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prairiedust · 4 years ago

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More Last Holiday Musings...

I want to poke at that interdimensional geoscope a little more, because upon reading it over again, I think I splashed it up a little fast and there are a couple of points I’d like to be clearer about. I meant to queue this up to post last night but also want it to be up before Gimme Shelter so ¯\_(ツ)_/¯

This is more blue curtains lit crit with a dash of folklore and an honorable mention for post-structuralism. And we’re talking about Supernatural after all, so this is sort of... well, it’s about endings.

Last Holiday was not a typical “filler” or even a typical MOTW episode. It felt extremely insular, possibly more so than any other episode I can think at any other point in the series. As opposed to the usual crowd of “locals,” a spate of victims, and a couple of red herring suspects, the only other people in this ep besides the Winchesters (including Jack) and Mrs. Butters were the two vampires and Cuthbert Sinclair. There was no “case” as in a usual MOTW-- there was no Chuck Struggle, either, and the lack of mytharc was strange against the lack of “filler” schema. That lack of “MOTW investigation” marked this episode also as being about “curiosity”-- the Winchesters all-too-quickly took Mrs. Butters for granted-- Dean even dismissed her as a “Magic Roomba” and that seemed to settle the matter. Furthermore, the moment that Dean spotted Mrs. B in his room, the stage was set for Antics ™ when she held up his goofy Scooby boxers, and indeed a zaniness, an almost manic energy drove the action forward at a breakneck pace. [Spoiler alert, we do get “investigation” in the next episode, 15x15 Gimme Shelter, as stills and the preview show that Castiel and Jack will be teaming up together, in yet another shake-up of the usual “MOTW” template, almost like we can expect the other side of a coin when Sam and Dean switch places with Cas...] These features set Last Holiday apart as not so much “filler” as “between,” as in there was struggle before, and there will be struggle after, but for a while there was cake. (Contrast this to the usual “peril of the threshold” that usually shrouds liminality if you’d like.)

At the end of Last Holiday, however, we finally get to find out what that old blue telescope really is, and with that name we get confirmation that there are no more alternate universes-- Chuck has burned them all. Viewers are left to come to the conclusion that in retrospect the telescope-thing could have changed the course of season 13 completely. The reveal is played off as darkly funny, but it’s also kind of a gut-wrenching moment, too. All the heartbreak of the last two and a half years, reviewed now through the lens of “if only.” If only they’d known about Mrs. Butters from the time they found the bunker, “none of this would have happened”… they’d have had monster radar, they’d have had the geoscope, they would have had supernatural help of a completely different level.

The temptation to read Last Holiday as a Chuck-free episode is strong, but fraught-- the threat of Chuck’s involvement has been established by a pattern this season (well the pattern is woven throughout the whole series really but Dabb has deliberately structured these last three seasons with an exponentially increasing frequency.) I feel like we’ve been conditioned this season in particular to hold ourselves in a perpetual flinch, to be afraid of what we’ll learn “in retrospect.” That geoscope was really_good_subtext, and it is entirely possible, even encouraged, at this point in the plot to take information we’ve learned from the naming of the object, examine our own conditioned response to this episode, and apply both things to the structure of the season so far and make a prediction as to what might happen in the main plot. That’s what I mean about subtext getting loud. We’ve been given the green-light to make a prediction about The Struggle and march forward with it, and see if we will be correct by extrapolating the pattern, or if that expectation will be subverted (the twist is set up to run either way, so either outcome is satisfying.) It is Melville-esque architecture of the highest degree;I could write another thousand words just about that. So I have a prediction that I’m hanging on to, because of what we’ve learned from the geoscope, and what kinds of clues were hung up in Last Holiday, and I’m super excited to either have my hunch confirmed or be frightfully and delightedly surprised. I mean, where the fuck did Jeremy Adams even come from? He’s like our own Mrs. Butters, showing up in the last quarter to run a couple game-changing balls into the end zone, it’s bonkers. I mean, I know writing mysteries is hard and requires still AND cunning, but damn, son.

But anyway, back to the geoscope…

I’m perplexed, from a very “lit crit” perspective, but this is where I’m at and why I referenced blue curtains-- if you shine too bright a light on subtext, does it evaporate-- like looking through an interdimensional geoscope and not seeing anything-- or is “subtext” sometimes not some ephemeral fever-dream that we as viewers conjure up through our experiential interlocution with the text but something a writer has steeped into the narrative as part of their craft? Or when you’re talking about an evolving iteration of writers, is it possible that one picks up a thread that another wove in for something else, repurposing or amplifying it? And, when perhaps is something deliberately instilled in the text in order to become “text” at just the right time? In Moby Dick, [spoiler alert lol] Quequeg’s coffin-- formerly one of many symbolic vehicles used to foreshadow the doom of the Pequod-- is repurposed as a life buoy and becomes the actual object that saves Ishmael’s life, transforming it from a portent of disaster to a symbol of salvation and then to one of Ishmael’s guilt for surviving Ahab’s madness-- the guilt that had been made text by the very opening line of the book, “Call me Ishmael.” In retrospect, the connotations of wandering, exile and salvation behind the name that the narrator gives himself become crystal clear. The problem that the post-structuralist model of “reading” as simultaneously “creating the text” has manufactured is that the idea that “subtext” can often be discounted as something dreamed up wholecloth by the reader, and thus inferior, imaginary, even delusional (and I use that last word knowing what a loaded term that is in the spn fandom, but this is not about a ship, even) where once it was considered to be a valid and measurable part of the text itself, like that dang coffin. It was the basement, the underpinnings, the catacombs below the opera house sure, but it helped to hold up the structure. And for some reason, putting subtext into a piece of media has become passe, or cringe? Anyway, not to be bitter on main but it didn’t used to be this way, at least not in the heady early days of postmodernism. So that green light? Critical hit against blue curtains. And while yes, some readings are going to be better supported than others, and the wild variety of checklists in this fandom mean that some conclusions have been drawn which can’t pan out, if you’re paying attention to the structure, the subtexts, the alchemical/psychoanalytical/postmodern themata, the ending will be very satisfying.

So. What was once speculated to be a symbol for emotional lows or turning points (among other things) in the bunker was textually hit with a bright green light, then Dean got curious about it in text, and we were told-- in text-- that oh it’s just a fancy spyglass, and now that the other worlds are gone, it has no purpose…. that’s what I mean about the geoscope now being “pure”-- it wasn’t clear whether the telescope ever had any function, subtetxtual or not, and now that it’s certain what it’s “function” was, it’s now freed up as a “symbol”-- unless like in Moby Dick it’s new “purpose” is revealed later, but right now it’s caught in this liminal place of not-quite-clue and not-quite-metaphor...

However, and I didn’t put this in my first post because I was trying to be fast and not a wet blanket, but I felt like finally naming the geoscope was an ending.

This is literally Singer, Dabb, and Co tidying up the house before locking it behind them.

I think when Dean said he didn’t see anything through the “telescope thing,” that we’re to understand that maybe this was the last hurrah of the cute, zany, campy “subtext” or even “metatext” if you’d rather that so many of us have been parsing and which has gotten so weird and bright since season 12/13. I think I said in one of the folklore posts that writing about some of the things I write about feels like making daisy chains in the endzone during the big game. Which is fun, that’s how I personally got through having to be in AYSO soccer for four years, by looking for four leafed clovers and eating orange quarters. And we got a wood nymph in this episode, textually even, so I could easily check the “folklore” box on this one. But the sheer euphoria of Last Holiday and all the sparkles it brought into the story aren’t meant to last. When you look back on fifteen years of text, a lot of it is bleak, miserable stuff. That’s not to say that episodes like Yellow Fever and Hunteri Heroici and Fan Fiction et al shouldn’t be celebrated. But I think from here on out, things are going to be less “golly gee, three birthdays!” and more “There she blows! --there she blows! A hump like a snowhill!”

This episode was a gift in many ways, not just for the sense of glee it transmitted-- it also did so much work and there are things I want to yell about in the way language was hit, the red versus green lighting, the way the backwards holidays worked, the projector as a metaphor for Mrs. B projecting her regrets and fears onto Jack, the amount of food that was created and consumed, how that smoothie was also an echo of “fairy food” or an underworld pact if you squint-- but the stakes are so high now. We haven’t been shown the next valley-- there was no final scene of Chuck rubbing his hands together like the villain from a melodrama, for example-- but the last image we got was Jack blowing out a candle. After the candle is blown out, the cake is dismantled and consumed. Once the story is over, all the themes that are so hard to grapple in a text like a television show can be gathered up and analyzed. (IS that all, though? After all, Dean made his own cake later, which, like, echoes of the “oh two cakes” comic lol...)

Since I really never want to leave anything I toss out on this blog on a last note of doom and gloom, however, I do want to say that I too understand what that last image meant. It meant, as Sam said, make a wish. Think of the future, think of free will, and hope for something wonderful to happen. (or do like me and wonder what the hell Jack wished for with dread and anticipation ha ha ha.)

#the poststructuralism of supernatural #the folklore of supernatural #no more tags right now #tag later

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dismuch47 · 4 years ago

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STARTING POINT

Length: Longer than a drabble, but a one shot with no intention of continuing.

Marvel AU in which Vision (I’m calling him Paul) is the illegitimate child of Howard Stark. There are tensions between half-brothers, and this is the first time that they actually talk about something other than the strange family situation. And it happens to be about... a girl. I hope you enjoy.

This has been moved over from my deactivated blog, so no, this is not stolen if you recognize it.

“’Sup, nerd?” Tony let the door slam itself shut after flinging it open in a grand flourish. He flung his bag of dirty laundry on the mahogany dining table, let his leather jacket fall to the immaculately clean floor in a heap, and then trotted over to the kitchen fridge to excavate.

Paul shifted out of his cross-legged, curved shoulder posture (his studying posture) and sat up in a rigid manner. He placed his book on the cushion beside him, his lips in a thin line.

“Hilarious...considering your field of study in Quantum Mechanics and Theory, Anthony.” Paul called out for the other youth to hear. It wasn’t in his nature to give jabs to other people... but ever since Mr. Stark... or rather Paul’s biological father... had acknowledged the existence of a bastard son in England and the illegitimate child had been included into the multi-billionaire’s home at Mrs. Stark’s request... Paul had tried to rise to the challenge in order to “bond” with the golden son, Tony Stark. Apparently he only responded to sarcasm, rather than sincere attempts of friendship that Paul preferred.

Tony peeked his face from around the kitchen door, tilting the aviator sunglasses down from his face. “I study it, I don’t wear it. What is that, an argyle sweater vest?” His face disappeared once more as he grabbed one of his father’s choice beers from the fridge, closing the door shut with his hip.

“Mrs. Stark likes it...” Paul looked down placing a hand on the sweater vest. He didn’t dislike it... but he didn’t care for it. But anything was better then the second-hand clothing that was always too small for him back at the London shelter. And if it helped the mistress of this home approve of a bastard child more...

“Your mother will disapprove if she sees that rubbish on the dining table.” Paul warned his older half brother. He picked up his thick book and began reading again. “Why you insist on bringing that home when you can just-”

“Carmen. CARMEN will ‘disapprove’. I don’t think mother has done laundry or set a dinning table since her college days...” He slumped down in a white wing-backed chair across from the couch, separated by a glass coffee table. “Besides it’s all apart of the collegiate experience: announcing my arrival home with proof of my hard work and stank of my sheer brilliance.”

“Anthony, your father-”

“For the last time, it’s TONY.” He took off his sunglasses, his dark eyes like daggers at this blonde intruder of his home. He didn’t dislike Paul... he disliked how different Paul looked, sounded, and talked... forever reminding everyone in the household of his father’s infidelity. Of his mother’s pain... and tragic kindness for wanting this person to be part of the Stark family. The dark moment passed and Tony tossed his glasses carelessly to the glass table.

“...And dad can just deal with the mess.”

Paul’s blue eyes were cast downward, trying to resume his reading... recognizing the subtext of that wording, but Tony turned on the television to an outrageous volume, swallowed and sighed loudly over his beer.

“Tony-”

“Little brother, PLEASE.” Tony cut in. “Your bro is nursing a hangover at the moment.” He took another swig of beer. “Do you mind?”

There was no warmth in the word ‘brother’; it seemed more like a reminder that Paul was an outsider that Tony had to put up with. The lanky teenager began to slowly pack up his schoolwork, not feeling particularly welcome in the space...

Tony blinked darkly at the screen; images and colors barely managing to distract him from his mood... and guilt. He was mad at his father... not the accidental child resulting from unprotected sex. His brown eyes darted over to Paul, who was quietly collecting his things to leave.

“What are you reading?” Tony asked, monotone.

Paul blinked in surprise, then looked down at the book in his hand. “A Tale of Two Cities.”

Tony rolled his eyes. “This is why you are a nerd...”

“It is a school requirement.”

“Is it your first time reading it?” Tony raised a dark brow. “Or is it your 3rd or 4th time?”

Paul shut his mouth. It was his 5th. He couldn’t explain how it was that he was able to read so fast, or find a book so compelling upon a 5th or 6th reading. He traced his long fingers across the dog-eared pages.

“At the shelter, all I had was books. I...I like to revisit them...” He couldn’t meet the Stark’s brown eyes. “Like how Mrs. Stark likes to watch old movies over and over...she says they are ‘old friends’ that never change, but grow more enriching with each viewing.”

Tony looked down at the beer in his hand. That did sound like something his mother would say. He recalled her telling that to him. He also felt super awesome for reminding Paul about his life of poverty... which was still fresh. Tony turned off the tv.

“Fine. Books are the exception.” He finally looked over at Paul. “But you have GOT to get out of that gaming stuff if you ever want to get laid, Goggles.”

“Vision.”Paul corrected, a little too hastily. His hands held on to the book a little tighter. “It is live action role-play-”

“Oh my god, I can’t tell you how much I don’t care-”

“-And it is very therapeutic. It helps me get out the frustrations of being in a new home environment, learning American customs... feeling so different. According to Dr. Cho.” Paul defended, blossoming as he talked about this passion of his. “Vision is not just a character... he is an extension of my subconscious; trying to sort out and deal with my very average conflicts.”

“Yeah, that’s the ah...mutant...god... robot thing?” Tony asked, with a belch. Pretending to care was starting to give him a headache.

“Synthezoid.” Paul added.

“Right... with the magical jewel stone for... ultimate power?” Tony yawned

“Mind Stone.” Paul began realizing how stupid this all sounded. Tony had been present at the therapy session when Dr. Cho had explained how this experimental role play with peers might be good for Paul.

“Fascinating. I think I need to go whiz now.” Tony got up from his chair, setting the empty beer bottle, with out a coaster, on the glass table. “Well have fun with that sausage fest.”

“There are girls.” Paul blurted. “...A girl... there is one girl who does it too.”

Tony backed up, a bemused expression at Paul’s outburst. “I’m sure she’s a looker... geeking it up with the oily skinned, pimple-marked-”

“She is beautiful.” Paul’s tone took Tony aback; it sounded stoney firm and indisputable. And Tony couldn’t help but feel a tiny bit emasculated with his younger half brother now towering above him.

“Prove it.” Tony beckoned.

Paul narrowed his eyes down Tony Stark, feeling it trivial to prove his truth... as if his best friend was some prized stock animal to be appraised. Tony didn’t deserve to gaze upon real beauty... but Paul was a teenage boy. And he wanted to make this college tech jock drool.

He sat down, pulling out his phone and searching for a picture of her. Tony plopped down beside him and yanked the phone out of his younger half-brother’s hands. Paul protested, reaching with his long arms, but Tony was athletic and broad. He put Paul in a headlock after a brief struggle, and scrolled through the pictures on the flip phone.

Tony gave a sigh at all the larp pictures... they were in COSTUMES. “Is that face paint? Really, Vision??? Oh my god, you are going to die a virgin...” Then he came across a larper who was entirely too hot to be hanging out with such nerds. “Whoa... whoooaaaa. Is that her?” Tony showed the screen to Paul, who was still gasping for air before pulling out of Tony’s lessening grasp.

“...Yes...” Paul tried to push his hair back into place.

“Name?”

“Scarlet Witch-”

“Her real name, idiot.”

“Wanda. Wanda Maximoff.”

“Russian? Like Natasha... oh what’s her name. You know, she’s a senior this year...”

“Wanda is from Sokovia.”

“Same difference.” Tony shrugged.

“Actually-”

“Which means she probably has one of those dusky european accents.” Tony stood up, looking at more pictures. “Please tell me she has a dusky accent.”

“...Yes.”

“Oh god.” Tony looked at the screen for a beat. “You’re sure she’s only in high school?”

Paul firmly took his phone back.

“Fine... too young for me. And way out of your league.”

Paul looked down at the screen. He knew that was true, but it didn’t hurt less to hear someone say it. “She is just a friend. My only friend.” He held on to the phone for a beat, then closed it. He returned it to his pocket and picked up his book that he had discarded on the table. His shoulders sagged, and the words on the page were blurring together. Completely unreadable.

Tony damned himself when he saw the effect that his teasing had on Paul. The oh so sensitive, yet robotic Paul. “Okay. I’m taking this away.” He took the book out of his half-brother’s hands and sat on the glass table, directly across from the tall teen. “You’re tall, you have a pensively sweet British accent, and some girls like the peach-fuzz stubble look. You just need to stop slouching, and you’d be any girl’s dream boat.”

Paul looked up. “You have said that I’m oafish, awkward, and that my dialect is ‘annoying as hell’.”

“I lied. It’s hard to compete with. I cut you down to make myself feel bigger. Thank you Dr. Cho.” That didn’t seem to make Paul feel better; he seemed to slump even more in his seat, eyes downcast at the floor. “What... what is this? I basically called you pretty and you're being a pooper. What’s the problem?”

The blonde teen took a deep breath. “Steve Rogers.”

Tony blinked. “The star quarterback? The ruggedly handsome boy next door, class president, and so patriotic that he’s Captain America at all the Sunday Picnics? Sky-blue eyed, chiseled Adonis-bodied Steve Rogers? That Steve Rogers??”

Paul clenched his jaw and looked up at Tony.

“Oh man... good luck with that.” The Stark son gave Paul a sympathetic pat on the shoulder.

Paul leaned back into the sofa, feeling defeated. He looked up at the ornate crown molding on the ceiling. “She does not talk about him all the time... but she stares at him constantly. She wants to take our roleplaying sessions out by the football field just so he can see her in her costume. She has even invited him to one... and he came. She only stayed by my side because she was too nervous to be alone with him. He smiles at her and I just... I...”

“Wait... so they haven’t hooked up?”

“...I do not believe so.”

“Has he told her he even likes her?”

“Yes... well... he told the group that he likes us and what we do. He’s actually really nice and great in battle, which is an absolute annoyance...”

Tony rolled his eyes. “And have you told her? How you feel about her?”

Paul looked down at Tony. He opened his mouth but closed it. He looked away, trying to find anything else to focus on, but Tony drumming his fingers against the glass table drew his attention.

“If I told her how I felt... and she did not feel the same...”

“Well Vision,” Tony said standing up with a stretch. “Don’t you at least agree it’s a good starting point?” He made his way to the kitchen to throw away his empty bottle.

Paul sat, thinking about all the scenarios in which he could get rejected by Miss Maximoff. But there was one hopeful scenario in which she, in her usual tender way, is caught off-guard. Her eyes would warm and a broad smile would light him on fire inside...as it always did.

“Perhaps.”

#ScarletVision #WandaVision #Vision #Tony Stark #Wanda Maximoff #au #fanfiction #FOR THE FANDOM

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normieexclusive · 4 years ago

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How My MC wins the boys over:

Ah, um, this really went off from the original story line. This was also supposed to be a short simple thing but then I started thinking and two hours later Im left with a bunch of messy notes and thoughts

The first to fall victim is:

Mammon turns out to be easy, literally MC just shows him an ounce of kindness and he takes it and runs.

Unconsciously MC gets much softer around him then the others (A combination of total trust in him and wanting to show how much love he deserves despite his brothers treating him harshly)

hes the one that gets the most kisses, the most hugs, and its great for them at first because they get to make fun of the dumb ass second born getting doted on but some silly little human and (while denying it constantly) loving it.

But then the others start to actually like MC and Mammon can nearly feel the six pairs of eyes glaring him down as his Human showers him with all the affection before going about their day.

(There’s one moment where, while Mammons sitting on the floor and MC is on the bed and he's making fun of one of his brothers that MC just grabs him by the back of his shirt collar- with only a finger- pulls him in between her legs (So his back is to her) and gives him a kiss on the top of his head as she coos "Mammon, be nice to your brothers" and he shuts down for the rest of the day)

Second, but the bestest of friends!:

With Levi its by being a grade A nerd and overthinking.

She reads all of TSL for their big quiz, and watches the movies with Beel and mammon, but on top of that the nerd goes back to the books and starts to annotate everything.

She starts digging for any bit of subtext she can find and jotting down notes in the margins, in her notebook, on sticky notes.

It becomes enough of an issue that she has to buy a new set because the first (Old and used) ones she got off of akuzon are ruined with her messy scrawling.

During the quiz they are evenly matched (if only because shes given such easy questions. Shes pissed but at the same time oh gosh she is really not up to Levis level) and somewhere along the way she just... Goes off about this theory of hers and reading the subtext because she needs to get this out and it seems like Levis the only one that can really keep up with her

(She tried to talk to Mammon and Beel but, honestly, they're as helpful as you'd think)

She forgets about the whole quiz and yanks out her vandalized book in order to debate with Levi about a part. Levi is horrified at the state of her TSL book and nearly goes apeshit right there, but then she shows just how much of a nerd she truly is by showing him the much nicer version she brought along

("And its even signed! Can you believe that! I didn't order a signed one cause they were too expensive but somehow the boxes must have gotten switched up! Ah! Levi! You have a shrine in you're room for them right! You should have these copies, I think you'll take more care of them then I can!")

Whenever they have a conversation its gibberish to everyone around them but they get it and that’s what matters.

(They spend nights just in his room and no one knows what they're doing so they assume the worst. The others always send Levi dirty looks when it happens, and Levi always looks a little more refreshed after every one.

They're having anime/gaming/TSL marathons but Levi lives for the jealousy that rolls off his brothers so hes not telling them anytime soon)

Somewhere starting after her pact with Levi and after the Lucifer/Satan Body switch:

The whole fiasco with Levi actually leads to Satan warming up to her!

He had initially brushed her off as a soon to be Lucifer Lapdog (and also kind of dumb) but now he's interested.

Someone whos capable of dissecting a book like that has to at least have some ability to reason, he just cant figure out if that moment was a fluke or if shes actually smart.

He refuses to start a conversation with her like a normal person and instead resorts to pranking her at every opportunity hoping to see if she’ll think her way out of it (He does leave some hints for when ones about to happen, but gets frustrated when she walks right past them)

It backfires on him tremendously because, somehow, they never seem to work! it goes to the point where it becomes rube goldberg levels of pranks that are always almost-but-not-quite misses because she bent down at just the right time to pick up a shiny rock.

Satan is at his wits end and ready to rip someone apart

his pranks start to extend to the others, it’s only after mammon mentions such that it finally clicks in her...

That same day she willingly walks into a pie in the face and Satan nearly cries.

After he starts to rile her up more often with words. He learns very quickly that she is a fantastic debate partner and, if he can find the right button to push, he’ll get her going for hours as they go back and forth

(And!! Even better!! Not only does she listen to everything he says and waits her turn! But Shes willing to change her opinion when she thinks he has a better point. When she loses She’ll come back hours later to drag more information out of him.

That’s usually not the case though, because Satan finds way too much enjoyment out of playing devils advocate and will simply choose whatever is opposition her POV.

He tried to argue about how she couldn't possibly like a flavor of candy she was eating because he didn't like it and nearly gave her an aneurysm)

(To his complete embarrassment, though, he has gotten hard during one of their debates and nearly lost because she looked fucking amazing as she shouted at him)

A bond that starts right at their first meeting and grows throughout her entire time there:

Beel is scary at first, and Lucifer- for some forsaken reason- made it her job to make sure Beel doesn't clean out the fridge every single day.

Shes scared of the man that seemed more then willing to eat her, but shes more scared of whatever punishment Lucifer would deal if she didn't at least try.

So she goes

It only takes her one run in with Beel and his puppy dog eyes (Because how could she just stop him like that!! How awful of her!!) for her to figure out that

A: this man is harmless and...

B:she knows what hunger pains feel like and the guilt wells up

Still she knows she can let him go so she spends her grimm allowance on buying ingredients to cook with and makes him huge meals as "offerings"

It doesn't always stop him from eating half the fridge, but sometimes it seems like he's willing to actually savor what she makes.

It gives her enough time to save the ingredients for dinner that night. (and If Beel sometimes wanders over to the kitchen while shes watching so shell make something for him, well there’s no harm done

The bastard pavlov dogged her and shes none the wiser)

Slow and steady, the pieces fall into place naturally:

Asmo turns out to be another easy one, to her shock.

Even with MCs jealousy over how stunning Amso looks and how easy it is for him... they just seem to drift to each other

Starts with a comment on Asmos sharp eyeliner one day, and Asmo asking MC what shampoo she uses.

Then the next day the same brand shampoo (And conditioner) will be left outside his door. And after MC will walk into the bathroom first thing in the morning only to wonder whom the fuck applied eyeliner to her in her sleep

It starts with days where they greet each other in the morning, to Stopping to chat for a few moments before heading on with their morning routine, to them walking down together, to Asmo fussing over her disheveled look after just waking up ‘-seriously Asmo not everyone can just roll out of bed like some Demons and look stunning’ - to ‘MC move over a scooch I need more room’ ‘Asmodeus this is my bed’ ‘Well how are we both supposed to fit when its so small!’, to weekly spa days and Gossiping about the others.

Its such an smooth transition that they both feel like it had always been as it was- two friends whispering secrets to each other late at night, pinky promises made over arbitrary things, laying so close that they can feel the others breathing. If maybe he leaned in a little closer they would--

--Oh... She fell asleep again.

And he curls up next to her, blanket wrapped around both of them (That is, until Asmo hogs it later) and sleeps peacefully

A build up of trust, and a moment of venerability that finally knocks down his walls:

Swallows her pride for Lucifer

Its hard to explain in words for her, but she tells him of her family.

A family that is good but dosnt care, that used to leave her alone for hours on end when she was far too young. She says it with a smile too, admits that it helped her become as independent as she was, that she could cook for herself before she was 10.

She tells him of her younger brother. Someone she tried her best to love as much as she could only for him to, one day, just stop talking to her. Years trying to build back an abruptly cut connection only for him to snap one day and change his tune to something much worse. A family that watched as he screamed at her, berated her and never did anything. How she still stood tall, how she swallowed back every tear and tried to talk to him with a steady voice- only for him to become angrier.

How, when he did try to snap at other members, she was always there to stand between them. How she was the one to chase him off or take the yelling despite her family never doing the same for her. How she was the stable rock of the family where no one was for her.

Physical violence was only once, but it was enough for her to know things would never change.

She was like him in a way, same but different.

and She cant bear to see the same thing happen to him.

She wants to help, she knows shes just a little, useless human but please she needs to help. She cant bare leaving another broken family behind without helping. Her life had been stagnate before them, unbearably lonely, and she just wants them to be happy, even if that means without her

even if it means she has to shove her nose where it doesn't belong

So... please... Please... Talk to Belphie. Please. He said he just wants to tal--

(She had earned Lucifer's respect not too long ago, and - to everyone's shock- the revel of what she came upon does not bring upon Lucifer's fury. Instead, he feels a deep understanding that he’ll never say aloud

Shes still going to get lectured, though. But he is too.)

It takes time:

Spends what probably amounted to most of her time in Devildom with that little fu--

(No, No. Belphie needs help, she needs to reel it in for now.)

She gets what it means to be lonely. Despite her distrust of the man who caged up in a place where the bad people are, you know, supposed to be caged up and tutored feels like she needs to do something- if only to make sure he doesn't lose his mind from the isolation.

(Rethinks a lot of her life and how she spent just hiding away from everything. How she would lock her door and never come out unless the sounds of another fight reached her. Thought about how it probably messed her up more then shes willing to admit and refuses to let the same thing happen to him

Oh sweet summer child)

Less trusting of him when its reviled that hes the seventh born, but more willing to help. If only for Beels sake

Brings stuff up to his room, a toy, a fluffy blanket, food that she snagged last minute. He complains hes cold one day and she yanks off her own sweater for him

(It all gets flushed down the toilet when she leaves, he scrubs his skin raw thinking about how his room smells disgustingly like that fucking human now)

And then, one day, it just... changes:

A human stands between him and the fucker that locked him up in there, his brothers that never knew he was there. All of them watching him with such pity in their eyes and he didnt want it- he didnt want their p-

The door was unlocked.

He was free.

Just like that.

it made no sense. He learns that they-- She-- spent hours dancing around Diavolo, deals were made. A room where it was just her and The Prince of Hell, promises not even Lucifer knew (And some part of Belphie relished in the fact that it was eating away at the fucker)

("All those hours shouting at each other paid off” She looks to Satan with a smile. A joke he was not privy to. Lucifer huffed but said nothing.

How much had changed since he was locked up?)

A slow, downward spiral

They're never alone, someone is always with her or with him (Beel sticks to his side like glue. after so long he finally gets to sleep next to his brother again)

He finds food in the fridge with the words “For Beel <3″ in this awful chicken scratch handwriting. Mammon’s screaming interrupts his naps one day and he wakes up to see her smothering the second born in kisses. Her shouting wakes him up as her and Satan pass, her voice becoming high pitched as they argue about... the number of toes humans are supposed to have???? (she sits down next to him and rips off her shoes in a fit of rage, demanding that Belphie count with her because what the fuck-

Satan sneers at her feet and tells the only actual toes are her two big ones, the rest are just digits.)

There’s traces of her everywhere. Layers of clothing haphazardly thrown about after a day at RAD and then neatly placed away. A mention of her name at the dinner table before shes there. Not even his and beels room is safe from her- he can smell her scent on Beels pillow. Faint, but a awful reminder of the human down the hall.

He hates it, he wants to throw it all away. He wants to erase her memory from his home, he wants to ripe her apa--

A blanket is draped over him one day, and he cant bring himself to open his eyes to see who did it...

She talks to him, Or more like at him. The longer he stays freed the harder is it to hide his distaste towards Humanity and- especially- to her. He thinks shes dense, because he knows his brothers sense there’s something wrong (Levis tail wraps around her when hes too close, Lucifer stands between them, Amso pulls her by the waist. Close to him, further from belphie) But she doesn't. She pushes closer. She asks him questions.

She never touches him, one small blessing in Hell.

Beel believes him when he bashfully admits one night that he may start to enjoy his time spent with human. And for a moment he feels guilty about the lie but its all for a greater goal

When its just the three of them, Beel leaves for a moment too long. To get snacks, to grab something from another room, it doesn't matter. This was the moment he waited for.

She smiles at him, all kind and gentle (And the words that leave her lips are unheard through the blood rushing through his ears) and leans forward

He puts his hands around her neck

She goes limp.

He-

He needed to-

He couldn’t squeeze.

Beel comes back with the biggest grin on his face, arms full of snacks (”Here MC I got your favorite”) He sits on the opposite side of Belphie, leaning into him with enough weight that his own shoulder presses against MCs, mushing her against the wall.

Despite her smile he can feel her shaking.

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mysterylover123 · 5 years ago

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BNHA Rewatch Episode 26 “Time to Pick some Names”

mysterylover123

We return to normal school stuff with a fun little episode, packed with some ominous foreshadowing.

Seeing Izuku getting hounded like this just makes me wonder what kinda attention the other kids get. Especially Bakugo.

This draft picks do make me wanna call bullshit a little though. Like, I get why Deku isn’t up there. But why is Kaminari, who got taken out in seconds, in 5th, and Ashido, who made it into the second round and has a very popular and easily demonstrative quirk and look, not up there at all?!

This episode is really shippy, you guys. Todomomo here. Look at how she looks at him. She likes him. Convince me otherwise.

Iidaraka making an appearance too! Aw, lookit her shaking him!

Why is Midnight the chooser of names, BTW? She appears to have bad taste in names, despite her own decent Hero name, so what gives her the right?

Baby Aizawa and Present Mic! Seriously, Mic should’ve been the one presiding over Hero Names! He gave Aizawa a great one and has one of his own! Seriously, it could’ve been perfect!

Aww someone’s nervous! (edit: this screencap didn’t quite grab the right moment. Basically, Bakugou looks endearingly nervous in this shot.)

So my thoughts on the names:

Aoyama needs to change his. cantstoptwinkling is too long and unwieldy to be a Hero Name and it sounds ridiculous (he says it in English so I know it isn’t just some weird translation).

This was perfect. Screw you Midnight. Alien Queen should’ve been Ashido’s name.

This one’s nice. People do call her Froppy sometimes. I like too how this beat is played: The first two names make everyone nervous, and Tsu puts them at ease. That seems to be her role in Class 1-A: to help people deal with crisis situations and stress.

Red Riot is another winner. Being derived from another famous name is not a problem; it’s a comic book tradition. Though this does bring up that pesky Imitation theme once more. Kiri wants to be just like Crimson, and that concept gets explored in more depth in the Internship Arc. It makes me wonder if Kiri should switch names to symbolize throwing off that role, or if he should stick with it to symbolize the good Crimson brings to him.

Izuku himself notices the similarities between Kiri’s name and his own fixation with All Might for me so I don’t have to explain it.

Now we are met with the CUTEST FUCKING IMAGE EVER COMMITTED TO SCREEN OR PAPER. DEKU YOU ARE TOO PRECIOUS.

Now some snarky Kamijirou content! Someone’s a little bitter about Kaminari getting more draft picks than her, aren’t you? Actually, I feel like there are some similarities between Kamijirou and BKDK - both pairs argue a lot, yet seem to share an odd connection. The diff may be that while Jiro is more like Midoriya in terms of power and personality (she even takes obsessive notes like he does), she’s the one who antagonizes Kaminari. He’s more Kacchan-like, perhaps why he’s friends with the guy, more born-powerful and cocky, but he’s the one who gets messed with. I dunno, interesting connection.

Probably the coolest sounding of the names that are just ‘my quirk’. Jiro can stick with this one.

Kinda generic but hey, it’s better than Jamming-yay.

Also kinda generic, maybe something that sounds cooler in Japanese, I’m guessing?

Not half bad, but it doesn’t really sound like a hero name.

This one’s a bit generic, but darn it all if it doesn’t sound like a name you’d find in superhero comics.

Ditto.

Triple ditto. Actually a name in Superhero comics.

This one’s terrible. Mina deserved better.

Hmm...Momo...this isn’t terrible, per se, but I still think Yaoyorozu could have a cooler one.

LOL. Also sad: by rejecting his surname and choosing only his given name, Shoto makes a statement. An “I don’t want to be like my dad” statement.

Good I guess? I do kinda know about this one from reading Naruto. It’s a thing in Japanese that I will probably not get well as a dumb American.

Though to be a smart American for a second: Anima...it sounds like he’s talking about that Joseph Campbell theme on anima/animus, male/female, hero with a thousand faces (Just kidding, it’s short for Animal.)

HAHAHAHA OH KACCHAN YOU ECCENTRIC SHITHEAD. Actually, this one is a pretty clever play on his surname in the original Japanese, “Bakusatsuo”. Someone really likes playing on kanji meaning (Deku), doesn’t he? King Explosion Murder is too long and unwieldy, but I think just “King Explosion” or some similar pun could’ve actually worked fine. Just take out the murder part, dumbass.

My favorite one. Meaning: Her surname, her desire to support her parents. Instantly conveys who she is, what kind of hero she wants to be. Perfect.

OMG IIDA FEELS. This plays into his arc in the next story arc, actually. Iida feels he can’t take the name Ingenium until he has done with Tensei couldn’t: kill Stain. And that is why he’s so fixated on revenge.

And finally DEKU. Which is, yeah, what we call him...it does sound a little odd as a superhero name, though. This is an Izuocha moment I actually, like, BTW. Just nice wholesome friendship. No weird obsessions or comparisons with serial killers.

Speaking of Uraraka. The Gunhead Agency! You gotta love that Wonder Duo and how they influence people, huh? One fight with Bakugou and she’s all signed up to go be a DBZ fighter. Also, I can see why Kacchako fans are into that. One of Ochaco’s biggest character shifts, and he inspires it. I can dig.

The #1 hero everybody! Hori does try to give a plausible excuse for why All Might forgot to mention Gran among the People Who Know list...then doesn’t bother with it at all when Nighteye comes up. Ah well. I honestly kinda just want the List of People who Know to keep expanding to comedic levels. “Oh and this is my old exgirlfriend who also knows! And this villain! And this random guy! And maybe your mom!”

Speaking of moms, I’m sure Aizawa officially transforms into Class 1-A’s when he tells Ashido not to slur her words.

The shipper in me wants to gush about how Izuku and Ochaco went to worry about Iida (Iidaraka!) but more sincerely, I want to quickly comment about how well BNHA handles the Power of Friendship. This trope can be so irritating when done poorly, but the friendship in Hero Aca is actually, in my opinion, really realistic. And the power of it is mainly showcased by how friends can simply support and be there for each other, rather than Friendship is the Allmighty Power of the Universe all Will Bow Down Before it. (And also it’s a thing villains can have! And a thing that can fall apart and be unpleasant!)

ANGRY IIDA!

So yeah I really enjoy this episode. It’s not especially deep or heartbreaking (ASIDE FROM TENSEI!!!!) but it’s an enjoyable watch. I’ve actually watched this one a lot because it’s light and fun and something of a one-off. I wouldn’t claim it’s the Best of HeroAca or anything, but It’s an enjoyable ride. Of course, can’t say I’m not more excited to get to next episode. As a big Deku fan(girl), I can tell you my reactions to that one will be something.

BKDK CORNER

Guess who gets paralleled with Izuku’s love interest once again? Seriously, there are a lot of odd, ongoing parallels between Bakugou and Uraraka with their relationships to Izuku, and I’m not sure why if not for subtext. (I want Bakugo’s Ultimate Hero Name to be a play on his first name too. So both members of Wonder Duo have First Name Puns). The OT3 is strong in this one.

My Deku sense is tingling.

BEST GIRL OF THE EPISODE: Iida Mom! (she only appeared last ep but sh)

RANKER: Class 1-A’s Hero Names

21. Pinky

20. Cantstoptwinkling

19. Creati

18. Tenya

17. Shoto

16. Cellophane

15. Deku

14. Bakusatsuo

13. Tentacole

12. Anima

11. Sugarman

10. Chargebolt

9. Invisible Girl

8. Tailman

7. Alien Queen

6. Earphone Jack

5. Tsukoyomi

4. Froppy

3. Red Riot

2. Ingenium

1. Uravity! (Congratulations Ochaco, you were the MPV of this ep)

#my hero academia #time to pick some names #midoriya izuku #katsuki bakugou #season 2 episode 13 #katsudeku #uraraka ochako #bakudeku #so many revisions needed for our young heroes #like everyone needs to change something #but Bakugou most of all #seriously hori #is Bakugo's hero name supposed to be a plot twist?#reveal it already!#i have to know!!!!

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misscrawfords · 5 years ago

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The Rise of Skywalker: Part One

I have lots of thoughts and feelings about TROS. Most of them negative. For three days I’ve been alternating between raging and crying. Finally, I’ve felt able to start writing.

This is a negative review. If you loved the film then this might not be the post for you. I am very sensitive to what happened after TLJ. And I want to reassure anyone reading that I would never turn criticism for a film (which is absolutely a valid response to seeing something that you disliked and are trying to understand) into personal attacks against the actors or creators involved or, worse still, fans who liked it. If you liked TROS, can’t bear to hear any criticism of it, and still choose to read my posts about it, then that is on you. (I really shouldn’t have to say this but this is a hellsite.)

This post contains spoilers for TROS... and Jumanji 2. Go figure.

Things I liked:

· C-3PO and everything he did. This droid is the character I identify with most in the entire SW series (which probably says some uncomfortable things about me but this is not the time!) and he had such a big and important role and his quips were genuinely great and funny and I loved everything he did. Apart from – but more on that later.

· Ben Solo. Uh, other people have talked about his little shrug and his “ow” and his smile – oh god, his smile. Ben Solo is amazing. It’s a shame that – but more on that later.

· I didn’t hate Rey Palpatine. I mean, I literally wrote this story when I was 13 when I made Hermione Voldemort’s daughter as a way of explaining her inner darkness and had her team up with Harry (with whom she had a telepathic bond) to destroy him. (You can read the story here if you really want to.) So it would be pretty hypocritical of me to hate this plotline. I enjoyed seeing angry, feral Rey on screen, I enjoyed seeing a female hero confronting her capacity for destruction and darkness. I was okay with the idea of a final face-off between a Palpatine and a Skywalker and how this is a way of bringing final balance to the Force. This was pretty interesting and I’d be up for this. I much prefer Rey Nobody but as a concept I’m not actually against it. Unfortunately the execution – but more on that later.

· I really enjoyed more of Finn and Poe. I love both of them as characters. I mean I can’t think of a single bit of dialogue that was meaningful between them or what they accomplished in particular for they had some fun moments.

· Finn and Jannah’s conversation about being ex-stormtroopers was a lovely scene, a moment of much-needed quiet and reflection and bonding in a film that was far too hectic and crowded. Shame it went nowhere.

· Reylo kiss? I mean, that was cool.

· Unironically, I loved Hux. He was snarky and his revelation of being the spy because he just hated Kylo that much got the biggest reaction in the cinema of the entire showing. Admittedly it was derisive laughter as we all realised what a clusterfuck of bad writing this film was, but still. It crossed over into so-bad-it’s-good territory. Hux gave me considerable pleasure in a film that otherwise made me very angry.

· My favourite scene in the film was when Rey and Kylo fought on Pasaana over the transport ship with Chewie (apparently) on and Rey blows it up. The cinematography was amazing, it was a visual representation of both balance and building on the lightsaber breaking scene in TLJ while upping the stakes considerably and Rey’s reaction of visceral horror when she realised what she had done was truly shocking and unexpected. To have Chewie killed off so suddenly like this for no reason except that he was in the wrong place at the wrong time and the stakes are high and this is a desperate war with casualties – genius. A perfect way to make Rey and Ben even more similar – both having killed father figures – and have Rey confront her dark side as she wrestles with what she has done and the consequences of having a non-unified relationship with Ben while also being in a position to truly empathise with him – this was exactly the content I had signed up for. But it was the moment that it was revealed that Chewie was still alive that I realised what I’d only suspected before then: that this film was terrible and I would not be able to trust any emotion it was inviting me to feel.

Fundamentally, I think that this film is incredibly poorly written and emotionally dishonest. It is telling that I saw Jumanji 2 earlier in the day and out of the two films, the only point at which I cried was when Milo decided to stay in Jumanji as a horse. Why did I cry? Because Milo and Grandpa’s relationship had been gradually built up over the course of a film that was not afraid of quiet moments and building a narrative of a relationship that revealed what it needed over the course of several meaningful scenes. It allowed Milo’s decision to stay to be both a tragic loss but also a happy ending for him. Truly bittersweet and in a way that everyone can relate to. The loss of a dear friend to illness is a horrible but human thing to contemplate. To be able to set this friend free through a metaphor of a beautiful death and afterlife is genuinely moving and hopeful. Unfortunately TROS did not manage to give me any such emotions or elicit a single tear.

At least not till afterwards. I’ve subsequently cried a lot, some of it over the tragedy of Ben and Rey in a film that promised hope, but mainly for myself and the other (mainly) young female fans who have poured all their knowledge and intelligence into analysis of TFA and TLJ and who seemed to understand the story that was being told and who had been promised more of this story in the interviews and trailers released prior to this film – and who are now feeling like absolute garbage as this film throws out its own mythology for an incoherent, self-serving mess that in many ways defies analysis. The only thing I feel really capable of analysing is how much it doesn’t work, as opposed to what the film is trying to do. Where is the symbolism? Where is the metaphor? Where is the hero’s journey? Where is the heroine’s journey? Where is nuance? Where is everything that was set up in both TFA and TLJ? IDK, I can’t see it. It’s a kick in the teeth.

So, no matter how many individual things I was able to enjoy at the time when watching TROS, they end up being meaningless because the entire film was so bad. I can’t feel pleasure thinking about the good bits because they were mired in context (or lack of it). I can’t feel genuine sorrow about the fate of Rey and Ben because the execution of that fate was so poorly done. I don’t even mind that Ben died. It was always an option and the story of redemption followed by death is a very common story, a very Christian story. Though the death of Christ to save us from our sins, is crucially followed by resurrection. I mean, literally everyone can and does die. That doesn’t make you special. If you’re going for a Christ metaphor, you kind of need resurrection too. But I’m not sure that was exactly what they were going for with it; it was a mess and the execution made little internal consistency.

It may be that if I watched the film again, my problems would be lessened and I would see new things in them and they would make sense. I’ve read some twitter threads of people who are making connections and finding explanations on a second or third viewing. But the problem is that I shouldn’t need to see a film more than once to fundamentally understand it. I don’t mean picking up on new and interesting features and subtext which a good film, like a good book, rewards you with on multiple viewings. TLJ does that. But you should be able to follow what the ultimate meaning of a film is when you see it first.

If that is the case, then the ultimate meaning of TROS is that the good are good, the bad are bad, change is rewarded with death, a character who was once alone ends up alone again, plot coherency is sacrificed for whatever explosion or cool backwards-reference is needed at the time, death is not the end except when it is, there is no cosistency and consequently no emotional impact. And apparently it is a happy and hopeful ending? The tonal disconnect with the story being told and the way it was shot and the music being played and the clear intention of the people making the film is utterly jarring.

To famously quote Macbeth:

It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

This post is already too long so I will go into my criticisms in more detail in a further post. Stay tuned!

Read Part Two here.

#tros #tros spoilers #star wars #the rise of skywalker #anti-tros

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neven-ebrez · 6 years ago

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Meta Writing: "Finding balance as a television viewer and academic, a look at viewing under the narrative lens versus the psychological lens"

I’ve spoken on Supernatural’s utilization of a mirrored narrative to tell the repressed story of its main characters many times. My blog is full of these essays and discussions. As a meta writer for Supernatural, this is what I've focused on writing over the years because I found this to be where the complete “full picture” of the story of the show was to be seen. If Sam and Dean weren't openly talking about their issues then one could simply look at the monster/victim character foils within the MOTW episodes and listen to them talk where Sam and Dean either wouldn't or couldn't. If one wanted to understand the main characters and their situation better, the show practically forces one to do this. Or rather, I should say, I felt it forced me to do this. And for a long time I got used to looking at the show through this type of narrative lens, where practically everything told the story of something else. I wasn't looking at Charlie Bradbury anymore, I was looking at a narrative mirror for the issues of Sam and Dean in 9x04, where the witch symbolized codependency and Dorothy wasn’t a woman trapped by her own mechanics, but rather a sounding board for Sam and Dean trapped by their own.

I must say, it's not a terribly fun way of looking at the show, but I thought, back then, a practically necessary one. Supernatural is post modern, after all, and frequently has episodes pointing out its own function as a story. Robbie Thompson did this a lot (9x18 is forever one of my favorite episodes) and I remember someone asking Robbie about the mirrors of 8x11 on Twitter back in the day, where 8x11-8x16 represented one of the most blatant romantic coded arcs Dean and Cas has ever been given in the structure (as viewed through the "narrative lens", but I'm getting there!). The person asking Robbie what his intent with the mirror was was clearly viewing the show the way I was (with the narrative lens) so I was curious as to Robbie's answer. And when Robbie did answer, I remember being disappointed. He told the person, "That's just how I saw the story of Charlie and Glinda." This was a recognizing of the what I’m going to call the psychological lens (the surface, real life), but not the narrative one. No acknowledging of how they functioned in that arc as a narrative mirror for Dean and Cas, nothing. I felt that as a writer using such a structure it was almost his duty to at least acknowledge it. But it was like... none of them ever did. Supernatural clearly used it, hell, still uses it, but it's only ever mentioned in passing, in showrunner interviews and the like.

Probably every documented case of anyone with creative content creation control referencing it (the mirror narrative) is on this blog. Back then, I was very obsessed with validating what I was seeing in any way I could. It was like figuring out a secret, a mystery, a truth I absolutely knew to be real and then gathering as much evidence as I could to prove it because people were telling me that I was wrong and I knew I wasn't. Stuff like 9x15 even bent characterization to cater to it, to sometimes the complete confusion of the actors. And so that's what meta became to me. Using the narrative lens I viewed and wrote on the narrative structure at length, writing standalone essays on the matter, discussing it in threads and speculating using the structure to extrapolate how likely certain plotlines were. Sometimes you're right, sometimes you're wrong, but usually not about the big stuff, the stuff a season was building towards. The longer I studied the show the better the better I got at recognizing its patterns of repeat. And for minds like mine, with autism, which are best suited for pattern, these patterns just come so naturally. For me Supernatural is honestly so predictable, for many reasons, the most of damning of which is right in the structure and its inability to go past a certain point.

I say this word a lot, "structure". My family hates it. What I really mean is its overall design. When I talk about the structure of a car I'm talking about how it looks: the color, the features, the durability, the points of safety, whether it drives smoothly or not. Things like that. When I talk about the structure of a story I'm talking about how it looks as well: how it is paced, the significance of the characters involved and whether they and the themes involved within the story itself "teach" the main characters anything, what relationships are formed and how they transform each individual character, (and for visual mediums) the overall visual presentation of light/color, how the setting visually informs what the characters are doing or saying, what the characters are designed to learn through the show pointing out such steps in various ways and then cleanly implementing traditional arcs that change them in some way (usually to betterment, but not always). All this is structure, a story's design. Visual mediums like theatre and television have an obvious visual element meant to be incorporated, designed to support (and not work in place of) the story being told. Analyzing a book is not the same thing as analyzing a television show. Analyzing a television show is much, much more complicated. Books contain one author and one editor (usually). Intent and meaningful storycraft is usually easy to decipher. If design in detail matters, the author provides that information. Television, on the other hand, involves hundreds of people refining and creating on a tight deadline. This makes deciphering meaningful story intent particularly tricky.

Discussing the structure, the story telling elements, using that knowledge to speculate or write essays giving a reading of the text (what the term “meta” generally refers to) is what we'd call viewing the show through a "narrative lens", or rather, in the case of television, a "television lens". It's when you watch the story and realize that you are not looking at real life. This is easier for something like cartoons (moreso when humans are completely absent), but a little harder for the brain to actively distinguish when looking at something that could *almost be real* (as in, live action people in a familiar setting). Understanding how fictional rules are different from real life is only half the story though because real life must be accounted for in visual storytelling. I’ll explain what I mean because I’m not talking about behind the scenes stuff. Since being sent an ask about the current state of the meta community (which I still occasionally write for but don’t personally follow anymore aside from following my friends @mittensmorgul and @elizabethrobertajones) I’ve been thinking about this a lot. The fact that we’ve lost a lot of voices over the years as a community of narrative academics is, I think, the root of the challenge currently facing the meta community. With so many lost voices and angles there's a significant sort of echo chamber that begins when you get people together that all view the show through the same lens against a lack of diverse readings. In this case, the narrative lens and the Destiel reading. You see, the problem is the show, as it exists now, isn't always so rigidly written through the narrative lens like it was in Carver era, it's now written primarily through the real life lens. I find this to be especially true in Dabb era showrunning.

Regarding the meta writing community and the fandom's two main shipping sides, there’s also a huge disconnect, fostered over YEARS of discord in acknowledging subtext designed by writers for both factions, both readings, and, of course, the arguments over intent (which is usually unknowable unless a public record is made and even then a lot of academics ascribe to “Death of the Author”, particularly given the collaborative nature of television production, so...). Wincest subtext gets scoffed at or ignored, derided for not standing a chance at being canon by the Destiel side and the Wincest side often mocks the Destiel side in such a profound way (pun intended) as to suggest (or outright say) the subtext isn’t even there at all to mean anything in the first place (which is ridiculous). Again and again I also see (and it's never really worded this way) a disconnect over the lens the show is viewed with: narrative (televison) vs psychological (real life). The most major arguments I see are between fans watching for the Wincest reading and using the psychological lens versus fans watching for the Destiel reading and using the narrative lens.

There’s rarely any common ground between these two distinct groups, with the Wincest psychological viewers acting more as critics than providing anything resembling essays of their own. Maybe they are out there. I haven’t seen them. Most “good” Wincest meta died out relatively early. We, as a viewing and academic community, are a house divided in so, so many ways, even on each side of the chasm. Maybe I have no right to make this post. I don’t know. I don't like things that treat fandom like it's something to be picked apart and examined. This kind of examination makes me... uncomfortable. I keep thinking about that ask the other day asking me what is going on in the meta community though. So I'm going to try and tackle it. The fact is... we are not a whole and we are not supposed to be. That’s the point. Getting a single exact read off any text, let alone getting a group of people on the same page to watch with the same lens, is practically impossible. But lately the divide and inbalance has gotten to be so bad that we aren’t even talking to one another anymore, not really. We are all just yelling a lot of misunderstandings back and forth. So... what is happening to the meta community? I'm going to try and talk about it.

Okay. So I've explained what structure is and what a lens is. So now I'm going to talk about balance because the current issue plaguing the meta community is a lack of voices discussing and viewing things in balanced way. And I'm going to focus on ship related meta writing because let's face it, that's where a lot of the most passionate arguing is. Since meta is usually written with a bias for a certain reading we most often get four distinct readings:

A --The Narrative lens: Wincest

B --The Narrative lens: Destiel

C --The Psychological lens: Wincest

D --The Psychological lens: Destiel

Post S12 when Dabb era started I personally made the decision to switch from writing/watching through B to D instead. A narrative lens focuses on things like mirroring, set design, character arc reading. A psychological lens focuses on things like characterization (usually with a focus on where a character is and not how they are designed to change), seeing the characters as real people, rather than narrative constructs. Lynn from Fangasm is a good example here and I don’t think she’d mind me mentioning her here. Lynn, as a psychologist by trade and J2 fan by choice, views the show through a Wincest psychological reading, in total opposite from me in Carver era Supernatural, viewing with a narrative Destiel lens. We disagreed on a lot on stuff as you can imagine. I read her from time to time but she didn’t read me. Now, sometimes viewing one lens too much can make you blind to other things (not limited to readings). Frequently she’d hate and not understand things that I felt were explained perfectly as viewed through my lens. It's the difference in seeing Charlie Bradbury personally go through some stuff vs seeing Sam and Dean's issues elaborated on in the complex abstract. However, for me, post S11 I found myself way too stuck in the narrative lens. I felt I wasn't even seeing or experiencing the show the way it was designed anymore. And I wasn't. And being that Supernatural is part of my job I knew I had to reorient myself.

In Dabb era in particular, there's text and communication between the characters, which means that a narrative lens isn't strictly needed for viewing anymore. When S12 was airing I had the absolute pleasure of meeting Robert Berens and talking to him at length about meta. My friends @ibelieveinthelittletreetopper and @nicky36 were with me and the post is on my blog somewhere. Berens is my absolute favorite writer for the show. I talked to him about the narrative lens and how stuff like what he wrote about Mary leaving in 12x03 lost its emotional resonance with me because I knew she was leaving for contractual reasons, rather than general characterization ones. It was a problem with me, rather than a problem with the writing itself. It's watching a puppet show and instead of paying attention to the story, staring at the strings the whole time. I knew I had to learn to stop that even before talking about it to anyone. We also talked about 9x06, which was my favorite S9 episode as a Cas fan! I remember I talked about the season's theme of consent issues and I mentioned something from the divine reviews I wrote about a consent reference 9x06 made through a pop culture reference about the sex practices this random island had. He wrote the episode and chose this island to reference. I thought surely he knew what I was talking about. I was complimenting his cleverness, after all. And I'll never forget what he said to me: "You know, meta writers are often far more clever than the writers are themselves." It means we, as pattern seekers to themes (in the case of S9, consent themes), can pick out any kind of pattern if we are simply looking hard enough for it. And some things that we think are intentional, are simply coincidental, even within the written screenplay. After talking to Robert Berens that day I never looked at meta writing the same way again and began to work towards switching my viewing lens.

That's not to say viewing the show through the narrative lens is bad, or wrong. It's valid and a fucking important way to view the show, but equally important is realizing that sometimes you need to take a step back and consider other readings and lenses, too. So I stopped focusing on pop culture references and their thematic associations. I stopped looking at the set design as a primary storytelling point and regaled it to a secondary support point. I stopped looking at who Dean and Cas were mirroring and started looking at what they themselves were actually saying to each other, doing together. I realized that all the mirrors in the world didn’t matter if Dean and Cas weren’t actually talking to one another and physically in the same scenes together. All the romantic coding in the world through the visual presentation and mirror structure would not take the place of real life escalation. And I found looking at it and talking of the show in this manner, was getting beyond exhausting, especially when I ended up saying the same thing over and over. Carver era made the narrative lens necessary to view Destiel, while Dabb era has made it practically irrelevant. Even now I can still see these storytelling elements and comment on them in passing but mostly for me they started working like an overlay in tandem. And it provided something I hadn't had in a lot time watching: clarity.

Concerning mirroring, I've seen that often the Cas!fan Destiel side focuses too much on this (like I used to) through the narrative lens because Misha isn’t a lead therefore Cas isn’t in every episode so he often exists in this narrative space within the mirrored structure of the show (also called us seeing Destiel parallels). Through the continued use of the mirrored narrative, the show makes it so Cas fans (who watch primarily for Cas) must look for him there when he’s not physically present in the episode, desperately so in some cases. A Wincest reading, however, has the benefit of J2 being leads and present in every episode, with the reading enjoying touchstone psychology updates/deepening usually in every episode (though yes, Sam/Dean scenes have been cut drastically this year because of contractual reasons). Mirrors for the brothers (good and bad) are easily ignored completely (unless extremely heavy handed) because they are physically there for each other in every episode. Because of this priority watching divide (and handicap on the Cas fan’s side) I believe this has lead some meta writers to focusing too heavily on this element of Supernatural’s storytelling (or otherwise the symbolic narrative), to the point they sometimes even focus on it over Cas’ physical presence without really realizing it. And other fans do the opposite and/or ridicule them. And both types of fans and focuses are what I'd call being "out of balance".

On the flip side of discussing the impracticality of viewing primarily through a narrative lens, I'm going to also discuss how it's impossible to view solely through a psychological one, like so many “antis” in Supernatural fandom do. How many times have we heard, "You are disrespecting the character's sexuality by doing your analysis! Dean says he's straight so you must accept he is!"? I know I've seen it a lot. It's heavy on the fans that favor a Wincest reading through a psychological lens. This type of argument treats the character, Dean in this case, as REAL, instead of a fictional construct subject to other mechanics within storytelling. This is because the fan is viewing the show primary through a psychological lens and thinks the same ethnics of real life people apply to fictional constructs such as Dean Winchester. This is simply not true. You don’t judge a real life person’s sexuality based on the colors of their shirt! What’s wrong with you? It is quite impossible to disrespect a fictional character. As a viewer/academic, you can only really feel your understanding of them is being disrespected. In the end, Dean is still very much a fictional construct and thus, is not subjected to being viewed strictly under a psychological lens especially since a medium of storytelling like television and screenplay use visual elements and other narrative devices to also tell the story of the character.

Mel sent me several old posts with some examples. In real life the mailman damaging my mail and delivering it late one day isn’t symbolic of my messed up internal issues as a person. It’s just a crap thing that merely happened one day (even if I muse it feels like my own personal symbolism). I, unlike Dean, also don’t put on the same shirt every time I’m about to make a bad decision. When May rolls around I don't worry about the world maybe coming to an end each year, but Sam and Dean probably dread it. When I decorate and paint my walls I'm looking to create a certain pleasing aesthetic for the sake of it being pleasing, not for the sake of displaying the current problems plaguing my inner psyche. Or maybe some people do this to some degree, idk. Mostly, no.

Supernatural does indeed put storytelling clues in the wallpaper, but usually the intention is not as far reaching as some people conclude. And it’s in it’s own created language. Regardless, you can’t write a story with wallpaper alone. At most, you can simply look at it and guess something small ahead of time (like hourglasses signifying time travel). I'll use 11x06 as an example. In this scene we have a demonic liar getting interrogated in a room with Gabriel’s wallpaper from Changing Channels because the demon is trying to trick Sam and Dean into releasing him and saving his meatsuit instead of kill him (since Carver realized he needed to refocus the Winchesters onto saving people after S10, which, idk, maybe he realized how heartless they were seemingly becoming by choosing each other over the world so much, anyway...). Anyway. In 5x08 Gabriel used that entire episode to trick and trap Sam and Dean in a fabrication. Trick and lies. There’s your thematic tie in. I remember some people just immediately saw that wallpaper and thought it meant Gabriel was coming back when instead it was a simple "beware of trickery" thematic callback. Under the show’s silent storytelling language when this wallpaper is used, it means we are being lied to and tricked. This is all the wallpaper is meant to invoke. Sam immediately realizes this in the same scene. The silent storytelling here is just a fraction ahead of the textual storytelling. And that’s what silent storytelling is designed to do. Looking at wallpaper for clues on character development is a whole different analysis problem because Supernatural, by very much all appearances, want Sam and Dean to develop as slowly and as little as possible because the bulk of fans watch for their issues, not to the resolution thereof. The show doesn’t know what Sam, Dean, and Cas look like past a certain point of development and they are wholly uninterested in exploring that.

But back to wallpaper, interpretation, and 11x06.

A request for this wallpaper was probably not in the script. Screenplay usually puts as little detail into the script as possible because they simply trust Jerry Wanek and his design team to do their jobs (and Jerry, in fact, usually disregards certain script directions in favor of his own ideas as better symbolically worked into the show). AU!Michael’s church was originally a concrete bunker and Billie’s minimalistic fate library in 13x05 was originally a country cottage. Jerry is given extreme leeway on SPN (with I think only like 6 of his decisions have ever been vetoed he told us), but only because he’s so in sync with the show’s thematic presentation. I’m going off topic again because I’m supposed to be talking about fandom. Sorry. Back to 11x06 (again). Gabriel is such a fan favorite, however, that this (look out for tricks) was not the basic thematic message a lot of fans took away. No, the message they took away was Gabriel was probably coming back soon. I remember speculation continued about that for weeks. When at the time there were absolutely no plans for that during production. This reading, I can say with confidence, was absolutely unaccounted for. Jerry Wanek’s whole department is quite literally kept in the dark about future storylines. He’s told me this himself. By the time production for an episode rolls around they have a few scripts ahead maybe, nothing more. This is why Jerry was confused as hell about Asmodeus being a shape shifter in S13, because he didn’t know Gabriel was definitely coming back and that Asmodeus was siphoning Gabe’s powers. Poor Jerry just thought Buckleming was just butchering the canon for fun (I mean... this does happen so...). If there’s an intentional visual motif present, it either draws on some simple visual theme from earlier (tricks and 5x08 vs 11x06) or it’s part of the language of the show as written in the screenplay. It is very much something Supernatural does. Just not in such a complicated way, and one that definitely doesn’t conform to real life.

Real life ≠ Fiction and Fiction ≠ Real life

Do we see yet the limitations of relying too heavily on one lens over the other when viewing and analyzing media? How staring at the wallpaper can blind you to your psychological understanding of the characters, and how likewise, thinking of the characters as real people can just as well blind you to what the story is trying to tell you using a complete framework as a thoughtful examination of human expression and experience? You have to see it all and all at the same time to get a good picture. If you are going to write about the show then somewhere you must find balance or risk going blind. Television, most of the time is about creating stories that feel real, fourth wall breaks aside. The average television viewer is honestly not sitting there seeing Charlie Bradbury as Dean and Cas', Sam and Dean’s issues or whatever. They see her simply as Sam and Dean's nerdy little red headed friend who is coming to help them out with something. Writers often write through the narrative lens, but realize that most people watch through the "real life" one.

This psychological lens is not only accounted for, but it is generally catered to all of the time. Significant storytelling is therefore always in the psychological lens because the truth is television rarely wants you sitting there figuring out futrue storylines. It operates on you wanting to WATCH to see what’s next. They hate fans like me who can guess major plot points ahead of time. The truth is they want you to suspect certain things, but not expect them. The difference is a bit complicated and I extracted my discussion of speculation based on structure out of this post for cohesion. I hopefully make a separate post on it because I think I pretty much got the S14 finale figured out at this point. As much as I love, LOVE and have written on the narrative lens, it is not how the show delivers its primary narrative, especially here in Dabb era.

Go through and rewatch S8-S10 of Castiel (or better yet, Dean/Cas) only scenes and really look at what the show is giving itself. Then look at the difference in S11-S14, paying close attention to the difference in S9 over S14. For those immersed in the subtextual and mirror narratives with Destiel, this is an extremely good exercise, especially if you are someone who really believes or hopes the show will (eventually) convert the subtext into undeniable romantic text at any point (hint: Cas and Dean have to be physically together in scenes in a way that allows for escalation). Note that I don’t say canon here for a reason. Based on compounded narrative character mirrors (meaning mirrors repeated at least three times by various writers and can be deemed "significant" because they are witnessed by either Dean or Cas, though lbr usually Dean because we most often get these in the physical absence of Cas in an episode) and subtext (used to compare and explain Dean and Cas’ feelings towards one another), Destiel is already subtextually canon. Hell, without the mirrors, it’s this almost through romantic tropes alone. Supernatural is way past something like Korrasami, that got declared canon through subtext, mirroring, and Word of Gay. Destiel has honestly been way past this point for a long ass time, just like Dean being a canon drug user.

Both things are subtextually canon through different visual/dialogue/mirroring storytelling elements, but I'd consider each canon nonetheless, yet still easily ignored/misunderstood due to various degrees of disbelief or ignorance, usually based in a gap of the viewer’s understanding as informed by their own experiences and/or a lack of understanding concerning how television writing works differently from real life experiences of the same nature. The term "psuedocanon" is something I adopted back in S10 (I believe it was) to talk about the exact undeniable/deniable nature of Destiel within the split academic writing/viewing community. There’s no right or wrong about something being subtextually canon and television writing accounts for this viewing disparity in every significant narrative. Read that, then read it again because it’s so often the core of so many fandom arguments to the point I wanna rip my hair out. Right now, Destiel is not a significant narrative in the show. It’s not an obvious plotline. It’s what we’d call a secondary plotline, yet one that often drives action (usually in the form of Dean and/or Cas moping around in various ways). You don’t really need text of either (not the nature of Dean and Cas’ relationship nor the true nature of Dean’s relationship to drugs) to watch and understand the show on the primary surface level, well... except lately when the show points out how Sam doesn’t understand certain things between Dean and Cas (13x03, 14x12) but even then the show seems content to let us be just as oblivious as Sam there.

If I’m going to make a comparison here, the show is content with you selling you a car, but it is also content with you not completely understanding whether or not it has cruise control even as an option. The important thing is that you understand they are selling you a car. Personally I really want and need cruise control, but it’s not a deal breaker for me like it could be for some.

Now, we don't have Word of Gay like Korrasami, but I think... I think a lot of people need to stop trying to prove themselves right about Destiel being subtextually canon through continuously, in a way that denotes hyperfocus, pointing out the new ways in which it is by discussing the show mostly (or even solely) through the narrative lens. I honestly believe we, as a community, have written enough on it over the years. It feels... exhaustive at this point. Meanwhile, the psychological lens is right there and, as I can attest, helps keep your analysis' merits grounded in a way that is more easily explained and personally examined. The future of Destiel lies there. I don't think there are many of us out here writing on the nature of the Destiel narrative that are doing it because it's popular anymore. If we are still writing on it and have been for a while, it's because we genuinely care and we find it fun. That or we are frustrated. For me, it’s a little of both. When meta used to be written, back when queer reading and codings stayed in the subtext, there wasn't all this pressure being put on meta writers about possibly leading people on. This post by @bakasara from back in the day perfectly sums up the situation we, as a community, keep finding ourselves in, only now the situation seems worse. Since these storylines never got text, the fact that they wouldn't was a given. Now that the television landscape has changed, and Supernatural still remains, with one reading (Destiel) having a chance of going canon over the other (Wincest), the meta writing community of the show is in a particularly interesting place in fandom history where apparently meta writers can be blamed for somehow leading fans on in place of the narrative itself doing this.

I used to think this was wholly rubbish, but when you have meta writers ascribing writer intent to a product that deals with hundreds of individual intents, some of which have nothing to do with the writing's main intent, in a way that denotes the meta writer somehow knows best, then we do have a genuine problem. I feel like I’ve been here long enough and studied this fandom and this text to such a degree that I can say that. I don't personally know of any meta writer who does this, whether they are hyperfocused on viewing the show through the narrative lens or not. Doesn’t matter. I've already said I don't read other meta writers anymore since meta writing as an art form of expression made for enjoyment has shifted beyond my tastes from writing academic essays on a reading into this kind of weird meta writing subset that either simply tags discussions (anyone’s opinion post) as "meta" or otherwise uses this weird analysis/speculation blend in a way that is not clearly separated and/or defined. Just because I don't follow it, doesn't mean those voices aren't out there. I think they probably are.

And it's no secret that I personally lament what the meta writing community has become, even though it still imo has its essay gems. There are simply a lot of people inexperienced in many things concerning the analysis of media and they are out there telling people that certain things matter that don't and that certain things are right that aren't. These I have seen. I remember back in S10 having to correct someone that thought the title of "Story Editor" meant that another writer could edit a script they didn't write. Television writing isn't like a school yearbook staff. I don't remember who they were. But I do remember thinking, "Dear LORD, this person is talking like they know something when they have NO CLUE! And what's worse, people are believing it!" The “story editor” title is literally a pay grade distinction on Supernatural. I think most people would be shocked to know Supernatural doesn't even have a traditional writers room. The writers get together a few times a year and that's IT. There’s some collaborate efforts made among themselves but it's not like episode meetings among the whole staff are made. They aren't. They have a certain piece to write and they write it. The writer's room is a dictatorship overall.

So to sum up... While yes, language and knowledge among certain meta writers is a problem, there's also a growing problem with how different readings are coming to depend too much on a single viewing lens. None of that invalidates any of the meta being written if it is what can actually be classified as meta. We need to stop associating discussion/speculation with meta across the board. If we want people to stop speculating intent over possible future relationships using meta, then say that. People won’t do it, but say it like this, I beg you. To this hope, I feel like I might as well be talking to a wall on this point. And like I said earlier, many voices have been lost. And for that, there's really nothing we as a community can do at this point. Those people are pissed, bitter, or have been driven away at this point. When I first joined the meta writing community in S8 we were very diverse, and now we simply are not. And I wrote this not to sound like a policing or patronizing wake up call to anyone. I fucking love meta writing. It’s important. I was asked what was happening in the meta community. Here I attempted to answer that in a general way. I tried very hard to talk about my own experiences writing meta, how I viewed it, how I saw the community on tumblr as it started and how I feel it has since irrevocably changed. Meta is supposed to be fun, providing a certain point of view, nothing more. By merit, it can't promise anything and shouldn't be confused with speculation. In my next segment I'm going to discuss speculation, how writing is designed to create suspicion and not expectation.

Thanks for reading and a special shout out to @justanotheridijiton who had to view this meta in its raw unreadable form and who encouraged me to rewrite it and publish it despite my initial desire to write all this out for myself, then just delete it.

#meta writing #zerbe discusses things #long post for ts #the narrative lens #the psychological lens

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bbclesmis · 5 years ago

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David Oyelowo on 'Les Miserables,' Making Directorial Debut With Oprah Winfrey

The Emmy- and Globe-nominated actor, who directs 'The Water Man' with Winfrey as co-producer, also discusses taking on the most iconic and tragic antagonist in literature and not wanting to be "the token person of color" on the PBS series.

David Oyelowo has always been a fan of the Les Misérables musical, but it wasn't until he picked up Andrew Davies' script that the star — who's been Emmy- and Golden Globe-nominated for his work on HBO's Nightingale and in Ava DuVernay's Selma — fully appreciated the villainous Inspector Javert. "There was so much more depth and complexity to this character than I ever realized from any iteration I had seen," he says. Oyelowo, 43, spoke with THR about executive producing and starring on PBS' six-part Les Mis miniseries (which debuted April 14) and developing his directorial debut, The Water Man, a fantasy drama co-produced by Oprah Winfrey — "or Mum O, as I like to call her."

Javert is one of the most iconic and tragic antagonists in literature and theater. How did you key into his psychology?

One couldn't earn the way Javert comes to an end in such a dramatic, violent and self-inflicted way without a very clear runway and emotional, psychological and spiritual journey. The biggest clue to me was that he was born in prison to criminal parents, yet he is now a man who detests criminality to an obsessive degree. You go, "Well, it's fine to hate criminality, but to be so obsessed with Jean Valjean — what's going on there?" Victor Hugo actually based Jean Valjean and Javert on the same person, this gentleman he knew who had both sides within himself. To that extent, Javert transposed all the criminality he loathed in his own upbringing onto Valjean, and that justifies his obsessive pursuit of him. But when he recognizes that this man isn't just criminal, he is worthy of redemption, he is someone who somehow has been able to transcend his criminality; he realizes that this pursuit has been futile. The criminality that he loathes is still within himself, which is why he chooses to destroy himself.

Did you and Dominic West know each other before this?

We didn't know each other well. He's such a lovely guy and incredibly funny. I had to do as much as I could to stay away from him while we were shooting. For me, I need to inhabit and feel every tendril of the character, and I couldn't entertain the idea of being jokey-jokey with him and then go into the level of acrimony between us. There's such a cat-and-mouse element to Javert and Valjean's relationship that was so satisfying to play. As an actor, a lot of the time you are trying to find the subtext to a scene, to imbue it with interest. With this, it was absolutely inherent. These characters had so much history that was always present in every scene they had together. But we've become great friends ever since.

Was using the music from the stage adaptation ever a consideration?

It never was, no. We all discussed that if we're going to do this, there has to be a real reason why this should exist so soon after Tom Hooper's [2012] filmic musical. We wanted to make it a much dirtier, grittier, immediate, politically prescient version. Being a producer, I didn't want to be the token person of color within it. I was very clear that we need to have that be something organic and truthful to the time. We've done a terrible job of representing just how many people of color were inhabiting Europe at that time. And not just in subjugated roles. Anyone who's read Tom Reiss' The Black Count will know that Thomas Alexandre Dumas was a general in the French army in the late 1700s [one of the highest-ranking men of African descent ever in a European army]. So, it's not beyond the realm of possibility that Javert was indeed someone like me. You want people to see themselves onscreen.

I've read that you've specifically asked your reps to seek out roles where you might not be first in mind. For this miniseries, did your casting come first or did you initially come on as an executive producer? Did you feel like you had to fight for the role at all?

I signed on as an actor first. They approached me and I was actually the first person to be cast in it. But yes, what you mentioned is absolutely true. Early on in my career I felt the need to say to my representatives, “Put me out for roles that are not race specific.” Because the truth of the matter was, the more interesting roles were inherently going to white actors. I am just so elated to now be going into a phase of my career where I am being approached with those kind of roles. It's not something necessarily I'm going to seek out. So yeah, Les Mis is something I was approached with, and that is incredibly gratifying because a decade ago, 15 years ago, I just don't know if that would have been the case.

As an EP on the series, was there a time where you felt like you had to take off your actor hat and fix a problem? Or did you feel like it was generally smooth sailing throughout the shoot?

It was pretty much smooth sailing. Tom Shankland, our director, had such a handle on the piece. You couldn't ask him a single question that he didn't have an answer for both on the basis of the script and the book itself. I was so impressed by him. Our producer Chris Carey also was just a monster when it came to making everything work in a beautiful way. For me, my primary function was just keeping on it when it came to representation within the piece. I think that is when sometimes things slip within the cracks. We all go to the movies and watch TV in the hope of seeing ourselves represented. We all have bias, we all lean into things that are more akin to our own experience. And of course, I have a bias toward seeing people of color in something like this. So it was very helpful, I think, to have me around to say, "Guys, let's remember the nature of the piece we're doing. We need more extras of color here. Let's not forget what we're trying to do here." Some of the development of the script I was very much a part of, and then a lot of the distribution and the marketing and the release dates and all that kind of stuff. Postproduction is a big side of getting a six-hour piece to be its best self. I got my hands quite dirty with that process as well.

This spring, your slate is pretty packed in addition to Les Mis. You had Relive debut at Sundance, you're in production on Peter Rabbit 2, and you have Come Away and Chaos Walking in post. How are you doing?

It's a very, very good question. I literally was in Sydney doing Peter Rabbit. We then went to London last week, and I'm now here in New York. Then, I leave here to go into preproduction on my directorial debut, The Water Man, in about three days. I have an incredible wife who makes it all work. We actually run our production company together. We have four children and they are with me a lot of the time. We scheduled the shoot for The Water Man over the summer holidays so that they can be with me. I really, really love what I get to do, and I don't take it for granted at all. I'm just trying to have as much fun and tell as many great stories as I can, while I can. But my wife and I have a two-week rule. We're never apart for more than two weeks, and so that means a lot of flying, and a lot of crazy scheduling.

You must have a lot of frequent flyer miles.

I have an enormous amount. So if you ever have any trips that you're planning, please hit me up because I have plenty.

Why did you select The Water Man for your directorial debut?

I was looking for a film that was akin to the ones I loved growing up — E.T. or Close Encounters of the Third Kind or films like The NeverEnding Story, Labyrinth, The Goonies. They don't have to be $200 million extravaganzas, but they can have a fantasy element and be grounded in realism and truth with poignant themes. This script by Emma Needell was on the Black List. I fought hard and thankfully got it, and myself and Oprah Winfrey — or "Mum O," as I like to call her — came on as producers to develop it. Another director was going to direct it, but he fell out. My fellow producers turned to me and said, "Well, you've been working on this passionately for five years. Do you want to do it?" I took two weeks to really mull that over.

What was the deciding factor in those two weeks that made you say, "Yes, I will; I’m ready"?

Realizing that I was passionate enough about the story to dedicate as much time to making a film as is necessary. And the fact that the story is just so moving to me. It's about an 11-year-old boy who's on the hunt for a mythical figure who he believes can save his mother from an illness. I also love the fact that it is an adventure movie. Basically, this boy teams up with this girl and they go into a forest hunting for this mythical figure called “the Water Man.” So it has elements of Stand by Me and Pan's Labyrinth, both films I deeply love. I'm always looking for opportunities to scare myself, and this is the most dramatic example of that I have had in my career thus far. So I jumped in.

Was there ever a seed earlier on where directing first sprouted in your mind?

Very early on. It's something I've always wanted to do. I remember seeing Kenneth Branagh's Henry V and that being one of the earliest moments. I thought, “Whoa. That guy directed that and is in it. How on Earth is that possible?" And then he did it again with Hamlet. I think the seed just kept on being replanted of the idea of doing it one day. So when the opportunity presented itself, it had been long gestating.

https://www.hollywoodreporter.com/news/david-oyelowo-les-miserables-making-directorial-debut-oprah-1213657

#les mis bbc #bbc les mis #david oyelowo #javert #Interviews #articles #the hollywood reporter #pbs

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stevenuniversallyreviews · 7 years ago

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Episode 75: Steven’s Birthday

“Looks like you stagnated there a little bit, buddy.”

My brother is nearly two years older than me, but due to his summer birthday we were only a grade apart in school. My sister is exactly two years and eight days younger than me. One of the many things you get as a middle child, particularly when the ages are so close together, is a sense of innate value in being slightly older.

There have been several moments in my post-high school life when, for various reasons, I’ve assumed that certain peers were older than me. Whenever I learn that these age impostors are actually younger, it rocks me to my core. I just have this semi-conscious deference to people who are a little bit older, and I swear my internal reaction to learning that I’m the older one is always “Well then why the hell was I respecting you so much?”

I acknowledge that this is absurd, especially because I don’t expect that kind of deference from my younger peers (this could be due to my sister’s low tolerance for my BS, I dunno). In practice, I’m not even consciously nicer to people I think are older; as far as I’m aware, it’s all in my head. But there’s still a tiny sense of rank that comes with age order that I'm not sure I’ll ever shake.

This is all to say that I've never related more deeply with Connie Maheswaran than I do in Steven’s Birthday.

I mentioned in my post on Nightmare Hospital how much I appreciate the specifics we get on this show, and I don’t think it’s a coincidence that we first learn Steven and Connie’s exact ages (as well as Greg’s age at the time of Story for Steven) in another Connie-centric episode. The Gems don’t care about specifics, because they live so long that everything just kind of goes together. But humans—especially the kids in the audience—care a lot about detail, and this is ultimately an episode about Steven’s humanity.

And yeah, it’s weird that Steven is 14. Or rather, that he was 12 and 13 for as long as we’ve known him; considering Steven’s Birthday is after the second Beach-a-Palooza we’ve seen on this show, I assume he had another birthday that we didn’t get to see. If this kid was going to school, this show would be taking place from seventh through ninth grade. Yikes!

But this reaction is the point. We’re meant to be shocked. 14-year-olds tend not to act like Steven, for better (they tend to be savvier) and for worse (they tend to be terrified of earnestness and hide their insecurities with attitude sassier). Despite the character development we’ve seen from Steven, he’s still firmly in kid mode. Part of that is the realities of a show with set character designs (cue the fandom complaints about inconsistent sizes*); note that he still doesn’t physically grow until the time jump. But in-universe, it also has to do with a continued mindset that he’s pursuing equal footing with the Crystal Gems. If his life is defined by pursuit, he’ll never actually reach the goal.

*In regard to character sizes: I see characters like I see language. If you say a word that’s slang or dialectal, and someone fluent in that slang or dialect immediately understands you, then that’s a word, regardless of what a dictionary says. If I look at a character I’m familiar with and immediately recognize that character, then that’s the character. Moreover, there are characters in Steven Universe who care as much about size as the fandom, and spoiler alert, they’re the villains.

As I’ve maintained since all the way back in Bubble Buddies, Connie is an agent of change. She’s Steven’s prompt to start growing up for real, and Steven’s Birthday has nice little nods to many of the ways they’ve developed together so far. They toast with durian juiceboxes, the same gross fruit drink that caused An Indirect Kiss. Greg offers Connie a ride home in the van, which is the bulk of Winter Forecast, and in that same ride Connie talks about the training with Pearl that began in Sworn to the Sword. There’s a big dancing scene a la Alone Together. Connie even broaches the possibility of skirting movie theater law, and despite retracting the suggestion, she was all about sneaking food in Lion 2: The Movie (her vision of Dogcopter in the stars is icing on that cookie cake).

After Nightmare Hospital’s friendship episode, we jump right back to romantic subtext here. I don’t know too many platonic friends who slow dance until one does a vintage foot pop, or who assume they’ll be married when one of them is president, or who just blush this much in general. It makes a ton of sense to go for this angle in an episode about getting older, but more importantly, awww.

This is the first time subtle relationship angst has been introduced to their dynamic: unlike Connie freaking out about Steven’s family in Fusion Cuisine or Steven trying to ice Connie out in Full Disclosure, the tension between these two spends the whole episode simmering but never surfaces in a big way. It just manifests in awkward discomfort, which does manage to convince me that Steven is 14 now. While they don’t dwell on it too much, Connie is clearly more attracted to Tall Steven than Regular Steven, and I think he knows it. If you’re not a young teen already, imagine being a young teen again and knowing you could make your crush like you, but it caused physical pain. Yeah, not too surprising Steven goes for it.

(If you’re younger than a young teen, get off Tumblr right this instant and read a book. Love, a children’s librarian.)

On top of looking taller, Zach Callison drops closer to his regular speaking voice to complete the illusion of Steven’s growth; like companion episode Too Many Birthdays, he gets to show off a vocal range that Steven usually doesn’t have. While Too Many Birthdays does show that Steven has some control over his age, and didn’t actually have to stretch it out here, I like the implication that despite wanting to look older for Connie, he still doesn’t feel older quite yet. And he gets a nifty (if unsubtle) lesson about being himself at the end when his mature decision to stop altering himself is rewarded with his first puny facial hair. (As someone whose father could grow a full beard in high school but who himself had nothing but peach fuzz until after college, I feel you, Steven.)

Lamar Abrams and Katie Mitroff thread the needle on Connie, who has to balance the role of being a good friend against being the root of Steven’s body issues. She easily could’ve delved into Fusion Cuisine levels of unsympathetic, but it’s clear that her feelings about Steven’s appearance stem more from concern than anything else. Yes, she does like his taller form, but she never intentionally pressures him to maintain it, and accepts his regular form without question. She even wants to hang out with his baby form! I wouldn’t have even minded if her worry manifested in getting a little upset with him, as this would be a natural reaction to Steven’s condition and Connie isn’t perfect, but she cares more about who Steven is than what he looks like, which is just the kind of friend/crush he needs.

Connie also gets a nice amount of bonding time with Greg, with an explicit reference to their roles as the most important human beings in Steven’s life that we got from We Need to Talk. I love how Greg’s doting fatherhood is something that Steven is probably still super into, but is only embarrassed by because Connie is around; he’s right at the cusp, but he’s still a kid. But through Greg’s interactions with Connie, we see that his Dad Mode isn’t restricted to goofy shows of affection, and he’s willing to get serious when a kid that isn’t even his is upset. Just as we could’ve had an episode where Connie was more of a jerk, Steven’s quiet abandonment of his cape and crown could’ve made for some painful interactions with Greg. I’m so glad that Abrams and Mitroff are content with how uncomfortable the core premise of the episode is and don’t feel the need to shove in additional drama.

Also, while it’s clear from the extended theme song and implied in other Greg episodes, this is the first in-show confirmation that Greg raised Steven on his own for a significant portion of his life. It comes with yet another callback, this time to Laser Light Cannon as we crank up Let Me Drive My Van Into Your Heart, and it’s heartwarming to think about those early days of Greg and Baby Steven in an episode that’s so focused on the question of Steven’s humanity. Three Gems and a Baby will show the sorts of challenges Greg actually faced, but it also reinforces what we learn here: that for all their cosmic wisdom, Steven needed a human to raise him first. Not even Garnet pulling faces can do what Greg does.

The method by which Steven adjusts his form turns Steven’s Birthday into something of an Amethyst Episode (I love how this show is willing to pick certain Gems to focus on even when all three are still background characters). Garnet and Pearl don’t have the body issues that Amethyst now shares with Steven, especially concerning the use of shapeshifting to combat a feeling that they’re too small. Amethyst introduces the concept while stretching to hang up a banner with a pointed caveat that she can’t stay stretched forever, and when she confronts him after catching his secret (aided by him helpfully stating aloud what his secret is), you get a sense that she knows all too well how much it hurts to try to permanently hold a bigger form. In a true Amethyst Episode, this might lead to a reveal that she once attempted what Steven’s doing now (which we do see a bit of in Reformed but not in the “stretching of a base form” sense), but here, it’s left to the imagination.

Amethyst also gets that great reveal as a car seat, which I can’t unsee now but was surprised by in my first viewing due to the focus on Connie and Greg. It’s not only a fun little joke, but it gives Greg a reason to have a baby seat handy. Considering he’s a hoarder and the barn is full of old junk, we could’ve seen a regular seat without comment, but the crew doesn’t waste the opportunity for a sight gag.

There is one missing thing from Steven’s Birthday that surprised me a little. Considering our last episode (which takes place mere hours before this one) was a story about, among other things, how Garnet met Rose, it’s interesting that nobody points out the other anniversary this day represents. Steven’s birth directly correlates with Rose’s death, but neither Greg nor the Gems (not even Pearl!) seem to care. This isn’t a criticism of the episode at all: Abrams and Mitroff wanted to tell a completely different story, and there’s no way to do justice to “Gems think about Rose’s death on Steven’s special day” without making that the focus of the episode. I just think it’s an intriguing indicator of the show’s priorities. Rose is important, but in the moment the Gems see Steven as more important, and that’s pretty neat.

Anyway, it’ll be a couple more seasons until Steven and Connie get another big dose of teen-specific angst with the devastating Breakup Arc, and I doubt it’s a coincidence that their reconciliation in Kevin Party comes with Steven’s pink button-down. Still, in retrospect, the awkwardness we see here primes us for a different relationship: Lapis and Peridot’s. The latter is awkwardness incarnate, and when we finally get to know the former outside of crisis mode, it turns out she’s a surly teen. Together, they sate the show’s new appetite for adolescent drama between Steven’s Birthday and Dewey Wins, culminating in Lapis dumping Peridot (because as I literally just said, the Breakup Arc is devastating).

Shifting the teen relationship to another duo is such a smart path for the show to take, because it lets us retain focus on Steven’s identity as a growing child without abandoning the new storytelling possibilities that Steven’s Birthday suggests. It’s not as if Steven doesn’t gain any maturity until Dewey Wins—Amethyst’s arc is all about how he’s more or less caught up with her, and she’s a bit of a surly teen herself—but there’s enough Gem drama at the moment that Steven and Connie’s relationship still works best without tremendous complications.

Future Vision!

Maybe Pearl doesn’t want to hold Baby Steven because of that time she almost killed him in Three Gems and a Baby?

Steven’s facial hair might not have many new appearances, but Jungle Moon teaches us that Stevonnie gets full stubble when they’re fused long enough. And we do see it briefly in Reunited, complete with the shaving kit that explains why it’s rarely on his face. Gotta keep that chin smooth!

If Steven’s entire look after the time jump counts, then this is pretty good foreshadowing.

We’re the one, we’re the ONE! TWO! THREE! FOUR!

Steven’s discomfort expands to the viewing experience as well, and while it’s good to portray awkwardness well in situations like these, I’m not huge on rewatching it. Also, I hit my major growth spurt between fifth and sixth grade (and by major I mean I was six feet tall in sixth grade and just stuck with that height), and you don’t grow that fast without some serious back aches, so this one doesn’t just bring an intentional cringe factor, but memories of acute physical pain.

But I mean sure besides that it’s pretty good.

Top Fifteen

Steven and the Stevens

Mirror Gem

Lion 3: Straight to Video

Alone Together

The Return

Jailbreak

The Answer

Sworn to the Sword

Rose’s Scabbard

Coach Steven

Giant Woman

Winter Forecast

When It Rains

Catch and Release

Chille Tid

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Warp Tour

The Test

Future Vision

On the Run

Maximum Capacity

Marble Madness

Political Power

Full Disclosure

Joy Ride

Keeping It Together

We Need to Talk

Cry for Help

Keystone Motel

Back to the Barn

Steven’s Birthday

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Onion Friend

Historical Friction

Friend Ship

Nightmare Hospital

Too Far

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

No Thanks!

5. Horror Club 4. Fusion Cuisine 3. House Guest 2. Sadie’s Song 1. Island Adventure

#steven's birthday #steven universe #su #steven universally #review

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elizabethrobertajones · 7 years ago

Note

I think Destiel is the show's end game but they want it to be the very last thing. So they set up the story around season 8/9 because they didn't really know if they were gonna get picked up and they had to dial it back up when it continued. Now it started again during season 12 knowing the show is gonna end in the next couple of years for sure without it being cancelled. Maybe? Thoughts? Love your meta!

Hi! Love you too!

I weirdly had a conversation about this yesterday in private so I’ve managed to actually coalesce some thoughts about this… Lots of thoughts.

Seeing as I joined fandom in the end of season 9, I basically joined a fandom that had been pretty hurt by the spec that season 8 might have been endgame if the show was cancelled… Obviously we’re never going to get any sort of statement on it until after we know the definitive line on whatever else they were doing with Destiel after the point it matters, so it’s going to be small potatoes if it was or not.

But I don’t particularly think that it actually WAS - and the different way Cas, and his and Dean’s relationship, was portrayed in season 8 immediately threw a whole bunch of fuel on the fire but it was shocking in a way that it was being given attention rather than specifically being romantic, and it’s hard to tell the two apart, especially when you’re looking in the subtext and seeing romantic stuff, which when you’re a starving shipper suddenly seems like a feast of both charged interaction AND the old subtext, which is suddenly slathered all over everything when Cas is a major part of Dean’s emotional arc for the first time (in a good way).

(LOTS more under the cut)

Whether there was an intent or not, season 8 changed the game and without knowing what they were doing or where it would lead (aka hello I am Hindsight from the future) it would look pretty shocking and suggestive that something might come of it. Because I know I’d flip out in the same scenario just from wondering, and kind of feel like I’m in the same place after season 12, because again it feels like the game changed.

I’m trying hard not to leap to conclusions to be honest, and I do *not* want to be in the middle of it which is partially why I’ve reacted so strongly to twice in the last month people using me as some sort of fandom leader whose words mean more than others’, because I really really hope not and I wish I didn’t have to disclaimer it because it makes my ego look enormous but on the other hand twice in a month is a pretty frightening wake up call about how people see me?

So.

Even if it was written with intent in season 8, we’re so far past the point that if that was their plan they could have delayed it over and over without doing something substantial *in Carver era* about it, that it twists the fandom narrative about this into the show being very cruel. This narrative is a great one for people who feel wanky, to feel like they’ve got justified reasons to be upset that it didn’t happen and that they’re getting strung along. I’m not saying everyone who thinks that Destiel was slated to go canon in season 8 does, but it is a great narrative for those who do to feel somewhat certain the show is deliberately dangling and then holding back on Destiel, because nothing bonds a community like feeling as if some more important group of people is mistreating them. Justified rage and all that. If you don’t like the show because you feel it got kinda shitty over the last few years but instead need to take it as a personal betrayal in order to break up with the show, it’s a great thing to get riled up about. The bait and switch seems clear to them, and there’s been many discussions of the way they seem to build up only to yank away, in every season since 8. And part of the build up is meta writers freaking out about how canon it all looks and being naturally excited to see what happens with the story they’ve been reading positively (and this isn’t our fault, though some people think we’re complicit in queerbaiting just by wanting to analyse the show and give any credit to teasing the ship by pointing out its structural integrity).

Some people who see the idea it was going to be canon in season 8 positively also tell this as a way of making themselves feel good that it has been on the books and therefore has a chance of going canon in the future.

You can get the same story of the show’s intent in two different places, but the ONLY way we can ever construct this narrative is by reading into the show and trying to guess at what they’re doing because they’ve never admitted to writing a Destiel narrative.

A side effect of the 9x03 wank was a bemused message from someone waaaay up the chain and out of the writers’ room, who said they’d never been pitched the story. I’m inclined to believe that, because I don’t believe in any conspiracy except for the NHI (shh don’t ask if you don’t remember :P), meaning that at no point in season 8 was it EVER anything more than subtextual fun from the writers among themselves. And nothing that was on the books at least in the first half of season 9. Like, at the most generous thought that it might be later if you REALLY want to go hard on theorising about what they’re up to, it wasn’t at that point.

(The NHI sprang from 10x10 so I’m covered there.)

(Also if you see people handwave 9x03′s wank as a conspiracy to cover it up and that it HAD been real but NDAs mean they’d say it wasn’t, don’t use a pinch of salt, put a whole salt circle around that thought and run away.)

Another thing about this sort of expectation or narrative is that I feel the recent meta writers wank has made it really obvious there’s still people in fandom hanging on for fanon content and character stanning who really don’t need more canon to unfurl, ever, and are only going to get more angry about it, and were hurt at some point in one of these mass-wanks about the show, probably one of these early positivity bubble bursts, but who nevertheless feel like meta still has some sort of mystical power or social influence or… something or other… that from how it sounds, seems like they were once all in on the “it should be canon at the end of season 8″ hype or equivalent for their season, and of course were shattered when it didn’t happen.

And if season 8 didn’t finish them off, later things did - season 9 was a horrific obstacle course even just with 9x03′s wank and then JIB at the end of the year and the “we don’t play it that way” comment. Which I am contractually obliged to repeat every time I quote Jensen to give context of “as in a secret relationship where they’ve been fucking off screen as per whatever dirty fanart he was shown to get the concept of what he thought Destiel was”

I am fairly certain that season 8 hype was partially manufactured (a Known Fandom Cultist was in the mix and the heady combination of a new big fandom flooding tumblr from Netflix and all the season 8 subtext AND the chance for attention and followers is a wonderful mix for exploitation when the fandom hasn’t been hurt before from this particular direction), and definitely this hype was used to whip the fandom up into a frenzy of expectation that a lot of people either innocently repeated or expanded on in their own meta because the idea sounded interesting or halfway plausible based on their theories (as it was a positive growth of Destiel subtext and narrative ANYWAY) or they thought we deserved the best world of the show, or else they weren’t meta writers and just read it and bought into it and allowed this narrative to have *incredible* power over them by putting all their thoughts into someone else’s basket, and sharing the ideas and being excited in gifsets and fic and other fandom contributions for how the show had become a romance overnight.

(Spoilers: it hadn’t.)

I don’t like theories which use abstract examples to hold up to the show like basic plot structures, character arc templates, etc, pretty much exactly for this reason, because you can ONLY apply those as analysis backwards on finished arcs without immediately being wrong about something, and that’s a generous thought for if you’re not trying to whip up a frenzy of enthusiasm for fake emotional currency of Tumblr followers :P Essentially I have no problem with meta written about this sort of thing so long as it isn’t “they ARE using this trope so this HAS TO MEAN that this WILL happen,” or “they ARE employing such and such narrative structure and that means they WILL do this next step exactly as it says here”

… I could crack open my copy of The Seven Basic Plots right, now, pick one at random, apply it to the season 13 spoilers with dead certainty that it all adds up to Destiel and cash in my entire reputation on a 1/7 chance of being utterly right that the structure will look like it’s going that way to the letter, and hope I’d only lose a third of my new followers in the resulting storm when I’m not right about the pay off :P

If you just think it’s interesting and might be USEFUL to try and UNDERSTAND what will happen next, then by all means as long as you’re not using it and hoping that it sounds academic will mean people without a good grounding in rationalising these things for themselves will just assume you’re smart and know what you’re talking about. And then you use it to push home ideas which you can’t possibly know like that Destiel is being built up to go canon at the end of the season/endgame or whatever, some people will go right along with it because it’s tantalising.

Whatever happened, though, I have heard more than enough since joining fandom about the end of season 8 wank and people quitting the fandom and basically the first positivity bubble shattering (over an episode I feel does no harm and considerable good to the ship without making it canon), so that even before season 9 the wank and bitterness about many things such as the disproportionate freak out about Tracey Bell being a love interest or rumours spread that April or Nora would be multi-episode love interests for Cas, had everyone behaving like the way fandom does before every season or character announcement now. Which is to get disproportionately upset about things which have not yet happened, because they’re already feeling *so hurt* by the things which have, for not living up to the expectations, that surely everything is IT, the END, the thing that will kill Destiel out of the show forever. Every female character is a threat and everyone’s always certain the show is out to damage the thing they love just out of spite.

(I know some people will pop up like, it’s not about the ship, it’s about Cas! but I really can not help feeling that it’s just a sliding of feelings from the ship, because of feeling Dean was horrible to Cas over season 9 and 10 for example, to being over-protective of Cas in particular, and, like, I get it. I do. I don’t feel it that way because I never got invested in any particular pay off that I then didn’t feel happened, and that by whatever point, Cas should be living with them or getting his own episodes on the regular or that Dean should have apologised for whatever, or that they should now be dating. I have a personal investment in this tailored to look for positive things and see good changes like Cas getting more episodes ABOUT him, a strong place in the narrative, a in-depth personal arc, and love from the cast and show. For others, almost nothing will go far enough towards what they want, so even these huge positive changes from what I experienced in season 10 as a Cas fan will get over the hurdle.)

I also think there’s a serious secondary problem that for some people the promise of “it’s going canon at the end of season 8″ turned into “well of course it got renewed so it’ll be whenever the show ends INSTEAD” but carried on essentially giving the same super positive message that Destiel was absolutely 100% on the mind of all the writers all the time as the overall conclusion of the character arc. Which is something you can almost never tell when people write about it and I think again is more like an idea that moved into general conversation so I don’t think there’s really anyone out there I encounter who is angling for anything. But it can be misleading about the concept that just because meta writers find a consistent narrative and are optimistic it will continue and be honoured through the show, that we’re saying that there’s a guaranteed endgame and everyone ought to hang onto it.

Honestly if you can’t hack the wait, I’d much rather people went full-fanon, didn’t cast opinions on the show at all, put away the negativity in favour of enjoying the stuff they like - fics, art, canon-free headcanons, etc, and when the end of the show came, if they even halfway liked the sound of what people were saying about it, went and re-watched from the start to re-immerse themselves and try a positive take on it knowing what they were in for, canon or not. I’ve stopped watching several times out of DGAF feelings towards the show (weird dog episodes :|) and come back and again I can’t really claim to have the most healthy attitude, everyone follow my lead, but I do think I can be objective and careful about how I engage with it and try and not get sucked into negativity OR positivity rollercoasters that only go to hurt town. >.>

I mean, I honestly feel in season 12, it’s the first time we’ve had an entire writers’ room of writers I even think *know* about it as a solid narrative construct (and yes I am including Buckleming because they DO write Destiel into the show, they just also write all the racism and rape and whatever else in along with it :P) Between the scattered application of serious subtext through Carver era and the approach to canon they occasionally winked at, they never seemed particularly competent at the work needed to actually make Destiel canon if it was EVER supposed to be building up towards it. I think the bait and switch yank away is too clever for them and their handling of the narrative :P I don’t think they’re stupid but, NHI aside, they are not up for complicated conspiracies.

To be serious, though… I know people say they saw it all the time from space, and their casual viewer mom did etc, but the fact remains they never wrote a CLEAR romance narrative except for the splitting Dean and Cas at the start of season 10 and *paralleling* their narratives with Crowley and Hannah, while everything else has been situational tropes or strong emotional narratives which could work either way. A slow burn romance in a show that will admit it’s one will use many similar tropes but also ones which expressly make it a romance that everyone’s supposed to read as happening, usually quite corny, on the nose ones, and Destiel has more of the subtextual or emotionally bonding romantic tropes than like… anything else ever… but very few of the “oops walked in on him changing, let me just accidentally turn around again on the way out the door” type nonsense that broadcasts to people on Mars that they’re going to bang, and probably soon. I say very few because there’s little outliers like the boner scene or “i can’t let you do this” which are copy pasted from corny romance, but of ALL the Destiel that happened in season 12, ONLY the mixtape crosses boundaries like that and even so people CAN argue it’s platonic love, and the only thing we can really say is nonsense is that it’s not conveying any love at all.

Something like Crowley mourning his romance with demon!Dean and looking at photos to some sort of “all by myself” level song was very clearly a rom com trope and the one that for me sealed the deal that Drowley was intentionally meant to be seen in canon. Something like Dean and Aaron is disproportionately powerful because their main interpersonal interaction was literally described as being something from a rom com BY the director’s commentary :P Destiel is a 10 year old behemoth, largely NOT defined by rom com tropes, but with a few peppered here and there in a low enough concentration that it’s not the absolute norm to assume it’s going to happen.

But in season 12, like in season 8, Cas got a LOT of attention in the story, a good chunk of that was through Dean because Dean’s got the old profound bond, and Cas and Dean are intrinsically and inseparably connected in some ways that no amount of bro-ing up with Sam or forging a tentative friendship with Mary will do to NOT make it seem like Cas is talking to Dean first and foremost, especially when all 3 Winchesters pile through the door and Cas just says “Dean” :P

This season has a STRONG narrative about Cas’s relationship to the Winchesters and through Dean in particular, and there’s one of the stand out romantic tropes in basically ever in this season, along with several other hallmarks of the things that made season 8 such fertile ground.

12x10 had the crypt scene rehash to hopefully end these loops around Dean and Cas with the positive conclusion it needed, and a lot of the meta about season 8 flipped out about the human/supernatural relationships (with Charlie and Gilda foreshadowing the crypt scene perfectly, because Robbie) so 12x10 filled in a missing link from season 8, of a story about how angels might be into humans too.

And it was the season with Aaron which was Dean’s personal stand out bi moment which made a lot of people feel the show was going to start taking it seriously on his behalf, and season 12 had Aaron back, even if it was only one scene, it was a reminder he existed and the main interesting context for most people was him and Dean.

And season 8 had the angel fall spell, including the cupid nonsense in 8x23, and the nephilim which was the early forerunner of the suggestion of 12x10, that angels and humans can couple up, while in season 12 the angel fall spell was directly mentioned, 12x15 mirrored the first Hell trial, nephilim were back, and Crowley offered to close the gates of Hell. So season 8′s mytharc was slathered all over the season.

And in the crypt scene Dean was supposed to say “I love you” and in 12x12 they found a way to make Cas say it instead, which I agree was the more logical progression, that Cas would crack first :P

Anyway, season 8 was all over this season but season 12 felt amped up and going places season 8 didn’t, going several steps further and as I’ve said before to go straight from season 8 meta mindset to season 12, would utterly blow your mind.

BUT to go right back to the start, I don’t think season 8 was building to canon Destiel ever, not even as a failsafe for cancelleation. I don’t think that the planned “I love you” was going to do more than make the fight about canon that much more bloody if it aired and doesn’t help even without it airing, knowing it was going to happen. Jensen was the one who argued it away, and they agreed for character reasons supposedly, so there was no meddling from above to say, wait, hit the brakes, we can’t barrel right into the canon build up.

I think season 8 was supposed to be used to bring Cas back in from the cold - kind of literally with using Purgatory to stagger his return - because after season 6 & 7 showing Dean cared about him in ANY way was important, and to establish that whatever Cas had done, Dean would forgive and want to rescue him and have him back in the family. I don’t think season 8 is a clean slate for Cas despite his attempt to put on the old uniform and carve a new path for himself in like… 2 episodes after he got back while he was still being fucked around with by Heaven unknowingly to him. He’s still burdened with guilt, and if anything, the season renewal is probably more to blame for stretching out Dean forgiving him than smooching him, with a lil more manufactured drama and Dean lashing out at him for season 6 & 7 in 8x22. He lashes out again in 9x22, but by season 10 he’s pretty much moved on, to be angry about like… everything else to push Cas away at the end of the season. I guess they’re living in the moment rather than the past by 10x22 :P Pfft. Sorry, got to be facetious about some things here.

I think the focus on Cas in season 8 was much more about his repentance and forgiveness from others - Metatron snags him by seeing he still wants to repent for Heaven, WHILE he’s in the gas station trying to buy stuff to repent to Dean for OTHER stuff. I think it makes perfect sense to read the season 8 narrative as a strong emotional narrative between Dean and Cas specifically engineered to delve into their relationship issues, let Cas back in to TFW, let him back into Dean’s heart, and try and establish for US what Cas is truly like as we’ve never been so deep in his head as in season 8 as a whole, except for in 6x20 where we learned A: he loved them and Dean in particular, and B: he was busy lying and betraying them and justifying it all on the slimmest reasons to keep himself going. If you love Cas, 6x20 is a goldmine. If you’re indifferent or don’t like him, as a one episode event, it might not warm your heart especially with the end of season 6 and his resulting failures, especially perceived moral ones against his friends.

Season 8 let us right into Cas and showed us his inner processes, desires, and a narrative about how he wanted to do penance for season 6 and 7, and a feeling that Sam and Dean love him back, of course, but to them Cas is still a shaky person to depend on and Dean is going a great deal on faith that Cas is good even while thinking he’s sketchy and lying the entire time between 8x07 and 8x17, showing a conflict between Dean’s baseline faith in Cas and Cas’s behaviour towards them. Being in his head and seeing Naomi all season makes US insiders to Cas’s issues and puts us on his side firmly by knowing WHY he’s acting this way, so it’s a good storyline to nurture us through Dean’s issues with Cas while being given an inside line to being sympathetic to Cas since we know what Dean doesn’t about how he’s being controlled the entire time.

Taken in that spirit, I can see the show just wanting to reconcile TFW and Dean and Cas in particular as a goal to shoot towards and the conclusion might just have been that they all make it good before whatever ending they had in mind for the main plot stuff. Along with a healthy dose of subtext to keep you guessing about how that relationship was.

Anyway, as I said, I don’t like subscribing to theories which are too speculative and treating them like they’re too real and like… definitely what the show is doing… makes me really itchy for the above reasons in the fan wank section of this reply… so the one that Destiel is now being woven into season 12 to the same way it was in season 8 to the eventual aim of canon puts me off for the reasons I hope you can guess from all that rambling :P

Even if I have hope that it MIGHT be on the books doesn’t mean I’ll really commit to saying it’s narratively going anywhere for sure, because that seems like a great way to start a cult and end up in the shame bin and reviled by people one day. I want to see fandom through to the end of the show and see what happens with you all, so short-sighted plans about building a rocket to Mars in my back yard seems like a great way to end up sitting in a fizzled out rocket still on the ground in my yard with a bunch of people who want their money back :D

I do think the endgame the show is working towards is going to be positive for Destiel fans and probably at the very least a good final touching moment, although I think the show will pretty much certainly end on Sam and Dean together as the sign off moment, even if the moment before that is Dean smooching Cas in the kitchen before grabbing a couple of beers to go hang with his brother just the 2 of them out on the front porch of their weirdo hunter commune house. Or whatever happens. But you know, even in the Destiel is totally canon and it all ends happily world, it’s not ABOUT them, it’s about Sam and Dean and as much as it’s about everyone else they love too, they’d be there to show there’s a world for them to save/that they have saved and can retire to, if Mary and Cas survive to the end.

But there are many subtextual ways between that hazy dream ending and, like, total character death save the world through mass sacrifice kinda ending, and all of which can make Destiel look like it was where things were/would have gone. At the current point in canon you can say the exact same thing, which is the point I was making that went right over some heads where they got fixated on me dancing gleefully around Cas’s dead body fulfilling my prophecy or whatever. If the show ended there, with the way Dean and Cas were connected over the season, you could argue their hearts belonged to each other, but they never got a chance to really do anything about it.

It’s the shitty subtextual Cas is dead ending I’d always dreaded if the show really wanted to fuck with us, but it’s one they could have done, and it would have left things open ended enough for academics and fans and whoever else to yell forever about if it had all meant what we thought it did, to a collection of contradictory comments from cast and crew.

The only way is up from here for Cas’s personal development, seeing as he’s finally doing the truly transformative death experience, and Cas’s personal development is where Destiel subtext is most closely tied, while Dean’s personal development has been a mess of performing Dean and bi Dean and issues with his parents and the codependency, and he’s opening up like a beautiful flower, but it’s still largely a sort of concept that Destiel can just sort of happen when Dean’s got far enough down the line on dealing with all these issues as a kind of lump problem, and Cas’s arc is much more mythological, tied into identity and belonging, but the target has been clear since like… 4x22… (and I mean “clear” rather than “oh shit it’s going to haaaappen” like it is from the start of the season :P) that it’s going to all land on Dean. And clear since like… idk, 6x20? that the feeling is pretty romantic from his end so in an ideal world he lands on Dean romantically.

And all subsequent positive development on the ship’s possibility has been clearing hurdles and tidying up character development that’s all pretty much check lists made back in season 8 or after the wank when with clearer heads people began to wonder just what was standing in the way of them if they were going to go canon, but not right then. Stuff like Claire and the vessel occupancy issue. Or the slow progress of Cas putting words to his family to call them that and the Bunker home and so on. Steps that all the stretching of the story has let them explore in minute detail.

So I can see that it’s possible that this all develops into something that works incredibly well for the chances of Destiel and since season 10 I’ve had the suspicion, thanks to Claire and the Dean-focused character development episodes, that they were working on the same tick list as us. But I’m not sure if it will pay off exactly as we want to see, while at the same time being over the moon delighted when another step forward happens. And season 12 moved a lot of ground, some of it unexpectedly quickly, and other things like, unburying them from ruts they’d been stuck in forever.

I don’t think going on from here season 13 will be immediately disappointing if Cas and Dean aren’t desperately romantically linked all the time because the show still acts like they have their own personal dramas when it’s not letting them see each other as the only people in a room. I don’t think it would be very productive to tally up events as if they’re constructing a narrative where we have to wait for pay off at a very set date, because even though I think that pay off will come at a very set date if we’re lucky and they honour their subtext. The show doesn’t seem to have an end, I honestly don’t trust Dabb as far as I can throw him not to just randomly make Destiel canon because he thinks it’ll be funny and make us happy because I have no grasp on his showrunning except he’s a massive troll with his finger on the fandom pulse. And honestly I don’t get much pleasure from constructing the elaborate forward narratives when I can be much more excited about the immediate stuff, living in the moment, and taking the Destiel subtext as it comes.

After the mixtape moment there was a lot of spec about if we’d see it again or what it meant building forwards, and I felt it wasn’t going to be mentioned again, and that it was much more valuable for that moment and what it told us about Dean and Cas, than using it for a forwards sign, which to me often just means taking quick stock of a thing happening in present canon then barrelling ahead into the future. While to me the richness in the story is wallowing in what has been opened up about the past, about Dean making the mixtape, when he gave it to Cas, and all the backstory implied by the 5 second moment of that exchange, because it implies so much more going backwards than it ever meant going forwards, as it wasn’t mentioned again all season. We could go forwards knowing Dean and Cas were at the sort of stage of the relationship where mixtapes happen in such a way, but we can’t use it to divine an entire forward plot about it, because that way lies the sort of “make everything Cas ever does about guinea pigs and bees” nonsense because fixating on passing moments as information about character stuff we need to know for later, that there’ll be a bigger pay off later, to me does sort of ruin the fun of the present.

There’s manageable foreshadowing and speculation like guessing what the turducken sign is all about, because its original context was very Destiel, and there’s stuff like guessing about the PB&J where it has so many contexts that even when it connects to Cas I saw that as somewhat connecting him with *Kevin* and lil baby Sam in 9x07 when Cas was eating it in 9x11, and the Destiel connection was the link to humanity, and Dean as being somewhat connected as the PB&J provider to their weirdo family. But he also brought Kevin prune juice as a far more loving gesture, you know? :P Until we have context on these things I hate to get invested in many forward spec things as Destiel related or feeding a larger narrative.

I also think there’s a big difference between meta and spec and I am much more comfortable offering analysis of what has already happened and maybe venturing an idea of how things will play out but not wedding myself to it, especially as that’s how I’ve seen people get fandom burn out, and also I hate looking wrong :P So for my own ego, again, it’s nice to sit and enjoy spec as entertainment but not get so involved I’m writing convoluted theories about it.

Tl;dr, I’m hopefully understandably wary about what canon positivity can do to a fandom, even just from second-hand tales and snooping old blogs back in season 9 when it was all a bit closer to the surface. I have a very comfortable place I’m sitting, which has been rocked about a bit by how on the nose season 12 was, but until I can be sure I really do not want to ever commit to a speculation about anything being set up for canon that we can see in the narrative. I think we’re at an AMAZING place with where we’ve progressed in canon but I’m trying so so hard to keep it contained as if season 12 is where it all ends for now, and I will try and take each episode as it comes when it’s what people might read about what happens next with Destiel, because none of us are qualified to answer it. And the meta community seems to be in a really weird place again with an up surge in positivity that’s making the gold standard of speculation rise, and I’d rather learn from the past and be OVER CAREFUL than get involved in a huge fandom fuck up about all this :P And I hope if I really am supposedly that influential, I can try and be an example of not counting chickens, even when I think I’m holding a very full basket.

#Asks #riverboat gambling #you could probably scroll that tag to see me wizening up like a walnut #season 13 speculation #destiel

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shuswapjoe · 5 years ago

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So,

It may be one of our country’s most iconic pastimes, but since 2012 the number of players registered with Hockey Canada has dropped by over 200,000. With controversies around concussion protocols, headline-making fist fights between parents in the stands and an increasing awareness of the toxic culture that sometimes permeates kids’ ice-time, it’s little wonder the national sport organization is going to extreme lengths to give their pastime a makeover.

In her memoir Home Ice: Confessions of a Reluctant Hockey Mom, Fernie writer Angie Abdou shares the story of watching her son Ollie become a hockey player. A naturally artistic and empathetic preteen, he struggles to make a place for himself at the rink while she watches anxiously from the stands. With a keenly watchful mother’s eye, she picks apart the traditional thinking of those immersed in that world, advocates for her kid and envisions a better way forward. She questions the wisdom of having athletes specialize in one sport early, decries the cruelty of cutting young players from the team and wonders aloud if there’s a way to limit the violence.

“We have elevated sports into a cultural religion,” she writes. “I know how tied up one’s identity can get with success in sport. I know how all-consuming that focus on gold can be. I worry about the transition to post-sport life.”

But this isn’t an anti-hockey screed, as you might assume from reading the opening few chapters. Rather, this is a call to arms for parents to embrace large-scale culture change, focusing on participation and fun rather than competition. She envisions a future for hockey culture that is more inclusive and less fixated on the outcome of reaching the NHL.

According to Hockey Canada’s website, their chances aren’t very good anyway: only 1 in every 4000 players makes the cut.

A contemporary Colosseum

There have been a lot of negative headlines in the hockey world lately, with news of Calgary Flames coach Bill Peters using the “N-word” towards a player, Don Cherry getting fired for making remarks about immigrants and and numerous reports of violent hazing and racist bullying coming from the locker room. Writer and broadcaster Waubgeshig Rice recently shared on Twitter that he was routinely subject to racist taunts, and many others have come out with their stories of abuse.

A few years ago I took a job as a general assignment reporter for the Nelson Star, and ended up covering a local boys’ league called the Leafs. Headed by a belligerent bully coach who would ultimately be fired, the team was a breeding ground for macho entitlement and unnecessary cruelty. I was shocked to learn that the American teams they were playing still had racist names, like the Spokane Braves, and I marvelled at the Colosseum vibe in the arena as they banged their sticks against the boards and shouted epithets at the kids on ice. My distaste for the sport was at its zenith.

When I first picked up Home Ice, I was relieved to find that I wasn’t the only one disgusted by the current state of the sport and questioning whether things could be done better. And as I delved into the pages, following Abdou’s experience shepherding Ollie through a sometimes hostile environment, I found many of my particular issues being addressed head-on. If hockey culture is ever going to evolve from its barbaric past, it’s going to take buy-in from pretty much everyone: spectators, parents, players and coaches. Just as Rome’s gladiator fights have been phased out and replaced, it’s time for hockey culture to invest real time and money into making their sport appropriate for the present day.

And once I started spelunking around the Hockey Canada website, checking out the many ambitious initiatives they have underway to radically tweak the culture, I was heartened to find out they haven’t been sitting on their hands —just the opposite. Long before Abdou’s book was released, they knew they had to alter course. But like trying to turn a giant steamship, it’s not as easy as a quick pivot. Instead it requires diligent long-term attention from professionals who care about the well-being of the athletes.

Reasons to hope

In Home Ice, Abdou explores the consequences the Graham James sex scandal had on her brother Justin Abdou.

“In my story, my brother sidestepped any true ugliness. In my story, my brother saw James for what he was and knew enough to steer clear … The subtext implies that the sort of horror inflicted on Theo Fleury and the other players under James’ charge happens to people different from us, people less alert, less strong,” she writes, before learning the truth —that her brother had narrowly avoided being sexually assaulted by him as a teen.

“Let’s revise my history then: my heroic brother — who brings to mind my own son in a way I find very uncomfortable — was never immune from this particular personification of evil.”

But there is also reason to hope that the culture is improving, epitomized by the work Sheldon Kennedy and his organization Respect Group are doing to talk about subjects that were formerly verboten. By providing mandatory e-learning resources and launching campaigns to raise awareness about abuse, he’s working to ensure that organizations don’t create the sort of toxic, abusive environments that he grew up in. Part of that means establishing safeguards to ensure predators can’t take advantage of those less powerful than they are.

And even in Nelson, where I was initially horrified by the culture I experienced, progress is being made to create a more inclusive and supportive culture. One of the coaches, Sean Dooley, has championed a mental health program called Breakout that aims to disrupt these unhealthy cycles. Having experienced abuse that led to destructive behaviours in his own life, he’s now on the frontlines of making things better for his players. The more Sean Dooleys and Sheldon Kennedys we have in the world, and the less Graham James, the better our hockey system will become.

Something you can’t have

As hockey culture improves, one thing that needs to be addressed is accessibility. Abdou notes that it’s a rich person’s sport, historically inaccessible to people of a lower income. Even innovative programs that aim to foster inclusion often fall short. In Home Ice she writes about one such program, First Shift, which bankrolls the kids’ first years in the sport but then doesn’t continue into the rest of their career.

“First Shift gives these kids a taste of the sport: here is something you can’t have … it’s become a cheque-book sport available only to the well off,” she writes. “Research shows that … ninety percent of Canadian children miss out on the benefits of the sport and participating in the culture of hockey so synonymous with Canadian.”

This is a hurdle that many within the system are trying to address, but progress has been slow. Those who love the sport would like to see as many people involved as possible, from every facet of society, but don’t know how to bankroll that. In order to change this, and to address the many issues the hockey world is facing, some organizations have gotten proactive about making incremental changes to their systems. That includes BC Hockey.

“There’s a lot of traditional thought processes in hockey culture, and many people feel that things have always been done a certain way and there’s been a success to it. But at the same time we can sometimes lose sight of the bigger picture and it is important to embrace new ideas,” said BC Hockey’s Vice President of Programs Sean Raphael.

The way Raphael imagines it, we’ll be studying the successes of their institutional makeover to see the impact on an entire generation of kids. This information will be crucial for organizations as they make decisions moving forward.

“Overall long-term athlete development is a general concept that doesn’t just apply to hockey, it applies to all participants’ lives and their physical development. It may differ from one sport to the next, but I think the general concept of developing the overall athlete is a good place to start.”

Mobilizing solutions

At last year’s Sport for Life Canadian Summit, Abdou shared with delegates from across the country and did a reading of Home Ice. She was invited with the hope that her observations could be a catalyst for change. And though some of her opinions may have come across as incendiary or controversial, she was embraced by representatives from the hockey world largely because they agreed with her verdicts. They know concussions are a problem, they know bullying and racism are a problem, and they know there are better ways to implement the long-term development framework. Change takes time, but at least they’re getting started.

In an environment that sometimes rejects outside-the-box thinking, Abdou’s contribution was a breath of fresh air that had a large impact for those in attendance. They saw that she wasn’t only identifying problems; she was also offering solutions. By championing Kaizen, which means ceaseless self-improvement, she has given Hockey Canada deep analysis from outside their system that has the potential to create real change.

Next up: the hard work of putting her suggestions into action.

The Literary Goon

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