildest dreams.)

(also also, al saying he couldn’t get on hormones because of “problems with his heart” is a lie, because he means because of his mental health, which is based on personal experience babey)

and then we get an iconic skam song: “talk show host” by radiohead plays as jake sits in the back of a drama club meeting, isolating himself. it’s literally about the “i want to be someone else or i’ll explode” of it all. 

and then we get “rock and roll” by led zeppelin as jake walks his dogs - just because it seems like the kind of song jake would like and it just vibed with the whole scene.

(also, the clip where jake texts al at the beginning of it and then asks bree about her family….. literally i’m so good at foreshadowing)

AND THEN!!!!! WE GET THE ICONIC!!! “involuntary teenage rebel” by clout from grandma’s closet plays as we get a jake solo slow mo. literally they were right when they said “they say i'm a teenage rebel / but i'm really just afraid of how i come across to others / and it bothers me when i look weak”. like that’s just another skam statement line babey. also it’s genuinely such a good song and literally helped inspire me to do more songwriting…. stream it 

and then we get “heaven” by avicii, chosen purely for the title being “heaven” because christianity centric season.

AND THEN!!!!! we get jake asking al to come save him from the shitty party, and al says “wait for me, i’m coming”, an obvious hadestown reference, and when he arrives, he’s singing the “la la la la la la la”s from the show. it’s because the party - where bryan, rory and ellie are - is, in al’s mind, hell, and he’s going to save jake from it. 

and then, because, as mentioned, the way al express his true feelings is through Music, we get al trying to comfort jake by playing him a song - “you matter to me” from waitress (put a pin in waitress, i’ll get back to it later). the inherent homosexuality in “come out of hiding i’m right here beside you / and i’ll stay there as long as you’ll let me”. also it’s just about mattering to someone. like, for the first time in his life, jake has someone who’s saying “i love you, you matter, i will be here for you” and he just needed that So Much. 

episode six

AND WE SMASH CUT IMMEDIATELY TO!!! “london boy” by taylor swift, a campy and beautiful bop!!!! because al Is from london and he Is a boy!!! (also, fun fact, i was going to make al be from ireland originally, but then someone in the skambr discord said this song should be used in a scene, and i was like “okay, fuck it, london time”)

(also, you can subtly see al’s mania in the london boy scene, with him coming up with quick ideas, clearly having very low anxiety through the past few episodes, and just taking off his shoes and going for a walk in a park in november…..)

and then we get “landslide” by fleetwood mac as jake lies in his dead dad’s bed. it’s really about the “can the child within my heart rise above? / can i sail through the changing ocean tides?” and about the grieving as a child and your mental health getting worse while you’re still so young and you feel like the world’s on your shoulders and you’re both an adult and a child at once……

and then……. we get “class of 2013” by mitski after christine has her breakdown and jake packs his things to run away. it’s about both of them dealing with their grief by pretending it never happened and having all of that build up inside of them until they can’t take it anymore. And i see the lyrics of “mom i’m tired / can i sleep in your house tonight?” in this specific situation as jake being tired of his father’s constant presence and he just wants to be in a house with his mother the way he remembered her before his father died. 

(and, sidenote, this is one of the saddest scenes i’ve ever written, in my opinion…...with jake being like “she’s so crazy, but i’m nothing like her” because he’s in denial of his own mental health issues and al seeing him saying that as “oh, he’ll see that i’m crazy too and want to leave”...... and al says his final goodbye to jake, using his full name, because he assumes jake will never want to speak to him again, but jake has no idea……..)

(also, jake parroting bryan’s words of “gay marriage is legal, so everything is fine” in the pride clip……. God. and the way jake’s internalised homophobia and ableism manifests in the same harmful way….)

and then we get “don’t threaten me with a good time” by panic! At the disco as they boy squad rolls up to the party in the park. it’s just a party song. no deeper meaning lads.

and then we get jake in the bathroom having a little breakdown (as a treat) to “Give me novacaine” by green day. it’s just about the using alcohol and drugs to cope with your poor mental health because you have no other quick way to make it all better. It’s about about jake trying both to numb himself and to force himself to feel something, but neither one of those things give him the results he wants.

episode seven

we open with another iconic and beautiful song: “life in italics” by clout from grandma’s closet babey. like jake love voice “all these troubles on my mind i’ve been lonely / building walls running from the old me”. thank you clout for literally writing some of the best lgbt music. 

AND THEN!!!!!!! a scene that brings me much joy. “gotta go my own way” from high school musical 2 plays in the other room as jake has a religious breakdown in a literal (storage) closet. and then al leaves the group chat and blocks jake…. like jake voice “another colour turns to grey / and it's just too hard to watch it all / slowly fade away”

and then we get “hello!” by role model as jake goes for a depressed jog and he sees bree out drinking with some random people. like “i never really talk much, keep it inside / to find someone who cares is getting harder to find / we should be dancing in the sun / it's hard when everything is numb”.

(also, at the end of that clip, we briefly shift from jake’s pov to al’s, as we see al filming in the park and he films jake running away…… do i know what this means metaphorically? not really. do i vibe hard with it? oh hell yeah)

AND THEN!!!! after jake and sandy have their beautiful conversation, we get “under pressure” by queen and david bowie, another older song, this time expressing jake’s joy as he finds some small solace with his younger self. it’s also just about the inherent homosexuality of the song and of sitting on the beach, eating chips with your best friend.

episode eight

WE BEGIN!!!! with a youtube video of ellie and al singing “wallflower” from we are the tigers. i chose this basically because i wanted to get more of a vibe of what their relationship is/was across, and also because i love the song (stream we are the tigers original off broadway cast recording). it’s also about the dynamic of the song being “shy introvert vs outgoing extrovert being very toxic friends”, and also about the ellie supporting al stuff, because she has canonically been there for him for years, just not in a very good way. also i wanted to write representation for the “had a very intense friendship with a girl pre-transition and then had a dramatic friend break up and now i’m a guy and feel disconnected from the whole thing, although it was quite homoerotic at the time” people. this scene also marked the beginning of my purely self indulgent musical number scenes, and be warned, this may the the first, but it is by no means the last.

and then it’s very music lite for the rest of the episode, until al returns, and jake’s like “hey, maybe you should stop talking to your toxic friend” and al responds by beginning to make out with him as “fuck time” by green day starts to play. the COMEDY of jake being like “seriously, i think--” and then all you hear is “OOH BABY BABY IT’S FUCK TIME”. skam brighton is a comedy show.

and then we get al “communicates through music and theatre references” fletcher beginning to sign the ASL translation of the bridge of “word of your body (reprise)” from spring awakening with jake - which is another Very tragic show - and al also literally says the line “and so you should”. and al responding to jake jokingly calling him insane by shutting him up with another kiss….. oh ladies.

episode nine

WE! OPEN! WITH! “love shack” by the b-52s as jake wakes up and sees james and al just having some Fun making breakfast in the kitchen. it’s just some boys being boys and having bants.

and then we get jake using al’s love language of music and singing “those magic changes” from grease, singing along to the jordan fisher and aaron tveit version because that song did assist in my gay awakening.

(also, al stanning female doctor pomatter in waitress and james stanning waitress as someone from an abusive household….. my mind.)

and now. we begin The Big Bad Clip. “why didn’t you stop me” by mitski plays over the beginning of jake and al’s london adventure. it’s literally about looking back on the scene as it happens in a montage and al being like “why didn’t you stop me from doing that”..... god.

(also, jake and al go to see waitress, which Has been played before, and it’s foreshadowing for how their relationship ends. jenna and jim’s relationship - the main couple of waitress - begins with them cheating on their parents and falling in love quickly in secret, but they know it’s not healthy for them to keep the relationship going, so agree to end things and part ways as friends who wish nothing but the best for each other.)

and then we get “oops! I did it again” by britney spears glee cast version, because it’s just really Sexy and Fun. also just the mentally ill experience of “oops! i did a manic episode again!”.

and then we cut between a piano version of “last night on earth” by green day, as jake sits alone in the hotel room, and “true trans soul rebel” by against me! as al walks down the streets of london, in a split pov, and then we see al having a full meltdown/breakdown in the middle of victoria station. like al voice in this scene “another night you wish you could forge, / making yourself up as you go along / who’s gonna take you home tonight? / does god bless your transsexual heart?”.

and then we get legit “last night on earth” by green day as jake walks away after ellie yells at him. just because it vibes so much.

episode ten

we open with “mystery of love” by sufjan stevens as jake walks down to al’s house, because it’s just a vibey song, and while i hate cmb//yn with the fury of a thousand suns, it Is a song written for mlm.

and then we get “better alone” by lykke li as jake researches al’s various diagnoses. and it’s just like “nobody wants to be the one to walk away / nobody wants to see the truth, then let it in, run away / nobody wants to know the ways they don't love you right” and then “i’m better alone than lonely”..... mr love

and then we get “let it be” by the beatles, a Very nostalgic old fashioned song with catholic themes and just big comforting and recovery vibes…. jake confessing his real feelings to the priest and then reuniting with christine in the church and hugging her tightly and they both agree on working on getting better….. 

and then we get to the talent show, where we see the end of ellie singing “on my own” from les mis - as jake did at the beginning of season one. is this foreshadowing? is it a coincidence? i honestly don’t know. i just chose it because basic theatre girl song.

AND!!!!! THEN!!!!!! we get the song that acts as al’s suicide note: “the goodbye song” by joe iconis (writer of be more chill and “broadway here i come” from smash). we get the return of the falling motif with “i’m flying away” and the lines that really act as what al imagines to be his final goodbye to everyone he knows, as everyone he knows and loves is in that building: “i'd stay if i could / but the universe won't let me / so please be good / and don't you forget me”, and then al turns the “aahs” at the end of the song from a catchy crowd pleaser ending to a long, painful scream as the audience slowly stops clapping, until the room is silent, and then he bows a la the emcee at the end of cabaret (a bow which is often viewed as a metaphor for the character’s death). it’s literally just al having a breakdown on stage, but he rolls a nat 20 on his performance check, and the audience are like “this is very good performance art”

we then get a flashback to “broadway here i come” because. i am a king of foreshadowing.

and then we get “wait for me” from hadestown (obc version) as jake runs to find al, and it’s about the role reversal of jake running to save al from something worse than al saving him for bryan. it’s about the repetition of “wait for me, i’m coming” because of the fear of “what if i get there too late?”

episode eleven

“a better son/daughter” by rilo kiley plays as jake looks through al’s two tumblr blogs - and the song simultaneously a very al and jake song. with the descriptions of depression and dealing with a mother with mental illness at the start, which are very jake, but then the lines “and sometimes when you're on, you're really fucking on / and your friends they sing along and they love you. / but the lows are so extreme that the good seems fucking cheap” are just the base character description for al.

and then we get “the archer” by taylor swift as jake goes into the school again…. like he has been the archer and he has been the prey, in regards to being gay (with him helping in outing sandy and being outed himself).....

(also, fun fact about the episode, it was originally written to be from al’s point of view, but then i decided against it and had to rewrite it, which is why there’s only 4 clips instead of the usual 5 or 6)

and then, lgbts, we get “the predatory wasp of the palisades is out to get us!” by sufjan stevens as jake walks his dogs  out on the beach and al goes to the beach to write his emo poetry…… also, fun fact, al’s poetry is the first time i’ve ever written poetry/lyrics that weren’t about me, which is very fun. 

and then!!!! at the beginning of the final clip, we got “footloose” by kenny loggins, the iconic bop from the film of the same name. just because it slaps and it’s a fun time.

(we also get some Foreshadowing with al referencing rent in this scene)

and then. transgender nation. we get “midnight radio” from hedwig and the angry inch playing over al and jake’s having fun and being dumb kids montage. 

i know riverdale made this song a meme, but it HITS. it’s about the al referencing origin of love in the cuddle clip, al saying “i laugh because i will cry if i don’t”, it’s about the “for the misfits and losers” and the “hold onto each other”. it’s literally about jake finding community and also wholeness and happiness in himself.

(also, jake talking about all the little soulmates and the fact that he believes that the boy and girl squads are all his soulmates in different ways…… and bree actually paying attention and showing some vulnerability at that point because she loves her friends so much!!!!!!!!!!)

season four

tw for discussion of sexual assault/rape, alcohol abuse and abortion throughout

trailer

lgbt community. we begins with the regrettes' cover of "don't stop me now" by queen because a) i think it's fun when women and b) it's about bree's mania that we've already seen throughout the seasons, this time from her perspective, and it's simultaneously a Fun Time and a Foreboding time.

episode one

we open with "hail mary, gentle woman" by the cathedral singers, which is literally just the prayer "hail mary", but a song. i chose this because catholic, women, and church time babey. also because it was always one of my favourite hymns growing up (because, in case you couldn't tell from half of the mains being raised catholic and lowkey fucked up because of it, i was raised catholic)

and then we SMASH CUT to "r u mine?" by arctic monkeys, a sad british teen staple, as we see bree wake up in josh's bed for the first time and take the "walk of shame" to get to church. it's about the "i go crazy 'cause here isn't where i wanna be", introducing the Mental Illness, bree's want to get out of where she's from and go to a good uni, and her literally not wanting to be in some strange guy's bed in one line. am I reading too much into this? hell yeah. but it's my show, so i can read as much as i want!!!! (also "satisfaction feels like a distant memory" is both about her depressive states and josh not being able to make her orgasm <3)

AND THEN!!!!!!!!!! we get "all i really want" by alanis morissette, the beginning of my season 4/jlp parallel hyperfixation. it's about bree kinning frankie healy and "do i stress you out?" being her @ audrey. and just bree voice "it would knock me to the floor if i wasn't there already / if only i could hunt the hunter". it's just a perfect teen angst song and it's perfectly grungy and brianna-y.

AND THEN!!!!! we get "kiwi" by harry styles playing as bree slow mos by herself down the street. it's about the just hot girl energy of the song and also the romanticization of unhealthy behaviour because that's bree, baby!!!! also we get more of the word "crazy" because of bree's internalised ableism, and we also get the chorus of "i'm having your baby, it's none of your business", foreshadowing her unplanned pregnancy done by josh, who we saw in the last scene.

AND THEN!!!!! we get "chandelier" by sia as bree and the girls have a fun party moment, but bree is still Fucked Up mentally by seeing annabell and also men being creepy. it's about the using alcohol and drugs to push away your feelings because you have a lot of trauma and have internalised ableism and have no idea how to get the help you need without being vulnerable, which terrifies you so So much. also we see that bree forgot to take her meds in this scene, which i couldn't explicitly say in the scene because spoilers, but it's a fun thing.

then we get dodie's cover of "when the party's over" by billie eilish because i like the soft piano vibes of it as bree walks home after the party, because we always see bree as "the party girl", but the party's over now and we see her petting her cat, making sure her brother's home safe, taking off all her makeup and pretty clothes, completely non sexualised, and just getting into bed to sleep because she's just So Tired. also it's about bree pretending she's happy on her own, but she's Not, she has a lot of self loathing and deeply loves her friends more than anything. also a bree/rori moment with "call me friend but keep me closer".

episode two

we open with an audition sequence!!!!! because i'm a theatre kid and love a good audition sequence!!!!

we get rori singing "sexy" from mean girls, because it's a very rori show (pink aesthetic, fun female characters, a funny time), and because it's a very maureen from rent song. also rori is just a very funny person and also has a sick high belt in my mind. also it's about her learning to like the way she looks, slowly but surely. it's also a song about changing who you are, which is a very skam brighton theme.

and then we get al singing "vienna" by billy joel, but the shortened version they did in smash, but he also plays the piano like ben platt in the politician because he's a basic white theatre boy. it's also just a beautiful song about growing up and maturing, and also "if you're so smart, then tell me why are you still so afraid?" is a very bree line. 

(also, the part where josh calls milo his "kid cousin" and then bree's like "yeah, milo's the same age as me" but josh ignores it…… creepy!!!!! bad!!!!!! also, side note, milo is canonically genderfluid and uses different pronouns depending on the day, which is why they change throughout the season.)

and then!!!! we get annabell singing "hallelujah" by leonard cohen, which is just a stunning song, we all know this. it's a song about faith and doubt and it's also a parallel to rori's happy go lucky song, which annabell's being slow and sad instead. also they're jewish and gay and lovely. and then the jeff buckley cover plays over the next scene because it's Good.

and then we get "feel it still" by portugal. the man as the girl squad text. it's just a fun song and the line "i'm a rebel just for kicks" is great from brianna "rebel girl by bikini kill" holland.

and then, swiftie nation, we get “new romantics” by taylor swift as bree agrees to go out with josh because she’s being self destructive. like the fact that she says yes to him as the line “we’re all bored / we’re all so tired of everything” plays say it all. and just the whole song is very bree core, as a whole, also it’s a really fucking good song. i am a 1989 (deluxe) stan.

and then we fade away with “vienna” by billy joel because it is such a good song god bless <3

episode three

WE!! OPEN!! WITH!!! “tik tok” by ke$ha because it is genuinely one of the best songs of our generation, and also it’s just a very shopping centre song. i don’t know why but it Is.

AND THEN!!!!!!!!! we get genuinely one of my favourite songs that i’ve been waiting to find the right scene for ever since i first heard it. “dog bite” by stella bridie is just genuinely a stunning song that really Gets bree’s character as a whole, especially the first lines “putting on lipstick in the bathroom at the doctor’s  / i got a party after this blood test”..... the whole Need to be perform feminity whilst doing something as simple as going to the doctor’s as bree draws herself and tries to make herself look perfect because she believes her only self worth comes from her body and just….. the vibes. immaculate.

and then we get “ophelia” by marika hackman, another beautiful song, as we see bree self destructively look through all of the cyber bullying that’s happened to her in the past as a way of emotional self harm. it’s just a genuinely depressing scene with a good song underscoring it.

but then we cut to rori and brianna out for a jog together - because both have issues with their self image, but also because they’re friends and like to do things together - as “it’s nice to have a friend” by taylor swift plays. it is a very homoerotic song, with a lot of childhood friends to lovers vibes, which is kind of what we’re going for here. they are both very deeply sad but also it is nice to have a friend and have someone there for you when you find out the cast list of the musical you auditioned for and you can hug them…….

and then!!!!! we get “...ready for it?” by taylor swift as we get another party sequence because it’s a fucking banger and also brianna is Very reputation as a person, which will be shown with some other taylor songs throughout the season. also it’s kind of a “are you ready for it?” for the Deeply Sad scene that follows the fun party sequence, because this is skam brighton, and i will always write scenes of people being sad outside/after parties.

episode four

we begin with “harlem” by new politics as bree, annabell and dean hang out at the shopping centre and fuck around in clarie’s. it’s about a funky song and about the recurring line of “like you, like me, like everybody else” of the three of them all having their mental illnesses in common and bree simultaneously feeling happy that she can be open about it, and deeply uncomfortable that she has to be open about it.

and then we get “crush on you” by elijah who as bree scrolls through instagram and looks at two pictures - one of annabell and one of rori and nick, and when she likes the picture of rori and nick, she literally taps over nick’s face so that she can just look at rori <3 it’s about the bree being a bicon.

and then we get the theatre club watching rent as a fun time!!!! we get tune up #1 and voicemail #1, just iconic numbers. we get theatre kid supreme al knowing all of the words, cool guy james doing his air guitar, and when the line “let her be a lesbian” is sung, we get annabell cheering and rori awkwardly looking away because she has internalised homophobia.

(side note, one of my favourite aspects of this season is that it’s a subversion of the past three, where we’ve seen sandy, liz and jake deal with their internalised struggles with their sexualities, but with bree and rori, rori’s the one dealing with her sexuality, while bree is in love with her quietly)

AND THEN!!!!! we open clip 5 with the iconic skam verse song “call your girlfriend” by robyn as the girl squad show up at a house party and bree and rori have a homoerotic moment

and then!!!!!!!!!!!! a moment of skamverse wlw solidarity, “blush” by rhiza plays as rori and bree kiss in the bathroom. a) because it’s a good song and b) because the whole “she's just a friend, you know, but sometimes yeah i wanna kiss her, uhm but that's just 'cause she's cute right? that don't make me gay, it's not like i like other girls like i only like her, i mean no, i'm not gay, right?” part is really summing up what rori’s going through in this scene. also the song is just a bree song. 

episode five

WE OPEN WITH!!!!!! an iconic moment, if i may say so myself. an iconic wlw song, “boyfriend” by marika hackman, plays over bree and nick out partying. like it opens with the lyrics: “i've got your boyfriend on my mind / i think he knows you stayed with me last night” and then we get “it's fine 'cause i am just a girl / ‘it doesn't count’”. i mean. come on.

we then get a snippet of “rent” from rent in a rehearsal, with the lines: “how do you leave the past behind / when it keep finding ways to get to your heart” and “how can you connect in an age / where strangers, landlords, lovers / your own blood cells betray / what binds the fabric together / when the raging, shifting winds of change / keep ripping away”, which all really relate to brianna with her trying to bury her past traumas and and how she struggles to connect and also struggles with change - and the reference to fabric in the line when she’s the person who does the costumes for the show.

and then we get “pynk” by janelle monae as bree and annabell go charity shopping together and have a nice time. It’s just a fun wlw song and i like it. also it’s boppy and happy and kind of dreamy to show how their relationship is very on the surface and not as deep as it once was and they’re not really going to get that back so it’s just really awkward. 

AND THEN!!!! we get bree panicking because she’s getting creepy messages from josh so she runs to hang out with the girl squad and works on her drawing of them, focusing on rori as “head over feet” by alanis morissette plays. this is kind of a contrast to “pynk”, with it being a song that uses real instruments as opposed to the more electro feel of “pynk” to represent the two different relationships. also the lyrics “you treat me like i'm a princess / i'm not used to liking that” and “you've already won me over in spite of me / and don't be alarmed if i fall head over feet / and don't be surprised if i love you for all that you are / i couldn't help it / it's all your fault” are just Incredibly rori/brianna.

and then we get “hand solo (acoustic)” by marika hackman as we get a brief scene of bree masturbating to some not very healthy p*rn. i was hesitant to include this scene, out of fear of over-sexualising bree as a bisexual girl of colour, but then i thought i had to include the scene from a non-sexual stand point - to show how bree uses sex, even in her own mind when she’s alone, as a self destructive thing, and to show that masturbation is a normal thing to do, but also it’s a hint that bree’s state is getting a bit more manic than usual, so she’s getting more hypersexual. also for the catholic guilt of her stopping and looking up to see the cross above her bed.

when then get ortopilot’s cover of “basketcase” by green day, which is more of an acoustic version of the song. the song itself is just a Very mental illness song and just has a lot of vibes of guilt with it, and the beat of the song is very quick and manic in itself.

we then get “every breath you take” by the police playing over bree and josh’s Scary text conversation in the fish n chip shop, because it’s a creepy stalker song with Pleasant Music over it, which is kind of the Vibe i was going for with josh. also, the season came out around the same time as skames season 3, and seeing the parallels between josh and miquel, with josh being very emotionally distant and miquel being very emotionally close, but both of them having the same goal in mind and end result was very interesting to me. also both of them being very creepy old guys who should stay away from teenagers <3

but then. oh but then. we get a moment that is genuinely one of my favourites. we get the broadway cast version of “forgiven” by alanis morissette, another one of my favourite songs. i chose the broadway version because i prefer the quieter orchestration and the build up to the chorus instead of going all in on it so quickly. i chose this song because bree does parallel frankie from jlp, yes, but she also parallels mj in the fact that she’s repressing her trauma from being sexually harassed and assaulted by adult men ever since she was a child. and the song itself is very beautiful and bree core, with lyrics such as “my brothers, they never went blind for what they did / but i may as well have / in the name of the father, the skeptic and the son / i have one more stupid question” and “we all had our reasons to be there / we all had a thing or two to learn / we all needed something to cling to / so we did”. we also see bree seeking refuge in a church after being harassed by josh, because religion is the place where she genuinely feels safest, but she also doesn’t feel safe, as a bisexual woman in the catholic church, but she also knows in her heart that she is loved by god. 

episode six

WE! OPEN! WITH! “motion sickness” by ms phoebe bridgers plays as bree wakes up at liz’s house the next morning - a song literally about a shitty older man - and then bree is literally sick in the bathroom, claiming she has food poisoning from the strange fish they got last night because she couldn’t go to their usual place out of fear. but, in reality, this is morning sickness from her pregnancy, because she had sex with josh for the first time 6 weeks prior.

and then we get a scene of bree in a manic state rapidly working on costumes as “my body’s made of crushed little stars” by mitski plays. this scene is directly inspired by me in what i believe to be a manic episode staying up until 5am writing because i thought that if i stopped i would forget everything that i was thinking and never write anything good again. fun times. but also just the fast pace of the song and the very depressing lyrics and the whole “i’m not doing anything” playing over bree doing So Many Things…..

we then get a lot of silence because it’s Emotion Time, but then!!!! we get a moment very pleasing to be, “unprodigal daughter” by alanis morissette playing as bree goes to buy a pregnancy test. the song itself is just one of my favourites, and it’s also about bree kinning ms frankie healy (having a “perfect” white older brother, having an intense relationship with your mother, being artistic and into english, being bisexual and just really cool), but it’s also a song about choice and the singer choosing herself and who she wants to be and having hope for the future and wanting to run away. also the line “i’d invite you but i’m busy being oppressed” once again being used in regards to a young bisexual girl of colour….. genuinely one of my favourite lines ever written. the power it has.

and then. bree finds out she’s pregnant via the tests. and “oh no!” by marina begins to play, because skam brighton is a comedy show, but also skam brighton is a show for depressed british-ish teenagers. bree copes with this Really Fucked News by deciding to go and get wasted because that’s her favourite method of dissociation. also the song is just very bree as a whole, with the wanting to change and the “i'm now becoming my own self-fulfilled prophecy” after her making fun of her cousin’s pregnancy in the first episode.

and then we get “bubblegum bitch” also by marina as bree goes out to drink. it’s there to represent how bree is trying to force herself to get into her familiar role of the fun bitchy party girl, but it’s not working because she’s just really fucked, but she’s trying her best.

BIG TW FOR SEXUAL ASSAULT

and then “you are going to hate this” by the frights plays as josh and bree dance together, and we see josh giving her more and more drinks, getting her purposefully drunk as she gives into it, wanting the release being drunk gives her, not realising that he could be doing something bad to her because she’s so distracted by a) the alcohol and b) the fact that she’s fucking pregnant and doesn’t know what to do about it.

and then we get “seventeen” by sharon van etten as josh begins to assault brianna. i first heard this song in sex education, where it played as a group of girls supported their best friend after she was sexually harrassed on the bus, and i wanted to use it here as kind of a parallel to that, but also as a reminder than bree is seventeen years old, a child, and josh knows this, purposefully got her drunk and is assaulting her, because he is a disgusting human being.

episode seven

we open with “interlude iii” by tessa violet, as bree wakes up and leaves josh’s bed again, a parallel to the first clip of the season, but this time we saw the before that presumably happened. it’s just a really pretty song that vibes with the lonely emptiness of the scene.

and then we get “the ballad of mona lisa” by panic! at the disco as bree walks into school. it’s just a really vibey bree song, and the whole “i’d pay to see you frown” line is just about the always masking around people and never showing your real emotions. 

we then get “out tonight” from rent, but the movie version, purely because i just prefer the music production on that version. it just slaps. also, i just used this scene to talk about my love for my interpretation of mimi marquez. she’s just a teenager with a lot of problems who needs proper professional medical help, very much like bree. also, i have always seen “out tonight” as mimi having a manic episode and using the number as a distraction from her actual problems (literally what bree is doing) and i love her. (also the scene of bree watching the scene from the movie and having gay panic is just an Iconic moment)

we then get “funeral” by phoebe bridgers as bree lies in bed, deeply depressed and barely able to move. it’s just about a beautiful and deeply sad song. like all of the lines just vibe really hard with bree and the deep loneliness and emptiness of the song, and the underlying panic really outline bree’s actual emotional state.

and we end with the titular song of the episode, “will i?” from rent. i chose this song because, despite it being very repetitive, it’s always been deeply meaningful to me. and the only lines being “will i lose my dignity / will someone care / will i wake tomorrow / from this nightmare?” playing after bree talked about having to deal with her pregnancy, and following the dream imagery used in funeral, because all of the music Is connected…….. quite genuinely one of my favourite moments, because it’s so understated

episode eight

we begin the music of this episode with “everything i own” by the front bottoms - just a really fucking sad song for a really fucking sad time in bree’s life. with like like “just try to appreciate what you got while you got it” and “sometimes i don't feel like singing / i don't really like these songs / sometimes i don't feel like dancing / dj please, don't turn the beat on / let's keep it quiet, keep me honest, keep me true” just really vibing with her.

and then we get “even my dog” by kathryn gallagher, another one of my personal favourite songs, as bree walks through the hospital. first of all, kathryn gallagher’s character in jagged little pill, bella, does parallel bree quite a lot - being from a poor family, being talented at art, being slut-shamed by her school and dealing with the trauma of being sexually assaulted. the song itself has lyrics describing depression, with lines like “i don’t know how i’m gonna get better / i just know that i’m supposed to / i don’t know how i’m gonna get better / but i’ll tell you i’m good ‘til i believe it too” and “everybody wants me to be happy / everybody wants me to be” and “i can feel it / the life i knew before you / it’s beautiful to be so naive” which i feel just Really fit bree and her situation

then we get a little bit of “musetta’s waltz” played by james, because it’s a rent thing, and rori sings a bit of “over the moon” because it’s a maureen song and i just wanted to include it for a little bit of fun in the hell week

and then. oh and then. we get the funeral scene from rent and “i’ll cover you (reprise)” performed by milo and everyone else. the reason i chose this song is because a) it’s one of the most beautiful and heart wrenching songs in musical theatre canon, and b) i wanted to use the imagery of a funeral to show bree quietly making the decision in her head to go through with the abortion, even though she has many doubts. and the line “a new lease you were, my love / on life” is about the baby bree might have had may be being her ticket to a new life, the way she was for her mother, but bree knows that’s not what she wants and not what she can handle right now. and the moment bree finally break is the climax of the song, the moment death is said out in the open “when your heart has expired”. she hears that, is struck by the reality of what she wants to do, and just runs because it’s a lot for any person, let alone a seventeen year old, to handle.

and then we get the girl squad picking bree off the ground, quite literally, and helping her go to the doctor, all of them together, as “sign of the times” by harry styles played. all of the girls are involved, organising rides and where to go and comforting bree, and al’s staying behind, doing ground control at the rehearsal, because al and bree are siblings and they love each other god damn it. ans the song itself is just. simply epic. and the lines “you look pretty good down here / but you ain't really good” really get to where bree is in regards to her self image and it’s about her finally opening up and accepting help and doing what’s right and good for her, not being self destructive or doing things for someone else.

episode nine

we open with a slowed down piano cover of “knee socks” by the arctic monkeys, simply because i liked the sound of it and it’s a quintessential sad british time, but it’s also about girls being pretty.

and then we get one of my favourite songs from rent being sung by bree, “without you”. it’s a genuinely beautiful song about addiction and the struggles that people can go through with it. the song has a double meaning to bree, as she’s been struggling with her alcohol abuse problems recently and going clean, but the song is also about bree imagining life without her hypothetical child. “but i die / without you” is how bree is seeing it, still thinking she’ll be rejected by her mother, and partially by god, if she goes through with it, but the song goes on. she knows the world will go on without her child, but she’s unsure of how she’s going to be after the child is gone. (we also see james come in and sing too, as he plays roger, but him singing is also a reference to him dealing with his own addiction, as mentioned before in this season, to nicotine).

we then get “you gotta be" by des'ree playing as we go from bree getting herself together after josh gets fired to bree and her mother sitting together and watching ladybird. i wanted ladybird to be playing because it’s a very bree movie, in my opinion, and the “give me a number” scene playing is a really good feel, for me, of what it’s like to be a working class child and feeling the need to pay back your parents, which is something bree also feels immensely. and the song has lyrics such as “challenge what the future holds / try and keep your head up to the sky / lovers, they may cause you tears / go ahead release your fears” and “stand up and be counted / don't be ashamed to cry” and “you gotta be tough, you gotta be stronger / you gotta be cool, you gotta be calm / you gotta stay together / all i know, all i know, love will save the day”, which just really vibe with where bree is in this scene, trying to figure out all the things she has to be and can be and the whole thing about standing up is just very bree, because, despite us seeing her insecurities and weaknesses, she’s always been a confident person 

and then we get a scene that i wrote just to make myself cry. bree gets her hair cut by her mother after deeply connecting to her as “slipping through my fingers” by abba plays. it’s a song about a mother watching her daughter grow up and trying to stay close to her despite her always growing and changing, which is how i see audrey. she’s a woman full of love and she will do anything to support her daughter and make her happy, and it took bree until now to see it. and then we see bree’s hair literally slipping through audrey’s fingers, because haircuts are often used as a way to regain control over one’s life, and i’ve used bree’s hair throughout this season as a way to represent her trauma. when she gets morning sickness, she throws up in her hair. josh pulls on her hair when he assaults her. her cutting her hair off is a metaphor for her cutting off her trauma, but then from the hair cutting we transition to:

the abortion clinic, where “soon you’ll get better” by taylor swift and the chicks is playing. a song where a daughter sings to her mother to get better, and we see a mother supporting her daughter as she gets ready to go through surgery. the song itself, though, feels more about bree’s mental health than her physical state. she knows that through this surgery, she will ultimately end up better, but it’s going to take a lot of time.

and then as bree and audrey sit at home, they watch another movie: this time “grease”, representing bree’s desire to get back to her younger, happier self.

and then. we get “wake up” by alanis morrissette as bree gets ready for the rally in support of sexual assault survivors. a song, when used in the jlp musical, is used to talk about how it’s easier to not stand up and speak out against sexual assault. with the line “it’s so much easier not to / and what goes around never comes around to you” being used in regards to the cishet abled white man who will never get back all of the harm he puts out into the world, but we see bree reclaiming the song and her own body, putting on makeup in a way that makes her happy and marching out to the streets as it plays, focusing on her and only her

episode ten

WE OPEN WITH!!!! a moment most pleasing to me - “i did something bad” by taylor swift playing as the girl squad slow mo down the street together, a united front. i chose this song because it’s literally about society saying a woman did something bad, but she doesn’t give a fuck and wishes that she could do it again, which is how bree feels about fucking up a rapist’s life. also, once again, bree rolling a nat 20 on her deception roll as she gets proof of josh having the pictures of her on his phone by pretending to be the manic pixie damsel in distress josh wanted….. and we also get josh using the term “witch hunt”, the same phrase bryan used when he went off on bree, to show that they’re both the same character archetype, but in different flavours (bryan coming in asshole jock and josh coming in adult man incel).

(note: i also wanted to include the girl squad in this scene, because in the og when noora when to go meet nikolai on her own i was just. So Scared for her because she had No One. also, fun fact, i included the fact that the squad call nick “nickolai” as a nickname in season 2 so maybe there would be a theory that he would be nikolai, but i was just playing 4d chess with myself and he’s just a nice guy)

and then we get “seasons of love” from rent, which is, yes, a basic theatre song, but you can’t deny how good it is. and the whole “minute” thing in it lining up with the “minute by minute” iconic skam speech, and we get annabell on the big soloist lines because they’re the person who also heard the “minute by minute” speech before from the same place as bree, because it was said in their group therapy…. and it also parallels “i’ll cover you (reprise)” with them all standing in a line, but this time bree stays because it’s about love and being supported by your friends and not being sure if you’re okay, but knowing there’s always a safe place for you to go where you’re loved.

(also, we get a throwback joke of sandy, once again, being surprised by how strangely sexual all of these musicals are. i love her so so much)

and then!!!!! we end the episode with rori and bree confessing their feelings for each other and kissing for real for the first time, and it ends with “dress” by taylor swift playing. literally just the most homoerotic song, and the whole “i don’t want you like a best friend” line…… they deserve to be in love with each other and i have been building up to them finally admitting it for four seasons. literally the longest slow burn i’ve ever written. 

episode eleven

WE! OPEN! WITH! “watch you sleep” by girl in red, a song i discovered in 2018 and wanted to save for a good moment, and then the whole “do you listen to girl in red” thing exploded, so. (james from derry girls voice) i support wlw, though i myself am not wlw. also it’s just a really sweet song that i like a lot. and we’ve seen bree wake up a lot at the beginning of episodes, and we see her wake up from a nightmare this time, and she calms down instantly when she realises she’s home and with rori…..

and then we get a moment MOST PLEASING to me!!!! we have canon swiftie alistair fletcher streaming “daylight” by taylor swift in the bathroom as bree and rori wait for him to be done. and then they start to dance together to it, with them referencing rent before they start dancing, and rori begins to sing along because rori, as a character, has such “lover” energy. and we get rori singing “i once believed love would be black and white”, which is a reference to her and james’s relationship, with her thinking it would be simple and easy, and then “i once believed love would be burning red”, with her and nick’s quick, passionate relationship “but it’s golden like daylight” and we see her and bree together, calm, best friends who are now lovers, no big dramatics, no fireworks, just two people who care so deeply about each other, holding each other, having seen each other at their worst and still adoring them with every part of their being. and we get the “you’re so pretty”, “no, you”, “no, us” exchange, which is just saying “stop comparing yourself to other girls, just be in love with them and yourself”

and then we get “number one fan” by muna, which is just a really fun boppy song, and just big bree core. with lines like “so i heard the bad news / nobody likes me and i'm gonna die alone / in my bedroom / looking at strangers on my telephone / well, wouldn't you? / wouldn't you like if i believed those words?” is showing her development, going from believing all of the bad shit people say about her, both online and to her face, and standing up for herself and believing in herself

(fun fact, there was originally a clip in this episode where we see bree going to the police about josh, but as i was getting closer to publishing it, i thought “fuck that, i’m not giving them any screentime”, and just gave bree some fun exposition about reporting josh to his school)

so we get “icu” by phoebe bridgers as bree’s walking down the street, just vibing, very happy because she just got her rapist expelled from his university. we get lines like: “and i get this feeling / whenever i feel good / it'll be the last time” which vibes with my perception and bree and her relationship with her mental health, which is currently, in the episode, in a good place because of goos things happening, but she knows that it’s going to come back down eventually, but she’s prepared for it now, she’s not as scared of herself anymore

then we get al’s film of the rehearsal process - which is, once again, him using art and music as a way of expressing his love - as “heroes” by david bowie plays. this is a direct reference to “the perks of being a wallflower”, a very inspiring piece of media to me, writing wise. the film that al makes is just a love letter to being teenagers and making art and noise in a world where people are constantly telling you to shut up.

and then, following two deeply philosophical speeches i wrote at 3am one night, we get the last 15 minutes of act one of a musical because it’s my show!!!!!! and if i want to have a character yell about love and then sing a song i can!!!!!

we begin with “la vie boheme”, the iconic act one closer of rent. quite genuinely, this song has the same meaning here as it does in rent, only with the added layer of “this is the last clip, so we’re just all having a fun happy ending” on it, so i’m just gonna be talking about my favourite fun parts of it.

we got al and bree sharing a laugh as al sings “not to mention, of course / hating dear old mom and dad”; we got al high-fiving jake as he talks about “fruits”, because they’re both gay; we got one of my favourite lines: “to being an us for once instead of a them”; we got milo and bree messing around because i love their friendship; we got bree and nick singing a verse together; we got al making it canon that mark cohen gets pegged with the “mucho masturbation” line; we get rori making eye contact with bree while she kisses another girl, because we love a call your girlfriend reference and we love her character development; we get james finally perfecting “musetta’s waltz”

and then we get “i should tell you”, a song i hated upon first watch of rent, but now i love it so so much. while james and bree are singing it together as roger and mimi, bree is very much dedicating the song to rori, because it’s a song about being scared of starting a relationship but doing it anyway because you’re learning to trust the other person. we also see audrey and patrick in the audience, both so happy and supportive of their children, because i love them so much. i love all of the parents, but audrey is definitely my personal favourite so fa.

and then!!!! we begin “la vie boheme b”, literally one of the biggest bangers of musical theatre history. 

we get rori singing the first fast verse, literally raising a middle finger to the idea of perfection and eating disorders, because while those ideas may be a part of her life, she’s happy to say “fuck you” to them; we get nick voguing to the camera as he sings his fast verse, goofing around like usual; and then we get milo yelling out their verse to the audience, serious, because they genuinely believe in the words they’re saying

then we get the cast all yelling out their lgbt identity in the form of a reclaimed slur. i also changed this part of the show because there’s two terms referring to lesbians in the song and i wanted to a reference just for bisexual people. 

then we begin to shift all focus away from bree and her story, beginning to move onto nick, as he and james dance together as al yells out the title line of the episode: “the opposite of war isn’t peace, it’s creation”. and i decided to edit the closing monologue because i felt that it placed too much focus on roger and mimi’s romance and wanted to end the season with a focus on revolution and positive social change, ending with the line: “the riot goes on and on and on and on…”

and then we end the season with the line “we will now take a short intermission” as nick looks into the camera, because it’s time for a break between seasons babey!

and that’s another well over 10k essay on my music choices!!!!! also, as of writing this, i have officially finished production on skambr season 5!!!! i’m way ahead of schedule, which is really good for me, and the trailer will be coming out in about a month’s time!!!! until then, thank you for reading my infodump <3

[jschaeferreviews]

Annihilation (2018)

After a strange object crashes down to Earth, the military sends multiple teams of skilled soldiers to the crash site to investigate, yet none return.  After being deployed over a year ago, Kane (Oscar Isaac), one of the soldiers, is the first to make his way back, but he is extremely sick.  His wife, Lena (Natalie Portman), rushes her to the hospital, but the ambulance is intercepted, and they end up at Area X, the test site for this extraterrestrial phenomenon.  After meeting with Dr. Ventress (Jennifer Jason Leigh), Lena agrees to join the next team to journey to the crash site and find out just what happened to her husband.

“Annihilation” is the follow-up film for director, Alex Garland’s heady “Ex Machina” (2014). There are many similarities between the two films and it is clear that Garland is determined to tell unique stories which challenge the audience.  While “Ex Machina” is the more straight forward of the two, “Annihilation” plays a bit more strongly with metaphors, but never becomes inaccessible to audiences. Garland is proving himself to be a master of ambiguity, doling out just the right amount of information to us while still leaving parts of the mythology of the film open for interpretation.

The one fault with the film would be that the first act, before Lena goes to Area X, has a strange element added to the composition.  The sets and the environment all seem to have a shine about them and there are many subtle lens flares throughout.  While the consistency of these effects proves it was a creative choice, it did not work for this reviewer as it does not ground Lena in a reality.  This effect continues after Lena enters into the Shimmer, a strange veil shielding the crash site and growing out from there, where it makes sense as it is essentially an altered reality, but by the time she enters this new environment we grow tired of these effects.

Once in the Shimmer, “Annihilation” really takes off.  Garland balances the dramatic, horror, and mystery elements with ease and, other than the first scene after the team’s entry, the film is expertly paced.  There is a point early on in the second act where the team runs into a giant alligator, only after do they realize its teeth are that of a shark’s.  The design of this creature is very well done and the perfect introduction to the world of this film.  It cues us in that not everything is going to be what it seems from here on out and sets us up mentally to continue on the journey with the characters.

What is nice about “Annihilation” is that it also has great ensemble management.  There are moments where all of these women on Ventress’ team can shine and have their individual moments in spotlight.  They all have names, skills, histories, and aspirations. While loosely based on a novel of the same name, “Annihilation” is female-led filmmaking done right.  It is not just taking over existing properties and gender-swapping them, but it is creating five strong, original, characters that are not bound by any preconceived notions.

After a terrifying moment at the end of the second act, Lena makes her way to the center of the Shimmer for the cerebral unfolding of the third act.  While “Ex Machina” had a fairly straightforward ending, “Annihilation” opts for an extended, metaphorical climax.  There is no way to explain exactly what happened here other than it was a fantastic bit of filmmaking.  It was visually striking, fiercely unique, and backed with a pulse-pounding, unnerving score.  When it concludes, we are left emotionally spent and that feeling of catharsis is glorious.

Garland ends the film back at the lab which has been used as a bit of audience service throughout the film as well as shoring points for the framework of the narrative.  While up to this point, these scenes have helped transition the acts quite well, the final scene of the film seems a bit like Garland trying to get one last mystery snuck in where it doesn’t belong.  It is not enough to ruin the film, but the final sequence bloats the ambiguity that until this point was perfectly balanced.

“Annihilation” is a strange and exciting film, though its audience may be limited in scope.  There are many points in the film where it seems to do everything in its power to make us turn away from it or walk out.  I implore you, do not do this.  Garland rewards the audience who stays with the film to the end with a great mystery and a satisfying conclusion.  I can’t say that I can openly recommend “Annihilation” to someone, but if you are not afraid of being challenged, this may be the film for you.

[do-you-have-a-flag]

I got star trek thoughts because Discovery premiered and you’re gonna hear ‘em

firstly: Klingon redesigns

Klingons were retcons once already because the blackface of the original series where they had embarrassingly orientalist visual traits mixed with them being stand ins for russia in a cold war scenario became less relevant over time. 

Then we had the more prosthetic heavy look which caused the current controversy. It is a make up skin tone decision which looks fine when someone like Michael Dorn is playing a klingon, but not so much when it’s someone like Christopher Lloyd in the costume. the vaguely east asian cliche appearances with russian political position qualities were replaced by even darker complexions and culturally based on cliche japanese samurai and vikings as their primary qualities and the political metaphors were more general as only became specific as needed for individual episodes. 

The makeup required has always involved racial coding separate from the cultural and political coding of klingons. So YES in 2017 there should be more considered casting of these roles to avoid blackface. but also as far as the first two episodes are concerned there are new elements of cultural and political coding happening. 

The Klingon are given a more spiritual focus, there was already an increased focus on ritual with them in various series but here it is used to motivate the plot. The spiritual aspect however more closely resembles a simplified idea of ancient egyptian culture than viking culture visually. 

And the second and more plot relevant political coding occurring is that of cultural isolation and racial supremacy through unification. The klingons are not baddies as a race but their unification is shown as a result of a single klingon rallying together cultural outsiders to use the threat of alien influence upon their race, to have the fear of loss of cultural identity through multiculturalism be used as a tool to unify the various seperate klingon groups into a singular empire.

 it’s not a subtle metaphor but that’s what makes it star trek. It’s just interesting to me that the issue of racial prejudice disguised as a desire to preserve one’s cultural heritage is being coded as an other since the relevance to the audience might go over some heads by othering it in this way, i’ll have to wait and see what they do with these themes as the show continues.

secondly: similarity to other treks

The cinematic look for the first episodes has been done before TNG tried it and Enterprise is the most similar in it’s contemporary cinematic style for the premiere.

 The opening credits have a nice song but it feels like the middle of a more compelling track, i keep waiting for it to get to a memorable melody but it never quite does until it chimes in with the original theme at the end. it’s still nice just kind of forgettable, but DS9 and voyager both had themes i found kind of boring too even if they are melodically stronger. Either way I like it better than the so bad it’s good faith of the heart that enterprise used. Speaking of the use of schematics and various objects instead of a ship flying through space reminds me a lot of Enterprise’s montage credits so even though it’ll take some getting used to i overall still like the opening credits.

The ongoing story element doesn’t bother me outside of losing the longer seasons more time for individual character explorations format every other trek series had. TNG had a couple reoccurring story elements, voyager and DS9 and ENT also got to try for longer storylines, tv changed a lot over the decade or so of continuous star trek, it hasn’t been a purely episodic show since TOS with it’s occasional reoccurring minor characters. 

The closest visual and thematic series is the alternate original series films. And for once this is a compliment. It’s in the original universe but the technology and costumes are closer to the films which is annoying but i’ll forgive it because i can see ways in which they tried to imply a bridging between enterprise and TOS. The good news is they took the parental/authority figure deaths as motivation for protagonist and the cultural/racial outsider elements and the identity/rebellion elements that were applied clumsily to Kirk and Spock in the AOS films and gave them to Michael Burnham. They WORK for her because she’s a new character and it doesn’t feel like she’s being written out of character or characters that had a role of greater significance are killed off for her angst like it did with the AOS films. Her choices are more engaging because she’s new and we get to react to them and not to wether or not they should be happening at all.... that said:

thirdly: casting leads

i can’t speak from the perspective of those who need the representation but i’ll speak from the perspective of someone who grew up watching star trek with my parents every week. 

My mum’s disappointment when she realised we weren’t going to have a Malaysian actress as captain and a black actress as first officer was intensified when she heard that the ongoing captain was going to be another white guy. Michelle Yeoh was fantastic and I hope we get lots of flashbacks of her interacting with Sonequa Martin-Green’s character because then it will feel less like she was killed off as a plot device. 

Just having women in positions of authority talking to each-other is great to watch, it’s why Voyager is a favourite in my family, but if it’s only between white actors then there’s a problem. While having aliens stand in for race based issues is to be expected it can’t be ignored that a big part of the optimistic ideal in TOS was one of gender and racial equality on the bridge. That’s why the rather limited representations of various countries happened in TOS, not perfect but the intent is there and visually clear. The gender issue took a while but by DS9 and Voyager you had both Janeway and Sisko in command, you had B’Elanna and Seven working together to keep a shuttlecraft from breaking apart, you had Sisko calling Dax ‘old man’ and asking her advice because her previous form she was both male and his mentor, yes the alien as a racial metaphor was still in use but it was combined with diversity of casting to create representation on both actor and character levels. 

So having Georgiou and Burnham with the dynamic of mentorship and mutual respect and the complexities of race versus culture being directly addressed and the conflict that comes from insubordination out of motivations of loyalty and personal prejudice... these are all great concepts and we got to see them applied to women who aren’t white, who are allowed authority and complexity and intellect and imperfections. It’s great to see and I know a lot of people are concerned with the killing off of one and incarceration of the other but while i have no defence of Yeoh’s character getting killed off for the purposes of creating drama so early in the show, I will say that with Martin-Green’s character i highly doubt she’ll be in prison long it’s almost definitely a character development thing where they’ll explore the consequences of her choices since she is the type of character where no one would have expected her to do what she did. it doesn’t look like they’re going to be totally tone deaf on the issue of her character being arrested but i can’t tell for sure yet. 

The rest of the cast both seen and unseen as of episode 2 look promising, Doug Jones is a delight and I’m looking forward to Anthony Rapp’s character, I trust Jason Isaacs to give a good performance but yes I am also tired of another white guy as captain, at the very least the star trek franchise as a whole has been good about having both reoccurring and minor one off characters be reasonably diverse. there is a lot of room for improvement though and they are only just shifting more topics from metaphors to literal ones. AOS Sulu being gay was an incidental detail, Anthony Rapp’s character will hopefully have that feature inform his character but same gender attraction shouldn’t be an issue within starfleet, they can alway play with it being an issue for other aliens but either way having one couple is not enough, let’s bring issues of sexuality and gender fully out of the symbolic alien scope.

[jessejostark]

Jesse Jo Stark

When Jesse Jo Stark was in high school, she took regular road trips from her native L.A. to San Francisco. Her soundtrack of choice? The Misfits, AFI, and the Circle Jerks (it was her punk phase). Stark can detail “stages” of musical upbringing, which was an eclectic one, thanks to her parents; in the late-‘80s they founded the fashion brand Chrome Hearts, which has been worn by many a musician, and Stark remains involved in the family business through designing. They introduced her to everything from country (Merle Haggard) to rock (Fleetwood Mac), and she rebelled with pop powerhouses like Christina Aguilera. Nowadays, Stark looks more to the former than the latter as she shapes her own sound. “I’m not trying to recreate anything completely from the past,” she explains, “but if I’m looking up some inspiration, it’d probably be Cher from the ’70s.”

The result is an alt rock sensibility and an emphasis on songwriting, which became a passion for Stark when she graduated from her aforementioned punk years around age 18. In January, she released her first single “Driftwood” and today, days before the month comes to a close, premieres her second, “April Flowers,” below. “I wrote it quite a bit ago,” she says. “It’s about love, but it’s also about the idea of having everyone else involved in that and everyone having an opinion of what it is, handling your relationship.” Produced by Jason Lytle (formerly of the band Grandaddy), whom she met through a mutual friend, and co-written by Isaac Carpenter, it’s an unhurried, reflective song with surreal lyrics like, “All the spooky little kids / That can creep under your lids / With their Barbie Doll brains.”

Interview recently spoke to the 26-year-old, who plans to release two songs this summer with a full-length album to follow come September, by phone while she was at home in L.A.

HALEY WEISS: Has your perspective on your music changed at all? What do you think of these songs now that you’re a year out from writing them?

JESSE JO STARK: It’s all a development—I write and I go in and I record it, and then I mix it—so it’s building it into what it is now. It’s kind of a beautiful process, it’s not tiring and I don’t get tired of the songs, surprisingly. So it hasn’t really changed much, I’m still [working] on the body of work I’m releasing right now.

WEISS: You worked with Jonathan Rice on some of these new songs, or is it the whole album?

STARK: No, just some of them. I think it was six songs together.

WEISS: What do you value most in a producer or collaborator?

STARK: They’re going to challenge you, but also allow you to not be stuck in a corner, and accept the weirdness factor a little bit. I think it’s a vibe: when I meet someone, I can tell if we’re going to be able to spend intimate time together for a long time, and vice versa. With Jonathan, he’s a friend of mine, and we had a relationship over time and then sat down to write together and decided to go into the studio, so that was a really slow relationship; our relationship grew and I was able to create with him. Jason [Lytle], who I worked on “April Flowers” with, we really hit it off. He was able to pull a lot out of me; he dug deep with me, so it was cool to work with him.

WEISS: Is that a difficult thing to do? Meeting someone, when they’re not a friend first, and diving right into that personal, creative process?

STARK: I think it is challenging. Over time, it becomes a little less challenging, but it’s a really intimate thing. I call them blind dates: you go into this room with someone, and it’s hard to put yourself out there, but it’s what you’ve got to do in this world. It’s challenging but it’s cool, for me at least, because I’m really introverted and it allows me to grow as a person when I get to be put in a room with different people.

WEISS: How would you describe your writing process? Would you consider it autobiographical, methodical, are you writing from the point of view of characters?

STARK: I do write from points of view. But I really do love writing about love, and it’s from personal experiences, I think with a dramatic touch on it. I enjoy writing about the darker side of love and putting beautiful tones to it, so it’s not completely dreary. Most of my writing is about a lot of me, but I’ve definitely written with another viewpoint in mind.

WEISS: Do you write anything in addition to lyrics or is it exclusively songs? Do you write poems or fiction?

STARK: I’ve written short stories, and I started with poetry; when I was younger I would write poems, and it slowly developed. Then I realized I actually enjoyed writing, and I started to write songs.

WEISS: And your first song you wrote at age 12, right?

STARK: Yeah, I think I was younger than that. It was really short, but it was called “My Heart’s on Fire.”

WEISS: Do you recall any of the lyrics or what spurred you to write it?

STARK: I think I was pissed off at this boy in school, who was probably my first crush. The lyrics were pretty intense for being so young and feeling that way.

WEISS: When you wrote that, were you also singing songs publicly, or just writing them?

STARK: I was little, so I was just singing them in class and trying out different instruments—that kind of stuff.

WEISS: Were you equally interested in learning to play instruments as you were singing?

STARK: I was when I was younger. I did guitar lessons three days a week, but when I turned 18 I was really intrigued by writing. I wanted to write a lot more.

WEISS: When did you first decide to share your music in a more serious way and pursue it professionally?

STARK: I would say 18.

WEISS: What made you make that decision?

STARK: I’m very shy, and I think I was just ready to put stuff out there in that way. I’ve always done videos and I’ve always done performances here and there, but it wasn’t until I was 18 that I started actually wanting to book shows. You get to a point in your career where you’re ready, but I always wanted to do it. I knew what I wanted to do, not exactly what path I wanted to take, but I always wanted to be playing.

WEISS: If you’re on the shy side, how do you get past that to go on stage? I can’t imagine doing that.

STARK: It’s really crazy, but I think you just do it. I don’t know how anyone does it.

WEISS: Have you learned to enjoy it? You’ve been able to get to a comfortable place?

STARK: Yeah, 100 percent. I truly enjoy it. I don’t think the same fears come into your head. It’s just about getting the first foot onto the stage.

WEISS: I read that you grew up with an eclectic range of music. Who were the artists that your parents played while you were growing up? Do you come from a family that’s passionate about music?

STARK: I was raised on a lot of the Clash and a lot of country, and I think one of my first concerts was Motley Crue or Cher. I guess I was always immersed in it. At the time, I didn’t really like to admit that I liked what my dad was playing; I wanted to listen to Britney Spears—which I still love. [laughs]

WEISS: I feel like everyone has that experience with their parents.

STARK: For sure, and I can’t help but want to put on [those] songs [now]. Some of my friends are into it, but some of them would rather listen to rap, and that’s just not my vibe.

WEISS: In the artists that you admire most or listen to most, do you find that there’s a particular quality you’d like to emulate or that you really value?

STARK: I think that they’re—I feel like it’s everlasting. It’s not a fad. It’s not a trend. They kind of carry the same feeling; the first time you listen, 10 years later, they hold this feeling, and I have a respect for that.

WEISS: It’s hard to avoid trends, in a way. How do you determine what that everlasting quality is? Is that in the lyrics?

STARK: I think it’s in the lyrics. I could treat it like clothes: there are pieces that you always go back to, that your mom wore, that you’re then wearing again. I know everything is a cycle, but it definitely has to do with the lyrics, and country, for me, I feel like it’s so poetic. But then again Fleetwood Mac isn’t necessarily country—they do such a good job of that too. I don’t know what it is. I can’t say that my song isn’t trendy. But I do think we’re in a really different time for music, and I feel a lot more inspired by things that have been created a long time ago.

WEISS: You mentioned clothing, and I know you come from a creative household—your parents started Chrome Hearts—and you have an interest in fashion as well. Do you see your interest in fashion and music as totally separate entities, or do you see a crossover?

STARK: It helps to wear something that I feel good in when I play. I do think there’s a crossover; they’re all a way of making you, you, and you stick out. I want to feel good when I play, and I put on whatever makes me feel that I can carry the song I’m playing. I think everything connects, everything’s a way of communicating what you vibe is.

WEISS: You started a label, Sugar Jones Music, when you started releasing music. What was the impetus behind that? Are you looking to sign other artists?

STARK: I’ve actually not thought about that. Probably not, but you never know.

WEISS: Why is it important for you to release under your own label?

STARK: It was just the move for me, and I didn’t want to be held back because of my position. I have songs that I want to put out there and play, and I think it was the right move for me right now to self-release.

WEISS: Now that you’re nearly done with this collection of songs, and you’re releasing it piece by piece, how do you feel about it as your first complete body of work?

STARK: I’m nervous, but I’m happy, and I feel like I’m in a good place with the songs that I’ve chosen to release right now and I’m proud of them. It’s been a while since I’ve put out music, and I feel really stoked about it. I’m playing a show tonight and on Monday, and that’s the cool thing, being able to finish it and play it and see people’s reactions, and to be proud of something you put out. So I feel good. It’s always nerve-wracking putting things out for judgment, but I’m pretty proud of what I’m putting out right now.

WEISS: Is there one reaction in particular, that say a fan or family member has had to one of your songs, that surprised you or has stuck with you?

STARK: I’ve played a lot of rock, and the last two tracks—the track I put out and the new track I’m putting out—they feel more mature to people. It’s been interesting to see my family react and give me really good feedback. The cool thing about them is they won’t lie to me; I was kind of shocked by their response and it was a good one.

WEISS: Once you finished making this music, who was the first person you wanted to hear it?

STARK: Jonathan, who I wrote with, has been a big inspiration, so I play a lot of my stuff for him, but also my boyfriend. He’s kind of brutal, so if he doesn’t like it he’ll tell me and we’ll have a little fight about it, but it’s always nice to hear the negative, too, and not just have a pat on the back. I like to know the truth.

[gossipnetwork-blog]

25 TV Events to Get Excited About in 2018

New Post has been published on http://gossip.network/25-tv-events-to-get-excited-about-in-2018/

25 TV Events to Get Excited About in 2018

New year, new TV to look forward to.

Now that it’s finally 2018, it’s time to cut your losses with the fall shows you’ve already grown tired and make some room on your DVRs for everything the new year has to offer because there’s a lot to get excited about.

Kicking things off on New Year’s Day with the return of Arie Luyendyk Jr. as ABC’s latest Bachleor, we’ve narrowed down the 25 TV events worth getting excited about over the next 12 months from a surprisingly deep pool of worthy candidates. Seriously, there’s a lot of promising stuff coming our way. Read on and start programming your DVR!

ABC/Craig Sjodin

Bachelor‘s Big Winter

Kudos to the Bachelor franchise for trying something new in 2018. First, they went back a few years to the pre-Instagram days to find their newest leading man, Arie Luyendyk Jr., and we’re also being treated to what appears to be an international hot tub party known as Winter Games. It all sounds like exactly the fresh Bachelor air we need, and we can’t wait to see how it all goes down, starting January 1.

Freeform

Freeform Gets Grown-ish

It’s time for Zoey Johnson to fly the coop and strike out on her own…-ish. In this Freeform spinoff of Black-ish, debuting January 3, Yara Shahidi takes center stage as the eldest Johnson child embarks on her freshman year at California University with a diverse group of friends helping her navigate her first taste of adult life. Look out for guest appearances from parents Dre and Bow as Anthony Anderson and Tracee Ellis Ross are set to make occasional guest appearances in the comedy, which hails from the mothership’s creator Kenya Barris. 

CBS

Star Trek: Discovery‘s Return

The spore drive is done for and the U.S.S. Discovery is…missing. The finale ended with Lorca (Jason Isaacs) and his team including Michael Burnham (Sonequa Martin-Green) evading death and destruction at the hands of the Klingons, only to find themselves some place very unfamiliar. Could our heroes be in the Mirror Universe? Whatever happens, beam us up for more adventures on January 7.

VH1

Tyra Returns on Top

Sorry Rita Ora, but Tyra Banks is reclaiming her America’s Next Top Model throne. Banks is returning on January 9 to host the revived series on VH1 after only serving as executive producer on Cycle 23. This year, expect new terms from Tyra and new competitors: there’s no longer an age limit.

Showtime

Showtime’s Trip to The Chi

If creator Lena Waithe‘s Emmy-winning episode of Master of None, “Thanksgiving,” is any indication, her new Showtime drama is, hands down, one of 2018’s can’t-miss debuts. The Chi, premiering January 7, is billed as a timely coming-of-age story that will explore the humanity behind the headlines sensationalizing the South Side of Chicago. Expect this to be an early Emmys frontrunner.

The CW

A New Superhero

Luke Cage may have come before him, but Black Lightning feels like the first superhero series to finally truly speak to the Black Lives Matter movement. The CW’s latest DC Comics adaptation, starring Cress Williams as the titular hero and premiering Jan. 16, feels timely in a way that few of the network’s other comic book offerings have. If nothing else, it’s just refreshing to have a CW superhero who feels like a damn adult.

FX

American Crime Story Goes Glam

People v. O.J. was great, but The Assassination of Gianni Versace brings a new level of glamour and intrigue to one of last year’s most talked about new series with one of the biggest crimes fashion has ever suffered. Darren Criss plays the serial killer we never before knew we needed him to play, and Penélope Cruz is straight-up iconic as Donatella Versace. We are so there come January 17.  

VH1

Mama Ru Gathers More All-Stars

While some of the queens returning for another chance at the crown barely fit in the label of “star,” let alone “All-Star”—Aja, anyone?—our excitement at finally having RuPaul and her glorious queens back is off the charts. RuPaul’s Drag Race All-Stars 3 returns to its new network (VH1) on January 25 to see who will join the ranks of legendary All-Stars and All-Stars 2 winners Chad Michaels and Alaska, respectively. Who are we rooting for? We’ll never tell. (OK, we’ll tell. That crown belongs to Trixie Mattel. Don’t @ us.)

Mindy Tucker/HBO

2 Dope Queens Come to HBO

What’s better than listening to your favorite podcast? Watching it come to life in a series of HBO specials, that’s what! Jessica Williams and Phoebe Robinson bring their acclaimed podcast 2 Dope Queens to the cable network beginning February 2 for four hour-long specials taped before a live audience, tackling topics like “Black Nerds aka Blerds” and “Hot Peen” alongside guests including Jon Stewart and Tituss Burgess. 

Netflix

Netflix Explores Altered Carbon

Netflix is going big with this original series, an adaptation the classic cyberpunk noir novel by Richard K. Morgan. Set more than 300 years in a future where society has been transformed by new technology, consciousness can be digitized, human bodies are interchangeable, and death is no longer permanent, the sci-fi series stars Joel Kinnaman as Takeshi Kovacs, the lone surviving soldier in a group of elite interstellar warriors who were defeated in an uprising against the new world order. Altered Carbon, dropping on the streaming site on February 2, looks expensive and confusing as hell. Count us in.

CBS

Big Brother Turns Celebrity

Already a staple in the U.K., Celebrity Big Brother is finally making its way across the pond for a special edition on CBS beginning February 7. Which of our D-list celebs will sign up to duke it out in the Big Brother house with Julie Chen narrating their every move? We haven’t the slightest idea and we can’t wait to find out.

Lifetime

UnREAL Flips the Script

Did you know that it’s been nearly 18 months since UnREAL signed off for season two? After that creative debacle, you may have pushed the provocative Lifetime series, a fictional account of the inner-workings of a Bachelor-esque reality series, out of your mind. But queens Constance Zimmer and Shiri Appleby deserve better, and it looks like the time off may have helped deliver a third series worthy of their estimable talents. After tackling their first African-American suitor in S2, they’re going the Bachelorette route this time around with Masters of Sex alum Caitlin FitzGerald assuming the role of Everlasting’s (the show within the show) new feminist “suitress.” Could Quinn and Rachel have finally met their match? Tune in on February 26 to find out. 

Good Girls Go Bad

What do you get when you take a Parks and Recreation fave (Retta), a Parenthood breakout (Mae Whitman), and a Mad Men diva (Christina Hendricks), cast them as three suburban moms tired of their lives, and have them rob a local supermarket. Why, the recipe for our most anticipated show of 2018, that’s what. Is it February 26 yet?

Netflix

A Queer Comeback

All things just keep getting better thanks to Netflix’s upcoming revival of the seminal reality series Queer Eye for the Straight Guy. Does the new Fab Five (from left to right, Bobby Berk, Karamo Brown, Antoni Porowski, Jonathan Van Ness and Tan France) have what it takes to make us forget about Carson Kressley, Ted Allen and the rest of the OGs? Come February, we’ll find out.

CBS

Round Two of The Good Fight

It’s been a long few months without Diane Lockhart (Christine Baranski) dropping an eff-bomb on our screens. The first season The Good Fight was politically charged and intriguing and the real world hasn’t gotten any less crazy, so Robert and Michelle King have a lot of fodder for new episodes, beginning March 4. Plus Audra McDonald will be a series regular this year, so our hopes of a musical episode just got all the more higher.

ABC

American Idol Returns From the Dead

Did we really want a revival of American Idol so soon after its 2016 (supposed) series finale? Not even slightly. Are we planning to tune in on March 11 to see if Katy Perry was really worth her rumored $25 million salary? You betcha. 

NBC

A New TV Musical Rises

Glee meets Friday Night Lights this spring on NBC, with Moana (Auli’i Cravalho), Ted Mosby (Josh Radnor) and Rosie Perez (Rosie Perez) in the starring roles of this Jason Katims-produced high school drama set (where else) in a working class town. This one could either be one of the year’s biggest successes or biggest flame-outs. Tune in on March 13 and judge for yourself.

ABC

Roseanne‘s Return

Revival fatigue is very real, but we for sure will not be able to look away from the return of Roseanne Barr‘s iconic comedy Roseanne, premiering March 27, for two big reasons: 1. Curiosity about how the show explains away the series finale that had Roseanne Conner revealing Dan (John Goodman) was dead and she made the entire series up as a writer and 2. Laurie Metcalf. Metcalf is one of the best actors working today. Any chance to get weekly doses of her we will take.

Hulu

Handmaid’s Trip to the Colonies

Where do you go after being the most-buzzed about new series and winning a slew of awards? That’s what we want to know, The Handmaid’s Tale! Season two, debuting sometime in April, is already well underway and details are being kept under wraps. We do know there will be more Alexis Bledel—sorry, that’s Emmy winner Alexis Bledel to you—and previously unseen parts of Gilead. “What I can tell you, and I’m not joking one bit, is it’s knocking me out where this story is going,” Ann Dowd told E! News. “I literally read the scripts and I think, ‘Oh my god.’ The ideas are genius and so unpredictable and harrowing,” she said. “Plus you see the worlds that you weren’t exposed to before: the Colonies, what that whole world is; those who make it to Canada, what happens there; the pregnancy, how that is coming along. It’s a phenomenally well-written show.”

Bravo

RHONY‘s Extra Dose of Real-World Drama

Arguably the best Real Housewives series on Bravo (go ahead and try to say another is better), Real Housewives of New York City is set to return with last year’s top-tier cast and you know there’s going to be laughs—and drama. Luann de Lesseps was arrested just before Christmas and charged with battery of an officer, disorderly intoxication, resisting arrested with violence and crimes against another person. She’s now in a treatment center. Bravo’s cameras are just itching to start recording and we cannot wait to see what they capture.

John P. Johnson/HBO

A Return Trip to Westworld

Season one felt like nothing more than a prelude, an introductory course to this world where nothing is as it seems and everyone watching wised up to the twists down the road much sooner than anyone writing expected. But now that the robots have taken over, making the demented amusement park at the center of this HBO sci-fi/western pastiche a true free-for-all, we can’t wait to see what happens next when Westworld finally returns this spring.But it better involve Maeve (Thandie Newton) kicking some ass.

FX

Atlanta, at Long Last

One of 2016’s most surreal and delightful new shows, Atlanta feels like it’s been gone forever. Apparently creator and star Donald Glover was too busy being very famous and employable to give us more in 2017, so we’ll take whatever he can give us in 2018. 

Netflix

Robin Wright’s House of Cards Reign

Robin Wright has always been the best thing about House of Cards and now she gets to truly own the show for its sixth and final season. After allegations of sexual misconduct by Kevin Spacey came to light, the status of the Netflix series was in question. After deliberation, Netflix and Media Rights Capital said the show must go on¬—without Spacey. Wright’s Claire Underwood ended season five in power, now we get to see her wield it triumphantly.

The CW

Sabrina Gets Spooky

Inspired by the success of Riverdale‘s dark take on Archie Comics, WB and Netflix are teaming up to create the show of our teenage dreams. The Chilling Adventures of Sabrina (you know, the teenage witch) is already our favorite thing to binge and we know absolutely nothing about it yet. Even if we only get a cast in 2018, we are here for it. 

Sipa

Feud Goes Royal

After Feud‘s spot-on casting for Bette and Joan, we can’t wait to see who Ryan Murphy lands in the lead roles for the anthology’s upcoming second installment, Charles and Diana. We have our thoughts on who will fill the royal shoes of Prince Charles and Princess Diana, among others, but we’re sure that Murphy will still manage to surprise us. 

Which TV event are you most excited about for 2018? Sound off in the comments below!

(E!, Bravo and NBC are all part of the NBCUniversal family.)

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[midnatt-heronweather]

I usually start the year review with some proverb or word of wisdom from some language i'm interested in.  this year the only quote that matters the Quote of the year for me. comes from @Jon_Cor at Forsaken "Nothing is ever infact a fact." but it didn't really work as a title. so "2017 review" it is,

Note

that its not obvious to beging with, but I have to state here and now, that all things I say in this run down of my year, are my opinion, and mine alone, I speak for no other creature but myself. so. to the buisness of year reviewing

Conventions:

Not as many as I would like, but enough to review :D

Forsaken- the uk's first (and most likely last) Shadowhunter verse convention

badly advertised, not very organised, attendees a mix of news and plastics, but past that - Joel labelle, Kaitlyn Leeb, Maxim Roy and Jon Cor...omfg!Jon was my reason if I needed one (besides the fact it was Shadowhunters) He was so awesome, didn't think I was odd for loving Hodge, Wasn't too offended when I told him he'd answered a question meant for Joel but I'd not stopped him because his answer was awesome, signed 3 things for me and even high fived me when I told his PA I wasn't into Disney that I liked broken and dark people, like Hodge.and... He got Hodge! I mean

really

got/gets him! more than any fan or actor I've ever spoken too.Since he's no longer in the show I doubt I'll get another chance to meet him but it was so... so worth the other crap (attendee caused I hasten to add)Kaitlyn recognised me as Meliorn and loved that I was openly not a Malec person and I scared Joel and Maxim with the circle blades Clare made, Jon loved them, didn't help the others though, telling everyone they were projectiles as well as hand to hand weapons."

nothing is ever in fact a fact."

Jon said during the con. but this is: Forsaken for me was the last decent Rogue con I would ever attend

Ultimate's 2 / Collectormania 24

- So we bought tickets to Starfury Ultimate's for Allys birthday, (50) but I didn't really see more than the opening and closing ceremonies and the parties, as we stayed at Allys and travelled in, but also because on the Saturday we drove down to Birmingham to Collectormania 24 (the first CM in its new home of Birmingham) so Ally could meet her AOS crush Ming Na Wen (Chun Lee, Street fighter) and I could finally meet Reverb/Vibe actor Carlos Valdes, my costume was in tatters since the back of my jacket has peeled but I took my shades to show my place as a viber.On the way to the con, Heather, who had purchased a photo with Carlos (I was settling for an auto and meeting him due to coin and said costume issues) was considering poses, I said I wish I'd brought Cyane, a gorilla teddy that my mother gave me as it would have worked for a Grodd substitute, she said maybe next time, but fate is funny, and when we stopped at the services she came across a littler Gorilla plushie with sparkly purple eyes, now, with Grodd/Vibe/Heathers love of Teddies and the fact the birthday woman has a major thing for purple. I still say it was fated.  she didn't think she had the coin, but since I'd budgeted to hell with meets and autos I did and bought it for us both. but didn't name it. after discussing the craziness of the idea we handed the naming to Carlos himself, since his character Cisco is the Meta-namer on the show. I cringe every time I think of his choice but he said it, so its law. sat next to Hugin on my shelf waiting for my next flashverse meet is a little gorilla called "Wriggle Rump."So I met Carlos and he gave my Reverb shades the Vibe seal of approval (just need a new Jacket).Ally met Ming, didn't drool, picked a picture of her on a motorcycle as her 8x10 (ming + bike = happy birthday girl) and we met Carly in full Stahma gear (pre Jaime being announced for Enchanted).

Smaller cons

were in small number for one reason and another this year:I did Wales Spring, MCM Liverpool, Finally got to meet Tony Curran and Casper Zafer at Newcastle Comic Con, Met David Yost and Arthur Darville at Em in Nottingham.

But the one that stands out for best reasons is Wakefield:I never thought there would be a con in my area, let alone one with three cool guests (James McKenzie, Roger Velasco and Justin Nimmo) but it happened, and I also got to work the Leeds Bradford Starfleet table with the C/O's"happened" to have my camera on me so I got nominated as the roving photographer/ part time chair photographer. I was by the chair twice when it counted, once to get Roger and Justin  to pose out of costume and one to have them pose in full Ranger uniform, Justin even asked for a pose he'd done in the show, went to explain and I just beamed "don't need to explain." now...me in full TNG uniform not sure if I looked cliché or just felt it lol but he seemed to get I was a PRIS fan.. somehow despite my geek showing I seem to have earned the friendship of Roger and Justin's agent Kelly, who..well. 2018 will be interesting.

What more can I say but>>>>>

<<<<I've tried to quantify what happened, into words, I've asked for quotes. and nothing sums up the fall of Rogue Events. especially not for those who attended its swansong

Gigs:

2 plus Whitby where

The Birthday Massacre

played a mix of new and old album.but the stand out of the year has to be

Counterfeit

playing in Leeds. -Finally got to meet Jamie and as expected I made an ass of myself. tried to avoid all mention of TMI but ended up saying #BTA didn't I. anyway. the gig was amazing. the crowd were arseholes. didn't realise they were supposed to use the whole room to dance not just crowd the stage. and when Jamie got down to play "Letter to the lost." they didn't give him or the song the respect they deserved. Will be seeing them next year in Manchester. a city where I have yet to find a badly behaved crowd. but besides the idiots in my local area the band were amazing.I Saw

The Cruxshadows

in Sheffield again. new album is just as amazing as ever. and got to almost get jumped on, fell on, and walked into by Rogue. who came so close when he dropped off stage at one point it looked like he'd not planned it.

Other Events in 2017:

Scotland -

After Newcastle Comic con, Heather, myself and my dad went to Scotland for the week, on the way we stopped at a estuary town along the Clyde and I couldn't get Kate Rusbys Drowned lovers out my head.We stayed in Fort William, a stone's throw from GlenFinnan on the shores of Loch Sheil where the Macleod's from Highlander hail from. we visited Eilean Donan Castle used in the movie and the credits of the show, drove by the location of the farmhouse where Conner and Heather lived in the movie and (just to add another fandom) we were on the Loch when the train crossed the Glenfinnan Viaduct used in Harry Potter, it turns out the Viaduct isn't the only potter connection. the loch was the scene of the 2nd test in the Tri Wizard tournament, and one of the inlets (I think that's what they are) lead to where Dumbledore was buried.We also saw the giant Kelpie heads, and visited Edinburgh, but I underestimated just how BIG it is and we didn't get round everything we wanted to there. we are plotting a city only return visit.

McKellen Pride -

Sir Ian McKellen originates from the same town as my Parabatai (Wigan, Lancashire) and he returned this year to open the towns second ever pride and to hold a small audience the night before. Heather scored us tickets: Sir Ian opened with a reading from Lord Of The Rings (the Balrog/you shall not pass scene) he spoke about coming out, working on the stage and in Hollywood,  and playing a widow/dame (strangest sight in history I swear) and read Shakespeare..now I'm an idiot, I recorded him but my speaker was pointed the wrong way so its barely audible but the image is there :D.

Other Fandom Things in 2017

Star Trek

return to Series form with the USS Discovery leaving dock in September this year, starring Sonequa-Martin-Green, Jason Isaacs, James Frain, Anthony Rapp, Shazad Latif and Wilson Cruz. it has been highly debated and talked about both before and after the airing of the first half of season 1. which finished in (1a) in November. it returns (1b) in January and I for one cannot wait.

Killjoys

has been picked up for two seasons, to see it to the end of the story. and

Shadowhunters

has been given a season 3 (announced while we were at Forsaken) - 3a airs in March of 2018

A true friend is one who walks in when the rest of he world walks out:

As always I have to have a section to mark those people who have made this year bareable, the good thing is this year theres no need for a piece on those who've also made it unbearable.SO: to embarrass the hell out of them I am actualy going to name names.through cons and gigs, lunacy and Luls, these few extremly demented downworlders have made this year awesome.  Hunter, Kai, Sarah, Clare, Jennie, Adam, Ashley, Rosie, Taz, Carla, Michelle.A special mention to Sam. who, while in America let me bug her and didn't tell me to go jump. and who i managed to wheedle into organising to go to Milan 2018 the very day she returned from America. 2018 is going to be an experience for both of us lass.

Ally and Heather, what can I say that I don't say so often your tired of hearing it ladies? not sure i'd still be topside if it wasn't for you two sometimes. (and by topside I mean, not in an institution)I am not the expresive type as you know. but you know where I stand when needed... i hop.

Minnie: my little black and grey familliar has had her troubles this year. teeth and liver both givng her jip. but she is still here and barking. and I thiank every angel, watchtower, demon and deitiy for her every chance I get. and I do not care if that is soppy.

Short and sweet?  

and thats it ladies and gents. my year in review. _________

I am working on a photographic round up.