#i know it isnt very close to the book description but this is my vision

[dannydoteggg]

The Autumn Prince from Margaret Rogerson's An Enchantment of Ravens

[sixthwater]

🌼AstroThoughts🌼

This is my first (and only) post that won’t really be an observation or note post, but more of a side notes of astrology like...thing. Stuff that I personally keep in mind. This is going to be more text heavy and less fun facts, and taken from personal experiences for sources

NOTE: I am nowhere close to a professional. I’m barely even a novice. I just like dabbling in this and looking at it every once in a while and now I “know” things (also I’m watching true crime videos so if I’m jumping all over the place....yeah)

🌻 Knowing your natal chart is imperative when taking in ‘astro observations’ or  things like that. You don’t have to know it inside or out, but knowing how your planets interact with each other and how they act within the houses will help you understand why a certain statement doesn’t resonate with you. 

If you can’t buy books, or don’t have the option to, there are a lot of other ways to go about learning: getting paid readings from astrologers you trust and using that information to help your research (for personal knowledge of course), googling various sites and putting the information together, conversing with people who share similar placements with you, or going through threads and seeing all the ways these placements can play out. Regardless it all involves using more than at least three sources and combining information for the best outcome

For example, lets take a look at my moon and my ic. When talking about childhood, people usually group up these two, which can be difficult for me because I have a Taurus Moon, and a Gemini IC, can be a little different. If you struggle with aspects to angles, finding apps that just find them for you until you get the hang of them are a good study buddy (an app I like is Charts for beginners and Time Nomad for people that are more comfortable). Just looking at aspects I can see that sun+, mars+, jupiter-, saturn+, uranus+, and pluto- are touching my ic, which sounds about right can give me a handle on how to view descriptions on childhood posts when seeing how people write up taurus and gemini. How about not looking at aspects though if that’s too difficult? Well, we can just break it down and try to pick out which descriptions fit us best with the knowledge that we have (because its our childhood, no one knows us better than us).  So considering Gem IC first; yes there was a lot of stimulation, not a strong sense of emotional stability. However I was very curious and dabbled in a lot of activities (or wanted to). I have no sense of familial bond or ‘home’ because I believe I can Make my own home where I go and it lies in the friends I make and not my family, which leads us to my Taurus Moon. Financial stability is something that was a goal, standards are set and made known, responsibility is given at a young age, etcetc. Using either method can give you better vision when reading notes like those. 

Second example: me, one friend (friend a), and another friend (friend b) are both cancer suns, venus, and virgo mars-- but we all give off completely different energies. Why is that? Well: friend a has her mars in her first house, her sun is in the 11th, and a sag moon in 4th. friend a can be polarizing and is not afraid to be aggressive even if she’s a very open and friendly person. Friend b has her sun in the 8th house, a scorpio moon in 11th, and mars in the 9th. Friend b is “goth”, except she’s goofy as all hell. Many people flocked to her in hs despite being open about wanting to be a mortician and her interests in those areas. I have a 6th house stellium which includes my sun, a taurus moon in 3rd, and mars in 8th. Its a running joke that I’m all set to be a housewife, my anger isnt as in your face as theirs and I’m more anxious. 

In conclusion: Not everything is covered obviously, but your aspects, ascendants and their rulers, placements, etc---all of that needs to be taken into account before you see a statement and think about how that applies to you and in what way it might! Observations or research aren’t necessarily straight up wrong, it just might be something in your chart getting in the way of that planet/aspect and making it display itself differently. This also is what makes me doubt astrology a lot but its fun as hell and nothing is real so

💫Synastry is completely subjective. There is no right or wrong overlay, aspect---anything. Once again, it depends on your chart (and regardless of astrology, just who you are as a person) for what is going to work with your relationship. Obviously share your experiences as it helps other people be able to get a grasp on how it might (keyword: Might) impact them if they have similar placements, but you still have to remember there is a separate person with a separate chart and their own mind involved in this as well

There is no easier or harder aspect or overlay. As people have said before: if you have a natal chart full of harsh aspects, if you get into a relationship that is made up of harsh aspects, it’s not going to shake you. Whereas if your chart has trines and sextiles, it might be a little wake-up call to your system that you have to work in order to keep this going. For overlays, if you have a strong placement or stellium in one house, you might either find yourself loving that overlay since you’re used to it, or find it boring because you already have that stimulation in your life so you want something else.

Ex; For personal placements that I tend to be attracted to, I see a pattern of them being cancer, scorpio, gemini, fire signs. Cancer = Cancer stellium with an exalted moon. Scorpio = Mars in the 8th house. Gemini = 3rd house moon & Gemini IC. Leo = My DSC, Sagittarius = My MC, and my 11th house. Aries = ? Its intercepted and I really have no actual fire placements besides angles so I’m probably seeking what I lack. So if we use me as an example or a beginning point-------Cancer and Gemini placements are ones that I feel comfortable with. I’m familiar with them and I feel like I can let my guard down around them. Geminis in particular I believe can give me stimulation which is something I seek for emotional comfort. For Leos, I tend to exhibit those qualities myself, so it can be a bit of love/hate, but it’s not unwelcome, while for Sagittarius I tend to enjoy being around because I like their energy and how they interact with the world. Can they be a lot? Absolutely, but I’m also very “docile” in comparison, and they push me to not be. Aries I tend to get into arguments with a Lot, but I don’t shy away from them because they hold a lot of qualities that I, once again, want to hold within myself. Lastly, Scorpios are cute. They’re not intimidating as often described they just love a lot and are very sensitive and aren’t stupid enough to give out the love they know they can if they know it won’t be given back, which is something I find adorable when witnessed and an easy bullying point if they’re a close friend or relative. 

Fun test for beginnings or people who want to learn: can you take this small passage and link it back to my placements and see how they connect?

So for me, I might be comfortable with water overlays, I have multiple fire overlays with my friends...and that’s about it. there are scattered air and earth overlays, but I barely feel those. One of those would be a constant 7th house overlay which is hilarious because 7th house is always seen as god’s gift to overlays, but I (personally) don’t feel it at all. That would be because that’s not the most important planet/sign/aspect in my own natal chart, so I don’t place importance on it without even trying. 

🚀Signs =/= Houses necessarily. Yeah they’re associated with each other for a reason, or else we’d be going around saying Pisces is in charge of finances and wealth, but at the same time they are not interchangeable. This is mainly about when you need to take in information about how a placement is acting and what to be looking for to recognize it, especially when the descriptions for a sign and a house are Completely different--it’s all about picking things apart and finding what you need (again).

Now this bullet I’m much less confident about, so 100% do your research behind me before just taking in information, but it’s a a lot like how sun signs and sun houses will display and manifest themselves a Lot differently because their key qualities are focused on different things.

Let’s tease my favorite scorpio placements for this one to bring it full circle! My dad is a scorpio, meanwhile my best friend has her sun in the 8th house. You would 100% guess my friend to be the scorpio and my dad something else (more a mutable sign). My dad is very stubborn and Extremely giving and loving with the people that he lets into his life. I’m  also pretty sure if he finds out I’m talking about him publicly like this he’s going to whine for at least two minutes too. However if you cross him, he won’t forget, like ever. He’s a big baby though like he’s harmless even though he doesn’t look it. My Friend However, she is not harmless. As I mentioned before: interested in mortuary science (became a mortician), fave series are ones like tokyo ghoul and laughed reading junji ito, doesn’t shy away from dark topics, once threatened me loudly in a public space without hesitating because she wanted me to be okay and has actually gotten into a couple of tiny fights when younger. The things they do have in common though is that they hold onto things about themselves that “aren’t important” and I have to drag it out of them (and they end up being very upsetting), they feel things very intensely, they are some of the sweetest people I have ever met and their loyalty is Unmatched.

So like I said, there is a reason the signs are matched to the houses, but they cannot exactly always just be replaced with each other and it depends on the context and what you’re reading or looking for of course! A really good post I love on sun signs for this is actually written up by @lilmajorshawty​, and they have a lot of good posts that I like to go back and refer to!

These are all the things that I could think of currently, so if you have anything you want to add feel free I will not be looking, but if you did read this entire thing: you have a lot of patience, thank you. Enjoy your day!

[breitzbachbea]

📒💖

Emi, I'm kissing you on the mouth right now, you're so sexy. In general but also for taking the bait.

Put “📓” or some other version of a book emoji into my inbox and I’ll explain the plot of a fanfiction that I haven’t written but daydream about.

The Constantinople AU

This AU is from 2017 and came about because I watched a TED-ED video about Constantinople's walls, relistened to the Aladdin soundtrack and because I had earlier talked with a friend about how I had not really seen people make a genie a woman. I came back years later to explain it to my friend Jonah and add new stuff and this year I showed it to @amber-isnt-a-precious-stone to add even more things. It's one of my favourite AUs for sure.

Dramatis Personae:

- Herakles Karpuzi (APH Greece) as Son of the Roman emperor and heir to the throne - Sadık Adnan (APH Turkey) as Soldier in the Ottoman army and Imposter Prince - Dilan Taş (Human OC) as Jinn and Sadık's unsuccessful wingwoman - Athanasios Karpuzi (Human OC) as the Roman emperor and serial skirtchaser - Salvatore Vento (Human OC) as Advisor to the emperor and Fuckface McBadDad - Michele Vento (APH Sicily) as Herakles' childhood friend

The Happenings™:

- It's set in Constantinople in an alternate Universe, close to ours. It’s the late High Middle Age/Early Late Middle Age (depending on how you want to periodize. I am working with how the German Middle Ages are divided, which is arguably a very bad method for classifying Byzantine. But this is my silly Hetalia AU, not my term paper). Around 1300, I’d say.

- Athansios Karpuzi is the current Roman Emperor, which makes Herakles the heir to the throne. Athanasios is desperately trying to wed his son off to any available suitors to form new alliances, but two things keep getting into the way: 1. Herakles is thoroughly uninterested in playing along with Athanasios’ plans. He’s not a chess piece on his father’s board if he's got anything to say about it. 2. Salvatore Vento is Athanasios’ closest consultant and protests any marriage for whatever reason he can find. For the sole reason that he has been eyeing the throne for himself the entire time and wants to marry his own son, Michele, to Herakles.

- Like in my Hetalia AU "Like Father Like Son", Salvatore and Athanasios trust each other as far as they can throw one another. There is no genuine trust here at all, no sympathy, really, they just stick together because they know the other is useful. Have some assorted banter as result of this:

Salvatore: "Immortal what a name! What a title to bear! Although immoral would have fit you much better." [Athanasios’ etymology is “immortal”]

S: "Maybe you wouldn't have to struggle to find a suitable bride for your son if you stopped dragging every young woman within and from outside Constantinople to bed." Athanasios: "He's into guys too, problem solved." S: "Oh, yeah, me dumbass thought you needed stop whoring around, how silly of me."

A: "If he is into anything at all. But if I have another child, they might keep this empire going." S: "No legitimation to the lineage's claim to power like a gay loner and a bastard child." A: "Ah yes, I hired the man whose wife ran away with his son so he could berate me about family life. How I value your opinion, Salvatore." S: "She didn't run away." A: "No, she just hides and sends you people until she can get her divorce. I'm very inclined to give it to her."

S: "They're childhood friends! They'd make a great couple!" A: "All I can hear is what a great emperor you'd make, ruling on my corpse."

- So. Herakles is staunchly resisting any marriage to anyone and minding his business one day, walking along the great walls of Constantinople. He stops to look out into the surrounding area and suddenly, hears a noise. Confused, he looks down and sees someone scaling the wall. Sadık looks up and sees the most beautiful man he has ever seen … spotting him trying to get into the city.

- Sadık is part of the Ottoman Turks, who’re conquering the area around Constantinople these days. He’s some nobody in the army and thought he’d give it a shot and get into the city by himself to earn some fame (and money).

- Herakles is seriously impressed Sadık managed to actually almost scale the famously impenetrable walls of the city. Not impressed enough to actually let him in. So these two banter a bit, Sadık now distracted by this hunk in front of his nose. Herakles correctly assesses that he’s a Turk and says of himself that he’s the emperor’s son. Sadık: “Hey, hot stuff, if that’s true and it’s so impressive, why don’t you let me in as a reward?” Herakles: “Yes, of course. And then I’ll open the gates for the rest of your people, so that you can just walk in and take the city. What impossible thing do you want to happen next, a kiss on the mouth?” Sadık: “What’s so impossible about that?”

- Either way, Herakles threatens to sick the guards on him, which leads to a “Oh no you wouldn’t” - Herakles grins and definitely would, so Sadık has to retreat. (#Don’tSickTheGuardsOnMyAssYou’reSoSexyAhaha).

- He goes back to camp, having gained nothing but a crush. He gets in real trouble for rummaging around the booty, where he finds an oil lamp and WOULDN’T YOU KNOW WHAT HAPPENS NEXT. Dilan, a Jinn, pops out and Sadık uses his first wish to get out of trouble. Once that is done and the two have a moment of peace, he's thinking about what to do next and his mind circles back to Herakles.

- Dilan: "Ah yes, they always want something with love ... so who struck you and what's the problem?" Sadık: "Well ... I don't really know if it's true but he said he was the son of the emperor. He certainly looked the part! And I didn't really want to wait for him to call the guards to confirm it." Dilan: "Wait ... so you want to get with the son of the Roman emperor?" Sadık: "If that handsome little shit didn't lie to me, then yes." Dilan: "Isn't that a little out of your ballpark?" Sadık: "What, is it out of yours? Can't help me in that case, magic lady?" Dilan: "Psht, don't make me laugh! I can make the impossible happen, just tell me what you need." Sadık: "I dunno ... I guess getting inside the city?" Dilan: "That's it? That's all you need? That's less than a no-brainer -" Sadık: "Oh yeah, if it's so easy then, save that second wish for later. I got past one of the walls already once, I'll figure that out without your magic." Dilan: "Alright, alright ... and what about the wooing of your sweetheart?" Sadık: "That we'll see to once we're there ..."

- Dilan and Sadık chitchat while they make it to Constantinople. Dilan spends some time in the lamp, because walking is boring, but she does tell him that she's pretty sick of being in there. So that's where Sadık learns about her wishing to be free. Dilan in turn learns that Sadık doesn't have such a rosy life either (especially because now he can't return to the army, after he basically deserted).

- So they get to Constantinople and decide to actually factcheck if they got the right guy - and if yes, some general information about the emperor's son. Luckily enough, a friendly trader/tradesman tells them a bit about the city and the imperial family. Dilan: "So, did you by any chance ever see the emperor's son?" Trader: "Oh, well, that's an odd question, isn't it? But since you don't seem to be from here, I can understand the curiosity. Well, let me think ... You often see him only from afar ... during a triumph where he had accompanied his father during the campaign I got to see him up close. What a regal figure there at the head of the troops!" Sadık is too lost in the vision of his crush all decked out in military gear on a horse. And then taking all that gear off and being a regal figure while he fucks Sadık into the sheets … Dilan: "Yeah, yeah, yadda yadda, we need something more concrete. Height, hairstyle, haircolour, what does the dude look like?" The trader/tradesman is a little baffled but does provide a description that lines up with who Sadık saw. So with that information, they start to wonder how to woo a future emperor.

- Luckily, now that the trader/tradesman thinks they're here for imperial gossip, he actually mentions the fact that Emperor Athanasios hopes for his son to follow his footsteps and is currently looking for a suitable match, so that Herakles can be of political use even while he's still in charge. So Dilan and Sadık get an idea how to get into the city and Herakles heart. Or his pants. Milestones are still up for negotiation.

- After the grand entrance happened, where Herakles definitely took offense at either "Heard your prince was a sight lovely to see" or "Heard your prince was hot, where is he?" because either question was accompanied by Sadık's flirty looks, Athanasios actually lets Sadık and Dilan into the palace. There he and Salvatore discuss the entire thing, aka if whoever Sadık pretends to be is a good match.

- While they talk political stuff and snark, because of course Salvatore is against it, Sadık continues to feel very smug in his new princely identity and makes flirty eyes at Herakles. Herakles is just like "ugh" and much more happily plays with his cats. Which tbh sounds like they're 16 or something, but they're not that much younger than in canon (I think they'd be 22 and 24 here).

- Hijinks ensue. Herakles tells his dad that he’s a Turkish soldier that tried to sneak into the city and Athanasios doesn’t believe him, thinking Herakles is now lying badly to not get married. Dilan and Sadık are developing a friendship that is best described as hoes being bros.

- Dilan: "Look, you like cats. Cats are furry. Hairy, if you will. You know who else is hairy? Sadık. He's juuust as hairy as a cat - shhhht, I'm wingmanning for you and it's working great, you can thank me later."

- At first, Dilan mostly employs her magic for some silly little things with Sadık to woo Herakles. It doesn't work very well. Herakles: "I know it's magic, that's not impressing me - Okay, it is kinda cool, but you're still a dick." Dilan: "But a dick with a cool sidekick, come ON! What else do you want me to do to make the nerd viable?!" Sadık: "You call that wingmanning?!"

- Once Dilan realizes dickbags Athanasios and Salvatore are, she also uses little magic tricks to continously make their lives worse. Ironically, this may be what finally endears her and Sadık to Herakles. (If you haven't noticed, he doesn't like his father very much and Athanasios doesn't care for him aside from being a political pawn).

- At one point, Michele shows up at court! Herakles is overjoyed to see his childhood friend, which he hadn’t seen in years! Sadık is absolutely not, because it looks like just when he and Herakles almost had something, this twat shows up and steals the show!

- Dilan: "Well, I can't make him not love this dude, but I could beat the dude up." Sadık: " ... keep that in mind."

- However, when Dilan goes to investigate what Michele is doing here (and wingwomanning again), this ensues: Dilan: "Hey brah, what's up, why so blue looking? Is it because your boo just told you you ain't his number one anymore?" Michele: "I, eh ... no ... May I ask who you are?" Dilan: "Just one of the servants of the insanely charming and powerful - and hairy - Prince who's here to marry the Prince. Yep, he's sooo gonna marry that guy." Dilan: "There was a whole musical number about it, you should have seen it, I was on top of my game." Michele: "Sure heard about it, you stirred up trouble here. Hope it helps ... I'm not saying that Herakles should marry someone his dad set in front of him, but it'd be nice if he found someone at last. He told me he was very lonely the last years ... I don't want to leave him behind just as lonely again." Dilan: "Yeah, it'd be - Leave him behind?"

- Dilan: "Good news! His loverboy is not here to stay! He wants to go to the west, he's just here because of his terrible dad!" Sadık: "Oh, that's good! Wait ... isn't his father that asshole of an advisor?" Dilan: "Yeah. Why." Sadık: "The guy who wanted to marry his son to Herakles since apparently forever?" Dilan: "Yeah, but his son is not going to marry him." Sadık: "I smell a trap 10 miles against the wind."

- There is no trap however. Herakles realizes that the crush on Michele is nothing but a childhood crush and has to be left in the past … and that he wants to move forward with Sadık. When he wants a conversation one-on-one, Dilan wants to make it a one-on-two, but Herakles asks her if she doesn’t want to keep Michele company in the gardens, it’s not gonna take long, an hour or two at most. Then she can also fetch Michele when they’re done, so that Herakles can say goodbye before he leaves for Sicily.

- Dilan thinks about it, finds it’s not a trap (and if it was, nothing she and her fists couldn’t solve) and goes in the garden. There she talks with Michele and makes the mistake to either show off her magic powers, tell Michele of TurGre’s meetugly (#Don’tSickTheGuardsOnMyAssYou’reSoSexyAhaha) or to be like: “Hey, do you wanna know a cool secret? Sadık isn’t a Prince, all of this is my doing. Pretty cool, eh?”

- Unfortunately, they’re not alone. Salvatore was searching for Michele in the gardens, to get his “fucking rotten brat of a son” to play along after all instead of disappearing once again. So he overhears this. Salvatore: "Oh, so Prince Sadık is not a Prince? That's a funny joke indeed and I'll laugh my ass off the hardest in the end."

- So just when Herakles and Sadık had time to talk about their feelings and confess and, also, you know, make out and fumble for good measure, they get interrupted. Literally when Herakles was finally stripped down to his tunic and Sadık slid his hand underneath it.

- Athanasios: "This is gonna be the last wall you breached, you little rat." Herakles: "Dad! Stop it!" Athanasios: "This man nearly ruined our dynasty. Arrest him." Salvatore: "Arrest the man indeed. Go and get the ex-emperor." Athanasios: "Ex-Prince. It's not the right time for your snark." Salvatore: "I'm not talking about that small fish. Guards - arrest this careless idiot who nearly ruined our city by letting a scammer into its walls! Clearly the emperor's been in on this and can't be trusted!" Athanasios: "You've lost your mind." Salvatore: "You've lost yours and it's actually the thing you'll miss the least when syphilis is going to eat away the last of your rotten brain in the dungeons. So get him! And that ottoman faker, too, just get the trash out of here."

- The scene ends rather dramatically, because I love the thought of Michele and Dilan rushing to their help, but they get held back. Dilan maybe gets restrained by some anti-magic stuff. And Dilan begs Sadık to use his last wish to help him. To solve this problem. But Sadık refuses, because he promised to use it to set her free. So Dilan is just livid and upset, distraught, yelling at him to let her do something while he gets taken to the dungeons.

- So now Salvatore’s in charge and setting his plans into motion. PR is of course the first thing that needs to be done, so there’s a speech to Constantinople’s masses: "But, as you know, I respect and regard the royal family, the entire dynasty, more than any of you! So I am not going to assume power, it'd be a crime against God himself who granted us this emperor, if I had removed him for anything but his unstable condition and his tragic mistake of almost letting his lineage being tainted! Not to mention that this would have been the end of our beloved empire, our city, suddenly overrun and ruled by those barbarians! No, of course I'll give my power to the true heir who was merely a victim to his father's incompetence. To prove I really mean it, I'm even going to give up my son to the Prince, to forever bind my loyality to the throne!"

- Michele: "I hold no more respect for you as father as I did when we left. I'm not going to play along your perverted plan." Salvatore: "Well Michele, if you don't respect me as father, then maybe you'll respect me as the Roman Emperor!"

- Meanwhile, in the dungeons, Athanasios and Sadık have some great chitchat. Sadık: "Guess that's some quality father and son in law bonding time, eh?” S:“Though I'm pretty sure your son would rather call me daddy than you." A: "Once this entire drama is over, I'll have you decapitated. Or just kick you back to your people and let them handle this." S: "Ah, but when I came here as a fake prince, your arms and gates were wide open. Should've listened to your son when he told you so."

- Here’s also some Salvatore content: Athanasios: "And now you strut around in my clothes. I'm surprised they even fit you fatass!" Salvatore: "Oh, the entire imprisonment is really getting to you, ain't it, emperor tightlips? Ah, I meant - ex-emperor tight lips. Now you've sunk low enough to insult me with such details. Is it because you have nothing else left now that you're off your high horse?" Salvatore: "I thought so. At least you're enough of a sound mind to not threaten me with 'once I get out of here' hot air. Because we both know you're not getting out of here in a lifetime anymore. And yes, I’m wearing your rags, since I’ve got no time to waste.” Salvatore to Sadık: "Actually, it's sad that you aren't going to be there to watch it. Although, I think a public execution would just spice the entire wedding festivities up, if I think about it."

- Ah yes. The wedding. Herakles: "You look great today, my love. Like a polished jewel." Michele: "Thanks. I'd never seen a man more handsome than you though. Truly, a prince with all his qualities seen right away." Both: -sigh- Ft. Dilan, who’s just watching the kids sadly and is trying to reassure them she got this, she’s gonna find a way, it’ll be fine!!!

- Herakles and Michele wonder why Sadık didn't use that wish. To which Dilan replies he said he'd free her with it, but she didn't believe he'd actually uphold that promise. And he shouldn't have because now she's useless and he's in trouble. (And Hera only falls more in love with Sadık, because being a good person is HELLA swoony.)

- Dilan also tries to cheer them up and I believe she can still do small magic tricks, she just can't get out of whatever shackles/confinement she is in. So when she isn't despairing or raging, she tries to cheer Herakles and Michele up with some silly little tricks. She shapeshifts into their fathers to make fun of them. Which leads them to an idea ...

- I have no idea what it is though. I only know that the grand final and resolution involves shapeshifting. If anyone who's better at plots wants to give me ideas, please do.

- However they manage to stop Salvatore's machinations, this is what follows: Salvatore gets thrown into the dungeons. Herakles decides to not let his father out and instead take the crown himself. He becomes emperor and marries Sadık. Sadık uses his last wish to set Dilan free. Michele goes to travel to Sicily, promising he’ll write letters to them and come visit some day (Dilan promises the same).

- The end of Salvatore and Athanasios rotting in jail together is SO satisfying to me, bc now that they are useless to each other, there is nothing left to do but be a pain in each other’s ass. They hate each other and they DESERVE EACH OTHER.

Sequel Bait:

- Before we get to the sequel bait, let me give you some prequel bait for a change. Here's a little "what if one of the many suitable matches for Herakles had been one of the Beilschmidt brothers" scenario. Plus free medieval history lesson:

- Now for the actual sequel: Three years come and go. Herakles and Sadık settle in their new rules as emperor and ... emperor's husband. (I don't know if Byzantine empresses were "put into office" in the same way the Emperor was. If someone is more knowledgeable about this than me, correct me).

- Their marriage is going swell, however both struggle in their new official roles. Herakles faces all the administrative problems and tough decisionmaking that comes with being a ruler, while Sadık struggles to be accepted by the people of Constantinople. Where Herakles tends to take care of the court, Sadık tries his hand at being a military leader.

- One morning, Sadık wakes up with Herakles in the room. Which should not be surprising, if it wasn't for the fact that Herakles had left the city yesterday. He's oddly nonchalant about it when Sadık asks him and also ... weirdly chipper? Eager? Kitschy in his flirting? He's at first flattered, but soon very confused by everything and wonders if either he hit his head real hard in his sleep or if Herakles fell off his horse when he tried to make it out of the city.

- Turns out none of it, because after some more eyelash fluttering, his "husband" goes POOF! and turns out to be Dilan, who's on the floor laughing. "You should have seen your stupid face! Really! Wait, I'll show you!"

- After Dilan is done shapeshifting into Sadık, absolutely overacting his reaction and argueing with him about it, they finally get to catch up. Turns out that Dilan was bored by travelling around the world and wanted to check in on her old buddy.

- She couldn't have chosen a more opportune time to do so. Once Herakles returns, he ... at first has a weird reunion with his husband. Sadık is kind of wary around him and starts to list his attitude and general personality traits/ticks as proof for ... something. Takes a while for Herakles to get the news that Dilan is back, too.

- Herakles is very relieved to hear that! He wanted to confide something in Sadık, because after he had returned to the city, someone had taken him aside. Natasa Simonides, an old and trusted courtly advisor, needed help. Recently, her husband Ibrahim disappeared and she's worried.

- Natasa also told Herakles a secret: Ibrahim is a Jinn, which is why his disappearance worries her even more. Herakles informs Sadık and asks Dilan if she knows anything, but she sadly hasn't heard anything either. - Before she can zip off and see if she can find Ibrahim, Herakles asks another favour of her - to educate Natasa's twins, Timothea Farah and Omar Veniam instead. Natasa thinks they may be able to find their father, but they don't know they're half-Jinn, so they'd need some guidance. Dilan happily agrees to be their teacher!

- My only more in-depth infos on Jinn and their children with humans comes from this Monstrum video by PBS Storied. I don't think Thea & Omar would need to be taught by anyone to be seers and how to be in communication with non-human spheres, but it makes for a better story.

- So Dilan is off to teach the kids while Sadık volunteers to go and search for Ibrahim. Herakles resumes his imperial role in the city.

- It's not really fun and as the people become more and more agitated with the status quo, more and more people "remember" that the old emperor is still around. Enough people are going "What's that kid knowing anyways?! All those highfangled ideas and useless reforms, for what?" that a select few decide to stage a coup by releasing Athanasios from the dungeons.

- Now, I still haven't decided if Salvatore also gets let out. The problem is that I really would begrudge him his freedom ... but I also begrudge Athanasios his freedom! It doesn't feel fair that one bastard gets to walk free and the other doesn't!

- Out in the field, Sadık isn't having much more luck. No Jinn in sight and the trouble he has with a few of the men that accompany him keeps him thinking about the acceptance problems again. He really wishes at one point that Herakles wasn't emperor at all. You can imagine how terrible he feels for these thoughts when news of the coup catches up to them. Be careful what you wish for and all that jazz. On top of that, he gets into trouble as well - betrayed by some of the men he had taken along. He gets stuck in some place like a cave or an abandoned house he was investigating ...

- Sadık finds a large sealed bottle and thinks 'Well, what's the worst that could happen?' He is greeted by a GIANT cloud of smoke instead of anything edible/drinkable. By the time the cloud is human-shaped, he already has a giant grin on his face. Sadık: "Hah! I have a sixth sense for this kind of stuff!" Jinn: "Greetings, mor-" Sadık: "Yeah, yeah, quick question, is your name Ibrahim? Or do you know one of your kind called Ibrahim who's been passing through recently?" Jinn: "My name is Ibrahim - " Sadık: "Great! You know a Greek lady called Natasa? I take that look as a yes. Okay, so first wish is to get us out of here, second wish we'll see, third is like freeing you from the whole servitude bit - You do the three wishes thing, right? Anyways, your wife and kids are wishing for dad to come home, so get us out of here, you'll get explanations on the way back."

- In the meantime, Dilan and her protégés, along with Natasa and Herakles, have been trying to figure out how to solve the problem at court. It doesn't help that the news of Sadık's troubles also reached them (I know the speed of spreading information may be historically hella inaccurate, but I need it for the drama). So Dilan is torn between helping her best bud and helping the rest at court. The Greeks cook up a plan and assure her that she should go and help Sadık, they've got this.

- The plan is to get Athanasios to do something incredibly stupid that would immediately turn the people against him. They exploit the fact that Athanasios likes to listen to words that fall from pretty lady's mouths. So Timothea flatters her eyelashes and promises to tell him something of a vision she had ... that the divine has something to tell him through her. (Don't worry for her, she may have to endure his fingers under her chin, which is infuriating and nauseous enough, but no more skin contact than this). Thea gets backed by her brother to lend it more credibility once Athanasios considers with his head and not his dick.

- And we can all appreciate that Dilan has been sent away, otherwise the scene would have been like this: Thea: "The spirits are talking to me about you ... " Dilan: "Mhm, mhm, indeed, I can hear them to. They're saying that you're a bitch!"

- Dilan in the meantime reaches Sadık, Ibrahim and those of his troop that haven't betrayed and abandoned him as soon as they heard of the coup. A little happy reunion before she immediately fills them in on what's happening.

- They come up with a plan themselves to finally get rid of Athanasios and the Simonides and Herakles have begun to sweat a little back home, because Athanasios mistake of listening to the twins' advice has bought them time, but not really solved the problem yet. Which is when Dilan and Ibrahim sweep in, concocting an illusion powerful enough to wrap up everyone in Constantinople and make Athanasios seem like the literal devil. Some mass-hallucination miracle bullshit, truly, to assert that he doesn't deserve the throne.

- Maybe for good measure, Athanasios disappears after the illusion is over. Dilan and Ibrahim have no idea where he went, they say with a smile.

- Another grand finale! The four lovers are reunited, Thea and Omar are overjoyed to have their dad back and he is overjoyed to have his kids back. When Dilan tells the Simonides twins that they did a great job, she's a good teacher after all haha!, Ibrahim and Natasa invite her to stay. Dilan says that they don't need her, surely, now that Ibrahim can teach them, but Ibrahim says he could use some help. Herakles also encourages her, saying that he'd love to have her at court - and Sadık also bullies her into staying. "What do you wanna do, see the world again? Didn't do much for your peanut brain the first time around, maybe hit the books together with Hera so that you'll be a passable teacher some day."

- Dilan and Omar also have evolved a crush on one another during this entire mess. That's what I'll leave you with - all well that ends well.

Also hey you! Thanks for reading all of this! Here's a little bonus content if you made it this far!

A wonderful fanart of Michele and Salvatore by my beloved friend C0FFINATED over on twitter!

Here's an amazing commission of the Greeks and Turks by @captkirkland ! I'm not sure if I'm allowed to repost the pictures myself on tumblr & you shoud reblog it from him anyways. Show him and his amazing art some love! From left to right it's Timothea, Herakles, Omar, then Dilan, Sadık and Havva (who's not featured in this AU, rip. Things would have worked to well with their brainpower).

Thanks for reading this! Hope you have a wonderful day!

[sun-stormz]

Genshin Impact Visions & Gods

This has been bugging me since i started playing in mid november, but what makes a certain Archon give a Character their Vision. Considering i couldnt find any official info, I decided to do some research on each Archon and then on the player Characters we have of each element as of beginning of December 2020.

This will contain spoilers on characters & story!

Note: The travelers will not be included due to them not having Visions and having more then one Element.

I am basing this on overlaping themes and not on anything related to the actual Archon. I did add some info on the archons tho, due to this being about Visions and archons

“It is unclear whether Visions are directly granted by its element's corresponding Archon or by the nation's Archon. There is also the possibility that granting a Vision requires approval from both Archons. Yet another possibility is that they are granted by neither, and are instead given by the gods on Celestia.”

-Genshin Wiki on reciving Visions

Starting with my Favourite Element, Electro.

Electro wise, We have five Characters as of right now: Kequin, Razor, Beidou, Fishl and Lisa. The Electro Archon, God of Eternity, Baal, is the ruling Archon of the Area, Inazuma, whitch is the area we are getting in the 1.4 update in 2021.

To start off i read into any info i could find on Baal and i gotta say, she is a interesting Fellow. As of right now we know that Baal has locked Inazuma down and has initiated a Vision Hunt Decree, due to her thinking Visions should be under the sole domain of divinity. She also hasnt handed out any Visions since this decree which means all Electro characters we know have gotten theirs before this drastic change.

Now, why did these 5 characters get their Visions? Well each character has a different reason, from Razor wanting to protect those he calls friends to Lisa simpley saying it would be of use to her and just getting it. From what I've found there isnt really a big overlap in the reciving of the characters, but what is overlaping is their fixation on something.

Razor recived his vision due to him being fixated on getting stronger to protect his friends after he failed to while being dragged away by an abyss mage

Kequin was fixated on sharing her beliefs, that the people of Lyiue shouldnt rely on Rex Lapis and have their Pride and that their views are of Equal importance

Fishl was so fixated on a book series she changed herself to be like the main character, fishl and her Vision manifested in the form of Oz, one of the characters from said book

Beidou was fixated on killing Haishan, a sea monster, from a young age and recived her vision when she did so

Lisa is pretty much fixated on understanding magecraft and the cost of reciveing a Vision.

Now onto a easier Element, Geo

The Archon of Geo and Contracts, Morax, Archon of Lyiue.

Morax or Rex Lapis, was one of the oldest gods, defended Lyiue in the Archon war, the Currency in Teyvat, Mora, is named after him and as of Chp.1 Act 3 we know that he has taken the form of Zhongli and has retired as the Geo Archon.

Morax, Along with Barbatos, are the only two Archons of the Original Seven that havent been replaced.

Now, who are our Geo Characters? Noelle and Ningguang, two dedicated powerhouses! This one is fairly simple, thanks to voicelines we have of Zhongli since he came out as a player character (Bless the pity pull for giving me this man)

In his “About Ningguang” Voiceline he says: ”Despite the multitude of affairs she deals with in a day, Ningguang always continues to press on. A rare gem indeed. I'm reminded of the time that she used to walk barefoot from Yaoguang Shoal to the south wharf, trying to sell her wares as she went. Time is cruel to humans.”

Noelle recived her vision when Jean Acknowledged her hard work when she tried to get into the knights of favonius. in her “Vision” story it states: This was a lucky day that she would always remember, for she would receive recognition from two all-important sources this day: once from Jean, and the other from the gods. Her hard work has been remembered after all.

So for short: Hard working and dedicated = Geo Vision

Next up we have Anemo

Our wonderful Tone deaf bard, Venti or otherwise known as the Archon of Anemo and freedom, Barbatos, the not really ruling Archon of Mondstadt.

Barbatos is a freedom loving guy and refuses to rule over Mondstadt, the city of freedom and is by far the weakest of the Archons, despite this the people of Modstadt still love and adore their windy God.

I went into this one thinking “Oh this is easy, itll be love for freedom or something!” Nope, it surprisingly wasnt. Jean and sucerose recived their visions through their Determination it seems. Sucerose from doing her 159th Dandilion seed Simmering experiment and Jean seemed to be determened to be a good grandmaster and to protect Mondstadt.

That aside, i couldnt find many overlaps with the two, they are both free spirited and love what they do.

Now on to Pyro

Pyro, the Element of the Archon Murata who is also the god of War, is wielded by the fan fav Diluc, as well as Klee, Xiangling, Amber, Bennett and Xinyan.

Not much is known about Murata, Venti describes her as a “ wayward, warmongering wretch” and thats about all we know. She presides over Natlan.

Now to the characters, this was acually the easiest of them all: Passion.

Every Pyro user has a huge amount of passion that a rolemodel or Loved one ignited within them.

This one definitly surprised me the least and i am really excited for when we meet Murata and Natlan.

Diluc has the same passion his father had

Klee has a passion for Explosives that her mother ignited

Xiangling has a passion for food and cooking she got from her father

Amber got her Passion for Mondstadt and the outriders from her grandfather

Bennett got the Passion for adventure from all the old adventurers he calls dads, yes Dads as in plural, that raised him

Xinyan has a passion for Rock, tho i havent found out more of her story due to her being so new.

Now heading onto Hydro

Hydro, along with Dendro, is the only element where we do not know the name of the Archon. All we do know is that they are the Archon of Hydro and Justice and rule over Fontaine.

So straight to the Hydro characters: Barbara, Mona and Xingqiu.

I dont really count Childe due to the only thing talked about is his dilusion and i am rather confused on if he even has a real vision but i still love him lots

Im going to be honest this one really had me running the brain gears for a while.

All three recived their Vision as an extension of the self.

Barbara  got hers after helping a sick boy by singing to him to help him sleep through a fever, Mona rekindeled a learning aid to her vision, to aid her with her search for the truth of the rules of the world and Xingqiu got his after he explained the principles of his clans martial arts anew, litterally saying that martial artists should see Visions as a extension of the self.

Last but definitly not least, Cryo

Cryo, the Element of the Archon know as the Tsaritsa. We acually dont know her corrisponding ideal nor her acual name and this one was just as geargrinding as Hydro.

The Tsaritsa, Ruler of the fatui and the one that gives them their Dilusions, is one interresting lady. We get a description of her from Childe: “Her Royal Highness the Tsaritsa is actually a gentle soul. Too gentle, in fact, and that's why she had to harden herself. Likewise, she declared war against the whole world only because she dreams of peace. Her gaze was cold but pure, arrogant yet sharp. She was not only the sacrosanct Cryo Archon but a true warrior also.”

Kaeya, Chongyun, Diona and Qiqi, our current four Cyro userer, all have rather interesting storys when it comes to how they got their Vision.

All dont accept something

Kaeya felt guilty about hiding who he was from the family that adopted him after his father abandoned him to be a spy in Mondstadt, and told Diluc, someone he used to be very close with, the truth, since then he sees his vision as a stern reminder that he must live his life under a heavy burden of Lies. He pretty much doesnt accept the truth of his situatin and would rather live with that heavy burden

Chonyun is surpressing a part of himself, the condition he has, and as Xiangling says in Chongyuns stories, is denying a part of him. He trys to work around his condition and wont accept it as the way to go about how he practices exocrism.

Diona wont accept the truth about her father being a Alcoholic, and places the blame on the Alcohol industy instead of accepting that he isnt as high and mighty as she thought. She wont accept that her fathers bad control over his drinking habits is the reason he acts as he does and instead blames the alcohol industry.

Qiqi didnt want to accept her death nor does she really accept her Zombie like traits and only uses them when she needs to defend herself.

My theory is the Cyro Visions are recevied when you wont accept the grim reality as it is, if this is positive or negative variates

When it comes to the last element, Dendro, we sadly know nothing nor have we seen any dendro character in action. So that might be a addition later on.

I’m really interrested if we find out the actual criteria for reciving each Vision one day

[tortured-swiftie]

@revouries sorry it took so long but here is my full list of song recs! Ps - it is loooooong

So I’m still very surprised anyone is even interested in this but its a really cool thing to share! This playlist has taken me close to a decade to create and I’ve been asked to share it with you all! Fair warning - heavy spoilers, and a lot is based on ship angst, don’t come for me. Also I have only read TDA twice and its been maybe a year since I did so I don’t remember everything perfectly. I had a lot more time with TMI because I read them for years and years. TID & TLH don’t really have soundtracks for me, because of the time period these modern songs really feel wrong when I read those series.

TMI :

Battle in Hotel Dumort in CoB -

- I’m So Sorry - Imagine Dragons

The pace of this song, the sinister notes, the danger it invokes just brings this scene alive. But also, this is the first time Clary feels like a Shadowhunter. She fights and its not terrible. She feels powerful instead of like a liability. Shes able to hold her own while talking to a clan of vampires. Its badass and fits the song.

Seelie Court kiss scene in CoA -

- The Violet Hour - The Civil Wars

Its such a beautifully haunting song, its sweet on the one hand but something wrong lies underneath it. It is so so perfect, because Clace is getting what they’ve wanted, but by hurting those around them. They get to give in for once, without the guilt attached, they have someone to blame for all this. But it ends on this very uneasy note, because it isnt right. So much of it is not right and Clace are not satisfied because it wasn’t a real kiss or real declaration of love

Jace and Clary after the meeting with the Seelie Queen in the Institute in CoA -

- Black Flies - Ben Howard

This is a very Jace song for me. Its quiet, peaceful, but the words are hurtful and honest. “No man is an island” fits him so perfectly at this time in his life where he feels abandoned by Valentine, abandoned by Mayrse, abandoned by literally everyone so he wants to make it worse by committing to Clary. She is so unsure of him because of the repercussions it would cause and he wants her in this moment because of the repercussions. He wants to isolate himself so he cant be hurt by those he loves.

Jace meets Valentine on the boat CoA -

- Silence Worth Breaking - Brooke Annibale

This is where Valentine really shows off how manipulative he is, and as a reader you start to believe how easy it would be to get around to his way of thinking. imo this is the best villain CC has written, because you find yourself agreeing with him sometimes and he makes it difficult to argue from a different perspective. The first time I read this scene I was convinced he was going to go with Valentine. The song is foreboding, it is anxious, and makes you think something bad is around the corner, which at this point in the book you feel like something bad is bound to happen

Simon is about to die on the back of Luke’s truck end of CoA-

- Wait - M83

This just perfectly conveys the grief and fear and guilt Clary feels when she thinks Simon is about to die. She brought him into this life, he turned into a vampire because of her, he was tortured by Valentine because of her and just as they saved him he is going to die. Its the loss of innocence and childhood for Clary. Simon is the last piece of it stripped away from her. First her mum, then her belief system in her whole world, then Luke, and now Simon. She is stripped all the way down to the bone of her identity and this scene is quick, but intense for this reason for me.

Clary and Jace meet up for lunch at the end of CoA -

- Distance - Christina Perri

This is such a sad song, and the sweetness of Christina Perri’s voice pairs beautifully in this scene with a feeling of a bittersweet kind of resigned acceptance. Clary had wanted so bad for Jace to let her go, she had convinced herself that her feelings weren’t that strong. And now here she is accepting her true feelings and ready to kind of wrap Jace around herself like a security blanket and he tells her exactly what she wanted to hear earlier. Except now she has to be a big girl and face her life without anyone holding her hand. She has to grow up and thats what makes this scene so sad, this is Clary realising its time to grow up.

Clary and Jace find Ithuriel in CoG -

- Goodbye Godric - Nathan Barr

This song was always ethereal and otherworldly, the notes are awe inspiring and convey this grief that is so abstract and not individualistic, it is beyond the human experience. Clary and Jace’s complete altruism and empathy in this scene matches with the grieving tones, how helpless they feel at this beautiful creatures pain, and how much they want to do something but they don’t know what. Then Ithuriel shows them visions and its even worse than they imagined. The misery that exists in these walls caused by Valentine, the waste of energy and life and soul is amplified by the music. The music soars as Ithuriel is set free, and the manor home crumbles.

Clary and Jace make out session outside the newly ruined Wayland Manor CoG -

- Maybe Tomorrow - Stereophonics

This wild abandon kissing perfectly matches the mood and pace of this song. Its all over the place, its messy, its confusing. Its giving into pure passion. Its abandoning any pretences they have built up and watching reality crash back down on them.

Isabelle wants Simon to distract her after Max dies in CoG -

- Not Everything Was Better In The Past - Fink

This is such a tenderly played song, and is easy on the ears, but there is a rawness there. Isabelle is completely stripped away, raw grief and anger and guilt eating away at her. When she lets Simon in she is ferocious and wants to show him her toughness. But Simon sees through it all to a scared young girl who is lost in this sea of grief. Its a sweet Sizzy moment

Jace telling Clary he loves her for the first time in CoG -

- Leave a Light On (ACOUSTIC) - Tom Walker

Jace shouldering the responsibility of finding Valentine by himself, essentially sacrificing himself to the cause, hes grief stricken, and yet feels barred from that grief. I know we experienced this scene from Clary’s POV but this song works so well from his POV. He wants to tell the girl he loves how he feels, he wants one night with her to feel normal and feel loved, and to pretend just for a little while that there is nothing wrong with that. This very stripped version of the song is much much much more raw, and that’s what Jace feels like in this scene, all the walls are down and he wants to show his real face to this one girl

Clary showing off her rune skills in the council chamber in CoG -

- I Found - Amber Run

This was the first scene I imagined from a filmmaking perspective, how to best present this scene. I imagined this entire scene from Jocelyn’s POV, frame by frame, as she walks into the council room very quietly and watches her baby walk up and address everyone in desperation, voice shaking but standing her ground. Grown, bigoted, adults judging her and are fearful but she is still showing them what she’s worth. I imagined Jocelyn’s entire world view shifting because she is in awe of this powerful girl Clary has become. She watches her daughter no longer as a little girl but as a formidable Shadowhunter that could handle the cards she had been dealt in life. Just a very transformative moment and pivotal in how we see Clary in the TSC universe

Lilith takes over Jace’s mind and disappears with Sebastian at the end of CoFA-

- I’ll Keep Coming - Low Roar

This song starts out so uneasy, it cant settle down, and that’s exactly how I feel when Jace sends Clary downstairs. I want to scream at her to stay, but knowing Lilith would always take over no matter what. Its a very dark moment, because no one wants to lose control of themselves and it must have been pretty scary at first. Its an anxious scene, paired with an anxious song

Magnus takes happy memories away in CoLS -

- Howl - Jake Houlsby

Magnus is looking very sad when he does this, especially what he says to Simon. Its such a knowing look, Magnus is no stranger to this kind of sorrow, but still to be witness to it over and over must take its toll. It just makes me think of the endless road stretching out ahead of him and how lonely and terrifying that must feel for him. Just a beautiful song to go with a sad moment in this scene

Clary at the Faerie club with Jace and Sebastian CoLS -

- Faded - Alan Walker

- Darkside - Alan Walker

At this point in the story you feel a lot like Clary is getting too comfortable and is maybe losing sight of the mission she’s on. These two songs are very club sounding to me, and tonally fits the mood of the chapter. Clary is quite literally lost in that moment with the Faerie drugs and the dancing and the atmosphere

Clary dancing with Sebastian CoLS -

- Daddy Issues - The Neighbourhood

First of all lyrically….it cannot get more perfect. “Go ahead and cry little girl nobody does it like you do, I know that you got daddy issues. And if you were my little girl, Id do whatever I could do…” it just conveys the creepiness of Sebastians interactions with Clary and how weird she felt when he was dancing with her and how wrong it felt. This is a very short moment in this chapter but it really creeped me out. And this song conveys perfectly this feeling of haziness of the Faerie drugs and this uneasiness that surrounds Sebastian

Simon drinks from Isabelle CoLS -

- Harvest Love - Tash Sultana

This is a pretty soulful, sensual song. And when Simon drinks from Isabelle and he describes the euphoria that comes with that, the description of how his nerves react to the fresh blood just remind me of the part in this song where the drums and music soars the highest (start around 3:32, and it reaches its peak around 4:48) its honestly one of the sexiest scenes CC has written, even including all the Jemma scenes

Magnus and Alec break up in CoLS -

- Evergreen - Ben Howard

First time reading this I was so so angry at Alec, and felt the sorrow and anger coming off Magnus. This song is very dark, and very sinister. Magnus completely misunderstood what Alec was trying to do, and applied the most sinister meaning to his actions. It is their perfect breakup song imo full of angst

Clary traps the Heavenly Fire into her sword in CoHF -

- Outro - M83

This is another scene I imagined cinematically. The first half of the song is where Clary slowly makes her way over to Jace and she suddenly has faith in herself that she can do this. Then we watch her take Jace’s hands as the radioactive wind sounds start and the flames are swirling around them but not touching them. Cut to Magnus and Luke seeing the colour on the horizon, and the flash that shows its over. Cut back to Clary drawing the Heavenly Fire into the sword as the music swells around her. The words are so so powerful, and they always felt very ethereal to me “I’m the King of my own land” This is Clary fully embracing her power and fully utilising it. Its no longer something separate from her, but she IS her power.

Clary killing Sebastian, pretty much a lot of the scenes before the time jump CoHF-

- Saturn (both acoustic and original version) - Sleeping At Last

This song is definitely an end of film/book / end of heroes journey material. Simon sacrificing himself so they can get back, Clary killing Sebastian and forgiving him, Clary scattering the ashes of Sebastian and finally grieving the past years trauma (all of the TMI journey), the Faeries being condemned by the Clave and Helen getting exiled. Its beautiful, its sad, its momentous, its not a regular song.

Alec finds Magnus in Edom in CoHF -

- I Of The Storm - Of Monsters and Men

The steady drum beat adds a sense of steadiness and calmness in this song. Its not a joyful getting back together but they’re both glad the other is alive and are both forgiving each other. For me, this is when I truly started shipping Malec. The growth, the strength of character begins from this moment. This is when they become a couple I love because this is when they commit to each other flaws and all

Isabelle introduces herself to Simon at the end of CoHF -

- Golden Dandelions - Barns Courtney

Isabelle has always felt like a full punch character, no half measures and all that. The feeling Simon describes when he first spots this beautiful girl walking directly up to him is how this song starts, for me at least. The drums, the barely contained excitement, the curiosity, and faint recognition. This song is a full punch song right from the get go and it felt like such a remarkable Isabelle moment

After Jocelyn & Luke’s wedding in COHF -

- From Gold - Novo Amor

It is such a bittersweet, and peaceful song. There are so many endings in this scene, and so many new beginnings. They are all grieving, one way or another, and are all allowing themselves to evolve. Their journey is over, and at the end of this book I had this sense of saying goodbye to these characters (retiring them so to speak) because I wasn’t sure how much they would be involved with the future of the TSC world. Im glad they are still a big part of it, but they will never be the main focus again.

TDA:

Julian and Emma dance in LM -

- Give Me Love - Ed Sheeran

The sexual tension, and the dread they both feel because of their feelings just makes this scene so dramatic to me, and this song softens it a little. Especially if you are re-reading the series you feel this tenderness because they so badly wanted to avoid falling in love

Mark and Kieran in the Hunt -

- Dance Me To The End of Love - The Civil Wars

This is a pretty offbeat quirky song, a little sad, a little wistful, a little mournful, sensual, but tones of wildly abandoning all you know and giving into baser desires. Whenever Mark thinks of his time with Kieran in the Hunt, his memories sound like this song. They experienced very high highs, and very low lows. They were degraded, the lowest you could possibly feel as a living creature. Yet they were riding into the night, sleeping under the stars in places only known to Faeries. There was no one watching them, and no one to stop them from being together. There is tenderness in their relationship, but also knowledge that they are only together because they have no one else. Its happiness without truly feeling like you have a choice about it. You have to be happy together because you cant find this happiness elsewhere. They are forced into being in love a little bit, because the alternative is so much worse. This is one of the reasons why I couldn’t ship them at first, because they hadnt really chosen each other. Only when they were presented with other options and they till chose each other did I start seeing their potential.

Julian and Emma on the beach LM -

- Next To You - Of Rust & Bone

This scene completely took me by surprise, and is very unlike CC because love scenes normally take place quite late into any series she has. This one was filled with anxiety, and tension because the characters quite literally fell into their feelings. There was no forethought, no sense of taking stock of what they were doing. And they ended up feeling such different things about it afterwards. So for me this songs darker moods perfectly pairs with this scene

Kieran and Mark argue/break up LM & LoS -

- Fade Away - Tom Walker

This song has such raw power, such dark emotion and anger and a sense of betrayal that it perfectly captures their emotionally charged scenes. Mark can never be the same Mark that belonged to Kieran when he had no one, because now he has his family. And Kieran is still the same man who has no one but Mark. I hated him the first time I read LM and most of LoS but their chemistry is hard to resist. Especially as they evolve as characters as well as a couple. They are wild and unmoored sometimes and there’s something exciting about characters you just cant pin down.

Emma & Jules’ strained relationship LM & LoS -

- 9 Crimes - Damian Rice

When Emma is “with” Mark there is this strange chemistry between her and Julian. Both have hurt each other at different times, but this was really like a stalemate. Neither could really move on, and both were angry at eachother. As more and more people found out/realised about the feelings they had were more than parabatai this tension grew. Because they’re not just falling in love, they are also actively choosing to hurt one another. They are certainly not an example of a healthy relationship but I felt in some way they were the realest. Because sometimes relationships hurt and sometimes you do things you have to do even if that isnt what’s best for your relationship. This song perfectly captures this push and pull they have, and how falling in love wasn’t blissful happiness for them. It was pain and secrets and hurting.

Annabel rising, killing Malcolm LoS -

- As It Was - Hozier

Since we’re watching this scene from above, a very unnatural and cinematic perspective, the scene feels unreal. Like it was a dream and didn’t happen. I felt genuine fear and uneasiness when Annabel is slowly brought back to life, skin growing over old bones. This song has notes that aren’t usually arranged together, instruments that are usually a bigger part of a quartet, and somehow that arrangement feels just a little wrong. It feels different, sinister, and uneasy. It feels like its missing several instruments, or some notes have been played incorrectly. Hozier’s voice is his best in this song, very strained, but so controlled, bringing forth very intense emotions

Christina and Mark at the revel LoS (I couldn’t remember if this was in LoS or QOAAD) -

- Now You’re Gone - Tom Walker & Zara Larsson

Christina really let herself go during this scene, and we see a completely different side to her. She is adventurous, risky, and she would make anyone say “fuck it lets do this” I always liked Christina but I always felt she was very predictable until this point. We see how intensely she is interested in Faeries, and how personally invested she is in their culture. She allows herself to be swept up, and embraces it rather than fears it. She honestly seems fearless here, and is the definition of temptation. She is quite literally tempting Mark, and its sexy a f

Jules & Emma burn down the church LoS -

- Esmeralda - Ben Howard

This was the first time their relationship excited me, because during this scene I fully expected they would go into full thirst mode but they didn’t. They were still very sensual and sexual and intense, but in a very very different way. There is something attractive about someone who’s willing to burn the world down, who has a little bit of an anarchist side. Its human nature to feel some attraction to these traits, and this scene definitely stirred feelings in me

Emma fights Fal LoS -

- Put It On Me - Matt Maeson

This song both tonally and in its pacing elevates this scene to new levels. Its not a typical battle song, it has a steady pace. But Emma’s description of how the battle is stripped down because of the rain, how she prefers this kind of fight where its her, her weapon and the elements. Its pure, and we get to see Emma in full fighter mode. She is an extension of Cortana, and they belong together. This is without a doubt my favourite fight scene to date. It just brings alive the visuals in such a dynamic way. Very storyboard-able.

Julian holding Livvy as she dies LoS -

- Losing Your Memory - Ryan Star

This song is harrowing, and its just pure pain, raw grief balled into one intense song. The lyrics just pull you into Julian’s mental state “wake up, its time, little girl, wake up” just kills me. As the music intensifies and the singer is practically screaming the lyrics it just feels like that’s what it must have been like inside of Julian’s mind. He wasn’t screaming out loud but his mind must have been very loud

Julian and Emma shower together QOAAD -

- Promise - Ben Howard

Julian dry heaving because he doesnt know how to cry. Fucking heartbreaking in a very quiet way. After the noise of loss, the quiet moments where you have to face grief is devastating. Emma being an anchor, holding him in place and trying to keep the world away from him so he doesnt hurt anymore is just harrowing. They’re just kids but the grief they feel is so adult. And when you lose someone like that, and someone is there for you that solidifies so much in that relationship. They become a part of something you can never let go of. Even if that relationship doesnt last, they will always be apart of that memory. And Emma sticking by him, despite the danger and promises they have made themselves is proof that she is the one for him

Kieran and Christina dance QOAAD -

- Senorita - Shawn Mendes & Camilla Cabello

This song is sensual, its sexual, its got hooks that quite literally sound like orgasms its such a playful song. When I read this scene this song popped in my head right away. When Christina is dancing with Mark its the same kind of feeling I got from her at the revel, except this time there is no supernatural influence, its just her and her feelings. It was a sexy scene, and when Kieran walks in we all expected something very different. What followed is what elevates this scene, Christina has no clue how to react to Kieran, and yet she is mesmerised by him. She dances with him in a way we would never have imagined her doing this in LM. It shows evolution of character, for all three of them. And the fact that Mark is watching, and he’s not angry just makes this scene even sexier. You can practically feel the sexual tension in the air coming off the pages of the book.

Malec wedding QOAAD -

- That Girl Is You - Dave Matthews Band

This song brings me so much peace, the kind of peace that comes with knowing someone for years, and relying on them, knowing they are a permanent fixture in your life. Its exciting, but in a quiet way. Its a very atypical wedding song, because of the unusual style of singing. But I think it represents Malec really well at this point in their journey, they have gotten over many obstacles, often themselves, in this relationship. Their entire world is changing, and they are taking massive steps and making some pretty big sacrifices as people for this cause. Being Consul isnt going to be a smooth life for Alec with Magnus as a husband and a warlock for a child. But this is what he wants, and this is what he wants Shadowhunters to reflect and be going forward. This song is a very peaceful time in the entirety of TSC, and gave me a similar feeling to the end of TMI

[hidden-in-the-cloud]

Finding Fire Chapter 7

It was an early Friday morning the sun was barely reaching above the mountains as I was making breakfast I hear Cheryl blowdrying her hair in the bathroom. I put our plates of eggs on the table as I still hear the blowdryer going, "Cheryl we're going to be late." I hear the blowdryer turn off and if I didn't know any better I hear Cheryl huff. I sit down to scarf down my eggs and toast, She comes out a minute later with her hair in a bun. "Wow babe I love the bun." Cheryl huffs and sits down, "you wouldn't let me dry the rest of my hair," she pouts eating her eggs. We eat in silence until it no longer was. The door bursts open harshly as Sweetpea and Fangs enter with their eyes wild, "leave any for us Tiny?" Fangs greets happily as Sweetpea mumbles, "got us up this early after all," I roll my eyes and stand up heading to the kitchen, "Four eggs coming right up." The boys sit on either side of Cheryl as she's still pouting about her hair playing with her eggs while slowly eating them. "What's up Red?" Sweetpea asks as Fangs jumps in, "Why you pouting?" Cheryl mumbles into her eggs. I roll my eyes, "babe you're rocking the bun." Fangs lights up, "Hey can I braid your hair?" Cheryl looks up surprised, "you can braid?" Fangs smiles while taking out Cheryl's hair, "who do you think taught Toni?" I smile knowing Cheryl will be happy know she doesn't have to do a bun.

We get onto the motorcycles. "So you guys will follow us out of the park onto the street making sure no ones following us and we'll head the rest of the way," I say into the helmet loud enough for them to hear me. Cheryl wraps her arms around me, "Thank you baby," I smile and start heading out darting my eyes around making sure no cars are pulling out as I pass. I hear the boys pan out making sure they dont follow me to the hidden trail. "Hang on baby it's going to get bumpy." She tightens her grasp as we start on the dirt trail.

We get off the bikes as Cheryl fixes her braid a bit from the helmet nervously. I grab her hands, "you'll be great baby, can you go in the building yourself? I'm going to keep eye out here." She pouts a bit but nods her head. I kiss her red lips and kidnap her bottom lip sucking on it a bit. I bring my head back and peck her one more time, "You'll do great baby girl Dr. Green seemed so sweet on the phone and I'll be right outside on look out." She nods and heads in.

Keeping watch is a bit boring but I manage. Sweetpea called me earlier to say from what him and Fangs could see no one has followed us. I yawn and look around for a nearby coffee shop. I see there's a small one in the corner at the end of the parking lot. I made some good tips this week, what happens when you actually finish a shift something I haven't done for awhile due to Cheryl. Not that I'm complaining my baby always comes first. I come in and see a pretty girl cleaning the coffee machine, she hears the bell and looks up and smiles at me. "What can I get started for you gorgeous?" Gorgeous? I'm not used to being treated with kindness back home. Southside is pretty rough and Northside take one look at the jacket and either run or bring out their pitchforks. "Two vanilla lattes please?" She smiles and hums in response of my order. "Can I get a name please?" Either it's me or she's batting her eyelashes a bit much. "Toni with an I at the end," she giggles. Okay she's flirting no big deal. "Is there a phone number to that name?" Before I go to politely turn her down I hear a dark voice, "1-800 get a new pick up line hag." I turn and see Cheryl standing in the door way burning holes so hard into the girl she could have died if Cheryl had lazer vision. I turn and see the girl shaking a bit as she mumbles, "coming right up," I try to smile at her but Cheryl made sure she didn't meet my eye by Cheryl's introduction in. I didn't even hear the bell. She comes over and wraps her arms around my waist kind of tight she could have knocked the air out of me. I remember knowing her jealousy with Josie was pretty intense as I kind of squirm out of Cheryl's grasp trying to breathe, I think Cheryl noticed as she loosened up and gave me guilty eyes. I turn over to smile at her, "Hi baby how was it?" Not wanting to say therapist in front of a stranger knowing Cheryl needed privacy. She mumbled looking at the ground that it was fine. The lady sets down out drinks I go to pay but she shakes her head in fear looking at Cheryl saying it was on the house. Cheryl hums in triumph as she grabs her drink and stalks away. I leave a five dollar tip in the jar as the girl sweetly smiles at me. Cheryl silently sips on her drink sitting on the curb. "There's tables in the shop you know," as I sit next to my jealous girlfriend. She shakes her head. So we silently drink our coffee on the sidewalk watching the cars go by. After awhile I speak up, "no one followed us here." Cheryl doesn't respond until a few minutes later, "I'm tired of telling my story over and over again. When will it end?" I stare out into the road with her, "until you know it's a part of who you are and we get past this." We both drink our coffee in sync.

-----------------------------------------------------------------

I'm reading a book on the couch while Toni is at work for the night when I hear a knock at the door. I freeze remembering seeing two awful visitors days before, who could it be Hal? I stand up and look through the peep hole. This door didn't always have a peep hole

"FANGS FOGARTY YOU DID NOT PUT A HOLE IN MY DOOR" Toni screams as Fangs stands up with a fist full of door that was aiming at Sweetpea. Knowing the rath of Antionette Topaz he gets up fast backing up leaving a trail of door crumbling behind, "I can patch it up I swear!" Later to tell as he was patching it up he missed a spot.

All I see is a blonde ponytail as I quickly open the door. "Cousin Betty what a surprise." Betty looks around nervously, "your guard dog isn't here is she?" I scowl a bit closing the door closer knowing she was talking about Toni, "Well if that's how this is going to go I'm closing the door." Betty scolds back, "You call my boyfriend a Hobo every day." I keep scowling as Betty sighs, "okay look I'm sorry can I come in?" I lead her in and lock the door behind me. "So how are you?" I sigh sadly and look at the ground, "We don't have to do this." Betty nods, "truth is I still think my father is the black hood. You said he spoke to you that night and I need you to listen to his voice matching the description." I freeze in fear remembering that night as I shake my head seconds later, "talking to you should come with a trigger warning." We stare at each other for a moment, "Cheryl please I need to know." I shake my head, "Toni isnt here we need to do this when Toni is here." Betty shakes her head, "There's no time please Cheryl he can't hurt you." I start to back into my room scared, "no but you want to" I quickly run into my room and lock the door with Betty knocking seconds later. I grab my headphones and plug them in curling on the bed with Toni's pillow as I ever so faintly here Betty shout in the background.

After awhile I open my eyes as I hear screaming outside the door, Toni. I must have fell asleep in here my playlist is over and Toni wasn't due till later tonight. Before I can run out to her the knob turns and Toni bursts in engulfing me in a hug I quickly nuzzle into her chest. "Hi baby girl," I feel her kiss the top of my head as I see a sulking Betty walk in the room with Jughead also sulking. Toni pulls me back, "baby I know this is hard but we'd really like you to listen to the vo-" I shake my head at her, "I told Betty I would but you had to be here first." Toni glares up at Betty as this was news to her and Betty just sighs. She pulls out her phone and goes to her voicemail. Toni grips me tighter as Betty presses play, "Hey Betty it's your dad, listen I'm coming home today and me and your mom would really like you to come home for dinner so we can eat together as a family. Love you sweetie." I turn and start to sob into Toni's chest as I squeal out, "that's him that's the voice who took me away." Jughead sighs and Betty shakes her head in disbelief and sorrow. Toni grips me hard whispering into my ear. I see Betty curl into Jughead, "oh Juggy"

-----------------------------------------------------------------

At that moment me and Jughead share a knowing look. We know what we have to do. Usually Sweetpea wouldn't be down for serpent business if it didn't really involve serpent business but I know for Cheryl he'd do anything as he's come very fond of the red head for the past month.

Me and Jughead step outside for a brief moment. "I want to go Jug but Cheryl can't go and there's no way she'll let me leave her." "Can we sedate her?" He jokes but stops when I throw a glare his way. "Seriously Toni stay we can handle this we'll let you know how it goes."

That night with an angry Sweetpea in tow he breaks the glass of the Cooper home as the serpeants wrestle Hal to the ground throwing a bag over his head. They drag him to a warehouse and tie him to a chair.

"ARE YOU KIDDING ME YOU SNAKES WILL PAY FOR THIS. JASON WASN'T ENOUGH FOR YOU." Hal screams. At the mention of Jason Sweetpea throws a punch to his face as he growls, "We could say the same thing dragging an innocent girl away from her home." At that Hal laughs, "she was sinful needed to be clean." This time Jughead takes a hit on the other side of his head, "He who has never sinned throw the first stone, isn't that what Jesus said? I believe you've been stepping out of line yourself with a certain woman yourself." Hal stays quiet. Sweetpea loses it, "whatever let's just dispose of the black hood already." Hal perks up in fear and disbelief. "Black hood?! You guys think I'm the blackhood? You got it all wrong." Fangs steps out of the shadows with his pig head mask still on for intimidation purposes rather than identity. "If not you then who?" Hal shakes his head quickly, "I just wanted alone time with Penelope she said we couldn't have that with Cheryl lurking in every corner." Jughead wouldn't believe him if it wasn't for the fact that the Blackhood kills his victims and as they've mentioned before Cheryl didn't die.

That night Jughead goes back to Toni's trailer giving them the news. Cheryl falls to the ground sobbing to the fact she was right all along, her mother wanted her gone. With Jason and Nana Rose gone she knew she was an orphan.

----------------------------------------------------------------

That night as Toni and Cheryl lie in bed in their usual poses Toni speaks, "I'm so sorry Cheryl we will find out who the real Black Hood Is and I'm sorry your mother tried to write you off." Cheryl sniffs in response playing with Toni's abs, "It's better to be an orphan rather than being mowed down by your family I guess. My father with Jason. My mother with me." Toni kisses her head and hugs Cheryl tighter, that night neither got no sleep.

[writingguide003-blog]

'I completely lost it': the movie scenes that made our writers weep

New Post has been published on https://writingguideto.com/must-see/i-completely-lost-it-the-movie-scenes-that-made-our-writers-weep-2/

'I completely lost it': the movie scenes that made our writers weep

From Toy Story 2 to Under the Skin, writers pick the cinematic moments that made them cry and explain why. Spoilers ahead

Aunt Lucys trip, Paddington 2

On the face of it, Paddington is a fairly broad kids film franchise about the hijinks of a CGI bear, and so probably shouldnt make a grown human cry hot, salty tears. But that description ignores the fact that Paddington is a really, really well-made kids film franchise about the hijinks of a CGI bear, one that completely gets the pathos of its central character, a little lost immigrant searching for something resembling a family. Both films ably tug at the heartstrings, but the second film got me sniffling as early as 15 minutes in when Paddington imagines giving his only living relative, Aunt Lucy, a tour around London, something that in reality is impossible as shes stuck thousands of miles away in darkest Peru. When at the end of the film spoiler alert Aunt Lucy arrives on the Brown familys doorstep and she and Paddington hug, I completely, unapologetically lost it. Lord knows what surprises Paddington 3 has planned for my tear ducts. GM

When She Loved Me, Toy Story 2

Just before writing this, I put When She Loved Me from Toy Story 2 on YouTube once again, just to check. Yep. Just as always, I choke up, in the same abject, lip-wobbling, head-bowed way. It still has that terrible power.

When She Loved Me is the song written by Randy Newman and sung by the devastated toy cowgirl Jessie and in fact performed, beautifully, on the soundtrack by Canadian singer Sarah McLachlan. The song is Jessies way of telling Woody why she has grimly decided to submit to the airless world of the toy museum, because it is better than the inevitable heartbreak and delusion of loving a fickle human child. She reveals her anguish that her owner, Emily, has fallen out of love with her outgrown her, in fact. As Emily entered the world of adolescence, pop music and boys, Jessie was left under the bed and finally dumped.

When I first saw this scene and misled by the size disparity between toy and owner I thought it was a parable for a childs anxiety over being abandoned by the parent. But now that I am a parent I can see the truth which is completely the opposite way around. It is about the parents fear of being abandoned by the child: the terrible fear, actually the terrible certainty, that the kid one day wont want to play with you. They will grow up and want something else. This song is utterly devastating. It is modern cinemas equivalent of the Vesti La Giubba aria from Pagliacci the tragic clown smiling on the outside but crying on the inside. Im afraid to watch it too often. I dont want to break down over and over again. But I also want to preserve its power over me. PB

Ruths death, Fried Green Tomatoes

In many respects, Fried Green Tomatoes is not a movie for the modern age. It is a story about racism in the deep south told largely by way of eliciting our sympathies for wealthy white characters; it is a story about a lesbian relationship that had to slide its lesbian relationship in unnoticed, by presenting it as a very close friendship fulfilled by food fights, poker games and heads leaning meaningfully on shoulders. But I am deeply fond of this 1991 Sunday afternoon classic. Ive seen it more times than is healthy, and so I know exactly what is coming and when, and yet am still unable to resist the inevitable guttural sobbing that comes with the death scene.

There are plenty of teasers for it, too: Buddy on the train tracks, even Mrs Threadgoode talking about the death of her adult son. Nothing, however, can prepare the viewer for Ruth asking Idgie to tell her the old story about the frozen lake thats now somewhere over in Georgia. It doesnt so much pull on heartstrings as play a full symphony on them, and its devastating. As Sipsey puts it, a lady always knows when to leave. RN

The rooftop dance, Eat Pray Love

While I was repelled by the mere existence of the Eat Pray Love book, I found something strangely charming about its big-screen translation. It was a mixture of glossy food porn, glossy travel porn and glossy Julia Roberts emoting porn (she remains one of the best fake criers in Hollywood) all wrapped up in a rather unique tale of a woman trying to unshackle herself from the men in her life. But while that all provided mostly surface-level enjoyment, one scene cut deeper and the extent to which it cuts surprises me still.

As is often with the case with movie tears, these were tied to a real-world experience that had happened not long before I sat down to watch. I was dumped by a long-term boyfriend without much of an explanation and without any sort of warning. I was heartbroken and seeking some form of closure that was kept cruelly out of reach. I didnt understand why it had happened and it was the not knowing that felt harder than the break-up itself.

In the film, Roberts character has left her flighty husband and remains haunted by the heartbreak shes caused. On a rooftop in Delhi, a vision of him appears and they dance to Neil Youngs heart-grabbing Harvest Moon, the song that was supposed to accompany their first wedding dance. She reminds him that she did love him. He tells her he still loves and misses her. They cry and continue to dance. At the end, she tells him that it wont last forever, nothing does. Its a short scene but it hit me like a bus, it still does now. My tears are for the film but theyre also for something deeper: the sting of loving someone who stopped loving me and the ache of an ending I was never allowed in real life. BL

The thunderstorm, Click

Adam Sandler can make me cry harder than hes ever made me laugh, the true test of a clown. Yes, even in the underappreciated comedy Click about a dad who finds a magical remote control in the Beyond section of Bed Bath & Beyond.

Sandlers workaholic architect fast-forwards through the worst parts of his day the dull weeknight frozen dinners with his family, the repetitive arguments, the gross times everyone gets knocked out by the flu in order to get to his next promotion so he can buy his kids whatever they want. His plan doesnt go well, of course. But whats shocking is how gut-rippingly painful it is to see Sandler hit play on his life only to realize hes skipped past everything that matters. His bodys been present, the bills have been paid, but his emotional engagements been staticky a trade-off too many of us can understand.

In the climax, old man Sandler sobs in a thunderstorm as he arrives at his daughters wedding only to learn shed rather her stepdad walk her down the aisle, and his son has grown up to mimic his job-first, family-second example. I rarely cry at unavoidable tragedies where no ones at fault. My weakness is characters regretting choices they cant rewind. Click isnt Ingmar Bergman Sandler gets a happy ending but I barely saw his relief through the rainstorm on my face. AN

The courtroom, Kramer vs Kramer

By all accounts, Robert Bentons film Kramer vs Kramer skews heavily toward Dustin Hoffmans Ted, whose wife Joanna has left him and their six-year-old son Billy. Billy and Ted make french toast together, or argue about eating ice cream before dinner, or visit the nearby jungle gym. Were it not for Meryl Streep and the trenchant, intuitive way she humanizes a woman who, in the 70s, would have otherwise been made to seem mawkish and unstable Kramer vs Kramer might be just a schmaltzy panegyric on fatherhood.

But leave it to our greatest living actor to turn a film on its head with a single scene. You know the one: Joanna, during the custody hearing, is subjected to a string of sexist questions about her failure as a wife and a mother. When asked why shes seeking custody of Billy, she blinks three times, beginning the monologue Streep herself wrote in an effort to redeem her character, who she initially perceived to be an ogre, a princess, an ass.

Billys only seven years old. He needs me, she says, reciting the word need with a whispery uptick as she glances at her ex. Im not saying he doesnt need his father. But I really believe he needs me more. After catching her breath, she becomes more emphatic: I was his mommy for five and a half years. Since I was about Billys age when my parents got divorced, ergo, too young to understand or even care, Ive always been astonished and, by proxy, moved by how compassionately Streep plumbs the depths of Joannas truth. JN

The beach, Under the Skin

Little focuses the mind more effectively on human distress than the arrival of your own kids; scenes in films which I might once have snoozed through now induce boggle-eyed terror OH MY GOD, DONT LEAVE THAT BABY NEAR THAT COFFEE TABLE, IT HASNT GOT A CORNER PROTECTOR! But nothing has topped at least, not yet the scene in Under the Skin where Scarlett Johansson murders a swimmer and drags him off to eat him.

Its not the murder thats so epically upsetting, though its gruesome enough: Johansson, playing an alien visitor permanently on the lookout for human nutrients, simply bangs him over the head with a large stone as he lies prone and exhausted on the beach. Its what goes on in the background that is so awful. A woman goes into the water to try and rescue her drowning dog, and her male partner instinctively rushes in after her, leaving their toddler alone high on the shore. Johanssons chum the only other adult on this lonely Scottish beach goes to help too.

With the speed of falling dominoes, a nice little day out unravels: the mother and father are swept away to who knows where, and the alien takes her chance to acquire their would-be rescuer as a food source. Meanwhile, the suddenly abandoned kid is shrieking in terror as the night closes in. Another, less astute film-maker, might cap the scene with the alien scooping the kid up and adding him to her dinner menu, but what Glazer contrives is absolutely horrifying. Johansson-alien simply ignores it, and leaves it alone. The film moves on, this incident consigned to the past.

I have to confess I was absolutely blindsided by the scene; mostly, I think, because of the its sheer unexpectedness. I think I was gripped by a kind of internal hysteria: shock, hyperventilation, a feeling the back of my head might explode. (I cant say I actually cried though I may have, but in the confusion I cant really remember.) I certainly had to hold on to the seat to stop myself bolting out of the cinema then and there. I am aware theres a some degree of self-indulgence here: the fact that my daughter was about the same age as the kid in the film undoubtedly super-sensitised my reactions. But everyone has their weak spot; this is very much mine. AP

The birth, Cheaper by the Dozen 2

Cheaper by the Dozen 2, if you havent seen it you probably havent, why would you have? is the sequel to the remake of family comedy Cheaper by the Dozen, and Im sure it was made because Steve Martin, the star of the franchise, needed to pay his mortgage. The main gist of the movie is that Martin and his wife, played by Bonnie Hunt, have 12 children who get into various japes. Its asinine. But during a time in my life when I was making a lot of transatlantic flights, Cheaper By the Dozen 2 was always an option on the British Airways seatback televisions, and one day I found, because of the frequency of my flights, I had watched all of the other films.

What choice did I have? At the climactic scene, where the oldest daughter, played by Piper Perabo, gives birth, and then names the baby after her father because he has shown her that there is no way to be a perfect parent, but a million ways to be a really good one, I cried so much the man sitting next to me regarded me with what appeared to be real concern. There may have not been enough cocktail napkins on the whole plane to dry my tears. Was it the recycled air? Was it the two miniature bottles of white wine? Or was it that a joyful childbirth scene can warm the cockles of even the coldest of hearts? JHE

The accidental reunion, Manchester by the Sea

Weve got a real talent for repression back in Massachusetts. Kenneth Lonergans searing Manchester by the Sea plays out a 15-minute drive from my childhood home and, true to life, the characters all struggle to articulate the perfect storms of emotion raging within them.

When Lee (Casey Affleck) has a chance encounter with his ex-wife Randi (Michelle Williams), the shared history between them is literally unspeakable. They sputter out fragments of sentences that act as a shorthand for vast reservoirs of guilt and self-loathing they cant bear to express, and because they know one another so intimately, they can intuit all the meaning they have to. Theyve both shoved a lot deep down inside just so they can look at themselves in the mirror, and when in the presence of the only other person on the planet who understands what theyve been through, some of it has to come out. Randi does most of the talking, inviting Lee to lunch so they can get some closure, and he ends the conversation by walking away. Shes ready to face her past and be fully present in the new life shes built for herself. Lee, a North Shore boy born and bred, feels more comfortable starting a bar fight as his form of therapy. CB

The hotel, Unrelated

Joanna Hoggs first film, Unrelated, has had something of a second life on account of being the debut of Tom Hiddleston, and set during a Tuscan summer, which means swimming pool, which means toplessness, and lots of it. Its nice to imagine the Loki-lovers streaming this masterpiece of English upper-middle-class excruciation. As its ending shows, specificity is no barrier to emotional oomph.

The story sees a woman in her early 40s, Anna (Kathryn Worth), holidaying with old friends and their teenage children. She finds she prefers the company of the kids, especially the charming Oakley (Hiddleston, then 26, playing eight years younger). The holiday implodes. Anna goes to stay at a grim airport hotel. Her friend visits, crossly wanting to know whats behind her behaviour. Anna explains that, quite recently, she thought she was pregnant but no, in fact, it was an early menopause. Shell never be able to have children. She sobs and bends double on the bed. It is shot in one take, from the middle distance, acted with a banal frankness which feels like eavesdropping.

When I saw it a decade back, it floored me: a twist I hadnt foreseen, a pain I could only imagine. A few years ago, I began consciously avoiding the film, fearful a similar fate awaited me. Now I can safely watch it again or, I thought I could, but Hogg is much too superb and mysterious a film-maker for that. It isnt simply the information which is terrible, it is the dreadful catharsis of its expression, coming after so much obfuscation. The stifle has gone; instead there is the most awful sadness. Buttoning up is often the bravest way. CS

Read more: http://www.theguardian.com/us

[writingguide003-blog]

'I completely lost it': the movie scenes that made our writers weep

New Post has been published on https://writingguideto.com/must-see/i-completely-lost-it-the-movie-scenes-that-made-our-writers-weep/

'I completely lost it': the movie scenes that made our writers weep

From Toy Story 2 to Under the Skin, writers pick the cinematic moments that made them cry and explain why. Spoilers ahead

Aunt Lucys trip, Paddington 2

On the face of it, Paddington is a fairly broad kids film franchise about the hijinks of a CGI bear, and so probably shouldnt make a grown human cry hot, salty tears. But that description ignores the fact that Paddington is a really, really well-made kids film franchise about the hijinks of a CGI bear, one that completely gets the pathos of its central character, a little lost immigrant searching for something resembling a family. Both films ably tug at the heartstrings, but the second film got me sniffling as early as 15 minutes in when Paddington imagines giving his only living relative, Aunt Lucy, a tour around London, something that in reality is impossible as shes stuck thousands of miles away in darkest Peru. When at the end of the film spoiler alert Aunt Lucy arrives on the Brown familys doorstep and she and Paddington hug, I completely, unapologetically lost it. Lord knows what surprises Paddington 3 has planned for my tear ducts. GM

When She Loved Me, Toy Story 2

Just before writing this, I put When She Loved Me from Toy Story 2 on YouTube once again, just to check. Yep. Just as always, I choke up, in the same abject, lip-wobbling, head-bowed way. It still has that terrible power.

When She Loved Me is the song written by Randy Newman and sung by the devastated toy cowgirl Jessie and in fact performed, beautifully, on the soundtrack by Canadian singer Sarah McLachlan. The song is Jessies way of telling Woody why she has grimly decided to submit to the airless world of the toy museum, because it is better than the inevitable heartbreak and delusion of loving a fickle human child. She reveals her anguish that her owner, Emily, has fallen out of love with her outgrown her, in fact. As Emily entered the world of adolescence, pop music and boys, Jessie was left under the bed and finally dumped.

When I first saw this scene and misled by the size disparity between toy and owner I thought it was a parable for a childs anxiety over being abandoned by the parent. But now that I am a parent I can see the truth which is completely the opposite way around. It is about the parents fear of being abandoned by the child: the terrible fear, actually the terrible certainty, that the kid one day wont want to play with you. They will grow up and want something else. This song is utterly devastating. It is modern cinemas equivalent of the Vesti La Giubba aria from Pagliacci the tragic clown smiling on the outside but crying on the inside. Im afraid to watch it too often. I dont want to break down over and over again. But I also want to preserve its power over me. PB

Ruths death, Fried Green Tomatoes

In many respects, Fried Green Tomatoes is not a movie for the modern age. It is a story about racism in the deep south told largely by way of eliciting our sympathies for wealthy white characters; it is a story about a lesbian relationship that had to slide its lesbian relationship in unnoticed, by presenting it as a very close friendship fulfilled by food fights, poker games and heads leaning meaningfully on shoulders. But I am deeply fond of this 1991 Sunday afternoon classic. Ive seen it more times than is healthy, and so I know exactly what is coming and when, and yet am still unable to resist the inevitable guttural sobbing that comes with the death scene.

There are plenty of teasers for it, too: Buddy on the train tracks, even Mrs Threadgoode talking about the death of her adult son. Nothing, however, can prepare the viewer for Ruth asking Idgie to tell her the old story about the frozen lake thats now somewhere over in Georgia. It doesnt so much pull on heartstrings as play a full symphony on them, and its devastating. As Sipsey puts it, a lady always knows when to leave. RN

The rooftop dance, Eat Pray Love

While I was repelled by the mere existence of the Eat Pray Love book, I found something strangely charming about its big-screen translation. It was a mixture of glossy food porn, glossy travel porn and glossy Julia Roberts emoting porn (she remains one of the best fake criers in Hollywood) all wrapped up in a rather unique tale of a woman trying to unshackle herself from the men in her life. But while that all provided mostly surface-level enjoyment, one scene cut deeper and the extent to which it cuts surprises me still.

As is often with the case with movie tears, these were tied to a real-world experience that had happened not long before I sat down to watch. I was dumped by a long-term boyfriend without much of an explanation and without any sort of warning. I was heartbroken and seeking some form of closure that was kept cruelly out of reach. I didnt understand why it had happened and it was the not knowing that felt harder than the break-up itself.

In the film, Roberts character has left her flighty husband and remains haunted by the heartbreak shes caused. On a rooftop in Delhi, a vision of him appears and they dance to Neil Youngs heart-grabbing Harvest Moon, the song that was supposed to accompany their first wedding dance. She reminds him that she did love him. He tells her he still loves and misses her. They cry and continue to dance. At the end, she tells him that it wont last forever, nothing does. Its a short scene but it hit me like a bus, it still does now. My tears are for the film but theyre also for something deeper: the sting of loving someone who stopped loving me and the ache of an ending I was never allowed in real life. BL

The thunderstorm, Click

Adam Sandler can make me cry harder than hes ever made me laugh, the true test of a clown. Yes, even in the underappreciated comedy Click about a dad who finds a magical remote control in the Beyond section of Bed Bath & Beyond.

Sandlers workaholic architect fast-forwards through the worst parts of his day the dull weeknight frozen dinners with his family, the repetitive arguments, the gross times everyone gets knocked out by the flu in order to get to his next promotion so he can buy his kids whatever they want. His plan doesnt go well, of course. But whats shocking is how gut-rippingly painful it is to see Sandler hit play on his life only to realize hes skipped past everything that matters. His bodys been present, the bills have been paid, but his emotional engagements been staticky a trade-off too many of us can understand.

In the climax, old man Sandler sobs in a thunderstorm as he arrives at his daughters wedding only to learn shed rather her stepdad walk her down the aisle, and his son has grown up to mimic his job-first, family-second example. I rarely cry at unavoidable tragedies where no ones at fault. My weakness is characters regretting choices they cant rewind. Click isnt Ingmar Bergman Sandler gets a happy ending but I barely saw his relief through the rainstorm on my face. AN

The courtroom, Kramer vs Kramer

By all accounts, Robert Bentons film Kramer vs Kramer skews heavily toward Dustin Hoffmans Ted, whose wife Joanna has left him and their six-year-old son Billy. Billy and Ted make french toast together, or argue about eating ice cream before dinner, or visit the nearby jungle gym. Were it not for Meryl Streep and the trenchant, intuitive way she humanizes a woman who, in the 70s, would have otherwise been made to seem mawkish and unstable Kramer vs Kramer might be just a schmaltzy panegyric on fatherhood.

But leave it to our greatest living actor to turn a film on its head with a single scene. You know the one: Joanna, during the custody hearing, is subjected to a string of sexist questions about her failure as a wife and a mother. When asked why shes seeking custody of Billy, she blinks three times, beginning the monologue Streep herself wrote in an effort to redeem her character, who she initially perceived to be an ogre, a princess, an ass.

Billys only seven years old. He needs me, she says, reciting the word need with a whispery uptick as she glances at her ex. Im not saying he doesnt need his father. But I really believe he needs me more. After catching her breath, she becomes more emphatic: I was his mommy for five and a half years. Since I was about Billys age when my parents got divorced, ergo, too young to understand or even care, Ive always been astonished and, by proxy, moved by how compassionately Streep plumbs the depths of Joannas truth. JN

The beach, Under the Skin

Little focuses the mind more effectively on human distress than the arrival of your own kids; scenes in films which I might once have snoozed through now induce boggle-eyed terror OH MY GOD, DONT LEAVE THAT BABY NEAR THAT COFFEE TABLE, IT HASNT GOT A CORNER PROTECTOR! But nothing has topped at least, not yet the scene in Under the Skin where Scarlett Johansson murders a swimmer and drags him off to eat him.

Its not the murder thats so epically upsetting, though its gruesome enough: Johansson, playing an alien visitor permanently on the lookout for human nutrients, simply bangs him over the head with a large stone as he lies prone and exhausted on the beach. Its what goes on in the background that is so awful. A woman goes into the water to try and rescue her drowning dog, and her male partner instinctively rushes in after her, leaving their toddler alone high on the shore. Johanssons chum the only other adult on this lonely Scottish beach goes to help too.

With the speed of falling dominoes, a nice little day out unravels: the mother and father are swept away to who knows where, and the alien takes her chance to acquire their would-be rescuer as a food source. Meanwhile, the suddenly abandoned kid is shrieking in terror as the night closes in. Another, less astute film-maker, might cap the scene with the alien scooping the kid up and adding him to her dinner menu, but what Glazer contrives is absolutely horrifying. Johansson-alien simply ignores it, and leaves it alone. The film moves on, this incident consigned to the past.

I have to confess I was absolutely blindsided by the scene; mostly, I think, because of the its sheer unexpectedness. I think I was gripped by a kind of internal hysteria: shock, hyperventilation, a feeling the back of my head might explode. (I cant say I actually cried though I may have, but in the confusion I cant really remember.) I certainly had to hold on to the seat to stop myself bolting out of the cinema then and there. I am aware theres a some degree of self-indulgence here: the fact that my daughter was about the same age as the kid in the film undoubtedly super-sensitised my reactions. But everyone has their weak spot; this is very much mine. AP

The birth, Cheaper by the Dozen 2

Cheaper by the Dozen 2, if you havent seen it you probably havent, why would you have? is the sequel to the remake of family comedy Cheaper by the Dozen, and Im sure it was made because Steve Martin, the star of the franchise, needed to pay his mortgage. The main gist of the movie is that Martin and his wife, played by Bonnie Hunt, have 12 children who get into various japes. Its asinine. But during a time in my life when I was making a lot of transatlantic flights, Cheaper By the Dozen 2 was always an option on the British Airways seatback televisions, and one day I found, because of the frequency of my flights, I had watched all of the other films.

What choice did I have? At the climactic scene, where the oldest daughter, played by Piper Perabo, gives birth, and then names the baby after her father because he has shown her that there is no way to be a perfect parent, but a million ways to be a really good one, I cried so much the man sitting next to me regarded me with what appeared to be real concern. There may have not been enough cocktail napkins on the whole plane to dry my tears. Was it the recycled air? Was it the two miniature bottles of white wine? Or was it that a joyful childbirth scene can warm the cockles of even the coldest of hearts? JHE

The accidental reunion, Manchester by the Sea

Weve got a real talent for repression back in Massachusetts. Kenneth Lonergans searing Manchester by the Sea plays out a 15-minute drive from my childhood home and, true to life, the characters all struggle to articulate the perfect storms of emotion raging within them.

When Lee (Casey Affleck) has a chance encounter with his ex-wife Randi (Michelle Williams), the shared history between them is literally unspeakable. They sputter out fragments of sentences that act as a shorthand for vast reservoirs of guilt and self-loathing they cant bear to express, and because they know one another so intimately, they can intuit all the meaning they have to. Theyve both shoved a lot deep down inside just so they can look at themselves in the mirror, and when in the presence of the only other person on the planet who understands what theyve been through, some of it has to come out. Randi does most of the talking, inviting Lee to lunch so they can get some closure, and he ends the conversation by walking away. Shes ready to face her past and be fully present in the new life shes built for herself. Lee, a North Shore boy born and bred, feels more comfortable starting a bar fight as his form of therapy. CB

The hotel, Unrelated

Joanna Hoggs first film, Unrelated, has had something of a second life on account of being the debut of Tom Hiddleston, and set during a Tuscan summer, which means swimming pool, which means toplessness, and lots of it. Its nice to imagine the Loki-lovers streaming this masterpiece of English upper-middle-class excruciation. As its ending shows, specificity is no barrier to emotional oomph.

The story sees a woman in her early 40s, Anna (Kathryn Worth), holidaying with old friends and their teenage children. She finds she prefers the company of the kids, especially the charming Oakley (Hiddleston, then 26, playing eight years younger). The holiday implodes. Anna goes to stay at a grim airport hotel. Her friend visits, crossly wanting to know whats behind her behaviour. Anna explains that, quite recently, she thought she was pregnant but no, in fact, it was an early menopause. Shell never be able to have children. She sobs and bends double on the bed. It is shot in one take, from the middle distance, acted with a banal frankness which feels like eavesdropping.

When I saw it a decade back, it floored me: a twist I hadnt foreseen, a pain I could only imagine. A few years ago, I began consciously avoiding the film, fearful a similar fate awaited me. Now I can safely watch it again or, I thought I could, but Hogg is much too superb and mysterious a film-maker for that. It isnt simply the information which is terrible, it is the dreadful catharsis of its expression, coming after so much obfuscation. The stifle has gone; instead there is the most awful sadness. Buttoning up is often the bravest way. CS

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