#in the book and movie her youth really is an absolute prison

[bogunicorn]

Interview with the Vampire is, in terms of genre queer melodrama, what fandom really wanted something like SPN or even Hannibal to be. It has the longing, the drama, the messiness, the blood and violence, and it also lets the vampires fuck.

And it made Claudia and Madeleine lesbians who get to tell the other characters to fuck off and Madeleine refusing to be saved because "Claudia is my coven" is everything I want in a tragic love story. RIP Claudia and Madeleine, you would have been amazing vampires and would have been happy if you weren't surrounded by fucking idiots

[la-pheacienne]

What are your thoughts on Eponine? (I haven’t read the novel, I have only watched the Liam Neeson movie (which didn’t have Eponine) and a recording of the musical).

Thank you for the ask I love getting Les Mis asks 💖

So keep in mind that I have read this book 13 years ago so I don't remember a lot of details. I remember the core idea of her character though and she was one of the most badass characters in the book, I loved her.

So Hugo initially had another named planned for her but changed it after Baudelaire dedicated a poem to him (Les petites vieilles from Les Fleurs du mal) that goes like this:

These dislocated wrecks were women once,

Were Eponine or Lais! hunchbacked freaks,

Though broken let us love them! they are souls.

And that is a very good introduction to her character.

Her first trait that needs to be mentioned is hunger. Eponine was a hungry, very hungry young teen, starved, to be more exact, she had a horrendous appearance, some teeth missing, she was extremely dirty, her clothes had huge wholes, she walked barefoot I think. Hunger was so absolute and omnipotent in Eponine, as in a lot of characters from the book, that it seemed to completely erase any hint of personality, or agency, or personhood really. She seemed to not even be a human being at all, she was just a starved girl who resembled a starved animal more than a person. And that's the thing with hunger, it's so catastrophic and definite that it completely annihilates a person. You can't have free will, you can't have spiritual autonomy, you're just that, hungry. Hunger in Les Mis is the ultimate and most substantial form of violence, and Eponine embodies that.

"The grace of her youth was struggling against the hideous old age brought on by debauchery and poverty".

What hunger also does is it gives birth to the lowest, most debased, most inhuman form of monster. That's Eponine's parents, les Thenardiers, and I honestly cannot recall a single literary character that is more appalling than them. They were appalling people before they became so poor, but poverty turned them into actual vultures. So in this "cocktail Molotov" of moral depravity plus extreme poverty and hunger, what chance does Eponine have of becoming something more than a vulture herself? A vulture, or a living, lifeless, soulless corpse, like her sister.

Yet that's not Eponine's arc. Eponine starts as a bully to Cosette while she was a kid, then becomes this hungry street smart kid, then an accomplice in a gang of criminals (burglars, thieves etc) then she goes to prison for a short time. She is in love with Marius, and so she's torn between her jealousy and the desire to make him happy, that is why she helps Marius find Cosette's house and leads him there, then she observes them every night they meet in the garden. She even prevents her gang from entering Cosette's house, because she knows that Marius would be destroyed if anything happened to Cosette. That's the part of the book where she stops them :

"Please yourself, you won't get in. I can't be the daughter of a dog seeing as I am the daughter of a wolf! There are six of you. What's that to me? You're men. Well, I'm a woman. You don't frighten me, that's for sure. I'm telling you, you won't get inside this house because I don't want you to. If you come any nearer I'll bark. I told you, I'm the 'cab'. I couldn't care less about you. Now be on your way, I've had enough of you! Go anywhere you like, but don't come here, I won't let you! You use your knives, I'll use my feet, it's all the same to me. So come on, then!"

And then, after this very selfless act, she actively manages to separate Cosette and Marius. She scares Valjean so he decides to move, and takes Cosette's letter for Marius with no intention of giving it to him, then leads Marius to the barricades so that they can die together there. And then, she dies for him after giving him Cosette's letter :

“She let her head fall back upon Marius' knees and her eyelids closed. He thought that poor soul had gone. Eponine lay motionless; but just when Marius supposed her for ever asleep, she slowly opened her eyes in which the gloomy deepness of death appeared, and said to him with an accent the sweetness on which already seemed to come from another world:

"And then, do you know, Monsieur Marius, I believe I was a little in love with you."

She essayed to smile again and expired.”

So Eponine was a morally ambiguous person but an exceptional character, moving from debauchery, spite and depravity to bravery and love. She doesn't believe in the Cause, but she loves Marius and she dies for him in the barricades, thus her death is as honorable as any other person that gave their lifes in the barriades. I think Eponine's function in the narrative is to show that it is in fact, possible, for an exceptional character to be born out of total material, moral and spiritual decay. It is possible for a human being to preserve the quality of a person, even an exceptional person, and rise above theIr horrendous circomstances. She's a tragic character but the underlying message is ultimately optimistic, in a way.

Of course she was not presented accurately in the musical, she was sexualised in a way that the supposed "conflict" between her and Cosette looks like the conflict of a the popular high school girl vs the high school underdog which is SO not the case in the book.

[yannasunflower]

dust to dust | chapter two

chapter one | chapter two

ao3

You don't know what makes you save Kuroo Tetsurou's life. All you know is there is no world to save anymore, but damn if you're just stupid enough to try.

Genre: hurt/comfort/romance/angst Rating: Mature, subject to change (gore, violence) Kuroo x fem!Reader Word count: 3.5k

hey everyone! here's chapter two, as promised. this fic is also cross-posted to AO3, where i'm under the same username. linked above as well! next chapter, action picks up, plot picks up, and we get more Kuroo, promise. enjoy, and as always, please reblog, like, and comment <3

Nobody ever told you how absolutely boring a zombie apocalypse could be.

Your ragtag group of survivors have scavenged what entertainment they can - books and gym equipment, even a few board games. People like Suga and Takeda keep busy with the children, teaching them to read and garden and how to survive if mommy and daddy never come back for them.

You open one lazy eye as a gaggle of them stumble after Suga, hanging on to his every word.

You’re not sure how the two men handle placing a long knife in a child’s chubby hand, fingers barely able to grip it,and showing them how to strike right at a nighstalker’s heart, fast and deep. Their giggles float through the air and the sound is almost dreamlike and if you keep your eyes closed, you can pretend this is a movie and when you open them, the credits will roll and you can go home.

Others tend to the elderly, of which there are only three in your group. You try to keep them comfortable and as far from danger as possible. But your body constantly prickles with the knowledge that they aren’t just vulnerable - they are a vulnerability. A hole in the brick wall you are attempting to build around this little community.

The healthy and fit young people patrol and take rotations on the watchtowers. Teenagers help with the lessons. Takeda had been firm about this. Once a kid turned seventeen, they were allowed to join the patrols, but until then, they stayed sequestered away.

It was almost comical, telling a tall, strong, angry Tobio that he had to mind the children. He towers over you, but he had bent to your will after a brief glaring contest. And then a week later, Shoyo had bounded into everyone’s hearts, including his, and the pair were inseparable.

Kiyoko, for her part, had taken one look at Yachi, shivering at Hinata’s side, and adopted her, sweeping her under a protective wing and keeping her there.

For people like you, who have no “bedside manner” as Kiyoko puts it, there are chores and day to day mini emergencies to keep you busy. Somehow, in the months since the world finally decided to fall apart, you have become mediator and negotiator. It’s an unlikely role; you can see your mother’s arched brow if she was still alive to see you now.

You barely have the patience for grocery shopping.

She would have laughed, elbowing your father, who would have made a valiant attempt at a straight face.

These are useless memories but you allow yourself to indulge for a moment. You have nothing better to do. Lunch is cooking, inventory has been completed, the guard rotation is set for the next two weeks. Ukai had waved you off this morning when you finally managed to corner him, complaining about your ceaseless energy and the “mad glint” in your eye. His words.

“That look means trouble for me,” he had growled, pointing an accusing finger at you. “Go to your cell and get some sleep for the love of anything you find holy.” Without another word, the man had leaned against a wall, put his feet up on his desk, and closed his eyes. A clear dismissal. You tried not to huff but you definitely stomped a little bit on the way out.

You don’t know how to tell him that staying in your cell, with your eyes closed, is inviting the living nightmares. You don’t know how to tell anyone, really, that you are just as haunted as this prison, as Daichi’s eyes.

That the only holy thing left in this world is fear and if you succumb to that, you’ll never move again.

You let a sigh tumble out of you. Forcibly, you shove your thoughts in another direction.

It had been a week since you brought home your latest stray. Kuroo had spent the first three days doing little else but sleep and eat. Daichi has taken to walking him around the Pit every day, explaining the way things work, and Suga showed him his pride and joy just yesterday. Kuroo had been suitably impressed by the garden, if the generous second and third helpings Suga thought he was sneaking to him at dinnertime were anything to go by.

The man has filled out nicely. He looks less skeleton, more human after sleep and hot food. You had peeked in on him in the grey of dawn that morning after Daichi not-so-subtly hinted that Kuroo had been asking about you.

He sleeps curled up on his side, hair falling against his cheek. In another world, you would have taken a picture.

Kiyoko tells you that the men like him, that Tanaka has stopped regarding him with all the wariness of a stray cat, and that she’s pretty sure Yachi has a crush on him.

You open your eyes into a blazing afternoon, unsurprised to see the subject of your thoughts stretching in the courtyard, the weak sunlight rippling over his bare arms. His black hair is messy as ever and you are struck all over again by how tall he is.

Tobio got a new babysitter, you think with no small amount of amusement. The gangly teenager needs someone to keep him in line and frankly, you don’t have the time and Hinata is just as likely to suggest some stupid shit for them to get into as he is.

You are still stretched out like a cat on a bench, letting the sun warm you, half-hoping it will lull you into a nap.

It’s boredom, more than anything, that makes you turn your head toward Kuroo.

“If you’d like to get some exercise, we have equipment. I’m sure Noya can show you,” you call.

Kuroo jumps and swivels to look at you, eyes wide and so, so dark. You look away. Something about him is like staring at the sun; too long, and your eyes burn.

“Didn’t see you there,” he admits easily, sauntering over to your bench. You eye his approach, noting that he really must be feeling a lot better. His movements are more fluid now, lean muscles becoming apparent on his shoulders.

Daichi has blessed every woman, and a few men, in the Pit by finding Kuroo a pair of grey joggers and a muscle tank top for everyday wear.

“I don’t do well with sitting still,” he says, leaning over you. His head casts you in shadow, blotting out the sun. “This is something I think you can understand.”

Up close, you can see that the shadows beneath his eyes are retreating gradually. His smile looks less like a grimace today.

You hum, swinging your legs over the bench and sitting up. Blood rushes from your head and you lean back against your palms. Kuroo lowers himself to sit next to you.

“Daichi forces me to limit my rotations on the guard towers and patrols,” you answer. “When we first found this place and cleaned it out, I was working overtime and made myself sick. Him and Kiyoko have been conspirators against me ever since.”

Your fingers thrum against your thigh as you say this. You feel more than see Kuroo’s eyes on them.

“They love you,” he points out, a little unnecessarily.

You snort.

“Love is expensive nowadays and everyone in the Pit is broke.”

“You love them back even more.”

You glare at him but he is just looking at you, tracing the planes of your face. A frown tugs at your lips.

“How are you feeling?”

Kuroo rolls his shoulders experimentally, stretching his arms above his head.

“Better,” he affirms. “More like myself.”

“A nosy busybody who talks like a grandpa?”

“Exactly.”

He is grinning now and you have to fight to keep yourself from returning the expression.

The bruises on his face are yellow now. You estimate it will only take a couple more weeks of regular meals for his face to fill out and his skin to look youthful again. You don’t bother asking him how long he had been alone, what happened to his family. None of that matters now. The apocalypse is a great equalizer.

“I talked to Takeda and Kiyoko this morning,” you begin, leaning your head back and closing your eyes against the sun. “They agreed to give you another week before putting you on guard rotation.”

“I would appreciate that. I want to earn my keep, however I can.”

A ghost of a smile dances across your lips.

“You’re just bored,” you tease. It’s been a long time since you felt sleepy and loose enough to tease anyone.

“You say that now, but newbies get the shittiest schedule possible,” you warn him, unsure why you’re telling him this. “Be prepared. Once you’re back to top form, we’ll discuss sending you on patrols for medicine and expanding that garden of Suga’s.”

There’s silence but it’s comfortable, easy. You let yourself enjoy it for just a few moments before standing, opening your eyes and offering Kuroo a full smile and your hand.

As he shakes it, looking only a little confused, you wonder how much longer he would have survived on his own in the city.

“Welcome to the Pit,” you say before turning on your heel and walking away.

~~~

Nightmares are as plentiful as soil on Suga’s fingers.

A sliver of moonlight is all that keeps you from sinking into the darkness, skin clammy, chest heaving. Your fingers twist into the sheets. A prayer is whispered that you didn’t scream this time. You can’t bear the thought of Kiyoko running again, feet bare, knife in hand and tears glistening on her cheeks. Her utter, pure relief haunted you for a month.

It would be so easy, you think, to never get up again.

Kiyoko would care for you. Daichi would stop by, every day, and update you. Ukai would read to you, probably, or nap in your cell, unlit cigarette dangling from his lips.

These are the thoughts that force you up, out, stumbling into your worn boots, shrugging a jacket on.

Takeda finds you in the office hours later, hunched over inventory reports in his neat handwriting, hair pulled back. He puts a pot of coffee on and hands you a steaming mug, holding a hand out for the report you’re struggling to understand.

“Winter is coming,” you sigh as you hand it over. He doesn’t ask about the shadows beneath your eyes, doesn’t comment on the fact that it’s barely six-thirty in the morning and you’ve clearly been awake for a number of hours.

A smile quirks at his lips.

“I didn’t know Tanaka managed to get the TV’s up and running,” he jokes. You wave your hand in a vague gesture, taking another sip of the liquid heaven in your hand.

“We need to get winter supplies,” you answer and that sobers him up. He nods, slowly, eyes roving the paper.

“Winter isn’t for over six months,” he reminds you. An eyebrow is raised. A teacher, waiting for an explanation. In moments like these, you see the high school teacher that you’d found barricaded in his office, babbling a stream of students’ names that Daichi had quietly whispered as your group cut them down, reading them off their uniforms.

On Takeda’s worst nights, as you guarded the door to his cell, you’d heard those same names, apologies and nonsensical gibberish streaming from his mouth as he grappled with his dreams and feverish tremors.

You stand, stretching, before stepping in front of a map of the city that Suga had snagged on one of his patrols. It’s huge, taking up an entire wall. Little markers litter the paper, different colors, and you run your finger over the pale blue ones in the northeast corner.

“There’s a limited supply of winter clothes in the city. I don’t want other groups getting to it first - we don’t need that bastard holding it over our heads when we have food and they don’t,” you remind him. Your arms cross behind your back automatically. “With the snows, we’ll need snow boots. The kids need jackets and thermals. We need to completely outfit the prison’s entire water supply system to last through snowstorms. We need hot water before then or half of us are going to be too sick, and the other half will be taking care of them. We need medicine, too.”

You tick off each item on your fingers, pausing to consider if you’ve missed something. You’re probably missing ten somethings and you struggle to see what they are. You need more coffee.

Takeda is twenty-nine, but when you turn to look at him finally, he seems sixty, glasses dangling from his fingers, nose bridge pinched between his knuckles.

He mutters something suspiciously close to a curse under his breath before opening his eyes.

“You’re right,” he admits. “We’re going to need at least seven months to prepare.”

The morning is a whirlwind. You send the youngest children, always the earliest risers, to fetch Daichi and Kiyoko, both much more bright-eyed than they have any right to be. Takeda drags a yawning Ukai into the office moments later and Tanaka slouches after them. Suga pokes his head in to give you a little wave and knowing smirk that everyone else finds nonthreatening before ushering the children to the cafeteria for their breakfast.

You’re positive you’re not imagining the pale pink coating Daichi’s cheeks.

After explaining the situation, everyone sucks in a collective breath.

Tanaka never sits and always faces a door. From his corner of the room, he glowers at the map.

“Well, fuck,” he neatly summarizes. You nod your appreciation for his conciseness.

“We need to get a hold of meat,” Ukai points out. A something you had missed.

You grab a marker and the portable whiteboard Takeda had grabbed a few weeks ago. In neat characters, you begin documenting everything thrown around the table.

“Raising livestock will be another way to keep the little ones busy.”

“We can’t ask people to shower in cold water during winter, that’s cruel.”

“Tanaka, is there any way to get the heating system up and running by then?”

“What about air conditioning? We have to get through the summer to get to winter, and heat is just as likely to kill us.”

“If other groups realize what we’re doing, we could be in trouble.”

A headache is brewing somewhere behind your temples and you bite back a groan. Kiyoko pushes a cool water bottle into your hand and you know she isn’t fooled for one second.

“I think we’re missing someone here,” Kiyoko points out mildly after what feels like an eternity of circular conversation. All eyes turn to her and she’s unruffled, fingers still wrapped around her mug.

“Kuroo could be a huge help to a lot of this,” she continues. “I’m sure he can help Tanaka and Noya with everything on their list, and we need more able-bodied men on the patrols anyway. He can help us with medicine, our food supply, all of it.”

A furtive glance in Tanaka’s direction is not encouraging. He’s glowering, eyes hooded.

“We barely know him,” Tanaka hisses. You have to privately agree.

“We barely know each other,” Ukai shoots back. “We’ve been here, what, three months?”

“He hasn’t even been on a patrol yet and you want him helping us make important decisions that affect everyone, including the kids?”

“That’s unfair, and you know it, Tanaka,” Takeda says patiently, but somehow reproachfully at the same time. “Kuroo has been in no condition to patrol. The man was emaciated.”

Takeda continues, levying everyone at the table with a stern face.

“We all trust each other now because we took the gamble and brought people in and allowed time to prove it. It was always a risk, and it will always be a risk, but we can’t let that stop us. What we’re doing here is more important than just working together to survive.”

It’s a flowery, nice sentiment, to be expected from a literature teacher, and you barely hold back a snort at Ukai’s warning look.

“None of this matters,” you cut in. “Takeda’s right. And so is Kiyoko. He could be a huge help to you specifically, Tanaka, and he’s getting better every day but we have to give him time before he’s physically ready. You saw him when we brought him in – he was skin and bones.”

Tanaka subsides into grumbling acceptance and you take it as a win.

Daichi returns with Kuroo in tow just minutes later, and if Kuroo is at all confused, he doesn’t show it. He folds himself into a chair, all long limbs and wide feet.

The problems are laid out on the table again. You watch as Kuroo absorbs it, eyes narrowed, flicking sometimes to the map on the wall.

“Frankly, I wish we were in an apartment building,” Tanaka reveals after an hour of debating the best way to acquire livestock.

You sigh, rubbing the heel of your hand into your eyes hard enough to see colors. You know it’s not Tanaka’s fault, that he’s saying out loud something you’d privately thought before. That the electrical systems in apartment buildings would be much easier for him to coax into submission.

But you’re tired. Kiyoko is rubbing the old wound on her shoulder again, Ukai’s fingers are tapping a loud rhythm on the table, and Daichi is watching you lose your mind with that same placid smile in place.

“I wish the apocalypse didn’t happen and we all didn’t have nightmares every damn night, but here we are,” you snap. “I wish we were all cozy in furnished apartments right now, too, and I wish we didn’t have to talk about these things.”

You wish the children didn’t have to hold knives, you wish Suga would stop forcing you to eat, you wish you could forget your mother’s laugh, you wish and wish and wish.

Tanaka’s mouth is open and Daichi is sighing, rubbing a hand over his face. Kuroo’s eyes are expressionless and he just looks like he’s waiting, though for what, you can’t even begin to guess.

You find that you don’t have the energy to regret the words, so you barrel on.

“The apartment buildings are stacked with nightstalkers. It would take weeks to clear even one out, and we would lose people. Guaranteed. We lost one person clearing this prison out and that —”

You’re cut off by a strange choking noise in your throat. The memory of Ennoshita is sweet, cloying, poisonous. Takeda looks pale and strained at the mention of it. His last student.

Your voice is pitched low when you manage to blink away traitorous tears. The sound of your chair scraping is loud and grating against your ears as you stand. They all watch you silently. Waiting.

“Ennoshita is buried here,” you say and the surprise on their faces is almost insulting. “So is Ayasaki’s little girl. We have a life here, one we built and fought for. The kids love it here, it’s as safe as it can get, and it’s isolated from the turf wars in the city. You know why we chose this place, you were part of the vote that decided it, Tanaka.”

Deep breath in. Out.

“I know I’m asking for a lot, but it’s necessary, and we’re all up to the task simply because we have to be.”

As far as motivational speeches go, you’re sure this is ranked pretty low. But Daichi straightens and Kuroo’s eyes are gleaming as he stares at you. Kiyoko is almost smiling and you take that into both of your hands and hold on for dear life.

“I have to protect them.”

Everyone in the room opens their mouth at pretty much the same time but Ukai beats them all to the punch with his lazy drawl.

“You’re a moron,” he sneers. “An absolute idiot if you think you’re doing any of this alone. Now run along and get some breakfast before Suga drags you there by your hair.”

~~~

It doesn’t surprise you when Kiyoko finds you later, on the roof, scribbling half-mad ideas into a plain notebook. She always knows where to find you.

“I think you should stay home tomorrow,” she says without preamble. The word home nearly sends you stumbling off the roof.

“Why? Am I dying and I don’t know it?” you ask dryly. The look she levels at you nearly makes your heart stop.

“We agreed to let Kuroo go tomorrow,” she explains, settling into the spot next to you, peering curiously at the notebook in your hand. “But you haven’t been sleeping and we can’t afford to lose you because you’re too tired to stand properly.”

You scowl. Damn the four eyes. Her and Takeda know too much for their own good.

“I’m fine,” you wave a hand dismissively. “I’ll get some rest tonight, promise.”

She let’s the matter go, which is a point for you, but you watch warily as she opens her mouth again.

“Tanaka is looking for you.”

A sigh.

“I should apologize.”

“That’s what he said.”

A laugh, short and barking, escapes you. Kiyoko smiles at the sound.

“We’re all such idiots.”

[crosbytoews]

april reading wrap up

i read 10 books this month! i feel like i did a mid month check in but i cannot find my post so i will just write new reviews :-)

Eileen by Ottessa Moshfegh

i really liked my year of rest and relaxation so i was looking forward to reading this but sadly it was terrible. the main character was just a little too edgy. she worked in a boy’s prison and i just hated that setting too much to continue. DNF at 100 pages.

Notes on a Silencing by Lacy Crawford

a memoir on a woman’s experience being sexually assaulted at her elite new england boarding school and the lengths the administration went to cover it up for decades. i thought this book was so powerful. also the setting of a new england boarding school in the early 90s was very atmospheric. i highly recommend. 5/5

Winter Garden by Kristin Hannah

after the death of their father, 2 daughters learn about their emotionally distant mother’s past, including the extreme challenges she faced in russia during world war 2. the first half was only okay, but we get deep into the world war 2 setting in the second half. on par with the nightingale levels of traumatizing. i just finished this last night but i think it’s probably a 4.5/5 because the second half was so strong. it made me cry so much.

People We Meet on Vacation by Emily Henry

ummm this book is perfection. it’s a travel romance and estranged best friends to lovers. two former best friends travel to palm springs together. beach read by emily henry was one of my favorite books from last year and this was even better. so so good. 5/5

The Lost Man by Jane Harper

this is the fourth book i’ve read by the author this year. this one follows a man and his family in the aftermath of one of their brother’s mysterious death in the australian outback. very atmospheric and some good discussions on the cycle of abuse. tw child abuse. 4/5

Crazy Stupid Bromance by Lyssa Kay Adams

the third book in the bromance book club series. this one is friends to lovers about a cat cafe owner and a former hacktivist. there are some unexpected discussions about the war in iraq? as with all the books in this series i really liked it and i cannot wait for the fourth one to come out this summer. 4/5

Necessary Lies by Diane Chamberlain

this KILLED me. it’s a historical fiction about forced sterilization in north carolina in the 1960s. we follow a brand new social worker and one of the families she’s assigned to. one of the girls in the family has already been sterilized without her consent and now the social worker is being pressured to sterilize the 15 year old sister. this book was pretty heavy and very informative. i listened to the audiobook which i would recommend because the narrator’s southern accent is great. 5/5

Britt-Marie Was Here by Fredrik Backman

this book gets the unfortunate honorific of the only backman book i didn’t love. we follow britt-marie, a recently divorced woman in her early 60s as she movies to a small town where she reluctantly befriends the residents and becomes the soccer coach of a youth team. this book was good but i didn’t love it. we get some good character growth and some funny parts, but it was nowhere near as good as his other books (all of which were 5/5 for me). this one is a 3/5

The Inheritance Games by Jennifer Lynn Barnes

i’m mad at this one lol. we follow the main character, a teenager who finds out she is in the will of an eccentric billionaire and he has left her billions while snubbing his relatives. she has never met this man and doesn’t know why this stranger left her his inheritance. she works with the four grandsons who were snubbed to solve riddles and discover why she was left the money. this was YA and read pretty young. for example there were discussions about losing your virginity and when the characters spoke they didn’t swear, they said things like “motherforker.” i was like i am 26 (turning 27 this month!) i am too old for this. howmever i stuck it out because i wanted to figure out why this girl inherited all that money. the gag is this is apparently the first book in the series and although i didn’t really like it i will definitely be reading the second book because it ended on a hang!!! 3/5 because of the intrigue 

The Sound of Gravel by Ruth Wariner 

this is a memoir about a woman’s experiences growing up on a mormon polygamist colony in mexico. her father, who was murdered when she was a baby, had over 40 children. her mother remarried and that man had four wives despite having no way to support them. everything this poor girl experienced was absolutely fucked up. i read this in a little over a day. i feel bad saying i loved it because these real experiences were extremely heavy but it was excellent. it made me cry a lot. 5/5

Klara and the Sun by Kazou Ishiguro

this book follows a robot (or artifical friend) Klara, as she is purchased by a sickly young girl. this book was pretty weird. it takes place in a dystopian setting but not a lot of details are given about what is going on in that world. it’s up to us as the reader to figure it out. this was an engaging and quick read, but i wish the author was a little more explicit about the commentary he was trying to make. 3/5

[tentavamp]

Here’s the sequel to my Stone Ocean Bad Girls Club headcanons for the Good Girls Club. This one is probably gunna’ have WAY more detailed information in it because I’ve worked on them a lot more. A lot of this comes from my canon-divergent fic series where those killed by Made in Heaven are brought back and the universes are re-merged with Pucci’s death, so a lot of “action” is implied to come after canon. Sans the fics... I guess... they’re just really angsty and sad lmao.

Jolyne Cujoh

Age: 19

Age: 19

Sexuality: Lesbian (Ew comphet)

Relationship to Others

Hermes: Loves her. A lot. But she doesn’t know, because it only seems to manifest in the desire to impress her at all times. Finds it frustrating that she doesn’t often return the “friendly” PDA, but is very understanding towards the discomfort she has about herself.

F.F.: Loves her as well. A lot. Is also very worried about her. She thinks the Stand is too reckless with her body for a creature that would die without it. But she likes listening to her ramble. She isn’t smart enough to get most of it, but Foo being excited is enough to make her happy.

Headcanons

-Is very ADHD, so her decisions are heavily based on intuitive impulse. They’re a little less intuitive when she’s panicking. She was able to overcome Jailhouse Lock because of her lifelong experience with memory loss.

-Somehow inherited her dad’s attitude towards gender. They both believe that they have to be as masculine as they can to be taken seriously, but Jolyne’s experience with her father and her outwardly loving nature have made it less severe for her.

-Is very clingy towards the people she cares the most about. God forbid she’s dating you. If she gets too excited, you have to wrangle her in every once in a while. Ironically, she enjoys playfully bullying and annoying the shit out of them as well.

-Romeo was a very unfortunate comphet boyfriend, but she’s unable to see her feelings for Hermes as a crush because her repetitive trauma with men has left her hesitant to explore love.

-Can’t cook for shit, and lacks a lot of life skills. She believes her street smarts make up for it, but only because her life has never been slow enough for her to think about being domestic.

-Can drive a motorcycle, but can barely drive cars.

-Is absolutely terrified of losing Emporio for any reason. She’s willing to sacrifice the quality of her own life to ensure that she doesn’t perceive herself as abandoning him and mirroring her father.

-Tried to smoke weed once. Almost died.

-Still holds much animosity towards Gwess. Rightfully so, but over time, her cellmate has shown traits that remind her of some of her own weaker points, and she hates that. She wants to be rid of the discomfort between them, but Jolyne can’t bring herself to trust her being as vindictive and guarded as she is.

Hermes Costello

Age: 21

Sexuality: Butch Lesbian

Relationship to Others

Jolyne: She thinks Jolyne is really cool, but in the same way an alligator in a snapback on a skateboard would be cool. Her openness with affection intimidates her, but she’d be lying if she said she didn’t wish she could love her... Too bad she thinks the girl’s straight... for now.

F.F.: Finds the Stand strange and awkward. It took some time for her to trust Foo, but she can see the pure goodness in her heart. Sometimes she very shamefully finds herself jealous of the time Jolyne and Foo might spend together, but she would never bring it up.

Headcanons

-Could not commit to helping her father and Gloria run the restaurant because she feared ruining such an important factor of their family. She wanted to put her effort into cross-country, hoping to bring in good money doing something without too many attachments that she knew she was good at.

-She still greatly loves cooking, because it reminds her of her time at home and outside of work when everyone in the family was happy. She retained the majority of what her father taught her.

-Has trauma relating to the constant expectation placed upon her to mirror Gloria in every way, and her identity was a result of that trauma and need to feel as far from her sister as she could possibly be. Her tight grip on herself has very slowly loosened over the years, even so far as to where she unknowingly has become a very Gloria-like figure towards Jolyne and Emporio.

-Is fairly uncomfortable with PDA, platonic or romantic. She’s more focused on action, and is much more likely to return affections in private, which is a luxury in prison. This is because she’s used to affections being somewhat rough and competitive, having spent her gay youth alone and in the bar scene. Neither her father nor her sister ever learned about her sexuality.

-Opposite to Jolyne, she’s not comfortable with the idea of raising a kid, and believes that Emporio needs something more than they can provide to live a happy, full rest of his childhood.

-Is actually a very strong runner, and was well on her way to being a candidate for a cross-country scholarship before she was forced to drop it. She still runs every so often to clear her mind, but she laments the loss of the only dream she feels she ever had.

-Despite her intelligence, maturity and strong personality, she secretly feels lost in life. She came from a home that instilled in her the need to care for her family, but she has none left. She had ambitions, but they were ripped away from her. She feels that she’s been reduced to living life day by day.

Foo Fighters

Age: 20

Sexuality: Inability to show preference or attractions on a human scale.

Relationship to Others

Jolyne: Cares about Jolyne more than her own life, because she believes the girl gave her that life. Wants to stay by her side forever, and is unaware that this would be considered a “relationship”. Absolutely loves Jolyne’s PDA.

Hermes: Still sometimes finds the woman intimidating and feels like she doesn’t like her too much, but she wishes they could get closer. She believes the two may have more in common than expected.

Headcanons

-Is always making silent observations about what it means to be human. Many of them leave her with more questions than answers, and she hates that she seems to fit in well enough without fully knowing how she’s doing it.

-Since she’s merely piloting Atroe’s body, her sense of touch is severely dulled. Her pain-tolerance is extreme, and is often the subject of many stupid experiments conducted by Jolyne and Hermes.

-Would absolutely be in a committed relationship with Jolyne if she knew what such a thing was. Being inhuman, she has no personal metric for love or sexuality, so her love can only be shown through her undying loyalty and mirroring Jolyne’s own affections.

-She’s an excellent shooter, and has become fascinated with the handful of cowboy and spy movies they have in the lounge because of this.

-Enjoys studying human anatomy, and has often joked about “creating new and useful body parts” for herself with her abilities... Well, half-joked.

-She keeps count of every single book she’s ever read, and she actually reads and retains information very quickly.

-Loves looking at the stars, but she doesn’t get to see them often.

[aforrestofstuff]

I’ve been looking at your posts for a while now and I love your Headcanons so much! I only made an acc today just to thank you for making these! Also I’ve also seen your A03 acc and read your fanfics there and I think you’re a great writer! I wrote a huge comment on one of your stories just rambling about how much I like your tumblr and works but I don’t think it sent cause I don’t have an A03 :( today I’m 15 and I was wondering if you’d make Headcanons for how you think S Class heroes would celebrate their birthdays (if that’s alright of course I don’t wanna make you do anything you don’t wanna) and also just a question, why don’t you do PPP headcanons at all? He’s an S Class Hero and I think he’s the only hero you skip out on. Other then that, keep making these headcanons cause they are great and inspire me for my own OPM crack storie book I created (Random One Punch Man Crack Fanfictions on Wattpad i only wrote one story there and only said it if you’re interested)

Thank you thank you thank you so much. I’ve already sent you a dm but I just wanted to say it again because I’m literally vibrating with happiness. Happy birthday <3.

Birthday Headcanons:

Terrible Tornado: Sticks a candle in a store-bought cupcake and calls it a day. She’ll go get her nails and hair done, buy herself a new dress, and just spend the entire time relaxing. Fubuki used to throw her parties when they were kids but she doesn’t really expect that from her anymore.

Silverfang: His disciples used to get together and throw him a surprise party every year. However, ever since the Garou Incident, Charanko will take it upon himself to fill the void somewhat and scrape together enough money to buy a cake (or the ingredients to make one) and a small gift. Silverfang can go both ways: he likes people but he can also be quiet and reflective. So, he has a great time regardless of whether or not he has a party and spends the day enjoying nature, meditating, and being thankful for living as long as he has.

Atomic Samurai: He’s not antisocial by any stretch of the word but he prefers to celebrate this day only with those closest to him. He and his disciples do something new every year and it’s always grounded and casual. Sometimes they’ll all go out to drink, sometimes Okama and Iaian will prepare a feast, sometimes they’ll have lighthearted competitions on who’s the best swordsmaster (with weird contests like who can balance their sheaths on their head the longest and who can catch the hilt of their blade after doing a backflip 3 consecutive times). Good times all around. However, if someone mentions Atomic Samurai’s age, he will sass them to oblivion.

Child Emperor: He doesn’t really plan to do anything out of the ordinary. It’s mostly just business as usual on his birthday. But after meeting Zombieman, however, he practically gets dragged out of the lab and into something special each year. Whether it’s a horror movie marathon, a late-night drive to catch a glittering view of the city, or just chilling and stuffing themselves on sweets, it makes Zombieman a little sad to see wasted youth knowing his life (and age) is as fucked up as it is so he tries to make the kid have at least a little fun the best he can. Child Emperor always has a great time and he now sees the importance of valuing youth and no longer shows shame in pausing his work and enjoying himself every once and a while.

Metal Knight: When he wakes up on his birthday, his alarm clock plays a little tune. That’s about it. He sees no real importance behind age or youth or seniority because as long as he’s at his height of intellect, nothing else matters. Gotta build them robots. It’s business as usual.

King: Holy shit. Shut the blinds. Lock the doors. Silence the phones. It’s game time, baby. Twenty-four hours of blue screen madness. He pigs out on chips, soda, buys himself a cake, and absolutely revels in solitude. He calls his mom each year and they talk for hours on end. She tells him how proud she is of him being a kickass hero and killing monsters and he dies a little inside each time but he loves her nonetheless and keeps up the facade for her sake. She sends him a card with a few coupons and a love-filled note about how much she adores him. He nearly cries each year upon receiving it.

Zombieman: He buys the best cigars he can find, cooks himself a massive T-bone, drinks an entire six-pack of beer, and reclines while watching crime movies. He wears sweatpants, polishes his weaponry, plays Mötley Crüe loud enough for his neighbors to yell at him for it, and just has a great time all by himself. He doesn’t really like parties or get-togethers and even sometimes has to take a break from Child Emperor. This is his day to recharge his social battery and sleep for seventeen hours. This is his day to get absolutely wasted on expensive alcohol and accidentally hotbox his own house. This is his day.

Drive Knight: Pretty much the same as Metal Knight. Whenever the clock strikes midnight on his birthday, a little tune plays in his processing unit and that’s about the end of it.

Pig God: Every restaurant in the damn country has a special on his birthday. He just goes around collecting free food, taking pictures with fans, and eats until he can’t eat anymore (which is a lot). The restaurants he visits have pictures of him eating their food on the walls; he’s become a bit of a indication that if he visits a somewhere to eat, the food’s gotta be bomb as hell. He doesn’t really do anything other than that. He doesn’t really strike up conversation or anything, he just eats in silent contentment and that’s enough for everyone to have a good time.

Superalloy Darkshine: He’s a fan favorite as well. Social media will be blowing up with birthday messages, he’ll be trending on whatever the OPM universe equivalent of Twitter is, and he’ll waste no time going out to meet his fans and spreading birthday happiness. He’ll eat cake, drink with strangers, share laughs and smile without stopping. People will give him little gifts and free food and he accepts it all graciously. Everyone’s invited. Good times all around.

Watchdog Man: This is one of the few days of the year in which he takes the day off from protecting City Q. He’ll just sleep a full twenty-four hours and resume his duty the next day like clockwork each year. Sometimes passerby will leave him little gifts on his podium like meats and dog treats but he doesn’t really take any of it since he’s really particular about what he eats.

Flashy Flash: On this day, he spends time reflecting on how much he’s improved since last year and adopts an extra-vigorous training regimen for the next twenty-four hours. One year, he climbed a mountain in sub-zero temperatures. Another, he ran across a saltwater lake without breaking the surface tension of the water. He spends it alone, occasionally has a drink, and that’s about it. Sometimes he’ll go out to have a nice dinner but that’s only on years he believes he’s deserved it.

Demon Cyborg: He doesn’t really care about his birthday. This makes Doctor Kuseno kind of sad because he believes that Genos is still a kid who deserves to enjoy his birthday like one. So, he does what he can to make the day somewhat special while also pertaining to what Genos could want. This is very hard because Genos never outright says he wishes for anything and that means Kuseno has to do a lot of guesswork. It varies year to year, but the best gift he’s ever given Genos was the sense of taste so the kid could eat birthday cake and enjoy it. Genos isn’t too fond of sweets, he much prefers fruits over cakes, but nevertheless, he was so happy to get one step closer to humanity that something malfunctioned in his head and his hands wouldn’t stop shaking for a whole week.

Metal Bat: Go hard or go home. This fuckin kid pulls an all-nighter with Zenko on the weekend of his birthday to stay inside, build a pillow fort, and play video games. They order pizza, do prank calls, play fighting games, and when the sun comes out they get a couple hours of sleep before riding out again at the height of a sugar high to go to the local carnival (he’s a summer baby) and spend a paycheck’s worth of cash. Once they come home, they collapse in Bad’s bed together, curl up, and fall asleep to some movies.

Tanktop Master: He and the Tanktop Gang have an all-out birthday bash. Everyone and their grandma is invited. There’s food, alcohol, and sports playing on the television in the host’s house (each of them take turns every year). The first few hours of partying, everyone’s having lighthearted fun and watching sports and drinking lightly (Tanktoppers drink responsibly). After that, everyone kind of calms down and they all gather around in the living room and sit on the floor together and just talk about what a great year it is to be alive. They catch up, share stories, eat snacks, and wish Tanktop Master the happiest of birthdays. He absolutely adores spending time with his friends and gives a toast to everyone and their hard work. After that, he goes home and calls his mom before going to bed.

Puri-Puri Prisoner: He and his boyfriend share a slice of birthday cake from the prison cafeteria with a single candle stuck into it. His boyfriend gives him crochet and knitting lessons, they and the other prisoners dance to some music, and the guards give him a pat on the back along with some birthday wishes. That’s about it. There’s only so much he can do in prison, but he makes it work with what he has and has the time of his life nevertheless. Angel Hugs all around.

And to answer your question about PPP, I straight up just forgot he existed akshshshs. I’ll be brainstorming some stuff about him soon. Love you lots 💞💞💞💕

[turnaboutnerd]

I’m emamored with the idea of Apollo, Athena, Klavier, and Simon becoming a really tight group of friends who, like, do dumb stuff together and make sure to enjoy their youth outside their difficult professional lives.

It’s mainly orchestrated by Athena, and it starts off with just her and Apollo chilling after office hours. Then, when Athena starts to suspect he and Klavier have a “thing” — and when she starts to really get worried about Klav, because she can hear a note of distress in his heart whenever she sees him in court — she convinces Apollo that they should start inviting him to hang out:

“I think he needs a friend, Apollo.”

“He should have plenty of friends! He’s a rockstar! Why would he want to hang out with us?”

(Because he likes you... more than I think you realize.) “Weren’t you the one who told me his entire band broke up after his best friend was arrested? And what about his brother? More than anything, I just think he needs people to talk to about this sort of thing, and who wouldn’t get it better than you and I?”

“...”

So Klav starts getting invited out to stuff with them, and yeah, Athena was absolutely right — he did really need some friends he could talk to. It takes a while for him to open up about it, but it happens, and it brings the three of them closer together.

Next is Simon. Athena spends time with him separately, but she knows he’s having difficulties adjusting to life outside of prison, and that she’s really the only person he has as a friend since his sister is still in prison, and most people are afraid of him. So she brings it to the table with Apollo and Klav.

“What would you guys think about Simon coming to dinner with us next time?”

“Uh... the scary ex-convict prosecutor?”

“He’s not that scary, Apollo! Klav?”

“Ja, I’m fine with it. But I’ll admit I don’t know much about him, even though we work together...”

“It’ll be fine. Don’t let the way he looks fool you: He’s a big softie, really! And I think he needs some guy friends.”

Simon is a lot more hesitant to agree to spending time with their group than Klavier. He’s not nearly as outgoing, and not as young for that matter. He’s nearly 30, and the others are in their early to mid 20s. But Athena persists — “You’ve missed so much! You need to make up for lost time!” — and so Simon agrees to one dinner.

It ends up being more than that. Perhaps to everyone’s surprise, Simon fits in super well (His wry sense of humor wins over Klav, which in turn wins over Apollo), and the rest is history. They’re together every weekend (and some weeknights, when there isn’t a case going on) after that. And God, do they have the fun they deserve.

They book escape rooms and make it out every time because they’re a bunch of brilliant minds put together. They go mini golfing and are all garbage at it but roast each other anyway. They go out grocery shopping and Simon ends up pushing Klavier around in the shopping cart as they pick up food to eat while they hang out at whoever’s place. They watch bad movies until they all fall asleep on the couch. They introduce Simon to video games like Smash and Mario Kart. Athena starts collecting card and board games (Cards Against Humanity is absolutely at the top of the list) for them, and when they have game nights, it ends up being way more than just them: It’s Phoenix and Trucy and Ema and, of course, somehow Edgeworth ends up being dragged into it too, and it’s just a grand old time.

Anyway, you can pry Athena, Apollo, Klav, and Simon being BFFs from my cold, dead hands.

[harleyquinnbluemoonlove]

Welcoming the new Social Movement/Platform/Political Party in the World

Official Name:  Blue Dog Bite Mafia 888 *BETA*

Owner/CEO/Founder/Dealer/Player/Delivery BAD B: 

Current Name:  Monica Gill   FUTURE Name: Mercedes Lynnette Giovanni

Email:  fairytalesexist2020@gmail.com

Current Financial Status:  $0.00    ��---- You may DONATE by using CASH APP Cash Tag #$bluedogbitemafia888

***MY CYBER FAMILY MUST ENSURE THAT DONATIONS ARE NOT HIGHJACKED/STOLEN****

BASIC IDEA/PLAN OF ATTACK/EXECUTION OR POSITIVE WORDS LIKE “LAUNCH”.  We can issue an ATTACK or a LAUNCH CODE.

I will dumb it down a little bit. I am taking advantage of my position of power, now that I am a Celebrity in the World. Its the greatest feeling in the world, feels better than good sex and that is a hard thing for me to admit because I love some good, hot, sweaty sex and I’ve been going without for several weeks. I almost fell like a Nun because I cannot even pleasure myself because I was molested as a child by Lovie Price’s boyfriend “Frank Parker” a gasoline man from an early. I told Connie Price about it when I was 15 and her name at the time was Connie Dunford. It was the same day Brandie Ann Thompson said Curtis Triplett tried to rape her in the bathroom at the house In Frayser, Memphis TN. Brandie Ann in her hayday, resembled a youthful Cameron Diaz. Cameron Diaz dated Justin Timberlake once upon a time. She played in the move “The mask” and the mask was green. At the end of the movie, the dog put on the mask. You all know, when you wear that mask---you become a Shape Shifter, transforming into anything/anyone you think will grab the Hot or Not Rated #10 Woman’s ATTENTION/HEART/LOVE and will do anything, I mean anything to get it. The secret to my success is a compilation of everything good, bad, dirty, evil and let’s call it “The Struggle” or the “Human Experience”. 

Old School (OS) Operating System (OS) Back to Basics (B2B) Brandie Thompson (BT) Barry Thompson (BT) Blue Tooth (BT) Brandie Smith (BS) Bull Shit (BS) Rent A Center (RAC) Roger Adren Crawford (RAC) $1K (RAK) Rags to Riches Richard Abernathy (RA) **secret boyfriend shh!!** Douche Bag (DB) or Douglas Belknap (DB) Thomas Jones (TJ) County Road (CR) Danny Thomas (DT)  Deanna Thomas (DT) ... Trying to show you how I think period dot. In ya’ll are slow, period dot also equal two dots. You must have two dots to play connect the dots and draw the lines to illustrate inspiration into a masterpiece. The best pieces of Art are very old, have a solid reputation, and is properly curated to ensure it maintains its value for infinity times three.

Basically, you can get with my program, drink my Kool Aid, swallow your pride, do the right thing, if you have done something wrong, you really need to return to your basic religious beliefs what they may be, get right with yourself, because what you have done will come to light, exposed, we are moving on from there. We are, as a society going to change and deliver the children and the children’s children: a brighter future with more options, a limited amount of privacy, give them the world and see what they can accomplish with living in a world of positive vibes, beautiful colors, great music, entrepreneurship, dreams, and now, the little girls if we get married will truly believe in fairytales. This right here is whats up because we have an opportunity, once in a lifetime opportunity, to fix society, establish unity and peace, competition is good but everyone needs a chance to win sometimes to boost their confidence and pride. When there is monopoly or kingdom, it fosters the seven deadly sins, seven capital sins, and the seven cardinal sins, which is systemic to original sin. 

Genesis clearly explains that certain things were created on certain days and back time was measured. You cannot just create a man or a woman. First, you need the Universe. Then, you need the Galaxy which creates Space. In Space, you have the moon, stars, sun, planets, black holes, asteroids, comets, shooting stars, orbit, gravitational pull. Here we are on planet Earth with 7 continents and 7 oceans. I like the number 8 because it represent a number, a symbol, and no limitations--infinity. My son was born on 3-8-03 weighing 8 pounds, 8 ounces and 19.5 inches long, color: BLUE, life: No sign of it. It took 10 minutes and PLEADING WITH THE LORD AT THE TOP OF MY LUNGS SCREAMING PRAYING TO PLEASE GIVE HIM LIFE, I DON’T WANT TO HAVE GONE THROUGH 35.5 HOURS OF LABOR AND 7 HOURS OF HARD PUSHING WITH NO PAIN MEDICINE, NO EPIDURAL, GAVE BIRTH TO A STILL BORN BABY NATURALLY AND THE GOOD LORD ANSWERED MY PRAYERS AND THAT BOY CRIED AND WENT TO THE NICU AT BETHESDA NAVAL HOSPITAL IN MONTGOMERY COUNTY, MARYLAND. ITS ALSO REFERRED TO AS “THE PRESIDENTS HOSPITAL”.

He is 17 years old, already a MASTERMIND and a Professional Gamer. He is so smart like me, that he had to design/build/code his own computer because there is not a computer on the planet that can keep up with his level of gaming. I saw a photo of it. Its a desktop computer with the case taken off the side--lit up with blue LED lights

It’s Confession Time and Holy Communion Time that means confess your sin, wrongdoing, break bread, eat bread, drink wine, not whine. No days off, no excuse, no immunity, no setups, no blame game, no liars, no stealing, checks and balances, no absolute power because absolute power fosters absolute corruption, which is why were in this position right now with COVID-19, Corona Virus.

I think one person needs a pardon because he has stayed on the job, even though he was originally lied to by the Feds. He deserves a pardon, record expunged, and an opportunity. I see great potential, just needs an opportunity, believe in himself, and have the courage to escape his own prison of gold diggers, groupies, fans, and whores.

In this triad, it is a rags to riches story times three. There is only 1 TRUE VERSION of ME, and its right here in Memphis TN, age: 41(Birth Cert).

To succeed in any sports game, you must be fit, educated, content with yourself to include your pros/cons/demons and knowledgeable & intelligent enough to know that I am certified True OG, I got your back no matter what because to me money ain’t a thing, fame fades just like stars, but loyal dogs do not turn on their master unless they are abused or hungry. I am a Blue AKC Royal Bloodline Pitbull, Staffordshire Terrier. Pitbull is the image you need to have in your mind when you think of ME.

#donations #loyalty #888 #TRUMP2020 #IG #WHISTEBLOWER ACT #RULES #ESPNSPORTS #RAPGODS #GREEKGODS #GOD #CLASHOFTITANS #THEGAME #THEROCK #GLUE #DOCTORS   #LAWYERS #COWBOYS #DANCE #L.I.F.E. #LOVE #SM #EM 

#NEED SOME COM[ANY AND VITAMIN D

BLUE, COME ON UNLESS YOU ARE “CHICKEN” “SCARED”

I PROMISE I WILL NOT BITE. BUT, I AM STARVING, LONELY, NEED MONEY TO CREATE AND LAUNCH MY DREAMS TO POSITIVELY AND EFFECTIVELY CHANGE THE WORLD WHICH WILL PLACE ME AND PRESIDENT TRUMP IN THE HISTORY BOOKDS. AND THE HISTORY BOOKS ARE GOING TO BECOME FACTBOOKS, AND HISTORY CLASSES WILL BE MANDATORY THROUGHOUT LIFE REGARDLESS OF AGE, POSITION, JOB, FINANCIAL STATUS BECAUSE THE BEST EDUCATION IS A “CONTINUOUS EDUCATION”. IF YOU DO NOT CONTINUE LEARNING, YOU BECOME RUSTY AND THEN, YOU CANNOT KEEP UP THE FAST PACED CHANGES OF ADVANCE TECHNOLOGY IN THE REAL WORLD AND IN THE REAL GAME OF LIFE.

RECOMMENDATIONS ARE AS FOLLOWS:

1.  DONATE MONEY TO MY CAUSE ON CASH APP 

$BLUEDOGBITEMAFIA888 

DO NOT HACK MY PHONE OR MY LAPTOP, DO NOT HACK ANYTHING OR ANYBODY BC YOU CANNOT DO IT BETTER THAN U.S. BC U.S. CREATED THE INTERNET IN WASHINGTON DC AT THE PENTAGON CALLED “DARPANET” IN 1974. THE FIRST COMPUTER WAS AN APPLE, SECOND COMPUTER WAS MICROSOFT. A GOOD BRAND IS A HP WITH MS WINDOWS. I HAVE A BLUE HP LAPTOP STREAM, I HAVE A BLACK APPLE IPHONE 7. I AM ON A WIFI WITH A VPN THAT KEEPS GETTING DISABLED. THE SOUND ON MY PHONE DOES NOT WORK. I AM BACKING UP BOTH DEVICES AND GOING TO RESET TO FACTORY SETTINGS SO I CAN GURANTEE EFFECTIVE DIGITAL SECURITY.

2. I NEED COMPANY TO SIT WITH ME, DRINK WITH ME. I WOULD LOVE SOME JACK AND COKE OR A BUD LIGHT. I WOULD ALSO LOVE SOME FOOD THAT CONTAINS RED MEAT TO ASSIST ME WITH MY BLOOD PROBLEMS. BUDDY OR BLUE OR YO -- FIGURE IT AND SEND ME SOMEONE I KNOW. I AM TOO PRETTY AND TOO COOL TO BE CHILLING BY MYSELF WITH NO FOOD, NO ALCOHOL, NO MONEY, NO WEED, ETC. 

3.  SELF EVALUATE OR DO A PEER REVIEW/. SELF EVALUATION IS LOOKING AT YOURSELF IN THE MIRROR AND THINKING ABOUT YOUR LIFE. I LIKE TO WRITE THINGS DOWN, IF HELPS ME. IT WILL BRING ABOUT A SENSE OF UNDERSTANDING WHO, WHAT, WHY YOU ARE WHO YOU ARE, HOW YOU BECAME PERSON, AND DESIGN YOUR OWN ROADMAP TO BEING A BETTER PERSON AND OPENING YOUR HEART TO REALIZATION THAT THE CHILDREN ARE THE FUTURE, RIGHT WE ARE THE WORLD, WE CAN ACHIEVE GREATNESS, A NEW TYPE OF MAGIC “UTOPIA”.

WHAT ARE YOU ABOUT? WHAT DO YOU WANT OUT OF LIFE? ARE YOU HAPPY WITH YOURSELF? CAN YOU FREE YOUR MIND? CAN YOU OPEN YOUR HEARTS? CAN YOU COMMIT? DO YOU KNOW WHEN TO WALK AWAY? WHAT DO YOU BELIEVE IN? DO YOU HAVE CONFIDENCE? ARE YOU IN YOUR OWN PRISON--YOUR MIND, YOUR FEELINGS, YOUR RELATIONSHIP STATUS?

WISDOM COMES WITH TIME, EXPERIENCE, EDUCATION, HARD WORK, SERVICE, LOYALTY, PURPOSE, AND TRAVELING.

At the end of the day, who do you want to be with? 

Woman - Wise can deliver the world or drop the world, age 41 -- looks better than 20 & 30 year old GIRLS. Does not care about money, fame, status, power because the game was scheduled and unfortunately, unaware of the OP -- she walked, ran, sprinted STOLE the Flag, and won the game. 

Everyone wants to still run their mouths, try to control a man, and those hos, have no power, position, fame, etc. They are with or around you because of who you are, what you have done, and what you can give them---in my opinion that is abuse of power and targeting someone to manipulating them to do what you want them to do.

I like structure, things to be done a certain way because I like cleanliness, organization, faith, love, hope, trust, and loyalty. 

I would not cop an attitude with everyone, if  I did not feel like the world was against me. Hint, hint -- I don’t trust authority figures because I was molested, abused, targeted, almost died several times, lied to, cheated on, setups, smear campaigns, gossiped about, bullied, beat on, yelled at, called names, jealous women everywhere so dumb they forget I have a hunger against Human  Trafficking. People are on this RACISM BULL SHIT. 

Its 2020, Racism = IGNORANCE AND IGNORANCE IS NOT BLISS ANYMORE, IGNORANCE IS DEADLY. 

Basic belief system of Karma, it is a metaphysical/paranormal reality that is mixed with real, artificial, and soon-to-be virtual reality. It is what it is. 

What you set your mind, what you do and the thoughts and actions you put into the world will either grant you your dreams or come back times three by the of karma, what goes around, comes around.

I want/will do good and be a good role model for everyone. I am going to teach, help you, do what I want, when I want, how I want because I know my worth, my value, and what I can GURANTEE/DELIVER.

Greed, jealousy, laziness, and all the ugly things that are in the world

                                                  WILL

 get you no where but hungry, lonely but free, penniless, candy-less, eliminate sports.

                                        COMMIT OR QUIT

MY MISSION WILL ENDURE AND CARRY ON UNTIL I FEEL MISSION ACCOMPLISHED. I DO NOT HAVE A FAILURE TO THRIVE AND I DO NOT LACK A WILL TO LIVE. 

MY ISNT OVER, YET;

[mst3kproject]

1110: Wizards of the Lost Kingdom

I only saw this episode once, while I was on my two-day binge back when season eleven first debuted – and by then I was kind of running out of binge-watching oomph, because I don’t think I paid much attention to it.  If I had, I wouldn’t have been so blindsided by shit like the mermaid and her rainbow bridge or the flying lion-centaur whatchamafuckit.  Wizards of the Lost Kingdom is depressingly cheap and desperately amateurish, but it's also unbelievably fucking weird.

There’s a great evil abroad in the land or something.  The Castle(TM) is Attacked and the resident Bearded Wizard(TM) gives his son the Callow Youth(TM) a Magical Ring(TM) to keep safe – but of course the stupid kid drops it on the way out.  After gathering a few allies, slaying a few monsters, and dabbling in casual necromancy, the boy sneaks back into the castle to retrieve the ring and do wizardly battle with the bad guy.  The day is saved, the princess is rescued, etcetera, etcetera, etcetera.  The music attempts to convince us that this is epic and exciting, rather than corny and embarrassing.

I have rarely felt as bad for a group of actors as I did watching Wizards of the Lost Kingdom.  I kept wanting to hide behind the couch so I wouldn’t have to look at the expressions on their faces as they humiliate themselves by being in this movie.  Even Crabby the Crab Hat doesn’t want to be here.  The whole thing looks like a third grade class put on a play starring everybody’s parents.  The only person who gets out with any shred of dignity is whatever poor bastard was hiding under the Gulfax suit… oh, no, wait, no he didn’t, because according to IMDB the same actor also played Dad the Wizard.

Let’s look at our characters.  There’s our hero Simon, who is about thirteen and seems to be familiar with the concept of a quest but would probably much rather be reading a book somewhere.  His buddy is Gulfax, a dude who paid way too much for his alpaca fursuit.  Kor the Conquerer is supposed to be a troubled alcoholic mercenary, but he really does look like Gordon Ramsay except not as badass. The wicked queen dresses like she’s trying to look sexy for the Swamp Thing.  Princess Aura acts like your nine-year-old sister parading around in one of those Disney Princess gowns.  The bad guy is less impressive than his own fashion accessories and can disintegrate people except when it would be inconvenient for the plot.  Simon can disintegrate people, too, but saves it for non-humans despite the fact that they’re shown to be sentient.

Then there’s what all these people actually do. Despite a much more kid-friendly tone, Wizards of the Lost Kingdom is a lot like Ator: the Fighting Eagle.  Both movies present us with characters who are supposedly on a heroic quest, but all we see is them wandering around the woods while random things happen. When I tried to describe this film to a co-worker, I realized I could talk about the various incidents in whatever order I liked, because none of them really contribute to the plot or even connect to each other.

Take, for example, the bit where Kor is captured by the cyclops who wants him to marry his sister (the cyclops’ sister, that is.  Wizards of the Lost Kingdom isn’t that much like Ator).  It comes and it goes, and that’s it.  Kor had earlier said he didn’t know who this mysterious bucket-helmeted figure was, and Simon pouts a bit because that was a lie. It really, really doesn’t feel like the major betrayal the script wants us to think it was.  It comes across as the cyclops’ sister being an embarrassing ex-girlfriend Kor just didn’t want to talk about, and he and Simon argue for thirty seconds and then hug and make up, completely negating whatever small emotional impact the whole thing might have had.

Or how about the part where Simon straight-up raises the dead? In most fantasy settings that would be considered a turn down a dark path, with far-reaching consequences for both the plot and the character development.  In Wizards of the Lost Kingdom the corpses get up and basically tell Simon to get fucked because they want to rest, and then crawl back into their graves.  This is a world where black magic exists and can claim your soul, but apparently necromancy isn’t in that category.  All that happens is Kor tells Simon to respect the dead more.

What about the bit where Simon realizes the bad guy and his Crab Hat are spying on them through a magical birdbath?  The kid casts a spell that makes the water explode in the evil dude’s face so he can’t see them anymore, but this has no plot consequences because a scene or two later the bad guy has simply re-filled the birdbath and is watching them again.  Why did we even need to see that?  Why did we need the bit with the little gnome dude who enables Kor’s alcoholism? The drinking is never a plot point because this is a kids’ movie (unless marrying the cyclops’ sister was something Kor promised to do while drunk), and the gnome promises to re-join them for the climax but when he does he just watches.

How about the part where Kor tries to save a drowning topless blonde woman in the weirdly orange river (this is the only place where I can definitely identify a shot MST3K cut, since we got one very brief look at her tits)? She vanishes only to reappear on a rock with one of those mermaid tail blankets over her legs, telling them she was testing their manhood to see if they were worthy of her help!  They were, so she creates a rainbow for them and tells them to follow their hearts across the river!

Uh.  Okay. So I can see how Kor was worthy, since he jumped in and all, but Simon stood on the shore yelling at him to stop because it’s too dangerous.  Shouldn’t his unmanly ass get left behind?

Unquestionably, however, the weirdest thing in the movie is the fucked-up trippy vision Simon has while bug-woman plies him with drink and flower petals.  This scene fascinates me.  So there’s a bunch of Satanists sacrificing women on a spray-foam altar, while a voice tries to tempt Simon to the dark side.  In response, he summons up the ‘forces of good’ to deal with the situation, and they appear in the form of this stop-motion… chimera… thing. Imagine a lion centaur, only both the horse part and the human part are lions, so it’s like a six-legged, two-torsoed leonine centipede abomination, but instead of arms on the upper set of shoulders it has weird veiny bat wings.  It hovers there snarling while the Satanists complete their sacrifice, which summons a giant floating semi-transparent head in some scaly makeup.  The head makes faces and breathes green fire, until the lion thing glares cartoon lightning at it and it explodes.

What the actual unmotivated fuck. What even was that? I want to say it’s demonstrating that Simon is pure of heart and can’t be tempted to evil but like ten minutes later he’s raising the fucking dead.  What the hell is with the lion monster?  Is it a metaphor for something?  Is it saying that the forces of good can be just as terrifying as those of evil, like how if you read descriptions of angels they actually look like beasts from your nightmares?  Was it actually supposed to be pretty and the model-makers just weren’t up to the task? What am I looking at?

Did anybody actually realize how weird this all was?  One does get the impression that the writers were just scribbling down whatever bullshit came into their heads without regard for continuity or anything.  Can we have a mermaid in our movie?  Sure, why the hell not.  Zombies? Awesome, everybody loves zombies, throw ‘em in there.  A garden gnome?  A goat-man playing the pan flute?  A jilted cyclops with a spiral perm?  Absolutely, the more, the merrier!  Concepts!

And yet for all that, the single worst failure of writing in Wizards of the Lost Kingdom is the anticlimax of the ending.  Through the whole movie everybody’s been looking for the Ring of Magic, which makes the wearer all-powerful.  One of the wicked queen’s dwarves (played by actual little people who should all have been paid double for being in the same movie where the queen says we’re running out of dwarves) finds it, but Simon snatches it back a moment later and goes out and saves the day.  Of course he does – he’s all-powerful.  It’s a foregone conclusion.  The only tension comes from wondering how many of those kids who were freed from prison are gonna get swords in the gut while Simon worries about making pretty special effects in his wizard’s duel.

One last bit of illogical crap.  After the battle, Kor wanders off to go back to his ‘itinerant boozehound’ gig, and tells Simon to be a good king.  Uh… Simon’s not gonna be king.  The rightful heir is Princess Aura, who’s literally right there.  Simon can marry her and be royal consort if she still likes him once they’ve both been through puberty.  Is there a law in this kingdom that if you save the day you get to be in charge?  That does seem to be where the last guy got his throne… and yet I have a faint suspicion that the writers just assumed Simon would rule instead of Aura because he’s got a penis and she doesn’t.

All that may have given the impression that I hate this movie but I really don’t.  Wizards of the Lost Kingdom just isn’t worth the effort.  Instead I just pity this movie and everybody in it.  Every last one of them did a terrible job, and yet they still all deserved better.  On every possible level, Wizards of the Lost Kingdom is truly less than the sum of its parts.

[aliciameade]

Baby - Ch. 17 (Epilogue)

Title: Baby Author: aliciameade Rating: *** M *** Pairing: Stephanie Smothers/Emily Nelson Summary:  That tearful kiss shared between Stephanie and Emily wasn't their first—and it certainly wasn't their last.

(Chapter 1)

Also on AO3

This is it, my friends. Thank you for taking this little detour from the movie’s plot of missed opportunity with me. It was an absolute joy of a story to tell!

Life with Emily is everything Stephanie had dreamed it could be.

They spend the first several weeks turning their house into a home, furnishing and decorating it beyond the minimal things Emily had done while she waited. It’s fun to hang curtains and bicker and compromise and then kiss when they’re finished. They go shopping to fill their closets and drawers since everyone arrived with little more than the clothes on their back. They take the boys to the market to pick out fresh produce. They hire a tutor to start teaching the boys Greek so they’ll be more prepared to re-enter school come September.

They hire one for themselves, too, and Stephanie’s perpetually annoyed that Emily’s better at it than she is. “I’ve had more time to practice, μωρό μου,” Emily says when Stephanie gets too frustrated. It doesn’t really help her irritation, but she kind of loves that Emily already knew how to call her “baby” in the native tongue before she’d arrived.

They both take up small part-time work. Not out of necessity, of course. They have some $3.5 million tucked away in bank accounts throughout the Mediterranean. It’s only to break up the days and keep hands and minds busy with activities they enjoy. Stephanie spends three mornings each week at a bakery. She loves it, and they also never need to buy bread at the market.

Emily volunteers at the youth center that organizes the soccer league Miles and Nicky join. It makes Stephanie smile to herself every time they and the boys get on their bicycles to head down the hill for practice. What would Darren, Stacy, and Sona think? Emily Nelson voluntarily working with children! Emily Nelson would never. Dillon Reid, however, loves it.

She finds herself wondering more than once what those three might be up to. If they pretended to care when Stephanie and the boys disappeared, too. If they gossiped and tried to start rumors and if any of their rumors were accurate. She wonders if her dedicated vlog audience misses her. She wonders how Sean is faring in prison. She thinks about maybe sending him a note, an anonymous one of course, in a year or two simply informing him that Nicky is safe. He’s surely heard what happened; maybe he’s even been questioned on the matter of their disappearance. Maybe he finally figured out what really happened.

They keep an eye on news from the United States and read The Warfield Observer online over a private VPN connection as the stories about the search for the single mom and her two boys who disappeared without a trace become shorter and shorter and move deeper down the page until the last one, just two paragraphs long, states that the search has been called off and the local police and FBI still have no leads.

They buy a boat; not a yacht and nothing outlandish, just a twenty-six-foot daysailer that lets them get off the island and onto the sea to relax in the sun, to let the boys snorkel off-shore, to fish like the locals. Neither of them knows how to sail it so they take lessons until they can.

The first time they try it without their instructor, they’re excited. Their neighbor agrees to take the boys for the evening and Stephanie packs a picnic of fresh fruits and cheeses and a bottle of wine. They get the craft out of the harbor and into the bay under the starry sky to make love, only to have the wind not be in their favor for the return. Their lack of experience quickly devolves into frustration on Emily’s part and helpless amusement on Stephanie’s as they drift. Stephanie repeatedly tells Emily, “Just use the outboard, that’s what it’s there for,” to which Emily replies, “We’re sailing. We’re supposed to sail.”

Stephanie kisses away her frustration and convinces her to give in to the convenience of the motor and Emily immediately books more advanced lessons with their instructor so it never happens again.

She learns new things about Emily and herself every day.

She learns that Emily likes to wake up early to watch the sunrise over a strong cup of coffee from their balcony before going for a run.

It’s an intense route, Stephanie learns the first time she joins Emily on her morning workout. There seem to be no such things as flat roads in Oia and if they’re not running uphill they’re climbing stairs so they can run down and back up the next.

“Καλημέρα, Dillon,” the elderly woman who lives on the corner says with a wave as they pass. “Morning,” Emily replies with a smile, sometimes in English, sometimes in Greek. She sits by the road every day in a rocking chair working on something; knitting, weaving, cleaning vegetables. “Καλημέρα, Alyson,” she waves on their way home. Her name is Antonia and she adores their boys. She looks after them sometimes and they always come home filled with local folklore stories to share, along with a homemade sweet.

Stephanie finds herself thinking more and more often that this is it: this is what The Greats meant when they wrote of paradise.

She’s thinking of it as she sits on the floor of their home trying to learn yet another game the boys have invented involving dice, a bouncy ball, and a plastic toy horse and glances up to see what Emily’s doing; all she’s doing is watching them with a soft smile on her lips.

“Connor, baby, come upstairs with me for a minute,” Emily says and stands, holding out her hand for Stephanie’s son to take. “You, too, Devon.”

“Why?” Miles asks as he pops up and skips over to her, followed by Nicky.

“I want to talk to you.”

“You can’t talk to them here?” Stephanie asks from the floor, confused and a hair suspicious as to why Emily needs to take their sons upstairs to talk to them as if they had a secret to share.

“It won’t take long,” Emily says with a smile before they’re heading upstairs.

She hears them above in Miles’s room; there’s a squeaky drawer in his dresser and she hears it open and close followed by several minutes of silence.

It makes her nervous, though she can’t pinpoint why and she plays with the dice while she waits, rolling and re-rolling to see if she can get all four of them to come up the same.

She looks up when she hears them coming back down the stairs and she can’t help but notice that both boys have their hands behind their backs doing a poor job of hiding what they’re holding. Emily’s aren’t behind her back but she can tell something’s in her hand by the way her fingers curl and Stephanie’s eyes snap to hers.

“Go on,” Emily says with a nudge to the boys’ backs once they’re in the middle of the living room floor where Stephanie still sits.

“These are for you,” Nicky says with stately purpose as he thrusts his arm out, a bouquet of yellow daffodils and purple crocuses in his fist.

“Oh, thank you,” Stephanie says as she accepts them. Now she really is nervous because clearly, there’s something going on. “What about you, Smooch? I know you’re hiding something, too.”

He nods and reveals a folded up piece of paper, the same one Stephanie remembers him snatching from her to hide their first day in their new home. He unfolds it and it takes a couple tries to get it right-side up and facing Stephanie and when it does, her voice catches and her eyes tear.

It’s a crayon drawing, very clearly done by Miles and Nicky of all four of them holding hands, Emily and Stephanie in the middle. Across the top in sharp, uneven capital letters is written, “Can we be a family?”

“So, how about it, baby?” Emily says after a few seconds when Stephanie’s gaze lands on her, now with her hand up and an open ring box sitting in her palm, its diamond glittering in the sunlight filtering in through the windows.

Proper words don’t seem to come to mind. Her vision blurs with tears and she can see Emily’s shape as it kneels to join her on the floor. Arms wrap around her and she’s already nodding when Emily whispers, “Marry me?” She feels the boys join in, hugging her from the side and from behind and she’s never felt so whole.

“Yes,” she finally manages. “A thousand times, yes.”

The end

[polyadvice]

Does Zinnia play D&D?

As a reminder, I’m celebrating 1,000 posts by taking a break from polyamory related questions and taking questions about literally anything else. Submit your non-polyam questions here! You can blacklist the tag “1kcelebration” if you don’t want non-polyamory-related posts on your dash.

Have you ever played Dungeons & Dragons? What's your opinion of the game and subculture surrounding it? If you could be any fantasy character, what race and/or class would you choose?

Ooh, I have such Feelings about D&D. Starting around age nine, I got really into online forum roleplaying, which was a lot like D&D minus any of the stats, numbers, etc. I was huge into this hobby and by the time I was in middle school I would spend hours and hours on the family computer writing these elaborate characters and stories.

My parents hated this, and were always on me to “get out of the house” and “make friends,” two things I found quite difficult to do. There was, however, a board game and tabletop roleplaying store within walking distance of my house, and I very much wanted to be allowed to go hang out there and play Dungeons & Dragons. I was also a huge fan of the comic Something*Positive, which includes a lot of D&D stuff. Unfortunately for both me and my parents, my mom believed in the absurd urban legend that D&D made kids kill themselves. (Hilariously, this bizarre fear mongering stemmed from Evangelical Christianity, a community and an ideology my mom hated with a passion - but she somehow caught wind of their nonsense, stripped of the context that would have led her to reject it, and she fully believed that letting me play D&D would have been dangerous.)

I still have some resentment about this, because kid-me would have absolutely loved D&D, and would have been amazing at it. I have a knack for character improv and worldbuilding, and I would have likely “found my community.” I was a sad and lonely kid, and it would have been amazing for me. I also would have gotten into it when my brain was more malleable and I was better able to internalize the complicated structure and rules of the game. I’d be absolutely kick-ass at it as an adult now that the milieu is very pro-D&D. But, alas, I was dealt different cards.

As an adult, I decided to finally get into it. I’ve played Pathfinder, D&D, and VTM systems. I love the narrative and character and worldbuilding parts, but I still can’t get a good grip on all the fiddly bits. I frequently end up with complete ‘weenie’ characters because I don’t care enough to actually make use of the skills and powers I could have. I find combat in D&D excruciatingly boring and I’m not interested in maximizing my ability to do anything combat related. I like the idea of magic but playing a spellcasting character overwhelms me with all the crap to keep track of. I spend far more time writing out an elaborate backstory and personality for my character than fussing about the character sheet. This is probably because of the forum roleplaying I cut my teeth on, and because I don’t have years of practice or a nostalgic connection to the actual D&D system. Playing with hardcore or experienced D&D players is usually frustrating for me and for them.

But I still love everything else - the maps, the characters, the dice, the mini figurines, the art. I actually like DMing more than being a PC, because I get to make up towns and shops and stories and NPCs, and I can decline to fuss about things I don’t find interesting. I’ve been slowly working on my own tabletop RP system with its own world, its own character creation and its own magic system. The goals are to be narrative-driven, heavy on character and light on combat, and to give the players incentive to explore the world and flexibility to be creative with their magic. I’m lucky enough to have a partner who’s also interested in game design, so it’s been a fun project to do with him.

I do have to state for the record that I still love and adore forum RPing, though the community/culture of the hobby has gone through some changes in the last few years that are leaving me feeling a bit Eternal-September-ed. I also strongly recommend simpler, “one-page” style RPGs like Lasers and Feelings and related ‘hacks’ thereof. These sorts of games have a much lower barrier to entry and can be amazing for people who might otherwise feel overwhelmed or left out by more complex systems (like the youth I work with!) I have written some pre-made ‘modules’ and ‘kits’ for L&F and really love running games with it. Tabletop roleplaying can be amazingly powerful as a therapeutic tool. It’s being used to help young people develop confidence and social skills, it’s popular in prisons, it’s just awesome.

As for the “subculture surrounding” the game, I feel kind of the same way a lot of us ‘older nerds’ feel seeing this renaissance. It’s awesome seeing this cool, fun thing get more respect and recognition, but it’s also bittersweet to see something that had always been for “outsiders” suddenly be taken up by people who have never been on the outside. I got bullied mercilessly for loving high fantasy books and movies by the same types of people who go nuts for Game of Thrones these days, and this feels a bit similar. There’s an “in crowd” for D&D now, with the famous podcasters and all that, and while I don’t begrudge anyone their entertainment or success, it feels complicated for me personally, especially since part of me feels robbed of an early “in.” But, it does mean lots of Etsy sellers and other folks making super cool custom dice, minifigs, and other cool stuff, so that’s neat. In all, I’d say that although I might have some complicated personal feelings about D&D and its culture, in general, it’s pretty great.

If I could be any fantasy character, I would be a Halfling Druid. Even before I got into D&D, I was a huge Lord of the Rings fan, and I’ve always known I was meant to be a Hobbit. I’m a homebody who loves cozy spaces, good food, running around barefoot, and chillin with my friends near a creek, maybe hitting that pipeweed. I love animals and nature and it would be awesome to have an animal companion, be able to communicate with them, or shift into an animal shape that would let me scamper, swim, or fly. I can’t imagine a more perfect life for me.

[anonymousdreamerdrifter]

Top 10: must-read classics

  I have always loved books, ever since I was a young girl that all I wanted to do was go to Hogwarts and spend my summer vacations in Wonderland. I wanted to be Harry and I wanted to be Alice. When I grew up, I wanted to be one of Charlie's wallflower friends, I wanted to hang out with Hobbits, I wanted to hug Joana and tell her everything was going to be OK. Now I want to be like Lizzie, I want to meet Mr. Gatsby, I want to fight Big Brother and I want to be on Kerouac's road. That's the great thing about classics, you can read them at any point in your life and they will touch you in the most amazing and different ways each time. Everyone has their own classics list, because each book is special and different, just like each person. So, here's my very own special classics, that made me cry and laugh, and fall in love with books.

1. Alice's Adventures in Wonderland by Lewis Carroll  

This is the story that made want to read every other story. It has always been my favorite, and no matter how old I get, it will always be my favorite place to hang out.

2. Harry Potter and the Prisoner of Azkaban by J.K.Rowling

Now I know that you are asking yourself "But why the third book?", I will explain to you why. I am very ashamed to admit that I read this series of books after I had watched most of the movies. The Harry Potter series is my childhood, and I grew up watching those movies over and over again. I only started reading the books when I was older, and when I got to the third I was the same age as Ron, Harry, and Hermione, and it made a huge impression on me because in my imagination I really was right there with them (plus Remus Lupin and Sirius Black, who lets face it, are the best characters).

3. Pride and Prejudice by Jane Austen

My ultimate favorite book of all time (as you may have guessed from all of the blog's references to it). Seriously, have you read it? Jane Austen is the answer to about 89% of your problems. Just sit back, grab a copy and read it, and re-read it, and re-re-read.

4. A Moveable Feast by Ernest Hemingway 

The book that made me want to write. The book that made me want to go to Paris. The book that made me go to Paris and absolutely love it. The book that introduced me to the great Hemingway.

5. To Kill a Mockingbird by Harper Lee 

A true classic. A book about innocence and life, childhood and strength, love and anger. A book so beautiful, so relevant, so incredibly simple and amazingly important.

6.  The Lord of the Rings by J.R.R.Tolkien

Tolkien is a genius. Aragorn is my Prince Charming. No words will ever be enough to describe how much I love Samwise Gamgee.

7.  The Chronicles of Narnia by C.S.Lewis

I was seven years old and I spent a lot of time hiding in my closet and praying that it would transform itself into a magical snowy forest. Enough said.

8.  The Nightingale and the Rose ( The Happy Prince and Other Tales ) by Oscar Wilde

 When I was about nine years old my mother gave me a book of stories that we read together. I have not read it again nor do I need it because I remember it all, and even though all of them are beautiful in their own sad way, this one is my favorite. It made me appreciate life, it made think, it broke my heart and made me cry, and I love it, I absolutely love it.

9. The Perks of Being a Wallflower by Stephen Chbosky

To be fifteen years old and to think that one is miserable because one has never been kissed and does not have the body of a Victoria's Secret model. To be fifteen years old and to be so silly but still taking the time to read this good book about friendship, mental health and youth, and everything that comes with it.

10.  Nineteen Eighty-Four by George Orwell I strongly believe that everyone should be forced to read this book. Yes, I mean it.

And that's it, the top 10 Classics that made an impact in my life. What are yours?

[preserving-ferretbrain]

Who Watches The…oh never mind

by Wardog

Thursday, 12 March 2009

Wardog opens a can of worms very very carefully indeed.~

As my comments in the playpen may recently have indicated, I was not entirely impressed by Watchmen. It doesn't help that people, however vaguely, connected to it are going around saying things like this and it also doesn't help that I read Watchmen for the first time three days ago. I understand that Watchmen is something that the sort of people who are inclined to be passionate about comics are passionate about; perhaps if I had been less busy being an embryo in the 80s when it first came out I might have felt the same way. But Watchmen is dated dated dated. I'm not saying it's not interesting and that it doesn't have merit, but reading it is rather like reading those 18th century novels that are completely consumed by the terror of the incipient collapse of Civilisation As We Know It because of the French Revolution. I'm not saying those novels aren't interesting or don't have merit either ... but you do read them with one eyebrow slightly cocked and think to yourself as you go "oh how quaint."

Quaint may seem an odd term to use in connection to a comic renowned for being gritty and real and, like, totally Dystopian and literary man; but I felt the same about V for Vendetta. Watchmen'spreoccupations, as far as I see it, are Cold War anxiety and Wanking About The Nature and Form of the Comic Genre. I'm not dismissing the impact of Watchmen, nor its power to have shaped (and to some extent validated, insofar as books with pictures in them can be validated) the genre, but the point is the Cold War is over and the genre has been shaped. There are, of course, wider themes to engage us - "about the nature of man, or vigilante justice" if you absolutely insist but bear in mind you can get those better done elsewhere - but Watchmen is so utterly bound up in itself, so defined by the form it takes, that ultimately it's little more than an extended navel-gaze about comics, albeit a moderately interesting one.

The movie, of course, is such a slavish adaptation that it barely merits the term adaption; watching it, therefore, is like watching somebody gaze at somebody else gazing at their navel. In bullet-time. Being now at a noticeably remove from the navel, this is quite dull.

To force myself to give credit where it is due, there is a lot to like about the Watchmen movie. It is stylishly and lovingly done. Everybody looks and sounds exactly like you'd want them to look and sound. The level of detail is mind boggling and the special effects, right down to Dr Manhattan's flapping blue dong, are fabulous. The changes they've made are spot on: I'm really glad they took out the giant squishy squid aliens. Because they are made of stupid. I loved the opening credits where they distill the ponderous backstory into a succession of imaginative and striking images. When the film was engaging critically with the Watchmen comic, it had real potential. Unfortunately, critical engagement gave way to abject drooling adoration about 2 seconds after the credits ended ... and the rest of the film is little more than a panel-by-panel, word-for-word recreation of the comic, bar a few subtle alterations to the way characters are perceived, which I shall talk about presently.

I suppose this is where we get into "what is an adaptation anyway" territory. For me the clue is in "adapt" - I think a process of adaptation is an act of transformation and interpretation. You stay true to the spirit of the original but you accept the fact that what works in one medium does not work in another. The Harry Potter movies are splendid examples of failed adaptations: they're little more than monorail tours of the main attractions of the books. They don't stand up on their own, they have no merit on their own, they are, in fact, shit and pointless. But you can also see this kind of failure going on in a more low key way when people throw plays at the screen and end up with peculiarly static, oddly awkward films (Closer, The History Boys, An Ideal Husband, The Libertine). Again, to be fair, the Watchmen film does almost stand on its own: they've managed to enforce some coherence on a notoriously fragmentary text. But this is mainly because it's identical to the text, right down to the cringe-inducingly stilted dialogue and voice-overs that read beautifully but sound terrible. And as far as I'm concerned if something is identical to the original, right down to the dialogue and the visuals, you might as well just read the original and be done with it. Alan Moore himself apparently said: "My book is a comic book. Not a movie. It's been made in a certain way, and designed to be read in a certain way: in an armchair, nice and cosy next to a fire, with a steaming cup of coffee."

The other problem with such a rigid approach to the text is that it leaves no space for acting to be anything other than simulacra. When you go and see a performance of Richard III, you don't stare at the actor playing Richard and think to yourself: "Wow, that's awesome,

he looks totally like him

." But the only scale for judging the actors in Watchmen is how far they resemble the characters they're playing - the answer to this is, for the most part, "lots." But it's still a really shallow way to engage with a performance.

Now this is when I'm going to play dirty. I know I've just leveled the criticism that the film brings nothing new to the table, being merely a moving version of the comic book. And now I'm going to complain that it also missed the point, or at least a point. I know you might think this is a direct contradiction and that I can't say the film is not enough of an adaptation for me and then whine about a possible misinterpretation but ... hey, look over there,

a fluffy kitten, being cute

. Seriously though, for what it's worth, I don't actually consider this a misinterpretation as such - the film was too fanboyishly clingy a parasite to have anything as measured or sensible as an interpretation - I think it was more an act of mis-translation, in that everyone was so concerned with bringing every fucking element of the comic lovingly into motion (apparently

there's going to be a DVD

of Tales of the Black Freighter - no thanks) that nobody ever bothered to pay attention to what they were doing.

If I had to sum up Watchmen in a glib and pretentious way (why would anyone ask me to do that?), I'd fall back, as I'm sure others have done before me, on quoting Yeats: "the best lack all conviction and the worst are full of passionate intensity." Now, perhaps I got the wrong end of the stick and I know the friend I saw the film with disagrees with me, but I thought the film valorized Dan (and to a lesser extent Laurie) in a way that reduced the impact of the story. In the comic, Dan is anti-heroic: he is middle-aged, impotent, flabby and passive. He is "the boy next door" in the worst possible sense. His niceness, like his Nite Owl costume, is a mask for his essential weakness of character. Despite being in love with Laurie, he makes no attempt to forge a relationship with her, not because he is "just too nice" but because he is "just too pathetic"; he wins her, if wins it can be called, simply by being around to pick up the pieces after her relationship with Jon falls apart horribly. Laurie, of course, is equally broken but has the virtue of being hot - just as all of Dan's behaviour is controlled and limited by compromise, her decision to be with him is a compromise as well, the rejection of the strange and the challenging, youthful dreams and romanticism, for the safety of the everyday and a man whose abject inferiority makes you feel good about yourself. In the comic, their relationship is very much the cleaving of the desperate and worthless: that they go out and do minor heroic things (like saving some people from a fire and springing Rorschach from a prison he is already escaping) after they shag for the first time is an indictment of their behaviour. They seek, and find, validation with each other, yet the validation is based on their joint illusions i.e. that they are people even remotely capable of changing the world. The movie portrays their civilian-saving / prison-breaking exploits as a return to their true heroic selves; the comic uses scenes of stereotypical heroism to reveal Laurie and Dan as the self-deluding, play-acting fools they really are.

Similarly, in the comic, when they are confronted by what Ozymandias has done, Dan and Laurie slink off to a corner of his ruined facility and shag. Dr Manhattan finds them asleep on Nite Owl's winter cloak, looks at them with mingled pity and affection and goes off to confront Ozymandias with the futility of the atrocity he has committed ("nothing ever ends"). Again, this is hardly a celebration of the human spirit in the face of calamity. Confronted by their own profound impotence and the destruction of their carefully constructed charades, they take refuge in the mundane, fleeting affirmation offered by physical pleasure. In the movie, this scene is gone and, instead, Dr Manhattan's final act is to kiss Laurie goodbye - as if he, too, is asserting the value of human relationships as an antidote to Armageddon. (Personally, I'm with Rorschach on this one). In the aftermath of Ozymandias's destruction, the movie gives Dan a line about how he's been tinkering with Archimedes and it'll soon be ready to go, the implication, I think, being that he and Laurie will resume their super-hero lifestyle.

One of the more interesting aspects of the comic is the intersection between public and private identity. One of the questions it asks is why anyone even on polite nodding terms with sanity would "dress as an owl and fight crime." The answer, of course, if its five heroes are anything to go by, is: "they wouldn't." Rorschach is clearly batshit nuts - and for him, Walter Kovacs is the disguise he wears. I've always liked the way that when he confronts Dr Manhattan, it is Walter who dies, not Rorschach. Dr Manhattan has no choice but to be a super-hero but then he is barely human, or anything like it, any more. The Comedian is a fucking psychopath who uses the flamboyance offered by a costume to give outward form to his moral dysfunctionality. Ozymandias also belongs to the Special Club. And Dan and Laurie both use it as a way to escape the disappointments and failures of being merely themselves. Unfortunately the movie inadvertently engineers a reversal of this: Laurie and Dan end up re-discovering their true super-hero selves, whereas in the comic they are ruthlessly forced to confront their inadequacies as human beings. If I was feeling uncharitable I would say this symptomatic of the typical geek fallacies - Watchmen is constructed as a super-hero comic without heroes, attemping to make Dan heroic undermines both the force and interest of the story.

The overall effect of which is that you get a film that is at once a tediously faithful rendering of the comic while somehow contriving to miss the point entirely.

Grats guys.Themes:

TV & Movies

,

Sci-fi / Fantasy

,

Comics

,

Watchmen

~

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Arthur B

at 14:59 on 2009-03-12Playing devil's advocate: while I agree that Dan and Laurie are given an easy ride by the film (perhaps because they're the characters the audience is most likely to identify with), I don't think it completely derails their characterisation to have them go back to vigilantism. I don't have my copy of the comic with me, but I seem to remember mild hints in their final conversation with Sally that they might be getting into some action whilst they spend their time on the run in Ozy's new order. Like I said in the comments on Dan's review, I read the armageddon plotline as an indictment of the passivity of superheroes; crimefighters are essentially reactive, fighting society's symptoms without trying for a cure. (The grotesque scale of Ozymandias's crimes is, of course, the flip side of the argument: a cure might be more harmful than the disease itself.) In the movie, I saw their return to crimefighting as a retreat; there's no suggestion that they're seriously trying to expose Ozymandias, they're just dicking around beating people up to capture their rapidly-fading youth.

But that said I do agree that it's problematic that we are expected to identify with those specific characters in the first place; Dan and Laurie's capitulation and passivity are meant to be character flaws that are just as serious as Rorschach's fanaticism, or Dr Manhattan's nigh-autistic detachment, or Ozymandias's fatal combination of the two.

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Guy

at 15:44 on 2009-03-12I think I like the comic more than you do, Kyra, but I am very impressed by your elucidation of its themes... and it does seem likely that I should go into the film with low expectations. I would like to say I would refrain from seeing the film at all, especially now that I've read Hayter's idiotic letter... but maybe if I go see it in the third week or something I can feel that I've spited (?) him in some way.

I think I read the meaning of the Dan and Laurie characters a bit differently than you do, though. To me, they are essentially sympathetic characters, and a big part of that is their realisation in the end that, actually they're not all that important or powerful, and whether or not they're OK with that, they have to live with it, the way that millions of ordinary men and women do. This in contrast with Rorshcach, who has a kind of absolutist integrity that won't allow him to refrain from doing what he believes is right (even when it's totally futile, or worse, seriously destructive) - a quality he shares with heroes from all kinds of stories - but that "integrity" also makes him, as you say, a psychopath.

I think my favourite moment in the comic is the bit where Ozymandias tells Dan to grow up. It does raise a question for me about what counts as "growing up". Ozymandias thinks that he is the grown up, because he is the one prepared to make hard choices, cross moral boundaries in service to the greater good, &c &c... and that Dan is still a child playing at super hero, making oversized toys and not really doing anything... which is basically accurate. There's a reason that remark cuts Dan. But I think... there's something interesting, something a bit complex, about the question of what actually growing up means. The way you put it above where you say that Dan and Laurie are ruthlessly forced to confront their failings and inadequacies as human beings... I guess to me it seems that that is part of what being a grown up is: a person who has confronted their failings and accepted them. Which then, in a funny kind of way, ties in to the whole Ozymandias crazy plan, which in a sense is about forcing humanity as whole to grow up in spite of itself. Which... yeah, I don't know, for me that theme doesn't date, because we are to a large extent living in a world run by men (arguably, madmen) who act as they do because they believe they are being grown-up on behalf of the rest of us, because ordinary people don't really understand what the world is like and need them to make our hard choices for us. And of course I hate the idea of someone else making my hard choices for me, but it doesn't take long to find examples of people who you genuinely feel glad are not being held totally responsible for themselves... but I think at this stage I may be less responding to your review than I am just rambling. ;)

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Wardog

at 16:06 on 2009-03-12I feel like I'm validating Wankstain Hayter by saying this but I like the comic more retrospectively for some of its concepts. I didn't actually enjoy reading it all that much (not, though, because it is Out Of My Comfort Zone, man, and much of it, as I said, strikes me quaint and alien. And, again, at the risk of saying anything that could in any way chime with anything That Moron has ever said - Watchmen does inspire some interesting disccussion.

In the movie, I saw their return to crimefighting as a retreat"

Because the crime-fighting they do in the film is so massively glamorised - the bit where they kick-ass their way into the prison for example - I personally didn't get this vibe. But I think it's an arguable point.

But that said I do agree that it's problematic that we are expected to identify with those specific characters in the first place

Yeah me too - they obviously thought they were most normal of the bunch. Sigh. As Guy says below, I think perhaps they are the easiest to identify with because they are flawed in a lowkey very human way (i.e. they are rubbish and self-deluding) but identifying with them is an uncomfortable process because I'm sure we'd all rather be Dr Manhattans than Dans. (Although secretly I'm convinced we all want to be Rorschach - there's something utterly compelling about fanatics).

Thanks for your comment, Guy, I didn't find it rambling at all, I found it fascinating. I think my reading of Dan and Laurie is perhaps unnecessarily (and perhaps even unsupportedly) harsh. The thing is, although I said something about them having to face up their failings ... I don't think there's ever really a point they accept them or learn to operate with them ... which, as you say, is what most grown ups do. To be fair, I don't think I have accepted my failings or learned to operate with them *either* but I don't dress up as an owl and fight crime... =P Dan and Laurie seem to constantly be engaged in processes of retreat, compromise and distraction: for them sex serves exactly the same purpose as super-hero costuming. It's a cheap way to use someone else to make you feel better about yourself. They don't *deal* with what Ozymandias has done, and what it has shown them about themselves, they run away from it and bonk.

Which reminds me - sex is such an unfailingly negative force in Watchmen.

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Arthur B

at 16:17 on 2009-03-12

Because the crime-fighting they do in the film is so massively glamorised - the bit where they kick-ass their way into the prison for example - I personally didn't get this vibe. But I think it's an arguable point.

I think it's glamorised

at that point

because before the big reveal Dan and Laurie are convinced that they are Making A Difference, and the audience is meant to believe the same; we haven't had Ozymandias hit them (and the audience) with the revelation that they're not actually achieving anything beyond putting Rorschach back on the streets for one last round of psychosis before he goes to the Antarctic to explode.

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Arthur B

at 10:21 on 2009-03-13There's a very interesting article about the film's financial prospects

here

. I'm wondering whether this isn't the precise article that Hayter was responding to with his open letter.

Short version: There is a very real possibility that just about everyone who was interested in seeing

Watchmen

went to see it in the first week it was out, and ticket sales will slump by the second or third week. There's a growing consensus that the film was too faithful to the comic, which hurt it, and that this is one of those rare situations where there was

too little

studio involvement in the production process.

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Andy G

at 11:33 on 2009-03-13I haven't seen the film, but I did read the comic over the weeked. I had quite a negative reaction to Dan in the comic - his angsty, hand-wringing inadequacy doesn't really excuse the very dubious things he does or condones. I think he appears more sympathetic perhaps because he is the character who it is easiest to identify with for the average reader.

The guy who wrote the Stan Lee version of the comic made the plausible prediction that the film would unironically wallow in the violence as something cool, and rather the miss the point. Does that happen?

I wasn't sure about it having dated though. I mean, even in terms of the Cold War stuff, there are still nuclear weapons and stupid human beings. Though it's perhaps not exactly the story you'd choose to tell now 20 years on. I kind of felt the same about Frost/Nixon.

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Dan H

at 11:35 on 2009-03-13God the comments on that post are full of wank.

I really wish people would accept that "this movie is too long" is actually a valid criticism.

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Gina Dhawa

at 17:32 on 2009-03-13I'm not so worried about

Watchmen

feeling dated because, it addresses old concerns in a fairly familiar way. It's still set in the eighties after all. We're not worried about the same things anymore, but I'm pretty sure we can appreciate the fear of The Other, which is something that I think the film does very well with choosing to frame Dr Manhattan instead of having the original ending.

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Robinson L

at 20:30 on 2009-08-15*deep breath*

Funny, I never got the impression that I was reading/watching something particularly dated either from

V for Vendetta

or

Watchmen

. True, the cold war is over, but the threat of nuclear war hasn't exactly gone away, and the various nations are being just as much jerks to each other as they were back in the 80s.

I loved the opening credits where they distill the ponderous backstory into a succession of imaginative and striking images. When the film was engaging critically with the

Watchmen

comic, it had real potential.

Really? I loved the opening credits, too, but I didn't consciously get the feeling that they were engaging critically with the comic. Would you care to expound a little more on

how

you felt they were critically engaging with it?

I thought the film valorized Dan (and to a lesser extent Laurie) in a way that reduced the impact of the story.

Interesting argument. I admit I handed considered this interpretation of Dan and Laurie from the comic book, although it makes perfect sense.

Thing is, I find that even if it does muddy up the discourse, the story is

improved

by the movie's presentation of Laurie and especially Dan.

My reason? Because in the comic, both Dan and Laurie were dull, dull

dull

. I didn't love them, I didn't hate them, I was apathetic towards them. In the movie, at least, I felt there was something there to engage with emotionally.

And even if it was a deviation in character, I found Dan actually coming out and

telling

Adrian “You haven't idealized mankind but you've... you've deformed it! You mutilated it. That's your legacy. That's the real practical joke” very cathartic.

I also didn't get the same "massive anti-climax" feeling from the movie as the graphic novel.

Although secretly I'm convinced we all want to be Rorschach - there's something utterly compelling about fanatics

Oh god. I'd almost rather be the mass-murdering ego maniac or the spiritually incompetent big blue guy than that monster. I've got the fanatic part down just fine, it's just that I find the "kills, tortures and abuses people" and general misanthropy just a liiiitle bit repulsive.

As a matter of fact, I don't think I particularly identify with

anyone

in

Watchmen

... maybe because the only characters in it who have any sort of strength to their convictions have such a misanthropic, nihilistic view of humanity. I certainly wouldn't want to

be

any of them.

Which reminds me - sex is such an unfailingly negative force in Watchmen.

Interesting point.

I really wish people would accept that "this movie is too long" is actually a valid criticism.

Totally, although for myself, I find if I say "this movie is too long" what I mean is "this movie already annoys the hell out of me and will it please get to the end already." If a movie manages to keep me engaged/entertained (as

Watchmen

did) I'm prepared to go along with it for much longer than 2.5 hours.

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Arthur B

at 20:56 on 2009-08-15

True, the cold war is over, but the threat of nuclear war hasn't exactly gone away, and the various nations are being just as much jerks to each other as they were back in the 80s.

I think nuclear conflict is still a danger, but the

kind

of nuclear conflict presented in

Watchmen

has become almost impossible. Which isn't to say it won't become a possibility again, but it's definitely on the back burner. Limited exchanges between recent entrants to the nuclear club seem more likely than large-scale human extinction events.

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Alasdair Czyrnyj

at 17:06 on 2010-03-10Necromancy ho!

@the issue of datedness and the nuclear arms race

After reading through the article again, I kinda get what you were saying, Kyra. The theme didn't really date the comic for me, partly because I've always got one foot stuck in nuclear war fiction, and partly because I found it easy enough to read the nuclear symbolism as a symbol of an unstoppable force of annihilation that none of the characters are capable of understanding, something that can be applied to many eras and contexts.

Still, it does date the movie. IIRC, Paul Greengrass was attached to the project for a while, and he was making noises about moving it to a contemporary War on Terror setting, which I don't think you could really do without totally rebuilding the story, simply because, while we may be as scared in 2010 as we were in 1985, our fears are coming from different places and take different forms. In the '80s, we assumed that the silos would open and all humanity would die screaming. Nowandays we just assume that life is going to continue getting shittier and shittier and mor and more incomprehensible, with extinction as a vague possibility we suspect may be denied to us.

Did what I just write make any sense?

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https://profiles.google.com/elzairthesorcerer/about

at 20:09 on 2011-05-17This is kind of off-topic, but what are the names of some of those 18th century novels you mentioned? I would like to read one.

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Wardog

at 20:38 on 2011-05-17There aren't specific texts that deal *explicitly* with it - I just meant that you can infer a background level of social anxiety and uncertainty, even in books that seem to be about entirely other things. I guess that isn't very helpful. Also it occurs to me I meant 19th century novels. I hate that thing, I always get my centuries confused. Novels written after 1800 are 19th century novels. It makes no sense! But I mean, it's there in Persuasion, or Daniel Deronda, for example. Middlemarch. Vanity Fair.

[aion-rsa]

The Suicide Squad: James Gunn Talks the Creative Freedom of That R-Rating

https://ift.tt/eA8V8J

A couple of days. That’s how long director James Gunn had to wait before Warner Bros. and DC came calling in 2018. Up until that moment, it’d been a pretty turbulent July. The iconoclastic filmmaker who made audiences cry over a talking tree in Guardians of the Galaxy was just fired by Disney—temporarily as it turns out—and his name was being besmirched on social media. Yet less than 72 hours after that dismissal, WB was making him an offer that could change the face of DC superhero movies forever.

“It happened immediately,” Gunn says with a hint of lingering chagrin. “We started talking about what the project would be. The first thing that was brought up was Superman, but I didn’t know if I wanted to do that.” 

So the studio suggested a once-in-a-lifetime alternative: make whatever you want. Gunn was free to adapt “anybody out of the DC catalogue.” Somehow though, with an entire gleaming multiverse at his disposal, Gunn only had eyes for the filthiest D-listers this side of Krypton. He only wanted to make The Suicide Squad.

The team of supervillain rejects has of course been adapted before, with David Ayer’s divisive Suicide Squad coming out in 2016. The earlier movie was a hit too, grossing more than $700 million and triggering a small bout of jealousy in Gunn, who even then thought that was the only DC property he ever wanted to do. But the film left something to be desired for many fans and critics.

To be clear, there are things Gunn absolutely loves about Ayer’s movie. How could he not, when he incorporated so many of the 2016 film’s cast into his own? In Gunn’s mind, Margot Robbie was born to play Harley Quinn, which he hopes to only further highlight by bringing out her “true lunacy” in the new movie. Viola Davis’s Amanda Waller, meanwhile, was the first character he decided to put in his own film. But Gunn is unambiguous on one point: his The Suicide Squad is going to be its own 31 flavors of weird.

“It wasn’t something to contrast the first movie,” Gunn says. “It wasn’t about going through a checklist of this is good, this is bad, this works, this doesn’t… but the concept that John Ostrander started with in the comics, that these are B-grade, shitty superheroes who are considered disposable by the U.S. government and are sent out on these black-ops missions, where they probably won’t make it but who gives a shit because they’re pieces-of-shit prisoners without many skills?”

That is the movie Gunn wanted to make. And he did so with R-rated glee.

Engineered as a standalone epic that might (or might not) be a sequel to the 2016 movie, Gunn’s The Suicide Squad is, in essence, meant to be a spiritual continuation of comic book writer Ostrander’s seminal 1980s run with the team. Davis’ Waller is still the government’s shady lady pulling the strings and recruiting incarcerated sad sacks to do the wet work law enforcement won’t; her point man on the ground remains Rick Flag (Joel Kinnaman), a straight arrow surrounded by coerced supervillains, including familiar faces like Robbie’s delightfully demented Harley, plus new ones such as Idris Elba’s Bloodsport.

The genre Gunn and his cohorts compare this to is war movies, but who they’re going to war against isn’t exactly clear. With that said, recent marketing revealed a comic book deep cut, with the 1950s space alien, Starro, running amok at kaiju-size.

“Starro is hilarious because he’s ridiculous. He’s a giant, cerulean blue starfish, but he’s also fucking terrifying,” Gunn says. “When I was a kid I thought that was the scariest thing of all time… and I think that exemplifies what this movie is: it is ridiculous and it’s also terrifying, and serious. So he works really well as the villain of the movie—as one of the villains, actually.”

Ironically, the real antagonists of The Suicide Squad might simply be the flick’s main characters, and Gunn is using the motley crew to unleash his distinctive voice. With an absurdly large cast to pick from, the director has carte blanche from WB to kill any character he wants, and to embrace any level of weirdness. And unlike the 2016 film, or his previous Guardians movies, The Suicide Squad is a big budget superhero flick with an R-rating. A first for Gunn.

“Most of my movies have been R-rated,” Gunn laughs when we mention this. He is, after all, a filmmaker who cut his teeth at indie grindhouse distributor Troma Studios, and has a history with tongue-in-cheek horror movies like Slither. But whether it’s making an R-rated Suicide Squad movie or a PG-13 Guardians picture, it’s all the same to him: telling the biggest-ass version of a campfire yarn.

“This is simply a little bit of a higher age bracket,” he explains, “and my audience is a little bit different. They can see a shark tearing someone in half, they can see a penis. It doesn’t matter.” Even so, there remains a sense of human connection among a number of broken Squad members. And those without that vulnerability still allow the storyteller to broaden the moral spectrum he’s playing with.

“I think you know from the beginning of the first Guardians that most likely, in his heart, Peter Quill is good, Gamora is good, Rocket is good, Drax is good.” But with the Suicide Squad, “some are not good people. They’re bad people. It’s less sentimental in that way. King Shark is much less sentimental than Groot.”

And some of these bad people will die in presumably horrible ways. Not that Gunn is killing his darlings lightly.

“The first thing I had to do was ignore the potential blowback from killing a character,” Gunn says. Instead he focused on following the natural progression of the story, and the natural progression of a character’s arc. “I’m just the servant of the story, so whatever the story says is what I’m going to do, no matter what the repercussions are for anything. I believe in the truth of the story. I believe that there was a story out there that needed to be told that I don’t have any control over.”

Perhaps ceding that control is the greatest advantage he’s discovered from making a gross, foul-mouthed superhero movie exactly to his liking.

“I wanted to do the things that other spectacle films haven’t been able to do,” Gunn says, “which is really take my time and investigate these characters, get to know them, focus on the character aspects, focus on who they were, and deal with time in a different way than it’s been dealt with in these movies.”

Gunn is thus able to let his movie breathe in a way that’s unusual for the superhero genre, but is in line with the more adult-oriented filmmaking he loved as a child. The Suicide Squad may be a war movie, but for Gunn it’s a specific type of throwback. Quick to name The Dirty Dozen and The Great Escape, he becomes audibly excited when discussing those 1960s “war-caper” films from his youth. Recapturing that men-and-women-on-a-mission aesthetic is as much the appeal of the movie as honoring Ostrander’s comics. He even refers to Elba’s Bloodsport as his Steve McQueen.

“He’s the unsentimental portrayal of a 1960s action hero but without the moral repercussions of those characters,” says Gunn. Also, he notes, Bloodsport is the guy who shot Superman with a kryptonite bullet. “How cool is that? And also, what a dick!” When contrasted with Robbie’s Harley Quinn, Gunn even likens the pair’s energy to an Abbott and Costello routine, only now Costello might kill you with a bat.

But then, each of the Squad members represent their own genre. They also each leave the door open for further exploration. Hence Gunn’s next project is still not Guardians 3, but rather an HBO Max TV series starring one of the nastiest pieces of work in The Suicide Squad: John Cena’s Peacemaker.

Describing the jingoistic flag-waver as if Marvel’s Captain America took a really far-right turn, Gunn saw Peacemaker as the perfect jumping off point when HBO approached him about doing a series.

“I think that the actual inspiration for Peacemaker was the shitty 1970s Captain America TV shows that I loved when I was a child,” Gunn says. “And I think Peacemaker exemplifies a lot of things about society that are going on politically, and what people’s beliefs are about America and the world. So being able to tell those stories that are slightly more socially conscious in their essence, but also outlandish, he lends itself to that.”

Exploring this week-to-week with Cena—an actor whose range Gunn believes audiences have only seen a fraction of—is irresistible. In fact, Peacemaker might mark another significant turning point in Gunn’s career.

Says the filmmaker, “I love doing Peacemaker. I could see just making TV shows after Guardians 3. It’s a possibility.”

Three years since Gunn’s one very bad week, the possibilities now seem limitless.

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The Suicide Squad opens on Aug. 6 in theaters and HBO Max. We’ll have more from our interview with James Gunn in the coming weeks.

Check out more on The Suicide Squad in the latest issue of Den of Geek!

The post The Suicide Squad: James Gunn Talks the Creative Freedom of That R-Rating appeared first on Den of Geek.

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

[averageagenderjoe]

Hey.

If you defend JK Rowling, you kind of suck.

You’re allowed to like her books—I get it. I know good literature when I see it, and while I was never a huge fan of the books myself, really, I did get some joy out of them, and I have friends and family who grew up with the books and loved the characters and the story. So long as you acknowledge what the author has said and done, and acknowledge that the book DOES have it’s problems, you’re free to enjoy it, really. And I mean, you kind of suck, but I don’t hate you or anything, because I believe you just don’t understand something that’s happening, and a lack of understanding doesn’t mean you are a bad person.

ANd the reason JK Rowling is facing so much backlash isn’t because she said that sex is real or whatever, and that saying that has offended trans people. Sex IS real—it just doesn’t decide our gender. I have never met a trans person who says that sex isn’t real, we know sex is real, for the love of god.

I could make a mile long list of shit she’s done that’s pissed me off. Her books lack diversity—in a beloved series that’s been praised for years and years, I never saw myself in any of the characters. I never saw myself at Hogwarts—the only gay character was an old man who hooked up with a bad man in his youth, but none of that was ever really mentioned except outside of the continuity. Even if Dumbledore is gay in canon, I would have preferred seeing that IN THE FUCKING BOOKS instead of in one of JKR’s tweets. And she has no excuse, really—sure, maybe the original books, but when making new books and movies, with ample opportunity to be able to make queer characters, and all you really see is Dumbledore saying they were “closer than brothers?” Queer baiting at it’s finest. And she seemed to think that was enough. She acts like she knows shit about the LGBTQ+ community, but when trans people say they found something offensive, she doesn’t think to apologize. People got offended over something that was offensive, and she—as a cis woman—didn’t believe she was in the wrong. Tried to act like whatever she knows makes it okay that she’s offended actual trans people. I cannot get over that.

JKR’s made millions after milking the series this long, writing a story about love and shit, when she’s a woman who seems to be fueled by a hatred towards men—comparing woman towards hens and men towards coyotes, I want to say? And said you couldn’t let one into a pen or whatever even if they identified as a hen, in the context of trans woman and how she didn’t believe they should be allowed into woman’s prisons, because what if they raped the woman or something. Because trans women are just men, disguised as women? Because trans women are supposed to actually be men just wearing what they want and calling themselves what they want, not like they actually ARE what they say. That’s not even mentioning how, while women can easily be the victim of violence, trans women are just as likely to be victims of the same sort of violence? Because obviously, you gotta protect the cis women from the trans woman by sending her to a prison full of men, when their very existence is political and heavily debated and they are just as, if not more, vulnerable?

And don’t get me started about the love potions in Harry Potter and how they were just sold—like it was no it deal when one of the main antagonists was literally born because his mother raped a man under the influence of a love potion? But they’re sold, like it’s no big deal. And there’s jokes about them being used and shit?

And how Draco Malfoy was literally a kid surrounded by toxic influences that greatly influenced him and that lead to him being this irredeemable villain of a character, instead of a kid who had clearly made mistakes but could grow from them if given the opportunity? And Snape is viewed as a tragic, lovely character when he’s really more of an idealized Nazi who believed he was entitled to a woman and was horrible to her son when he was a grown ass man? And that wouldn’t bother me so much, (and maybe it’s not so much of the author, as it is the fandom, I don’t really know) like, show a character who did absolutely awful things in the past, but in the present tries to be a good person, and is still mourning the woman he fell in love with? I would have preferred a character who knew that, in his past, he was terrible and was trying to be better, even if he was struggling with the being better part.

And as someone who’s come from an abusive home, it felt a lot to me like Harry Potter’s own abusive home was played for laughs, but maybe that’s just me. And no, Aunt Petunia’s mentioning how she lost a sister or whatever doesn’t make it any better, because even if she’s grieving her sister, she treated her sister’s son, her NEPHEW like shit.

How come an author who wrote a series that was supposed to be about magic and love says things that seem so filled with hate and why will you defend her? I’m not saying that JKR’s a horrible person, really—it’s that she should be apologizing for the shit she says, it’s that she faces backlash and she, with countless followers on Twitter and a zillion dollars in her bank account, claims she’s being censored. And people, watching others wanting more diversity, not pleased with simply being told that Dumbledore and Grindleward DEFINITELY had a sexual aspect in their relationship, and a bunch of straight people seem to think that’s enough somehow.

I don’t ask for perfection from JKR—but effort would be nice. Admitting when you are wrong would be nice. And this isn’t about DIFFERING OPINIONS—trans people fucking exist. Biology is a complicated thing, and choosing to reduce people to their genitalia is just faking stupid—you aren’t a woman or a man or both or neither because of your body. Being trans isn’t about your sex, its about gender which is an entirely different thing.

My existence is not an opinion that might differ from yours. My indentity doesn’t get to be an opinion. The rights I get for my identity aren’t just DIFFERING OPINIONS.

Anyway, if there’s some information in here that I got wrong, feel free to point it out (I mean, if I said something about JKR’s tweets or whatever that wasn’t quite what she said, or if you have a different take on a part of the books, or something similar. I do’t want to hear that you think trans-issues is a matter of opinion and that JKR’s not transphobic or anything, especially if you’re cis.

[spideyxchelle]

So not sure if ur actually doing headcanons but I want one where MJ is Midtowns BAMF. Like she gets arrested in protests and punches Nazis in the face and she ain't got time to do makeup and dress pretty because she's raising money to get young black girls through school. Like, she's the real life superhero and Peter is the romantic interest, but also she's incredible smart and help Pete with issues in his suit not even Tony Stark figures out. Just badass MJ

MJ is bamf, okay?? like, we only get maybe (and I’m being generous here) 10 minutes of her in the whole movie but I know and you know and we all know that she is the most boss-ass bitch at Midtown. LEMME TELL YOU ABOUT IT-

so MJ in middle school was crazy popular

she was the girl™ and pretty much everybody (girls, boys) had their first crushes on her. she was pretty, smart and admittedly a bit of a conformist….so everything that was cool was what MJ did and no one was better at being popular than MJ…

then, in 2013 George Zimmerman is acquitted for the murder Trayvon Martin and MJ isn’t interested conforming anymore. BECAUSE BLACK LIVES MATTER and she’s a black woman and the system she’s been conforming to, the system that makes her “popular”, isn’t a system that supports her and her culture and just like that MJ is Queen’s resident intersectional feminist

she stops wearing makeup (not because makeup inherently is anti-feminist but because she only wore it to fit in and that’s some bullshit) and wears clothes that her grandmother wore to Civil Rights marches in the 1960s and she feels, for the first time, like herself

and she stops being social because not because she’s an asshole and doesn’t like people but because she has SO MUCH TO CATCH UP ON, OKAY?! she spent years not fighting for her rights and the rights of all women and the right of LGBTQ+ people and sexual assault survivors/victims and every minority group ever. and she needs to know. she needs to learn. and she needs to do it now. 

their entire freshman year of high school people still flock to MJ because she’s MJ and she’s amazing. and even though, basically overnight, she’s dedicated her life to something beyond being popular in high school she’s still MJ. and, frankly, the fact that she’s a protest babe is fascinating to stupid fourteen year olds

MJ thinks its stupid. she doesn’t go to protests to be cute, okay??? its serious business because this country is some bullshit and systematic oppression isn’t going to be fought against in Washington so she’ll fight for it in the streets. 

she marches in every march she can manage, from marches for science to planned parenthood to pride month to BLM to marches for immigration. EVERYTHING. 

the first time she gets arrested its in the midst of Trump mania during the 2016 election season. a group of racists form downtown with their racist signs and their RACIST chants. and she joins the small coalition of people that protest their little racist hoedown. a guy with a stupid red hat calls her the n word and crudely tells her where she can put her “liberal mouth”

….

she absolutely decks him in the face AND EVERYTHING TURNS INTO A FULL ON BRAWL. and she gets arrested and is kept overnight. her brother bails her out first thing in the morning and when she asks what took him so long, he tells her that he’s been dealing with reporters outside their house all night because SOMEONE went viral. 

that someone is MJ. 

and she’s hella pleased. 

when she gets to school that day everybody is looking at her like she is the most fabulous person to ever exist and while she doesn’t agree, she thinks Maxine Waters holds that title, it feels nice to be appreciated for something besides how “pretty” she is. for the first time she feels like her classmates see her beyond the #fade of protesting. they see how serious she is about changing the world, about making a difference. 

and so sophomore year she starts going to parties. she, like, doesn’t interact with people much (again, she has a lot of reading to do) but she’s there. because midtown kids aren’t the shitty majority, they’re diverse and woke and kind of cool. eh. not as cool as her, tho. 

MJ gets arrested a few more times (all for the greater good) and the myth of Michelle Jones only seems to grow at Midtown. like everybody has their version of crazy things MJ did. some of which are true, some of which aren’t. she low-key enjoys during lunch listening to people at surrounding tables talk about her like she’s a superhero.

“I heard MJ met Hillary Clinton and told her she’s too moderate” “well I heard she was at the Women’s March in DC and came up with the chant we reject the president elect” “well I heard she started working with the New York Philharmonic to bring their musicians into homeless shelters and prisons to give underprivileged people access to music” “well I heard she’s punched like fifteen Nazis”

and some of the rumors are true, some aren’t. but she never clarifies which are which. she sort of enjoys being more legend than teenager. 

BUT THEN stuff at Midtown goes really weird. like her teammates almost die at decathlon in DC and Liz’s Dad gets arrested and she’s made team captain. and Peter Parker is definitely hiding something. 

not that she cares because she’s got money to raise for young black girls’ education and charities to volunteer for that house homeless LGTBQ+ youth that were kicked out by their homophobic families

basically, she’s got better things to worry about then the fact that Peter Parker is definitely up to something

she finds out he’s a superhero completely by accident 

she’s at a rally against Trump (which, honestly, feels like all she does lately because this orange cheeto is always doing something abysmal) and some a-hole tries to set off a bomb to attack the protesters. before he can hurt anybody, tho, SPIDER-MAN shows up and saves the day.

and Parker is such a moron he doesn’t even try and change his voice when he’s on the job. like, Parker…get better at your job, man. she KNOWS what his voice sounds like and Spider-man is definitely Peter. 

the next day at school she sits by him and lunch and everyone in the cafeteria gets SILENT. because OMG WHY IS MICHELLE JONES sitting with Peter Parker? like, she’s a goddess and he’s kind of a loser. what’s happening????

she jots down a note and slides it to him. its simple. gets straight to the point- “I know you’re Spider-man” and Peter’s eyes to HILARIOUSLY big. like, he can’t even believe that she figured it out. but, uh, she’s way smarter than him so of course she did. 

and, its weird, but they slowly become friends after she knows his secret. they do their homework together and Peter starts to go to marches with her. she doesn’t invite him, he just kind of shows up hoping to see her. and she SUPPOSES if she’s going to have a love interest (because, um, he may have super powers but she’s the one that’s going to change the world one day so he’s definitely her love interest) Peter isn’t a terrible one to have

he even gets her an audience with Tony Stark who she basically commands to throw some money at charities that need support right now in this weird dystopian Trump era of human existence

and after that meeting MJ gives Peter a hug. he seems sort of shell shocked and star struck but that’s not her problem

AND when Thanos appears and makes this whole weird world even worse Peter is called to action to help the Avengers punch their way to a diplomatic solution. but before he can ship out with the rest of the squad the tech in his suit goes haywire and MJ has to fix it because Tony Stark doesn’t know what happened and Peter sure as hell doesn’t. she spends the better part of the night getting him battle ready. and when the time comes for him to go and fight she doesn’t give him a kiss for good luck or hugs him and tells him to be safe. she simply tells him that she needs the world to be in one piece if she’s going to save it. and that he needs to go make sure she’s got a world to save. 

so he does. he and his team defeat Thanos and two days after the end of the war, she’s back on the streets protesting against corruption. because the world didn’t stop spinning just because an alien invaded. no sir. 

the first day of their senior year, Peter slides MJ a note and instead of revealing any kind of secret identities like the first time, its a question. 

she looks up at him genuinely surprised. “you wanna go out with me?” she asks, “why?”

he gets flustered and manages to tell her what she already knew, “you’re like a freakin’ superhero. who wouldn’t want to go out with you?”

he gets a kiss for that comment. their first kiss. “yea, i’ll go out with you.”

“tonight?” he replies, almost too eager to sit still. 

she rolls her eyes and turns back to her book about dysphoria in the trans community, “I’m going to a BLM march.” “i’ll go with you.”

and that’s their first date. their second is private dinner with the Obamas to thank the Avengers for saving the world. and when the former President asks who Michelle is Peter introduces her as “the girl who is going to save this country” and Obama smiles wide at her, shakes her hand and says sincerely, “well, its very nice to meet you”