#i just know he sleeps ebenezer scrooge style

[joojdraws]

Rarold's sleep attire 🛏️💤

[dam-peace]

If they are able to wear casual outfits what would the different characters wear? Like to bed are they the type to go to sleep nude or like a full ebenezer scrooge nightgown. Are they the type to wear a speedo to the beach or like super colorful shorts. What's their style are they dark academia or like super artsy. I love your games :)

I'm going to assume that you're talking about the S.P.U members from Alpha, Beta, Omega. Also, thank you so much! I'm glad you're enjoying the games 😁

One prefers clothes that allow him to move easily, free flowing and comfortable clothing. Allowing proper mobility and dexterity, and for that reason One enjoys wearing 'sporty' urban attire. Sweat pants, trainers, simple tees, comfortable sweaters, hoodies etc. One's style at times also mimics a much more casual, and socially acceptable version of his military attire, bordering on a tech style.

For example, cargo pants with combat boots and his military grade dog tag chain etc. He also prefers dark colours, because in One's mind its best suited to camouflage himself and fly under the radar if needed, and simply because he just prefers it. One also has a thing for big faced watches.

Sleepwear: A plain wife-beater, sweatpants and his military grade dog tag chain.

Beachwear: Loose swim shorts in any dark colour, in addition to his military grade dog tag chain.

Zero is a gentleman at heart and his style choice certainly reflects that, as he prefers a light academia style. Especially since he feels he looks best in light colours and earthy tones. Soft sweaters, well-pressed, button down shirts.

Cardigans, loafers, silk shirts, soft cotton wool jumpers, and sometimes he even wears non-prescription glasses to tie the whole look together. Zero also loves to accessorize, with bracelets, thin chains and especially rings. He likes to look prim, proper and well put together at all times, something that truly shines through when he wears formal attire.

Sleepwear: Either a silk or cotton, long-sleeve, long pants, matching pyjama set.

Beachwear: Loose swim shorts, preferably in either red or in a tasteful earthy tone. As he thinks that's what suits him best, (even though he dominates every colour, and knows it too.)

Viper's style just screams 'bad-ass', much like One she prefers clothing that doesn't restrict her movement. Though, unlike one, she tends to go for form-fitting attire. Her style can be described as being 'dark feminine', with a touch of tomboy elements. As she tends to wear crop tops, skinny jeans, form fitting cargo pants, combat boots or sneakers with a good grip.

Leather jackets or crop jackets, sweatpants and sometimes she'll go completely left and wear loose fitting jeans with a loose short-sleeve, crop sweater. Similar to One she prefers dark colours, she's near enough always in black. Her attire also mimics her standard military attire, Viper also likes to wear her military grade dog tag. As well as, other loose fitting chains, thick rings and bracelets.

Sleepwear: Would much prefer to sleep naked, but alas she's a soldier. One who could be called upon at any time of night to spring into action. So for that reason, Viper instead wears a usually black pair of short shorts or basketball shorts, in addition to a tank top or bralette to bed. Even in the winter time as she tends to run quite hot, and hates the feeling of being subdued in her clothing as she sleeps. Like One, she also sleeps with her military grade dog tag.

Beachwear: A black two piece bikini set, or an all black two piece set with boy shorts at the bottom. In addition to a dark coloured, 'Hawaiian dad shirt' as an overshirt. Where you can see flashes of her belly button ring. Again, Viper keeps on her military grade dog tag chain, and also wears an anklet.

Wolfe's style much like One is on the 'urban' side, though Wolfe's choice in clothing isn't for the same purpose as One's. As Wolfe's clothes are less on the 'sporty' side and hardly ever reflects his military attire. Wolfe's style is a little more 'street', sweat pants, trainers or sneakers, especially a pair of vans or Jordan's. Hoodies or puffer jackets, loose fitting jumpers and almost always in a snapback, beanie or bucket hat.

Wolfe also loves to layer his attire, and tends to unintentionally lean towards dark colours or strong monochrome colours, e,g, red, blue. He loves a good graphic tee, hat or back pack. And also loves to accessorize with rings, chains, bracelets, watches and as mentioned before hats and bags (specifically back packs). Wolfe also wears his military grade dog tag much of the time.

Sleepwear: Shirtless with sweatpants or basketball shorts on the bottom, also wears his military grade dog tag to bed.

Beachwear: Board shorts, preferring a pair with a colourful graphic image on it (points if its a anime graphic). Of course, shirtless up top, showing off his nipple piercing and military grade dog tag chain.

Hex's style screams 'girly girl', her style is very colourful and feminine with youthful elements to highlight her childlike nature. An assortment of different skirts, colourful plaid shirts, loose sweaters, light cardigans, cute jeans and jean shorts.

Sneakers, ballerina flats or the occasional Mary janes. Hex also loves to accessorize with rings, bracelets, bags, headbands, scrunchies etc. All of which also have 'girly' elements to them, e.g. butterflies, flowers, hearts, cartoon characters, animals etc. Hex simply loves to feel free and cute as a button in whatever she chooses to wear.

Sleepwear: Any cute matching pyjama set, whether it's a long-sleeved pants and top or short-sleeved pants and top set. Near enough always in a light pastel colour.

Beachwear: A cute, colourful one piece swim set, usually with the bottom as a frilly waterproof skirt. And again, near enough always in a light pastel colour.

Ghost prefers loose fitting attire, something that looks smart and well put together. Though still casual and unassuming, he also tends to gravitate towards clothing that reflects his age. Though in a much more mature fashion, which is why he tends to wear polo tops, sneakers, sweaters. Button down tops, loose fitting jeans and overshirts, long khaki shorts etc.

Ghost also leans towards solid colours, either dark or strong earthly tones and/or warm browns and beige colours. Sometimes he'll even throw on the occasional patterned shirt, e.g. a two toned top. Though nothing crazy, he's also not one to accessorize much, apart from wearing a belt, the occasional beanie or cap, and thin bracelet every now and then. Back pack or satchel bag, he rarely, if ever wears any other accessories.

Sleepwear: A plain tee and sweatpants or a long pair of shorts to bed.

Beachwear: Ghost doesn't really mind looking over a beach, taking in the sights and sounds but actually being on said beach....yeah, no. He hates getting wet, and despises the feel of sand. So he'd be hard pressed to actually be anywhere near a beach. Though if he was, by some stroke of luck on an actual beach, Ghost would wear board shorts in any dark colour. A thin white tee, and some special pair of shoes to keep the sand out as much as possible.

[aion-rsa]

Behind Her Eyes: the Dubious Messages Behind its Finale Twist

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Warning: contains major spoilers for the Behind Her Eyes finale

Behind Her Eyes is the perfect duplicity-hinting title for a series that conceals what it is until the very end. The name works both for the psychological adultery thriller that this Netflix adaptation presents as, and for the supernatural story it’s really telling. 

Because what’s behind her eyes, in this instance, is him. She is beautiful, wealthy Scottish heiress Adele, played by The Luminaries’ Eve Hewson. He is working class, Glaswegian heroin addict Rob, played by Game of Thrones’ Robert Aramayo. They meet as teenagers at rehab after the death of Adele’s parents, and realise that they share the ability for their souls to leave their bodies while they sleep and ‘travel’ to other places to spy on other people’s lives. 

‘I love this place, I’d stay forever if I could’

Rob, who identifies as gay, isn’t content just to be a voyeur; he wants a permanent change. Obsessed with Adele for her looks, wealth and adoring fiancé David (Beecham House’s Tom Bateman), Rob manipulates her into using their power to swap bodies, then kills her and takes over her identity. He leaves his life behind to live hers, and is prepared to do anything to keep hold of it.

That includes pulling the same trick a decade later. David and Rob-as-Adele move to London for the latest in a string of fresh starts, and David starts an affair with his secretary Louise (Kiss Me First’s Simona Brown). David has been unhappy in the marriage for years, but won’t leave for fear of being implicated in the death of ‘Rob’, which he helped to cover up. Rob-as-Adele uses his astral projection power to spy on the affair from the start, and forms a plan.

As luck would have it, Louise also shares the rare soul-travelling power, which enables Rob to stage Adele’s suicide, swap bodies with Louise, and re-marry David posing as her newly stolen identity. Now in the body of another woman he’s tricked and killed, conscience-free Rob ends the series with everything he ever wanted: a new life, David, and through marriage, Adele’s money. 

‘Nothing about that life I want back’

It’s a malevolent ending made all the more cruel by the existence of Louise’s seven-year-old son Adam, who knows instantly that there’s something very different about his mother after Rob takes over her body. The story ends with two women murdered, a man deceived for years about who he’s married to and having sex with, and a child’s mother replaced by the person who killed her – all so that one person can greedily live a life they coveted.  

It’s a surprising ending, not just for its audacious supernatural twist, but also because of how unusually out of touch it feels with modern sensibilities. However inadvertent, the conclusions it seems to reach about gay male sexuality, trans identities and the working class threat to the wealthy all feel centuries out of date. Granted, Behind Her Eyes is a supernatural fantasy/pulp thriller, not a documentary or manifesto, but its story choices reinforce harmful myths with real-world consequences. 

Read more

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Netflix’s Behind Her Eyes Cast: Where Have You Seen Tom Bateman and Eve Hewson Before?

By Louisa Mellor

TV

Netflix’s Behind Her Eyes Ending Explained

By Louisa Mellor

The idea, for instance, that gay men routinely sexually predate on heterosexual men and deceive them into sex is a corrosive one. The Gay Panic Defence has historically been used to exonerate perpetrators of violent, homophobic attacks, and the work of dismantling the myths that shore it up is ongoing. Even in a pulpy, fictional fantasy setting, showing a gay man tricking his duped heterosexual partner into sex feels… unhelpful. 

Rob’s deception is made possible by a gender-transitioning body swap, a plot point impossible not to view in terms of trans identities in 2021 (or in 2017 when the book on which the show is based was published). At no point does Behind Her Eyes suggest that pre-swap Rob is a trans woman; he’s a gay man who coveted Adele’s life. Showing a character changing their birth gender for self-serving reasons of greed and personal gratification plays into the worst tabloid scaremongering. Rob’s villainy strengthens transphobic narratives about deception and misrepresentation.

‘What’s it like to be so fucking rich and so fucking pretty?’

One of the biggest surprises in this show’s sensational twist ending is its almost Victorian fear of the working class, largely represented by Rob. From Ebenezer Scrooge to Mr Burns, it’s practically a consensus in fiction that rich people are life’s baddies. Outside of 19th century pamphlets, villains tend to be taken from the one percent and heroes from the plucky underclass. At the very least, working class villains are granted a Joker-style revenge motive, a traumatic catalyst for why they want to eat the rich. Not here.

Rob (not just any member of the working class, but – as an impoverished heroin addict with a troubled background from a Glaswegian tenement – a full bingo card of poverty cliche) has no revenge to take against blameless Adele. She doesn’t patronise him or use her wealth to humiliate him. He simply sees what she has, wants it and takes it. It’s greed, and the body-theft a supernatural metaphor for the threat that the wealthy have historically perceived as coming from the ‘parasitic’ poor. 

The same paranoia is seen in the show’s plot thread about farm boy David having been suspected of starting the fire that killed Adele’s parents. And again in the scene where Rob-as-Adele tries to buy heroin from an Islington estate and is immediately attacked by a gang. Even in working class Louise’s affair with her now-rich boss, it’s the same pattern: the poor take from the rich.

‘You kind of have this fairy tale life’

Rob’s obsession with wealth blinkers him to reality. He myopically sees Adele and David’s life only as a flawless fairy tale, callously dismissing Adele’s loneliness and the traumatic deaths of her parents. When Adele first teaches him the ability to quell his nightmares and control his dreams – a gift for which he is supremely ungrateful – Rob conjures up a manor house, a cravat and a butler. Upon his arrival at Adele’s estate, he immediately goes into an exaggerated role play as the lord of the manor. Wealth, status and being loved are his obsessions.

Later, in London, Rob-as-Adele’s fixation on beauty and appearances see him dressing almost entirely in white (the colour of the rehab uniform in which he first met, and idolised, Adele) and spending his life maintaining her athletic body and magazine-spread house. 

Rob’s priorities are, to say the least, warped. He’s so desperate to escape his lonely working class roots that he does unthinkable things, behaving with brutal selfishness and a total lack of conscience. That all makes sense – he’s the villain. 

And in a perfect and equal world, gay men, trans women and impoverished working class addicts have just as much right to be the messed-up, dangerous villain in stories as anyone from a less vulnerable social group. In a perfect and equal world, that kind of portrayal couldn’t harm anybody or affect their safety. But we don’t yet live in a perfect and equal world. By choosing this particular villain, and crafting this particular ending, Behind Her Eyes has either optimistically jumped several steps ahead in representation, or taken a lengthy stride backwards.

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All episodes of Behind Her Eyes are available to stream now on Netflix.

The post Behind Her Eyes: the Dubious Messages Behind its Finale Twist appeared first on Den of Geek.

from Den of Geek https://ift.tt/3bjwMqn

[gencottraux]

(Sensitive readers beware: fear factor ahead!)

Christmas time is here…and I love the holidays. The carols, the decorations, the over-the-top store displays, the Hallmark Channel movies–I love all of it. As I’ve gotten older, I don’t do as much myself. Our Christmas tree is still outside in a bucket waiting for us to have time to bring it inside. I haven’t done any shopping. But I still love to soak it all in wherever I go. I have Pandora on the James Taylor Holiday Channel, from which I’ve realized I actually like singers Josh Groban and Michael Buble (yes, Cathy and Ellen, you told me so).

  Like so much of what happens around me anymore, the atmosphere has launched a bit of nostalgia and longing for the Christmas of my childhood. So much excitement! Such specific rituals we followed, and the slow pace that kept an anxious kid like me all pent up, but in a good way. My mother always made us each a special outfit for Christmas day. I specifically remember a red velvet top with a lace collar and pants to match that I wish I still had (in my current size) and a pink velvet midi-dress festooned with pink satin ribbons. I did go through a serious pink phase. And apparently a velvet one, too.

Little me with a not very merry or healthy looking Santa.

Oh, the wishes for such treasures as a Lite-Bright and an Easy-Bake Oven, which were never met.

Vintage 1967 Lite-Brite.

Vintage 1960 Easy-Bake Oven.

Or the ones I did get that I wanted so badly. Like the Beautiful Crissy Growing Hair Doll. I loved Crissy so. She had a push-button on her tummy that you could use to wind up her hair to be short or pull it out to be long. As my own hair is always transitioning from long to short or short to long, I was fascinated by this insto-chango approach to hair.

  This is where things are going to take a weird turn. Around about 1970 or so, I really wanted a ventriloquist dummy for Christmas. I found one in the toy section of some department store catalog and made sure everyone knew that was what I wanted.

The Danny O’Day model. I had to have it. Him. Whatever.

You know the 1966 book A Christmas Story by Jean Shepherd, made into the popular 1983 film of the same name?

All Ralphie Parker wants is a Red Ryder Carbine Action 200-shot Range Model air rifle. Set in 1940 in Indiana, the story of Ralphie and his friends Flick and Schwartz and his attempts to evade the bullies Scut Farkus and Grover Dill and Ralphie’s efforts to convince all of the adults in his life that an air rifle is a great idea and that he won’t shoot his eye out. At the end, Ralphie gets his Red Ryder, and remarks that it was the best Christmas ever.

Best Christmas ever. 

Enter me as Ralphie and Danny O’Day as my Red Ryder. The fact that I even wanted a ventriloquist dummy is very strange. I am afraid of clowns and killer Chucky-style dolls. I watched way too much of The Twilight Zone when I was up past my bedtime. There are 2 episodes that feature evil ventriloquist dummies: The Dummy and Caesar and Me. Then there’s a movie I vaguely remember with a mentally disturbed girl and the dolls and stuffed animals in her room that talk to her. They don’t say happy things. Or maybe that was The Twilight Zone, too. No, wait, the Twilight Zone with the murderous doll is the called Living Doll, featuring Talky Tina. This is the stuff of my nightmares.

    Again, what made me think I wanted Danny O’Day? Did I think I might have talent as a ventriloquist? Well, I got Danny O’Day, and it was NOT the best Christmas ever. I unwrapped the package, I opened the box, and I screamed. At least I think I did. I know I wanted to. But I dutifully spent the day pretending I loved Danny (who I renamed Charlie) and trying my best to follow the instructions on ventriloquism that came with him. I had no apparent talent for it. And then it was bedtime. I left Charlie in the living room, under the Christmas tree. And stayed awake all night positive that he was going to creep down the hall to my bedroom and kill me if I went to sleep.

He didn’t look that evil. If you start online searching for images of ventriloquist dummies, there are many much creepier examples.

Maybe it was his evil influence over me, but I surprisingly kept Charlie for years. We moved cross-country. We moved several more times. I went to college. I got married. And I still had Charlie. I kept him packed in a trunk (yes, that’s what the idiot humans in all the scary shows do, too, and it doesn’t work), sure he was going to get out eventually.

I had other scares, like the time I was home alone watching television and the trailer for the movie Magic (1978) came on. I turned my head and closed my eyes and tried to block it out. The mute button hadn’t been invented yet, and somehow it didn’t occur to me to immediately change the channel. Charlie-fear reared it’s evil, ugly head. The film is based on a book written by William Golding (author of Lord of the Flies; that doesn’t go too well for the characters either). Golding also wrote the screenplay. It starred Anthony Hopkins “as a ventriloquist at the mercy of his vicious dummy”.

      Yes, I was 17 and home alone for the night, except for Charlie in the trunk, watching television when this came on. Yippee. Needless to say, it was another long, sleepless night.

I did eventually manage to give Charlie away. I am not sure the child who was visiting us  and who thought Charlie was cool really wanted him, but I pretty much gave him no choice but to take Charlie with him. I’ve worried about that child, now a grown man, ever since. Charlie was moved to Turkey with his new person. You might imagine I felt safe. You would be discounting my overactive imagination. The film reel plays out in my mind of Charlie crawling out of his hole, finding his way onto an ocean liner, making his way eventually back to California, and appearing in my doorway, ready for revenge.

Of course I know this won’t happen. It would be silly for a 56-year old woman to hold a lingering childhood fear for a doll who, let’s face it, is a silly looking piece of plastic wearing bad clothes. Honestly, Beautiful Crissy could be said to be just as creepy as Danny O’Day. But still…

Summer before last I went to Maine to attend a week-long residency at the Institute for Humane Education. I was also taking a couple of humane education courses that summer, so I took one of the assigned readings with me to Maine. There I am in a cabin in the woods in the middle of nowhere, and I take out this book, Consuming Kids: Protecting Our Children from the Onslaught of Marketing and Advertising, by Susan Linn. Sounds innocent enough, and about a noteworthy topic. As I tend to do when I start a book, instead of jumping right in, I decided to read about the author. OMG, Susan Linn is a VENTRILOQUIST (an award-winning ventriloquist, no less) who uses puppets as therapeutic tools with childen. At first I laughed at the idea, then I got the creeps. I’m sorry, if I went to a therapist who turned out to be a ventriloquist, I would end up needing a lot (A LOT) more therapy! I couldn’t read the book. Again, I was in a cabin in the woods in Maine, scene of lots of teen slasher movies. I didn’t sleep all week. That might have been the massive amounts of caffeine and taking showers at 3 a.m. because there 14 of us sharing 1 bathroom, but Susan Linn, Ed.D., ventriloquist/child psychologist didn’t help me any. (Note: I don’t mean to belittle her work in children’s therapy, really.)

Dr. Susan Linn

    Now that I’ve turned Christmas into something totally macabre, let’s go back to happy thoughts. I did finally get that Easy-Bake Oven as a 50th birthday gift from Bob. Thank you!

Maybe some day I’ll get that Lite-Brite.

My wishes this year are simple yet complicated: happiness, joy, kindness, peace…beautiful words, easier said than done. Going back to another childhood Christmas memory, I like to remind myself of the message of A Charlie Brown Christmas, about the spirit of the holiday not being in all of the things and wrappings and show, but in the love, peace, and care we take in ourselves, our loved ones, and the world around us.

  I also reread the Dickens classic A Christmas Carol (1843) every year, following Ebenezer Scrooge as he opens his formerly greedy and cold heart to the world around him. If you don’t want to delve into Dickens, there’s always How the Grinch Stole Christmas. Same idea.

Albert Finney as Scrooge, reformed, playing Father Christmas for Tiny Tim, in the 1970 film version.

  I’ve posted this video clip before, but it’s become a classic since it was first televised in 1977 and merits reposting. I remember watching it at the time (1977) on the yearly Bing Crosby Christmas special and finding it so beautiful. It still is. It’s not just in the voices, or the melding of two seemingly very different men, from different countries and different generations. It’s in the love and longing for peace.

  You can’t go to the store and buy these things. You can’t wrap them up and put them under a tree. But we can give them to each other easily and freely, and we will all sleep better.

Peace, hugs, and have the happiest of holidays.

    Be careful what you wish for (and have yourself a merry little Christmas) (Sensitive readers beware: fear factor ahead!) Christmas time is here...and I love the holidays. The carols, the decorations, the over-the-top store displays, the Hallmark Channel movies--I love all of it.