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iamthenightcolormeblack · 4 years ago

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My Thoughts on Pride & Prejudice 2005: Style over Substance

Kicking off my Pride and Prejudice adaptation review series with the most popular of all the adaptations: the 2005 movie. This film stars Keira Knightley as Elizabeth Bennet and Matthew Macfadyen as Mr. Darcy.

1. GENERAL THINGS I LIKED

The cinematography and the soundtrack. Every shot is a painting, especially with the gorgeous landscape scenery. The music is beautiful and dreamy; I have listened to the soundtrack more times than I've watched the film. Both the cinematography and the soundtrack effectively transport the viewer back to the film's romanticized version of "the past," when life was simpler and people lived slower lives, waiting for their Mr. Darcy to sweep them off their feet.

Originality. The film takes a unique approach to the story by focusing mainly on the romance between Darcy and Elizabeth and emphasizing how the natural surroundings reflect the characters' mental state/emotions (pouring rain during the first proposal and stormy skies when Elizabeth hurries home after Lydia runs away). Though one can disagree with the creative changes made, I like how this film isn't just a remake of what came before it.

Elizabeth's walks through the countryside. The film expresses her desire for freedom through her countryside walks. For instance, the Netherfield walk is shocking to Caroline Bingley because it demonstrates Elizabeth's independence.

The comedic parts are great thanks to the creative additions made. For example, the "excellent boiled potatoes" joke isn't in the book, but it perfectly exemplifies Mr. Collins' poor social skills and pretentiousness, as he tries to make an overly formal comment about an otherwise mundane dish.

2. THE CASTING

The acting is good, although I don't always agree with how the characters are portrayed.

Keira Knightley. I like how she's the right age for Elizabeth, who is around 20-21 years old; Knightley was around 19-20 when she played Elizabeth, plus she has gorgeous eyes. She perfectly conveys the pride, confidence, and biting wit of Elizabeth, as she holds her head high in an imperious manner and has a direct, piercing gaze. However, I don't like how this version chooses to simplify Elizabeth's character into that of "free-spirited nonconformist tomboy," who is a nature-lover and runs to the countryside to console herself when things get tough (ex. running to the lake after rejecting Mr. Collins). This is a contrast to the Elizabeth Bennet as presented to us in the book, who acts like a typical "lady" for the sake of her social reputation; she mostly keeps her thoughts to herself except when talking to Jane or Darcy. Elizabeth is powerful not because she rejects society outright; it is because she does not submit to societal pressure to marry and makes her own choices (ex. rejecting Mr. Collins).

Matthew Macfadyen. His Darcy is cold, aloof, and remote, yet shows signs of a rich inner life and unrequited yearning for Elizabeth as a soulmate. I like how this version shows Elizabeth peeling away his cold exterior like the layers of an onion, until his heart of gold is revealed. While I think Macfadyen is a good actor, I disagree with the interpretation of Darcy solely being a lonely introvert, as it neglects his primary character flaw of pride.

Tom Hollander's Mr. Collins. Probably the best casting, as he perfectly portrays the bumbling awkwardness of the character and is more sympathetic than the gross Mr. Collins in the 1995 BBC miniseries. He is short, has a nasally voice and officious manner that makes him annoying yet fun to watch.

Simon Woods as Mr. Bingley. He's so friendly and eager to please, like the character is in the book.

Rosamund Pike's Jane Bennet. Utterly angelic and motherly, need I say more? The perfect antidote to Elizabeth's savagery.

Rupert Friend's Mr. Wickham. Handsome and dashing in a red soldier's uniform. It's easy to see how a girl would fall for him and ignore his debauchery, but also obvious that he is deceptive. For instance, he keeps claiming that he is insignificant and unnoticed, when he basks in the attention of Elizabeth, Kitty and Lydia.

3. OVERALL CHARACTER AND PLOT DEVELOPMENT

Since this is a movie, character development is a challenge, and the film relies on changes of outward appearance/dialogue to show character growth. For instance, we get to see Darcy's change from cold and remote into warm and loving, while Elizabeth admits that "she was wrong" about Darcy and slowly comes to respect him.

The first half (beginning to Darcy's proposal) is great because it effectively introduces the audience to the cast of characters (the family, Darcy, Bingley, Caroline, Wickham, and Mr. Collins). It also contains all the comedic parts and sets up the conflicts that drive the story. Overall, this half is more faithful to the novel because it has the social satire aspects of the story and sticks to the key plot points while developing the characters.

The second half is rather lackluster compared to the first because it focuses solely on resolving the plot points introduced in the first half. This part of the book contains important events for Elizabeth's character development (getting the letter, visiting Pemberley, dealing with the fallout from Lydia's elopement), but the film rushes through them to get Elizabeth and Darcy married. Instead of focusing on how Elizabeth overcomes her prejudice of Darcy and starts to love him, the film relies on aesthetic shots of flickering candles/landscapes to serve as quick transitions between the scenes. Though we have plenty of evidence that Darcy loves Elizabeth, we don't see much evidence that the love is mutual until the second proposal, only that Elizabeth starts to see him as a friend.

Another reason I don't like the second half of the film as much as the first half is the reduced dialogue. This second half has a lot of quiet moments devoted to nature scenery/Elizabeth staring in the mirror. Reducing the dialogue, with the exception of the letter scene, doesn't make sense because the plot/action of Pride and Prejudice is furthered through the conversations the characters have (after all, wealthy Regency women likely spent much time indoors/making social calls). While one can argue that the reduced dialogue is meant to show that Elizabeth is reflecting on her mistaken prejudice, without access to Elizabeth's interior thoughts, the audience doesn't get to see Elizabeth actively confronting her false assumptions about Darcy, unlike in the book, where she says out loud to herself: "Until this moment, I never knew myself."

Notable Scenes From the First Half of the Film:

The opening scene. It sets the tone for the whole movie with the beginning shot of a field at dawn, which ties in nicely with the second proposal scene near the end. By presenting Elizabeth by herself reading a book, it communicates to the audience that Elizabeth is "not like other girls," and it shows the imperfect, yet loving family dynamics of the Bennet household.

Elizabeth roasting Darcy after he dismisses her as "tolerable, but not handsome enough to tempt me." During a conversation the Bennet family has with Darcy and Bingley, Mrs. Bennet commits a social gaffe when talking about Jane's many admirers and how one sent her poetry. Elizabeth saves the situation by commenting that bad poetry can kill love, and Darcy comments that he regards poetry as "the food of love" and asks how to "encourage affection." I like that the film included this little exchange from the book (although it takes place while Elizabeth is visiting a sick Jane at Netherfield, and not during the first ball), since it was skipped over in the 1995 miniseries. The best part is Elizabeth's sick burn: "Dancing. Even if one's partner is barely tolerable," which is made even better when she walks away from him with a triumphant smile on her face.

The famous Hand Flex. After Darcy helps Elizabeth into the carriage (by holding her hand) so she and Jane can head back home, he glances longingly at her before wringing the hand with which he touched hers. It's an important hint of his growing love for her, as well as his struggle to repress those feelings. This is a wonderful bit of character development as it reveals that Darcy has a heart.

Mr. Collins having a meal with the Bennet family. The awkwardness is palpable as Mr. Collins tries to show off his social skills and give pro tips on charming ladies. This is all topped off with this amazing comedic joke: "These are excellent boiled potatoes. Many years since I've had such an exemplary vegetable." Another brilliant bit: after Lydia cannot contain her laughter, Lizzy, after giving her father a mischievous side-eye, slaps Lydia on the back to hide her laughter. Best line besides the excellent boiled potatoes: "Believe me, no one would suspect your manners to be rehearsed."

The Netherfield Ball dance between Darcy and Elizabeth. It is staged like a clash of personalities in the beginning, while the creative filming technique of separating the couple apart from the crowd of dancers foreshadows the budding relationship between them. I also like how sarcastic the dialogue is--Elizabeth is trying to win a battle of wits with Darcy but he successfully avoids her traps while reminding her that she doesn't truly know him and cannot make judgements about his personality.

Mr. Collins trying to introduce himself to Darcy. It's so comical because of the significant height difference between Mr. Collins and Mr. Darcy (Collins is dwarfed by Darcy). The height difference effectively represents the significant difference in social status between the two men and makes Collins, with his pomposity, look ridiculous as he fancies himself part of the nobility but cannot properly introduce himself.

Mr. Collins' proposal--one of the funniest scenes in the movie. Mr. Collins clumsily tries to flatter Elizabeth with a tiny flower, and it gets even funnier when he so obviously misreads Elizabeth's disinterest and outright exasperation (he doesn't understand that no means no!). After Mr. Collins bends down on one knee to propose to Elizabeth, the film emphasizes Elizabeth's towering presence over Collins to show that the two are a mismatch. The fact that the proposal takes place in the messy dining room reflects Collins' view of marriage as a business matter that he wants to get done with quickly, since the location of the proposal is not very romantic.

Elizabeth roasting Darcy yet again at Rosings Park. Elizabeth eagerly recounts to Colonel Fitzwilliam Darcy's impolite manners at the first ball; Darcy confesses that "I do not have the talent of conversing easily with people I have never met before." I like how the nervous and quiet delivery of that line shows to the audience that Darcy is an introvert, and it shows that he's an honest person, since he abhors "disguise of every sort." The scene effectively highlights Elizabeth's prejudice towards Darcy as the audience feels pity for him when Elizabeth tells him to practice.

"This is a charming house." During this scene, Darcy visits Elizabeth while she is alone and awkwardly attempts to make conversation with her. Macfadyen is a master of body language; Darcy says little but expresses a lot (ex. the nervous fiddling with his gloves). He tries to express his feelings for Elizabeth but gives up and abruptly walks out of the room.

The first proposal. What a climactic scene (but not very faithful to the book)! The music, thunder, and rain perfectly complement the volcano of emotions that erupts when Darcy cannot repress his feelings any longer. This scene has some of the best sexual tension ever; the two get closer to each other until they almost kiss. While this scene is great to an objective viewer, I don't like that the modified dialogue changes the original meaning of this scene (more about this later).

The letter. Elizabeth has a moment of introspection when she is forced to question her judgment, and Darcy delivers his letter. I like the shot of Darcy riding farther and farther away from Elizabeth, signaling that he is becoming increasingly out of her reach.

Notable Scenes from the Second Half of the Film:

Aunt and Uncle Gardiner arrive right after Elizabeth comes back from Rosings and they take her away to a vacation. I didn't like how they were introduced too quickly; I was thinking to myself "how did they get there and where did they come from?" Luckily we are treated to more glorious shots of the English countryside (the one with them under a large oak tree is my favorite).

Visiting Pemberley. I was puzzled by why Elizabeth laughs as soon as she sees Pemberley for the first time because in the book she was in complete awe of it. Also it doesn't make sense why she would touch his expensive stuff it's not her house...or is it? The good thing is that the embarrassment the two have upon meeting each other again is definitely palpable. Georgiana is sweet, but a little less shy than she was in the book.

Darcy smiles! After introducing Georgiana to Elizabeth, he smiles for a brief time at Elizabeth, and she smiles back. It's a great moment showing how Elizabeth has drawn out his goodness, and indicates that Darcy has transformed for Elizabeth. She also starts seeing him as a friend and her prejudice against him seems to have reversed in this moment of mutual recognition.

Lydia's elopement. Keira Knightley's fake cry was off-putting. Then Darcy only talks to her for a little bit and doesn't help her much (unlike in the book, where he asked her to sit down and got her some wine to make her feel better). I don't know why the aunt and uncle are in this scene because it's very important in developing Darcy and Elizabeth's relationship. In the book, the two are alone, and Elizabeth choosing to tell Darcy about Lydia's elopement is a sign that she trusts him, while Darcy's concern for Elizabeth further confirms that he still loves her. This extremely brief scene flickers quickly, and it takes only a few seconds before Elizabeth is crying in her carriage, while the sky is dark and ominous.

Bingley rehearsing his proposal with Darcy. This added scene, which is not in the book, is so funny because of how Darcy roleplays Jane, while Bingley has so much anxiety about her not accepting him. It's a nice glimpse into their friendship and it's also funny because Bingley is getting proposal advice from someone who failed very miserably at proposing.

Sunrise on the Moors. Another objectively beautiful and romantic scene that is definitely not faithful to the book. The two meet each other in a field in their nightgowns and profess their love to each other while blessed by the rising sun.

4. MAJOR FLAWS; OR, HOW THE FILM DIVERGES FROM THE BOOK

In earlier book adaptation reviews, I stated that I welcomed creative changes as long as they reflected what was already in the book (ex. literary elements and character development) or the author's intent, since film and books are different mediums and some storytelling techniques that work in books may not work on film. This movie is undoubtedly well-known for its creative changes, especially in terms of historical setting and dialogue. While these creative changes entertain the audience, I feel that they change the meaning of the story as presented by the book.

Here's the biggest issue I have with the movie: Darcy has no pride. The film interprets his "pride" as a misconception strangers get from Darcy's cold manner and inconsiderate remarks, but in the book he is an arrogant person who views his social inferiors as beneath him and treats them poorly. In the movie, his whole character is fashioned in the modern image of the "sensitive man," who is kind and considerate if only the outside world would appreciate his uniqueness. Thus, Elizabeth's prejudice against him is entirely without merit. While making Darcy a more sympathetic person highlights how wrong Elizabeth's prejudice is, the fact is that both of them have "pride and prejudice." Some fans have commented that Darcy is like a sad puppy at times. It's hard to see how he's a good match for this Elizabeth's fiery spirit, only that he wouldn't infringe upon her freedom to roam. A lot of YouTube comments I read were people expressing their desire to "hug Darcy" or console him after Elizabeth rejects him; this doesn't make sense because Darcy is an unsympathetic character until he is forced to change in order to earn Elizabeth's love. Apart from becoming kinder to Elizabeth and the Gardiners, Darcy never really changes in the movie; he still remains a socially awkward introvert.

The re-interpretation of Pride and Prejudice as purely a romantic novel: The emphasis on romance means that the other elements of the book--the social criticism, secondary characters and the dialogue--are de-emphasized for the sake of the romance between Elizabeth and Darcy.

The film's approach to the story echoes Charlotte Bronte's criticism of the novel: "And what did I find [in Pride and Prejudice]? ... a carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but no glance of a bright, vivid physiognomy, no open country, no fresh air, no blue hill, no bonny beck. I should hardly like to live with her ladies and gentlemen, in their elegant but confined homes." This version of Pride and Prejudice utilizes Romantic elements not in the book (ex. the storms, the landscapes) to increase the passion that the characters feel but cannot express.

Pride and Prejudice is perceived as a "boring" book because much of the drama takes place indoors (ex. Darcy's first proposal is in Mr. Collin's home), whereas in the film, there is greater emphasis on the natural scenery in keeping with its Romantic interpretation (lots of the "open country" that Charlotte Bronte desired). While the landscape scenes are beautiful, locating the action indoors, in the grand houses of the nobility, emphasizes the repressive, tradition-based nature of Regency Era society that Austen criticized (in a subtle way). These houses reinforce social hierarchy, for instance; the interior of Rosings Park is showy and stifling because it it represents Lady Catherine De Bourgh's wealth and power over those around her. Locating most of the scenes indoors visually represents the "confined and unvarying" lives of Regency era women and makes Elizabeth Bennet's independent streak much more significant.

Some of the social constraints that Elizabeth and Darcy face are removed. For example, Elizabeth is much more direct in her criticisms of others (ex. the "barely tolerable" insult), whereas in the book she largely confines these criticisms to her intimate friends such as Jane and Charlotte Lucas. While this effectively shows how badass she is, Elizabeth likely would not have taunted Darcy in such a direct way, as it would have been considered impolite and likely harmed her social reputation in a society governed by rigid adherence to social etiquette. And of course, Darcy likely would not have been walking around the English countryside in an open-chested shirt although we may have Colin Firth's wet shirt to blame for that. The importance of following etiquette rules is shown when Darcy offends the whole village by refusing to dance with anyone during the first ball. As a woman in a patriarchal society, it would have been even more important for Elizabeth to follow the rules, as her social reputation was important to her chances of making a good marriage. By de-emphasizing the rigid social norms that govern the characters, the obstacles to Elizabeth and Darcy's marriage are less significant, and it seems that the only thing standing in the way of their being together is Elizabeth's unreasonable hatred of Darcy.

Also, in many of Austen's novels, the hometowns of her heroines and its inhabitants are their own characters; the power of gossip in determining one's social reputation for the "marriage market" is de-emphasized in the film. In Pride and Prejudice, a major reason Elizabeth doesn't discover Wickham's bad character at first is because of the "general approbation of the neighborhood" and social popularity he has in Hertfordshire. After Lydia elopes, the family is in a bad situation with regards to marriage prospects because the village had "generally proved [the Bennets] to be marked out for misfortune." In the film, the role of the village is relegated to that of a place for entertainment and nothing more.

Others have noted that the film also exaggerates the social divide between Elizabeth and Darcy by turning the Bennet family into peasant farm-owners who have messy hair and wear plain, homespun clothing. This justifies Darcy's social prejudice against the Bennets, which undercuts Austen's message of morals, actions, and treatment of others being a better indicator of character than class rank (the rich people in this book, with the exception of Darcy, Georgiana and Bingley, are shown to be lazy or plain ridiculous). While Darcy may be richer than Elizabeth, and have better connections, they are both members of the gentry--after all, they do not have to work to maintain their lifestyles. Instead, we are presented with a conventional rags-to-riches story, where our poor but virtuous heroine is rewarded with a rich Prince Charming who takes her away from the squalor of her home to his great big palace.

Ultimately, the story is changed into an argument for love, specifically the passionate kind, triumphing over all; Elizabeth overcomes her hatred of men as "humorless poppycocks" to be with Darcy. Near the end, Mary reads out of a book claiming that a lady should give in to her passions and surrender to love, which doesn't make sense as the marriage based entirely on passion (Lydia and Wickham) is shown to be less than ideal.

While Austen does believe in following one's heart (ex. Persuasion, where Anne Elliot regrets rejecting Captain Wentworth because of his lower social status), others have commented that she presents the ideal relationship as a balance between mind and heart. Charlotte's practical marriage to Mr. Collins represents the traditional view of marriage as an "economic proposition," it is entirely logical and calculated, whereas Lydia and Wickham's marriage is the other emotional extreme, motivated entirely by sexual infatuation. Before Elizabeth acknowledges her love for Darcy, she must respect him as her intellectual equal. Here's the passage from the book where Elizabeth realizes she loves Darcy: "She now began to comprehend that he was exactly the man, who in disposition and talents, would most suit her. His understanding and temper, though unlike her own, would have answered all her wishes. It was an union that must have been to the advantage of both; by her ease and liveliness, his mind might have been softened, his manners improved, and from his judgment, information, and knowledge of the world, she must have received benefit of greater importance." Elizabeth's decision to marry Darcy is not only a result of her heart's desire, but it comes after she does some thinking and concludes they are compatible and would be able to live with each other on a day-to-day basis.

Something else I find ironic is the director's (Joe Wright's) claim that he aimed for realism in the film, given that Austen already depicted Regency era life realistically by focusing on social norms, class, and wealth:

The director, in his quest for "realism," features the messy environment of the Bennet household, which doesn't make sense given that they are still relatively wealthy (when defending herself, Elizabeth tells Lady Catherine that she is "a gentleman's daughter"). Also, they have servants to clean things up, so why would the house be in a constant state of disarray?

Lastly, how is the second proposal scene is "realistic?" It is a moment of "psychic communication" between Darcy and Elizabeth which is out of character for the book. They both "can't sleep" and walked, in the words of Wikipedia, "across the moors" to see each other ok this seriously reminds me of Wuthering Heights. The scene is powerful because every woman wants to be told that "you have bewitched me body and soul" but "realistically," this doesn't happen (and this line isn't in the book either).

"REALISM" IS THE REASON WHY WE FUSS OVER HISTORICAL ACCURACY!!! HISTORICAL ACCURACY ALLOWS PERIOD DRAMAS TO BE REALISTIC!!!!

If the characters wore historically accurate clothing (different from the loosely inspired, modernized dresses/hair in the film), it would have emphasized the lack of freedom women had in Regency Era society and reinforced the importance of following social norms to succeed in a patriarchal society.

Bad Script Changes:

This film is known for its modernized script, which makes it easier for a mainstream audience to watch the movie. However, it also changes depictions of the characters in ways that undercut the meaning of the book.

Elizabeth Bennet, man-hater:

"Oh, they [men] are far too easy to judge. Humorless poppycocks, in my limited experience."

"And which of the painted peacocks is Mr. Bingley?"

"Men are either eaten up with arrogance or stupidity. And if they're amiable they're so easily led that they have no minds of their own whatsoever...No, they bring nothing but heartache."

I know these snarky comments are fun and reinforce the modern perception of Elizabeth Bennet as a feminist heroine. However, book Elizabeth doesn't rail against men as a whole; she just wants to find love rather than be forced into an advantageous marriage. Her idea that marriage should be based on love and respect, along with her unwillingness to compromise on that ideal, is what makes her revolutionary, not her complete apathy towards the opposite sex.

"Don't you dare judge me!" While it foreshadows Elizabeth's flawed judgment, this outburst is out of character for Charlotte Lucas, who in the book is level-headed and makes practical decisions. As with the majority of the bad script changes, it is too modern and doesn't fit with the 19th century style language used elsewhere in the script.

Darcy's lack of pride is shown in the modified lines of the first proposal (which were hard to catch because they were spoken super fast):

"I can bear it no longer. The past months have been a torment. I came to Rosings with the single object of seeing you. I had to see you. I've fought against my better judgment, my family's expectation, the inferiority of your birth, my rank and circumstance, all those things, but I'm willing to put them aside and ask you to end my agony. I love you. Most ardently."

These lines completely change the meaning of the first proposal. Apart from the famous opening lines ("In vain I have struggled. It will not do. You must allow me to tell you how ardently I admire and love you"), Austen makes clear that Darcy still regards his higher social position and Elizabeth's inferior connections as obstacles to their marriage. His first proposal to Elizabeth is a means of getting rid of the suffering that his unrequited love has forced upon him; he still does not accept Elizabeth as his equal, which is why she rejects him in the first place. Clearly he is not "willing to put [social norms] aside" when it comes to "his sense of her inferiority." The modified lines also make Darcy much more romantic by having him state that he came to Rosings to see Elizabeth; the book does not specify that this is the case; he just came on a routine visit to see his aunt and Elizabeth happened to be there. As I said earlier, Elizabeth in the book rejects Darcy because of his lack of respect for her, but in the film, he seems to show nothing but respect for her. They even have an almost-kiss, which doesn't make sense given that she hates him so intensely at this point in the novel.

"He's so, he's so...rich." Elizabeth utters these when trying and failing to find a reason not to visit Pemberley. This declaration does not make sense because Elizabeth has formed in the very least a grudging respect for Mr. Darcy; without access to her internal thoughts, one might take this line as evidence that she still hates Mr. Darcy.

“Just leave me alone!!!” After confronting Lady Catherine, Elizabeth flees to her room to find some alone time. This doesn’t suit Elizabeth’s character because 1) she acts like a temperamental teenager and 2) she is estranged from her family. In the book she gets closer to her family after Darcy’s first proposal, not the other way round. In some JASNA (Jane Austen Society of North America) articles I read about Pride and Prejudice, the authors observed that Elizabeth isn’t concerned about her family early in the novel; her motivations are largely self-centered, she keeps her head above their foolishness and doesn’t have intimate relationships with anyone in her family with the exception of her father and Jane. Only after she receives the criticisms of her family’s behavior from Mr. Darcy does she look out for her family; for example, by advising her father not to let Lydia go to Brighton (and she becomes right about it harming her family’s reputation). The film also makes Elizabeth even more isolated from her family by omitting the fact that she tells Jane about what happened between her and Darcy. Elizabeth learning to care for her family is an important part of her growth which the film omits.

5. CONCLUSION

I still think this film is worth watching, even though as a purist I disagree with the creative changes made, namely the emphasis on the romance over the social comedy. It is obvious that the screenwriter/director didn't strive to replicate the book exactly and aimed for a romantic re-interpretation.

The film has had a positive impact since it introduced a lot of people to Jane Austen, including me.

Here’s my story: when the movie aired on TV, my mother, who is a 1995 die-hard, started ranting about her hate for this version, so I picked up the book so that I could watch and compare.

As a romance movie it is excellent, because it has plenty of sexual tension and quotable romantic lines, along with a couple we can root for. The set design, music, and set design also make watching the movie an experience. It's very easy to love this movie just for the cottage core aesthetics (although aesthetics cannot cover up the flaws of this film).

On a side note, I find it funny that the Wikipedia article for this film states that it "failed to have the cultural influence" of the 1995 BBC miniseries. In fact, many people my age (17 or 18 years old) who have read the book consider this movie the definitive version of Pride and Prejudice and some don't even know that the 1995 miniseries exists!

Whether you love or hate this film, all I ask is that you don't call it Jane Austen's Pride and Prejudice.

@colonelfitzwilliams @appleinducedsleep @obscurelittlebird @austengivesmeserotonin @princesssarisa @dahlia-coccinea @firawren @cobaltzosia

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thegreatestofheck · 5 years ago

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Heck’s Masterlist

OBX Masterlist

Since some of my fics are getting long, here’s a masterlist of everything I’ve made so far in relation to Outer Banks! It will continually be updated as more fics, blurbs, and requests are added!

Also, my requests are open! I don’t generally do smut, but I’m open to mostly anything else!

JJ Maybank

Requests:

Jump - You are John B’s sister and you’ve been following him around your whole life. After deciding to make your own path, you find yourself caught up with a boy who is no good and JJ is the only one who can get you out of it.

Wedding Dress - JJ makes a promise to himself that he’s now not sure he can keep.

Run - You’re John B’s sister and after sending him off on the Phantom, it’s up to you to cover for him. But Ward Cameron is still your legal guardian and he comes to collect his property.

Ransom - John B’s sister is taken by the square groupers. In exchange for her life, they ask for the compass and a heavy ransom price. It’s a race of time as the Pogues, with the help of Sheriff Peterkin, journey into the marsh to save her life before the clock runs out.

Not So Unrequited - in the middle of an argument with your best friend, he says something to you that you had never wanted to hear.

i love you - your relationship with JJ had always been rocky, built on a mutual desire for affection. that doesn’t mean he would never break your heart.

fill the void - she always felt alone, so when he needed her most, she couldn’t resist.

promises, promises - You and JJ have an unspoken thing, passed only though stolen glances and half serious flirting. But the day after he takes the fall for Pope, you find yourself standing at a crossroads; do you step in to protect him from his dad, or do you stay out of it?

Series:

Ocean and Alcohol - (1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, Epilogue, Rafe’s POV) You’re a kook, but your life is less than ideal. After a fight with some of the other kooks, you let slip a little about your home life to one JJ Maybank, who is more than intrigued. (reader insert with a name, tw: abuse, canon content)

Tempest and Gin - (1, 2) The gold is gone, but Elma’s problems are just beginning. With her dad in police custody and her mom once again AWOL and refusing to pay for legal council, Elma and Ms. Lana struggle to get through the trial with a court appointed lawyer. At the end of her rope, Elma finds herself juggling friends, family, rivals, and enemies as she struggles to keep her wits about her and do the one thing she’s always done; protect Kid.

Girl With No Heartbeat - (1, 2, 3, 4, 5, 6, 7, 8) After a near death experience, JJ is saved by a girl in the water. When he and the Pogues find her washed ashore the next day, they are more than surprised to discover that she isn’t your everyday girl. (mermaid/siren au, canon divergence)

Imagines:

Sweet as Honey, Hard as Steel - JJ’s girlfriend is the complete opposite of everything one would expect. A straight A student with big life goals, Elena has never been the drinking, smoking, fighting type. And JJ wouldn’t have it any other way.

Coward - Your mom just passed and your absentee father has come to collect you. But that means leaving the life you knew and loved, including your best friend (and a little more), JJ Maybank. But he isn’t ready to hear what you have to say on your last night together.

Rafe Cameron

Series:

Fire and Storm - Rafe Cameron had always wanted her. He wanted to be hers and he wanted her to be his. But she wasn’t and he was slowly beginning to realize that he never would be. (this is Rafe’s POV for a bit of another series, Ocean and Alcohol)

Requests:

Better - Secretly dating Rafe as JJ Maybank’s sister isn’t the easiest thing, especially when your brother finally learns the truth.

Imagines:

Meant to Be Yours - Rafe Cameron, your boyfriend, was more broken than you realized. He wants more from you than you can give. (based on the song “Meant to Be Yours” from Heathers the Musical)

John B

Imagines:

Girl Crush - You spent years yearning after John B, your best friend. You just didn’t realize it until he fell in love with the most beautiful girl on the island...and it wasn’t you. After that, only Sarah Cameron was on your mind. (based on the song “Girl Crush”)

Tethered - (routledge!reader, John B’s little sister) Surfing the surge was a Pogue rite of passage. You had been waiting for the next big storm to show your older brother that you were ready to be one of them. But the storm was stronger than you or your brother could have imagined.

Just Come Home - (routledge!reader, John B’s little sister) You come home one day to find your brother bearing harsh news.

Series:

By Dawn - (1, 2, 3) John B meets a mysterious girl at his court ordered group therapy. After spending weeks trying to get to know her, he slowly realizes that she’s a tough nut to crack. But then one day, she leaves him a cryptic message...the night before she goes missing. With the disappearance of his father still so raw in his mind, John B refuses to lose anyone else. And he will stop at nothing until he finds her.

Sarah Cameron

Imagines:

Kie Carrera

Imagines:

For Forever - When you’re parents find out that you’ve been secretly dating your best friend, Kie, they go off on you. Afterward, she comforts you, reminding you that blood doesn’t mean family. (tw: homophobia, found family to the max)

she - As a Pogue, having a crush on Kie Carrera was almost a prerequisite. You knew that all the boys were crushing on her, at least a little bit, but accepting your own feelings for her is a different matter. (reader has a crush on Kie but isn’t really ready to admit her feelings)

Requests:

Nothing More - You’re secretly dating one of the Pogues and your brother is starting to become suspicious. The only problem; he’s fixated on the wrong friend.

Pope Heyward

Imagines:

Nothing to Prove - Pope helps you with some relationship problems. Later, while hanging out with your boyfriend, you realize that running from your fears got you nowhere and the only place you wanted to be was with Pope. (very soft)

Delivery Boy - With an absent mother and a distant father, you’ve always felt alone living in your empty house. But a certain delivery boy might be the one thing that makes running an estate worth it.

Seires:

Bare Bones - (Preview, Theory 1, Theory 2, Theory 3) Pippa Cantu has always been a little…strange. With a knack for knowing everything there is to know about every conspiracy, every mystery, and every weird happening, she doesn’t have much time (or desire) for friends. But when her chemistry lab partner asks her to join him and his friends on a hunt for the Royal Merchant, she just can’t say no.

Kelce

Series:

Simple Melancholy - (2) Jemma “Little J” Maybank finds herself a little over her head when she accidentally falls for a boy from Figure Eight. Between her overly protective brother and Kelce’s incredibly rude friends, neither of them are sure how they’re going to make it, but they’re determined to.

General (Everybody)

Imagines:

Do Not Stand - One of the Pogues passes away and leaves a message for her friends. Each of them take it in a different way.

Series:

Little Village - (1, 2, 3, 4, 5, 6, 7, Finale) As the oldest of the Pogues and John B’s big sister, June always acted as their mother. She helped with assignments and studying, helped pay bills when it was needed, made dinner, reminded them about hygiene. But then she got pregnant and her boyfriend left and suddenly she found herself unable to do all those things she was once able to. When they say it takes a village, she wasn’t entirely sure they meant a bunch of teenagers. (post-canon, I haven’t decided who the love interest will be or if there will be one at all, so that’s why its here)

Requests:

Homeward Bound - After spending years abroad at a boarding school, Kie’s sister returns to the Outer Banks. The Pogues quickly realize that, despite her cold exterior, there is a free spirit inside her just longing to break free.

A Bunch of Love Stories Masterlist - A series of fics based on Taylor Swift’s album “Fearless”.

Outerbanks Playlist - This is just a list of songs that remind of the Pogues and other characters in the show. A few of the songs are connected to some of my fics as well!

ATLA Masterlist

Zuko

The Sun, The Moon, and the Stars - She is a non-bender from the Southern Water Tribe who somehow found herself smack in the middle of Fire Nation central, where a young prince is fighting an internal battle she hopes to help him win.

Harry Potter Masterlist

Fred Weasley

warm - you and your husband survive the second wizarding war, but so do some of Voldemort’s old followers, and they are hell bent on revenge.

Severus Snape

The Other Her - Severus Snape had two friends while he was at school. One, every body knew as Lily Evans. The other was you, an unknown student who wanted nothing more than to be noticed by your friend. You couldn’t help but compare yourself to the Gryffindor heartthrob every time he mentioned her name.

Only One - You return to Hogwarts years later to watch your son’s Quidditch match, only to find yourself a little bit in over your head.

Criminal Minds Masterlist

Derek Morgan

breathe again - he saved her life and now she has to deal with the aftermath. he’s there to help her every step of the way.

Aaron Hotchner

dark of the night - an agent gets taken in the middle of an investigation. in a race against time, the team at the bau must find her by diving into her deepest secrets. when a video tape arrives with horrible images of the state of their friends, aaron hotchner realizes just how terrified he is of losing her.

The Musketeers (BBC) Masterlist

Porthos

enough for you - the wife of a musketeer reflects on her relationship with her husband while Porthos watches from the sidelines.

1K notes · View notes

creativeashproductions · 4 years ago

Text

Permanence // Luke Patterson

Summary: On the run for most of her life the reader had been accustomed to being a lone wolf in world with eyes everywhere. Living in the age of technology and life online makes it hard for a girl stuck in a permanent state at nineteen physically. All things change when the reader moves next door to a healing teenager and her ghostly band.

Warning: Swearing, loss of death, talk of injuries/hospital, angst, and fluff

Words: 5.1k (yikes)

A/N: Loosely based on the film Age of Adaline. Also includes a scene using the BBC show Call the Midwife as well. I’ve been MIA due to this fic. I love it.

TO BE TAGGED SEND AN INBOX PLEASE!

Masterlist

The love tingled in your lips as the taxi pulled away from the curb leaving behind the white-haired woman. Your hand raised to wave as the woman turned into a speck in the review mirror but never far from your heart and thoughts.

“Going on a trip?” The taxi driver questioned taking a right turn with a jarring sensation. His brown eyes speedily meeting yours, “Does your mom grandma live in San Francisco?”

A mournful smile appeared on the wrinkle-free complexion, “Something like that.”

The reply didn’t faze the driver in a big city he had chosen to make his living with for his family, he had heard worse. The airport reared its head with the big heavily populated by tourists and loud machinery of transport.

The royal blue wool jacket concealed the black blouse tucked into the grey, and black tartan fitted trousers. Paired with the black velvet kitten heels that had been in your possession for a very long time. Hair left down in the soft waves and makeup natural for the plane right.

The flight was over quickly for the young woman with her carry on, and purse collected you immediately headed to baggage claim. The suitcase was easy found and lifted off the conveyor belt with little trouble. Your expressive eyes finding the taxi, some may call you old fashioned for not ‘ubering’, but it was a nostalgic action.

“Where to?” The taxi driver asked with pretty blue eyes shadowed by the crows’ feet at the corner’s of her eyes. Swiftly you listed off the address to the house you had bought with your vast savings, “Half hour ride.”

You settled back into the leather seat as the city passed by with the memories staunchly kept in a locked box escaping. Los Angeles had been the location of the only family trip you had had in your late teens.

Los Angeles, 1936

“Darling! This Samuel, he owns the restaurant up the beach.” Theodore’s bright white smile gleamed as he returned to your side, “He’s personally invited us to celebrate the first night of our life together.

The pleated cark charcoal pants held up with black suspenders snuggle atop the button-down shirt of denim blue colour. The shirt left with the top two buttons undone revealing the white undershirt. Shiny polished black shoes on Theodore’s feet he was dressed as perfect as the day he caught your runaway hat.

“Oh, thank you.” You told the shy man as he led you up to the well-known restaurant with the gorgeous view of the water.

Samuel went further by providing his best table in the house, leaving the host annoyed at the interruption. The dinner was spent with Theodore listing off the itinerary for the week in the city. From visiting the museums to watching a film at the Los Angeles Theatre recommended by Theodore’s connection from work.

“You like to share a dessert Darling?” Theodore asked tenderly holding your soft hand in his smooth one. His smile never faded as you declined his offer satisfied with the large meal from the five-course dinner.

“I’d much prefer the comfort of our hotel room.” Your lips ended the words with a smile that paired well with the glittering eyes. Theodore’s heart expanded as his wife’s smile, he had fallen in love with first.

“The hotel placed a nice bottle of champagne in our room,” Theodore spoke once the bill was taken care of. He pulled your chair out to help you slip on the navy blue wool jacket on from the back of your chair, “You are absolutely beautiful.”

“Still as charming as ever.” You whispered gazing up at him with such love.

You had loved Theodore from the first chaperoned date at sixteen with the handsome eighteen-year-old that had saved your hat. The wind that day had been unbearable as you walked the beach of San Francisco with your mother. At seventeen, you wed; a mere few days previous. Theodore came from a well-off family but worked as an engineer for the city.

“We’re here.” The taxi driver spoke as the car pulled to a stop at a pretty house painted a blue with white accents.

Mumbling a thank you the driver took off once your belongings found ground on the sidewalk and the fare paid. The house door unlocked with a click revealing the furnishing you had sent and hired a company to build. The boxes of personal belongings had arrived in boxes the previous day and awaited unpacking.

The first order of business on your to-do list was changing the locks as well as testing the safety alarm. The next few hours you unpacked your kitchen and clothing as the locksmith took his time finishing up previous appointments.

Your hand hovered over the oval golden framed photo of your wedding day with Theodore with a smile on both your faces. You didn’t look a day older than the day you married Theodore even if it had been so long. The familiar clench at the sight of the man happened every time you saw the photo.

“You’d be so proud of Rosie.” Your index finger caressed the elegant picture of your first love with a mournful emotion.

Pulled from the sad memories as the doorbell rang signalling the arrival of the locksmith. The appointment was swift before you finished unpacking the living room from the bookcase to the picture frames. As the minute handle circled the clock face, you settled in for the simple meal.

“Tea on the porch.” You sighed curling into the cherry red Adirondack chair in the front porch watching as children went inside their houses.

It wasn’t how you had anticipated your life dreaming of a life with a family in a lovely home. You never expected to live in fear for your life, and your child’s as the second World War reared its ugly head. You never envisioned having to move every few years to keep safe. Lastly, you had never foreseen watching Rosie’s hair turn white before your own. You thought you’d be buried beside your husband after a long life. So far, it had been too long at this point with your childhood friends all dead.

“Hi.” The voice of a teenage girl spoke. Your gaze left your lukewarm tea for the girl at the bottom of your porch.

Strands of her curly textured hair pulled away from her face it revealed her clear tawney complexion. The most expressive brown eyes framed with thick lashes that took your breath away with the kindness in them.

“You just moved in right?” The girl asked as you climbed down the steps to the younger teenager, “I’m Julie Molina, I live next door.”

“Hello Julie, I’m Y/N Y/L/N.” You spoke, shaking the extended hand of the young girl inspecting her.

Her fashion was obviously of the current time whereas your own style was a mixture of different eras. The style fits in but touches to bring in the past decades you had lived through.

“Where are your parents?” Julie asked with a furrowed brow.

“I live alone.” You replied sighing as the confusion flashed in the younger teen’s eyes before you elaborated, “I’m nineteen. I bought the house, my parents live in my home state.”

They weren’t living, but they were buried in the cemetery with the other family members that had since passed. Unless a freak accident happened, your plot near your husband wouldn’t be filled. The only person who knew the truth was Rosie, she was your daughter.

“Wow! That’s cool.” Julie beamed glancing over her shoulder as her phantom friends poofed in behind her.

The sudden appearance startled you and while it was confusing you had become well acquainted with weird. You hadn’t aged a day since a stormy night on the country roads in 1938 heading to pick up Rosie. You barely flinched at the appearance.

“Oh damn, Julie’s neighbour is hot.” The leather jacket one spoke scanning the newcomer with an awed expression.

The boy with the sleeveless top sharing the same awed expression. Whereas the blonde in pink’s breath released in an exasperated sigh. Only a corner of your lips twitched up at realization this must happen quite a bit.

“I should head back inside. I have a few more boxes to unpack. It was lovely to meet you, Julie.” Your eloquent words taking the boys by surprise from the lack of modern language and slang. You didn’t use any of the terms that Julie and Flynn spoke in.

Luke followed Julie with glances over his shoulder to the back of the mysterious girl closing her front door. It wasn’t often Luke was intrigued by anything other than his music. Still, something about you was the most interesting thing. Not even touring some of his favourite bands’ personal homes was as interesting.

“C’mon Luke!” Reggie called out to the lingering teenage ghost. Unbeknownst to the retreating guitarist, your curtain had been pulled away as you peeked at him.

Over the next few weeks, you had become acquainted with Julie, even admitting to seeing the boys. It was a mess of Reggie blushing at your revelation of hearing his comments on your beauty. It wasn’t earth-shattering, but it was a friend group.

Two months later, over the course of a week, you withdrew from the group for the comfort of your living room. A garbage bin for used tissues as it sank in once more that the anniversary of Theodore’s death rolled around. 82 years since he was tragically killed.

You looked a mess and barely reacted when the four friends to it upon themselves to enter your home. Your hazy mind barely caught onto the arrival as Julie ushered your saddened form to the bathroom.

As Julie helped dress you, taking it from the extensive closet, the boys cleaned up the living room, and Alex poofed out. He returned with a pizza he began cooking coming to a stop at Luke’s gaping gaze at the mantel above the fireplace.

“What’s wrong?” Alex demanded rushing to the guitarist side equally shocked. Perfect timing as you came back into the living room with Julie.

“That’s Theodore.” The words came out gravely from the lack of use for the past few days. Your feet brought you to the side of the three boys, “It was raining the day. The sky broke when we left the church.”

“That’s you?” Reggie inquired frantically glancing between the old photo and your exact replica of the picture.

Julie gasped at the sight picking out the scar on the edge of your forehead barely seen in the photo but the matching appearance remarkable. The soft smile appeared as your hand came to grab the frame remembering the lovely day—the beautiful ceremony and the small reception before heading out for the honeymoon.

“Theodore Prescott was eighteen when I first saw him on the beach in San Francisco. Mother and I chose a windy for a walk; my hat blew away. Straight into the trousers of a young man that I would fall in love with instantly.” Your smile grew as your form settled back on the couch, having traded the frame for an old album. The four people were quiet.

“We married a year later in 1937, I was seventeen years old. Theodore whisked me off to Los Angeles for our honeymoon. We dined at fancy establishments, caught a film at the Los Angeles Theatre.” Your smile faded, leading Julie’s heart to clench as she knew that expression from seeing it in the mirror, “He was an engineer.”

“What happened?” Julie questioned grasping your soft hand in her own hand, focusing her eyes on your face. Your face remembering one of the most challenging times.

“Theodore was an engineer for the construction of the Golden Gate Bridge. A section of the bridge collapsed taking three men down. Theodore was one of them.” A lone tear travelled down your cheek, “It was difficult grieving my husband and caring for our daughter.”

Luke’s gasp was audible, “Are you a ghost?”

“No.” You told the seventeen-year-old guitarist, “I’ve been nineteen for the last 83 years.”

“Eighty-three years?!” Reggie exclaimed completely taken aback blinking fast to take it in, “Did you find a fountain of youth? Some special French creams?”

“Reg, shut up.” Alex elbowed the raven-haired teenager in the side with an apologetic smile, “I’d apologize and say he isn’t normally like this…but you know us too well.”

“It’s alright Alex,” You told the drummer fiddling with his ring as you returned back to Reggie, “It was storming in 1938, but I had promised to meet my parents and Rosie at the cabin. Visibility got worse, and I fishtailed right off the road into the ravine. I’m not sure the science but I know I died, and then I woke up.”

“This so weird,” Luke mumbled listening intently to the story with wide eyes that quickly matched his friends.

“Believe it’s shocking when your daughter graduates from college with her mother looking younger than her.” The bitter chuckle couldn’t be held back, remembering it as the first time you were retitled as Rosie’s sister.

“I just got used to being a ghost.” Alex sighed, settling into the armchair to the left of the couch. Luke sat on the couch next to you while Reggie took the armchair across from Alex.

As the sun rose higher and began to set, you enthralled the teenagers with stories of your long life. Luke was the most interested in the music you have seen evolve over the course of time, and the musicians you had met. In telling them stories, it allowed you to step out of the dark abyss of your mind.

“Freddie Mercury?” Luke asked from the other cherry red Adirondack chair turned to see you in the matching one.

“I had coffee with him in a little hole in the wall coffee shop in New York. He loved whip cream, but he didn’t like the dairy they used. The shop is now a Starbucks.”

The giggle escaped at Luke’s look of absolute awe, “That’s so rad.”

“Rad. Haven’t heard that in a long time.” The sparkle for sure would have sent Luke’s heart thudding like Alex’s drumming in Now or Never; if it still beat that is.

“…so do you think people can fall in love more than once?” Luke had been very undecided in asking the question. Everyone around could tell he felt something for you so unlike any other relationship.

You kissed your teeth, thinking about how to properly articulate your thoughts on such a heavy subject. It was clear that you felt something for the teenage ghost even if you had lived far longer than Luke had.

“I think it’s possible. Luke, I’ve lived a long time and while I’ll love Theodore for as long as I live that doesn’t mean I have been alone.” You revealed to the ghostly guitarist stepping back in a part of your history buried incredibly deep.

“The way you were torn up made me think-“

“I’ll always mourn Theodore, I had a year, and that was never enough. I worked as a midwife in England in the late 1960s.”

Poplar, London, England circa 1960s

The blonde-haired bombshell marched her way through the crowded Poplar district in London scanning the late-night Christmas shoppers. Beatrix, Trixie to her friends, had a young mother a mere street away. The only available midwife to help her happened to be off duty shopping for gifts.

Trixie was thankful for the American accent that distinguished the midwife from the crowd, pointing her towards a store window. Your eyes dragged away from the lovely young mother giving her thanks for delivering her baby a few months prior.

“Trixie!” You beamed, revealing a white smile that lit up your pretty eye colour. Trixie’s anxious expression dropped the smile, however, “Is something wrong?”

“Jenny Turner is in labour. Tom is with her right now, but I need help. Everyone is further away.”

In seconds you had pulled the charcoal cape secured by the bands crisscrossing your shoulders to properly rest. The cloak had armholes with material covering the holes, no sleeves seen. The cape covered the plain light blue nurse uniform with the white-collar and the maroon red cardigan.

Trixie led you to the small apartment housing twenty-one-year-old, Jenny, with Reverend Tom Hereward waiting. This would be Jenny’s second child with her husband Roger leaving the midwife’s nervous after her first pregnancy.

“Hello, Jenny.” You spoke stepping closer to the woman, “Trixie said you requested my presence.”

“You delivered my first baby. I want you here, Roger a county away for work.” Jenny heavily spoke as a contraction ended, “I’m not due for two weeks.”

“Baby Turner is too excited to meet their big brother.” You soothed settling beside the young mother, “You’re in great hands with Trixie. You are close to the hospital and the clinic if you’d prefer to move.”

“No. I want to stay.” Jenny was sure of that, at least. Her hand left yours to clench the white bedsheets as a contraction clenched her midsection.

“Then I’ll be right here with you.”

It was a promise you kept as Trixie delivered a healthy baby girl appreciating your help when you cleaned the baby. Trixie helped Jenny deliver the afterbirth and clean up the room just in time for Jenny’s mother to enter the room.

“I came as soon as I could.”

“Thank you, Y/N,” Jenny spoke with a small tired smile. The smile that made the job worth watching babies being born, of family’s growing.

Tom was waiting outside in the living room as you exited the bathroom. Your heart fluttered at the sight of the Reverend Hereward waiting for you with his patient smile and a tender look in his blue gaze.

“How is Jenny?” Tom asked, holding the door to the street open.

“Tired after delivering Cynthia. Cynthia is an eight-pound baby with no complications. Thank you for praying Tom.”

“Trixie informed me of Jenny’s first pregnancy, and I felt like I was needed. Do you happen to be free tomorrow night?” Tom asked, linking his fingers in yours with a smile that almost looked nervous.

“I am.” You responded as Tom walked you to Nonnatus House where the unmarried midwives resided. You stood on tiptoes to kiss his cheek, “Good night Tom.”

“I’ll meet you at the park,” Tom responded, waiting patiently as you entered the building before he turned on his heel to head to his residence. Unknown to him, you peered down from your bedroom window as he pulled something out of his pocket.

A small box housing a ring he would propose with the very next night. A ring that broke your heart. A ring that you’d never see up close as you handed in your resignation and left England as quickly as possible.

Luke’s invested gaze shuttered as you revealed you had run away before Tom could propose because it could never happen.

“He was going to propose, and you didn’t say goodbye?”

“I don’t know if I could have said no when he asked. I wish I knew what I would have said, but it was unfair. How could Tom, as a Reverend, accept that his fiancée or wife would never grow old? It went against everything he believed in.” You countered with a raised eyebrow, “He married the midwife that was hired a year after I left. Barbara Gilbert. Trixie sent me the letter.”

Luke’s perceptive eyes caught the tinge of sadness in your gaze recalling the second man you had loved. You loved with your whole heart and with that came a lot of heartbreak.

“Do you keep in contact with them?”

“I send a letter to Trixie every once in a while, to check up on her. She married a few years after I left and had a few children. I believe she had a step-daughter.”

Luke’s mouth went to open before a flash of light, and a slight gasp was heard from the blonde drummer. His eyebrows raised as the close proximity between his best friend and his new friend. He shook it off as he turned to face Luke fully.

“Did you forget? We have a gig.” Alex spoke amused as Luke’s eyes widened theatrically vividly recalling the excitement in Julie’s eyes.

You waved the duo off to disappear in a ball of light to the gig they had for the night while you entered your home. You didn’t hear Alex make a comment that Luke couldn’t deny.

“You’ve fallen for her,” Alex spoke just outside the coffee shop that housed the record execs with the power to change their afterlife. The quirk of a smile sealed Alex’s opinion of the girl.

Content to spend your time in the house you retreated to the kitchen. Your hand slipped into your pocket for the phone that had few contacts such as Rosie and Julie’s along with the number of Rosie’s doctor. Mostly pictures of Rosie and landscapes but never your face, not after the 1953 incident.

Living next door to the Molina’s you often shared recipes with Ray, he had taken you under his wing. He felt empathetic with the young neighbour he saw you as a daughter almost, unaware that it would the other way around. You had years on the widowed father.

The wooden spoon stirred the sizzling stir-fry that had been a fixture in raising a rambunctious little girl interested in skinny her knees. The stir-fry was the quickest meal while Rosie played outside or in the little play corner with her dolls. It seemed like the world knew when your phone rang.

“Hello, darling.” You spoke securing the phone between your neck and shoulder, “Did you teach Gladys poker?”

The silence was stifling, “Is this Y/N Y/L/N?”

A cold sweat broke out as the unfamiliar voice came from Rosie’s cell phone roused the deep-seated fear of loss. The wooden spoon in your hand clattered on the tile flooring of the modest-sized kitchen.

“Your grandmother Rosemary Prescott tripped over a cane. You’re her emergency contact.”

“Has she been admitted to the hospital? How extensive are her injuries? Let me get a pen and grab the address.” You rambled frantically scouring the kitchen for the notepad, “Was she alone?”

“She’s still being seen by the doctor, and I’m unable to reveal the details over the phone. Her friend Gladys was there, and she hasn’t left your grandma’s side.” The person responded in an even tone with the failed intention of soothing you.

“What’s the address?”

“I’m a nurse at Zuckerberg San Francisco General Hospital and Trauma Center.” The nurse prattled off, providing the address and visiting hours.

As soon as the call ended, you had quickly grabbed a quick bite from the meal before packaging it up. Next, you dug out the small suitcase to pack the essentials with the mental capacity of a zombie. The bag was stowed in the backseat of the car while you kept your purse on your shoulder.

You barely comprehended knocking on the Molina door or Ray opening it, “Hello Y/N.”

“Ray. Tonight, I made stir-fry, I’ll be out of town for a few days.” You told the man catching sight of both Carlos and Julie in the background.

“Are you okay?” Ray questioned taking the container from your shaking hands, “Do you need us to do anything?”

“Could I have a h-hug?” You stuttered feeling a smidge better than the older man tugged you in for a hug. Two pairs of arms joined with the Molina kids ambushing you.

“You’re coming back, right?” The question came from the concerned hazel-eyed guitarist watching the interaction with a particular look. A look he knew came from not being able to comfort you.

“I’ll be back once I know Rosie is okay.” You replied, locking eyes with Luke over Ray’s shoulder earning a tender smile from the male.

“I’ll pray for your Grandma,” Ray spoke, stepping back to let both Julie and Carlos say their goodbyes to their neighbour. Everyone but Carlos and Ray half-heartedly smirking at Ray’s belief that Rosie was older than you.

Unlike typical times you didn’t linger in the Molina home with the distracted thoughts of Rosie injured with her mother with her. Rosie is the only thing you would drop anything for, the love of a mother and her child. So distracted by your thoughts you didn’t notice Luke had appeared right beside you.

“Are you driving?” Luke asked, tapping his shoe on the porch step, bringing your sad eyes to meet his, “Or are you taking a plane?”

“A plane. It’s a five-hour drive to San Francisco from here not taking in traffic time. I bought a last-minute ticket.” You replied, heading straight for the car with Luke hot on your heels to the vintage car.

Half of you wanted to refuse his evident intention to join you, but a part of you yearned for the comfort. A stroke of luck had a plane seat beside yours empty, time didn’t exist, but it dragged on at the same time. So lost in thoughts you never noticed the brush on a pinkie on your skin.

While you stared off in the distance, Luke’s jaw was dropped at the silky feel of your skin. Words bubbled up his throat just before he knew it wasn’t the right time to bring it up. Instead, he chose different words to regale you with stories of his childhood.

“I begged for a dog when I was eight years old. Reggie had this golden retriever his family had before he was born. My dad was allergic in the end, so I was content with Reggie’s dog.” Luke spoke, “That didn’t mean I didn’t sneak in this stray one night. We kept him in the garage while we found him a forever home.”

“What was his name?”

“Fender.” Luke sheepishly spoke, catching the tweak of your smile as the clouds in your eyes cleared for a few minutes. Luke loved being able to ease your mind through the flight, not holding back on the embarrassing stories either.

“Thank you.” You told the easy natured teenager with a familiar flutter in your chest that terrified you.

You could name only one other time you had felt that flutter when everything was easy. 1936 with a man you thought would be your one and only. Feeling something that strong for a ghost was incredibly scary.

“Do you want me to come in with you?” Luke asked just outside the closed hospital door, separating you from your daughter. Your lips parted to deny his question but you couldn’t so you simply shook your head.

“Come in!” The voice was prompt after knocking on the door. Opening the door, you found Rosie’s grinning in her bed with Gladys at her side, scolding her.

“I’ll get out of your hair,” Gladys spoke shuffling by you out of the door with a quick hug. The second Gladys closed the door, your eyebrows furrowed.

“Rosemary Elspath Prescott. What were you thinking?” You crossed your arms walking closer to Rosie, “You know your ankle hasn’t been the same-“

“-since I shattered during a cheer comp in college. Mama, I know. It was an accident.” Rosie softly spoke just before her gaze met Luke’s with fear planted squaring in her blue gaze. Luke’s lips parted, “He knows?”

“Oh.” Luke blinked at the sudden new change in his afterlife with Rosie actually seeing him, “I’m Luke.”

“This is going to sound craz-“

“Mama, you’ve been nineteen for over eight decades. I think we’ve hit the crazy already, tell me. Before I get a bad heart.” Rosie joked with that twinkle you saw countless times over the years.

The first time you saw it was when you found her on the counter at age two when she learned how to climb. Other times included her sneaking out to a senior party with her friends and the teasing she started when she got her first grey hair.

“You better have taken our discussion about your salt intake serious young lady.” You pointed at her mere seconds before your shoulders dropped. You leaned down to kiss the crown of her head, “Luke’s a ghost.”

Rosie’s lips parted, staring down the boy before whispering very softly in your ear, “Well. At least he doesn’t age. You look happy with him Mama, I’m not getting any younger, and he’s really cute.”

“Don’t talk like that.” The low response came out broken at the horrible future where you would bury Rosie.

A cold hand landed on your waist as you stretched to place an ornament on the tree you chose with Luke. The wire hugged the branch a ghost of a kiss pressed against your cheek, a moment of quiet in the loud house. Reggie and Alex had been baking cookies with Rosie for the last two hours. Julie was finishing her family dinner at her home before she would come over.

“Merry Christmas,” Luke murmured tugging you in his chest. A flutter of butterflies moving in your tummy.

Once Rosie had been discharged from the hospital, she had been convinced to temporarily move to Los Angeles. For the first time since Rosie’s senior year in high school, you got to live with her. Subtlety had never been her strong suit with nagging you and Luke about getting together.

“Merry Christmas.” You replied, stretching to peck his lips once before cuddling into his chest with the thick sweater.

“Would you like a cookie…Dad.” Rosie teased, bringing a tray into the living room with the gooey chocolate chips.

Another revelation other than being able to touch the boys was that once Julie saved them from Caleb, they could eat small quantities. They couldn’t eat a lot, and they didn’t need it, but it was a comfort to the group.

“That’s so weird.” Alex chortled, taking in the shocked and uncomfortable expression Luke had. Reggie beamed with a mouthful of cookie. This was the first Christmas the boys had surrounded by only acceptance, love, and untainted happiness.

“How about we stick to Luke?” Rosie chuckled just as weirded out by the odd age gap and the forever youth the couple displayed.

While Rosie interacted with the arrival of both Flynn and Julie, you curled into Luke’s embrace taking in the room. Julie and Flynn listened to the rebellious stories Rosie carried. Alex had retreated to the kitchen with a guy with shoulder-length brunette hair. Reggie was involved in a conversation with Ray; another unexplained phenomenon after the Orpheum.

Your eyes found the mantle with the picture of Theodore and you. Right beside it a lovely photo with Luke dipping you in a kiss and besides that picture was the very last picture of Luke with his parents. How lucky you had been in the years you had lived to end up with a chosen family.

Tag List (PLEASE SEND AN INBOX TO BE ADDED! I CANNOT GUARANTEE YOU WILL BE ON THE LIST VIA POST COMMENTS!)

@safehavenmuse @siennanoelle01 @whiterose291 @mell-bell @blackhood5sos @ficrecsideblog @ifilwtmfc @deadpoolgirl23 @crappy-unicorn @sunsetcurve-h @elioelioeli0 @lovesanimals @popcrone818 @lolychu @deepsleepnat @tenaciousperfectionunknown @aunicornmademedoit @just-a-writer-here @simp4reggie @parkeret @faithiebrock01 @overlyhypedup @differentsoulrascalsalad @aesthetic-lyss @versaceapa @carleywhittaker @lostgirl219 @itsalexx21 @elllaoo4 @merxxleighann @mediocremunge @fantomlovesjuke4ever @dpaccione @oswin05 @kaylinfayezink @aberette13 @faithie-brock-gillespie01 @eharvey0218 @overlyhypedup @benstormy @auriandthepussicats @sarcasticsagittarius1998 @whothefuckstolemykeds @kcd15 @siriuswvrld @princessvader15 @xoxbloodreinaxox @heimdoodle @joshy-obx @lovesanimals @oopsiedoopsie23 @am3l1a-24 @flying-solo-without-you @jaskiers-sweetkiss @lostrandomfangirln @must-be-a-weasley-92 @jatp-holland @ilikealotofpeople-younotsomuch @dxlanhxlland @dasexydevitt13 @ifilwtmfc @arianagrandes-things @kinda-really-lost @marinettepotterandplagg @ssprayberrythings @morgandamrose @thedarkqueenofavalon @zukoshonourr @crybabyddl @spooky-season-bitch @kcd15 @morganayennefertyrell @magnet-girl @all-in-fangirl @kinda-really-lost @tenaciousperfectionunknown @badwolf00593 @blowakissbabe @talksoprettyjjx @thesweetestsinner @kaitieskidmore1

#luke patterson imagines #julie and the phantoms imagines #luke patterson x reader #charlie gillespie imagines #jatp luke #jatp fanfic #luke patterson #caitsy and ash productions

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nerdie-faerie · 3 years ago

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Ace you like doctor who right? what would you say is the best way to enjoy the show?

I do indeed like doctor who nonnie. This is something I've realised since watching the later series. I wasn't following a lot of dw blogs previously so it's only since Jodie's era that I've been seeing the in time responses to episodes that's made me realise this but not every season has to be perfect.

Let me explain. I follow a few blogs that aren't into comics and I think we should take a similar approach to dw as fairly similar in the fact that the writers, main characters and supporting cast change so regularly in the same way that artists and comic writers change constantly. There's very little continuity over the 60+ years of dw in the same way comic book characters can have wildly varying details depending who's in charge at the time. And your going to enjoy it more if you can acknowledge strengths and weaknesses

I hate moffat as a writer I'll be the first to admit so my main hope for season 11 was just to have anyone other than moffat writing. I mean we had the guy for 6 seasons in comparison to RTD's 4 and half seasons and chibbs' 3. The writing was getting stale by the time he left. And while I don't like his writing I can admit he's good at doing the big emotive speeches and the first few series with the ponds were better. And in comparison RTD (so far) is my favourite writer. But he's a little weak in the dialogue area.

The thing is not every writer or actor is going to be perfect so the best way to look at it personally is to go 'okay it's not as bad as x' or 'i like this better than y'. Expecting every writer and actor to meet the standard of your favourite is going to lead to disappoint because everyone's going to have different opinions on what makes dw good and what needs to be improved

Also keep in mind the influence of the BBC. I don't think it's a coincidence that in that year break between 2015-2017 after series 9 where the BBC come under fire for being sexist and racist that the next companion was then a gay woc. The ratings for dw were down and the BBC was getting a lot of flack for being prejudice that probably wasn't helped by a lot of the unsavoury things moffat has said behind the scenes.

And I don't doubt the same thing is in effect for chibbs. The ratings steadily got worse during Moffat's run but they were back up to what they'd been at the start of the rival for Jodie's first series. I've seen a lot of people complaining about the performative nature of chibbs era but I don't think he's entirely to blame. Just as I've seen people comment that bringing RTD back is the BBC's attempt to squeeze more out of their favourite cash cow I think chibbs is likely under similar constraints to perform for the BBC for ratings rather than having as much free reign as he'd potentially like

I've forgotten what my point is I got a little sidetracked........ But basically my point is not every episode is going to be perfect sometimes you just have to take what you get, that doesn't mean you can't be critical! But I feel like - on Tumblr especially - people tend to be so critical than they forget you can just enjoy something that isn't perfect.

Dw first and foremost about the money for the BBC and that's going to effect the quality of what we're seeing. So yeah we may be getting better sfx as a result of better funding whilst also getting more restrictive writing, but that isn't solely any one parties fault. None of the writers are perfect! Canon is none existent because the show is over 60 years old and spans over like half a dozen mediums! Its meant to be ridiculous

I don't know if any of this made sense or what I'm trying to get at specifically but good luck with your doctor who watching sweetie

#not rp #ooc #OOC asks #Nonnie #Dw #RTD #Moffat #Chibnall #Anti Moffat

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anncanta · 4 years ago

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The imagery of BBC ‘Dracula’: mythology, alchemy, literature

The more I watch the BBC and Netflix Dracula, the more interesting details and nuances I notice. And now they have formed a new picture, which I would like to share with you.

For the convenience of consideration and analysis, I propose to divide the images and symbols used in Dracula into several large groups.

The first group is mythological images and symbols. This is the most archaic metaphor, and for this story, it has enormous significance. On it, as on a foundation, the entire basic narrative of the film is built.

The second group is alchemical images. They represent the plot, semantic level at which events unfold. It is here the very ‘metaphysical detective story’ arises and develops, which some viewers and critics talk about, reflecting on the genre nature of the film.

And finally, the third – the group of the ‘youngest’ – images of literature. It is a kind of crystal lattice, a narrative framework that holds the whole structure. Without a mythological level, the story will not have a basic ‘leaven’, matter, in the original meaning ‘mother’, ‘material’, in the sense of ‘body’, ‘flesh’, ‘reality’. Without the alchemical one, it would lack the drama, in the meaning of the unfolding process – from the appearance of this very matter in the crucible to the creation of the philosopher's stone. And the level of literature allows you to reflect on this process and make it conscious, appropriating it as a part of psychological reality.

Let's consider each of these levels sequentially and try to see how they relate to each other and what context they all create together.

Mythology

We start with mythology, not only because it is a basic level, but also because the very structure of Dracula inclines to it. The story, which began in a Transylvanian castle, grows from a completely mythological, archaic root, develops as a half-tale detective drama, and ends in the genre of a modern psychological novel. Yes, with elements of a fairy tale and mysticism, but it is based (in the third episode) on a modern novelistic narrative.

In the first episode, we have a gothic tale based on myth and legends so old that, probably, no one can reliably determine their age. And just as old are the images that this myth uses.

We will not consider every single one of them – this would take much more time and space than this article suggests – we will focus only on the main ones.

There are several of them. Forest, castle, mirror, needle, sun.

Forest

A forest as an image and symbol in mythology means a place that belongs to another world. In contrast to the rational and ordered world of everyday reality known to us, it represents the mysterious, incomprehensible, enigmatic, strange, confusing, irrational.

Even before we meet with Dracula, before the very beginning of the story arises, together with Jonathan Harker we find ourselves in the forest – being left there. This is very important, since it draws a line between the everyday world from which Jonathan comes and the magical world, immediately involving the viewer and the character in the initiation situation. Let us recall the fairy tales describing pictures of the same series: a stepdaughter sent by her stepmother into the forest for snowdrops in the middle of winter, children whom their parents took to the forest and thrown there, a hero forced to travel through the forest in order to achieve the desired goal.

It is worth noting here that Jonathan, as a normal child of the rational nineteenth century, at first does not perceive what is happening to him like something out of the ordinary. The forest does not seem scary to him, he sees no problem in getting out of the carriage, knee-deep in the snow among the trees, waiting for the Count's driver. It seems uncomfortable to him, that's all. And only the persistence of the girl convincing Jonathan to take the crucifix causes something like a vague alarm.

This behavior of Jonathan is both a tribute to the literary basis – B. Stoker's novel, written in an era when rationality and the power of reason were valued higher than magic and miracles (pushed aside by the collective psyche into the field of ‘peasant tales’ and superstitions), and typical for such story is the position of a hero who is not aware of the seriousness of the situation in which he found himself.

But back to the forest.

The space of the forest in fairy tales and myths can appear as a transitional one – a gateway to another world, a path to an antagonist (an evil sorcerer, an ancient scary creature, a dark king), or as an endpoint, where transformation takes place.

In our case, the forest is a path, a kind of bridge connecting Jonathan's past with his future.

Like most heroes, Harker took this path, not of his own free will (the owner of the company sent him to make a deal with Dracula in Transylvania), and in order to pass through it and at least get to the castle, Jonathan needs someone else – someone to guide and push him.

At this point, along with the Count's charioteer, one of the most famous devices in British literature appears in the text – a literalized metaphor. ‘Driver’ not only means a chauffeur. It is also an engine that makes something or someone work, move forward.

A roll call with this scene and repeated mentions in the first episode of the word ‘driver’ a dialogue between Dracula and Zoe in the third one sounds: ‘You`re fast, you`re clever. Driven. But driven by what?’. ‘Driven’ here means ‘motivated’, ‘carried away’, ‘captured’.

Unlike Zoe, Jonathan is not captured by anything. He simply travels by the direction of his employer to Transylvania to do his duty. By the way, pay attention, the driver delivers Jonathan to the castle but refuses to help him further. The driver`s function is now exhausted.

At the same time, already by the movement of Jonathan through the forest, one can understand that not just an adventure awaits the character, but an adventure in a fairy-tale sense.

Remember how he rides in the carriage, reading the letter of his beloved, and how her image appears with a golden reflection above the trees, reviving and warming Johnny's soul and the winter forest frozen under the snow. In the letter, Mina lists all their friends and acquaintances, assures Jonathan of her love, and expresses the hope that her feelings are mutual. Thus, we see a person who enters the space of initiation, accompanied by the feminine side of his soul, and, stopping at the threshold, internally goes over his thoughts and feelings, considering his past life. That is why he needs a path through the forest. For this, he was left in the glade and made to wait for the charioteer. This is where the place of altered consciousness begins. And here completely different rules apply, not those that work in the ordinary world.

Castle

Unlike the forest, which represents the space of a natural, uncontrollable, and absolutely irrational element, the castle is the creation of a human. Moreover, as we know from the words of Dracula, in this case, it is the creation of a brilliant artist, and it has two very specific meanings, directly stated in the text: a monument to lost love and prison without locks.

Specified at the very beginning, these two values immediately set the coordinate system in which the story of Dracula and Jonathan will unfold.

That's right – the story of Dracula and Jonathan, I did not make a reservation. Those who see a romantic line in their interaction are right. Another thing is that this romantic line, like everything in this film, differs from the love stories we are used to and sets completely different goals and objectives for the characters.

Look, what we have here? An ancient castle in which a mysterious Count lives, who looks like a barely breathing old man, and in which some strange creatures also live, seemingly in need of help. I have already spoken about the meaning of these images in the article ‘Dracula BBC as an alchemical novel’, and those who wish can refer to it for details. For this one, something else is important.

Why didn't Jonathan leave? Clearly, he got lost in the castle, the castle is arranged like a labyrinth, moreover, the night creatures wandering along the corridors were clearly teasing and confusing Harker, forcing him to plunge deeper and deeper into the bowels of the ancient structure and his own altered consciousness.

And this is the most important thing. When Agatha tells Jonathan that he is an extremely brave man, it is not only about the fact that he remained in a castle full of dangers, because he knew that there was someone who was begging him for help, but also that Jonathan had the courage to remain in the sealed reality of the castle, alone with his fears.

It is what allows him to stay alive for so long, what does not allow him to surrender, what arouses Dracula's interest and creates this strange tension between them, poorly understanding one another, but intuitively reaching out to each other.

This is not about romantic love, not about desire as such – Jonathan loves Mina, and no one is able to take her place in his heart – and Dracula still does not understand at all what it means to love. This is different. In a certain, almost inconceivable way, the deeper Jonathan goes into the castle, the lower he descends and the less physical strength he has, the more stubborn and bright his spirit becomes. At the level of the image, this at some point is shown literally, almost head-on – remember the scene after the attack of the vampire girl in the basement, when Jonathan wakes up. His face and figure, his entire appearance almost literally reproduce the image from the painting The body of the dead Christ in the tomb

by Hans Holbein the Younger (according to legend, by the way, the model for body of Jesus, painted on it, was the body of a drowned man found in the Rhine). In this episode, the story openly shows us what Johnny is for – given everything we've seen so far and the structure of the text. Jonathan went downstairs to the hell arranged by Dracula in his basement (inside the Count himself), faced a lost soul there, died, and returned to life.

It was not in vain that Dracula begged Jonathan to stay. Johnny is his guide, his key to life, to real life, and not to the one that the Count lived all this time, hiding in a castle and feeding on scraps of other people's stories. Inside this dark reality, Jonathan is a light that dies and is born to give new life. This is the mythological side of his role in the life of Dracula, and such is it when viewed from the side of the Count.

And this is where some completely incredible thing begins. A vampire who lives in darkness and must love darkness, who almost killed Jonathan and, according to Harker himself, took everything from him, takes him in his arms, and carries him upstairs.

They had just been in hell, at the lowest point, in death itself, or, rather, in a nightmare about it shared by two – do you think that Dracula is the only one here who is afraid of death? They fought and tortured each other, and reached the limit. And from there, below, there was only one way.

I don't think Dracula knows what he is doing when he carries Johnny to the roof. But the fact remains – they end up there, and the Count practically asks Jonathan to be his eyes and tell him what the sun looks like. This scene, both dramatic and ironic, plays with all shades of thoughts and feelings, and in it the emphasis shifts again, and Jonathan becomes the leader.

In this episode, the visual component is extremely important. Downstairs in the basement, Jonathan was in the form of the dead Christ, the sacrifice made, tortured and betrayed, forsaken and trampled. On the roof of the castle, at its highest point, rising and refusing to serve Dracula, refusing to be his puppet, standing on the parapet facing him, ready to jump, in the rays of the sun, he looks like an image (literally – an icon) of a savior in the light of glory.

The gold mark from the cross reflecting the sun is not a striking mark, but a hand placed on the forehead. Only Dracula doesn't know it yet.

But they have already passed this part of the way.

Part 2.

#dracula 2020 #bbc dracula #meta #mythology #jonathan harker

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myyenlee · 3 years ago

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Celebrating UK Black History Month: Learning Resources, a Read & Watch List, and Content Creation Tools

This year’s UK Black History Month theme, Proud To Be, is about celebrating the Black experience. As a distributed company with employees around the world, including the United Kingdom, we believe that the more perspectives we embrace, and the more we learn about our teammates, the better we are at engaging and helping our global community.

This October, we encourage individuals and organizations to learn more about Black history, heritage, and culture in the UK. “Black British history is British history. It’s more than a month; it is interwoven in everything,” says Ama, a colleague based in Scotland. “We have changed landscapes in education, law, politics, work, and equality for all within the UK.” Black history is deeply embedded in UK culture, says Ama, from institutions — like the National Health Service — to music, sports, art, media, and popular culture.

Interested in learning more? We’ve compiled a list of staff recommendations:

websites and organizations on WordPress

books, films, and television by Black thinkers and creators in the UK

blogging and website-building tools

Explore these resources this month — or bookmark them for learning and inspiration anytime.

#PoweredByWordPress learning resources

From the official UK Black History Month hub to the website of the Stephen Lawrence Day Foundation, these resources are great starting points for your journey.

Black History Month 2021

All year long, Black History Month publishes news, features, career and education information, and event listings across the UK. Make it your first resource for getting educated and involved.

Black Heroes Foundation

Focused on youth education and development, this London-based community charity raises Black cultural awareness of the general public, educating and uplifting youth in particular. The foundation envisions a world where Black heroes are acknowledged, respected, and celebrated.

Stephen Lawrence Day

The 1993 murder and case of Stephen Lawrence — an 18-year-old from southeast London who was killed in an unprovoked racial attack while waiting for the bus — led to a major shift in the UK in attitudes about racism, the criminal justice system, and the role of the police. The Stephen Lawrence Day Foundation continues to tell Stephen’s story, offers resources for educators and organizers, and works toward creating a just society.

The National Archives

The National Archives is the official archive and publisher of the UK government, documenting over 1000 years of history. Researchers can browse the Black British history section of the website for a guide on social and political history in the 20th century, lots of blog and multimedia content, and records relating to British citizens of African and African-Caribbean descent.

Black History Walks

Partnering with museums, schools, and other institutions, Black History Walks offers a dozen walking tours throughout London, public monthly educational talks, and video courses and resources on Black history. Its diverse programming targets a range of people both in person and online, from students to travelers to businesses.

A read & watch syllabus

Looking for book, TV, and film recommendations about Black history and culture in the UK — or by Black scholars and creators — but aren’t sure where to start? Here are some of our nonfiction, fiction, and film and television picks.

Nonfiction

Black and British: A Forgotten History: Published to accompany the BBC Two series noted in the Film and Television section below, this must-read book by historian David Olusoga examines the shared history between the British Isles and the people of Africa.

100 Great Black Britons: In this book, Patrick Vernon and Angelina Osborne — founders of the 100 Great Black Britons campaign — celebrate Black British history and recognize key Black Britons who have helped to shape Great Britain.

Brit(ish): On Race, Identity and Belonging: A hybrid of history and memoir, Afua Hirsch’s book “reveals the identity crisis at the heart of Britain today” and explores a nation in denial about its imperial past and present.

This Is Why I Resist: Don’t Define My Black Identity: In a book that demands fundamental change, activist and lawyer Dr. Shola Mos-Shogbamimu examines the roots of racism and anti-Blackness and calls for meaningful action.

The Louder I Will Sing: A Story of Racism, Riots and Redemption: In 1985, when Lee Lawrence was a child, his mother was wrongfully shot by police during a raid on their home in Brixton. Published more than three decades later, his memoir chronicles what it was like to grow up as a young Black man in England and how that day influenced his family.

In Black and White: A Young Barrister’s Story of Race and Class in a Broken Justice System: Experiencing a tragedy as a teenager pushed Alexander Wilson to become a barrister — a type of lawyer — so she could make a difference within an unjust system. Her debut book describes her experience as a mixed-race woman in a field lacking in diverse representation.

Natives: Race and Class in the Ruins of Empire: In this book, author and hip-hop artist Akala blends biography and personal experience with an examination of race and class across topics — from education to politics and the police to the far right.

Misfits: A Personal Manifesto: This “coming-to-power manifesto” by Michaela Coel — the actress, writer, and creator of I May Destroy You — builds on an inspiring keynote address she delivered at the 2018 Edinburgh International Television Festival about resilience, empathy, storytelling, and growing up in public housing in East London.

What a Time to Be Alone: The Slumflower’s Guide to Why You Are Already Enough: In this illustrated self-help guide, author and influencer Chidera Eggerue, also known as the Slumflower, writes about self-love, empowerment, and creating your own narrative. The book also includes Igbo proverbs from Eggerue’s Nigerian mother.

I recommend David Olusoga’s Black and British: A Forgotten History. It’s a really important book, with new updates on the Windrush scandal and Black Lives Matter from the UK perspective.

—Victoria Jones, UK

Fiction

White Teeth: Published over 20 years ago, Zadie Smith’s debut novel focuses on the lives of two unlikely friends and their families in London. Considered a “modern classic of multicultural Britain,” the book is a window into the immigrant experience.

Girl, Woman, Other: Weaving a dozen narratives about different people across ages, backgrounds, and professions, Bernardine Evaristo examines topics of identity, race, and womanhood in modern Britain.

Love in Colour: This collection of short stories by author Bolu Babalola reimagines ancient love stories and folktales from around the world, from Greek myths to Middle Eastern legends, and centers Black women and strong female characters.

Queenie: This sharp and funny novel by Candice Carty-Williams is about the life of Queenie Jenkins, a mid-twenties British Jamaican woman living in London who’s struggling to find her place in the world.

Such a Fun Age: One night, a supermarket security guard sees a young Black woman, Emira Tucker, in the aisles with a white toddler. The guard accuses Emira of kidnapping, when in reality she’s the babysitter. In this novel, Kiley Reid takes a look at race, class, power dynamics, and privilege.

I’ve greatly valued Zadie Smith’s work. Her novels — especially White Teeth — are well crafted and offer a mix of comedy and realism that often focuses on social class in England. Her essays are things of beauty. She’s worth a read, no matter the month.

Daryl L. L. Houston, USA

Film and Television

Black and British: A Forgotten History: This BBC Two series by David Olusoga, composed of four episodes, looks at the relationship between Britain and people of African origins, slavery, and Black British identity in the 20th century.

Small Axe: In this anthology of five films, 12 Years a Slave filmmaker Steve McQueen brings to life the stories of West Indian immigrants in London from the 1960s to 1980s.

Black Power: A British Story of Resistance: This hour-and-a-half documentary includes interviews with activists involved in Britain’s Black Power movement in the late 1960s. (The BBC’s larger collection of programming for Black History Month is also worth browsing.)

I May Destroy You: Michaela Coel’s recent Emmy-winning drama series is about a promising young writer, Arabella, who is sexually assaulted one night while out with her friends. The show explores consent and trauma, and stars a primarily Black British cast.

Black and Welsh: Cardiff-born filmmaker Liana Stewart brings together people from across Wales to highlight its multiculturalism and to share stories from community members about what it means to be Black and Welsh.

Hair Power: Me and My Afro: Irish writer and broadcaster Emma Dabiri has intimate conversations with both men and women about their hair, digging into how and why Afro and Black hair is an important and complex aspect of the Black experience.

Highlife: This premium reality TV show follows the lives of eight successful, glamorous British West Africans and depicts a different angle of Black life in the UK.

Desmond’s: Originally running from 1989 to 1994, this sitcom was set in a barbershop in Peckham, southeast London, and featured a mostly Black British Guyanese cast.

Blog and website resources

Lean on these resources, tools, and organizations during UK Black History Month — and beyond — to publish content on your site that’s fitting for your audience, or to connect with and collaborate with others.

Stock illustration libraries like Black Illustrations.

Diverse stock photography sites, including free resources like Nappy, Picnoi, and CreateHER Stock, and premium photo collections at TONL, Eye for Ebony, Mocha Stock, and Raw Pixel. (Disabled and Here, a free stock image library with photos of disabled Black, Indigenous, and people of color (BIPOC), also publishes an interview series with disabled BIPOC writers and activists.)

Organizations at the intersection of tech and diversity, like UKBlackTech, which supports diverse innovation and equity, transparency, and representation across the UK; and TechUP Women, a tech training program for people from underrepresented communities.

Teaching resources across age groups, including a Black History Month resource pack, a BBC series of short films for primary and secondary school teachers, and The Times Educational Supplement’s Black experiences hub.

Would you like to recommend a website on WordPress, writing or media by a Black thinker or creator in the UK, or another resource? Tell us in the comments.

from Blogging Tips https://wordpress.com/blog/2021/10/04/uk-black-history-month-resources-recommendations-tools/ via http://www.rssmix.com/

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winterscaptain · 4 years ago

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tali i have kind of a weird question? growing up my family never watched a lot of classic/common movies (we were FIRMLY a veggie tales house) so I have No Clue what like half of the movies you mention are? like I've never seen footloose or what a wonderful life or die hard? or practically... anything you've ever talked about :(

(also ive never seen mean girls but thats a oersonal failure cas I just. forget to watch it?)

do you have a fav/good movie i should start with cause I feel like I'm missing out on so much :(

hi honey!! you’re so valid, and i had LOTS of veggie tales experience growing up. i know you asked for one, but i went a lil ham on this list because you’ve unknowingly touched on one of my favorite hobbies

okay so i have a big list for you, but it’s in really manageable chunks!! i went to theatre school at the school that houses the Best Cinema School in the World (fight on, usc) and i have Opinions™!!

if anyone has any other recs not on this list, drop em in the replies!!

i’ll put these in order of my preference/pop culture relevance, so it’s all subjective and idk what your taste is like, but if you have any questions im always here for you!! i’ve added a few notes and disclaimers along the way

this is a really good list to go off of, in general!

okay so here are my top seven films that i never get tired of watching, in order.

skyfall

that thing you do

captain america: the first avenger/captain america: winter soldier

inglorious basterds*

the sound of music

knives out

blazing saddles**

* inglorious basterds is a quentin tarantino movie, and tarantino isn’t for everyone. his films are always really bloody, intense, and rife with bad language. i don’t like him personally, but i love his work. this is, in my opinion, his best and funniest work

** blazing saddles is a mel brooks movie, and he’s REALLY offensive and inappropriate in his satire. it’s definitely an iconic comedy, but not to everyone’s taste. it’s one of those movies where you’re actually allowed to laugh at the really horrible jokes because it’s an equal-opportunity offense-fest lmao

so here are some other genres and films that are a good foundation!

IN GENERAL!! i don’t like remakes. if there’s an older version of the movie, watch that one. trust me.

i’ve also bolded a couple of key favorites on this list

romantic comedies

my best friend’s wedding

the ugly truth & 27 dresses (katherine hiegl movies ROCK)

sleepless in seattle & you’ve got mail (meg ryan and tom hanks own my ass)

when harry met sally

movies based on books/short stories

to kill a mockingbird

the book thief

the hunger games trilogy

divergent

chronicles of narnia

pride and prejudice (2005 or the bbc miniseries)

3:10 to yuma

based on a true story

ford v. ferrarri

three billboards outside of ebbing, missouri

moneyball

zero dark thirty

the king’s speech

black mass

apollo 11

documentaries*

ken burns’ civil war

ken burns’ baseball

paris is burning

blackfish

free solo

the hunting ground

* please be advised, some of these documentaries cover some disturbing and distressing subjects. please engage responsibly!

superhero movies

iron man

the dark knight*

wonder woman

scott pilgrim vs the world (okay give me this one)

spider man 1, the amazing spider man, and spiderman: homecoming (all different spidermans, all great movies!

deadpool**

* tdk is really really dark, but the performances are immaculate. ** deadpool is wildly inappropriate, so don’t take the R-rating lightly! it’s so funny though. so so fucking funny.

teen favorites

10 things i hate about you

mean girls

she’s the man

easy a

heathers

70′s icons

jaws

monty python and the holy grail

butch cassidy and the sundance kid

star wars trilogy

dirty harry

80′s classics

alien (technically in ‘79 but feels like an 80′s movie)

dirty dancing

john hughes movies!! the breakfast club, st. elmo’s fire, pretty in pink, sixteen candles, some kind of wonderful

back to the future

footloose

princess bride

90′s flicks

the matrix

three men and a baby

thelma and louise

pretty woman

notting hill

a league of their own

lgbt +

our own private idaho

brokeback mountain

moonlight

philadelphia

call me by your name

love, simon

some of these movies don’t get everything right. if you do choose to engage, engage critically and let the art make you feel something.

tom hanks movies

yes he gets his own category

joe v the volcano

castaway

big

saving mr banks

movies where the government saves matt damon

the martian

saving private ryan

interstellar

jason bourne (technically he saves himself, but he’s still funded by the government)

war movies

fury

band of brothers

full metal jacket

the last full measure

war horse

1917

hacksaw ridge

westerns

django unchained

the magnificent seven

true grit

the good the bad and the ugly

a fistful of dollars

old hollywood

an affair to remember

breakfast at tiffany’s, roman holiday (audrey hepburn is an icon of the era)

any alfred hitchcock movie, but psycho and rear window are my faves

these movies don’t get everything right. they are a product of their time and often come with insensitive and unironically offensive cultural baggage. if you so choose, engage critically. you’re still allowed to enjoy the movies, just understand what’s not acceptable!

christmas movies

it’s a wonderful life

white christmas

a christmas story

the holiday

die hard (some people don’t think this is a christmas movie. i disagree.)

the family stone

a year without a santa clause

halloween movies

hocus pocus

beetlejuice

anything by tim burton - the nightmare before christmas, the corpse bride

the shining

the blair witch project

get out

cult classics

the rocky horror picture show

the room

reservoir dogs

jennifer’s body

point break

these are WAY more fun with friends - please quarantine responsibly, but it's so worth the wait to watch this with a big group of people.

#tali talks movies #anon reply #tali answers stuff

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rebeccalouisaferguson · 4 years ago

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Rebecca Ferguson interview for CRASH Magazine (September 2020) - translation from French

AB: You'll be starring in Dune which comes out at the end of this year. Everyone is eager to find out. How did you join this project?

RF: I had a meeting with Denis Villeneuve, the director. I find his work amazing and it was a dream to work with him. His films are always a feast for the eyes.

AB: This film is eagerly awaited, especially by the many fans of the books and the entire Dune universe. Do you feel a certain pressure not to disappoint the audience?

RF: I never feel pressure from the fans. It’s not my job. I have a lot of respect for them and want them to enjoy our work, but I can't please all the people who will go see the film and form their opinions. I remember Tom Cruise saying that everything he does, he does for the fans. I love it when people validate our work but to be honest I love what I do. I love creating a character, the incredible costumes, the make-up. And then work with the best in the world. If the film falters, at least I would have appreciated it. And then I like having conversations with people who don't necessarily agree with the film, it's interesting.

AB: I imagine you must have done a lot of research to prepare for this role.

RF: Oh my god, the whole universe of Dune is so hard to understand. I still barely understand it, even after the shoot. Why are we doing this? Where should I go? Who should I trust? (laughs) So yeah, I did a lot of research. Denis also did all of his own research that I could lean on. The make-up artist was a veritable well of knowledge and stories. And then Jacqueline West, the costume designer, compared our clothes to paintings, from the Renaissance, to Cubism, etc. I barely knew what she was talking about. I just smile. I was working with the experts from the experts. So I hope that at least some things have been achieved.

AB: You are going to shoot additional scenes soon?

RF: Yes, we're going on the set in August...

AB: How long have you lived in Sweden?

RF: I was born in Sweden and have lived there all my life. Then I moved to England a year and a half ago but I divide my time between my small fishing village and London.

AB: Is it important for you to have a foothold in Sweden?

RF: Yes, I have a thirteen year old son who lives there with his father. We're all very close so it's important for me to be where he is. We all travel together, we are a bit like a circus family. (laughs) My son goes to school and it was important not to break his habits and his circle of friends. Thirteen is an important age. With his father and his mother-in-law, we travel together as much as possible and we meet for the holidays. We make it work.

AB: What was your first encounter with cinema?

RF: I don't know how old I was anymore but I remember that when Beauty and the Beast came out in the cinema, I was scared but I still went to see it. I was upset because I was in love with the Beast and when he transformed into what everyone considered to be the perfect man, I found his new face not as alluring as his monster appearance. I wanted him to stay the Beast.

AB: When did you first consider being an actress?

RF: The funny thing is when I was young I never thought I would be an actress. I was fifteen or sixteen when I was taken to play in a series in Sweden. Before, I didn't like being on stage; I never took acting lessons in school. I was in a music school. I didn't have a lot of dreams or career plans. I was one of those kids who did what they were told to do. You have to go to school, do this, do that. You know the song; we call it the school system. Then when I was asked to do this casting for this show, I was terrified. I got the part and that's when my interest in acting started. I realized there was a world in which to hide. I could play characters without having to take responsibility for their actions... and apparently people thought I was good. Good enough to continue anyway.

AB: How did you find yourself participating in this casting?

RF: My mother had decided that I was going to model, even though I don't have the size or the body you would expect from a model. I ended up in a file called “normal people”. (laughs) I didn’t get a single job; it didn't suit me. My sister is a catwalk model so she knows how to do it. Me? Not at all. So I was on their file and I was constantly turning down jobs, I didn't want to do it. Then a casting agency was looking for an actress for this series having already selected the actors who would play her father and her mother. They flipped through model portfolios and then they found me.

AB: How did this first experience go? I saw that you had to act in several episodes a day.

RF: Yes, two and a half episodes a day. It was intense but I was thrown into a world I knew nothing about. I was a blank canvas. I had no expectations and didn't question how it worked. It made me realize that I love to work hard with imposed deadlines. I like to be thrown into difficult situations. It all happened naturally and I took this route.

AB: What was it like seeing yourself for the first time on TV?

RF: There is nothing natural about it. I remember that for the first episode in the series, my mother decided to have a big party with lots of guests. I was more excited about the evening than the rest and when the countdown to the screening started I remember feeling nauseous. I hid behind the sofa. It was very embarrassing. But on the other hand, I thought it was cool. It was a whole new situation, a new world open to me.

AB: After your debut in this Nya Tider series, did you take a break or did you continue to work non-stop?

RF: We actually shot for six months and then we had six months free. My stepfather at the time had the good idea to ask the production to hire me for the remaining six months. As I had left school, that meant I was employed full time, as an actress but also set manager, publicity assistant and everything the production needed when we weren't shooting. I learned everything behind the scenes, I was able to help with the script and the media part. It was the best job I had and it helped me understand the process better when I got back to shooting.

AB: What project did you work on next?

RF: Nothing happened for quite a while because it was a local show - I played a character that everyone associated me with. People recognized me and it was hard for some directors to see me in another role. Then a director called Richard Hobert offered me the lead role in his film “A One Way to Antibes”. It was my first role in the movies and from there I was able to meet agents. It was my gateway to the big screen.

AB: You then got the lead role in the BBC series “The White Queen”. Were you a fan of British television?

RF: Yes, my mother is English so I grew up watching UK programs. Yes Minister, Cracker ... there has been so much British TV in my life that this BBC production was perfect for my entry into the big leagues. This casting process has been probably the most exhilarating of my career. The racing heart, the hope, the doubt, the disappointment ... an emotional lift that I finally won.

AB: What doors have “The White Queen” opened to you?

RF: A lot. First of all, I was nominated for a Golden Globe in the “Best Actress in a Miniseries or Television Film” category which is crazy. I remember being nominated alongside Helen Mirren, Helena Bonham Carter, Elisabeth Moss, who won for her role in Top of the Lake. I was in the same room with people I admired a lot. I always felt like the little Swede who had no place in this extraordinary world. But “The White Queen” has caused meetings and a lot of castings. “A One-Way Trip to Antibes” gave me the opportunity to find an agent in London and the first casting I tried was for “The White Queen”. It was lucky but I also worked hard for this role.

AB: How do you manage the castings in general? Are you still anxious?

RF: At the beginning, everything revolves around castings and meetings. In fact no, before that there are the videos that you make yourself. You have to find monologues, film yourself with your best friend, your boyfriend or your mother. After that, it's the castings. We do so much and it goes very quickly. Sometimes there is a big blockbuster and they are looking for an actress at the last minute. There you are at the restaurant and you have to run to the toilet, grab your phone and do something. You have to prove yourself by putting forward a certain trait of your personality to stand out among the four hundred thousand people who try their luck. I've always liked going to castings. A lot of people I met there were great and understood the horror of the situation. They made me feel relaxed. Again, I would throw myself into situations without giving it much thought and hoping someone would notice me. If that doesn't work, you have to move on.

AB: Are there any mentors that you have met throughout your career?

RF: Yes, Veronica St Clair was my coach in Sweden. After playing on the show, I missed the end of my schooling so I couldn't go to college. I would have started from scratch. But I had worked for two years in nurseries, restaurants, supermarkets, etc. I had left home and was living an adult life at a young age. I saved some money to pay for my personal development classes which helped me better express myself and improvise. I also contacted film schools who still needed free actors for their end of year films. I've done a lot, I don't know how many student films. I took what I could take. Veronica was unbelievable, she did so much for me. She has prepared me for many challenges. But at one point, we have the chance to stop casting. We make appointments. The dynamics are changing. It's not just about pleasing a director anymore, we have to like the project too, that it brings us something.

AB: It becomes a conversation.

RF: Yes. Can this film stimulate me? Is the project right for me?

AB: At what point in your career have you felt your opinion was as important as pleasing a director?

RF: After Mission Impossible.

AB: How did the casting go for this film?

RF: I was filming a miniseries called “The Red Tent” for Lifetime. Tom told me he noticed me on “The White Queen”. It's a funny story from their side because they had auditioned a lot of women without being able to find the right one. They had already considered me for the role, but I didn’t make a good enough impression for them to stop casting. (laughs) Then they had to do it again because the chosen person didn't suit. They are very careful and don't say too much when they tell these stories. I always wanted to know who the other woman was. (laughs) Finally, resuming the auditions, they decided to give me my chance. I was in Morocco, sitting on the camel Nicole Kidman had used for the movie “Queen of the Desert”. They called me to tell me that Tom Cruise wanted to meet me. They wanted to see if I could fight. It was quite surreal. They brought in the stunt teams who created the choreography. I realized I loved it. I could use my dance knowledge, which I have been practicing from a young age. They were very good martial arts trainers. And then I ended up getting the part.

AB: How did you appropriate the character of Ilsa Faust?

RF: I don't feel like I appropriated it honestly. There are certain characters that I personalize. But when it comes to Mission Impossible, Christopher McQuarrie is such a great writer that I focused on physical training and being part of an already formed team. As an actress, you have to bring something personal, the way I walk, I talk, I frown, I think, will be reflected in the character. I'm not going too far into the secrets or shadows of the director. There is a precise technique in the creation of these films. You have to have confidence, know your text and arrive on time.

AB: Was it the first time that you had to have such great physical preparation and stunts to do?

RF: I had never had so much need to train and be in good shape. Like I said, I love challenges and working hard to achieve a goal. I remember Chris telling me in an interview, “Tom is a movie star. Simon Pegg isn't just his sidekick, he's smart, funny. Luther Stickell also brings something. All of these male characters add something to Mission Impossible. Who are you? What are you bringing?”. I remember thinking about it, telling myself that Ilsa's character had to fill a void, that the film would miss her if we took her away. I had to find meaning in it. It's a balance between following something that has been created and leaving an imprint. This is something Tom and Chris have done very well. Ilsa has a real mission, she saves Tom. She is his equal. This is not a vase. But she's also vulnerable, she's scared ... she feels things. There was a lot to do on this project, to live up to what already existed.

AB: You've been in a lot of action and science fiction movies. What attracts you to this kind of cinema?

RF: I think I am drawn to all genres of cinema. What happened was, I played in Mission Impossible and people loved Ilsa. I proved that I could act out the fight scenes myself and I loved it. I think these kinds of films came naturally to me. But I try to vary the genres. My dream is to shoot in independent films. I want to go where I have never been. And I haven't made an independent film yet. A lot of people fight to shoot in big Hollywood studio movies and I was lucky to have had those experiences.

#interview #dune interview #photoshoot #josefine seifert shoot #twq interview #nya tider #mi5 interview

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morganaspendragonss · 4 years ago

Text

Bad Things Happen Bingo Masterpost!

And that's a wrap on my @badthingshappenbingo card! Thanks to anybody and everybody who requested a square - this has been so, so fun! I've had this card for years and have been actively working on it for a year and a half, so it's incredible to have finally finished it 🥰

Prompts and Fills listed below the cut:

Used in Sacrifice/Ritual - Filled

you would be the one to rescue me | BBC Atlantis | Jason x Pythagoras

When Jason wakes, Pythagoras is gone.

This in itself is not so strange. What is strange, however, is that his cloak has been left behind despite there being a significant chill in the air. And when Hercules begins to wake, and there is still no sign, Jason knows.

Something's wrong.

Rage Against the Reflection - Filled

out, damned spot | 9-1-1: Lone Star | TK x Carlos

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.

Falling Through the Ice - Filled

ice in my veins | 9-1-1: Lone Star | TK x Carlos

Carlos only turns away for a second, he swears. Unfortunately, a second is clearly ample time for his boyfriend to get into trouble because when Carlos turns back around, TK is no longer standing where he left him.

Instead, there’s a sizable hole in the ice.

Flashbacks - Filled

start again from the beginning | 9-1-1: Lone Star | TK & Owen

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.

Branding - Filled

setting fire to our insides for fun | Supernatural | Meg x Cas

Cas had been prepared to find demons. Frankly, he would have been concerned if he didn’t find demons, given that that was his mission here. What he hadn’t been prepared for, however, was to find two demons torturing another, pressing the hot end of a branding iron into her forearm.

He killed the two torturers with practised ease, barely wasting a moment before they were both on the dirty, wooden floor, eyes burned out their sockets. Only then did he allow his surprise to catch up to him, breathing heavily as his gaze settled on someone he hadn’t seen in a long time.

Meg.

Memory Loss - Filled

focal point | 9-1-1: Lone Star | TK x Carlos

Waking up in the hospital is becoming all too familiar. Being the one in the bed is less so, but Carlos has had his fair share of hospital trips. He knows the drill.

As soon as he sees him awake, TK breaks out in harsh sobs. "Carlos," he breathes. "I... I thought I'd lost you."

Caught in an Explosion - Filled

can we skip past near death cliches? | 9-1-1: Lone Star | TK x Carlos

It’s the kind of call every first responder dreads. A bomb threat in an apartment block, civilian’s lives on the line, the whole situation a hair’s breadth away from disaster. And Carlos is right in the middle of it.

tw: explosions, bombs

Forced to Kneel/Bow - Filled

in case you don’t live forever (let me tell you now) | 9-1-1: Lone Star | TK x Carlos

His teammates were still sitting in the communal area when TK entered, eyes glued to the tv screen. Paul was the first to notice him, and TK’s concern only grew as he got everyone else’s attention, their worried gazes falling on him one by one.

“There’s a hostage situation at that big, fancy hotel across town," Marjan explained. "Apparently it’s pretty serious, they’ve had to send police in, and, um, well…”

Marjan paused, and TK felt dread wash through him, knowing what her next words would be.

“Carlos is there, TK. He’s gone in.”

tw: references to gun violence

Be Careful What You Wish For - Filled

can you beat back the night? | The Witcher | Geralt x Jaskier

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.

Blood From the Mouth - Filled

I Got You | 9-1-1: Lone Star | TK x Carlos, TK & 126 Crew

“I’m just sayin’,” Judd says, waving his arms around. “Somebody’s gonna get themselves killed in there one of these days. I had to come out here three times last year because of some idiots who think they know better than the ‘Keep Out’ signs.”

The team are called to an abandoned house where some kids are trapped. Everything is going smoothly, which, naturally, means that it won't be that way for much longer.

Trapped in a Burning Building - Filled

a little unsteady | 9-1-1: Lone Star | TK x Carlos

9-1-1, What's your emergency?

'Please, help! My house is on fire and my husband’s inside!'

t.k. sometimes wonders if the universe is out to get him

Worked Themselves to Exhaustion - Filled

In Your Arms | 9-1-1: Lone Star | TK x Carlos, Michelle & TK

T.K. and Carlos agreed when they started dating to check-in on each other that they were both okay. Reassurance that nothing bad had happened. So, when Carlos hasn't replied hours after his shift is supposed to have finished, T.K.'s definitely beginning to panic.

Locked in a Cage - Filled

running out of time | Shadowhunter Chronicles | Kit x Ty

When (if) they got out of here, Kit wanted the record to unequivocally state that this wasn’t his fault. Not that it was Ty's either, but it certainly wasn't Kit's.

kit and ty's first hunt together after three years goes wrong and they wind up trapped in a cage with no way out. naturally, this leads to a heartfelt conversation.

Demonic/Ghostly Possession - Filled

Haunting | 9-1-1: Lone Star | TK x Carlos, TK & Owen

T.K. is five when he first sees a ghost, though, of course, he doesn’t know that it’s a ghost. His name is Joey, and he lives in the playground, which T.K. thought was a little strange, but he doesn’t want to ask. Dad says it’s rude to ask questions like that to someone he’s just met.

Fingore - Filled

ease my mind | 911: Lone Star | TK x Carlos

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.

Verbal Abuse - Filled

this is a song about somebody else | 9-1-1: Lone Star | TK x Carlos, TK & Marjan

TK doesn't notice the 126's latest visitor until it's too late. He freezes as Alex smiles at him, knocked off balance by this sudden intrusion of his old life into his new one.

alex vists tk at the 126. luckily, tk has his family to help him through it.

tw: abusive language

Dying in Their Arms - Filled

can you hear me screaming (please don’t leave me) | 9-1-1: Lone Star | TK x Carlos

As a cop, Carlos has to deal with all kinds of cases, and not all of them end well. But never in his life did he imagine that he'd have to respond to an incident involving his own boyfriend.

tw: major character death

Blindfolded - Filled

find you here inside the dark | Doctor Who | Thirteen x Yaz

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.

Water Torture - Filled

soggy clothes and breezeblocks | 9-1-1: Lone Star | TK x Carlos

Carlos wakes up slowly. He cracks his eyes open, wincing at the pounding in his head. He lifts his hand to massage the pain away, only to discover that his hand won't move, the cool metal of handcuffs biting viciously into his wrist.

After an undercover mission goes wrong, Carlos is forced to fight for his life. And to make matters worse, his kidnappers are making sure that T.K. is watching the entire thing.

tw: torture

Fighting from the Inside - Filled

and curse the gods | BBC Atlantis | Jason & Medusa

Jason knows what it is to be cursed.

Slammed into a Wall - Filled

mind over matter (matter over mind) | 9-1-1: Lone Star | TK x Carlos, TK & Owen

After a night out goes wrong, TK and Carlos are left to deal with the consequences.

tw: homophobia, hate crimes, hiding an injury

Suicide Attempt - Filled

be done with this now | 9-1-1: Lone Star | TK x Carlos

Once upon a time, Carlos had thought that watching as his almost-boyfriend was whisked off in an ambulance, bullet wound in his chest, would be the worst moment of his life. Then TK had been kidnapped, and Carlos had spent hours not knowing where he was, if he was alive or dead, and he thought - this is it. Nothing can top this.

But, having to perform CPR on his husband, having to hold him as he slipped away in his arms?

That was worse than even his nightmares.

tw: suicide attempt, suicidal thoughts, depression, drug abuse, overdosing

Bleeding Through the Bandages - Filled

pull you in to feel your heartbeat | 9-1-1: Lone Star | TK x Carlos

The call comes at the tail end of Carlos’s shift, and he instantly hates whichever idiot decided to ruin his night by mugging someone.

What he's not expecting is to find his boyfriend on the ground, bleeding out from a stab wound.

Arm in a Sling - Filled

have you been involved in an accident at work? | 9-1-1: Lone Star | TK & 126 Crew, TK x Carlos

T.K. was on his way to the hospital. Again.

At least this time he could say with absolute certainty that it 100% wasn't his fault.

Self-Harm - Filled

but god i wanna feel again | 9-1-1: Lone Star | TK x Carlos

Carlos blames himself for not noticing. It's not like he had much choice in the matter; he hasn't seen T.K. all week, and his texts have been going unanswered, but he can't help but feel like it's partly his fault.

If only T.K. would actually talk about himself, instead of keeping it all in.

tw: self-harm

#bad things happen bingo #fanfiction #my fanfiction #writing #my writing #send me prompts!#masterlist

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