#and writing 5 minute film concepts

[metalcowgirl]

☆ 𝐂𝐀𝐌𝐆𝐈𝐑𝐋 ☆

listen while you read

written 4 @bubbledtee !! i saw your concept and HAD to write about it

warnings: smut, age gaps, adult film, reader is female, degradation, manhandling

word count: 1,598

james was popular in the adult film industry. everyone always talked about how respectful he was to his co-stars and that he would always do his best to make sure you were comfortable.

 he was also rumored to make girls squirt with just his mouth alone. you were an amateur, scoring this job as sex was something you valued and considered yourself good at. you also thought doing adult film would help your confidence so you decided to give it a shot.

it was the first day you were meeting james, your partner for this scene. the fellow girls practically stared a hole through you as you walked through those doors, muttering and murmuring about what james would think of you.

it was a teacher / student scene and james had to fuck you in ways you’ve never been before. he had to be super rough with you so he decided to sit and talk to you to make you comfortable beforehand.

you saw the silver fox sitting on the sofa in the main room in the house you were shooting in. he was taking a drag from his cigar. he looked up and saw you, giving a bright smile, 

“y/n, right? i’m james, pleasure to meet you” 

he held out his hand and you gladly shook it. he was definitely super attractive for a guy his age, older guys had always been your sort of thing, and this was just adding fuel to the fire.

 “yeah.. i’m super nervous about this..” you nervously chuckled. 

“that’s understandable but i assure you, if you want me to stop at any point you have my word. promise” he gave a sweet smile.

you two talked for a few hours before you had to shoot your scene. you had already gotten so comfortable with him, and maybe even got a little flustered from his flirtatious comments about what a beautiful young woman you were. 

you went to change into what the producers/directors had given you. the casual skirt, thong and polo you usually saw in these types of pornos. you did your makeup and touched it up in the living room mirror. you noticed james in the reflection and couldn’t help but stare at him in that suit. it hugged his body just right, the shirt rolled up, showing his many tattoos and buff arms. 

you gulped nervously, flustered again as james complimented you once more.

 “5 minutes!” the cameraman yelled. 

you nervously took a deep breath, james taking notice, “remember what i said, tap me three times for me to stop doing whatever i’m doing, darlin.” you nodded in agreement, understanding him.

the scene began, and you two started off with the casual and cheesy “raise my grades” scenario. james grabbed you by the hips and started to kiss you, trailing down your neck kissing and sucking. you lightly moaned and whimpered at the sensation of his teeth against the skin of your neck. he suckled until he left hickies all over. the camera man moved to an angle so he could capture the both of you.

 james shoved you on the desk and slowly removed your panties with his teeth while on his knees. you bit your lip, staring down at the silver fox. you wanted nothing more than him to ravage you. ravage you on camera for the whole world to see. standing back up, he smacked you across your face,

 “you’ve always wanted this huh? you’re a little slut, always dressin’ like this for your teacher to see. what a gross girl you are.” 

he grabbed you by your face and told you to open wide, spitting in your mouth. he picked you up, putting you ontop his face whilst standing, eating you out. so thats how he stayed so buff at such an age.

tongue exploring your folds and your hard clit, you threw your head back in pleasure. legs already shaking from how sensitive you were, now you knew the rumors were true. this man ate you out like he was starved. the flicks of his tongue made you whimper.

animalistic growls emerging from the back of his throat, he swirled his tongue around your clit. you felt the knot begin to form in your lower half and with that, released all over his face. you began to squirt. it got all in his mouth but he didn’t care. he lapped it up like a dog. he was thirsty for you, like he needed you his entire life.

 he lifted you from his face, slamming you back down on the desk as he roughly put fingers to your clit, rubbing quickly, overstimulating you. your eyes widened and quickly rolled back, never feeling a sensation like this before. he was so rough but knew how to make it feel good. he gave your cunt a slap, sending a jolt through your body. you whimpered, earning a chuckle from him.

“get on your knees…”

 he groaned as he stroked his cock slowly. you abided, getting on your knees looking up at him with longing.

 “open that pretty mouth..”

 he chuckled as you did so, slowly pushing himself into your mouth

. “i’m gonna fuck this pretty face” he grunted,  make this makeup run..” 

you gagged in response, putting a hand to your pussy fingering yourself as he began to thrust into your mouth. he grabbed your head, holding it, thrusting in your mouth sloppily. the groans that came out of him were loud and deep. “rub that pussy for me, darlin” he thrusted a few more times before pulling out. he didn’t want to cum in your mouth—it had to be inside of you.

you got up off of your knees, getting shoved against the desk once again. he bent down to your height, whispering in your ear, “you want me to wreck this pretty little pussy, yeah?” he slowly rubbed at the spot he earlier hit, teasing your folds with his fingertips. you quickly nodded, whimpering a small “yes.”  

he roughly spread your legs, his calloused hands rubbing and running against your thighs sending a shiver down your spine. his hot breath hitching against your neck as he kissed down to your chest, grabbing one of your breasts and squeezing it. he rubbed the tip of his cock against your folds, slapping it on your clit a few times. 

you whimpered slightly earning a chuckle out of him. he slowly pushed himself into you. the adjusting to his size caused you to gasp, biting on your lip as you looked up to him with tears forming in your eyes. your makeup was already messed up from him fucking your face. once you confirmed with a smile that you adjusted to him, he wrapped a calloused hand around your throat and began squeezing as he pounded into your cunt. 

you could barely breathe from the feeling of ecstasy at this point. you needed more of him. you looked up at him with teary eyes, begging him to go harder. he smirked down at you, rubbing your clit with his thumb as he quickened his pace.

he was balls deep inside of you at this point and you enjoyed every minute of it. you could not wrap your head around how good it felt—he was the most skillful, experienced man you had ever been with. you hoped to have scenes with him in the future. no one has ever made you feel this good. 

your thoughts were interrupted by a slap across the face which made you giggle. you were practically a braindead slut at this point, the only thing being on your mind—his cock. his breathing got heavier and more intense. 

“gonna cum in this pretty pussy…you want this old man to cum inside you baby?” 

he chuckled as you whimpered in response and nodding your head. his thrusts got sloppy as he tightened his grip on your throat again. your eyes filled with tears once again. he bent down to your ear, whispering into it, 

“you’re the prettiest girl i’ve ever fucked…papa’s gonna fill you up nice and full”

your cheeks flushed pink, eyes rolling back just from his words. what he said made your cunt twitch and you loved every minute of it. you wanted nothing more than to see what it was like for him to cum inside of you. with a few more sloppy thrusts, he spilled inside of you. his cum felt warm, and this moment felt so right. cum spilling out of you and down your thighs, he placed a kiss on your lips. 

the cameras cut. james held you for a few minutes, whispering sweet nothings to you before you got yourselves washed up and showered. he stopped you on your way to your dressing room

“hope i wasnt too rough back there, you did damn good for your first time… never came that much before” he chuckled.

his words once again flustered you,  “oh really?”

he nodded in response, his hands in the pockets of his jeans, “i meant what i said to you by the way..you really are the prettiest woman i ever fucked..”

“and you’re the most handsome man i ever fucked..” you both chuckled, just staring in eachothers eyes for a moment.

there was so much tension between the two of you. that was something you couldn’t ignore. 

you two kissed then and there. he held you close, wrapping arms around you. that moment could last forever. he was such a gentle person outside of sex and you only hoped to have him to yourself.

[randomfoggytiger]

The X-Files: Scully's Pregnancy and Mulder's Abduction

(Extract from a larger meta I'm working on~.)

I’ve read elsewhere that it was speculated by fans-- nay, planned by the producers-- to kill Mulder off in Requiem’s finale. By the same token, I’ve seen echoing sentiment that Scully’s pregnancy was tacked on as a last-minute attention grab to green light Season 8. And while there may be degrees of truth to both ideologies, the facts presented reveal a different, more realistic truth: Scully’s conception was planned around the alien ship in Biogenesis-The Sixth Extinction (post here); and Mulder’s abduction, not death, was going to be filmed the same with or without an eighth season. 

Quoting Marc Shapiro’s book:

“Requiem” wrapped filming on May 5, 2000. The consensus was that the season finale was stark, bleak, and ultimately satisfying episode. But there still were no answers. 

“Nobody knew when we started that episode that we were coming back,” concludes Spotnitz. “Nobody knew it at the wrap party. It was a very odd wrap party. We were all saying, ‘This can’t be the end because it doesn’t feel right.’ It just didn’t feel like we had closure.” 

Shortly before “Requiem” aired, Fox announced that “The X-Files” would be back for an eighth season. David Duchovny had agreed to come back but would only appear in a total of eleven episodes….

That fact is repeated in other interviews, which also claim-- over and over-- that Scully’s pregnancy was definitively planned when The Sixth Extinction and Amor Fati were penned:

This May 2000 joint interview--

Did the producers shoot an alternative ending, as reported?

That`s just crazy talk, insists Carter: “I would have played it the same way whether [Duchovny] came back or not.” In fact, Carter says he`s been planning Mulder`s abduction and Scully`s pregnancy since the start of the season. “I thought it was a finale that would work for any eventuality. And because we had planned to do movies, I thought that would be a place to pick up with those things.”

Perhaps the alternative-ending rumors stem from the producers` clandestine high jinks: Because they wanted to keep the prenatal plot under wraps, the pregnancy scene wasn't revealed to the crew until the night it was shot. “The last page of the script was never published,” says Spotnitz. “That was a secret we were trying to hold as long as possible.”

--this July 2000 interview-- 

“I [Carter] had to write the season finale — which is called ‘Requiem’ — I had to write it without knowing whether or not we’d be back.” 

--this November 2000 interview--

We heard there were 2 possible endings for “Requiem”…can you tell us what the other ending we didn’t see was and how long before you filmed the episode did you decide to make Scully’s pregnancy an option?

"It was never an option, it was always the ending. I [Carter] just did not inform the actors or the crew that Scully’s pregnancy was going to be in the script. I had planned this for months with Frank Spotnitz and only delivered the script pages to Kim Manners — the director — and to Gillian and Mitch Pileggi minutes before they performed the scene. I’m just paranoid!" 

--this Frank Spotnitz December 2000 solo interview--

When was the decision made to pursue a storyline in which Scully becomes pregnant?

Spotnitz: "At the very beginning of season seven, we hit upon the idea and it seemed wonderful to us. There was beautiful symmetry to it. We knew that was our target all season, and so we did a number of things in episodes that would be tantalizing for fans who later were to look back at the episodes and try and figure out when Scully might have gotten pregnant and how. And that’s something we will continue to explore this season. But all questions will be answered by the end of the season, we promise." 

--and the information presented in previous sections of this post all bear up under the same narrative.

But potentially the most shocking bombshell of all, Spotnitz admitted in May 2008 that a pregnancy for Scully had been in the works since Season 5:

Q: When (the year or the season) did you plan the storyline about Scully’s pregnacy?

FS: We had thought about it for some time (at least since Season 5), but we didn’t definitely decide on Scully’s pregnancy until Season 7.

Although CC’s word is tentative at best, Spotnitz never wavers from honesty when asked a direct question; and I'm inclined to believe him.

But if neither are to be believed-- understandable-- then one glance at Amor Fati’s ending script should crush any remaining doubt: 

(More Amor Fati script bits can be found here.) 

A parallel with purposed intent. 

Is a pregnancy at odds with Scully's personality? No, I don't think so: she's open to having kids as early as The Jersey Devil and brings the subject up pointedly to Mulder in Home (post here.) She mourns her infertility in A Christmas Carol-- "I just never realized how much I wanted it until I couldn't have it"-- and grasps at an IVF chance in Per Manum's flashbacks (posts here and here.) The FBI itself is actually a considerably safe career, and quite supportive of their agents' familial obligations. The problem-- if one could call it that-- is The X-Files: an undeniably, astronomically unsafe and unstable career that is not conducive to family needs or structure... which the writers crafted purposefully, as will be discussed below.

Mulder wants a normal life just as much as Scully (@thursdayinspace's post here) but gave up those aspirations-- literally in The Jersey Devil-- in order to find his answers and unveil the Truth. His character arc and growth is a meta post all its own; but though his journey was concluded in Closure, his detachment from and transition away from the files didn't conclude until Season 8's Vienen. Be that as it may, he speaks about a wish to settle down in a place like Home and dreams about "another life, another world" with a wife and children and his sister, safe at last.

Why, then, does the baby arc feel so tacked on-- despite the roots of its conception (pun intended) tracing back to at least Season 5?

Surprise, surprise: the writing is a mess.

In March 2003, David Duchovny and Gillian Anderson were both glad the show was coming to a close. She gently hinted, “I think it’s good to finish now. We had a great run, but we’re getting out at the right time when the show is still a hit" while he blatantly asserted, “You cannot say it died anything but a natural death." No surprise, considering their excitement over Scully's pregnancy and Mulder's abduction were reduced to footnotes--

Tom Kessenich’s EXaminations:

...Anderson wasn't thrilled with the amount of attention the writers were lavishing on Doggett. ...she believed with Duchovny gone this would be her chance to step into the show's spotlight. Instead, the light shines on Doggett...

...Duchovny felt some frustration as well once he returned full-time for the final six episodes. In interviews after the season, he lamented the lack of resolution to Mulder's abduction and that Mulder was rendered into being a "peripheral" character.

...Duchovny also did not care for the paternity tease since it prevented him and Anderson from establishing any proper dramatic foreshadowing. The two stars were also reportedly unhappy the relationship between Mulder and Scully was not expired more fully since Duchovny planned to leave the series at the end of the season.

--and both had to begrudgingly accept, as parents, that their characters effectively abandoned (for his own good, we're told) William--

"Duchovny, Anderson, and Shiban (all parents) reportedly were not thrilled with the idea. They grudgingly consented only after Carter revealed his plan to end the series with Mulder and Scully on the run, hardly in the best position to raise a child."

What's worse, then and now, is: both agreed, largely, with the direction and decisions of the show heading into Season 8; and heavily disagreed with the direction and decisions of the show unfolding in Season 9. Not only was David and Gillian's interest in Scully's pregnancy and Mulder's abduction squandered, but their own characters' recovery and happy ending was swiftly destroyed not even a year later.

CONCLUSION

Thanks for reading~

Enjoy!

[lavender-tea-fling]

Author ask tag

OH SHIT HELLO @sorrowsfallallaround AND @sunny374940 ! Thanks for thinking of me!

Let’s focus on something a little different, shall I?

What is the main lesson of your Story?

I think that if “Proven Guilty” had a lesson, it would be that people, while often well-intentioned, are imperfect and have human memories. Things shift and change through the lens of time, and sometimes things that seem obvious in hindsight are not so obvious at first.

What did you use as inspiration for your world building?

I LOVE crime dramas and spy fiction, specifically Columbo, Knives Out, Glass Onion, and Only Murders in the Building. Funnily enough, though, the main world building inspiration was probably good old fashioned Film Noir: the femme fatales, the high profile victims, and the wet cat ass detectives (except, due to the sheer lack of really pathetic female characters, mine is a chain-smoking caffeine addict who is surviving on spite alone).

What is your MC trying to achieve, and what are you, the writer, trying to achieve with them? So you want to inspire others, teach forgiveness, or help them grow as a person?

I guess my story sort of has two MCs: Detective Inspector Ethel Carter, and Dr. Julian Fox (the murder victim). The primary driving force is Ethel, who is trying (sometimes in vain) to find the truth despite the chaos and conflicting stories. At the heart of it, Julian wanted the same, and got killed for it.

Julian is, in many ways, who I wish I was: clever, unapologetic, and committed to the freedom of information and justice in the face of a corrupt government. I wrote them to be an inspiration, but there is something to be said for the fact that they don’t make it — something I fear deeply the more controlled information becomes.

Ethel is a bastard. I say that with love. She is who I see myself as now: tired, angry, but determined. She is also a cautionary tale: despite your best efforts, people can be dumb. They can lie without meaning to, forget major details and change their story without realizing. In the end, you may solve the murder, but there is a toll.

How many chapters is your story going to have?

It’s a play, actually! Two acts, six scenes. Runs about 90 minutes based on its debut. It has gone through edits since, though.

Is it fanfiction or original content? Where do you plan to post it?

It is original content! I wasn’t sure exactly what I was going to do with it beyond finishing up the little details and sending it to the copyright office. Maybe try to get it published? What do yall think?

When did you start writing?

Oh a LONG time ago. I think my first short story was when I was 5 or 6. It wasn’t good: I had no concept of age, so I assumed 16 was grown up enough to have a baby. Looking back, I wonder what my teacher thought.

My first work on ao3 was a BBC Sherlock fanfic I wrote back in 2019 (it is no longer connected to my account bc I got really embarrassed about it), and the rest is history!

Do you have any words of encouragement for fellow writers of Writeblr?

Sure do! @sorrowsfallallaround mentioned it in their post, but write what you want to read. Proven Guilty was born from a bunch of burned out techies talking about what we would want to see in a mystery. Also: imposter syndrome happens. It doesn’t mean it is correct, but it will suck regardless. Someday, you might look back on an old piece and cringe; but, someday, if you’re lucky, you will read an old piece and finally see the brilliance in your own work. You got this.

Tagging @the-font-bandit @themontess @woundedsoul12 and anyone else who wants in!

[idiopathicsmile]

10 mini reviews of Venom 3: The Last Dance (2024), a movie I did not enjoy

10. I went in with rock-bottom expectations, and brother were they ever dashed.

9. You know how sometimes you walk out of a very mediocre film and think, "Boy that sure was technically a movie"? I don't know if what I watched last night was technically a movie

8. I saw Venom (2018) in theaters with my best friend because something terrible had happened politically that weekend and we wanted the cinematic equivalent of getting very drunk and then housing some Taco Bell (it performed this office admirably), but I never saw Venom 2: Let There Be Carnage (2021). I can state with some confidence this could not possibly have had much effect on the overall legibility of Venom 3: The Last Dance (2024)

7. Do you understand how charmless a movie has to be to make me roll my eyes during both a sing-along and an extended dance sequence?

6. My best friend, upon seeing the credit at the end of the movie that explained that Tom Hardy himself helped write the story, in a tone of deep disappointment and nigh-betrayal: "Oh no, is Tom Hardy dumb???"

5. Had the boom mic been hanging into every shot, it would not have been a sloppier viewing experience

4. Upon learning that it currently has an average user rating of 3.5 stars: gosh it sure was nice of the director of Venom's mom to review the movie so many times

3. Many of the lines felt like placeholders but my friend is convinced the script was not "written" by ChatGPT or the like because those programs are pattern-driven enough to make a certain degree of sense.

2. You'll have to forgive me; I am just a little salty because Venom 3: The Last Dance (2024) had a budget of $120 million dollars and used it to make a buddy comedy where the two parties seem to genuinely dislike each other and a special effects extravaganza that was genuinely ugly, and meanwhile I've written a narrative concept album that is a solid 40 minutes of music with character development and a full plot arc that I could confidently execute for $5000 USD, and I have to come to terms with the fact that I will probably never be able to raise the money for my silly little project. I could make that album 24,000 times with Venom 3 money and it wouldn't even go out of its way to be racist against Mexican people.

1. I honestly think even the monsterfuckers are not going to get anything out of this one, boss

[aurummarie]

Sunday Reset Routine for Busy Content Creators

This routine is designed to help you recharge creatively and prepare for a productive week of content creation:

Step 1: Wake Up and Mindfulness

Wake up at a consistent time to establish a routine.

Start your day with a few minutes of mindfulness or meditation to set a positive tone.

Step 2: Morning Pages or Journaling

Dedicate time to morning pages or journaling.

Write down your thoughts, ideas, and any creative sparks that come to mind.

Step 3: Visual Inspiration

Spend time browsing visual platforms like Instagram, Pinterest, or art websites.

Gather visual inspiration that aligns with your content style and future projects.

Step 4: Review and Planning

Review the content you created during the past week.

Plan your content strategy for the upcoming week, including ideas, themes, and platforms.

Step 5: Creative Learning

Invest time in learning something new related to your content niche.

This could involve watching tutorials, taking online courses, or reading articles.

Step 6: Brainstorming Session

Set aside focused time for brainstorming new content ideas.

Let your creativity flow without self-judgment, and note down any exciting concepts.

Step 7: Outdoor Break

Take a walk or spend time outdoors to refresh your mind.

Nature can provide a new perspective and inspire fresh ideas.

Step 8: Declutter Digital Space

Organize your digital files, including photos, videos, and graphics.

Decluttering makes it easier to find assets when you're creating content.

Step 9: Content Creation

Spend a dedicated chunk of time creating content.

Whether it's writing, filming, designing, or editing, immerse yourself in the creative process.

Step 10: Technology Detox

Set aside a specific period to disconnect from devices and screens.

Engage in analog activities like reading a physical book or drawing.

Step 11: Review and Edit

Review the content you've created during the day.

Make any necessary edits or improvements to ensure your work meets your standards.

Step 12: Self-Care Break

Take a self-care break that aligns with your preferences.

It could be a bath, a hobby you enjoy, or spending time with loved ones.

Step 13: Social Media Engagement

Engage with your online community by responding to comments and messages.

Building connections with your audience is an essential part of content creation.

Step 14: Planning Tools Check

Review your content scheduling and planning tools.

Ensure your content is organized, and your posting schedule is set.

Step 15: Reflection and Gratitude

Take a few minutes to reflect on your creative journey.

Express gratitude for the progress you've made and the opportunity to create.

Remember, adapt this routine to your own preferences and creative process. The goal is to create a rejuvenating and inspiring Sunday routine that supports your content creation journey.

[justforbooks]

Nothing but the truth: the legacy of George Orwell’s Nineteen Eighty-Four

Every generation turns to it in times of political turmoil, and this extract from a new book about the novel examines its relevance in the age of fake news and Trump

December 1948. A man sits at a typewriter, in bed, on a remote island, fighting to complete the book that means more to him than any other. He is terribly ill. The book will be finished and, a year or so later, so will the man.

January 2017. Another man stands before a crowd, which is not as large as he would like, in Washington DC, taking the oath of office as the 45th president of the United States of America. His press secretary says that it was the “largest audience to ever witness an inauguration – period �� both in person and around the globe”. Asked to justify such a preposterous lie, the president’s adviser describes the statement as “alternative facts”. Over the next four days, US sales of the dead man’s book will rocket by almost 10,000%, making it a No 1 bestseller.

When George Orwell’s Nineteen Eighty-Four was published in the United Kingdom on 8 June 1949, in the heart of the 20th century, one critic wondered how such a timely book could possibly exert the same power over generations to come. Thirty-five years later, when the present caught up with Orwell’s future and the world was not the nightmare he had described, commentators again predicted that its popularity would wane. Another 35 years have elapsed since then, and Nineteen Eighty-Four remains the book we turn to when truth is mutilated, when language is distorted, when power is abused, when we want to know how bad things can get. It is still, in the words of Anthony Burgess, author of A Clockwork Orange, “an apocalyptical codex of our worst fears”.

Nineteen Eighty-Four has not just sold tens of millions of copies – it has infiltrated the consciousness of countless people who have never read it. The phrases and concepts that Orwell minted have become essential fixtures of political language, still potent after decades of use and misuse: newspeak, Big Brother, the thought police, Room 101, the two minutes’ hate, doublethink, unperson, memory hole, telescreen, 2+2=5 and the ministry of truth. Its title came to define a calendar year, while the word Orwellian has turned the author’s own name into a capacious synonym for everything he hated and feared.

It has been adapted for cinema, television, radio, theatre, opera and ballet and has influenced novels, films, plays, television shows, comic books, albums, advertisements, speeches, election campaigns and uprisings. People have spent years in jail just for reading it. No work of literary fiction from the past century approaches its cultural ubiquity while retaining its weight. Dissenting voices such as Milan Kundera and Harold Bloom have argued that Nineteen Eighty-Four is actually a bad novel, with thin characters, humdrum prose and an implausible plot, but even they couldn’t gainsay its importance.

A novel that has been claimed by socialists, conservatives, anarchists, liberals, Catholics and libertarians of every description cannot be, as Kundera alleged, merely “political thought disguised as a novel”. Orwell’s famously translucent prose conceals a world of complexity. Normally thought of as a dystopia, Nineteen Eighty-Four is also, to varying and debatable degrees, a satire, a prophecy, a warning, a political thesis, a work of science fiction, a spy thriller, a psychological horror, a gothic nightmare, a postmodern text and a love story. Most people read it when they’re young and feel bruised by it – it offers more suffering and less reassurance than any other standard high-school text – but don’t feel compelled to rediscover it in adulthood. That’s a shame. It is far richer and stranger than you remember.

Orwell felt that he lived in cursed times. He fantasised about another life in which he could have spent his days gardening and writing fiction instead of being “forced into becoming a pamphleteer”, but that would have been a waste. His real talent was for analysing and explaining a tumultuous period in human history. Written down, his core values might seem too vague to carry much weight – honesty, decency, liberty, justice – but no one else wrestled so tirelessly, in private and in public, with what those ideas meant during the darkest days of the 20th century. He always tried to tell the truth and admired anyone who did likewise. Nothing built on a lie, however seductively convenient, could have value. Central to his honesty was his commitment to constantly working out what he thought and why he thought it and never ceasing to reassess those opinions. To quote Christopher Hitchens, one of Orwell’s most eloquent admirers: “It matters not what you think, but how you think.”

I first encountered Nineteen Eighty-Four as a teenager in suburban south London. As Orwell said, the books you read when you’re young stay with you for ever. I found it shocking and compelling, but this was circa 1990, when communism and apartheid were on the way out, optimism reigned and the world didn’t feel particularly Orwellian. Even after 9/11, the book’s relevance was fragmentary: it was applied to political language, or the media, or surveillance, but not the whole picture. Democracy was on the rise and the internet was largely considered a force for good.

In 2016, the world changed. As Trump took the White House, Britain voted for Brexit and populism swept across Europe, people took to talking anxiously about the upheavals of the 1970s and, worse, the 1930s. Bookshop shelves began filling up with titles such as How Democracy Ends, The Road to Unfreedom and The Death of Truth, many of which quoted Orwell. Hannah Arendt’s The Origins of Totalitarianism merited a new edition, pitched as “a nonfiction bookend to Nineteen Eighty-Four”. So did Sinclair Lewis’s 1935 novel about American fascism, It Can’t Happen Here. Hulu’s adaptation of Margaret Atwood’s The Handmaid’s Tale was as alarming as a documentary. “I was asleep before,” said Elisabeth Moss’s character, Offred. “That’s how we let it happen.” Well, we weren’t asleep any more. I was reminded of something Orwell wrote about fascism in 1936: “If you pretend that it is merely an aberration which will presently pass off of its own accord, you are dreaming a dream from which you will awake when somebody coshes you with a rubber truncheon.” Nineteen Eighty-Four is a book designed to wake you up.

It was the first dystopian novel to be written in the knowledge that dystopia was real. In Germany and the Soviet bloc, men had built it and forced other men and women to live and die within its iron borders. Those regimes are gone but Orwell’s book continues to define our nightmares, even as they shift and change. “For me, it’s like a Greek myth, to take and do with it what you will – to examine yourself,” Michael Radford, the director of the 1984 movie adaptation, said. “It’s a mirror,” says a character in the 2013 stage version. “Every age sees itself reflected.” For singer-songwriter Billy Bragg: “Every time I read it, it seems to be about something else.”

After President Trump’s adviser Kellyanne Conway first used the phrase “alternative facts” on 22 January 2017, The Hollywood Reporter called Nineteen Eighty-Four “the hottest literary property in town”. Scores of cinemas across the US announced that they would be screening Michael Radford’s 1984 on 4 April, because “the clock is already striking 13”. And theatre producers Sonia Friedman and Scott Rudin asked British playwrights Robert Icke and Duncan Macmillan to transfer their hit play 1984 to Broadway as soon as possible. “It went from zero to a hundred in the space of five days,” Icke said. “They said, ‘We think it’s important this play is on Broadway now.’”

When the play was in the West End, each of its three runs inhabited a different political context – the third opened during the Brexit referendum, just before the murder of Jo Cox MP by a far-right terrorist. During the run at New York’s Hudson theatre, which began on 18 May 2017, the directors noticed that the audience’s reaction each night was affected by whatever Donald Trump had done that day. The night after Trump tweeted the nonsense word covfefe, there was such a desire for humour that one actor was distraught: “I’ve been in comedies that have had less laughter than this.” On another night, the news was so bad that people passed out. At a third performance, when Winston Smith’s chief antagonist O’Brien asked: “What year is it?”, a woman shouted: “It’s 2017 and this is fucked up!”

It must be said that Trump is no Big Brother. Nor, despite his revival of such toxic phrases as “America First” and “enemy of the people”, is he simply a throwback to the 1930s. He has the cruelty and power hunger of a dictator but not the discipline, intellect or ideology. His closest fictional precursor is probably Buzz Windrip, the oafish populist from It Can’t Happen Here. In the real world, Trump’s forefather is Joseph McCarthy, who displayed comparable levels of narcissism, dishonesty, resentment and crude ambition and an uncanny ability to make journalists dance to his tune even as they loathed him. Still, Orwell would have recognised the type. “I think Dad would’ve been amused by Donald Trump in an ironic sort of way,” said Orwell’s son, Richard Blair, in 2017. “He may have thought, ‘There goes the sort of man I wrote about all those years ago.’”

There are precedents in Orwell’s writing. During Trump’s campaign against Hillary Clinton, it was hard to watch the candidate whipping supporters into a cry of “Lock her up!” without being reminded of the two minutes’ hate. The president also meets most of the criteria of Orwell’s 1944 definition of fascism: “Something cruel, unscrupulous, arrogant, obscurantist, anti-liberal and anti-working-class… almost any English person would accept ‘bully’ as a synonym for ‘fascist’.” Orwell contended that such men can only rise to the top when the status quo has failed to satisfy citizens’ need for justice, liberty and self-worth, but Trump’s victory required one more crucial ingredient.

He did not seize power through a revolution or coup. He was not potentiated by a recession or a terrorist atrocity, let alone a nuclear war or a fertility crisis. His route to the White House passed through America’s own “Versionland”, which is Russia expert Luke Harding’s name for the post-truth politics of Vladimir Putin’s Russia. In Versionland, flagrant lies become “alternative facts”. Trump creates his own reality and measures his power by the number of people who subscribe to it: the cruder the lie, the more power its success demonstrates. It is truly Orwellian that the phrase “fake news” has been turned on its head by Trump and his fellow authoritarians to describe real news that is not to their liking. Trump’s lawyer Rudy Giuliani accidentally provided a crude motto for Versionland USA when he snapped at an interviewer: “Truth isn’t truth!” In the words of O’Brien, reality is inside the skull.

How did this happen? On the eve of 1984, the science-fiction writer Marta Randall argued that one thing Orwell didn’t predict was the spread of cynicism: “It would be very hard for ‘Big Brother’ to convince anyone of anything post-Watergate and post-Vietnam.” In the 1980s, she suggested, Orwell’s target would have been the trivialisation of the news media. “We may quit relying on ‘authoritative’ news stories entirely.” Over time, this distrust of establishment narratives led many people to seek the truth but many others to choose their own “truths”. Combining cynicism with credulity, people who were proudly sceptical of CNN or the New York Times were perfectly happy to take unsourced Facebook posts and quack science at face value. Social media made this process all too easy. Facebook’s former chief of security, Alex Stamos, pointed out that using the blunt instrument to eliminate fake news could turn the platform into “the ministry of truth with ML [machine-learning] systems”, but by failing to act in time, Facebook was already allowing “bad actors” such as Russia’s Internet Research Agency to spread disinformation unchecked.

The problem is likely to get worse. The growth of “deep fake” image synthesis, which combines computer graphics and artificial intelligence to manufacture images whose artificiality can only be identified by expert analysis, has the potential to create a paranoid labyrinth in which, according to the viewer’s bias, fake images will pass as real, while real ones are dismissed as fake.

During a speech in July 2018, Trump said: “What you’re seeing and what you’re reading is not what’s happening.” A line from Nineteen Eighty-Four went viral: “The party told you to reject the evidence of your eyes and ears. It was their final, most essential command.”

One might feel wistful for the days when Big Brother was a joke and Orwell had “won”, as many commentators thought after the fall of the Berlin Wall. An era plagued by far-right populism, authoritarian nationalism, rampant disinformation and waning faith in liberal democracy is not one in which Nineteen Eighty-Four can be easily dismissed.

Orwell was both too pessimistic and not pessimistic enough. On the one hand, the west did not succumb to totalitarianism. Consumerism, not endless war, became the engine of the global economy. But he did not appreciate the tenacity of racism and religious extremism. Nor did he foresee that the common man and woman would embrace doublethink as enthusiastically as the intellectuals and, without the need for terror or torture, would choose to believe that two plus two was whatever they wanted it to be.

Nineteen Eighty-Four is about many things and its readers’ concerns dictate which one is paramount at any point in history. During the cold war, it was a book about totalitarianism. In the 1980s, it became a warning about technology. Today, it is most of all a defence of truth.

Orwell’s fear, incubated during the months he spent fighting in the Spanish civil war, that “the very concept of objective truth is fading out of the world” is the dark heart of Nineteen Eighty-Four. It gripped him long before he came up with Big Brother, Oceania, newspeak or the telescreen, and it’s more important than any of them. In its original 1949 review, Life correctly identified the essence of Orwell’s message: “If men continue to believe in such facts as can be tested and to reverence the spirit of truth in seeking greater knowledge, they can never be fully enslaved.” Seventy years later, that feels like a very large if.

Incredible things are happening already❗ 👀 🤔

Daily inspiration. Discover more photos at Just for Books…?

[aylen-san]

Finrod Felagund: "A Modern AU? Well, alright, let's imagine it!"

Imagine you’re an Elven King who’s relocated to an era where magic has been replaced by the internet, swords by smartphones, and instead of Angband, we have shady global corporations. Yes, welcome to my personal Modern AU. And, surprisingly, it’s just as absurd here.

Nargothrond, Inc.

In this reality, I’m no longer the king of an underground city but the CEO of a corporation, Nargothrond, Inc. Instead of leading Elves, I spend my days sitting in endless meetings with a team of marketers.

Orodreth is my COO. He’s still trying to please everyone but, thankfully, at least knows how to write decent reports.

Celegorm and Curufin? They’re major shareholders who pitch “brilliant” ideas for market domination every week. Last time, they suggested making our brand “more aggressive.” The result? Our social media ads are now filmed like thrillers, where everyone shouts, “SILMARILS OR DEATH!” Personally, I think it’s over the top, but their argument? “We know how to ignite an audience!”

Beren and Lúthien: TikTok Stars

Ah, my old story with Beren! In this reality, he’s not Barahir’s son but an up-and-coming vlogger with a channel about wilderness survival. His viewers love it: “How to build a shelter out of branches in 5 minutes!”

Lúthien, meanwhile, has become a TikTok sensation. Her dances garner millions of views. They met when he decided to film a collab titled: “How to Attract an Elven Princess?” (Spoiler: it worked.)

Thingol? He’s their agent, now demanding ad revenue instead of silver. I’m still amazed at how he manages to land them in such ridiculous contracts every time.

Morgoth and Sauron: Corporate Antagonists

Morgoth in Modern AU is the CEO of Angband Industries. His goal? Total domination of every business sector—from oil to IT. Sauron is his ambitious VP of PR, trying to make Morgoth “relatable.”

Their recent ad campaigns feel like something out of Black Mirror:

“Angband: We’ll capture your hearts… literally.”

“Join our team! Competitive pay and growth opportunities (if you survive).”

And me? Life isn’t any easier.

Every morning starts with coffee and emails. Half of them are from Celegorm: “Finrod, why can’t we develop weapons of mass destruction? It’ll definitely boost our competitiveness!”

The other half? Complaints from Beren: “Finrod, Sauron blocked my channel! Can you do something about it?”

The worst part, though, is meetings with the Valar. Manwë is still trying to explain the concept of corporate ethics, while Tulkas turns every break into a wrestling match. Oromë doesn’t even show up—he’s too busy riding his motorcycle and filming it with a GoPro.

What’s my takeaway?

A Modern AU is a strange but entertaining place. We’re still hunting Silmarils, except now they’re cyber-jewels. We’re still arguing with Morgoth, though instead of battles, it’s patent lawsuits.

And you know what? I’m still the same Finrod. Maybe a bit more cynical because of all the office bureaucracy. But deep down, I’m still the guy who’ll fight for his friends—even if the fight now looks like an argument in the comments section.

So if you ever see an Elf with a laptop in a coffee shop, don’t be surprised. It might just be me, rushing to finish the Light of the Valar project before the deadline.

[junkdrawernoggin]

Soooo I feel like people are going to want to praise this as like the best TV show that’s ever been made just because it has Markiplier, so I want to get my opinion out now. Spoilers ahead

Edge of Sleep (TV) is fucking terrible

I mean, I watched it because I want Mark to be successful, but holy shit. That was the worst TV show I have ever willingly watched.

The pilot is fucking atrocious. The writing was abysmal to the point of being embarrassed that the actors had to perform it.

Mark in the first episode…not good. Middle section was okay to good. Final episode was bananas but the acting was good.

Not a single human person has ever acted the way some of these characters act. There is not a planet where the character of Dave and the character of Matteo, as we see them for the rest of the show, would make the choice to randomly abandon their jobs. I have no idea what age the show thinks any of the characters are. They talk about the party at the beginning like they are a max of 25, but then the rest of the show makes them out to be in their 30s.

Thinking about anything that occurs for a single moment makes your head hurt. They are pictured to be in a pretty big city. Yet Linda says they have ONE hospital in 30 miles. Also thousands and thousands of people work night shift, so the idea that there are 5 survivors, 3 of whom know each other, is the wackiest shit of all time. They hype up the medication and then that comes to literally nothing but renewal bait, and I guarantee this will not be renewed even if it reaches no. 1

Everything that comes out of Dave/Mark’s mouth about the “elephant monster” and “dream people” is goofy as fuck (not his fault). They seriously couldn’t come up with a better name? Seriously?? Even just “The Elephant” would’ve been better. Why the fuck did they make them fly to an island 17 hours away??? First, a private jet that small would under no circumstance be able to do that flight without refueling. But like, WRITERS YOU CONTROL THE SCRIPT MY GUYS. If you are gonna make up a mystical island, have it be randomly off the west coast or something. I also can say with 100% certainty that Matteo being a veteran was added at the absolute last minute. It does not jive with literally anything else about his character. They only added it because they needed a reason someone would know how to fly a plane.

Just imagine trying to pitch this show!

“Hey Boss, great tv show concept for you. So this guy Dave, he has really bad nightmares. Everyone around him starts dying from going to sleep. So he goes to sleep to commune with the dream people and talk about the elephant man who’s haunting him. This leads him and 4 other survivors to take a private jet 17 hours away after 50 hours of not sleeping. After his psychic battle with the elephant monster, it’s revealed he’s a chosen one to fight in the battle against the nightmare monsters.”

HOW ON EARTH DID THIS GET GREENLIT??

My final negative note is everyone’s names. Dave, Ruth, Linda, Matteo, and Katie. It feels like they put in stock names and forgot to change them. I do not know a single person under the age of 40 who is a “Dave” or a “Ruth”, certainly not a “Linda.” It just soundsweird. Each name on its own is fine, but all together they sound very cookie cutter

Okay my couple of positives

I thought the dynamic between Katie and Dave was good. I wish Katie got more of a personality than recovering addict, but her actress, Lio Tipton, did a great job.

Eve Harlow as Linda was probably the standout of the film acting wise. She was pretty believable all things considered.

I thought some of the visuals were really cool, and the little pill mascot was well animated.

I wish I could give more praise to Mark but he got the REALLY short end of the stick when it came to the script. He was stuck with most of the clunky exposition. His physical acting was really fantastic and he should be proud of that. His acting ticks are great. If he didn’t have to deliver the script, his acting performance in here would be on par with Eve Harlow.

Edit: Adding a little note that I completely forgot this was a podcast first. I have never watched it but I will ASAP because I want to see if it’s any better.

[glitteredbubbles]

Here’s a masterlist of every fic I’ve written just to have everything in one place! I’ve been writing and posting on ao3 for almost 3 years now, totaling in me writing over 320k words across 8 fics, so I thought it’d be fun to go over all of them kind of retrospectively! It’ll be in order of release, so oldest to most recent :)

Fics I’ve written:

To Boil a Wildflower: the very first fic I ever wrote, and I have such a soft spot for it! It’s for the IT fandom, specifically Reddie, and it’s basically my take on how I imagined what the Loser’s last summer together before senior year would be like. But I also made Richie obsessed with making wildflower tea and added probably way too much angst; anyway, I love my OCs in this, Angie and Walt :) it ended up being 58k words and 5 chapters long.

That’s Where We Disagree: this is a fem!Reddie oneshot I based off of my own tragic lesbian experience, so it may be the saddest thing I’ve ever written. It’s basically how I imagined things would go for Richie if Eddie got a boyfriend senior year (with a hefty amount of religious trauma incorporated because of course). It ended up being 9.2k words with only one chapter!

Spit the Blood Back: this is where it gets insane lmao. So this is specifically for Riddlebat in The Batman (2022), and the way this fic came to be is that I had an insane idea that I jokingly told my friends about, to which they insisted that I should actually write a fic for because the concept was too good to pass up. And since I figured nobody else would do it, I ended up writing a fic where the Riddler has to take up sex work in order to get the funds for his vengeance plan in the movie and is hired by his arch enemy Bruce Wayne. Insane in retrospect, but it was my first time writing for a different fandom and a fun exercise! It was a oneshot, so it ended up being 14.4k words with only one chapter.

Your Revolution is a Deathbed: of course I had to finish the ambiguous ending I gave to my Riddlebat prostitution fic, so that’s how this one was born. I had gotten enough comments asking for a continuation to inspire me to write more, so I ended up altering the film’s plot with their new relationship in mind. Still very angsty and insane, but arguably less so since it’s basically the movie with established relationship Riddlebat haha. It ended up being 13.8k words with only one chapter!

Static From My Better Sense: this was the multi-chapter fic I was working on while I did all of those previous one shots! I wanted to write an enemies to lovers Reddie fic, so that’s how this work came to be! I thought it’d be fun to make Richie the new kid that Eddie hates so much that he rants to his walkie-talkie about it since none of the Losers understand his perspective. Both of them are such assholes in this and I love them for it. This fic took me over a year to finish, and it ended up being 63.5k words with 5 chapters!

Short-Flamed: this fic is for the Stranger Things fandom, specifically Harringrove, and it was born because I had a phase where I read a TON of Steve x Billy fics purely because I loved the angst. I wanted to try my hand at it since I thought a character study of Billy would be super interesting, but sadly it is incomplete since I’ve lost my inspiration for it. I have a good portion of the second chapter written, I would just need to think of how to end it and get motivation for it again; who knows, maybe I will someday. As of right now, it’s incomplete at 9.9k words with only one chapter.

Let Me Wallow in Your Afterglow: my most successful (and also longest) fic to date by a long shot! It’s my first fic in the DPS fandom, specifically Anderperry. Basically, it’s my take on what would have happened if the last 30 minutes of the movie didn’t happen and if Neil made it to senior year! I really liked the idea of Neil and Todd’s relationship naturally blossoming if they had more time, so that’s why I wrote this. I also incorporated a lot of poetry, Keating’s lessons, and playwriting on Neil’s part since I basically wanted it to function as its own canon or a continuation of the movie. I spent basically all year writing this fic, so all of the attention and love it’s gotten has been so incredible! I’m still contemplating adding an epilogue chapter, so we’ll see. As of right now, though, it is 125.9k words with 7 chapters!

I Read You for Some Kind of Poem: the fic I’m currently working on and my second Anderperry work! The concept is if Neil didn’t kill himself and followed through with military and medical school while Todd went on to become a famous poet, and then the two of them run into each other about twenty years later. It’s actually a repurposed Reddie fic idea I had, the poet part and all, so it’s really funny how perfect it worked for Anderperry. Even though it’s not finished, it’s shaping up to be the saddest thing I’ve ever written lmao; maybe I’m silently fighting for the title of the saddest Anderperry fic, who knows? Anyway, as of right now, it is 48.4k words with 3 chapters!

[year2000electronics]

do you have any tips or suggestions for someone wanting to make their own oc story? your ocs and their stories are so insanely cool but i have no idea where i’d even begin to make one!

also happy y2kvr-versary ! late i know but it was still the ask blog that caused me to follow you and i’ve just stuck around for your other content after. :)

HMMMM lemme just spill a bunch of my thoughts all at once, this is just some stuff i personally like doing with my own oc stories! by no means is this a comprehensive list and i am not a professional!

1. accept the fact that you’re probably going to need minor/side characters. of course that isn’t always the case, there are story types that only focus on a handful of characters, but let’s use the reckoning as an example: even though i love all the characters there dearly, it’s about sinclair and his donning and subsequent subverting of the “mythological hero” mantle by taking on the vices’ challenge. montez and duncan, the other two archangels, are there to serve as a secondary antagonist in holy orders and bring some more life to the story’s world respectively, and That’s Okay. recognizing that not all your characters are gonna be the most specialest boys is a great place to start with structuring an oc story imo!

2. KEEP AT IT. the reckoning as it exists now didn’t truly come together until 2020, which is when the ask blog was made. cardine (the city the vices reside in) is such a key, important concept that drives the story along and the reckoning wouldn’t be nearly as good without it, and that only got introduced in one of the final drafts pre-ask blog!! reworks, practice with laying out the events, thinking and re-thinking of stuff and spending years with it is really good. it’s healthy. i mean a lot of great films and tv get ‘saved’ at the last minute from being terrible by one terrible concept being scrapped so revising and not being afraid to change things is your best friend

3. learn some rules. i’m of the firm belief that storytelling should be an all-access hobby for everyone, so you don’t have to read all of save the cat and then write out a full script or anything, but like. turn on a movie you like, or read a book you love. think about what they’re doing to convey primary themes to you. pick out the themes, actually, that’s good too. being able to pick up on themes that aren’t just being stated to you as if it’s dialogue from sonic heroes is a great teacher on how to subtly weave those themes into your story

4. don’t be afraid to break those rules! a lot of that stuff is great to pick up but at the same time they’re YOUR characters, and if you find yourself getting bored by playing too “by the book”, nobody said you can’t change how things work. for example, a lot of my oc stories have “villain protagonists” because i just really connect with the way ‘villains’ present themselves in media. if you find yourself fixating on a side character and brushing your main character aside? screw it! you can just make the story about them! what if a 7/11 clerk went on an adventure instead of the main guy!!

5. INSPIRATION IS YOUR FRIEND. WEAR IT ON YOUR SLEEVE. i don’t mean you have to publicly disclose every single thing you were inspired by, but the amazing digital circus is REALLY big right now, and gooseworx has told people IHNMAIMS and the raggedy ann movie were big inspos and she clearly loves those things because they uplift the work higher! (plus it gave people a new appreciation for those things) and, imo, understanding what inspires you and celebrating it is a lot better of a mindset than going into something out of sheer spite (like you’ll see a lot of people online making very inflammatory “i alone could fix a piece of media that had to go through an entire writer’s room as well as corporate mandates, gosh why doesn’t everyone just Make Things Good?” type posts on social media, and i find myself straying more and more away from that). best example i can think of are all those very ill-fated “original alien stories” that su criticals made back in the day that were even more confusing than the gems and everyone had to pretend that “of course it makes more sense for the aliens to be flowers, gosh, why didn’t rebecca sugar think of this? we’re so smart”. my point is hate and shame can fizzle out quickly but creativity is forever

6. and of course, always make sure you’re actually having a good experience with the process. fun, catharsis, importance, etc. if it sucks, you can literally hit the bricks. i say that with experience because before my original superhero story existed (iris of the storm), there was another (problem students). it was dormant as a story for a really long time because i had accidentally made a superhero story without any of the superhero tropes i loved, but i couldn’t just… delete it all! OH WAIT. YES I COULD. i started it all over and got rid of ocs that i was glad i made but don’t need anymore, and i’ve never been happier cos iris of the storm is actually fun for me.

BUT YEAH THATS IT. thumbs up

[pix4japan]

Forest Bathing in Hakone: A Peaceful Moment with Dale-chan・「箱根で森林浴：愛犬との穏やかなひととき」

“Forest Bathing,” or Shinrin-yoku (森林浴) in Japanese, is a concept, embraced for decades, that encourages immersion in nature to restore balance and harmony. To my surprise, it’s not just a Japanese practice—it’s recognized as a form of therapy and preventative care in countries like the U.S., Finland, South Korea, France, and the U.K.

In this photo, Dale-chan seems to capture the very essence of Forest Bathing. Resting contentedly on a rustic wooden bench along a nature trail near the Pola Museum of Art in Hakone, Japan, she is surrounded by lush greenery and dappled sunlight. Her peaceful expression reflects the serenity and joy that these natural surroundings provide—a reminder of the simple yet profound healing power of nature.

Full write-up and links for further reading (1-minute read): https://www.pix4japan.com/blog/20241015-forest

Location: Hakone, Kanagawa Prefecture, Japan Timestamp: 09:34・2024/10/15 Fujifilm X100V with 5% diffusion filter ISO 160 for 1/250 sec. at ƒ/2 Velvia/Vivid film simulation

[greatqueenanna]

Delving into Hans' Sociopathy

Prince Hans is canonically a sociopath. Jennifer Lee intentionally wrote the character with specific behaviors and traits that align with this label. Within this analysis, I wanted to do an observation of Hans’ overall character and talk about his sociopathic behaviors.

The purpose of this essay is to only talk about his first film appearance. I do not mean it to be an analysis of whether he will return, if this will remain a canon aspect of his character for future appearances, or if he is capable of redemption. This is also not a post that is trying to get you to hate the character or use it as leverage for whatever opinions you may have. It is simply an analysis.

I am also writing about a fictional character, so a lot of his personality is over-exaggerated. Please refrain from using this as a tool for diagnosing yourself or others or as a general representation of these labels and disorders.

I want to emphasize that I am talking about a character who is both a villain and a sociopath. However, please avoid confusing these two things as one. Not all individuals with ASPD (sociopathy) are bad or engage in criminal behavior. For more information, you can read about it here. If you want to know the thoughts of someone with ASPD (sociopathy) on this topic, I asked a friend and you can read their response here on various related subjects.

Now that all that is out of the way, let's dive in.

Part 1: When Was This Confirmed?

Jennifer Lee first confirmed that Hans was a sociopath during an interview with John August and Aline Brosh McKenna of Scriptnotes, in Episode 128: Frozen with Jennifer Lee.

---

Jennifer: Hans is a villain from the minute he hits her with the horse, in my mind. Aline: Really? Jennifer: But I am slightly a sociopath, I think. He’s just calculating from that moment.

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John: But clearly he’s a very talented sociopath. Jennifer: He’s very talented. He’s charming. He mirrors everyone. And actually, the original story had a lot to do with mirrors. In many iterations of the story we talk about mirrors and we bring them up. And so I held on a little to that, what Hans is is a mirror as a lot of charming, but hallow or sociopathic. Aline: And she’s (Anna) also so lonely that it’s like she’s falling in love with her reflection in the pond. Jennifer: Yeah, exactly. And he mirrors her and he’s goofy with her. He’s a little bit more bold and aggressive with the Duke, because the Duke is a jerk, so he’s a jerk back. And with Elsa he’s a hero.

---

She later further confirmed this during a Q&A event with fans on Twitter (X), in response to a fan asking if Hans was ever a good guy during the early productions of Frozen.

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Santino Fontana, Hans' voice actor, also confirmed this in an interview. You can see this interview here, the Frozen segment lasts from approx. 15:35 - 19:35.

Santino Fontana: Yea, He's a good-looking guy. Also, a sociopath, but yea. - Broadwaycom, Show People With Paul Wontorek Interview

---

Part 2: The Traits of ASPD (Sociopathy)

According to the DSM-5, those with ASPD are described with some of the following traits.

Ego-centrism; self-esteem derived from personal gain, power, or pleasure. Failure to conform to lawful or culturally normative ethical behavior. Lack of concern for feelings, needs, or suffering of others. Frequent use of seduction, charm, glibness, or ingratiation to achieve one’s ends.

To summarize, sociopaths are those who - lack empathy for others, have self-esteem that is based on personal gain and power, disregards social norms and manipulate and charm others to get what they want.

---

There are also some anecdotal traits that are not directly referred to in the DSM-5, but talked about within ASPD communities and from those who know those with it. One trait is the concept of mimicry or mirroring. The idea here is that a sociopath will mirror the behaviors of another person in order to either charm or intimidate them - or in some cases, try to fit into social norms.

M.E, a person with sociopathy, describes this behavior as “métier, or bread and butter” for those who have sociopathy.

I think mimicry is interesting, and I think a lot of empaths think it's freaky. What I find more freaky is what constant mimicry suggests – that you have no baseline "you," that you are always just reactions to outside stimuli. I have a good friend who was initially very frustrated that I didn't seem to have defaults: no default understanding of right and wrong, no default beliefs, no default personality even. Everything had to be reasoned, everything had to be constructed anew. It can be frustrating for me too. It's time consuming. And sometimes it disturbs me how impressionable I am. Being a blank slate, sometimes I can surprise even myself with non sequiturs or unpredictable behavior. It's sort of scary. – M.E. Thomas - Sociopaths, Mimicry, and Blank Slates – Sociopath World

Part 3: Hans' Behaviors Throughout the Film

Lacking Empathy

Hans shows this behavior directly during and after his reveal, and more subtly before the reveal. The reason for this is because, obviously, they wanted to keep Hans' true intentions secret as much as possible, mostly due to John Lasseter's insistence to make the reveal more shocking. However, Hans' true nature does shine through in subtle ways throughout the narrative.

Let's focus on the more direct portrayals first.

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Direct instances of Lacking Empathy

During the reveal, Hans realizes that his 'True Love's Kiss' will not work because he doesn't love Anna. What makes a lot of this scene especially unemphatic and cruel, is how Hans actually looks like he is enjoying Anna's pain. Hans looks straight into Anna's eyes, smiling and slightly laughing, as he verbally insults her and tries to quicken her death. In this scene, he is simply enjoying telling Anna how he actually feels, and seems relieved to be rid of her.

Later on, Hans reveals to Elsa that Anna is 'dead'. When Elsa falls to the ground in anguish, he walks behind her with a smile on his face, ready to decapitate her until Anna intervenes.

Later on, something that my sociopath friend also mentioned, was how uncaring and completely nonchalant Hans was when he realizes that Anna is still alive and that he has lost. He just seems confused that Anna is alive. He seems very unemphatic even towards his own situation - that he's in trouble now.

The director says that her stand-out moment for him was when he questions Anna’s comment of being ‘just her’. For me, it’s when he stands up after being knocked out by the blast, without even acknowledging that he’s in deep shit, and just says ‘but, she froze your heart!” I laughed so hard. Only sociopaths would do this shit. “Anna, how dare you. You should be dead.” - "B.G."

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Subtle Instances of Lacking Empathy

The subtle instance of Hans showing a lack of empathy is how he lacks genuine awareness for people he supposedly loves. Hans says a lot of things, but doesn't really show it.

For example, during the scene after Elsa runs away. While Hans and Anna are walking towards the Duke, Anna is visibly cold. Hans notices that she is, but instead brings his jacket closer to himself. He asks after the fact if she is ok. Anna replies "No". Hans responds by immediately asking her if she knew about Elsa's magic.

In other words, after hearing directly from Anna that she is not ok, Hans disregards her feelings to ask about the situation. He doesn't offer his coat, a hug to warm her, or even asks her if there isn't anything he could do to help her. While yes, there is a crises going on - Hans supposedly loves and cares for Anna. Yet, he is not really showing that care, only asking an empty question.

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Another instance that shows this idea of Hans saying things but not showing, it is during the Castle Siege scene. Hans tells Elsa "Don't be the monster they fear you are!" But then immediately plans to kill/incapacitate her with the chandelier. He is trying to give off this impression of trying to help her, but does something completely contradictory to his words.

As a small side point before moving on, I recognize that some disagree that this was his intention. I feel that the scene pretty much speaks for itself, with little room for interpretation.

Here we have Hans looking directly at the Weselton's Henchman, and then looking towards his crossbow.

Then, you see Hans change his gaze towards the ceiling, way above the henchman, straight at the chandelier, and keeps staring at it as he moves towards the henchman.

As we see here, in a different angle, he is directly aiming that crossbow towards the chandelier.

I would also like to point out, that although I do not feel A Frozen Heart by Elizabeth Rudnick is entirely Lore Friendly (but apparently is part of the Book Canon Universe now as of All is Found: A Frozen Anthology), it is good to note that this scene was also acknowledged in this book.

Hans looked around the room desperate for a plan, and noticed the giant chandelier directly above Elsa. (...) True, it might kill her, but would that be so bad? One less obstacle to the throne.” - A Frozen Heart, Rudnick, Pg. 226

Thus, if this novel recognizes the intention behind this scene, then it was something present in the script and/or character notes at the time the author was writing the novel. Keep in mind, this scene is never actually mentioned by any of the creative team. Thus, the author had to be made aware of this to include it in her book.

If you are a fan of A Frozen Heart, and include it with your personal canon, I have an fairly old analysis where I go into a lot of these concepts with the novel as well.

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Another big thing that shows Hans' lack of empathy is something that is foreshadowed in Love is an Open Door. I'm going to quote some lines from my Meant to Be analysis on this song, that show how Hans actually doesn't really show any empathy towards Anna and does not focus on her at all - he instead is more concerned with himself and his goals.

Both Anna and Hans mirror each other - both felt neglected and underestimated by their families and thus want something more from life. However, the focus on how they go about mending their pain is very evident in the first few lines of this song. Notice how Anna focuses on people - she references Elsa closing doors and losing connections with her. Hans comes and gives her the attention she craves, and in turn, she focuses on him. She says - I bump into you. I see your face. Hans, on the other hand, focuses on Arendelle. I've been searching my whole life to find my own place. But with you, I've found my place.

Many fans have also pointed out this specific lyric here - Hans: You - Anna: And I - Hans & Anna - Are just meant to be. Pointing out how Hans never actually referred to himself directly. He and Anna only really refer to Anna herself. Hans says you (Anna) and Anna refers to herself (and I).

Desire for Power

This one is fairly obvious - as Hans himself explains quite clearly his intentions for being kind to Anna and the people of Arendelle.

As thirteenth in line in my own kingdom, I didn't stand a chance. I knew I'd have to marry into the throne somewhere - As heir, Elsa was preferable, of course. But no one was getting anywhere with her. But you - You were so desperate for love you were willing to marry me, just like that. I figured, after we married, I'd have to stage a little accident for Elsa. But then she doomed herself, and you were dumb enough to go after her. All that's left now is to kill Elsa and bring back summer. (...) No, you're no match for Elsa. I, on the other hand, am the hero who is going to save Arendelle from destruction. - Prince Hans, Frozen (2013)

Hans makes it quite clear in his tropey villain monologue here (haha) that he wants to be a King. It didn't matter to him where he went or who he married, but he was determined to make it happen - even if it meant having to murder someone to get them out of his way.

Hans also shows a complete disregard for social norms in this way of thinking. He believes that murder and manipulation is an appropriate way to achieve his goals, and feels no remorse for his actions, but instead (as stated by B.G) confusion when he fails.

There are many theories as to why Hans feels he needs this power, to the point of hurting someone - A Frozen Heart tried to give a background for this, giving the blame to his father and brothers for abusing him. The novel is not entirely far off, as Jennifer Lee herself has stated that Hans is a product of being raised without love.

However, while the details for Hans' background is still fairly mysterious, we can conclude that Hans canonically had a rough childhood whether you choose to only use the film's clues and Jennifer Lee's words, or go by A Frozen Heart.

I think Hans is a tragic figure because he's a consequence of being raised without love. - Jennifer Lee, Reddit (2014)

When it comes to ASPD, while the direct cause is still currently unknown - environmental factors, such as child abuse, are believed to contribute to the development of this condition. Thus, Hans was raised in a home without love, and it led to him developing ASPD and valuing power over anything else.

Manipulation

This is the biggest aspect of Hans' portrayal, and also the biggest hint through out the film, is how he manipulates and mirrors people. We begin with Hans' introduction - before and after the infamous "just you?" line.

When we first meet him, he is much more panicked. He just caused a scene and hurt the Princess after all, and then they started awkwardly tumbling around on a boat. He's not interested in Anna at this point, and doesn't want to get in trouble. When Anna falls on him in the boat, he just says "um..." and ignores most of her comments, including calling him "gorgeous". He goes straight into trying to apologize and smooth things over.

However, right after the "just you?" line, suddenly things change.

He smiles after her when she leaves, he stares at her during the Chapel scene, and seems to be following her around to the point where he is confidently able to catch her when she trips, and knows exactly what to say to get Anna to like him.

"I would never shut you out." - Seriously, how does the awkward guy in the beginning of his intro that didn't respond to Anna's silly advances, suddenly feel confident enough to just proclaim to the same girl he just met that he would be an emotional support for her? The sudden shift in his demeanor is actually a bit jarring when you think about it. Someone cannot go from awkward guy to confident prince charming so suddenly.

It goes even further than this when he starts to mirror Anna. Here, I am exploring Love is an Open Door again from my analysis, with how Hans mirrors Anna.

The rest of the song is them directly mirroring each other, representing an almost robotic relationship between them - the cover image for this analysis directly shows this robotic aspect on the clock tower, when they mimic the gears.

A funny thing actually happens during Anna's announcement of their marriage. Hans is actually switching between trying to appeal to Elsa while also keeping up with Anna. Let me show you what I mean.

Hans is trying to act stoic and reserved in front of Elsa, to match her tone. However, Anna keeps interrupting him and making him trip over his words. Hans eventually gives into Anna's goofiness and just loses his composure completely and just copies Anna, basically becoming her clone in her behavior. You can see here how he struggles to keep up with both women at the same time.

You can also notice how Hans keeps trying to look at Elsa to see her expression and reaction to their relationship. Anna, on the other hand, while she does look at Elsa occasionally, she is shown to be more infatuated with Hans and looks at him most of the time. Hans is trying to appeal to Elsa, while Anna just wants Hans’ support.

Later on during this scene, he completely sheds this goofier persona and goes back to trying to be stoic, like Elsa. He is even adopting her more serious and disinterested expressions, opposite to Anna's expressions that he was just mirroring moment ago.

He completely stops mirroring Anna here, and goes straight into trying to appeal to Elsa and match her tone. Right after this, he goes back to expressing Anna’s sadness again.

Since the beginning of his introduction, Hans has shown three different personalities that contradict each other. His awkward self that forgets to introduce himself and rams into people with horses, his charming self that is charming, fun and sensitive, and his stoic and reserved self that appeals to royalty.

This mirroring behavior and personality shift continues later on the film.Hans is shown to be kind and generous to the people of Arendelle, not having a mean bone in his body. This persona matches how he acts for Anna after their first encounter. However, Hans adopts the Duke's personality to threaten him, that is confrontational and even a bit childish.

"Do not question the Princess. She left me in charge, and I will not hesitate to protect Arendelle from treason!"

Hans literally starts yelling at the Duke, and accusing him of treason, which is an extreme accusation - just as the Duke is yelling and making accusations against Anna. He is pretty much copying the Duke to get him to back off in a way that he will understand.

Remember what Jennifer Lee said in the Script Notes interview?

Jennifer: Yeah, exactly. And he mirrors her and he’s goofy with her. He’s a little bit more bold and aggressive with the Duke, because the Duke is a jerk, so he’s a jerk back. And with Elsa he’s a hero.

Hans pretty much switches between these three personalities throughout the film. Goofy and charming with Anna, stoic and heroic with Elsa and Arendelle, and confrontational with the Duke.

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Other Hans Analyses

New - These I have written recently and have updated info.

Irredeemable Monster - Should Hans Make a Return?

Meant to Be - Frozen's Secret Villain Song

Frozen in Fear - Comparing the antagonist's reactions towards magic.

Old - May have some ideas that have missing info and overall needs updating

Different Perspectives - Why a Frozen Heart does not Support a Redemption for Hans.

Wolf in Sheep's Clothing - Hints that lead to Hans' Betrayal

[lazbotronence]

5 minutes with... TEDxBrighton's Laurence Rickard [x]

8 Oct 2015

TEDxBrighton caught up with this year's host Laurence Rickard. Larry (as he would prefer you all to call him) is a BAFTA-winning comedy writer and actor, probably best known for his work on the hit BBC sketch show Horrible Histories and the Sky 1 fantasy comedy Yonderland.

What are you doing right now?

I'm on a train, which is where I spend a fair proportion of my life. I find I get huge amounts of work done on trains, because I can't procrastinate by making a sandwich or going for a walk... Well, not for a very long walk anyway. Though answering these questions means I'm not doing the re-write that I've promised my producer. If she shouts at me, I'm going to give her your number.

What was your first thought when invited to host this year’s event?

Honestly? I was worried that I'd taken on something I wouldn't have time to do. But then I feel that when I agree to do most things. It'll be fine. I just like to worry.

You’re undoubtedly extremely busy this year with your writing and acting, and also with the release of your first film, Bill. With this in mind, what persuaded you to add this role to your already crammed to do list?

I went to school with Sam, one of the organisers, so he probably has quite a lot of dirt on me. I thought it best not to cross him, in case he had a copy of that demo my band did when I was 15. I wouldn't want that getting out. Also, it's TED, isn't it. It's an institution. I felt very privileged to have been asked.

This year’s conference is about losing control. When was the last time you lost control and why?

Well, I'm five days away from the release of a film right now (it's called Bill and it's in cinemas on September 18th – you should definitely go and see it), so I'm probably running on slightly heightened levels of anxiety and reduced levels of sleep. I'm not sure I'd say I've 'lost control' at any point, but there's been a few moments where I've raised my voice a bit, which is very rare for me. That's a very British answer isn't it? You ask when I lost control and I tell you the last time I raised my voice. Hardly a thundering maelstrom – I don't think it'll make the papers.

TEDx is all about sharing inspiring concepts and ideas. Who has been your biggest inspiration and why?

Probably my drama and English teacher at secondary school. He was always so supportive and encouraging. On reflection he was quite anti-establishment – he would give you a thousand merit points for a piece of writing, which both bolstered your self-confidence and made a complete mockery of the 'merit point' system. That was him all over. I was quite shruggy-shoulders about most of my school life, but I looked forward to his lessons so much. He encouraged me to write and act, and now I write and act – if that's not an inspiration, I don't know what is.

If you were asked to deliver a TED talk, what would you like to talk about and who would you most like to deliver your talk to?

I'd probably talk to young people about the celebration of celebrity. I worry that there's a generation who are, in many ways, being robbed of inspiration, and I don't think that's fair on them. People who, in a world of Geordie Shore and vlogs about making a nice breakfast, think that 'being a celebrity' is a goal to strive towards. Not trying to learn a skill or an art or hone a talent, but wanting to get 'rich and famous' by doing something that, in essence, pretty much anyone could do. You just want them to find that thing – whether it's bricklaying or mastering the violin – that enthuses and inspires them beyond the desire to one day have 2 million Twitter followers. Making sure that the world's best UN Secretary General doesn't end up never existing because they became the next Joey Essex instead.

As a born and bred resident of Brighton and Hove, what do you love most about this city?

I like its size. It's a walkable city. I lived in that London for a bit, and people travel for two hours just to meet up for a beer. That seems mad to me. And I like that Brighton is, on the whole, tolerant, liberal and diverse. I don't like that big spike they've put by the West Pier though. I just don't get it – we are a city of vibrant streets, not striking skylines. The view in one direction will just be roofs, and the other will just be just water. I never really got the thrill of looking at stuff from a bit higher up.

If you could take just one book, film and album on holiday this year, which would you take?

The film please.

What do you think events like TEDx offer to audiences?

Tickets I'd imagine. That would be the model I'd adopt. It's simplest in terms of seating etc. Plus the revenue would help to cover production costs. It's certainly worth looking into.

If you could pick a theme for next year's conference what theme would you most like to explore and why?

Special Effects Techniques in the Original Star Wars Trilogy. It's the only thing I can speak about with any authority.

[katherynefromphilly]

Hey Kathryn,

A little bit ago you posted something about Eoin Macken making a fanfic like what was done with SPN. Is this his mysterious Merlin project he’s been hinting about? Do you happen to know anything more about it? Theories? I’ve been dying to know anything.

All I know about Eoin Macken’s Merlin project is the teasing hints he drops on twitter, which eventually make their way here.

(I don’t directly interact with Twitter, or Facebook, or Instagram, or TikTok. One social media timesuck is enough).

But if we’re talking theories…

Well. Yes. I have those.

So we know that Eoin writes scripts, and we know that Tom and Eoin have created a film together in the past, and we know that Bradley and Tom and Eoin and Adetomiwa are still in contact, because they were on that fundraiser together and they had lunch in London etc.

We know Katie has been to Colin’s plays, and Colin has been in contact with Ms. Troughton. (I’m not certain about Angel’s interactions, and I complement her for being able to keep her private life so private. Well done, m’lady.)

We also know that all the Merlin actors are extremely aware of how much the Merlin fandom still supports them, and many of the performers have spoken frequently about how grateful they are for the support, and for having Merlin in their lives, to boost their careers. So they love the fandom and they love the show and they loved working together — mostly.

So my theory? Based on just that information?

I think that Eoin has an idea for a story, or maybe even a full script written, and he’s trying to get the band back together and Make The Thing, with financial backers to do it, involving the busy schedules of all the Merlin alums.

I’m not sure whether it’s a “Fix Gwaine Being Dead” canon-era thing with Bradley in voiceover (much more likely), or a “Bring Arthur Back” modern thing, as in season 6 (more difficult).

Even if it’s the easier route, there’s a lot of challenges. Doing any kind of Merlin project would mean Eoin can convince Colin to go back to a project he’s done before, which he has vocally said he doesn’t do as an actor, ever ever ever. I think Eoin could wear him down, though. But even with that handled, there’s still obtaining the financial backing…. And getting everyone’s very busy schedules to align…

So. It’s feasible, but there’s challenges.

If it were me? Honestly? As in Eoin-If-Youre-Reading-This-Seriously-Here’s-A-Suggestion?

I’d write a radio drama and get the cast together on a remote zoom call and perform it like a table read.

Just… get something out there. Show people there’s an audience. Then, once you have this Proof of Concept finished, and show there’s an audience, then go after the Full Monty.

Every single writer’s conference I watch talks about getting that shorter proof of concept out there. The Matrix folks made a graphic novel to sell the script. Lots of theatrical films are based on 5 minute short films. Product design works this way too. Proof of concept, baby. Git-r-done.

That’s what I think, anyway.

What do you all think? Theories, anyone?

[flowersandbirdsflyingfree]

Uh. I've never done something like this before, but I love this concept, and my POSTAL obsession is hitting my hard, so.

Can I please get a POSTAL matchup? 🥺

I'm a cis guy with currently dyed hair that's faded, and I look like a natural redhead. I'm kind of skinny and have been called a "twink" before because of it, if that helps describe, lol. I love violent single player video games, but also adore anything of the horror genre, and will often be watching a horror movie (I have several on DVD: My Bloody Valentine, Halloween, Terminator, etc). I also love classic films and am a movie nerd. I love classic rock bands like AC/DC, Styx, Kansas, you name it. I like to draw, animate, make student films, write novels, and do stop-motion. I also like to speed run pretty much any task I give myself (usually finishing a sketch within twenty minutes or less). My humor is so bad and tends to be on the really dark or really sexual side, which is funny considering I'm on the aroace spectrum, lol. I dress very extra, often wearing at least two necklaces, earrings, one ring, a watch, usuall a button-up or coat, worn jeans, and work boots. Think a mix of JD from heathers and Dean Winchester from Supernatural, but a lot more graphic T-shirts. I actually have an outfit in my wardrobe that's very similar to P2 Dude, lmao. Aside from that, mental illness wise, I have autism, dyslexia, anxiety, and I'm kind of guessing I have depression, but who doesn't these days?

I hope that's enough info, and I'm sorry if some of this is just me rambling, ehe. Again, I've never done this before, so I hope that's alright. <:]

Thank you so much. :]

No problem! After all, I too am enslaved to the Postal obsession myself.

I match you with:

Postal 2 Dude

Ok so I admit I almost did Postal 3 Dude from your from your appearance alone so I could call your ship name “Paradise Lost”. But then I realized there is no other Dude more perfect for you than the classic himself. Also, based on your personalities, I think you’d want to fucking deck the 3rd Dude after 5 minutes.

Double twink duo. He’s a bit bonier with his hair a little scruffy. Has a little pudge of tummy due to alcohol consumption and a few scars on his chest.

You don’t have to worry about being aroace. The Bitch was right about Dude being bad in bed for the fact that: 1. He has erectile dysfunction 2. Can’t perform shit because he lasts 3 mins tops and most importantly 3. He has little drive anyways. He can shut up his hormones alone when he has to. Nevertheless, he too loves dirty jokes just for fun.

Dark humor is his forte. He pushes the boundaries often. He prefers making fun of the occurrences of ignoramuses around him. And of course, anything about that good ol’ fashioned ultra-violence! If it ever sounds too offensive, it’s never out of genuine bigotry. It’s only because he loves fucking with people to get a reaction. He hates everyone equally. Except you, pumpkin😘

The Dude and you both endure the turmoil of mental illness hand in hand. His own issues are schizophrenia, neurological brain trauma (the suicide attempt was not the first head-wound he got), ASPD and possibly Asperger’s.

His take on it all is to ride it out and conquer it when it happens. He will be very supportive when the going gets tough for you. If he trusts you, then you’re in it for the long haul together. “Hey. I get it. It really sucks. But I promise I’m not going anywhere without you. You make life worth it.”

He doesn’t play video games. He will likely make fun of you for playing them… and then ever so slowly start denying that he was on your computer enjoying the game he watched you play. “What the- No! I’m not a fucking nerd.” Yes, Dude. Yes you are. Just like the rest of us. Don’t

He will likely buy you cool necklaces, chains and pins for you to wear. Also, he is a simple man in terms of attempting romance. He will surprise you coming home with a gorgeous flower bouquet.

Fuck yeah! Another fan of horror! He’s tough enough to handle it. Dude usually likes psychological thrillers, abstract arthouse horror, and cheesy dark comedies the most. Not a fan of horror games. It’s really funny to see him clearly a bit stirred up from them. He tries too hard to brush it off like it doesn’t bother him. Be a dear and try to soothe his nerves. Maybe curl up next to him watching a classic film of your choice.

I think he would love your artworks. Between stop-motion, writing and visual art, you sound like an incredible visionary! Dude is always asking what you’re working on and wants to support you. (Writer’s Note: I adore stop-motion and salute you!! It’s so underrated as an art form)

He likes nu-metal, grunge and classic rock. Sometimes, he just listens to random muzak since it has a semi-calming effect on him. He’d love to put on something like The Doors or Cars while spending time with you. Talk about being his soulmate

[raikkxz]

ᯓ ᶻ 𝗓 𐰁 ⑅ RULES .ᐟ.ᐟ

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⭑ f1 ⭑ hp ⭑ blurbs ⭑ headcanons ⭑ fluff ⭑ smut ⭑ boy x girl ⭑ age gap (not super big tho.) ⭑ social media au ⭑ person x female reader ⭑ kinks (not super kinky.)

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˚ ₊ · ͟͟͞͞➳ — ꒰ ships i write for !! ꒱

⭑ brocedes

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⭑ tbc

even if my requests are closed, you can request for a second part and I might consider it. otherwise, requests are closed. if you have any questions, don't be shy to ask me! <3

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please be patient when requesting. remember, I only write for fun, so it's not like a job. Which means that I won't be able to write every minute of every day.

please be specific when requesting. it'll help me get a better visual/thought of what you want me to write.

please understand that I can't write every single request. i'll lyk if i can't write this request or if i don't feel comfy with writing it.

@RAIKKXZ

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