#i genuinely study muir's writing

[captorations]

okay i'm actually going to talk about the phrase "her necromancer" again in the context of TLT being a master class in proper and powerful epithet usage. because while the first time gideon's narration used it for harrow was after picking her unconscious body up and inspecting her after finding her passed out, and the second time after successfully removing her from the situation and having heard her recover enough to wake up and be bitchy for a moment, it was actually used for what i believe is the first time overall shortly before. still by gideon's narration, but for palamedes, referring to him as camilla's.

gideon has just met these people. camilla actually tried to kill her on sight, briefly presuming her a threat. but in that time, gideon has recognized that they *belong* to each other. palamedes is camilla's necromancer, camilla is palamedes's cavalier. with all the possessiveness and codependence and affection that entails.

so a part of her, the part that's been raised on the revered ideal of the necro-cav pair, recognizes them as embodying it. in a way that's actually far more intense than the standard, and in a way that serves only to highlight just how badly gideon and harrow are fucking it up.

but even as she sees their differences, she also sees their similarities. as camilla attacks her, gideon directly acknowledges: "here was a warrior, not just a cavalier." of course gideon would know and appreciate the difference; she was trained by a warrior to be a warrior. the cavalier thing is new, and a facade, and the latter is also true for camilla. both in terms of combat style and in terms of the expected subservience, as gideon is certainly not subservient to harrow in the traditional sense, and camilla and palamedes, as much as they embody the necro-cav ideal, also defy it in that they are *equal* partners. hell, in NtN, camilla teases palamedes for implying that she's mindlessly following his agenda and ignoring her own. "you thought it was your agenda? huh."

then, to drive the nail home, palamedes directly scolds gideon- and harrow- after they retrieve harrow safely. he tells them: "stop splitting your forces."

because pal has seen the similiarities too. not only is he also the young leader of an entire house burdened with an impossible task (saving dulcinea, vs. saving the whole ninth), he has the same issue harrow does, working himself to exhaustion unless someone stops him. so he's telling gideon: you have to be there for her, because she's like me, and if camilla wasn't there to step in, i'd work myself to death too.

it's worth noting that harrow recognizes the parallels between the two pairs as well. it's why she's so wary of pal, even as pal is all but making them friendship bracelets. i've said it before: harrow thinks of herself as a threat, and thus, anyone similar to her must be a threat also.

all this to say that gideon first calling harrow "her necromancer" in the immediate wake of being given an implict lesson by the sixth, doing so for the second time after an explicit lesson by the same, and going on to do so throughout the story, is an exactingly calculated move and devastatingly effective for it. this is what epithets can do in the right hands. and it fucks

[eurydicees]

in need of fanfic/book recs from ya <3

ooooooh okay idk what genre of book or fandom/ship fic you want so here are my general recent favorites! i'm not gonna give a summary, just a small note/review with my thoughts, so ur gonna have to google the books and click the ao3 links--my apologies but this post was getting way too long lmfao

real life books!

gideon the ninth / the locked tomb series by tamsyn muir: i'm really working my way through this series and i loooooove it. the characters make me crazy and every turn in the plot has me screaming a little. there's been a lot of deranged texts to irls about this one.

under the whispering door by t.j. klune: this book DID make me cry. it's a really well woven story about love for your family and your friends and death and finding satisfaction and fulfillment in life (and death) and moving forward. HIGHLY recommend his other book (the house on the cerulean sea) as well!! i read that one first and it's a really gorgeous, satsifying read.

the shell collector by anthony doerr: this is a short story collection technically but i loooooove it. each story individually is really beautifully done and i absolutely LOVE his writing style. i think i take a lot of inspiration from him for my own writing!

on earth we're briefly gorgeous by ocean vuong: top books that, like, make yourself feel seen. another author/poet that i feel i can attribute a lot of inspiration for my style and love of words to in general.

sharks in the rivers by ada limón: poetry collection! but one of my all time favorite poetry collections and i can't let this go unnamed. i absolutely ADORE ada limón (you may know her from "the great blue heron of dunbar road" or "instructions on not giving up", which floats around tumblr pretty regularly). i think i first read this collection for class but it genuinely changed something in me. i actually have a tattoo based on these poems <3

post-colonial love poem by natalie diaz: another poetry collection but this one, like, fucked me up. it's woven together as a collection in an absolutely breathtaking way, but each poem also stands alone really beautifully.

fics - haikyuu!!

a mote of dust suspended in a sunbeam by swampdragons (iwaoi, 6911 words): i read this a bit ago and really loved it, though it was also really emotionally difficult for me to personally get through--one of those fics that really drives the emotions home so deeply that it hurts to keep going. part of that might just be my own personal connection to the topic. idk. but either way it's ABSOLUTELY worth it.

The Benefits of Patience by Moami (iwaoi, 3363 words): this one's silly and funny and so much more lighthearted than the prev rec lmfao. it's like. healthy but messy but established but not established but a real relationship but an almost relationship to be iwaoi <3333

The Way He Looks At You by roobtheboob (iwaoi, 3805 words): i think i read too much iwaoi. but this one's really cute i PROMISE. i like the kyoutani POV idea a lot and i think the way kyoutani is written overall is really well done, particularly in the team dynamic and his respect for iwaizumi.

The years shall run like rabbits by ladyoflalaland (ushiten, 7292 words): obsessed w this fic. ushijima's mother is written out to be a REALLY interesting character and her strained relationship with ushijima is fascinating. the passage of time of it all......man.

fics - other fandoms

"Normal" by OnigiriCat4Ever (fruits basket, kyohru, 7140 words): this one's a really cute post-canon character study of sorts and i really love it. i love how the 7yo hajime is written and his relationship with kyo is really sweet.

The act of loving in return by kindokja (bllk, ryusae, 2809 words): this one's both funny and heartwrenching and sweet and painful all at once. beautiful, necessary mix in a fic. i like it a lot.

turn your face (towards the sun) by youareoldfatherwilliam (atla, gen, 5813 words): im normal about fics abt the chit sang and the 41st, in case u were curious!

that's all i got for now? i literally just went through my most recent bookmarks and cherry picked some special highlights lol. feel free to let me know if you want anything more specific!!!!! u already know i loooooove giving recommendations<3

[faithfulpuppy]

Serious Thoughts About Jod (Nona spoilers)

Alright fine. I don’t really want Jod discourse to be the focal point of my locked tomb experience but since at least one person cares enough about what I think post-Nona to send me anons, I’ve collected my thoughts here. [Keep in mind that I was raised an atheist so I don’t have either happy religious context or religious trauma context for this series, and I’m aware that because of that I’m missing nuances. We’re all just going to have to live with that.]

Apologies in advance that this is a long one. Nobody’s under any obligation to read any of it. Saying that, I’m not going to be engaging with comments about or by: anyone who clearly didn’t read this post properly; viewpoints that are already set in stone; anyone who thinks that John is incapable of telling the truth in any way or form; the baby finger flower crown. Save your energy.

Alright: have my feelings about John changed since reading Nona? Well, not a huge amount. Bear with me. When I made a controversial shitpost outlining my enjoyment of John as a character, I wasn’t trying to make out that he was blameless or even a good guy. I said "I have to face the fact he might be a bad guy" which apparently did not land as a joke, my bad; however I do see a distinction between ‘bad guy for the sake of evil muahaha’ and ‘bad guy with sympathetic or understandable reasons’. Is John a bad guy? Yes, obviously he’s one of the villains in this story. But it’s not that simple. Casting it as black and white feels like a disservice to Tamsyn Muir’s writing.

My read of Jod’s story during Nona is the tragic fall of a good person to evil. [I’m taking his account to Alecto/Harrow as fact, because I feel that it was very deliberately set in a dream in order to let him speak freely and honestly.] Jod starts out as just some biologist in New Zealand trying to save the planet and as much of humanity as he can ("Nobody knowingly left behind"). That’s one point for Good Guy. Pretty much everything he does from there to the fall is a logical step, at least on some level. Should he have done some things differently? 100%. But I don’t think at any point leading up to the Resurrection he truly made a decision in the spirit of evil. (Later, yep, evil things were done. But I'm looking at the period from cryo project to Resurrection era specifically.)

Let’s take things one at a time. 1) John Gets Granted The Power Of Necromancy. None of this would have happened if he’d walked away from necromancy there and then: the billionaires would have left with no warning, humanity would have burned itself out or not… who’s to say? But could he have walked away? If he had tried to ignore it, would he still have been able to sense death? I’m not sure that was a possibility once the power was in him. He felt that he could use it to fix what was wrong, he was planning to use it for good. He started going a bit mad pretty much immediately, and that makes sense. The huge shock of the project getting shut down and then the utter strangeness of being able to sense the bodies. I think I’d start to go a bit strange too.

2) They Stream The Necromancy. Lots of people came to see John for miracles and he cured everything he could (+1 good guy point). It was the nun/Cristabel who told him he had to limit it or charge for it or whatever. (I wonder how differently would things have turned out if he had continued to spend 20 hours a day curing fibro and cancer?) She said it would bring the heat down if he kept doing it, but it was a bit late by then, wasn't it? The government asked them to come in, as they’d been dreading. Should they have given themselves up? It didn’t seem like anyone else had the means to save the planet. I don’t think it was wrong to resist. They would have arrested his friends and put him in a lab underground to study. I don’t think it’s wrong to try and avoid that. Any genuine hero would.

3) Magical Inside-Out Animal-Shield Man. This one is always going to cause arguments. Do I like that he built a wall out of animals? No. Do I think it was evil? Also no. As he points out, it was quicker and more painless than slaughter for eating, and since a lot of them were destined for eating and I’m not vegetarian I can’t really fault that. I understand that any vegans reading this series are going to be pretty unmovable on this specific point. I respect that. It would definitely be bad guy points if he was nasty about it, but he was ashamed and acknowledged that it sucked. I think "extenuating circumstances" is a fair defence here. [It drives me kind of nuts that people reading this series use ‘cows have best friends’ as serious condemnation. You’re agreeing with the scumbag billionaires, guys!]

4) They Realise The Billionaires Are Running. In all honesty everyone got a little too obsessed with this. It sucked that they were going to take the ships that were supposed to be used for cryo, but aside from that, so? Good riddance, right? I think it was something for them to focus on when they didn’t know what else to do. They all seemed to conflate stopping the ships from leaving with fixing things. Cassiopeia asked if they should be focusing on the ships when they could be focusing on saving the planet instead, but nobody listened to her. It was Pyrrha who told John to ‘be a bad wizard’! Honestly I feel like most of the bad decisions John made were under peer pressure from his friends.

5) John Agrees to Puppet A World Leader. Mostly he did it because they offered so much money, and that sounds like bad guy points but they were out of options for saving the planet without money. When he realised it was – the president of the US or something – he didn’t want to do it but the others pushed him to keep going. And he didn’t want the nuke (+1 good guy points)! That’s very important. Mercy and Augustine pressured him into that too (premeditated).

6) John Kills A Bunch Of People. Okay, this one seems like it should be easy bad guy points, but I hesitate. He finally sees something that might be The Soul when those five people die outside the dome and describes it as crack cocaine, or what he imagines crack cocaine would be like. I’ve never done cocaine, but from what I understand about it I’m not sure I can entirely hold John responsible for what he did next. Yes, killing all those people was Bad and Wrong and Murder and Illegal and any number of other synonyms – but he was high. He was like a shark in a blood frenzy. He was not in control of his senses. That doesn’t make the killing less wrong, but was it something he chose to do? Not… exactly? He admits that it wasn’t an accident but if we’re going to hold him fully responsible for that we have to condemn every coke addict for their actions while high as if they were sober and in their right minds. (I’m sure some of you will. Drugs and addiction are a mental health issue. Those people need rehab, not prison time.) John is very sick by this stage.

7) They Spook The Trillionaires. Talking to the government sends the FTL crew into a rush to get out. John’s team, especially Mercy, desperately want to stop them, I think so they can use the same ships to get everyone out in cryo instead? (Meanwhile the only thing John really cares about is working out the missing link between alive and dead. He’s consumed by needing to understand necromancy. I think I would be too, to be fair. Can you imagine being given awesome and terrible power that nobody else has ever had and being expected to focus on anything else?) Anyway that’s when they decide to use the nuke as a threat (+1 bad guy points, but not entirely his idea). He still doesn’t want to use it, but he arms it without telling the others (+1 bad guy points, though I think it’s a little unfair of the others to be mad when they forced him to have it in the first place). At this point John threatens nuclear war through his Leader Puppet (+1 bad guy points), which the others really are mad about (fair). I don’t know if he still thinks he is saving the world at this point. Cassiopeia doesn’t think so. He’s become an environmental terrorist.

8) Necromancy Cultists Change Their Minds And Take Hostages. Let’s tally up problems. G1deon-with-nuke is sniper bait in Australia while John tries to negotiate. He has his puppet’s finger hovering over the button on the really big nukes. It’s mere hours until the ships launch. The cultists are threatening to gun them all down. What do you do in this situation? The right answer is obviously don’t nuke anyone – but then the ships escape and you probably all die by cultist unless you’re willing to remotely murder them (and John says that he didn’t because he was proving a point, not because it’s morally wrong at this stage (+1 bad guy points?). I’d say let the stupid ships go, once they’re gone you can use the money they left behind to build more, right? But the ships aren’t taking all the politicians who still want to arrest John and co, so it doesn’t really solve his problem. John’s biggest fear at this point was that he’d lost his friends. That’s important, remember that for later. He offers to give himself up to save the hostages (+1 good guy points?) and the others won’t let him so he sends skeletons instead and that’s when the cultists manage to break into the facility. He wants to kill everyone nearby so he has space to think (+1 bad guy points) but doesn’t (+1 good guy points?). Ironically it probably would all have worked out a lot better if he’d just accepted the cost and killed the cultists so he could focus on all the negotiations and maybe find a solution (or at least enough presence of mind to think ‘what the fuck’ and back down from the nukes).

9) Cristabel Kills Herself. John thought she was there to kill him and he was going to let her. Instead she shot herself to try to help him find The Soul and it worked. He found the key to the soul, but he also found Alecto. He couldn’t hear anything over the sound of her screaming. All he had wanted from the beginning was to save the planet and he could suddenly see her soul and how much pain she was in. From this point on (until the end of his account) I don’t think John really made any decisions, per se. This next part is written like a dream within a dream. There was gunfire inside the facility and everyone was dying – he could probably have caught their souls and put them back in, but what would the point have been if they’d just immediately get shot again? I don’t even know if he could have when all he could hear was Alecto. So he set off all the nukes because he couldn’t concentrate on everything anymore (+1 big bad guy points) and everyone else died. He killed as many as he could before the nukes got to them, painlessly like the cows (+1 good guy points?). He was still obsessed with stopping the ships. I don’t even think it was his own obsession at this point. It was the last human thing he had to cling to, the memory of fear and anger that the ships were abandoning everyone.

I don’t think this can be compared to anything real. Nobody has ever faced something like this. I can’t say what I would have done in his position because I have never had to deal with the pain and fear and noise of a whole planet screaming in my ears while staggering with godlike magical power. Neither have you. You can’t say you would have done better.

10) John Eats Alecto. Again, the cocaine hit. Again, the blood frenzy. Once he started eating souls he couldn’t stop. That’s bad guy points, but almost by proxy. He wasn’t in control. He was barely human. He wanted Alecto to take him but she didn’t, so he took her instead. He wanted her to stop being in pain. He went about it badly. He should have left her to scream herself out and then lick her wounds and recover. But I don’t think stopping was an option for him, by that point. I think he’d have had to kill himself to avoid the pain of her screams and I’m sure a lot of people think he definitely should have, but I’m not into encouraging people to commit suicide even if they’re a bad person, so. [Everyone’s obsessed with him making her look like Barbie and how yuck that is, but he also says he tried to make her look like a Renaissance angel. I think he was trying to be respectful to her by conjuring the best image of beauty he could in the midst of madness and panic. Based on the way she ‘kisses’ Harrow later I don’t think there’s anything remotely sexual between them or even romantic, so I don’t think it’s that weird to try to make her beautiful.] Anyway he can’t reach the ships so he also eats the sun and the other planets (+1 bad guy points but Alecto’s just as keen as him so only half blame) and then he does his best to kill everyone on the ships (+1 bad guy points) but mostly fails as they’ve already hit FTL. He should have given up on the billionaires, at least later after he’d had time to calm down and get used to sharing two bodies with Alecto. He should have just let them go. But of course it’s not just his anger, he’s sharing Alecto’s pain and betrayal toward them. He might not be able to stop hating them as long as she’s alive.

11) The Resurrection. It’s good guy points that he brings people back, but bad guy points that he’s choosy about it. He should have resurrected everyone and let them start over since he was wiping memories anyway. I understand why he wiped the memories. In general, how could he try to build a better world if everyone was clinging to the past? It doesn’t make it right, but I see the logic. Regarding his friends specifically, partly it’s that fear from earlier that he’d lose them because of what he did, but partly it’s also pity. Mercy and Augustine in particular, but all of them, share responsibility for what happened. They pushed him to keep going. They developed the obsession with the ships. They got him the nukes. He didn’t want them to carry the same guilt. I’m not saying it was right to wipe their memories. But I understand it. Some people think he doesn’t care about the people around him, but I think John cares too much. He’s willing to do very bad things because he cares too much about his loved ones. It’s bordering on obsession which is toxic, but it was born from real love. (Why did he change their names? Did he even change them? I don’t know. That’s one of the missing pieces. I don’t feel a need to speculate on it at this stage.)

He knew the RBs were coming and didn’t tell his Lyctors initially (+1 bad guy points, buuuut he hasn’t explained why). Or that he couldn’t be killed by them. Why does he run from them? Send his favourite companions to die? I hope we’ll find out.

He let his friends get the Lyctoral process wrong (+1 bad guy points) and kill their other halves – I’ve seen a theory that it’s because he was jealous of Mercy, Augustine, G1deon, Cassiopeia loving anyone else, but he seemed to love Pyrrha so much too. Maybe that’s why she’s the one that kind of survived.

He tried to build a society that was better than the one he left behind – no cars, no nuclear, no homophobia, no internet – and in some ways he probably succeeded (good guy points?). It’s an imperialist society (I think fascist is a stretch – it’s not very different to most conquering nations in earth’s history and to call them all fascist because they wanted to expand just seems kind of pointless) and the Cohort stuff is bad – child soldiers are big bad guy points – but a lot of that was G1deon and Pyrrha (John obviously has final say on everything but I’m saying it wasn’t necessarily his idea). The people living in the Houses seem reasonably happy, at least outside the Eighth and Ninth Houses. [I don’t think ‘he’s the leader of a death cult’ is reasonable grounds to condemn – I don’t think necromancy is inherently evil, in general, compared to a lot of other kinds of magic. That’s a wholeass conversation on its own, though.]

He locked Alecto away (+1 bad guy points) because he was afraid she was a vulnerability (and because the others kept begging him to kill her because she’s a ‘monster’). This is honestly one of his worst moments for me because it’s a definite Bad Choice he made with time to think it through and consider his options. I could argue that he was protecting her because Harrow says "You’re afraid of so many things, but she’s only afraid to die" and maybe it was a kindness to put her to sleep where she was safe – but he didn’t do it to alleviate her fear, he did it to protect himself. No moral high ground there.

He can’t let go of his need to punish the billionaires/BoE (+1 bad guy points, though as I’ve discussed I’m not sure that’s all him) – funnily enough wiping the memories really screws himself over in this case, as he tells Augustine the man he was before the Resurrection would have been disgusted at the idea of letting them go and it’s probably true. Billionaires/BoE are undeniably bad guys too (discussion for another post) but that doesn’t mean it’s good guy points to keep going after them.

There’s a ‘discrepancy’ in the numbers of souls Resurrected which is a puzzle I’m hoping will be solved in AtN – I have no idea what’s going on there so I’m not counting it as good or bad right now.

He thinks about killing everyone and starting over again with another Resurrection (+1 bad guy points). I almost wonder if he’s done it before. Ten thousand years is such a long time. He’s so calm and thoughtful about it and that’s horrifying. John is thoroughly insane. Grief, guilt, sharing Alecto’s soul, and the sheer weight of time have stripped away his humanity. He was barely human when he merged with Alecto and he is something else entirely by now. Once again I don’t think it’s useful to compare to real-life scenarios. There has never been and never will be anyone like him. We cannot comprehend what the inside of his head is like. I think it must be awful to be him. He’s insane and he’s alone and he’s very traumatized and I think the only remotely human emotions he has left are the fear that his friends will leave him and the anger that the billionaires abandoned earth. He completely falls apart after he loses Mercy and Augustine and G1deon – yeah yeah, he deserved it in the end blah blah- but isn’t that sad? Fear and anger and terrible numbness for ten thousand years. I pity him. I pity those he’s hurt too, but those feelings can co-exist.

[I don’t know what’s going on with him and Gideon/Kiriona. I do think he was genuinely pleased and excited to find out he had a child, but the timing bombed. I don’t know why he didn’t Resurrect her properly (can he even still do that with Alecto locked away?). I don’t know why he changed her name. The situation is not a good look. +1 bad guy points.]

John is absolutely a villain as the series stands, but I don’t think he started out with selfish or evil intentions. His story is the perfect example of ‘you either die, or live long enough to become the villain’. It’s a classic trope in fantasy. He knows that he was awful and calls what he did 'a damned thing' - he cries, he rages, he carries so much regret and guilt for it: that says tragic fall to me. Another thing that strikes me: I live with a lot of mental illnesses and to me this is the story of someone who is very unwell. Tamsyn Muir has been reasonably open about her own struggles with mental illness; so much of this series is about mental illness in various forms. I think that’s an important lens to view John’s story through. He’s a wretched character and it doesn’t excuse the sins he’s committed and continues to commit, but I think it certainly explains them. I think he made more mistakes than evil choices. I can condemn some of his actions and the way he lives now, but I feel pity too. He wanted to save the world and nobody listened to him and everyone vilified him and he was living with the burden of necromancy and he was racing against the clock and he snapped and I think that’s realistic. It doesn’t make him right but it makes him human and very very sad.

[latenightcinephile]

#717: ‘The Ghost and Mrs Muir’, dir. Joseph L. Mankiewicz, 1947.

Once again, we come across a film that's on the list for no particular reason, other than it seems to just be generally good and entertaining. Neither the core book that this list is drawn from or the film's Wikipedia page has any great insights into why this film is significant. Rather than spend this write-up vaguely gesturing at what I liked about The Ghost and Mrs Muir, then (basically everything), I'm going to do a bit of digging into something weird about this film.In short: this film is way more sexually-charged than a melodrama from the 1940s ought to be. Despite reading a decent amount on the genre, I can't quite figure out if that's deliberate or accidental. So, definitely worth an examination.

In many ways, Joseph L. Mankiewicz's The Ghost and Mrs Muir is a pretty straightforward melodrama. A recently-widowed woman, Lucy Muir (Gene Tierney) insists on moving into a seaside house once owned by the crotchety sea captain, Daniel Gregg (Rex Harrison). Gregg purportedly still haunts the house, and appears to Lucy almost immediately upon her arrival. Lucy's interactions with the captain appall and alienate her mother-in-law and sister-in-law (they can only hear one side of the conversations and believe she has gone mad), and Lucy's investments from her late husband rapidly dwindle. The second half of the film follows her profitable endeavours writing Captain Gregg's memoirs, while his clear but futile affections for her are challenged by the arrival of another author, charming cad Miles Fairley (George Sanders).

The traditional elements of the plot are here to create the emotional effects typical of melodrama: the characters are broadly daubed in, and moved between the scenarios to hit various beats. Lucy is fascinated by the haunted house, but there's no connection between this and her deceased husband; Captain Gregg spends his time delivering Dialogue rather than speaking; Miles exists to be an obstacle and a lesson learned, and then summarily disappears from the film. The scene in which the depths of his betrayal are shown doesn't even have George Sanders in it - the focus is purely on the women in his life and their emotional reactions. Overall, the characters don't do anything more than the bare minimum to hammer at the heartstrings, but that is all they need to do to make the film a cheerful diversion.

The reason this genre structure is important for The Ghost and Mrs Muir is where it gets weird. By the time this film was released in 1947, a lot had been theorised and refined in the production of this genre for film. Music and editing had been cemented as crucial elements of the genre - the swelling violins and images of turbulent oceans were symbols of the rhythms of the heroine's heart, and in time these images became a stand-in for what could not be said: that these types of passions were usually consummated. Sometimes the lovers would be shown embracing in the surf, showing their passions and the passions of the earth entwined, but they quickly became superfluous to the meaning of the film. You saw the waves crashing; you understood. Likewise when a man moves towards a woman and the camera tracks away as they get close. The repetition of these images is so consistent that they don't take much effort to interpret. That said, The Ghost and Mrs Muir is certainly not squeamish about these sorts of implications and this boldness makes for some of the film's funniest moments. People who hear Captain Gregg's colourful language usually attribute it to Lucy and are appropriately shocked - although the language used ('blasted', 'shove off') is hardly the most X-rated. At one point, writing the Captain's memoirs, Lucy balks at using a particular word. The Captain assures her it's how he speaks, and he's not going to censor himself. Under protest, she relents, stabbing deliberately at four keys on the typewriter. The extent of Fairley's philandering isn't played for laughs, and if this were a serious drama he would be positively threatening, but Mankiewicz's willingness to let these scenes happen without too much self-censoring makes it feel far more harmless. The joke is in the casual way the characters react, aside from Lucy, who is suddenly and entertainingly distraught.

Then it gets weird. The film has already demonstrated that it is happy to skirt the lines of decorum, but its use of the narrative ellipsis is strange. The first time Captain Gregg appears to Lucy, she is asleep in his study. His silhouette draws near, and the camera tracks away to show the clock shifting forward an hour. It's one way of showing time passing, to be sure, but it doesn't seem like there's genuinely any chance that Mankiewicz doesn't know what he's implying.Later on in the film, we have a few narrative ellipses filled with images of waves crashing on the shore. Again, the tamest interpretation is that this is another way of showing time passing - in this case, decades - but again some of these ellipses immediately follow scenes in which Captain Gregg draws close to Lucy while she's asleep. What started as a coy wink develops into full-on sensuality, and it's not until the last ellipsis where it totally functions as a symbol for the passage of time.

The consistency of this technique in the genre more widely makes it pretty obvious that its use here is a deliberate ploy to imply a more physical romance between Lucy and the Captain than they can show (or, given the limits of ghostliness, is even corporeally possible). Where the melodrama and the fantasy elements seem to contradict each other, Mankiewicz leans into the contradictions, creating a film that's almost unsettlingly erotically-charged. If you're looking for something a little weirder than the usual 1940s fare, this is well worth stopping in with.

[pinguinosentado]

do you have any book recs? i want to get back into reading but idk where to start :(

I have a few. Sadly I haven’t had much time to read lately but I’ll throw in some oldies but goodies.

The Color of Magic - Terry Pratchett  - Comic fantasy set in a world riding on the back of a giant turtle. It’s a delight to read, the characters are great, and the prose is genuinely funny. Along with this recommendation comes Mort, which I am currently reading and is about a kid who gets apprenticed to Death.

This is How You Lose the Time War - Amal El-Mohtar and Max Gladstone  - Time travelling lesbians. It’s short, it has a beautiful writing style, and it handles time travel in a way that’s fun to read. Please go read it, it’s so good. I cannot speak highly enough of this book.

The Way of Kings - Brandon Sanderson  - I feel obligated to throw this one in here. You’ve probably heard of it before but if not it’s the first book in Sanderson’s chonky epic fantasy series. As apparently is required by the genre, this book is slooooooooow, but the rest of the series is pure gold. Words of Radiance is definitely one of the best books I’ve ever read. Really great female protagonist and the latest installment Rhythm of War has some really, really good representations of mental illness.

Also consider Priory of the Orange Tree by Samantha Shannon and Gideon the Ninth by Tamsyn Muir. They’re both fun books that might spark your interest, especially Gideon if you enjoy fan fiction, and I mean that in the nicest possible way.

That about does it for now. I’m sitting at my desk studying for finals though so ask me again in a few days after I’ve been downstairs by the bookshelves and I’ll think of a few more. Unless you want weird military history books because I have a few good ones there, too. Thanks for the ask and enjoy reading!