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roger-that-cap · 4 years ago

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what a lovely dream it is

english major!wanda x english major!fem!reader

summary: who would have thought that wanda, the self proclaimed queen of reading science fiction, would be just as obsessed with shakespeare as you?

warnings: one use of the word “su*cide”. shakespeare. nerds quoting lines. bad writing. (i challenged myself into writing this in an hour and a half). cringey writing (there is a difference)

word count: 4k!

You and Wanda connected at first because you two spoke the same language from different regions. It felt like she spoke British English, and you spoke American English. You were on the same wavelength but not exactly the same individual wave, but it was as close as you had ever gotten with someone who you deemed worth your time.

While everyone else was partying or drinking until they threw up or flaunting around bags with white powder in them, you sat with your back to the wall after studying, reading a classic, knowing that the change of her leaning against the same wall and doing the exact same thing you were was high.

You met her in the library, on your third day at your university. You were trying to find your group of authors, your little nook where you would feel the safest in the entire school. You had stumbled right into the fantasy section, looked around for a second, and then tripped over a brown boot that was just at the start of the science fiction shelf.

“I’m so sorry,” a woman’s voice murmured, and you just shook your head and said that it was okay, much more interested in the way that your hands suffered from the fall on the carpet than the girl. Until you looked up.

It was everything about her that stunned you. The brown hair, the flush of her cheeks, the apologetic look in her pale blue eyes that caressed her features to sit in one beautiful and genuine expression. The moment your eyes landed on her, you swore that your heart stopped and started in the same second, and then took a run for it with all of the parts of your brain that you needed to make a coherent thought.

You promised yourself in that moment that you would never forget the way the woman in front of you looked. And despite seeing hundreds of more faces throughout your self-tour, you never truly did forget it. If you didn’t know any better, if you were perhaps any younger and less exposed to the cruelty of the world and fate and its way of not giving you what you wanted, you would have been certain that the universe had finally given you the contemporary meet cute that you yearned for.

But then, you saw which aisle she was in. You looked at the books and recognized the authors just to be sure, and then you turned to look at her. “You’re into science fiction?”

Her apologetic look fell completely into a look of pure surprise, and then excitement, almost as if she thought that she found someone else who liked the genre she did. “Well, it’s the best genre that was ever written.”

“Wow, how wrong,” you found yourself saying, and somehow, you knew that the look of offense on her face was all for fun. “It’s definitely gothic literature.” The look she gave you was one that you would never forget.

A week later, you ran into her in the cafeteria, holding a copy of The Strange Case of Dr Jekyll and Mr Hyde, your beat up one from home that you would put your life on the line for. The cover was torn up a bit and the pages were dog eared, from a time where you hadn’t discovered the way that bookmarks changed lives. It was the copy your cousin got you, and it was your favorite gift to date.

She was holding The Martian Chronicles. You nearly gagged.

At first, you thought she hadn’t seen you, or hadn’t recognized you, which was even worse. You sighed under your breath and said, “at least it’s not Nineteen Eighty Four,” and watched in complete horror as she turned around.

She locked eyes with you immediately, and her own eyes widened when she saw you, and then she grinned when she undoubtedly recognized you and your disdain for science fiction. “No, it’s even better than Nineteen Eighty Four.”

“Anything is better than that,” you said, swallowing down your nerves at speaking to the girl again, kicking yourself for being so nervous despite not even knowing her name.

She gave you that same “offended” look she gave you during your first interaction, and you cracked a small smile. “Um, don’t you voluntarily go into the gothic section?”

The smile dropped. “The most valid section in the library? Sure do.”

She smiled too, a genuine grin as she took a step forward and extended her hand. For a second, you just looked at it, the calmness that came with the discussion of literature suddenly washed away so far back into your mind that you panicked for a moment, not reaching for her hand until you saw it shake in just the slightest, like she was regretting even doing it.

You nearly bumped your elbow on the table trying to stand up and shake her hand. Your hands connected and you grinned so wide it felt like your face had split open. You told her your name and she repeated it to make sure she had heard you loud and clear, and then, she smiled even brighter.

“Nice to meet you, Dracula. I’m Wanda.” And that was where it started.

As your library meetups started to become more intentional than not, you learned that not only was Wanda a student that stayed in the dorms, but the student who was next door to you. You learned that she pretty much kept to herself for the most part besides a few other people at the university, and that she kept a small circle. You learned that her favorite book was Brave New World. You learned that she would rather shy away from classic romance novels, even though you didn’t mind them, and that she hated gothic literature. You loved it. Your favorite book was The Picture of Dorian Gray, for god's sake. So, you hated each other’s favorite genres.

But you both loved symbolism. And you were both English majors. And for some very odd, very coincidental reason, you both met in what was nowhere near the middle- Shakespearean plays.

Now, that was something that you were always made fun of for as a child. No one wanted to hang out with the girl who quoted Shakespeare, especially if it wasn’t even from Romeo and Juliet. Reading normal books just made you look “smart”, but you knew that genuinely enjoying plays would make you look pretentious. So you had always kept it to yourself when you left your hometown. Until Wanda came along.

Wanda came along, and suddenly, you found yourself quoting tragedies and getting the correct response back. Sometimes, she would even start it first. You would do nerdy things like halfway reenact scenes because even you guys weren’t that nerdy… you supposed.

One morning, you and Wanda were in a study group (that was hardly productive because it was just Wanda’s little circle that was actually astoundingly close), and she looked over your shoulder to see your computer, where you were hardly typing an essay about the importance of the establishment of places for higher education. She put her chin against your shoulder, sat there for a minute, and then turned her head to whisper in your ear, “nothing will come of nothing.” It was embarrassing, the way your eyes lit up at hearing her voice, and even more so when Natasha, Wanda’s extremely perceptive friend, picked up on what you were feeling. The red head shot you the widest grin ever known to man.

“C’mere, Frankenstein,” Wanda said one night, already looking over at you while you tried to finish your work for the day.

You held back the smile on your face as you sat on your bed, one leg over it while you typed. “I’m right here.”

“No, here,” she emphasized, and then she was patting the spot on the small couch in your room, the same look in her eyes that always came with when she asked for any kind of physical contact.

That was by far the worst thing about Wanda, and it hardly had anything to do with her. She was touch starved, and touch was your love language. Her asking you to hold her on the couch used to mean nothing to you, because at one point, you just thought she was pretty. But now, holding her hand on top of the table while you both were submerged in your respective worlds felt like a promise ring. Letting her rest her head on your shoulder and in your neck felt like giving your vulnerability over to her, and feeling her hand rub against your back felt like she was taking it and guarding it. But you knew she didn’t feel the same way, not at all.

She was straight.

But it did you no good when she quoted back some of your favorite lines. It didn’t help when she said all of the romantic lines towards you at the drop of a hat, almost like she didn’t even realize what she was saying. She didn’t understand the way your heart died and was revived every time she said something like that, something that was so dear and vulnerable to you. And she certainly never would, because you would never tell her.

Now that you thought about it, allowing yourself to fall for her was the dumbest and most destructive thing you could have ever done. The first bookworm who didn’t make fun of you for your knowledge and love of old plays was the one that took hold of your heart, and now you were paying for being such an idiot. Now you would have to sit through three more years of school with her being your friend, just your friend, while you pined over her. It was going to be hell.

And was it. You had to sit through her saying the most romantic of Shakespearean quotes every day and act like she wasn’t making your heart shake. You had to listen to her speaking the language that you two shared and pretend that you just wanted to be her friend. You were so attached to her and everything that you two had established together, and you couldn’t ruin it by giving her googly eyes. She was way too important for that. Because now, she was way more than a person who you could talk to about old plays. She was the person that you could talk to about anything, without a doubt. Anything but the intense crush that you were harboring for her, and the way that she made your heart sing and your soul ascend whenever you smelled her perfume or saw her smile. Anything but that.

§§

“Shall I compare thee to a summer’s day?” You looked up from your book only to see Wanda looking over at you, lying down on the blanket and just watching you. You swore later on when you were alone that you imagined it, but for a moment you could have sworn that you saw a flash of adoration in her eyes. “Thou art more lovely and more temperate.”

You were choking on the inside. Your face was blank, but your mind was going haywire, and you couldn't think of anhytnign besides holding back the urge to say something that you had no chance of taking back. “You’re in a sonnet mood today, aren’t you?”

“And what mood are you in today, Jekyll?”

“I’m in the mood to finish this book,” you teased, and she rolled her eyes.

“What if I’m in the mood to sit and watch a movie?”

“Then you should do it,” you said, going the way your heart clenched at the thought of her cutting your friendly outing short. “I’ll follow you in an hour or two.”

She gave you a look. “You know I don’t go anywhere without you.”

“You can go watch a movie, Wands.” You sighed out, closing your book and wedging your pointer finger between the pages so that you wouldn't get lost.

“I’ll wait,” she said, and you shook your head at her.

“I don’t want to hold you back from getting in time with your favorite sci fi movies.”

“Can I go forward when my heart is here?”

You were hit with such a wave of longing that you had to shut your eyes for a moment, but it looked like it was simply a long blink. “You’re so cheesy.”

“I want to hear one,” Wanda said, leaning on her elbows as she stared up at you, and your heart pounded. She looked celestial, glowing under the sunlight with growing grass around her and a sweet smile budding on her face. “You never quote any back to me anymore, you know?”

You knew, for sure. It was on purpose that you didn’t quote back. If you were to continue the conversation in romantic quotes, it was going to feel way too real to you. You could handle Wanda and her touches, but you were not going to be able to handle quoting Romeo and Juliet to her. “I’m sorry,” you mumbled softly, and then you heard her make a sound with her tongue, a displeased clicking noise.

You looked up at her and lost your breath again, and your mental footing. There she was, looking up at you with her pretty eyes, giving you a look more intense than she had ever given you before. She was… it was almost like she was waiting for something, like she knew something. She was staring up at you and leaning on her hand in a way that was so oddly domestic in your mind, and you could almost see in your mind the way that she would do that if you woke up in the same bed, like she was waiting for you to wake up and trying to memorize your face. It made you warm on the inside, and just like she always managed to do, your brain turned to mush.

“Conscience doth make cowards of us all,” you blurt, and you saw her brows pull in for a second. You blinked.

“Huh?”

You were panicking on the inside. There were plenty of ways that she could have taken the quote that you had chosen, but you knew exactly what it sounded like. A half assed love confession. “You know, from Hamlet,”

“Of course I know it’s from Hamlet, Jekyll.” She shook her head at you and sat up, crossing her legs without breaking eye contact. “But why that quote? You know so many, and you chose the one about death.”

Unfortunately, it’s death by silence in this context, not by swords. “You said you wanted to hear a line,” you said, shrugging as you opened your book, trying to get rid of the embarrassment that you knew would stick to you for hours and hours.

“What a line,” she said, and then she rolled over to look up at the sky. Minutes later, you heard her sigh. “What a line.”

§§

Romeo + Juliet was a classic for your movie night. At first, Wanda showed it to you after you boycotted it for years, despite your male celebrity crush being one of the main characters in it. You had always avoided watching because of the modernism, but one Wanda made you sit down and watch it, you actually found good things about it. For instance, the party scene.

“It was done wonderfully,” Wanda would always say from beside you after your extremely predictable comment of the scene being a masterpiece.

Like always, there were a few moments of silence as you two watched the movie together, shoulder to shoulder on the small couch in your dorm while your roommate was off getting high. You watched the rest of it in near silence, halfway focused on the movie while the other part of your mind was split in two; feeling blessed that Wanda was even there with you, soclose, and feeling cursed that she was so close but so far. It was the perfect moment to hold her close like you wanted to so badly, but the timing wasn’t right. And that killed you.

“Do you ever think about how they fell in love so fast?” Wanda asked, and you shrugged your shoulders. “I’d say that they were encroaching on soulmate territory.”

“Soulmates, or foolish teenagers?”

“I hardly know of any teenagers who would die for each other, even if they thought they were in love,” Wanda pointed out, and you rolled your eyes at her. “Don’t give me that face. I’m right, and you know it.”

“I’ll always let you believe it, sci fi.”

“But, really, don’t you ever want something like that?”

You turned your face from the screen and looked at her incredulously, like she had gone mad while completing the process of growing three heads. “A suicide pact?”

She groaned and threw her head back. “No. A love like that. Take away the death and violence, and look at what they had.”

“It bloomed too quickly to have much potential later in life,” you countered. “That was infatuation, and that never lasts long.”

“You think that they both died for infatuation?”

“I think that they were young, and it’s hard to tell the difference between love and infatuation at any age, let alone as a teenager. I think they thought they loved each other to the ends of the earth, but I guess they’ll never know.”

“You’re so cynical. Just like a person whose favorite is gothic literature.” You laughed, leaning forward towards her without even noticing what you were doing. “Do you believe in love?”

“Of course I do,” you answered, giving her a look. “I’m just saying, Romeo and Juliet were not in true love. They were confused.”

Then, the playful air that the conversation was flowing on changed so quickly that you nearly got whiplash and your heart started racing. The way Wanda was looking at you sent a chill down your spine, and in that moment, you were worried. “Are you confused?”

You took in a breath. “About what?”

“About anything,” she said slowly, almost like she felt like she was walking on thin ice with skates on. “Books, people, love, food, sexuality,” she ignored the way that you choked, “writing a paper, how to get a strike in bowling. Or how to realize that Romeo and Juliet were definitely in love.”

“You’re so intent on proving that they were to me,” you said, a laugh bubbling over and into your words. “Why are you suddenly so passionate about them now?”

“The sight of lovers feedeth those in love.”

Your heart jumped out of your chest again, and your hands clenched into weak fists as you tried to will yourself into not assuming that she was talking about you. And then, white hot panic struck you at the thought of her being in love with someone else. “Speak low if you speak of love.”

“Why should I?” Wands asked, shifting from her position on the couch to put a hand under her chin and watch you, her kind eyes afire with something that you had yet to see in them yet. “Really, Jekyll. Why?”

You hardly waited a full second before responding as truthfully as you ever would. “I’m afraid.” Before she could get a word in, you shook your head and finally loosened your lips, letting all of your worries and fears slide right through your teeth. “I’m afraid that I’ve fallen in love with someone who can never love me back. I’m scared to admit that I’ve been in love with you for a long time. I’m afraid that you aren’t into girls.” You saw her make a face, almost like she couldn't believe that you were even suggesting the things that you were. “I don’t quote Shakespeare to you anymore because it feels too real to have you say lines like that back to me. I think that I’ve latched onto you without even meaning to, and now I don’t know if I can ever let you go.”

Wanda was silent. She was watching you, as quietly as the sun hovered over the earth while she shone her light. Your heart had never beat so fast before as you watched her watch you with a face so blank that you were sure that she hadn’t retained a damn thing that you pulled from the depths of your heart. Then, the daunting thought that she had heard and understood everything but chose not to act swallowed you whole, and your hands started to shake. You gave a humorless laugh and finally looked away from the woman who had raised your spirits and crushed them all within five minutes. “I’m sorry. I’ve ruined everything, haven’t I?”

“I’m so sorry.” You repeated, shaking your head and closing your eyes for a second as hot tears burned in them. When they opened, a fat tear sappetered onto your hand. I’m such an idiot. You looked to the screen, and then saw Romeo screaming, on the ground, and you could hear the words even though your ears were rushing with blood. I defy you, stars. “You don't have to say anything back, I know you don’t feel the same.” Your eyes pulled away from the screen. “I can leave- wait, um, this is my dorm. I-”

“Doubt thou the stars are fire,” Wanda started slowly, and your brows furrowed as you heard the words fall from her lips. Fuck. You knew what this ended with, and still, you couldn’t wrap your head around it. “Doubt that the sun doth move. Doubt truth to be a liar, but never doubt I love.”

Your eyes were wide by the end of it, watery and fixed on her. “W-what?”

“How could you not have known?” Wanda asked softly, and you but your lip to stop from bursting into tears.

“I thought you were straight!” You accused, and to your surprise, she laughed.

“No, sweetheart.” Your heart stuttered. “I’m not.”

Your breathing was still slightly heavy as you tried to get a grip on everything that was happening. “You… you feel the same way?”

“Of course I do, Jekyll.” She said, and you found yourself falling for her expressive eyes all over again as she stared up at you. You reached your hand out experimentally, like she did the second time you ever met, and you waited that torturous moment for her to take your hand in a way that was much different than all the other times you shared a touch. This touch was the moment of truth.

She took your hand, kissed your knuckles, and put your palm on her cheek.

“The very instant that I saw you, did my heart fly to your service.”

“This can’t be anything but a dream,” you murmured, feeling her cheek in your hand and the way they were warm and flushed. The softness was bringing you in and out of your head, and every time you went back to reality, you were thrusted into a little sliver of paradise.

“Well, what a lovely dream it is, then.” Her lips found yours. The movie played on, the clock kept its incessant ticking, and your leg was starting to tingle from sitting on it in the same position for so long. But to you, time absolutely stopped. And as long as a particular science fiction nerd was in front of you, nothing that ticked or clicked or buzzed was ever going to matter.

*******

i said i wasn’t going to post this, but i did it anyway!! hope you guys enjoyed this fic!! it was a lot of fun to write but it also made me mad nervous LMAO let’s hope this wasn’t absolute dogshit

@teenwonder i know you said you wanted a tag on my stuff so here it is, love!! 💕💕

#marvel fanfic #marvel fanfiction #marvel au #my fics #wanda maximoff fluff #wanda maximoff x reader #wanda x reader #wanda maximoff x female reader #wanda x fem!reader #lgbt marvel #english major!wanda

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anotherscrappile · 3 years ago

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Oh I have a question if you don't mind! What would you say are some of the must-reads of classic lit? Because I see your posts all the time and it makes me want to read Frankenstein and Dracula and stuff (which, no i haven't read them yet but don't judge me I'm just uncultured akdjflh) and I was curious about your absolute favorites or just subjectively the most interesting? :>

OH BOY. Yes, I will gladly give you classic lit recommendations (and you’re not “uncultured” for having not read them! There are still so many classic books I have yet to read). I tend to enjoy Gothic horror or science fiction, so I can’t really speak on what classic works from other genres are good. However! Here are my personal favorites:

Dracula by Bram Stoker: did you know that this quintessential vampire classic contains a cowboy?

Frankenstein by Mary Shelley: nothing like the adaptations; prepare yourself for lots of pages of angst and murder

The Invisible Man by H. G. Wells: local man is so smart he is stupid again, and he’s invisible

The Phantom of the Opera by Gaston Leroux: get ready for trap doors and a himbo protagonist

The Picture of Dorian Gray by Oscar Wilde: gayness and bad decisions

The Time Machine by H. G. Wells: welcome to the future! it sucks and we stole your time machine

Also, if shorter works are more your style, try these:

“Carmilla” by J. Sheridan Le Fanu: she was a girl. she was another girl and also a vampire. can I make it any more obvious?

“Metamorphosis” by Franz Kafka: are you ready to cry really hard about a giant cockroach?

“Strange Case of Dr. Jekyll and Mr. Hyde” by Robert Louis Stevenson: you probably know the twist before reading it, but do you know how Dr. Jekyll’s friends discovered his secret?

And if you enjoy mystery series, you cannot go wrong with either the Sherlock Holmes stories by Arthur Conan Doyle or the Thomas Carnacki stories by William Hope Hodgson. The first is your classic detective fiction and the second is about an occult detective who investigates haunted houses and stuff!

Thanks for giving me an opportunity to rant! Happy reading if you do delve into any of these. If you have trouble finding versions online to read (most all of these are in the public domain) then don’t hesitate to ask me for help. I’m rather good at finding books online and have tons of resources I could recommend :)

#long post #don’t feel pressured to read all of these! or any of them!#i just like them a lot #it took me a while to read all of this stuff (especially dracula and the sherlock holmes stories. ooof)#so just go at whatever pace you like!#i got asked #oh look. it’s ghostopher #ford speaks

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jmsa1287 · 5 years ago

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'Penny Dreadful: City of Angels' is a Frustrating Spiritual Sequel

"Penny Dreadful: City of Angels," hitting Showtime on April 26, trades the Victorian Gothic fiction of its predecessor for pre-World War II hardboiled noir and Mexican folklore with varying results.

"Penny Dreadful," which ran on Showtime for three seasons between 2014 and 2016, never really got the praise it deserves. Created by out scribe John Logan, the dark series was inspired by penny dreadfuls; genre stories from the 19th century (perhaps similar to today's Marvel comics) where Logan used iconic figures like Dracula, Dorian Gray, Abraham Van Helsing, Victor Frankenstein and his monster, Dr. Jekyll and Mr. Hyde, and many others to write his own elevated fanfiction with the addition of new characters that he created. The drama was mostly a showcase for Eva Green (an actor who also never really got the praise she deserves), who played the mysterious and powerful Vanessa Ives and was placed directly at the center of the sprawling story.

The show will likely be remembered for the way it ended. Without an announcement or any marketing fanfare, the last episode of Season 3 turned out to be a series finale, with "Penny Dreadful" coming to a shocking conclusion. Now, nearly four years since the drama wrapped up, Logan is back with a new story under the "Penny Dreadful" banner. "City of Angels," which hits Showtime on April 26, is a spiritual sequel of sorts that finds Logan trading his obsession with Victoria Gothic fiction for a hardboiled noir story that's fused with Mexican folklore and set in 1938 Los Angeles.

"City of Angels" also features a new cast (except for the excellent British actor Rory Kinnear, who played Dr. Frankenstein's Creature in "Penny Dreadful"), which includes "Game of Thrones" star Natalie Dormer, "It Follows" actor Daniel Zovatto, and Nathan Lane. Logan, who is credited as creating the new series, returns as writer, penning the first four episodes of six that Showtime provided. This time around, Logan seems to be writing with more purpose and intentionality; "City of Angels" feels more urgent and Logan (who has writing credits on films like "Hugo," "Alien: Covenant," "The Aviator," and "The Time Machine") has a lot on his mind. It's perhaps his most directly political work to date where he draws parallels to the darkness of 2020 (sans the coronavirus pandemic) and attempts to place that anxiety in West Coast America with World War II on the horizon.

Those coming into "City of Angels" hoping it strikes the same kind of tone and kinetic energy of its predecessor might be disappointed. The new show is light on hauntings and ghouls as Logan double downs on existential threats and the curdling America's perception as a land of peace and opportunity for all. The show follows Tiago Vega (Zovatto), the Los Angeles Police Department's first Mexican-American detective, as he and his veteran partner Lewis Michener (an excellent turn for Lane) work on a gruesome murder case involving the deaths four white people. The scene of the crime indicates the slayings were carried out by Mexicans as the bodies are dressed up in Día de Muertos (Day of the Day) garb and makeup, only escalating the ongoing racial tension between white people in and the Mexican-American community in L.A. at the time.

At the core of the show is the shape-shifting evil entity Magda (Dormer), who takes on several forms in order to influence humans so they can carry out her evil acts. Magda fits herself in of the show's many plot threads, allowing Dormer to take on a number of different identities (four in total!). It's clear Logan has positioned the Magda character as his new Eva Green as it allows Dormer to display her acting chops. It doesn't always work, but there are times when Dormer proves herself to be a big force as she transforms herself into women from different walks of life. In one storyline, she plays a mousey but sinister secretary to Charlton Townsend (Michael Gladis), a councilman and the head of the L.A. City Council's Transportation Committee, who is gearing up to construct a highway that would run through, and effectively destroy, a Mexican-American neighborhood. (It's with the Charlton character that Logan lays it on thick with the links to 2020 and basically uses him as a Trumpian figure; in one episode he spews "make America great again"-type rhetoric.)

Elsewhere, Dormer plays a kind German housewife and mother who says she's being abused by her husband to gain the sympathy of Peter Craft (Kinnear), a German pediatrician who happens to be the leader of the German-American Bund. Here too, Logan connects the white supremacism of yesteryear to the burgeoning incidents we see pop up in our headlines today. She also slithers her way into the lives of folks in L.A.'s Mexican-American neighborhood. Here, she becomes a young queer person who attempts to ignite the rising tension and rage towards white and straight people oppressing them.

And that's just about half of the plot in "City of Angels." Storylines eventually intertwine but it takes a long time to get there. Like "Penny Dreadful," this spinoff does feature a lot of queerness, though, again, it takes a few long episodes for that to happen. Logan's writing is upfront and center in "City of Angels" as he pens extremely long monologues for his actors. Each episode features moody and passionate speeches from characters that go on for several minutes. They're clearly having fun delivering Logan's writing, but it can be daunting and even exhausting to watch. But once the show gets where it's going, "City of Angels" becomes truly exciting. Episode four, "Josefina and the Holy Spirit," features one of the most hard-to-watch incidents I've seen on TV in some time and that is followed by one of the most violent acts of murder I've seen on TV in years.

For all of its big-budget showiness, "City of Angels" oftentimes feels like a small, albeit complicated, stage play. For better or for worse, the new drama wears its themes on its sleeve, and actors revel in Logan's writing. Still, there's something missing. "City of Angels" is the latest show to be set in or around World War II. Based on the Philip Roth novel, HBO's miniseries "The Plot Against America" also reimagines American history and posits the idea of what would happen if noted fascist Charles Lindbergh was elected president. Ryan Murphy's upcoming Netflix limited series "Hollywood" reimagines the racial, sexual and social politics of Hollywood's Golden Age. With the slew of these kinds of limited series, many TV creators seem to be interested in the time period of American history at the moment. But as it stands with "City of Angels," the new addition to the "Penny Dreadful" universe feels more in line with Murphy's FX franchise "American Horror Story"; an anthology show that Penny Dreadful" always felt like it was purposely avoiding. With its attempt to express so many themes and ideas, "City of Angels" feels more overstuffed and daunting than "Penny Dreadful," which in hindsight was a focused and lean series. The new drama doesn't veer far from the worst tendencies of "AHS." but "City of Angels" is ultimately a smarter and more eloquent show that isn't as successful as its predecessor.

#penny dreadful #tv #showtime #penny dreadful: city of angels #city of angels #natalie dormer #nathan lane #john logan #victorian gothic #victorian goth #victorian #eva green #daniel zovatto #rory kinnear

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gothicliteraturelove · 5 years ago

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What is Gothic Fiction?

Gothic fiction is a genre that first emerged as a form of Dark Romanticism in the late 1700s.

Both Romanticism and its dark counterpart were a reaction to the aristocratic social and political rules of the Age of Reason, the scientific rationalization of nature and the onslaught of industrialization.

Romanticism euphorically celebrated the sublime in man and Nature. Dark Romantics were equally intoxicated by the dark side of them.

Dark Romanticism or Gothic literature is characterized by stories of personal torment, social outcasts, the supernatural and commentary on whether the nature of man will save or destroy him.

When it burst on to the scene it became one of the first literary genres to inspire broad popular enthusiasm.

Classic Gothic novels

And today Gothic fiction still continues to delight and haunt and question us on screen.

10 great Gothic films

Though it has undergone a series of revivals since its inception a few key elements still distinguish the Gothic genre.

Blend of Fantasy and Realism

What makes Gothic fiction unique is not in the type of life it sees and represents but in how it blends the real with the imaginary. This blend produces terror because of the suspense and unpredictability associated with the paranormal and unknown and also makes the characters within Gothic Literature even more realistic than those in novels from other genres.

Real People in Unreal Situations

No matter how fantastical and insane the situation is, a Gothic novel's characters always react in ways that are truer to everyday responses to these circumstances than the circumstances themselves, even providing natural explanations for what the reader knows is supernatural. This is a key element in Gothic fiction. Its blend of realism and fantasy means that the characters are developed as true to what they would be in the real world while they are place in situations that are completely unreal.

Mystery and Fear

One of the crucial components of a captivating Gothic story evokes feelings of suspense and fear of the unknown. Anything that is beyond scientific understanding lends way to mystery, and Gothic atmospheres leverage this principle. Why did that curtain suddenly move? Was it the wind - or something more? What was that creaking at night? Why did the candle suddenly go out?

Atmosphere and Setting

The first Gothic novel, The Castle of Otranto was written in 1764. As you can tell by the title, the castle plays an important role in the novel; it is dark and sinister, full of passageways, underground tunnels and hidden rooms. Most "Gothic settings" still contain these elements - they use dark, gloomy and uncertain landscapes or architecture to create an atmosphere of suspense and mystery.

Typical Gothic settings include buildings like castles, graveyards, caves, dungeons or religious houses like churches and chapels. They are often grand decaying buildings, usually set in remote, hidden places such as the wilderness of a forest or in the isolation of the mountains.

The Supernatural

Much of Gothic literature’s allure comes from the genre’s suggestion of supernatural, the occult and inexplicable events.

The Gothic novel arose in part out of the fact that for the English, the late 18th and 19th centuries were a time of great discovery and exploration in the fields of science, religion, and industry; people both revered and questioned the existence of God or a higher power. Gothic novels use of the Supernatural provided ways to explore fear of the unknown and what control we have as humans over the unknown.

Mary Shelley's classic tale Frankenstein, first published in 1818, offers a powerful example of this desire to explore the unknown even as we fear it. Frankenstein's monster is a man-made creation that eerily merges life and death.

Often evil images like demons, ghosts, werewolves and vampires are used emblematic of the dark sides of human nature. The Strange Case of Dr. Jekyll and Mr. Hyde commenting on how man's soul is paired with both elements of good and evil.

Madness

As the genre matured into the 20th century, writers began to portray the internal horror of psychosis, Edgar Allan Poe is perhaps the author most responsible for making madness an integral aspect of the gothic genre. Poe seeks to explore the inner workings of the mind, and to take the reader along for the ride when those workings begin to rot and crumble. One of the best examples of this is Poe’s 1843 short story, “The Tell-Tale Heart.” Poe is able to give the reader and up-close view of its horrors while blurring the line between victim and villain.

During the Victorian era, madness, especially in the form of “hysteria,” was a malady associated mostly with women, since many believed that women had weaker minds and were less capable of rational thought. Several female authors, however, turned this trope around and used madness to represent the devastating effects of societal repression on women. In Charlotte Perkins Gilman’s 1892 short story “The Yellow Wallpaper,” the unnamed female protagonist is driven mad by her boredom with the life she is limited to as a woman. Unable to have a fulfilling life outside the house like her husband, she instead confines herself to one room and becomes obsessed with its patterned wallpaper, convinced that there are women trapped inside that she must free.

Damsel in Distress

Gothic works often include a woman who suffers at the expense of a villain. They carry feelings of sadness, oppression, and loneliness, and many were depicted as virginal in early Gothic pieces. The damsel’s character is often held captive in a castle, terrorized by a nobleman, and rendered powerless.

Anti-hero

Aristocratic, suave, moody, solitary, cynical and nursing a guilty secret, this darkly attractive and conflicted male figure surfaces everywhere in Gothic fiction

Classic protagonist examples include Cathy and Heathcliff from Emily Bronte’s Wuthering Heights, and Dorian Gray from Oscar Wilde’s The Picture of Dorian Gray.

Romance

As it’s widely believed Gothic literature stemmed from Romantic literature, the two genres share overlapping characteristics. Many Gothic novels are plagued by a passionate romance that often leads to sorrow and tragedy.

Emphasis on Sexuality

In the chaste Victorian era, Gothic literature provided an outlet for the exploration of sexuality. This appears in the trope of the doomed romance, as in Edgar Allan Poe’s “Annabel Lee,” or in the appearance of a demonic lover figure, such as the bloodthirsty vampire in Bram Stoker’s “Dracula.”

Experimental Techniques

The development of gothic literature paralleled that of the novel as art. Gothic literature sought out experimental techniques such as shifting narrators and literary tableaux to give evocative perspectives on story, establish mood and convey symbolism. Today gothic cinema embraces the same bravery.

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writingencyclopedia · 6 years ago

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Genre SparkNotes: Gothic Fiction

The BDSM of literature.

Light History: Originally from Horace Walpole’s 1764 novel The Castle of Otranto, gothic fiction was all about fainting ladies and creepers wanting to do things to them, whatever that meant. The early aim was “pleasing terror.” Later, it got less dominant in literature but more creative. The Victorians got all rock hard and splooshy over the sexual nature of these novels. Gothic Fiction is the daddy of “Schauerroman” and “Roman Noir.”

Examples: Dracula, The Picture of Dorian Gray, Frankenstein, The Strange Case of Dr. Jekyll and Mr. Hyde, The Phantom of the Opera, Legend of Sleepy Hollow

Characteristics:

-macabre, mystery

-suspense

-terror versus horror

-paranormal happenings and unexplained phenomena

-melodrama and high emotion

-high, vastly expounded upon setting: its like a whole other character in the work

-the clashing of two time periods, often implying that something in the past that had been unforgotten is trying to come back to a more modern time.

-divided nature of humans

-a virginal girl getting victimized

-anybody getting victimized

-the struggle of the powerful and the powerless

#gothic fiction #literature #genre #writing tips #writing #author #wannabe author #genre sparknotes

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thenightling · 7 years ago

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Gothic romance?

Well, let’s see. I guess it all depends on what you mean by Gothic Romance. A long time ago the term Romance was used to mean anything emotional, dramatic, or exaggerated. And most Gothic fiction fits under this category but I’ll answer under the assumption that you mean the modern definition, as in Gothic love stories.

Here we go…

Edward Scissorhands. Probably the saddest but most obvious one to list with beautiful and haunting music by Danny Elfman.

Crimson Peak. This one is practically a love letter to Gothic literature of the late nineteenth century and practically personifies Gothic.

Faust. The silent version by F. W. Murnau. This version beautifully follows Goethe’s Faust Parts 1 and 2 and ends with the bitter-sweet ascension of Faust and Gretchen to Heaven, Faust’s love saving him from damnation.

Tim Burton’s The Corpse Bride. Animated with beautiful music by Danny Elfman this film is today strangely under-rated whereas when it first came out people seemed to think it would be the next Nightmare before Christmas.

The Company of Wolves . This one is an odd film. Using werewolves as a metaphor for sex, sexuality, and even puberty the film tells several classic werewolf legends all within the mind of a sleeping pubescent girl (having her first period). In the dream Granny (Angela Lansbury) tells terrible werewolf stories to Rosaleen (Little Red Riding Hood) to warn of the dangers of men but in the end Rosaleen shows sympathy to a werewolf huntsman and it’s implied she becomes one as well. This is from director Neil Jordan (Interview with the vampire) and can work on it’s own (without understanding of the metaphors) as a good, yet trippy early 1980s werewolf movie.

The Ghost and Mrs. Muir. Nineteen forties novel, movie, and 1960s TV series. This is a sweet story of a self-sufficient young widow (in the Victorian era) who ends up in a very peculiar and loving relationship with the ghost of a cantankerous old sea captain. It’s more empowering than anything you’ll ever find in Twilight.

She Creature (2001 film. Not to be confused with the 1950s film of the same name. It has a very different plot. Also sometimes titled She-Creature: Mermaid Tales). This film deals with some carnival people trying to take a captured mermaid back to America with them but the mermaid is more of a predator than they realize and she starts to kill off the men who hold her prisoner, only showing sympathy to the one female on board, whom she seems to have developed feelings toward.

Dracula (1979 film). I like this one because the Mina character (called Lucy in the film) is actually a very strong and aggressive character. You can even argue that she is the one who seduces Dracula first. She also speaks her mind when she disagrees with his actions. And it intrigues and delights him.

Bram Stoker’s Dracula. The love story might be purely created for the film but I still like it. Even if they did take some odd liberties about how Dracula became a vampire.

Dark Prince: The True Story of Dracula. Surprisingly respectful to history while still implying Dracula becomes the vampire, the dynamic between Vlad and Lydia is sweet.

Love at First Bite. This one is a romantic comedy but I have a soft spot for it. It even gives Dracula a happy ending.

The Vampire lovers. If you want a little bit of Lesbian romance than The vampire lovers might be for you, it’s an adaptation of Carmilla with one of the main character’s names changed but other than that it follows the novel better than some other adaptions and has a great ambiance and atmosphere.

Interview with the vampire. If you can’t tell that Lestat is in love with Louis than you have no eye for subtlety. Not strictly a romance but you can tell there is love between the main characters.

The Bride. Not to be confused with The Bride of Frankenstein this movie is from 1985 and is a very modern (though set in the past) exploration on the Bride of Frankenstein idea. It also gives The Creature a happy ending and I’m kind of a sucker for hopeful outcomes.

Beauty and the Beast. Nearly all versions of Beauty and the Beast (when done well) are Gothic romances. Though if you want something a little darker than Disney than I would suggest the 1940s version or the surreal 2014 French version (now available on DVD in the US.) The 2014 French version has beautiful visuals but the chemistry between the leads is a little weak. It also gives a very intriguing new backstory for The Beast.

Sleepy Hollow. The romance between Ichabod and Katrina is simple yet beautiful. (1999 movie. Not the TV series.)

Warm Bodies. May people call this the zombie equivalent to Twilight but R has a lot more character depth and development than Edward ever had. Also it’s the only Zombie apocalypse movie to have a happy ending. And though the metaphors are a bit ham handed I think it’s sweet. Love and feeling is what makes you alive.

Let the Right One In. Though the relationship is platonic the protagonist’s bond is deep and sweet. And if you want a little violence in your romantic movie night wait until you get to the “bullies at the pool” scene. You’ll get something delightfully terrible.

Phantom of the Opera (2004 musical / opera version)

Disney’s Hunchback of Notredame. I say the Disney version because the romantic aspect of the original is purely in the emotional nature of the story. Any “Love story” aspect was purely one sided but in the Disney version you get to see reciprocated and unappreciated love. Also, who doesn’t love “Hell Fire”?

Dorian Gray (2009 version). Though this film deviates from it’s source material it does capture the heart and feel of the original story and also features a sort of quasi-redmption near the end, out of love.

The Canterville Ghost (1996). The love story in this is a bit thin but it is there between Virginia and the young lord next door.

Gothic only in it’s atmosphere, nearly any version of Les Miserables.

There are a lot more but that’s what I thought of off the top of my head.

Bonus Fantasy suggestions: Maleficent (though it’s more of a maternal love), Splash, and Date with a Angel.

For Gothic Romance TV shows: She-Wolf of London, Dark Shadows (original and 1990s version), and Forever Knight, and Lucifer.

For Gothic Romance novels try Carmilla, The Dracula Tape (retelling of Dracula by Dracula, himself) by Fred Saberhagen, Goethe’s Faust parts 1 and 2 (Closet Drama), Warm Bodies, Les Miserables by Victor Hugo, Beauty and The Beast (original French novel, not the fairy tale version), and The Ghost and Mrs. Muir by R. A. Dick (Pen name of Josephine Lesley).

TV mini-series: Jekyll. A direct sequel to the original story by Steven Moffat and it shows just what happens when Hyde develops feelings toward his alterego’s family.

And the 2004 Hallmark mini-series of Frankenstein starring Luke Goss as The Creature. It’s very faithful the novel and has good chemistry between Viktor and Elizabeth.

Plays: Frank Wildhorn’s Dracula The musical. Particularly the German production. Dracula das Musical and the Japanese version where Wao Yoka plays the best Dracula ever done by a woman you are likely to come across.

The up coming movie The Shape of Water looks very good too.

#Gothic #Gothic Romance

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academiablogs · 7 years ago

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On Women, Horror, and The Art of Otherness

(Crimson Peak, 2015) There is a story, from when I was five or six, about the first time I saw a Stephen King series. I believe it was Storm of The Century, where a small town in Maine is blocked off by a huge snowstorm and subsequently terrorized by what turns out to be a demon. Suicides occur, children are taken to become evil protégé, all while the villain continuously sings “I’m a Little Teapot.”

I remember this vividly, you might notice- because it scared the hell out of me. As did The Tower of Terror, that skeleton army scene in The Black Cauldron, the entire Fantasia sequence of “Night on Bald Mountain.” The one time I watched sections of The Wall when my parents didn’t see me come in (a bad idea, in hindsight). I suffered from one fired-up imagination and had a habit of taking frightening imagery, allowing my brain to fill in the story’s blanks. This resulted in a lot of sleeplessness and nightmares.

“They’re only stories,” my father told me once. “Like Little Red Riding Hood and The Big Bad Wolf. Remember, that wolf always loses.”

Something in those words settled into my soul, and I revisit them sometimes. While I scared very easily as a child, I grew to like and write gothic fiction overtime- a lot of writers do that. A close cousin to historical and horror, and a little like neither. More in common with cabaret music and steampunk culture these days too. Tim Burton was always fun, and I loved the ghost stories book that my mother had passed along to me- the kind with The Monkey’s Paw and ghostly women that haunted roadside hotel. When I was eleven, I sunk my teeth into Edger Allen Poe’s The Black Cat and Lemony Snicket’s A Series of Unfortunate Events. The wolves were there, and they came in the form of human condition, negligence, and impossible odds. There is complexity and nuance to each monster, and I saw hope and cleverness there. I found that through fear- something these stories often used, there was also glints of compassion and heroics. I fell in love. I dove into the genre and all it had to offer.

As a reader, a writer, and I suppose, as a person, I’ve always related heavily to that one Doctor Who quote from the Weeping Angels episode with Sally Sparrow. “I love old things. They make me feel sad. It’s happy for deep people.” While a bit on the “emo teenager” side of statements, I’ve far more in common with old ghosts and antique books than I really should. There is an otherness there that I understand.

There is a rather interesting phenomenon in horror and gothic fiction that taps into Otherness. These stories exist in several ways: the heroes verses The Other (Dracula, The Phantom of The Opera), the village verses The Other (The Masque of The Red Death), and The Other verses himself (The Picture of Dorian Gray, The Strange Case of Dr. Jekyll and Mr. Hyde, and one could argue Frankenstein). Scholars like Jarlath Killeen have discussed the connotations of this in early gothic fiction, and their often racially or culturally charged supernatural entities. There is a mirror effect that occurs in these stories as well, a self-reflection not only of the author themselves, but of the cultural state they occupy, particularly in female authors. Female horror authors love Otherness.

Mary Shelley reflects her times with subjects of responsibility and parentage, and with a monster so brilliant and devastating powerful- yet so physically abhorrent. Shirley Jackson, who died too young to see how her books have lasted, loved the subject of dysfunctional family and tragedy. Anne Rice’s vampires are as depraved as they are empathetic. And this does not go without critique, films like The Woman in Black, Corpse Bride, and Crimson Peak, more feminine in focus and nuanced in their villains, were dragged for being “too sad” and “not scary enough.”

(Interview With The Vampire, 1994) This comes in clear contrast to Stoker, or Wilde, or much of King; monsters are enemies to be defeated. Otherness is something separate from the hero, or even something that consumes the hero to his demise (see Dorian Grey). There is no space for nuance- we’re back to Little Red Riding Hood and The Big Bad Wolf. Wolves always lose.

But what if your wolves are not so literal? What if our enemies are not the ghosts we face, but the beasts that created them? Or what’s more- what if your wolves are too literal? Women spend most of their lives facing what the Big Bad Wolf represents, making this threat more reality than fiction. Perhaps women understand their monsters better, or see them differently. One of the most striking statements I’ve encountered about gothic horror is that men write monsters based on their enemy (take “enemy” to mean whatever you like sociologically); women write monsters based on how they view themselves. They aren’t just fighting the monster, they are the monster. Society certainly seems to think so, given its track record with women: witch trials, poor mental health, suppression, claims of hysteria… Is it any wonder we feel for the Other?

I write my own sad ghosts and empathetic monsters now, not near as scared of horror movies these days. If anything, I’ve come to understand them a bit better. Rather than fearing the wolves, society sometimes acts as though women might just become one of them. And maybe they’re right.

#amwriting #bookish #gothic #horror #halloween #crimson peak #interview with the vampire #writing #blog

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