#and then my storytelling habits got weirder from there

[bethany-sensei]

No, seriously, I really want to know because finding out that Stephen King said that all fantasy is Tolkien fanfic kinda pissed me off tbh

If you haven’t read any of my fiction, you can click this lovely link and pick something. There are options under 1k words, so very low commitment.

[shivasdarknight]

Hi, sorry for this but you are a writer, so umm.. I was hoping you could give me some tips/advice on how to write?

tbh the way I got into writing is a bit insane, but I do have some advice that can help. gonna put it under a cut just because it got kinda long

honest to god, one of the best pieces of advice is something you're already doing because reading can genuinely help you with becoming a better writer. stepping outside of your usual genres or authors can help expand your viewpoint and introduce you to more narrative styles so you can play around and see what works for you. eg. if you mostly read first person, give second person a shot. or if you're an omniscient third person, try limited third person. or even retrospective first person, because i often see people complain about first person pov when it's married with a present tense story. if you have a first person narrator talking about events in the past as if talking to you, or a journal it often takes an entirely different angle and it's something I've played with in Homestuck fics because that fandom tends to be more open to narrative experimentation. Writing is honestly a lot of looking at stuff you like (much like art) and smooshing it all together. Personally, I've gotten a lot of my writing style from stuff like The Locked Tomb, admittedly Lovecraft was foundational (but this is a great example of why to always remain critical considering his bullshit), so was Homestuck and Rick Riordan's stuff. I'm never trying to copy them wholesale, but I am looking at aspects I like - such as Riordan's humor intertwining with the narrative and narration, or the deeply unreliable narrators that Muir writes, or even how Homestuck balances purple prose with gut wrenching conciseness when it counts. A lot of modern day fast food fiction takes out a lot of the stuff that actually builds a story - pacing, playing with narration and technical writing - so you need to be conscious of what you're looking for in things. Often more established authors get to do weirder stuff than new authors, but don't discredit new ones because that would be leaving out folks like Xiran Jay Zhao and their phenomenal prose.

Another thing that helps greatly is reading writing critique. Video essays on books or even more critical thought pieces on writing, tropes, etc. can help you learn more about why something works. Lots of different channels on YouTube dedicated to dissecting media, absolutely recommend stuff like Hello Future Me, Overly Sarcastic Productions (real world ties + mythology, great basis to build things on), Zoe Bee (writer + commentary), Nerdwriter1 (media analysis + commentary), Just Write, and Tale Foundry. For adjacent suggestions that can help build up alternate perspectives that aren't directly about writing but are about critical thinking with stories (which is frankly an important skill to have), I definitely recommend Princess Weekes, Accented Cinema, Now You See It, Dominic Noble, The Storyteller, and Pop Culture Detective. A lot of this is discussing film (save Dominic Noble, who also talks about books a Lot), but the core essence of storytelling is helpful regardless of what angle it comes in - be it video game, movie, tv, or book reviews and analyses.

Actual writing. Varies on the person on if they do outlines or not and how, but I still recommend trying to do an outline when you're first starting out. One habit to immediately knock yourself out of is writing things chronologically. If you're working on a big piece and have more energy to write something in the middle? Put that in a new doc and leave a placeholder for where you're at. Legitimately, getting words on the paper is more important than those words being good. Because you can always come back and edit things to make sense.

Always edit what you write. I hate the "no beta we die like real men" attitude because people will dunk on editing but then praise stories for having "firm and satisfying" connections which can only really be built through editing. Your first draft is your rough idea. Your second one is when you read through and have it make sense. Three is making that make sense, and maybe 4 is more just grammar and spelling errors. Edit as many times necessary to make sure you like it.

Always work in broad strokes, then move in finer like with anything. Do a general idea for a story, then your main story beats, then how you connect them together, and then the nitty gritty of each. Keep lots of notes - do not rely on your head solely for everything - and just also be willing to let things go if they change.

What I tend to do when I write is I want a good flow. I often get that from reading my writing out loud to hear how it sounds, but I'm looking for a good beat to read along. Because even if the sentence is grammatically correct and structurally sound, it may not be very interesting to read. Like you could say someone feigned a polite expression to not let the other person know that they didn't feel comfortable with a topic, or you could go the angle I went with recently of "she painted herself an interested expression to wear as dread began to gnaw at her gut." Sometimes the more colorful or out there the language is, the better it sounds when you read it. Like instead of saying "that's just how things go for them" you could say, "but Fate had a funny way of making her disdain known for (X character)". And this is where reading other peoples' work comes in real handy because you can get a lot of examples of how people write things.

I also try and reflect themes of the story into the writing itself, like this section of a draft:

Still nothing.  Seemed he wasn’t going to bother with a glass, instead just ripping the top off of some bottle of gin and tipping it back with little regard for himself. Still that chronometer ticked on; still that taught tension like another arrow had been drawn.  A million and more things flooded Ysayle’s mind, itching to loose them at Estinien, yet found herself stuck in indecision as she stared daggers into him - ever her opposite as he just seemed despondent.  The gin bottle hit the extended shelf loudly; one hand a fist around the bottle, the other balled up on the surface - knuckles as white as bone. Still, Estinien said naught. Still, the chronometer ticked on. Still, Ysayle’s heart roared in her ears - poisonous words damming up her throat.

The theme of this story is avoiding the mistakes of the past. How things often can wind up cyclical, and the goal is to break from those cycles and repeats. So naturally, several points of the narration itself repeat itself. This isn't standard writing style, but it gets that point across by repeating "Still" as the scene crawls on. I also use a lot of alliteration in my writing because I personally find it fun? So "a maddening matter made most malign", for example.

It also helps to change up how you write or what descriptors you use based on the character whose head you're in, even if it's third person. Third person can have a voice and I often use it to speak aloud a character's thoughts instead of relying on italicized dialogue-thoughts. It makes the dialogue-thoughts appearing hit more when they do instead of just having to be subjected to internal ramblings constantly. Like in this fic I just published:

“...Can we talk about it on the morn?” “What for?” You don’t know what it is you ask of me. “Tired,” Estinien said with a shrug. “We’ve morning patrol, remember?”

Compared to this fic:

“Yes, confusingly.”  Her tone was flat as she leaned once again on Surkukteni’s shoulder, thankfully on the uninjured side.  “I fear I may have been wrong, though I truly doubt it.  To deny me twice, then throw a fit?  I wonder — why didn’t you go through with it?” Not even Surkukteni had that answer.  For the umpteenth time during that conversation, she refused to look at Her Darkness.  That desire — twisted and poisoned as it was — was one that still surfaced from time to time, yet like clockwork made her ill and was banished from her thoughts.  Why was that?  She felt scorned back then, wishing the universe would correct this error in sparing him but taking Ysayle — but was she not the one who helped save him?  Who helped tear those eyes from his armor?  She easily could — and had previously — bluffed that it was to destroy the eyes and be rid of the threat, but given her hesitancy now? Why?

All of Surkukteni's thoughts are condensed into the narration so that I can separate out her thought dialogue from idle musings since she - specifically - has a connection with something that can talk telepathically. This thing comments on the literal narration of the story, so when she's directly addressing this thing it's thought-dialogue. But her actual thoughts become narration to avoid spending too much time with that, as I find it's better used sparingly.

Motivation for writing is probably the hardest thing, and best I can advise is to get really into critiquing the stuff you like because you wind up finding a lot of material in fix-it stuff, or just wanting to see more of stuff like you. It's part of what drives my xiv stuff due to how they treat female characters, and I really just wanna see more sapphic bi4bi. So considering it's something I've been stuck in for a very long time now and really like the ambient lore and wish it would do better, it's fueling my desire to write. And from there, there are so many other angles to take - like building ocs, building lore. Finding a sandbox is genuinely one of the best ways to do it. Again, like. You'd be surprised at how much is there because of spite. LOTR has Eowyn because Tolkien didn't like that the "can be killed by no man" thing in Macbeth was resolved with a character born by c-section, so he instead wrote Eowyn, the woman who killed the Witch-King of Angmar. C.S. Lewis didn't like the fact that Tolkien believed that modern technology - or slightly less modern technology - didn't believe in fantasy and he explicitly cited lampposts. And this is why there's just a random light post in the middle of nowhere in the Narnia books.

Critique is good and healthy. I'm critical with the stuff I like and my own things so I can work on them and myself. It's fine to like something that you don't wholly agree with, especially if you're using it to inform how you build on it or build your own things. Like I dunno, I looked at Dante from Devil May Cry and went "what if he was trans" and now I've got Rhombi, a character who has stepped really far away from the OG Dante mould, but you can still see hints of it as I used what I wanted to see out of DMC to build this bisexual disaster of a guy. I was disappointed by Elsword not really committing to some of their character concepts, so I kinda just took Eve (and admittedly Add) and made them into Celes and Neilos and took them to their logical conclusions. All three of them were originally fantrolls at some point, so most of the heavy lifting was done when I was back in Homestuck and all I had to do was scrub the barcodes off of them to build them up in an original verse.

Chemistry is also crucial. If characters aren't vibing, move on. Do not force it. Good chemistry can save a bad story (eg. FFXV) and bad chemistry can ruin a good story. Often it's the characters that drive a story so you need to do a lot of plotting and planning. Most writing is honestly just planning before putting the words down.

And I'm very much so rambling by now but my main points are these (+ others I'm realizing while typing):

Plot a Lot and keep lots of notes, and also organize those notes. The contents don't have to be pretty, but you'll thank yourself in advance if you at least sort them by core idea

Getting words down is more important than getting them down correctly. You can always come back and edit it when you have an idea of how to make it work

You can always place a [insert scene here] tag so you can keep your flow and don't get caught on something.

You also don't have to write chronologically - you wanna write the big confession scene before the intro? do it! just jump right into it!

also don't be afraid to delete stuff or remove it from your draft. save things for later to see if they work elsewhere, because maybe it could be a better spinoff.

dont listen to the advice of "if it really matters, you'll remember it in the morning" that advice was given by neurotypicals who don't have memory issues. make notes of EVERYTHING and then delete the ones that don't work

sometimes writing by hand vs computer can really make a difference in how you think. handwriting is slower and makes you think about stuff, so you may want to keep journals for random snippets or ideas like how doodling is good for building up your habit of drawing

Outlines can help but how you outline is up to you. Try a few styles out and go with what works best.

I cannot stress enough that having something like a marker board to write out your broad stroke story ideas is really really nice

Broad strokes first, then narrow it further and further down. Don't get wrapped up in the nitty gritty details

Chemistry is crucial and can often save a piece you're not fully feeling.

Read your stuff out loud while editing because it can help point out stuff that's not jiving! I find it helps a lot with dialogue

Read a lot. Listen to critique. Be more critical. Also don't limit your idea of stories to just books - expand the media you consume and you'll find really interesting stories that can help with yours

Don't be afraid to use tropes, but also don't super rely on them to where you're just checking off boxes instead of coming up with natural scenarios built on chemistry (eg. having the nerdy goth girl is fine, but the way the trope ends in most media ("fixing" her or just having her be a quirky cynical critic) may not fit with your story and it may be better to see how the story plays out rather than forcing it into something it's not)

Iron Widow is a good example here: the relationship between Zetian and Yizhi is pre-established and comes off as sort of "boy next door" vibes, or at least the very dedicated childhood friend. It quickly becomes apparent that he's as much a co-conspirator in her plans as Shimin is. The guy can be ruthless when given the chance, and that's how Yizhi goes beyond the initial trope and defines himself outside of it. Same with the contextualization of Shimin's seeming "aggression" as the "bad boy" and figuring out where that problem/persona actually stems from, and then the shift of viewing it as less aggression and more retaliation and self preservation.

Find something you do really want to write about, like filling a void in a piece of media you like or doing a take on media that made you mad or disappointed. Jane Eyre is technically fanfiction because the author wanted to see more of Jane and didn't get that. The Divine Comedy is self insert fanfiction of Dante Alighieri as he does worldbuilding with Christian mythos regarding heaven and hell. The Riordan verse is his interest in mythology crossed with a desire to give his son a protag that was like him (specifically ADHD and dyslexic), which then became wanting to let kids see themselves in the different halfbloods in the series.

There's a lot of ways you can get started writing, but the best way is to just write goofy stuff for yourself. Get out stuff that may look bad at first, but you go back and read it and critique it. Just getting yourself into the habit of writing helps a lot, because again: it matters less about the quality, and more getting it on the page and actually having something. You can always fine-tune writing, after all.

My first FFXIV fic isn't actually even published. It was just me writing something rambly about my Warrior of Light when I was starting to figure her character out. It looks nothing like what I'm doing now in part because that fanfiction became a launching point for me to work on others. I've got a lot of drafts that will never see the light of day because these were proto-concepts that became the stuff I wound up publishing. It's fine to have drafts that remain drafts because you can take that as practice, and practice is good. Anything that you write has value because you can use it to let your technical writing skills mature.

Also, don't be afraid to look for help. There are beta services on tumblr (or at least used to be when I was a teenager), plenty of writing guides or places set up to ask questions, plenty of youtubers that give prompts for you to work with. The hardest part is always getting started. But once you get past the awkwardness of the start, everything just falls into place and gets easier the longer you go at it.

You definitely have the desire for it because I've seen your very deep love of literature through the Bi-Library, so you can definitely become a strong writer if you put your mind to it 🫶 Find something to fix or address, and that usually is what gets the ball rolling. Worldbuilding is fun and can lead to something, but you can't have a well built world without a story to explore it.

Characters drive story, story is how you explore themes and the world itself, and the world itself is built on your experiences and interests. Embrace the fact that this is coming from your lens and experiences, because no media is truly void of the author and its other creators. Embrace that fact and use it as an extension of yourself. But really, just write. Literally anything. Just get into the habit of writing, and it'll progress from there!

[letterboxd]

How I Letterboxd #9: Julie Collette.

Christmas movie lover Julie Collette tells Jack Moulton all about her seasonal movie habits, the best big screen Santa Claus of all time, disability visibility in festive films, and some of the weirder holiday picks.

It’s the most wonderful time of the year: when Letterboxd members turn to the Neverending Christmas List to help plan their Christmas movie viewing. Arrange it by highest rated, arrange it by newest release, or by popularity—any which way, there’s something for everyone, from corny TCM romances to obscure seasonal horrors.

Created six years ago by Canadian member Julie Collette, the list runs to more than 4,300 titles, and contains the word ‘Christmas’ 1,837 times at last count. Julie and her husband are die-hard Letterboxd fans, having allegedly used the platform every day for the past nine years. She’s logged every film she’s seen in theaters since 1996.

A message from John McClane in ‘Die Hard’ (1988).

What inspired your Neverending Christmas List? Can you please explain the minimum requirement for eligibility? My husband had told me about a list on Letterboxd of Every Horror Film Made from 1895–Present and that gave me the idea to start the neverending Christmas list. My eligibility rules are not strict at all. It can be a film that centers on or around Christmas time. Even New Year’s counts in my book—as long as there’s a moment in the film that has a Christmas song, a Christmas scene, or Christmas decorations. Die Hard is definitely a Christmas film. First of all, it takes place on Christmas Eve at an office Christmas party. There’s that great note that John McClane sends to Hans Gruber on a dead guy’s shirt: “Now I have a machine gun, ho-ho-ho.” Now that’s Christmas! There are a couple of titles that test my relaxed requirements. Examples would be Psycho—there are a few Christmas decorations at the beginning [and Bryan Fuller agrees]—and the documentary Beauty Day by Canadian director Jay Cheel, which has Christmas lights at the end.

And what percentage of the films have you seen? As of right now, I've watched 20 percent—that’s 882 of the 4,322 films on the list. I’ve got a lot of homework to do. Here’s a few hidden gems I recommend: Mon oncle Antoine, Holiday Affair, Remember the Night, Olivia, On the Twelfth Day…, Bing Crosby’s Merrie Olde Christmas and One Christmas, which is Katherine Hepburn’s last role.

David Bowie and Bing Crosby sing ‘The Little Drummer Boy’ in ‘Bing Crosby’s Merrie Old Christmas’ (1977).

When does your Christmas movie viewing season start? I usually start mid-November to try to keep up with the TV rom-coms because they start to air even before Hallowe’en. This year on Hallowe’en night we rewatched The Night of the Hunter and I had forgotten that there was a sequence that was set at Christmas time. It was a perfect segue between Hallowe’en and Christmas, so I started November 1st. As far as how I pick what to watch, I go through my list and randomly pick some. I try to watch as many first-time watches and mix up the genres. But the closer I get to Christmas, the more I want to watch my favorites—for the most part I go with the flow. Christmas Day is usually a day of family time, but I try to sneak in one favorite if I can.

What was the first Christmas film that got you into all of this? I’ve always loved Christmas and growing up I watched the yearly airings of vintage Christmas cartoons and A Muppet Family Christmas. When Home Alone came out it was an instant obsession, then Home Alone 2: Lost in New York was just as good. Even now it’s our yearly tradition for my husband and I to watch the Home Alones while we decorate the Christmas tree.

If not Home Alone, what is your all-time favorite Christmas film? It’s a Wonderful Life is up there for me. Partly because growing up I watched it every Christmas Eve and kind of forced my dad to watch it with me. I think he secretly didn’t mind. As a kid, I didn’t dwell on the sad parts of the story, I just wanted to go to that candy shop and run in Bedford Falls like George in that beautiful thick fake snow. Now as an adult, I appreciate the story about a small town coming together to support a man at his lowest of lows more. Jimmy Stewart is amazing as George Bailey and we can all see ourselves at some point in his journey in the film. The chemistry and comedic timing between Stewart and Donna Reed is one of the best. Every time they sing ‘Auld Lang Syne’, I always get a bit misty-eyed.

メリークリスマス Japanese style, in ‘Tokyo Godfathers’ (2003).

What have you noticed about the ways in which Christmas films have changed over the years? In classic Christmas storytelling, there are a lot more religion-centered ones like The Bishop’s Wife and It’s a Wonderful Life. The ’80s and ’90s were about the blockbusters that the whole family could enjoy; Batman Returns, Home Alone, and The Santa Clause. The last twenty years have brought us a lot of different movies, but I do find that the start of the 2000s had a better crop of Christmas movies; Love Actually, Elf, Tokyo Godfathers, Far from Heaven, Bridget Jones’s Diary, About a Boy and so many more. The last decade has been saturated by the rom-coms of Hallmark, Lifetime and their imitators, but from the last five years, a few stand out that could be destined to become Christmas classics: Carol, Little Women and The Night Before.

The best, most rewatched Christmas stories tend to be remade. Do you have a classic Christmas story that you always love, no matter who’s telling it? Hands down Charles Dickens’ A Christmas Carol. From my favorite—Scrooge—to The Muppet Christmas Carol, to Scrooged. Growing up, I had the book of Mickey’s Christmas Carol and I loved the cartoon adaptation. I love to see the different actors’ excitement and elation at the end when Scrooge wakes up on Christmas Day. My ultimate favorite is Alistair Sim in 1951’s Scrooge. He’s so jubilant asking the maid what day it is and wishing himself Merry Christmas in the mirror. It’s a bit darker than others. When I was a kid, the intro with Jacob Marley and the build-up of the chains scared me, but I couldn’t stop watching. Patrick Stewart’s Ebenezer [in the 1999 TV movie] is also great for his relief that he survived the journey through time. What an actor! An honorable mention to The Shop Around the Corner, In the Good Old Summertime and You’ve Got Mail, which are all based on [the 1937 Hungarian play Parfumerie by Miklós László].

A Christmas Treat in ‘Dolly Parton’s Christmas on the Square’ (2020).

Treat Williams stars in not one but two of this season’s films (who knew he could sing?!). Which actors bring that special spark to festive films for you? Yes, and boy can he sing! Another actor who can sing and puts me straight in the Christmas mood is Bing Crosby. Those classic songs in White Christmas and Holiday Inn are favorites of mine. Jimmy Stewart is an obvious one. He has that charm that’s perfect for Christmas movies, especially in The Shop Around the Corner.

What’s your guiltiest pleasure on the list? Why do we love cheesy movies so much?! Every year I watch TCM’s Classic Christmas marathon [but I also watch] the Hallmark and Lifetime Christmas rom-coms. For me, I love them partly because there’s always a happy ending. I love to see all the decorations and all the cute small towns—some I wish existed so I could visit them because they’re so darn cute! Another reason I love them is the nostalgia, as some of the better ones star TV actors from the ’90s and ’00s like Candice Cameron Bure, Lacey Chabert, Jonathan Bennett, Adrian Grenier, Mario Lopez, Alicia Witt, Alison Sweeney and so many others.

One of the other great Christmas-themed lists on Letterboxd is the one about Christmas movie posters with white heterosexual couples wearing red and green—though many members pride themselves on having seen none of them. I like those movies because I can zone out and enjoy the predictable Christmas ride. However, like other Letterboxd members, I know that these aren’t Oscar-caliber films—though some are better than others! I’m glad that the powers that make these movies are starting to be more inclusive with more POC and LGTBQ+ characters. As a wheelchair user with a physical disability, I was happy to see that Lifetime has an upcoming one called Christmas Ever After, starring Ali Stroker.

Ali Stroker finds love in ‘Christmas Ever After’ (2020).

Indeed, our Make the Yuletide Gay list is an attempt to highlight queer festive films, but the pickings have been slim. Yes, very slim. There’s been queer characters in Christmas films but it’s your stereotypical gay friend or something like that. This year I feel there’s a shift in the air to be more inclusive. My favorites this year so far have been the star-filled lesbi-rom-com Happiest Season, The Christmas House—featuring a landmark first gay couple in a Hallmark festive film, Dolly Parton’s Christmas on the Square and Jingle Jangle: A Christmas Journey—with Ricky Martin! I’m looking forward to checking out A New York Christmas Wedding, The Christmas Setup and Dashing in December.

What is the scariest Christmas film that your horror-loving husband has made you watch? The best one is Black Christmas. I love that it’s female-centered and ahead of its time in their portrayals. The killer’s POV really gets me into it and still to this day puts me on edge, so much so that an ornament fell off our tree while watching it this year and it freaked me out!

Also, should we be watching The Nightmare Before Christmas on Hallowe’en or on Christmas? I watch The Nightmare Before Christmas on both holidays so you get the best of both worlds—the ghoulishness of Hallowe’en and the merriment of Christmas!

What other films on your list show Christmas in an unusual light? The first weird one that popped to mind is The Star Wars Holiday Special. That was weird! Also, from what I’ve watched I would say Eyes Wide Shut, The Ref and 3 Godfathers are not your usual Christmas films. I do have quite a few on the list I have to watch that seem weird and unusual like Elves, Santa and the Ice Cream Bunny and Santa Claus Conquers the Martians.

[Editor’s note: Previous How I Letterboxd interviewee Dave Vis urges you not to watch Santa and the Ice Cream Bunny under any circumstances.]

Which actor is the quintessential Santa Claus? For me, it’s the Santa in Miracle on 34th Street, played by Edmund Gwenn. He truly embodied the part in the way he plays Kris Kringle. The gentleness and innocence he shows throughout the film is magical. It’s no wonder he won a Best Supporting Actor Academy Award for his performance.

Gunn Wållgren in ‘Fanny and Alexander’ (1982).

Of course, so many films in the Christmas canon are American films. What are some of the best Christmas films from around the world? This question makes me realize I haven’t watched enough Christmas movies from around the world. With that being said here’s a few; A Christmas Tale from France, A Child’s Christmas in Wales from the UK, Tokyo Godfathers from Japan and Ingmar Bergman’s Fanny and Alexander from Sweden. Mon oncle Antoine is a great Canadian film set in a small mining village during Christmas. It reminded me of the stories my mom and grandma talked about their Christmas traditions in their small village.

Are there any overrated classics you want to protest? I didn’t watch A Christmas Story growing up, so when I finally did watch it as an adult, I didn’t connect with it. The iconic scenes are funny and all, but it’s just okay. Now I’ll be on my hubby’s naughty list!

Does the film marathon continue through that purgatory week between Christmas and New Year? Do you have any film-related traditions to ring in the New Year? It does continue during that week to a certain extent. Some years after Christmas I’m done and what I haven’t watched goes to the following year but other years I can watch a few more and not feel overwhelmed. On New Year’s we have no traditions per se, but this year we might do a Tarantino marathon.

Christmas season is also synonymous with awards season. You keep track of a lot of Academy Awards history. How are you feeling about the awards season this year? First off, like many others, I haven’t even set foot in a theater this year and that is sad. I hope that the theater-going experience is not irreparably damaged. One good thing that came from the pandemic is film festivals streamed online and we were fortunate to watch some great titles from TIFF from the comfort of our home in September. I saw Nomadland, and it’s going to be a frontrunner for many of the main categories. I hope Regina King’s One Night in Miami gets some love. Miranda July’s Kajillionaire script is so unique—Evan Rachel Wood and Richard Jenkins should be contenders. I haven’t watched a lot of docs yet but Boys State stands out. I’m also eager to see First Cow, Minari, Ammonite, The Truffle Hunters, Soul, Mank, The Father and Promising Young Woman.

This Christmas is going to be weird for a lot of people. What’s one film you’d recommend for a guaranteed happiness injection? Weird indeed. If I have to pick just one it would be John Favreau’s Elf. Will Ferrell as Buddy the Elf instantly brings a smile to my face. You can feel his joy for Christmas from start to finish. From the classic claymation, to New York City at Christmas, to eating all that sugar, to that hilarious scene with Peter Dinklage—it’s Christmas gold!

And finally, are there some other Letterboxd members you recommend we follow? Emily, Flurryheaven, Guyzo997, Peter Spencer, Michael Dean, Brent Vanhomwegen, Ara Hiddleston and also some more Christmas lists.

[afishlearningpoetry]

Looking Closer at How The Abominable Bride Foreshadowed and Can Be Used to Chronologically Decode Series 4:

In TAB –– right as Sherlock is experiencing the absolute worst part of his nightmare –– Sherlock imagines John showing up to save the day, as Sherlock realizes that the only way he’s able to defeat Moriarty is if he opens up to John and lets him in. For the entire episode, Sherlock has been so afraid to communicate with John in order to protect him, which has just been repeating his mistakes of the past and putting him in danger. Here, finally, at the end of the road, Sherlock imagines a brighter future. By openly letting himself love John here, Sherlock has won.

In TFP –– right as John is in the middle of the worst part of his nightmare story scenario –– John writes a scene where Sherlock has to lie to his self-insert Molly about loving her and manipulate her into confessing it back in order to save her life (which was never in any danger). For the entire series and episode John has been torn between whether or not Sherlock is truly capable of romantic feeling or not. By letting himself love Sherlock, and letting Sherlock lie about loving him back, they’ve lost, and succeeded in nothing but hurting each other.

[Continue below the cut for more ➤]

See also: 10 Revealing Things From The Six Thatchers That Haunt You Late At Night, 10 Revealing Things From The Lying Detective That Haunt You Late At Night, and 10 Revealing Things From The Final Problem That Haunt You Late At Night. (#tw suicide)

Bonus: Regression.

“He doesn't have friends. So who are you?”

“I'm... I'm nobody. I just met him.”

"Okay, bit of advice then: stay away from that guy.”

“Why?”

“You know why he's here? He's not paid or anything. He likes it. He gets off on it. The weirder the crime, the more he gets off. And you know what? One day just showing up won't be enough. One day we'll be standing round a body and Sherlock Holmes'll be the one that put it there.”

If this didn’t make John question his attraction to Sherlock the day they met, then hearing it from his own mouth did the trick. Once the idea exists, it cannot be killed.

“I'm not a psychopath, Anderson. I'm a high-functioning sociopath. Do your research.”

This scene in TFP is the realization of John’s greatest fear. John, who is in remarkably similar circumstances when we met him in the opening of the show; unmarried, practical about death, and alone, as Sherlock deduces from the coffin in TFP.  

John, who only married someone as a comfort and escape after the love of his life died, whose entire relationship was built on a lie and a facade, who he emotionally cheated on and invented a storyline to cover it, who tried to kill his spouse after it turned out her love for him was part of an ulterior motive, and who’s being haunted by her.

John, who was considering suicide before he met Sherlock, who kept a gun in his desk drawer but found a purpose for it by saving his life at the end of ASIP (“I mean, suicide is pretty common among city boys,” John suggests during a case in TBB), and who’s now being haunted by the ghost of his wife and is shot at the end of TLD.

John, who’s lived his entire life alone and isolated from loving other people, whose affection for Sholto didn’t go anywhere because he was too closed off, who couldn’t even admit to his therapist that the love of his life died, much less say the words out loud, and who truly believes it to be absolutely impossible for Sherlock to love him back, if he’s even capable of that at all.

John does not really know. He has no idea that he means the world to Sherlock. He has no idea how deeply Sherlock is in love with him. He has no idea what Sherlock has done to protect him. He almost had an idea; during the ending of TSOT, they both knew, and they knew that the other knew too. But when HLV rolled around, Sherlock resorted to his old habits; he lied to John about what happened in Magnussen’s office in order to protect him from Mary, like he lied to him in order to protect him from Moriarty. In John Yorke’s 3-D Roadmap of Change, part of his Five Act Structure, this is called “Experimenting Post-Knowledge”.

This is what Sherlock learns from at the end of TAB; by not communicating with John, he put both of them in danger of the bride. By allowing John in, by letting both of them love each other, even calling him handsome, Sherlock is able to envision a brighter future for the two of them, which is only possible if they not only work together but admit how they feel to each other. Sherlock knows what to do now, which is why Sherlock and John are working together in series 4 to take down Mary, but he still hasn’t told John his biggest secret.

By lying to John in HLV and isolating them from each other again, with John taking back Mary (in order to take her down) the show entered act four, the act of doubt, growing reluctance, regression, and the crisis point. Acts one and four John are in a similar place; after all the time he’s spent with Sherlock, after everything they’ve gone through together, John is going to go through hell through one simple dilemma, the same one he’s been faced with since the beginning: does Sherlock love anyone, or not? Could he love me?

John is the author of series 4. John’s story is a dark mirror and denial of the future that Sherlock’s dream offers. Eurus, the overseer of the “I love you” test, is also John’s dark mirror.

“Professor, if you wouldn’t mind stepping away from my friend, I believe he finds your attention a shade annoying,” John says at the end of TFP. “It’s for somebody who loves Sherlock. This is all about you, everything here,” Mycroft says about the coffin in TFP. Sherlock’s dream, John’s story –– they are both about each other. They are both all about trying to understand each other. All of this, this entire relationship, all the years they’ve wasted pining after each other, could have been changed by resolving a miscommunication they had in ASIP. “Girlfriend? No, not really my area.”

In TAB, John retorts Moriarty by saying, “There’s always two of us. Haven’t you read the strand?” In ASIP, John says, “You’re unattached. Like me. Fine. Good.” These are both echoed in John’s depiction of Sherlock deducing the coffin in TFP: unmarried, practical about death, alone. John tries to deflect more of his jealousy of Irene here (and subsequently, through his association of her and him being sociopaths, his jealousy of Mary and Sherlock), but instead pulls from someone he knows is in the same boat as him: Molly Hooper. In a sequence already full of emotional callbacks, John is recalling what happened to him just two episodes ago and applying it to Molly; when he was marching around his own house while ignoring Sherlock’s calls.

“Thank you John,” Sherlock says to John for saving him from Moriarty. “Since when do you call me John?” His John asks. In this dream, in this time period, when gay love had to be hidden and private, first names are personal. First names are used for loved ones and spouses. Sherlock is really imagining John asking, since when have you felt that way about me? Since when have you loved me? “You’d be surprised,” Sherlock says. Since the night they met. “No, I wouldn’t,” John responds, because Sherlock knows John has loved him since then too. This is Sherlock’s love confession to John, in his own mind, and it’s only in this moment are they safe from Moriarty.

But John could not be more completely opposite of where Sherlock is emotionally. John has no idea. He wouldn’t just be surprised; he would be shocked and devastated Sherlock has known for so long. He can’t believe it, even though he knows after TSOT. Rather then John confessing that he loves Sherlock in his story, he writes his scenario as an experiment, a callback to multiple instances of Sherlock toying with John’s emotions. “Oh God. It was you. You locked me in that bloody lab.” “I had to, it was an experiment.” “An experiment?!” This was also after John had accepted Sherlock’s invitation to continue working together earlier in the episode. Every time that Sherlock seems to show genuine emotion to John, he does something that makes him question that again. “Listen, what I said before, John. I meant. I don’t have friends. I’ve just got one,” Sherlock says in THOB. “No, I know you're not an experiment, you're my friend,” he says to Molly in TFP.

John’s self-insert Molly is furious and humiliated at Sherlock asking her to say those words to him. “Leave me alone. Why are you doing this to me?! Why are you making fun of me?!” When Sherlock says its part of an experiment without thinking (because he’s busy trying to save her life, or John’s life, as so often their miscommunication goes), Molly bitterly replies, “I’m not an experiment, Sherlock.”

This is John talking. This is John talking to Sherlock, through Molly.

Sherlock’s love for John continues to shine through after he confesses he loves him like a husband. “Time you woke up Sherlock. I’m a storyteller, I know when I’m in one.” “Of course. Of course you do, John.” Sherlock is imagining a John that’s on the same page as him, who understands why he’s made all of the decisions he’s made, why Sherlock devised this convoluted dream scenario to work out his own fears and desires, and a John who’s aware enough of Sherlock’s feelings to talk to him like this. Again, this John is only able to exist after Sherlock lets him in and confesses he loves him. For most of the episode, John and his blog are not on the same page as how Sherlock feels. This is him dealing with his guilt post-Reichenbach.

“Two years. Two years. I thought... you were dead. Hmm? Now, you let me grieve, hmm? How could you do that? How?” John asks him in TEH. This guilt and anger are echoed in Sherlock’s dream and John’s story, as Sherlock suffers a relapse in both of them. “No, I just said that in one of your stories.” Sherlock is afraid that John won’t love him if Sherlock doesn’t live up to the image that John has of him. “You lie all the time, it’s like your mission!” John yells at Sherlock in TLD. This line on its face doesn’t really make any sense, and John’s Sherlock thinks he’s just talking about Reichenbach, but John is talking about everything: every emotion that Sherlock feels and performs, his relationship with John, all of which John fears is one big lie. He’s afraid that he really is a sociopath. In TEH, Sherlock is speechless and unable to provide an answer to John, because he was so in denial about the decision he made, he was repressing his own emotions in order to keep John safe. In TFP, John’s Sherlock insists that Molly can tell him anything as a flashing red Moriarty flares up in his face. To Sherlock in this scenario, Molly can’t really tell him. John can’t really tell him. And if they do, it’s only because Sherlock is manipulating them into doing so, even if its for unselfish reasons, and in the end, Sherlock doesn’t get why he just can’t tell him.

“Please don’t do this. Just… just… don’t do it. I can’t say that, I can’t… I can’t say that to you.”

After beating Moriarty in TAB, Sherlock and John are just flirting in front of him. They’re sweet and affectionate with each other in a way that the present day hasn’t caught up to yet. But in TEH, Sherlock mocked John for talking about how he felt, and notes there’s an off switch for the bomb. If we understand the subway bomb, found on Sumatra road, the alternate retelling of the tragic tale of Samarra where the merchant is actually able to escape death, as the love confession, both of their confessions, it’s reiterated that Sherlock is the one in control, he has to say it first, because John has no off switch. “I find it difficult, this sort of stuff.” “You were the best and the wisest man... that I have ever known. Yes, of course I forgive you.” This is also something that’s echoed in series 4, most notably with Culverton. “What is the very worst thing you can do to your very best friends? Tell them your darkest secret. Because if you tell them and they decide they'd rather not know, you can't take it back. You can't unsay it. Once you've opened your heart, you can't close it again.” This is also reiterated later in the episode, “I never realized confessing would be so enjoyable. I should have done it sooner,” and “Apparently he can’t stop confessing.”

When Sherlock says there’s an off-switch on the bomb, he’s unintentionally signaling to John that he has an off-switch for his emotions because he faked his performance in the subway car, because he doesn’t feel things that way, because he really might be a sociopath –– so it’s fitting that the entire scenario in which John imagines Sherlock manipulating Molly into confessing the truth is based around a bomb, and not just that, but a bomb that wasn’t going to go off. Molly is even wearing her cardigan from TEH, and the scene where Sherlock accidentally called her John. “Please, John, forgive me,” Sherlock begs John in TEH. “Please, just say it,” Sherlock begs Molly in TFP. I can’t, because, it’s true, because it’s always been true, John says through Molly. I can’t say it. It has to be a trick –– so you have to say it to me first before I can believe you, and know it’s not a trick. “Go on. You say it first.” All of this while the counter to bombs that aren’t going to go off depletes (and in John’s dream, funnily enough, don’t even exist, it doesn’t make sense because it’s not real). But it still is a trick.

“You see, as long as there’s people, there’s always a weak spot,” Sherlock tells John when manipulating Janine to get into Magnussen’s office, surprising her with a proposal ring. John is completely devastated –– already confused after thinking Sherlock loved him at the end of TSOT, after seeing him with Janine a month into his unhappy marriage, and now seeing him lie to her face –– staring at him utterly heartbroken. “Sherlock, she loves you,” John pleads. I love you. Would you do that to me? Would you trick me into thinking that you love me? Do you even feel love at all? “Yes. As I said, human error.” Sherlock’s pressure point is named as John later in the episode, and John almost believes Sherlock cares about him again... but when Sherlock shoots Magnussen at the end of HLV, he says, “Give my love to Mary,” and John isn’t just back to square one for the 100000000th time, he’s regressing. “But why would he care? He’s Sherlock. Who would he bother protecting?”

While in TAB, Sherlock is progressing further than John could ever dream. John simply kicks Moriarty over the water like it was barely a concern, and John and Sherlock are together at last. The danger of Moriarty is gone. They can finally be together.

John is still on the opposite end of the spectrum, and in more complicated ways than we’ve seen thus far. John himself is seen in a shot with the coffin in the background as he watches Sherlock and Molly play out his tragic dream scenario –– John will take his secret to his grave. He would quite literally rather die than tell Sherlock that he loves him, as evidenced by his only halfway-confession in TEH. But as Sherlock and Molly tell each other, “I love you,” and the counter stops, Eurus tells Sherlock that he didn’t really win her test. There were no explosives in her home; there was never any danger, no danger beyond the damage that they just did to each other.

This feels so wrong because it is wrong; this should be the moment where John and Sherlock confess to each other. It feels so torturous because John is pulling deeply from his own experiences as the author; this should be a cathartic and transcendent moment with Sherlock facing John, but instead they’re 180 degrees apart again. This makes no sense because it’s not real, because we had to see just how wrong the wrong solution was before we were presented with the right one... which is ironic considering series 4 is the show’s own dark mirror of itself, and John is only able to tell himself all of this through talking through a mirror and through Sherlock talking to a mirror.

John has always wanted to face Moriarty with Sherlock, which is something Sherlock has never really understood, not even by the end of TAB. John was willing to die with him at the end of TGG if it meant taking Moriarty out. John wanted to be in on the secret that Sherlock was still alive, he wanted to know. He wanted to act. John does not see the danger in him and Sherlock working together against Moriarty as a deterrent, because he’s willing to face it together. Sherlock is not, or was not –– Sherlock wanted to defeat Moriarty on his own without letting John know how he felt and coordinating with him. Even after coming to his realization in TAB, we know from the real events of series 4 that while John and Sherlock are working together, Sherlock hasn’t let John in on his final secret, and the one that really matters to John. In this scenario in TFP, John is acknowledging that Sherlock has been acting in series 1-3, to a degree, under the threat of danger towards himself through his self-insert Molly, but ultimately concludes that that danger was never really there in the first place, and that Sherlock could have told him what was going on all along and he would’ve been fine. But by not doing that, Sherlock has hurt John, over and over again in the callbacks present in this scene, more than John thinks Moriarty ever could have. Sherlock wanted to protect John by isolating himself, but John wanted to face the danger together. Sherlock knows that John loves him, but John doesn’t know Sherlock loves him back. “You didn't win, you lost. Look what you did to her. Look what you did to yourself. All those complicated little emotions, I lost count.”

Sherlock will never love him back. John will remain in the same boat as Molly. John feels that for certain now. That’s why right after this scene John suddenly imagines a scenario where he needs to know why Sherlock is the way he is and why he’s so closed off, offering his own explanation. This final confirmation sends John on a nosedive, as TFP begins its last downwards, death spiral, preceded only by John writing about how much he wants to die.

“Now, for once in your life, do the right thing. Put this stupid little man out of all our misery. Shoot him!”

“Stop it.”

“Look at him. What is he? Nothing more than a distraction, a little scrap of ordinariness for you to impress, to dazzle with your cleverness. You'll find another.” (But then people do get so sentimental about their pets)  After this, Sherlock holds the gun to his own head, in an episode already containing suicide references, in act four of the show, in act four of series, as John is back to the same place he was in act one, unmarried, practical about death, and alone, before falling into complete darkness.

[aj-the-satyr]

All the Questions......

So Tag games...... Used to do ‘em a lot then kinda fell off writing for a while and then it got quiet. Well now I got tagged in 3 of those 11/11/11 things. You know the ones answer 11 questions, ask 11 more to the 11 people you tag. Well I’m not going to tag anyone other than the 3 people asking @writersblockandapotoftea @carrotgirl-1 and @rosewinterborn and say thankyou for doing so. So here goes..... the goat tries to get through all 33 questions.

1) Do you hide any secrets in your books that only a few people will find?

Hmm.... I suppose that I have a habit of making the names of both things and characters have deeper meanings. Like Grigory Zmeya, his last name means snake and he is a snake shifter type person. So stuff like that.

2) If you could ask one successful author three questions about their writing, writing process or books what would they be?

Not sure about this. I’ve read interviews with many authors where they have dispensed their advice and advice is not a one size fits all thing but I would lie to ask more personal things like favorite characters, Least favorite scene to write and most surprising side character. Stuff like that.

3) Do you have a library membership?

Nope.

4) Ebooks, yay or nay?

Used them and they are fine but I am the old school like to have the physical book in my hands kinda goat.

5) What feeling do you want your readers to get from what you write?

Wow, deep question. Enjoyment? Other than that I’d like them to have feelings for different characters, to pick favorites, to hate some and love some. I suppose I’d like my characters to be memorable but I will settle for the “That was Good” feeling after reading, even if nothing gets carried with them.

6) What time of day are you most productive?

Considering how many times I’ve written my snippets after 10pm and into the wee hours of the morning, I’d say then.

7) What is your writing Kryptonite?

Myself really. There are times I just get conflicted about my writing and rather than just let it flow and let the characters lead I will find myself deleting things and starting over many times. I’m trying to do that less but it’s hard sometimes to just let go and see what happens at the keyboard.

8) Which scenes are your favorite to write?

Huh....... I’m a dialogue heavy writer trying to get more description into my scenes so I favor just talking but am trying to change that a little.

9) What comes first in your development/outlining process plot or characters?

Well considering I don’t outline anymore (Used to waaaaay back) It would have to be characters. Make the characters and pop them in a setting. Plot will happen, hopefully.

10) What is your favorite novel to film/TV adaptadion?

Comic books count right? I love the Constantine TV show. Shame it got cancelled, love the fact they brought the character back for Legends of Tomorrow and the fact he might be getting his own show again is awesome. Love Constantine.

11) Do you think yourself as more of an artist or entertainer?

Neither really. Not something I’ve ever thought about, since you are asking me to think about it...... entertainer??

Right onto the second set of questions gonna add a read more break here to avoid taking up huge chunks of Tumblr real estate and for those people that don’t really care what this old goat has to say

12) Play fuck, marry, kill with Gandalf, Aragon and Arwen.

Er........ Kill Gandalf.... no wait he’ll come back for revenge..... Kill Aragon..... man that would be hard to do..... Kill Arwen then? But I wanted to marry her.......... Man...... Kill Aragon with Gandalf’s help, fuck Gandalf as payment and then go off to marry Arwen. Problem solved.

13) If you had to set fire to a famous building, which one would you set alight?

The Vatican?

14) If you could bring someone back from the dead who would it be?

It would be Sandra, a friend I made for a brief time on the internet who I RP’d with and had a good rapport with. She died of cancer at 20 I think, it’s hard to think about. I do always remember that I talked to her through her brother in her final days and managed to make her smile, something her brother told me she hadn’t done for weeks. Crying typing this. Yeah. Fuck yeah I’d bring her back and let her live her life. Fuck Cancer.

15) Which fictional Universe would you go into?

Star Trek. No need for money, could sit at a cafe and write all day. Great.

16) Where would you go if the world ended?

Hell. Oh wait that’s not what you were asking. Er...... nowhere. No point if it’s all gone is there? I’d stay here and still be a loner. Wow..... fun goat answers.

17) What’s you alignment?

Chaotic Neutral.

18) Lovecraft or Shelly?

Er....... as much as I love Cosmic Horror Mary Shelly was one of the most badass goths there has been. Plus the whole creating the sci-fi genre as a fuck you to Lord Byron. She is amazing and doesn’t get enough respect.

19) What’s the weirdest food you have eaten?

Sea Urchin or deep fried shrimp heads not sure which I think was weirder.

20) How do you want to die?

Die? I’m immortal. Or is that immoral? One of those.

21) Who is your least favorite character to write?

Probably The Professor since he’s a homophobic bigot who killed his own son’s boyfriend (Though he claims that was merely an accidental oversight of his grander plan) since he is not a very nice character at all. Makes my skin crawl.

22) What’s your favourite fairy tale?

Can’t say that I really have one. None of them resonate anymore, neither the grimdark originals or the fluffed up modern takes. I do however enjoy the book Dragon’s Bait by VIvian Vande Velde which is about a 15yr old girl who is put out as a sacrifice to a Dragon and ends up allying with the dragon and seeking revenge.

One more set. Almost there with the goat interrogation.

23) When did you know you wanted to be a writer?

Probably in University where I started writing a little something called “Space Gerbils” and was sending it out via email to about a dozen internet friends. They were hooked, I thought it was garbage but voila! The spark ignited. Heavily got into tabletop RPGs at the same time so that probably helped my desire for storytelling.

24) What book/Book series have you always meant to read but have not yet?

The Long Earth series by Terry Pratchett and Stephen Baxter. I have a boxed set of them all but I just haven’t cracked the cover yet.

25) Who’s you favourite writer? 

Published? Either Sir Terry Pratchett or Eoin Colfer. But a special shoutout goes to @yuutfa for Caster. They are a wonderful storyteller and got many an emotion from me while I was reading an early draft.

26) What was your favourite book as a child?

It is one that sits on my shelf this very moment. It is called “Science Fantasy Stories” and is a collection of short stories that I read many times over as a child, back when I would consume a book a day almost.

27) Favorite music to work to?

Soundcloud generally has my back but it does sometimes throw up the odd track that makes me question if its algorithm has developed some sort of twisted intelligence Black Mirror style.

28) Hogwarts House?

Ah..... this question. I’ve read the books, saw a couple of the movies (Did not like the movies) and enjoyed every step of the way. I bought my first Harry Potter books when they were selling the first 3 as a set so I jumped in to see what the fuss was about. Never once have I thought about what House I would be in. Never. So Imma gonna say Slytherin.

29) Hobbies?

Writing?? Generally I play vidja games. Current faves being Monster Hunter World (PC), Endless Legend (PC) and Crash team racing nitro fueled (PS4) and I also daydream scenes with my characters in them. Trying to get back into reading regularly again.

30) Where do you draw Inspiration from?

Everywhere I guess. From random conversations to ideas had after playing games, watching TV or reading books. Sometimes I’m not sure where the inspiration comes from but I am just trying to let myself go at those moments, run with it. Who cares if The Simpsons already did it? Truly new ideas aren’t new anyway. (Except maybe for theoretical physics, that shit is bananas) I mean one of my characters basically declared themselves to be a God (At least in my head) after I read an article on Retrocausality. Inspiration can come from anywhere. Use it!

31) What do you consider your aesthetic to be?

Look I can barely spell that word you want me to have one as well?

32) Favorite mythology?

Favorite mythology of AJ the Satyr................

33) What do you think influences your work the most?

My co author?? But seriously working things out with them has been very helpful but also there’s this little writing discord that I’m part of that is really welcoming and a great source of inspiration and ideas. But all in all I think Neil Gaiman influences me the most when he answered a question about how he does it. He told the person asking that you just write everything down that happens in the first draft and then when you go back and rewrite you make it look like you knew what you were doing all along.

Right. One Goat, 33 Questions. And I won! Not tagging anyone else but I want this to get me going on these tag games. I can’t just hide in the dark corners of Tumblr anymore. I must face the light! Has @notanotherhour done this yet??

[bluueejay]

mcu wanda is an adult, she is not “just a kid.”

She’s in her late teens (18+) in AoU, that is not a child. Yes, she’s young. Yes, she grew up in a small country that, from her childhood on, was brimming w civil war and chaos. Yes, her childhood and young life were filled to the brim with horrors and destruction. She’s young and unsure, afraid even, but she’s not a child. The ‘borderline’ infantilization of her throughout the movies, though it’s mostly prominent in CW (and hell, if ya wanna get specific about it, AoU too) is fucking weird. It’s odd. She’s old enough to be in the field, fighting, and training w the others. She’s old enough to be a legit, living-on-the-avengers-compound-property, avenger. She’s old enough to be going into other countries on missions, she’s old enough to be mentored by The Black Widow and Captain America, she’s old enough to fight battles, she’s old enough for all of that: but the minute something goes wrong or she’s faced w something less than pleasant, it’s a bout of “oh come on, she’s a kid! How dare you, she’s a kid!” When absolutely no? No, she’s not? She’s young, traumatized, and learning, absolutely. but not a child.

Let’s get technical for a sec, aight? When you go to the mcu maximoff’s wiki and scroll down to their AoU section, it reads as such, quote,

“When the twins reached adulthood, (....) Wanda and her brother took part in various riots to drive the foreign forces out of their streets. (....) The Maximoffs were approached by List who offered them a way to achieve the power needed to drive war out of Sokovia. Although she was initially skeptical, Wanda was convinced by Pietro to agree to the experiments to gain new powers.”

When they reached adulthood, (read: 18+) Sokovia had fully fallen into its civil war and that’s when the Twins were approached by List. (Idc if you want to argue about them thinking it was SHIELD/if they knew it was hydra, I don’t care. The main point being presented is that they underwent voluntary human experimentation. Another thing, because this was mentioned in AoU by I think Steve? A civil war is not the same as an external war. A civil war is not typically where you are fighting for your country, more you’re fighting for who controls your contry. Got it? Cool, moving on.)

She is not a child.

Treating her as such within the movies and then having certain chunks of the fandom push that belief only snowballs the iffy as fuck storytelling mistake that is the ‘as long as my intentions are good, any mistakes made are excusable’ mentality present within the MCU, but especially so in cacw. It’s fucking weird.

Take Clint’s line durint the compound, where after she’s said she’s caused enough problems and that it’s likely better for her to stay (content, not dialogue) he casually manipulates asks her into joining the fight by insinuating that the only way for her to make amends is to fight more, but he refers to their age difference w that high school comment. I can’t remember it word for word but paraphrased it’s essentially ‘if you want to make amends, you get off your ass. You wanna stay here and mope, you can go back to high school.’ Now obviously, we’ve learned thru mcu Clint’s meegar character development that he’s absolutely the type to refer to anyone significantly younger than him as a ‘kid’, he’s presented as that type of a character, that kind of a guy. Many people allege that his words are in reference to their pseudo familial connection but ehh, that’s up to personal speculation.

My longwinded point is that Clint and Steve have shown a repeated habit of infantalizing her, despite her adult age. Idc if it’s because she’s younger or bc of a sentimental connection between the lot, she’s in her early 20’s come cacw, the repeated comments about her being w kid (I know the high school moping comment was made more in reference to her behavior, rather than her age, but the phrasing is absolutely off for what they were going for and it’s still weird so)

Whether that be bc of their age differences, their sentimental affections, the mentor ship relationships towards her; whatever, it doesn’t really matter, because in the end: they’re still treating this then 18+ now 20+ year old woman like she’s a 14 year old. That’s,, that’s weird. It’s weird.

If you follow the mcu timeline and the information present, she and pietro are already 18, if not older, in the end credits scene for TWS. There’s about a year jump between TWS and AoU, putting her at about 19 in AoU, if you want to be a bit handwavy. (I’m personally of the idea that because the twins were already adults before list approached them about the experiments, they’re likely closer to 19 in the TWS end credits scene where it’s apparent that they’ve been with List long enough for their powers to manifest/start manifesting but it’s eh) That may be a little on the nose but for the sake of this, we’re gonna be a little on the nose. Alright? So she and pietro are at about 19 in AoU, young but by no stretch of the imagination are they children. Then, we jump from AoU to CW. There’s another year jump between AoU and CW, which is putting her in her early 20’s, let’s say 20 exactly for semantics sake.

CW specifically is where a lot of the infantilization and weird shit comes into play, which is even weirder to me specifically bc in this film, she’s absolutely not a child? She’s not a teenager or a weak-willed infant, she’s 20! And then again, we jump from CW to IW, where there’s a 2 year jump in time. That puts her at 22. 22! (On the nose again, I know, it’s likely not exactly year by year, but still) We jump again from IW and endgame, w the 5 year jump and even more semantics, she’s in her late 20’s. 27ish, to be a bit more specific. From her introduction to the latest film presented, she’s isn’t nor has she ever been a child.

So why are people (specifically Clint and Steve lmfao) so fucking insistent that she’s a kid?

(The time jump confirmations I’m using are coming from interviews and statements Joe Russo has given in the last year plus or so lmao, so don’t @ me about my stretching the timeline to fit my agenda or some shit)

Just all around, it’s a fucking weird story aspect to have at play, especially for as long as it was (mostly between AoU and CACW with contextual stuff scattered in IW, not much of note but it’s kinda there). It infantilizes this (currently) 20+ year old character to a near dangerous state, which brings us all the way back to that childish as fuck statement made in CW, the ‘you locked me in my room’ one. Your room.. you mean the several multi-million dollar facility with hundreds of amenities and your robo-boyfriend? And yes, her situation should have been explained to her much more throughouly, that’s something I absolutely stand by but also.. she was watching the news. She knows people are angry, going for the jugular, Steve’s little ‘we can’t save everyone’ speech absolutely doesn’t change the fact that the public is afraid and that they know her face. “Mr. Stark would like to prevent the possibility of another public incident” yeah, like say if she had gone to the store and had people come after her, something like that? She wasn’t even under official house arrest, she was making dinner with her boyfriend and hanging around. That “you locked me in my room” Comment is something I’d expect to hear from my 11 year old niece, an actual child, not a 20-something year old woman who also happens to be the mcu’s Scarlet Witch. It’s.. weird and iffy as fuck, a really bad writing choice, and something that shouldn’t have been done but oops it was and now we’re left w all this shit to pick and poke at while we cry about other shit. Nice.