#it’s especially fitting given who voices clark in this version

[zndr315-blog]

Xenophobic son of a bitch

[annecoulmanross]

Top Ten Historical Figures Done Dirty by The Terror (2018)

So, we all know and love Dave Kajganich and Soo Hugh’s beautiful show, right? Of course. But it’s important to set the historical record straight, especially when there are real people’s life-stories and legacies on the line. 

(NOTE: this list is biased heavily toward upper-class individuals because the historical record does a better job preserving those voices for us. Was the real Cornelius Hickey as nasty a person in real life as he was in the show? Almost certainly not – which is why we’re given “E.C.” as a nod to the fact that we shouldn’t assume these characters represent real historical villains, even when the narrative makes them antagonists; HOWEVER, not everyone in the show was given the same courtesy as the OG “Cornelius Hickey.” Which is why this post exists – to show you the best sides of some people you might not otherwise appreciate for their full humanity. That being said, keep in mind the sources used – and, for instance, who has surviving portraits and who doesn’t.)

Thus, below the cut, I give you this list, (mostly) in order from #10 (honorable mention, only somewhat slandered) to #1 (most hideously maligned) – my list of characters from The Terror who deserved better. 

(Please don’t take this too seriously – I know there are reasons why choices had to be made in order to make this show work on television, and I do very much love the end product. But I also genuinely think it’s a good idea to remember the real people behind these characters, and think critically about how we depict them ourselves.) 

Bottom Tier – The Overlooked Men of the Franklin Expedition

#10. Richard Wall – & – John Diggle

We’re combining these two because they had a lot in common, historically speaking! Both were polar veterans, having served as a Cook (Wall) and an AB-then-Quartermaster (Diggle) on HMS Erebus under the command of Sir James Clark Ross in the Antarctic expedition of 1839-1843. Certainly we do get some good scenes with them in the show, but there was plenty more to explore there – for instance, Captain Ross was apparently so taken with Richard Wall that he hired him on as a private cook after the Antarctic expedition. (One imagines that Sir James may have regretted letting his friends of the Franklin expedition steal Wall out from under him.)

(If you want some more information on Diggle, the brilliant @handfuloftime​ found this excellent article on him – fun facts include the detail that Diggle’s only daughter bore the name Mary Ann Erebus Diggle.) 

#9. John Smart Peddie 

Now, I don’t think we should go as far as the Doctor Who Audio Drama adaptation of the Franklin Expedition, which makes Peddie into Francis Crozier’s oldest friend, someone “almost like a brother” to Crozier (no evidence of ANY prior relationship between the two existed, contrary to whatever the Doctor Who Audio Dramas would have you believe!) but Peddie probably earned his place as chief surgeon, however fond we may all be of the beautiful Alex “Macca” MacDonald, who was, in fact, the Assistant Surgeon, historically speaking. It’s hard to find information about Peddie, but someone should go looking! I want to know about this man! 

(If you want to know more about the historical Alexander MacDonald, there’s a short biographical article on him from Arctic that you can read here.)

#8 James Walter Fairholme

The only one of the expedition’s lieutenants who doesn’t really get any characterization in the show, which is a travesty! The historical Fairholme (pronounced “Fairem”) was, as they say, a himbo, and the letters that he wrote home to his father are positively precious. He loved the expedition pets (lots of kisses for Neptune!), and he needed two kayaks because he couldn’t fit into just one with his beefy thighs. Fitzjames loaned him a coat when all the Erebus officers had their portraits taken, and then called him a “smart, agreeable companion, and a well informed man,” and Goodsir singled Fairholme out as “very much interested” in the work of naturalist observations. Just a lovely young man who could have gotten some screen time, you know? 

(Also, as @transblanky​ discovered, four separate members of the Fairholme family gave money to Thomas Blanky’s widow when she was struggling financially in the 1850s, making them, combined, the most generous contributor to her subscription.) 

Middle Tier – Franklin’s Men Who Didn’t Deserve That

#7. William Gibson

Alright, I want to talk about how uniquely horrible the show’s William Gibson is: this is a character willing to lie and accuse his partner of sexual assault that didn’t happen. I get there were extenuating circumstances, but if I were a historical figure who died in some famous disaster and someone depicted me doing something like that? Let’s just say I’m deeply offended on the real Gibson’s behalf. 

What do we know about the historical William Gibson? Not much – but we know a little. Gibson’s younger brother served on an overland exploratory venture across Australia in the 1870s… from which he never returned. (God, the Gibson family had the worst luck?) This description of a conversation that young Alf Gibson had with expedition leader Ernest Giles only days before his death is VERY eerie: 

[Gibson] said, “Oh! I had a brother who died with Franklin at the North Pole, and my father had a deal of trouble to get his pay from government.” He seemed in a very jocular vein this morning, which was not often the case, for he was usually rather sulky, sometimes for days together, and he said, “How is it, that in all these exploring expeditions a lot of people go and die?” 

I said, “I don't know, Gibson, how it is, but there are many dangers in exploring, besides accidents and attacks from the natives, that may at any time cause the death of some of the people engaged in it; but I believe want of judgment, or knowledge, or courage in individuals, often brought about their deaths. Death, however, is a thing that must occur to every one sooner or later.” 

To this he replied, “Well, I shouldn't like to die in this part of the country, anyhow.” In this sentiment I quite agreed with him, and the subject dropped.

(From Giles’s Australia Twice Traversed which you can read here) 

Beyond that, one thing we do know is that William Gibson was probably friends with Henry Peglar – they had served on ships together before, and Gibson may possibly have been the poor fellow found cradling the Peglar Papers, according to researcher Glenn Stein. So we might imagine the historical Gibson as a much kinder man than the show’s depiction of him – this was someone who befriended the clever, playful Peglar we all know and love from the transcriptions of his papers, so full of poetry and linguistic jokes. It’s a shame we didn’t get a chance to meet this real Gibson, who actually knew the Henry Peglar whom we love so well.

#6. Stephen Stanley

Look. There’s that one famous line in James Fitzjames’s letters to the Coninghams about how Stanley went about with his “shirt sleeves tucked up, giving one unpleasant ideas that he would not mind cutting one’s leg off immediately – ‘if not sooner.’” And certainly Harry Goodsir had some mixed opinions of the man, saying was “a would be great man who as I first supposed would not make any effort at work after a time,” and that he “knows nothing whatever about subject & is ignorant enough of all other subjects,” whatever…. that means…. 

But Fitzjames also had some rather nicer things to say about him, that he was “thoroughly good natured and obliging and very attentive to our mess.” Also, the amputation comment? Very likely had a quite positive underlying joke to it – Stanley may not have been much of a naturalist, but he was actually an accomplished anatomist, who won a prize for dissection in 1836, on account of his “bend of the elbow,” which was “a picture of dissection,” according to Henry Lonsdale, who also called Stanley his “facetious friend” and “a fine fellow” (Lonsdale 1870, pg. 159). So, the real Stanley probably was rather droll, but the perpetually cruel Stanley of the show misses some of the real man’s major historical virtues and replaces them with historically unlikely mass-mercy-murder. 

#5. John Irving

Now we’re getting into the territory of characters who did get some good development, but are missing a bit of historical nuance. As I’m sure many of you know, the historical Irving was indeed very religious, but the flashes of anger (i.e. against Manson) we see from Irving in the show don’t seem terribly consistent with the Irving depicted in this memorial volume, where John seems more like a quiet, bookish, mathematically inclined young man, with a self-deprecating sense of humor and a gentle sweetness. It’s really not at all far off from the version of Irving we see with Kooveyook in the show – I just wish we could have seen more of that side of Irving. 

Top Tier – The Triumvirate of Polar Friends

So, these three DO have many good things to recommend them in the show, but because I’ve done such deep research on them, it can be quite jarring to watch certain scenes in which they behave contrary to their historical personalities, and I find myself pausing when watching the show with friends or family to explain that NO, they wouldn’t do that! 

#4. Sir James Clark Ross

First thing – we LOVE Richard Sutton. He did a beautiful job with the material given to him. (This is true of all the actors on the list, frankly, but it’s doubly true here.) But that scene at the Admiralty where Sir James tells Lady Franklin “I have many friends on those ships, as you know,” to shut down her argument for search missions? At that time (aka 1847), historically, Sir James Clark Ross was actively campaigning for search missions, planning routes and volunteering his services in command of any vessel the Admiralty even vaguely contemplated sending out. You could see this real-life desperation in Sir James’s morose attention to his whiskey glass in that scene if you’re really trying, but I think the more historically responsible thing would have been to make vividly clear that James Ross risked life and limb, as soon as he possibly could, to try to rescue Franklin and Crozier and Blanky, men he’d known and cared about and bitterly missed – and, in the case of Crozier, “truly loved.” 

#3. Sir John Franklin

The historical Franklin had plenty of flaws – his contributions to British colonial rule certainly harmed no small number of people, and we should question the way that heroic statues of Franklin are some of the only memorials that serve to honor the lives lost on Franklin’s expeditions – especially considering the steep body count of not only Franklin’s final voyage, but his previous missions in Arctic regions as well. (DM me and I’ll scream at you about counter-monuments! Is this a promise or a threat? Who knows!) With that said, most contemporary accounts agree that Sir John Franklin treated his friends, his family, and those within his social orbit with kindness, and his cruelties were systemic, not personal. In this light, the image of Sir John viciously tearing into Francis Crozier’s vulnerabilities in the show feels very off. Though there was certainly some friction over Crozier’s two proposals to Sophia Cracroft, historically speaking, there’s no evidence at all that Sir John discouraged her from marrying Francis – Sophia may have had many reasons of her own (*clears throat meaningfully in a lesbian sort of way*) for not accepting any of the several marriage proposals offered to her (from Crozier as well as from others), and we ought to keep in mind that she remained unmarried all her life. The notion that the real Sir John would have considered Crozier too low-born or too Irish to be part of the Franklin family isn’t grounded in historical fact.

#2. Lady Jane Franklin

Again disclaimer: the real Lady Franklin left behind a legacy with much to critique. Those who rightfully point out the racism of her treatment of the young indigenous Tasmanian girl Mathinna should be fully heard out. Observations of her own contributions to imperialism are important and valid. Though I tend to see her feud with Dr. John Rae as somewhat understandable – given that Lady Franklin didn’t have the benefit of our hindsight knowing Rae was correct – the levels of prejudice that she enabled and even encouraged in the writing of Charles Dickens when he attempted to discredit Inuit accounts of Franklin’s fate are inarguably deplorable. These things being said, everything noted for Sir John re: Sophia Cracroft goes for Lady Franklin as well – there’s no reason to imagine a scene where Jane would bully Francis Crozier within an inch of his life, seconds after a failed second proposal, when, historically, Lady Franklin felt the situation was so delicate that it required the quiet and compassionate intervention of Sir James Clark Ross, a dearly loved mutual friend to all parties. Tension does not imply aggression; conflict is not abuse. We know this can’t have been an easy experience for the historical Francis Crozier, but the picture is a lot more complicated than what can be shown in one small subplot of a ten-episode television show. Because of this complexity, however, Lady Franklin’s social deftness suffers in the show. (I could also write an entire essay about Jane Franklin’s last shot in the show, at the beginning of Episode 9: The C the C the Open C – TL;DR is that framing is very important, and, at the very last moment, the show reframes Lady Franklin as a mutilated corpse, a speaking mouth without a brain, which is….. a choice.)

And, at number 1, the person done most dirty by The Terror (2018) is….

#1. Charles Frederick “Freddy” Des Voeux 

Look. I’m biased here because I am fed daily information about the historical Freddy Des Voeux from @frederickdesvoeux​ so I’ve become, I think understandably, a bit attached. 

But this is very plainly the clearest cruelty the show does to a historical figure – the historical Des Voeux was a very young man (only around 20 when the ships set sail) known always as “Frederick or Freddy” to his family, and described by all parties as bright and sweet – Fitzjames said that he was “a most unexceptionable, clever, agreeable, light-hearted, obliging young fellow, and a great favourite of Hodgson’s, which is much in his favour besides,” and described him cheerfully helping to catch specimens for Goodsir. Des Voeux is named “dear” by Captain Osborn in Erasmus Henry Brodie’s 1866 poem on the Franklin Expedition (43) and Leo McClintock reported the young man’s well-known “intelligence, gallantry, and zeal” in his 1869 update to his account of the Franklin Expedition’s fate (xlii). None of this is consistent with Des Voeux’s behaviour in the show, especially in the later episodes. 

To reduce Des Voeux to an easily-detested figure, over whose death one might cheer, is not a kindness – the creation of a narrative where his death is satisfying does damage to the memory of a real person, a barely-more-than-teenager who died in the cold of the Arctic and left behind only scraps of a shirt and a spidery signature in the bottom margin of a fragmentary document. 

Television shows may need their villains, but it’s important to remember that real life isn’t like that. Surely the historical Frederick Des Voeux was most likely not a perfect person, and, as an upper class officer contributing to a British imperial project, he does bear some responsibility for the harm done by the Franklin expedition, but it’s not accurate to assume he was any less worthy of sympathy than the other officers who considered him a friend – those men whom we now venerate, like James Fitzjames. So as far as I’m concerned, Freddy Des Voeux deserves at least as much consideration, care, and compassion from us. 

[internalsealpanic]

What’s Wrong with Superman?

Summary: Flyman is a really stupid name.

a/n: I got a little excited so here’s my entry for @redhoodssweetheart​ ‘s writing challenge. If you’re a fic writer, I highly recommend joining.  This is for Quotes #1 This fic is based on the Superman Man of Tomorrow movie so it may not make sense otherwise.

Warnings: Reader is a bendy person so the physical descriptions will be weird and there will be some nsfw language but nothing happens.

masterlist

"What's wrong with superman?"  You ask, raising your feet up over your head and resting them against Clark's wall. The blood rushes to your head but you couldn't find the energy to care, not when the work day had you drained and aching. You're just happy to stretch your limbs and contort in angles that would loosen them. You need to convince your supervisor to transfer you to a different division.

"It's kinda..."  Clark waves his hand. "Yanno..."

Eloquent. You raise a brow at him telling him exactly what you thought about his solid argument.

"How about Flyman?" He says quickly.

"Ah yes, like the illustrious Batman but somehow worse." You say, turning onto your belly and nearly knocking over the things on Clark's bedside table. You shrug innocently. You shift, putting your feet over your shoulders as you think. "How about uuuuuh Captain Barbel?"

"Why?"

"Cus the guy could chuck them at people real easy." You answer simply. Clark really can't tell whether it was your excessive fidgeting or your monumental leap in logic that entertained him more.

He snorts, "That sounds like a dumb gimmick."

"So is being called Flyman." You huff.

"Careful, you're gonna hurt my feelings." Clark huffs in return, shaking his head as he grabs your favorite mug and one for himself. He has no idea how this specific mug was lucky but he's learned not to question a scientist's superstitions. Though he suspected it had less to do with actual superstition rather that you didn't want to admit that you just found the little cow-shaped mug adorable. He'll have time to tease you about it later. For now, he had to figure out this conundrum.

"If I was concerned about that, I would have pronounced Kansas properly by now." You say, sitting up to face him properly.

"What would you call him? Seriously." Clark says, resting against the kitchen counter. He's watching you with a hint of fond frustration. His leg bounces against the floor, fingers tapping on the linoleum countertop.

"Hmmmm," You purse your lips and lean forward- elbows on your lap, fingers laced together, and chin resting on your hands.  "Wonder Man?"

Clark's handsome face breaks into an incredulous smile. "Pfft, you’re joking right?"

"I have never made a joke in my life." You grin, taking the cup of coffee from Clark and scooting over to make room for him. You shrug. "There is a reason I'm not in advertising but seriously I think you should just go with superman."

"And give Lois the satisfaction?" Clark asks over the rim of his mug. He raises his brow.

"Think about it."

"Rather not."

You push on, ignoring him."If you popularize it, guess who gets the credit?"

"Are you telling me to steal?" Clark gapes at you and the mischievous glint and his blue eyes make laughter bubble in your chest.

You blow out a breath into the neck of your sweater. Well, his sweater up until 2 months ago. "Nope. You're the one interpreting it that way."

"Your boss is rubbing off on you."

"Oh, don't remind me."

"How about Captain Marvel?" He suggests, wrapping around his arm around your shoulder. You can smell the caramelized sugar in his coffee. You blanch.

"Oh. So you want a lawsuit."

"No..." A complicated expression takes over his face. His lips purse to one side as he thinks. You wait patiently for his answer, snuggling up to his side.   "How's it working at star labs by the way?" He says finally and you just had to love the clumsy way Clark tries to redirect conversations. He needs to get better at that if he wants to be a reporter. Then again, he's never failed to get an answer out of you with the earnest look in his eyes.

"I'm supposed to be in the engineering division, yeah?"

He nods before resting his face in your hair.

"Yeah, yeah. Him. Blegh." You wrinkle your nose and stick out your tongue, waving your hand in the air as if to shoo a thought away.

"But they stuck me with checking on that asshole biker wannabe..." You sigh.

"Lobo?" He asks, his voice rising a bit. Clark's grip in the mug tightens a bit but he has enough presence of mind not to break the mug.

"Well, did he say anything?" Clark asks, adjusting his glasses.

You squint. "My name isn't going on the paper."

"It won't." He says flat and steady. And you know you can trust him because, well, it's Clark.

You give him a crooked smile. "Nothing useful really. How much patience do you have for shitty pick up lines?"

Clark stiffens. "He was hitting on you?" He squares his shoulders. You see his jaw tighten and you think you can hear him grind his teeth. God, he's cute when he gets like this.

"He was hitting on anything with two legs."

And he was. Well, not really. You honestly couldn't really tell what his category for this thing was but you're pretty sure Clark doesn't care. He seems to care more about the fact that Lobo was hitting on you judging from the way he's borderline pulling you into his lap. You, frankly, were more concerned about what weird category you fit in to catch his eye.

"Maybe if I go with you next time..."

"You're cute Clark but I'm not sneaking you in there for a story." You pat his cheek.  Clark pouts at you. You try your best not to squeal at how cute he is. You fail.

"Let me come in with you." He presses.

"Honestly, it’s fiiiiiiiiiiine. Nothing I can’t handle."

He still looks unconvinced.

Clark buries his face deeper into your hair. "Hmmmmm, he sounds like an a- a jerk." He grumbles into your hair. You will get Clark to swear at some point.

You're extremely amused by Clark's behavior.  You wrap an arm around him. "Clark, he is quite literally contained in a cage I helped design. He is not getting out."

"Should I tell him I have a boyfriend and show him a picture of you?"

Clark's face goes ashen.  "Don't tell me you've done that before." That would explain so much.

"Then I won't." You laugh. That sound sends butterflies fluttering in his stomach no matter how many times he's heard it.

"I’d still feel better if I could come with you." He sigh. You would be lying if you said that you wouldn't feel better with Clark accompanying you. Sure, he wasn't Heracles but Clark was no pushover contrary to the shy demeanor. But... admitting that kind of thing was... not something you're comfortable with or used to so you let it settle like the cheap coffee in your mug.

"It’s really not necessary."  And Clark knows from the frequency of your heartbeat that you're lying. He knows you well enough to let it go. You kiss his cheek.  "But thank you, you’re disgustingly sweet."

You kiss him again. "Sides, I think he's just bored." Your eyes brighten, a memory resurfacing. Clark watches with interest, knowing there's a 50-50 chance that it's something like the material of Lobo's shoe. "Get this he says that superman guy is a kryptonian. Sadly, when I asked him the typical anthropology question he made farting noises." You tilt your head. "Well, he did say they were a good lay and... well the super guy was hung."

Red blooms on Clark's cheeks as he sputters out a response. You squish his face with your hands. You love messing with Clark way too much. You really should feel bad that look on Clark's face was priceless.

"Oh relax Clark, we both know my type is small town dork and not man from the moon." You giggle.

Clark kind of hates you sometimes.  He hates how easily you throw him off balance. Clark rights himself but he can't quite get rid of the blush dusting his cheeks. "Did he say anything else?" He asks, face still squished.

Unable to stop your giggling, you put your hands away. "Well, he called our mystery streaker a pretty boy."

"Very relevant."

"Yanno..." You drawl, taking Clark's glasses off. "yanno if you push that hair out of your face you'd look pretty good too."

Clark swats your hand away. You pout at him.

He looks at you wearily. "I like my hair how it is." He mumbles, fiddling with it.

"I'm not gonna cut it you dork. I just want proof that you have a forehead." You say, brushing some of his hair out of his face. Clark really does scream handsome when given the chance.

There's a flicker of recognition in the back of your mind that has your pulse quickening. Clark can already see the pieces falling into place, your mind whirring to get the answer.

His mind sprints to keep up and counteract the flow of your thoughts. Clark leans forward and kisses you softly. Without needing to open his eyes, he knows your mind is short-circuiting. Affection was a sure-fire way to get your mind to slow down. It was dumb but you really should be allowed to be dumb sometimes. Especially now when Clark isn't exactly sure how your feel about the mystery streaker.

You laugh your easy chirpy laugh sure but that didn't guarantee you were on board with an alien of all things. He wasn't even sure if you would think of him as any more than a test subject. No, he knew you too well to think that but there's still some part of him that isn't entirely sure and it scares him.

"Behave," he says, his face in a grin. The expression lights up his face. The smug satisfaction of finally catching you wrong-footed fills up Clark's features and shapes them into something borderline evil. "Tell me more about Lobo and his ramblings."

You shake your head. You mumble some version of “I always behave”.  You know Clark's hiding something from you. You can see it in the delicate way he's looking at you. You purse your lips deciding whether this is a good time to push but in the end, you decide to let him keep his secrets for now. If Clark of all people has a reason to keep a secret then it must be important. You brush your lips against his before laying your offer on the table. "A kiss per story."

Clark stares at you. "I can live with that." Clark huffs, adjusting his glasses.

[troped-fanfic-challenge]

Chopped: Holiday Trope Exchange 2020 Masterlist!

A huge thanks to every person who signed up for our fic exchange, we got 21 really wonderful fics! We’re sorry it took us so long to get this out to you all! For anyone who isn’t sure what this was all about, this was a double blind gift exchange where each of our twenty-one (21!!!) writers were assigned four tropes from an anonymous recipient, and were tasked with writing a fic that fit our holiday theme, and included all the tropes. The only guidance from their recipient were a couple of brief notes they included during the sign up, and both the writer and recipient were revealed when we shared all the fics! A big thanks to the Tropesters who stepped up to write a second fic when we needed them! These fics, as with all our TROPED fics, were creative and unique, and found ways to utilise tropes that may seem so simple but were transformed in really spectacular ways! Please enjoy these wonderful holiday fics!

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roots in my dreamland (my house of stone, your ivy grows) (Rated M) [Bellarke]

Written by @captaindaddykru for @thelittlefanpire. The four assigned tropes were 1) Doppelgängers, 2) one character is a dancer, 3) first snow, and 4) kissing to keep a cover/a secret.

Summary: Clarke really wants it to work out with Bellamy, but as an A-list Hollywood actress there’s a lot of contractual obligations she can hide behind instead of confronting her own insecurities and past mistakes. Luckily, this Christmas she’s lucked out, and her stand-in Josie is more than willing to (completely selflessly of course) take her place.

Now comes the hard part.

brighter than moonbeams (Rated T) [Memori]

Written by @the-most-beautiful-broom for @thedefinitionofendgame. The four assigned tropes were 1) The characters play a game,2) Secret Santa, 3) Exes to Lovers, and 4) Surprise kiss.

Summary: Murphy and Emori fall in love fast, and then talk themselves out of it. Years later, their paths will cross again, and they realize that their might be parts of their story that are yet to be written.

What a way to start the year (Rated T) [Bellarke]

Written by @bellarkeshoe for @bellamysgriffin. The four assigned tropes were 1) Law enforcement partners, 2) Character gets BADLY injured and they hide it somehow only to reveal later that they are mortally wounded, 3) Characters hugging after they’ve been through hell, and 4) Kissing in the snow.

Summary: It’s New Years Eve, and Bellamy and Clarke got stuck working.

It’s Alright, It’s Okay (Rated M) [Clurphy]

Written by @sailawaymayday for @wwjacksparrowd. The four assigned tropes were 1) Found Family, 2) Groundhog Day/timeloop, 3) Character gets shot/stabbed/BADLY injured and hides the wound somehow, only to accidentally (someone else touches them and their bleeding, they collapse, etc.) reveal later that they are mortally wounded, and 4) Hurt/Comfort.

Summary: Clarke makes it onto the Ring with the rest of Spacekru. What happens when New Years Eve keeps repeating itself? And what does Murphy have to do with it?

Dancing in Graveyards: An Arkadia Anthology (Rated T) [Gen Fic]

Written by @justbecauseyoubelievesomething for @kinetic-elaboration. The four assigned tropes were 1) Small town gothic, 2) Christmas Lights, 3) First snow, and 4) Sneaking someone in/out of your window.

Summary: Three small town gothic stories intertwine as old friends reunite and try to make the best out of their lives. Raven returns home after her foster father’s death and is pulled like a magnet to her enigmatic highschool sweetheart. Jasper seeks solace from a tragedy and desperately attempts to outrun the ghosts of the past. Bellamy battles his inner demons and prays not to tear himself and his loved ones apart in the process. And all of them come to realize that they belong together, even if the place they call home is shadowed by sorrow.

do or die, you’ll never make me (because the world will never take my heart) (Rated T) [Bellarke]

Written by @shen-gong-oops for @probably-voldemort. The four assigned tropes were 1) Fake dating, 2) Amnesia AU, 3) Enemies to Friends to Lovers, and 4) Superhero AU.

Summary: As the youngest member of the Guard and the daughter of the Guard former leader, there are high expectations set for Clarke. The Marketing and PR teams at Ark expecting her to be prim and proper during any conferences, while simultaneously performing their well-rehearsed fight choreography to a T.

But when four unknown supes challenge the juggernaut that is Ark Industries, Clarke wonders if herodom isn’t all it’s cracked up to be.

Merry Christmas, Lovebirds (Rated G) [Murven]

Written by @kinetic-elaboration for @shen-gong-oops. The four assigned tropes were 1) One character cautiously says “i’m going to kiss you now, okay?” or some variation of that, 2) Mutual pining, 3) A misunderstanding, and 4) Tattoos.

Summary: There’s never snow for Christmas on the beach, Murphy is a culinary genius, Raven has a boyfriend, and other presumed facts, too obvious to mention.

Once Upon Our Story (Rated G) [Bellarke]

Written by @andthelightbulbclicks for @bellamythology. The four assigned tropes were 1) break-up/make-up, 2) Did they or didn’t they, 3) Extremely biased flashbacks of the same event, and 4) Bookstore or library AU.

Summary: Bellamy returns with as much fanfare as one can imagine when driving a school bus decorated as Santa Claus through town, leaving Clarke shocked and all of their friends confused given he hasn’t been home in months.

(Or: Six months ago, Bellamy left Arkadia.

Six months ago, Clarke didn’t.

Six months ago, their friends knew the relationship ended, even came up with their own versions of what really happened. But the question that they all want to know for certain– is why?)

Dream A Little Dream of Me (Rated T) [Clurphy]

Written by @queenemori for @vmreed. The four assigned tropes were 1) One character has a child, 2) Protectiveness, 3) Only one bed, and 4) Soulmates.

Summary: It was just Murphy’s luck that right as he was starting to enjoy Earth, he had to leave. But he’d rather that than succumb to a fiery death wave. He and the other residents of the Ring remembered Clarke every year during their New Year’s Eve celebration. But even when they weren’t celebrating Clarke, Murphy couldn’t seem to get her off his mind. He wished his brain would stop playing tricks on him by making him think she was alive. Clarke was dead. Wasn’t she?

i don’t wanna burn out, so wont you please set me on fire again? (Rated M) [Murven]

Written by @kuklash for @sparklyfairymira. The four assigned tropes were 1) Protectiveness, 2) Exes and Lovers, 3) Small Town AU, and 4) Characters fall on each other and have a moment.

Summary: The wind nipped at Murphy’s nose as he stood in the doorway of the gas station on the edge of town. Work was slow, as it always was after sundown, especially in the mid-December cold, but someone had to make sure the good townsfolk of Arkadia could get their milk and gas after the small general store closed. All 800 of them. He watched the cars drive by throughout the day, recognizing each and everyone of them. Bellamy’s beat up truck he worked all highschool to afford, Clarke’s clean new sedan, even that jerk Finn’s loud ass motorcycle. He watched them all pass one by one, his old classmates returning home after another semester of college at the University of Polis. The only sign that time was passing at all.

The phone inside rang, breaking him out of his melancholy, at least for now.

“Great,” he thought, sarcastically. “A phone call 10 minutes before we close.”

He walked back inside and put on the most cheerful customer service voice he could muster.

“Dropship Gas, this is Murphy. How can I he-”

A familiar female voice cut him off, leaving him cold.

“Murphy? Thank god!”

It was his ex.

Everybody wonders what it would be like to love you (Rated M) [Bellarke]

Written by @sparklyfairymira for @captaindaddykru. The four assigned tropes were 1) Celebrity AU, 2) Meet Ugly, 3) Characters must share something, and 4) Characters aren’t together but are mistaken to be.

Summary: Bellamy Blake and Clarke Griffin are household names thanks to their music. They belong to the same label so they often work together on duets—even though they can’t stand one another. Their first meeting is disastrous and six years later they still can’t get along.

toward brighter days (Rated T) [Sea Mechanic]

Written by @reggieshamster for @/ashplana. The four assigned tropes were 1) Apocalyptic Log, 2) bed sharing, 3) road trip au, and 4) mythical creatures.

Summary: Dear Harper,

I am ridiculously out of it this morning. Last night, when we reached the campsite, Luna suggested we give Echo her own bedroll, since she gave hers up the night before.

Which meant Luna was sleeping with me.

Beside me.

Excerpts from Raven’s journal as she travels to Polis for the Winter Solstice Festival

three words, two hearts, one maybe (Rated G) [Bellarke]

Written by @bellamysgriffin for @bellarkeshoe. The four assigned tropes were 1) Youtuber AU, 2) best friend’s sibling, 3) frikdreina, and 4) miscommunication.

Summary: After an accident blinds Clarke, Octavia’s been encouraging her best friend to keep up with her artwork. In order to inspire her, she recruits the help of her older brother, Bellamy, who’s recently launched a new exhibition at his museum, to feature her work. Bellamy likes Clarke’s work, and he’s more than happy to help. But when she doesn’t show on the big day, he takes matters into his own hands. With an old video camera, he records people’s reactions to Clarke’s artwork so that she’ll know just how talented she is. But when he sends it to his sister, he doesn’t expect her to upload it to YouTube. And he definitely doesn’t expect to go viral.

Something Beautiful, Simple, and Bright (Rated T) [Clurphy]

Written by @wwjacksparrowd for @queenemori. The four assigned tropes were 1) Friends with Benefits AU, 2) Prank war, 3) characters are not together but are mistaken for a couple, and 4) Based on a Song.

Summary: Six months after Wonkru and Eligius manage to establish peace and divide Eden between themselves (with a little slice shaved off for Spacekru, of course), Clarke has a mission: plan a New Year’s Eve party for fifteen hundred people within three weeks.

Murphy’s mission? Stop her from burning out in the process. Oh, and if he could just get Monty to quit it with the freaking noisemakers, that would be great, too.

(…Okay, yeah, he’d also like to date Clarke for real instead of just sleeping with her. But that’s a pipe dream, right?)

put your faith in the devil and the deep blue sea (Rated M) [Clurphy]

Written by @probably-voldemort for @kuklash. The four assigned tropes were 1) Time Loop AU, 2) Characters fall on top of one another and have a “moment”, 3) Enemies to Lovers, and 4) Superhero AU.

Summary: Twenty years ago, when the clocks changed from 11:59pm on December 31st, 1999, to 12:00am on January 1st, 2000, the world ended, exactly as the doomsdayers had predicted. Now, there are only a few livable months left on Earth, and the privileged are evacuating for a life in space, abandoning the planet.

But not everyone has given up.

Clarke was only three when the world ended, and she’s spent most of her life in her mother’s lab. Now, as the last space ships are preparing to leave, her mother’s machine is finally ready, and Clarke and her mother are heading back in time to try to stop the apocalypse from happening in the first place.

An attack on the lab leads to Clarke heading back to 1995 on her own, and the past isn’t quite how Clarke’s vague memories from the beginning of her life paint it. Clarke soon discovers that not only did the machine do more than just send her back in time, but she wasn’t, in fact, sent back alone.

Will she be able to stop the apocalypse before the clock strikes midnight? Or are some parts of history unchangeable?

All I Want For Christmas (Rated T) [Memori]

Written by @thedefinitionofendgame for @the-most-beautiful-broom. The four assigned tropes were 1) Fake dating, 2) Joke kiss turned real kiss, 3) One character is sleeping and the other character is watching them totally in love, and 4) Blanket fort.

Summary: Tired of being single, Murphy decides to take matters into his own hands and get himself a girlfriend before the annual Christmas Day dinner with his friends. Having had bad luck in the past with girls - all twenty four of them - Murphy is determined to make the twenty-fifth, the “Christmas Day” number, his forever.

Of course, this is easier said than done. When his fellow coworker, Emori, seems to be having similar problems and suggests them being each other’s “fake dates” to their Christmas parties in December, Murphy jumps at the chance. Fake dating is better than being totally alone, right? It appears that way, at least until Murphy starts to catch feelings; the ones that make you question everything you think you know. As their “fake feelings” start to become more real, Murphy realizes that Emori’s the one he wants for Christmas. But she’s got walls up and even though his heart doesn’t stand a chance, Murphy’s determined to break them down and show her what falling in love really means, maybe with the help of a little December magic thrown in.

As long as we’re together, no I can’t get much higher (Rated T) [Murven]

Written by @dylanobrienisbatman for @andthelightbulbclicks. The four assigned tropes were 1) Zookeeper AU, 2) Treasure Hunt, 3) secret places, and 4) Secret Santa.

Summary: Murphy has only known Raven for a little while, but the longer he spends getting to know her, the more he realises that there’s no hope of him not falling in love with her.

So when he gets her for Secret Santa, he makes it his mission to nail it.

before i knew you (Rated G) [Clexa]

Written by @dylanobrienisbatman for @sailawaymayday. The four assigned tropes were: (1) Pen Pals, (2) 3+1, 4+1, 5+1, etc., (3) surprise kiss, and (4) character meets another characters ex.

Summary: What do you do when your penpal, the person you know the best in the world, who you love, turns out to be the rather rude (if also rather pretty) sales girl from downstairs? Lexa is about to find out. or - 3 times lexa and clarke meet without knowing they’ve been penpals since childhood, and the 1 time Lexa figures it out.

when life gives you shit, you make kool-aid (Rated M) [Becho]

Written by @reggieshamster for @dylanobrienisbatman. The four assigned tropes were: (1) Bodyguard AU, (2) Bed Sharing, (3) Kissing to Keep Cover/a Secret, and (4) a Character gets shot/stabbed/badly injured and they collapse, being caught by their loved one.

Summary: Bellamy used to have it all, and then one screw-up cost him his career and his fancy life. Now, working as a bodyguard for alcoholic businessmen and their families, he gets a call from his sister for a job… escorting a hitwoman to testify against a man convicted of crimes against humanity. What could possibly go wrong?

and left the secret at the grave (Rated T) [Clurphy]

Written by @probably-voldemort for @justbecauseyoubelievesomething. The four assigned tropes were: (1) Murder Mystery, (2) Partners in Crime, (3) Exes to Lovers, and (4) Snowed In.

Summary: At 8:57 on the morning of December 23rd, eight year old Jordan Green discovered the body of Skybox Inn owner Vera Kane on the floor of the lobby. His screams woke up the other guests of the inn, as well as the live-in butler.

The discovery of the body was followed shortly by two more discoveries. The first was that the storm the night before had knocked out the phones and the internet, and the second was that the inn was completely snowed in with no hopes of escape anytime soon.

Thirteen people trapped in an inn.

Uncountable secrets.

One murderer.

One question.

Who killed Vera Kane?

what a tangled string of Christmas lights we weave (Rated T) [Linctavia]

Written by @thelittlefanpire for @reggieshamster. The four assigned tropes were: (1) Royalty AU, (2) Cyrano AU, (3) Characters fall and end up landing on top of each other and have a “moment”, and (4) Hair brushing and/or braiding.

Summary: When the royal family loses their beloved Prince Wells, the future king of Arkadia, all eyes are on them. The Queen remains as stoic as ever, the Spare grapples with his new responsibilities, the Princess drowns in her grief, and the King is threatening to abolish the monarchy forever.

At Christmastime, as tensions in the palace rise with the vicious tabloids outside, the royal family makes an escape to a castle in the mountains, hoping to find solace and reconcile with their loss.

Princess Octavia will try to mend her broken heart back together as she becomes entranced with the letters sent back and forth between herself and another. But when it’s revealed who the true penman is, will she rise above her sorrow or sink further into it?

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Take a read! Leave a kudos/comment! Our Tropesters worked so hard on creating some unique, festive fun fics from all the amazing tropes that were sent in. Thanks again!

[travllingbunny]

Clarke Griffin’s memories and images in her mindspace

 In this post I will list all the drawings from Clarke's mindspace seen in season 6 of The 100 (in episodes 6x06, 6x07 and 6x10) that we have been able to spot - most of which (over 90 of them! Yes, this is gonna be a long post) we've been able to identify, with image comparisons to scenes from the show. 

First, credit where credit is due: this idea first came from @ofnailbatsandaxefives who identified many of the drawings and made a bunch of side to side comparisons last year after 6x07 aired in this post. 

I later tried to identify the rest of the drawings, with the help of a few people here and on Twitter (rewatching the show also helped), but this resulted in an endless number of reblogs. Episode 6x10 Matryoshka also had more drawings that weren't in 6x07 Nevermind, some images were misindentified, and I decided to redo all the images with better resolution screencaps. 

Big thanks to everyone who helped in identifying some of the trickier images (many of them are on Twitter and I don’t know if they have Tumblr profiles), especially (Twitter handles) SheiGarche (who identified several of these and corrected some of my mistakes), Lovestory813, BellarkeMood, taunadora, becki_travels, fabiana_vec, indreamswake, KindZouzou and my Tumblr mutual @jeanie205​ (I’m sorry if I forgot anyone).

See also my earlier post about Sets, props and costumes in 6x07 Nevermind.

As a BONUS in addition to the images on Clarke’s memory wall, I’ll also go over audio flashbacks heard at the end of 6x06, in 6x07 and 6x10 -  as a mix of voices representing Clarke’s jumbled memories. Many of them can be heard and identified in the episodes, but special thanks to (Twitter user) klarksbell for removing the background sounds from the scenes so some of the background voices could be heard clearer. 

(In a follow-up post. I’ll go over Clarke's drawings from her Shallow Valley home in season 5, which we also saw in the mindspace version of her Shallow Valley home in her happy place; and those we saw in season 5, many of which overlap as the set was re-used for 6x07. I’ve also noticed that the art department used many of these drawings for the drawings representing Clarke’s memories on her mindspace wall.)

Before I start listing the moments from Clarke’s memory wall - her mindspace version of the actual cell in Skybox she used to be locked in on the Ark - let’s compare the two different versions of this wall. The first one was seen in the very last scene of 6x06 Memento Mori - where we first learned Clarke was still alive (yeah, yeah, of course no one really bought it that she was dead ;) but it was still such a Hell yeah moment) and in 6x07 Nevermind.

But when we saw Clarke in her mindspace again in 6x10 Matryoshka, the walls were different: there were at least 3 new images that weren’t seen in 6x07, and many other images were moved around and placed in different ways. Which does make sense, as Clarke’s mindspace was reacting to her states of mind, so we should probably assume it was always changing, with different memories being more or less prominent at any given time. 

And finally here are the identified images with side-by-side comparisons. Some were obvious and taken straight from the scenes (I've been told there's a software for that), others are a bit less straightforward (and several of them were also seen as Clarke's drawings in season 5).

I'm going to do them chronologically, not by episode but by when those things happened in Clarke's life. 

Starting with the image of Clarke and Wells as children on the Ark (confirmed by Jason Rothenberg on Twitter). The closest thing in the show is the video of them Jaha watched in 1x12.

The next one was tricky as it's not a scene from the show either. It was first misidentified as Clarke watching what ALIE showed her in 3x16, nuclear plants melting on Earth, but that scene is shown in another drawing. It shows a young girl watching the Earth from the Ark.  We've decided that this is young Clarke on the Ark. I used the Octavia flashback scene from 1x06 for comparison to show this is a window on the Ark and a view from there (not because it's the same scene - which it can't be,as this wouldn’t be Clarke’s memory). But the girl looks younger and is touching the window as if yearning for Earth.

Flashbacks in 1x03, a year before the Pilot: Abby and Jake during the happy times; Jake when Clarke overheard him tell Abby that Ark was dying and he'd go public with it; Wells when Clarke told him about it.

1x01 - there are more images from the Pilot than from any other episode.

The first scene of the show - the image on the floor in the mindspace version of Clarke's cell in Skybox is the same image she drew on the floor of her actual cell.

This portrait of Abby seems to represent the next scene where Abby told Clarke she was being sent to Earth. When the camera zoomed on it in 6x06, we heard the dialogue from that scene over it ("Clarke, I love you so much!" -  "Mom?")

When the camera zoomed on this pic of Wells on the dropship in 6x07, we heard Wells' voice saying "Welcome back" as he did in that scene. 

I've been told that the inscription from the Ark we see below is a Chinese proverb that means, more or less, "A friend in need is a friend indeed".

"We're back bitches!" twice - the second is from Clarke's POV. The first one was one of the drawings Josephine touched and we (and Josephine) heard an audio flashback of it and this, uh, memorable line. 

Mount Weather - the first time Clarke saw it, after landing. 

 I spot the same image among Clarke's drawings we saw in her Shallow Valley home in season 5, though it was really tiny in the background.

More scenes from the Pilot:

1x03

It's a pity that the plan to have Eli Goree guest star in 6x07 didn't work out, but at least we had many Wells images and even in the voice memories - I clearly heard Clarke telling him "How can you forgive me?"/"I blamed you because my father's dead and it's my mother's fault."

1x04 Finn with one of the pencils from the shelter he found, trying to impress Clarke. 

1x05 Brief time of Clarke being happy and infatuated, right before Raven arrived and her heart got broken for the first time.

There was a bit of disagreement about this Bellamy image (or images). It shows up as a part of the drawing of him torturing Lincoln in the scene from 1x07 on one of the walls, but it also appears on its own on the ceiling:

@SheiGarche believes that, since this appears as a part of the Lincoln torture scene, the Bellamy image must be from that episode. However, while the rest of the scene 100% matches the 1x07 scene, Bellamy's image doesn't match - in posture or expression - anything from that episode.   On the other hand, especially when you look at the Bellamy image on its own, as it is on the ceiling, it looks most like a drawing based on the scene from 1x02 - "I heard you have a gun''...

I think that the ceiling drawing represents season 1 Bellamy in general, and was drawn based on the 1x02 scene. OTOH, the art department made the 1x07 image from the 1x07 scene but couldn't get a good Bellamy angle so they edited in that same Bellamy image in. You decide.

https://youtu.be/Cj37TWjBwvE?t=59

A Raven portrait, which is probably not about any particular scene (some images just represent certain characters), but it most closely matches this love-triangle moment from 1x08. 

The same portrait was seen as one of Clarke's drawings in season 5.

1x09 - negotiations with Anya and the Grounders on the bridge. Also the first time Clarke has ever seen horses in real life.

1x13 

Probably some of the Grounder warriors who got burned in the Ring of Fire, but this scene clearly indicated that Clarke was thinking about closing the door on Finn and Bellamy and that they may have been burned.

2x01

This image gave us so much trouble, until it turned out it was just a random woman from Mount Weather who yelled "CONTAINMENT BREACH!" when Clarke entered the mess hall dragging Maya and saw all the people sitting there.

Another one of character portraits that are probably not important for any particular scene or moment. But going by Miller's hair and facial hair, it can only be season 2 Miller at the time he and Clarke were both in MW (this is from 2x02).

Ending of 2x02:

2x03 - Escape from Mount Weather

2x04 Anya after Clarke beat the crap out of her and managed to win their fight. "You fought well".

Now a few more character portraits. This image of Raven with a brace doesn't 100% fit a scene from the show, but it looks a lot like this promo pic of her - except for her red jacket, which she wore in 2x05 when Clarke first saw her with a leg brace.

Since Jaha has a beard and hair, it can only be from season 2 or 3, which limits it to 2x07 or 3x16, the only times he and Clarke were in the same place. I used 2x07 image of non-chipped Jaha, when he came to Camp him and argued for Arkers leaving, pitting him against Clarke,as this would’ve meant abandoning her friends to their fate in MW.

Portrait of Indra - also probably not about any particular scene, but it looks like their first meeting in 2x07. It was also among Clarke's drawings in season 5.

2x08  This image is one of the few that were not seen on the memory wall in 6x07, but appeared in 6x10.  Maybe it's because the ALIE projection said in 6x07 her most painful memories were not on the wall - and the scene of Clarke killing Finn was only seen represented in her dark place by the pole and knife. Maybe she was able to process some of those memories better by 6x10?

2x09 Raven holding Finn’s dead body

This profile of Lexa is probably not from any particular scene, but a general image of the warrior leader/ally Lexa from S2. I used the scene of her making a speech in 2x15, but there were scenes in 2x09 (like when she told Clarke that Love is weakness) that looked similar.

2x10 Well, an attack by giant mutant gorilla would be pretty memorable to anyone.

2x11 I previously thought this image of people in radiation suits (also seen among Clarke's drawings in S5) was from 4x12/13, but looking more closely, now I think these are Mount Weather Ground unit guards - specifically, are Emerson and the other Mountain Man who tried to assassinate Clarke in 2x11. The outfits, helmets, guns are the closest match.

2x12 Clarke's guilt over letting the MW missile drop on the people in Tondc was referenced not just in 6x07 when her projection of Octavia called her out on writing her off there, but also in 6x10: 

Josephine: I wasn't always like this. 

Clarke: I know the feeling. I mean, look around you.

*Josephine looks at this big image on the wall*

2x15 - breaching the Mount Weather door

I'm about 95% sure that this picture of Lexa is her betrayal in 2x15.

2x16:

 "Together" - "Together"

3x01 The most important character in the show! LOL

...seriously though, this little bunny (? who looks more like a squirrel in the drawing?) that Clarke used as a bait to catch a panther, stands for the 3 months Clarke spent in wilderness.

The only image of Niylah on the wall. It's the scene when she lied to protect Clarke when Roan and a bounty hunter came looking for her.

Another character portrait not related to a specific scene, and another one that was seen as one of Clarke's drawings hanging in her Shallow Valley home in S5. Going by the hair and beard, it's seasons 3-4 Kane, so I used the scene of his and Abby's meeting with Clarke in 3x03.

3x04

3x07 - there are 3 images of Lexa from this episode

Lexa smiling during the talk in which she asked Clarke to stay - this is the most prominent of the images of Lexa (one of the images that appear multiple times on the wall + had a flashback). Seems these softer moments are larger in Clarke's mind than warrior/leader Lexa.

The second most prominent image of Lexa (one of the pictures the camera zoomed in on in 6x06, when we also heard the dialogue among the audio memories - "Can we talk about something else?" - "We don't have to talk at all").

and Lexa right after she was shot by Titus.

3x11 What turned out to be the most important of all Clarke's memories, as it contained info on the neural mesh and how Raven was freed from ALIE and that Clarke has to remove from the wall and hide from Josephine.

3x13  Luna, refusing the Flame

3x15 When Clarke didn't break and give ALIE the password and it almost cost her her mother's life. This drawing was previously misidentified as Murphy being hanged in S1 - some thought there were two hanging scenes, but there's just one and it's clearly indoors.

3x16 - there are several scenes from the City of Light. Including the image of the COL itself. You can see even see the tiny figures of Lexa and the people she's fighting.

What ALIE showed Clarke: the Earth, full of nuclear plants melting, telling her about the upcoming Praimfaya.

Clarke pulling the kill switch and destroying COL

One of the first things Clarke saw after returning from the City of Light was Murphy is one of his most heroic moments - pumping Ontari's heart so Clarke could take the Flame.

4x01 

 This one seems a bit random: it's a moment when Indra came and hugged Kane while Octavia, Clarke, Bellamy and Abby were already there in the Grounder shrine - but I think it's important as the scene when they all discussed what to do in the situation and Clarke told them all about Praimfaya.

Roan, after agreeing to an alliance because of Praimfaya, giving a public speech in Polis to say that 'an attack against the 13th clan is an attack on all of us'.

The drawing of Arkadia is another one that was hanging in Clarke's Shallow Valley home in season 5 - and was also seen in the mindspace version of that home in 6x07. I used a scene from 4x03.

4x04 There are 3 scenes from this episode, and all of them have to do with Jasper. The first two are two of Jasper's pranks: "floating" Jaha, and the prank Jasper pulled on Clarke. But the mood of the latter got ruined because he had already found the List before Clarke came in. (Josephine touched this drawing briefly in 6x07 and we heard the audio flashback: (Monty: "Clarke, wait..." - Clarke: "Really?" )

And what happened right after, in the same scene, when Jasper started telling everyone present about the List. (Jasper's angry comments can also be heard clearly among the mix of voices at the beginning of 6x07 - more about that later)

The portrait of Emori is probably from 4x07, when they had their first major interaction. It was also one of Clarke's drawings that could be glimpsed in the background in S5.

Skip the next one if you don't want to see an image of a person dying a gruesome and painful death in a radiation chamber.

4x08 The unfortunate Grounder thief from the Rock Line clan whose name we never learned, at the moment of his death.

4x10  Octavia in the Conclave - more of a symbolic representation (with the sigils around her). This was a very prominent drawing in Clarke's sketchbook that we saw a couple of times in season 5. 

4x11 Another one of the 3 images that weren't seen in 6x07 but were in the second version of the memory wall, in 6x10 - Clarke pointing a gun at Bellamy to stop him from opening the bunker door, before she broke down and cried. The drawing even shows Clarke’s hand with a gun.

4x12 the rocket in Becca's lab

4x13  Clarke being left behind in Praimfaya and watching her friends leave while she was aligning the satellite dish so they could get to the Ring and survive. 

This was also another prominent drawing from Clarke's sketchbook we saw in season 5.

There's another scene from 4x13, but that one happens 6 years later, so I'll come back to it later...

5x01 Post-Praimfaya

Polis was Clarke's destination after she left Becca's lab - trying and failing to open the door of the bunker after the temple had collapsed on it. Then realizing she'll be alone for at least 5 years.

Then she went to Arkadia, where she only found "ghosts" - the chest with Maya's music player, Jasper's goggles and his letter to Monty (as we saw in the flashback in Clarke's "dark place", where the chest played an important role).

The bird that kind of tried to eat Clarke (?), showed Clarke where Eden was, and then got thanked, shot and eaten by Clarke.

Shallow Valley

This image is both a memory of 6 year old Madi (not the moment they met, but when Clarke was drawing her while she was fishing), of Clarke drawing her and of the drawing she made and gave Madi to make friends with her.

Madi and Clarke, but some 6 years later.  This image was prominent of at the beginning of 6x07 when we saw a flashback of it when Clarke touched it ("I'm sorry they left without you" - "If I was with them, I never would've met you").

4x13 - 2199 days after Praimfaya: Gagarin transport ship, the moment when Clarke saw it clearly and realized it wasn't the ship she was hoping for ("Never mind, I see you"), but one to be afraid of.

5x03 - Makes snse that images of Diyoza, Shaw and McCreary are all from the episode where they captured and tortured Clarke.

5x04 

Bellamy reuniting with Clarke. 

Coming out of the bunker. 

 5x06  - Madi watching Octavia practice. 

5x09 - There were quite a few changes between the memory wall in 6x07 and 6x10, and the most obvious one was seen right after Clarke woke up in her mindspace - the big image of Bellamy when Octavia arrested him and right before Clarke left him at her mercy in Polis.

5x12 - This is one of the rare drawings that doesn’t fully represent a memory correctly as Clarke saw it. But it makes sense to me that Clarke remembers it this way - seeing Madi in pain when she zapped the shock collar to stop her from leaving and going to war. But in fact, the screenshot shows Madi shocked that Clarke put a shock collar on her. Clarke closed her eyes and had her back turned to Madi, because she couldn’t watch it when she actually zapped the shock collar,  and only heard her scream.

This was another drawing Josephine touched and had a flashback of (we  heard Madi screaming and Clarke saying “I won’t let you die in this war”), commenting "Child abuse dressed up as protection!"

5x13 - Clarke pulling the lever to close the door of the Gagarin ship, after waiting until the last moment for Bellamy to come in, closing the door after Bellamy, Monty, Emori and Murphy were inside and the missiles were already hitting the Earth.

One last image. It's clearly Madi, and with the horizontal placement of the drawing, I thought it was Clarke putting Madi in cryo. But it turns out the same image - only vertical - was one of her drawings she had in Shallow Valley in season 5... so, I don't know.

There are other images that we couldn't link to anything specific or weren't sure. Mostly locations, objects and nature images.   1) A forest? 2) Waterfall/rocky shore? 3) Rubble?) 

If anyone identifies any of them or notice other images or anything else, I’ll be editing and reblogging this post.

BONUS - audio memories

ending scene of 6x06

Lines I can hear:

over the image of Abby: Abby and Clarke in 1x01: "Clarke, I love you so much!" - "Mom?" 

 "I'm scared"? - this line can be heard clearly but I don’t know who it is. It sounds like a child, but I don’t thin Madi or Charlotte ever said it.

Finn in 1x01 when they see the deer: "No animals, eh?"

Madi in 5x11: "I love you, Clarke" (the entire line was “...but we’re on the wrong side of this war”

Clarke to Wells in 1x03, after learning the truth: "How can you forgive me?"

Madi to Clarke in 5x01, during the scene by the fire: "I'm sorry they left without you."

Bellamy trying to convince Clarke not to leave in 2x16 “You don’t have to do this alone”.

Clarke to Madi in 5x12, as she puts a shock collar on her: "I will not let you die in this war!" 

over the image of Lexa in bed with Clarke - Lexa and Clarke in 3x07: "Can we talk about something else?” - We don't have to talk at all." 

over the image of Bellamy: Bellamy to Lincoln in 1x07: "You're gonna give us the antidote or you're gonna wish you had". Other lines whispered in the background:

Bellamy in 2x16: "(If you want forgiveness) I'll give that to you" 

Bellamy during his reunion with Clarke in 5x04: "Clarke, you saved us all."

 "This is how we get to peace" (sounds like Bellamy but Clarke was the one who actually said it in 5x08)

Bellamy in 1x07: "Who we are and who we have to be to survive are two different things."

opening scene of 6x07

Clarke to Wells in 1x03: “I blamed you because my father’s dead and it’s my mother’s fault” (heard while Clarke is looking at the wall with the image of her parents, among others)

 (over the image of Wells) Bellamy: “Who else knows about this?” (in 1x04, when Clarke realized one of the Delinquents had killed Wells)

(also over the image of Wells) Wells: “Welcome back!” (1x01)

 (over the image of Roan & Lexa fighting in 3x04: “It’s always something with you!” – Roan to Clarke in 4x01 

we also hear Lexa’s and Roan’s grunts during their fight

(over the two images of Madi) Madi (5x11): “I love you, Clarke” 

Madi screaming when Clarke zaps the shock collar in 5x12

Two angry lines by Jasper are overlapping as the camera slides from Lexa to Bellamy:  

as we see Lexa in focus: “Truth hurts” - Jasper in 3x11, after ALIE!Raven blamed her for the deaths of Jake, Wells, Finn & Lexa

 as we see Bellamy in focus: “I found your list. I guess we know who really matters to you” (Jasper in 4x04)

Madi in 5x12: “I’m not a child anymore, Clarke. I’m the Commander, and my people are dying”

(ETA) Jasper yelling “We are Apogee!” and Clarke, Octavia, Monty and Finn yelling happily with him, just before he gets speared in the Pilot

Clarke in 3x11: “I let her get to me.”

the flashback to Madi and Clarke by the fire in 5x01 “I’m sorry they left without you” - “If I was with them, I never would have met you” 

more of Jasper’s ranting in 3x11: “I was going to save everyone!” (talking about his plans in 2x16 to kill Cage)

flashback to the Pilot, as we see the drawing on the floor: “Prisoner 319, face the wall!”  Some of the lower volume lines in the background, which can only be identified after the background noise was removed:

Bellamy to Clarke in 3x11, after ALIE!Raven had made her lost it: “I’ll let her beat me up for a while.” 

ALIE-controlled Raven yelling “Let me go!” in 3x11, when she’s trying to find out the location and help ALIE, and everyone grabs her and subdues her

Octavia in 2x16: “I know where my loyalties lie!” 

Bellamy in 5x09, when he brought Madi to see Clarke in her cell: “Clarke, this isn’t goodbye”.

I also hear someone yelling "Octavia!", and mentions of Jasper’s and Jaha’s names.

Josephine and Clarke  in 6x07 

Josephine touching images and we hear flashbacks of scenes from 1x01 (”We’re back, bitches!), 5x12 (Madi screaming when Clarke puts a shock collar and Clarke saying “I won’t let you die in this war”) and 4x04 (”Clarke, wait...” - “Really?” when Clarke got covered in foam as Jasper pranked her). There are many other whispered lines I don't recognize.

In 6x10, however, everything was mixed up -  Clarke's and Josephine's memories were all mashed up, because the boundaries between their minds were disappearing - so it’s pretty much impossible to make out anything. But Clarke’s memories are probably the same mix as in 6x07, because I can still hear Wells saying "Welcome back". 

If anyone notices something I did not, please tell - I will edit this post with any new info!

[almostafantasia]

Lancelot (13/14)

Lexa Woods, an impeccably dressed British secret agent for the covert Kingsman organisation, whose latest mission sees her sneaking through the corridors of the White House in the middle of the night, finds herself having to seduce the daughter of the newly elected President of the United States in a bid to save the world. It’s a surprise to Lexa when she ends up falling for her target as fast as she does, meanwhile Clarke doesn’t expect her gorgeous date for an international political gala dinner to drag her into a world of thrill and danger where one wrong move could cause a global disaster.

a clexa kingsman au | chapter 13/14 read on ao3

Lexa doesn’t know where her jacket is.

It’s clearly not the most pressing issue at the moment, not when there are doctors checking up on each guest, not when there are armed members of the secret service with body armour and riot shields swarming around.

It was a very nice jacket though. The fit was just right and the red velour a striking colour that filled Lexa with confidence. Lexa will be disappointed if she can’t find it and ends up leaving it behind. She doesn’t think she’ll ever have another one like it, not unless she asks the tailors at Kingsman to make another one identical to it, but that would mean having to admit that she’s been careless enough to misplace the first.

Clarke would look good in Lexa’s jacket. It would suit her much better than the oversized men’s jacket she still wears over her dress. Lexa shudders even at the thought of Clarke wearing something that belongs to Roan Azgeda, when there is a perfectly good jacket belonging to Lexa that would keep her just as warm and make her look twice as good.

If only Lexa could locate it…

“Lexa! There you are!”

Lexa’s head snaps up as she hears her own name, to find Anya striding towards her with purpose in each step.

“Have you seen my jacket?” asks Lexa. “It must be around here somewhere.”

“That’s your biggest concern right now?”

Of course it isn’t Lexa’s biggest concern. Lexa is worried that one of the guests will have slipped away without being treated for the poison, she’s worried that she’s going to get arrested and tried for murder even though she only shot Ontari to save everybody else, she’s worried that Clarke won’t forgive her and that she’ll have to live the rest of her life with the knowledge that she’s betrayed the one person she’s allowed herself to truly care about. But it’s easier to suppress all of that and pretend that it’s all about a jacket.

“It’s a nice jacket,” shrugs Lexa. “It would be a shame if I didn’t get to wear it again.”

Anya reaches out and rests her hand on Lexa’s arm.

“You’re allowed to feel things, Lex,” Anya tells her, voice full of concern. “It’s not a weakness.”

Lexa can’t help the way that her gaze flicks across to where Clarke sits next to her father across the room, still huddled up under Roan’s jacket.

“Look where feeling things got me,” Lexa mutters bitterly.

Anya must sense Lexa’s resentment because she swiftly changes the topic.

“Anyway, they’ve arrested Nia Azgeda on her way to JFK to flee the country. She and her son are both going to face charges of treason, attempted murder, and attempted assassination of a President, to name a few.”

“So that’s it?” asks Lexa. “Job done?”

“I think so,” nods Anya.

Lexa pauses, looking around the room at all of the lives she’s saved tonight and wondering why she doesn’t feel better than this about such an accomplishment.

She voices this to Anya.

“Somehow I don’t feel as good as I should about that.”

“Me neither,” admits Anya.

“I think it’s pretty close call as to which of us is Kingsman’s worst agent,” jokes Lexa, hoping to lighten the mood.

“Bullshit,” snorts Anya, shaking her head in disagreement. “It’s very obviously me, by a long way.”

Lexa tries to protest, knowing that this mission has had its fair share of hiccups that have been a direct result of mistakes that she has made.

“But I…”

“Saved the lives of hundreds of people while I was too busy shagging Raven to care,” interrupts Anya, completing Lexa’s sentence before Lexa has the chance to say something self-deprecating about her own involvement in the mission.

Lexa considers Anya’s words and, realising that she doesn’t have the energy to protest, concedes half-heartedly.

“Well, when you put it like that…”

“You needed me and I wasn’t there,” says Anya. “And I can only apologise for that and promise you that it won’t happen again.”

“It’s all fine now,” says Lexa. “We did it. We saved all these lives.”

Lexa gestures around the room, to the masses of guests that could have ended tonight as corpses, had it not been for a Kingsman intervention and the quick-thinking and hard work of Lexa and Anya. Lexa shudders even at the thought of it. All it would have taken is for one thing to have gone differently over the last couple of weeks, and there could have been a death toll of more than one here tonight. Lexa doesn’t want to imagine what would have happened if things hadn’t played out like they did, if she hadn’t agreed to go to that bar with Anya and bumped into Clarke again after Merlin specifically forbade them from leaving the hotel.

It’s a dark thought, and Lexa tries to swim away from it by lightening the mood.

“Jesus, I can’t believe I saved the life of a Tory Prime Minister,” she says, rolling her eyes dramatically as she watches the British Prime Minister across the room, talking rapidly over a phone.

Anya doesn’t laugh, and Lexa glances up at her oldest friend to find anxiety written all over her face.

Lexa tries to put herself in Anya’s situation and imagines how she would be feeling if it was Clarke who ended up in the back of an ambulance with a bullet in her leg. She knows that she would be beside herself with worry, unable to do anything at all until she had the physical proof that Clarke would make a full recovery. Hell, Lexa is already worried about Clarke’s wellbeing, and the girl only sitting across the room, unharmed by bullets or any other weapons.

“Is Raven going to be okay?” asks Lexa, unsure how Anya is staying so unaffected by it all.

“I think so,” nods Anya. “I wanted to follow her to the hospital but she told me to stay here and make sure that everybody else was okay too. But I phoned the hospital pretending to be her mum and they told me that her condition is stable.”

“I’m glad to hear that,” Lexa says truthfully. “You could probably go, you know. I think there’s enough people here to have everything under control. I’m sure Raven would appreciate a familiar face at her side.”

“I don’t know,” shrugs Anya. “I don’t want to abandon you here again. I would die if something happened while I was gone.”

Lexa shakes her head and rests a reassuring hand on Anya’s shoulder.

“Now who’s the one hiding from their feelings?” asks Lexa, shooting Anya a teasing grin.

“Oh, piss off!”

Lexa wakes up to a knock on her hotel room door. A quick glance at the screen of her phone tells her that it’s just gone four thirty in the afternoon - she’s slept for nearly ten hours, but Lexa’s eyes are still heavy with tiredness.

Lexa is far too exhausted to give a shit about her appearance. She still wears the clothes from last night, or at least the shirt and trousers, both crumpled and a little blood-spattered and not at all appropriate for answering the door in. But the list of people who could be at her door is only three: Anya or Merlin here to update her on the arrangement for leaving America now that their job here is done; or one of the hotel’s maids who, Lexa reasons, has probably seen some much weirder stuff than a little blood on a guest’s shirt.

The person outside knocks again, and Lexa reluctantly hauls herself up onto her feet and trudges over to the door, where she unlocks it with a click and turns the handle to open it.

“Um, hi.”

It’s Clarke. Not Anya, not Merlin, definitely not a maid, but Clarke. Lexa wishes now more than ever that she had taken the time to shower and change her clothes before she fell asleep. In comparison, Clarke looks as clean and as fresh-faced as she would if she hadn’t had the night that she did at the gala dinner.

“Clarke,” says Lexa, trying not to show how surprised she is to find Clarke outside her hotel room. “I … uh, I fell asleep as soon I got back here. I was completely wiped out.”

Clarke glances down at Lexa’s attire and nods once.

“I can see that. Can I come in?”

Lexa steps aside immediately and Clarke takes hesitant steps past her and into the hotel room. Clarke hovers near the door, not quite making herself at home, and Lexa is left feeling only even more awkward about the way they left things last. It seems strange to be this careful around each other, especially given the memories they made in this very room just days ago after their date, but Lexa has to remind herself that Clarke has every right to still be angry at her.

“Clarke, I just want to start by saying that I’m so…”

“No,” Clarke interrupts her. “You don’t get to apologise yet. I’ve spent a lot of time thinking about this - thinking about you - and I’ve practiced ten different versions of what I want to say to you, so you don’t get to say anything until I’ve got this out.”

Lexa closes her mouth and nods obediently, waiting for Clarke to say her piece.

“I’ve been trying to get my head around why you lied,” admits Clarke. She lets out a sigh, then continues animatedly, “Like, it frustrated the fuck out of me at first. I thought we had something special and how dare you think you could play me like that? But also, how could I be stupid enough to fall for that?”

Lexa wants nothing more than to interject, to tell Clarke that they do have something special, that she hasn’t been able to think about anything but Clarke since they first stumbled into each other in the halls of the White House. But she knows that Clarke still has so much more to say, and Lexa forcibly keeps her mouth closed and saves her apologies and explanations until Clarke gives her permission to speak.

“If you said to me that you needed to be at the dinner because of your mission, I would have invited you in an instant,” continues Clarke. “You must have known that!”

Though she stays silent, Lexa gives a little nod in response.

“And that’s when it hit me,” says Clarke. “You wanted that date. You wanted an ‘us’ that was more than me just being a girl you met on a mission.”

Lexa’s eyes start to prickle with tears, and an uncomfortable lump forms in her throat, making it difficult for her to swallow.

Clarke continues, her voice softer and more thoughtful than before, and her blue eyes boring into Lexa.

“Our date and that night we spent together felt incredibly real and I don’t think it would have happened like that if you’d just asked me to take you to the gala dinner. At least, that’s what I’m hoping. Because the only other option that makes sense is that you saw an opportunity to play me and get laid, and I really hope it wasn’t that.”

Lexa shakes her head and wipes at the tears in her eyes before they have a chance to spill down her cheeks. This conversation is important and it’s going to be difficult enough without having to force the words out past wave after wave of tears.

“I told you that I don’t do this often,” confesses Lexa. “I don’t do feelings.”

Lexa’s knee twinges in pain and she grits her teeth as she mentally wills her old injury to go back to sleep, before she continues talking.

“There have been girls on missions before, but that’s always been easy,” Lexa tells Clarke. “There’s things that you can say to make a girl swoon, things you can do to push the right buttons and get what you want, and that’s easy because it’s a routine that I’ve practiced before. It’s easy because I have no personal investment in those girls.”

“But you do in me?” asks Clarke, her eyebrows raised.

There’s something that looks like hope in her eyes - a glimmer that reignites something within Lexa’s chest, a feeling that maybe there is still a chance to make things right with Clarke.

But of course there is still a chance. Clarke wouldn’t have come here if there wasn’t at least a small part of her still holding out for Lexa. It would have been way too easy to ignore Lexa, to let her fly back to England and forget about her entirely. The fact that she’s here says as much as any words could do.

It’s especially important for Lexa to get this right. Clarke has been kind enough to give her a chance to explain herself, and Lexa will berate herself for a long time if she takes that opportunity and fucks it up beyond repair.

“From the very second I first saw you, I knew I was in trouble,” admits Lexa, recalling their first meeting and the fluttering in her chest she felt when she first laid eyes on Clarke. “I don’t want to call it love at first sight, but I could feel some kind of connection straight away.”

Clarke is quiet for a few seconds, and she takes a seat on the end of Lexa’s bed, before she finally concedes, “I felt it too.”

Lexa’s heart flips just like it did that very first time, in inexplicable rush of excitement in her chest at Clarke’s admission that their first meeting had the same effect on her too.

“I don’t think I’ve told you this yet, but I was wearing an earpiece that night,” says Lexa, smiling to herself at the memory. “I had Anya howling with laughter in my ear the entire time I was trying to make an impression on you, because even she knew that you were going to ruin me. And then ever since, I’ve had the real Anya reminding me that this is a mission, that you weren’t allowed to be anything more than another mark.”

“So really, Anya is the one I should be mad at right now?” asks Clarke.

“No,” says Lexa, shaking her head. “Because if it weren’t for Anya, I never would have been in the bar that night, and I wouldn’t have asked you to get me into the White House again, and I definitely wouldn’t have asked you out on that date. Without Anya, I would have run away from my feelings and never spoken to you again.”

Clarke’s eyebrows furrow together in thought.

“So should I be throwing a drink in Anya’s face, or buying her a thank you card?”

Lexa blushes a little bit at the reference to last night, remembering the feeling of the cool drink hitting her face and the betrayed look on Clarke’s face right before she stormed away. It doesn’t quite seem like that was only less than twenty four hours ago. So much has happened since then that Lexa feels as though an entire lifetime has passed since.

“I guess it depends what happens next,” answers Lexa, shrugging her shoulders.

Lexa knows what she wants to happen next. And if she gets her own way - if Clarke agrees that she wants to put things behind them and try to move forward together - Lexa thinks that maybe she will be the one who owes Anya and thank you card.

“When do you fly out?” asks Clarke.

“In the next couple of days, I think,” replies Lexa.

She hasn’t yet spoken to Anya or Merlin since she returned to the hotel very early this morning, but Lexa doesn’t think that they’ll be staying in America long. The events of last night will likely be plastered all over the media and it’s unlikely that Merlin will let them stick around for long enough to get their faces associated with it all. Besides, now that their mission is over, there’s no longer a reason to stay over here.

(It’s a lie. There is a reason, and her name is Clarke Griffin.)

“And I’m supposed to return to college tomorrow afternoon,” Clarke adds. She lets out a disheartened sigh, and then says, “It feels a lot like the universe is working against us.”

Lexa’s heart catches in her throat. She almost doesn’t want to believe what Clarke has said, wants to think that it’s just a product of her own hopeful imagination. Because it sounds a lot like Clarke has just admitted she wants to make things work with Lexa.

“Am I forgiven?” Lexa dares to ask, her voice barely above a whisper.

Clarke pushes herself up into a standing position and her hands reach out to seek Lexa’s hips, fingers gripping tightly as soon as she makes contact like she never wants to let Lexa go.

“You idiot,” exhales Clarke. “Of course you’re forgiven.”

The way their lips crash together is inescapable, like the opposite poles of two magnets unable to stop themselves from flying together. Lexa nearly starts crying right there - she thought she had lost Clarke, thought that her own actions might have pushed Clarke away for good - and the noise that slips from her lips as she suppresses those tears ends up sounding like a choked whimper.

The noise seems to encourage Clarke. She takes two steps backwards and sits on the end of the bed again, and the hand on Lexa’s hips cling impossibly tighter. Lexa finds herself leaning forward as Clarke sits down, lips still unwilling to leave Clarke’s even for a second. There’s a moment where Lexa thinks that she’s free-falling, a split-second in which gravity seems to take over and the only thing tethering Lexa to reality is Clarke’s touch on her hips and on her mouth, but it’s over in a flash. Lexa finds herself sitting in Clarke’s lap as Clarke pulls her forward even further, until Lexa’s full body is pretty much covering Clarke’s on the bed.

It would be so easy to get lost in each other, to keep kissing until long after hands wander and clothes come flying off, but Lexa knows herself well enough to know that there’s a high chance that she’ll either burst into tears or pass out within moments of orgasming, and she isn’t ready for that just yet.

They still have a lot left to discuss.

“Wait, wait, stop,” Lexa mumbles against Clarke’s lips, forcibly lifting her head and rolling off Clarke’s body to the side. “We should figure this out first.”

“Buzzkill,” says Clarke, rolling her eyes and wiping her mouth on the back of her hand as she sits up. “No, I’m kidding. You’re right.”

Lexa moves to sit on the edge of the bed, putting a little bit of distance between them so that Clarke and her distractingly kiss-hazed eyes aren’t right there in Lexa’s immediate vicinity. She needs a clear head for this next part of the conversation, and that won’t happen if she and Clarke are practically on top of each other.

“I have something else to tell you,” confesses Lexa. “I don’t work for MI6.”

Clarke’s mouth falls open and she frowns at Lexa in confusion, before she asks, “You don’t-? But if you’re not a secret agent then-”

“I work for an organisation called Kingsman,” explains Lexa. She laughs to herself, then adds, “I don’t know if I’m even allowed to tell you this but I’m fed up of lying to you. Actually, I think Kingsman is probably so secret that it wouldn’t even count as treason to tell you about it.”

“What’s Kingsman?” asks Clarke.

“A secret intelligence organisation based in London,” clarifies Lexa. “Most of what I told you is completely true. I really did join the army straight out of school but had to drop out because of injury. Then Anya, who I had known since school and was already working for Kingsman, put my name forward for the recruitment tests. I passed and they offered me this job. I became Agent Lancelot.”

“So you’re a secret secret agent?” asks Clarke, a trace of awe in her voice.

Lexa nods, her lips twitching up into a little smile.

“I guess so. And I’m sorry for lying to you. About this and about the dinner.”

“Lucky for you, I really like you,” smiles Clarke, reaching out to take one of Lexa’s hands.

“Are we going to make this work?” Lexa asks hopefully. “It’s a five hour time difference when I’m back in London.”

Clarke shrugs, and then says, “Could be worse.”

Lexa laughs softly under her breath, because it most definitely will get worse than that.

She tries to explain this to Clarke.

“Of course, there’s no guarantee how long I’ll be in London for, or even where I end up going next,” says Lexa. “Or if I would be able to contact you at all. When I’m really deep undercover it sometimes isn’t safe.”

Clarke’s face falls a little bit, apparently having been so caught up in the excitement of making up after their disagreement that she had forgotten the nature of Lexa’s work and the fact that she might be constantly travelling all over the globe.

“That sucks,” admits Clarke dejectedly. She glances up at Lexa, a glimmer of positivity in her eyes as she adds, “But I’m not the kind of person who needs to be texting somebody I’m into all the time.”

“No, me neither.”

Clarke grins and holds one of her hands up in the air, palm facing Lexa.

“High five to maintaining healthy relationship boundaries.”

Lexa can’t help the bubble of laughter that leaves her throat, and she awkwardly lifts her own hand to press a soft palm against Clarke’s.

Clarke blushes, realising what she’s just done, and mumbles, “Sorry, that was weird. Carry on.”

“Right,” says Lexa, trying what they were talking about before the high five. “We wouldn’t be able to talk all the time, and we definitely wouldn’t get to see much of each other.”

“I could come and visit you,” suggests Clarke. “I get three months off for summer. I could spend some of that with you.”

“And I’ve been working a lot this year,” adds Lexa. “I’m due some time off this summer.”

Clarke reaches for one of Lexa’s hands, much less awkwardly than the last time their palms met, and laces her fingers through Lexa’s.

“We’re actually doing this,” says Clarke, with the air of a giddy child about her voice as she speaks. “We’re going to make this work.”

“I have no idea what’s going to happen in the long term,” confesses Lexa, “but we’ve got the short term figured out. The rest we can work out as we go.”

Clarke pulls on their connected hands, encouraging Lexa to come closer again, and Lexa is too weak around Clarke to do anything but comply. She settles on top of Clarke again, this time with Clarke’s legs wrapped around her waist and locked at the ankle behind Lexa’s hips, effectively trapping her in place. Not that Lexa minds. It’s a very nice place to be trapped.

“As for the super short term…” says Clarke, tipping backwards until her back hits the mattress and bringing Lexa with her.

“Oh, you have some ideas about that too?” teases Lexa, her face just inches from Clarke’s as she uses one of her arms to prop up her body weight.

“First of all, we’re going to take a shower,” says Clarke, rocking her hips up so that her pelvis grinds against Lexa’s lower stomach.

“We are?”

“Yeah,” says Clarke, curling a hand around the back of Lexa’s head and drawing her closer so that she can whisper into Lexa’s ear, as if she’s imparting some big secret that needs to be kept from the rest of the world, “and then I’m going to take you to bed and fuck you stupid. Then you’re going to let me take you out to dinner, and after that we’re going to come back here and have sex again. And probably again after that.”

Lexa’s brain short-circuits at the phrase “fuck you stupid” and she barely registers the content of the rest, only Clarke’s husky voice and the obvious implications of her words from the way that her hips slowly move and seek out contact from Lexa’s body.

“I really like this plan,” says Lexa, her voice breathy with arousal.

Clarke grins at the admission.

“Why don’t we move this to the shower and you can show me just how much you like it?”

“Is Raven okay?”

The question comes to Lexa’s mind when she’s naked in bed, tangled around Clarke and the bedsheets, some time after round three has reached its conclusion. Somewhere along the way, the idea of Clarke taking Lexa out to dinner became forgotten, and a cart once laden with room service stands at the foot of the bed, now carrying plates of half-eaten food and an empty bottle of champagne that Clarke insisted on ordering to celebrate saving the world.

“That’s the first thing you have to say after I make you cum?” asks Clarke, propping herself up on one elbow while the fingers of the other hand brush stray curls out of Lexa’s face.

“I mean,” admits Lexa, “I’m feeling guilty that I’m here enjoying this - enjoying you - and she’s stuck in a hospital bed with a bullet in her leg.”

“They took the bullet out in surgery,” Clarke tells Lexa, her hand still absently playing with Lexa’s hair, curling loose strands around her fingertips. “Last I heard, she was high on pain meds and trying to persuade Anya to dress up as a sexy nurse.”

Lexa snorts to herself.

“I bet Anya loved that.”

“I think if Raven hadn’t just come out of theatre, Anya might have been less sympathetic,” grins Clarke.

“I’ll try and visit her before I leave for England,” says Lexa, voicing her thoughts aloud. “It’s mostly my fault that she got shot.”

“When do you fly back?” asks Clarke, a trace of sadness in her voice.

“I don’t know,” confesses Lexa, nestling her head against Clarke’s shoulder and draping her arm across Clarke’s bare stomach beneath the cotton sheet that shields their sweaty bodies from the chill of the hotel room. “Within the next day or two, I would guess. And you go back to college in the afternoon?”

“Mmm.”

Lexa lifts herself from Clarke so that she can reach for the phone on the nightstand, unlocking the screen to check the time. It’s just gone midnight, and time is passing much faster than Lexa would like.

“But,” says Clarke, rolling Lexa onto her back and covering Lexa’s body with her own as she nuzzles her face into Lexa’s neck and sends a hand lower, “I don’t plan on sleeping tonight until I’ve had you at least twice more…”

“Clarke, I’m not sure I can go again,” protests Lexa, even as her legs fall open to let Clarke’s exploratory fingers dip into her folds, still wet and sensitive from the last round.

“Sure you can,” sniggers Clarke, sucking the skin of Lexa’s neck between her teeth as her fingers tease and probe.

Clarke, Lexa quickly decides in that moment, is going to be the death of her.

Lexa can’t wait.

[maugustyniuk]

Tanishq Joshi Is Stomping on South Asian Stereotypes by Fusing Hip-Hop Choreo With Bollywood Music

For Tanishq Joshi (aka Taneesky), becoming a dancer was as unexpected as your music cutting off mid-performance. An unfortunate injury in his hometown of Indore, Madhya Pradesh, India, led to the more fortunate discovery of a new passion and a flourishing career.

Joshi's had the opportunity to choreograph and compete at "World of Dance" events, perform at the JaQuel Knight Showdown, and grace the stage at Pharrell Williams' "Something in the Water" concert. And that's all on top of work and training with dancers and choreographers like Devin Solomon, Denzel Chisolm, Josh Killacky, Samantha Caudle, and Jake Kodish.

Joshi shared his story with Dance Spirit, and broke down how his unique approach to choreography is helping him diminish stereotypes, open doors for South Asian dancers, and inspire the dance community at large.

The Come Up

At the age of 16, Joshi's happy accident caused him to break his left tibia, leading to a pretty intense surgery that left two screws and three metal rods in his leg. That's tough news for anyone, and especially for Joshi since he was a soccer player at the time. But when it came to deciding what to do for physical therapy—and without a clue of where his journey would lead—he chose dance.

In the beginning—and in a super-beginners'-level dance class—Joshi says, "there was one step that took me three or four days to get." So, when you see his intricate, textured movement today, just know it took plenty of hard work to get there.

Adapting to New Environments

After eventually regaining strength in his leg, Joshi continued to do exactly what healed him. With the urge to dip his toes deeper into the dance world, he decided to apply for a college dance scholarship. That decision got him a full ride to Drexel University, where he studied finance while casually balancing a job as a barista and traveling by bus from Philadelphia to NYC for dance classes. "I started by looking for Matt Steffanina's classes because I used to watch his videos all the time back in India," Joshi says.

His dance style began to evolve when he started training more heavily in hip hop, and receiving mentorship from Dinita "Queen Dinita" Clark and Kyle "JustSole" Clark, who helped him tap into even more foundational styles, like popping, house and Afro.

But Joshi's journey as a South Asian in the U.S. still came with a lot of pressure. This was the first time anyone from his family had been to the U.S. "Fortunately, I was able to get past the culture shock, make some friends, and have dance as my source of support," he says.

A Sequence of Epiphanies

As his passion and hunger for dance continued to grow, Joshi not only got recruited as a team member for Creative Reaction, he got the opportunity to choreograph for the company. "I think that's the best decision I ever made," he says. That's because, beyond the success they experienced as a team onstage, they were a constant source of encouragement for Joshi offstage. "When I came to the U.S., I wanted to fit in," he says. But his teammates helped him realize "there's nothing wrong with me or my voice. That's what makes me me, and I've got to own it."

Shortly after graduating, Joshi landed a job as a financial analyst, and it gave him a glimpse of the work life he didn't want. "I'd find myself taking bathroom dance breaks," he says. Things definitely got a little weird when the CEO would enter to find Joshi dancing full-out in front of an audience of stalls.

"Every time I'd go back to my desk, I was reminded that I wasn't made for this. I'm supposed to dance," he says. That's when Joshi quit his finance job and created his own dance business.

From Playing the Game to Changing the Game

Much like his start in dance, Joshi's approach to choreography today is, well...unpredictable. "All these years, I kept listening to Bollywood music, but never really thought to choreograph to it," he says. "I kept using all the popular 'Hollywood' songs."

Having more time to reflect during the pandemic, Joshi thought about the dance connections he's made in the U.S. in comparison to his lack of connections to the dance community within his home country. This imbalance didn't feel right to him, so he took action by connecting with the dancers he knew—both here and back home—and saying "Let's choreograph to a bunch of Bollywood music!"

"What I'm trying to do now is put all of my hip-hop dance training to Bollywood music," Joshi says. Although uncommon, this style of dance paired with this genre of music creates a surprisingly refreshing dance experience. Now, whenever given the opportunity to choreograph, Joshi will pick a Bollywood song over anything else.

Stomping on Stereotypes

Embarking on his dance journey, Joshi did a lot of research looking for role models in dance who looked like him, but the results were scarce. "I'm definitely inspired by so many dancers, but I would love it if there were more South Asian representation in the dance industry."

To add to the lack of representation, some of his early audition experiences—like dealing with choreographers making stereotypical remarks after he'd already been cut—left him feeling like he'd been placed in a "Bollywood box," in which everyone assumed he wasn't capable of dancing any other styles.

"Whatever I'm doing now, it's to get past that, and let my skills speak for themselves," Joshi says. "And if I can't find representation, I'm gonna give them representation."

Now, he's doing just that: Making history as the first South Asian to teach at Snowglobe Perspective and the TMilly TV Studio, and giving dancers a class experience they've never had before.

A Bright Future for South Asian Dancers

Having taught countless workshops and mentored dancers from India, Joshi is naturally pushing South Asian dancers and Indian culture to the forefront of the dance industry—all while becoming the role model he wishes he had on his journey.

Serving as inspiration for so many back home—and having accomplished so many firsts—Joshi certainly won't be the last South Asian of Indian descent to banish stereotypes in such a unique way.

"I intend to continue mentoring and opening doors for Indian dancers, and I know for a fact that, in the future, there will be higher numbers of South Asians represented within the dance field."

from Dance Spirit https://ift.tt/3hd7M8W

[sweetwriting]

Tim Drake Positivity Week -Day 4: Funny or Serious

Category: Gen

Genre: Humor/Fluff/Angst/Family

Fandoms: DC Comics, Batverse, Superverse

Continuity : Post-Crisis/Pre-Flashpoint referenced. Rebirth

Summary: Family is a tricky matter in those parts and it's especially true for people who were gone from the world for so long. (featuring Jon, Clark and Conner)

Word Count: 4 979

AN: I'm very late because while this piece has been finished for like a month, I didn't have time to write it on my computer so its posting has been delayed and I apologize (I was already late because it got away from me and started getting long. I had to cut some parts).  

This is part of my own version of Tim Drake's come back in the DC Rebirth Plot which I've been working on and planning for, for about a year and a half now. Since I kind of loath Tynion's take on his character...I mean people talk about Lobdell but Tynion worsened everything like 100 times and at least Lobdell admitted to his fault when he created his first Origin Story by saying it wasn't Tim Drake... they literally had everything on a silver platter and they decided to throw it out. It's ridiculous I'm telling you. I still haven't read A Lonely Place of Living, I'm waiting until next Thursday to read it all at once partially because Tynion's writing feels so bland -mostly bc his notion of character development is using timeskips and because he's told a fan he considered Rebirth!Tim to be the same as preboot!Tim and it scared me more than anything because he's exactly the same as N52!Tim- partially because I didn't want to have to wait for a story I had 99% chances of disliking because of the issues I mentioned in the tags and here (or as Shawn Spencer said in Psych, "Just 'cause you put syrup on somethin', don't make it pancakes").

ANYWAY, this happens during my AU which I promise I will start posting some time in November. It kind of gives away a part of it but at the same time, it's something that's so obvious it's not really given away (especially if you've read some of my Tumblr posts). The point of the other fic being "how does it get to this point?".

To read it on AO3

Finally! It was time. Jon had been waiting for this for months (well three months). Which was when Kon-El/Conner had come back to the land of livings...or Earth. True he hadn’t been thrilled to learn about Jon’s existence at first -more the opposite actually- apparently because he and his dad had had issues? And Jon being the new Superboy or something. On top of which there had been the Tim Drake and Bart Allen cases to deal with which prevent any of the older Super’s issues to be solved. But Conner had warmed up to him and now Jon was allowed to spend his Week-End at his place. In Ca.li.for.nia!

Now Jon had gotten used to Metropolis (his self from three months ago would have killed him for it) but the sun of Metropolis wasn’t as agreeable as the one of their old town? And definitely not as nice as the one in California!

He was also finally going to really meet Damian’s “lost” brother whom he had nicknamed the “real” Tim Drake (not to be mean to the other Tim but Witness Protection program and all that Jazz made it his fake name).

So Jon was really excited. His dad was coming down the stairs now, so he could fly him over (Jon still had trouble controlling his power of flight). Jon had just kissed his mom goodbye and was literally jumping to the ceiling in excitement.

“Conner, if you keep pacing like this you’re going to leave a trail on the ground.” Conner stopped. He turned to his right to look at Tim who was reading something on his tablet, comfortably settled on the couch, lounging in jeans and T-shirt, a look Conner was still trying to get used to. Not that Tim had never worn those before, it simply hadn’t been a common sight. He tried to glare at him but the panicked look in his eyes and seemingly emanating from every pore of his skin made him look more like a scared puppy than anything else.

“You don’t get it Tim. You didn’t completely mess up with your younger brother!”

Tim looked up from his Tablet, stared at Conner for a few seconds while raising his eyebrows. It was quite obviously meant to be taken as a “seriously?” and When had Tim learned to do that? And from who? Okay, that question was easily answered. It was probably Alfred.

“I meant as a first meeting! You tried to welcome Damian while I basically just had a small fit like a spoiled brat.”

Great. He was pouting now. Tim sighed and put his tablet on the coffee table next to him. Conner sighed as well and went to sit on it so he could face Tim.

“Look I understand you’re stressed out but it’s quite clear that the kid is ready to forgive you…Plus you had extenuating circumstances…you know with the “mixed memories” and the “having just woken up in a tube” things. And you’re great with kids. Remember Traya, she could make you do anything just by looking at you? You’ll be awkward at first and then you two will be planning my doom”. He paused, seemingly deep in thoughts. “Now that I think about it, I should probably be the one to worry. I mean your little brother or nephew or cousin or whatever is friends with Damian.”

Conner snorted and looked at Tim, now a lot calmer.

“Please. I’m pretty sure you’d be able to tell if he was planning something, he’s not very sneaky”. He paused, breathing deeply. ”Okay, I’m feeling a little better now. Thanks, Wonder Boy.”

He clapped him on the knee as Tim started to smile at him. Both started when the doorbell rang and Tim saw Conner stiffen. Seeing as the meta was starting to panic again, Tim got up first, quickly followed by Conner, and answered the door. He couldn’t help the smile that grew on his face as he saw the new Superboy bouncing on the ball of his feet. He would have smiled anyway (he wasn’t the social butterfly of the Batfam for no reason after all) but at least now it was completely genuine.

“Hey, Clark, Jon, welcome.”

Jon beamed up at him and bit his lower lip as Clark had settled his hands on his shoulders, probably to prevent his son from accidentally showing his powers to their neighbors. Tim moved to his right so they could come in, closed the door and turned to see Conner awkwardly trying to start a conversation. Jon looked at them, in boredom or disbelief, Tim wasn’t sure. So he walked toward him, leaving both “older” Kryptonians (and damn, Conner was younger than his younger brother) trying to avoid the elephant in the room as he addressed Jon.

“Hey, do you want me to show you your room while these two shuffle awkwardly?”

Jon looked at him with pure relief in his eyes and replied with said relief seeping through his words.

“Yes please” He paused “Wait.” He looked between Conner and Tim “I get my own room?”

Conner, who had been glaring at Tim along with Clark, nodded at slowly, taken aback by the kid’s excitement but a smile started to grow because of it. He was definitely a cute kid. Now the point of this Week-End was to find the personality hidden underneath all the cuteness and see if they had a chance of getting along even outside of the vigilante field. Tim had been right when he had told him, a few days after being back, that Conner needed a family outside of the Teen Titans. Something more stable that didn’t rely on a roster and Tim himself was looking for his own place within the Bats or…How had he said it again? “I’d help you by lending you mine but I’m not sure what it entails right now”. And of course they had each other but Conner was sure Tim meant “aside from each other”. He used to have Ma (and Pa for a short time) but he was barely starting acclimating to them when he died and he had finally (relatively) gotten used to it, having a stable family life when those world-changing event happened. There had been that first year in Hawaï with Roxy, Tana, Dubbilex and Rex but “stable” wasn’t the word he’d use to describe that time (still the closest he had for about two years)…And well he did miss Clark and Steel (and Kara and Matrix but…). And Okay, he had never really thought about having siblings. He already had Roxy and Bart and the kids from Cadmus but the idea was appealing even if, technically, Jon would be his nephew? What did you call the child of your cousin? Now that he thought about it was his cover still that of Clark’s cousin? Or was he his brother now? His son? No. He was brought back to that first time of awareness in this new world and shuddered so briefly that only Clark had noticed it. The fact that Tim had apparently lead Jon to his room and left them to their own devices while Conner was daydreaming might have helped in that. Clark who was now lifting an eyebrow, demanding an explanation for Conner’s mind’s wandering. Nice to know Clark was still the king of righteousness. Conner sighed and replied to Clark’s silent probing.

“It’s nothing, something just reminded me of the tube I woke up in. Which got me thinking, are we gonna use the same “I’m your cousin" I.D?”

Clark cleared his throat having been clearly hoping he’d be able to avoid the topic or maybe he was just that awkward with him.

“Actually, Lois and I were thinking that since, uh, you’re not 21 yet, and Ma’s not here anymore”, he paused. Both Kents feeling the weight of her loss in their heart, she was much better at dealing with these family matters than either of them. Conner should have stayed with her. He wanted nothing more than to have stayed with her –with Tim while he sorted through his own family matters of course. But she was gone. And he had to get used to that fact. Apparently, all his parental figures had died while he was “asleep” or whatever had happened to him. Clark’s voice broke him out of his thoughts. “We thought we could be your legal guardians with me being your big brother. It’d be a little hard to explain your existence any other way without making up a whole different family tree.” He paused again. He had started to gain a good rhythm but it seemed like it wasn't easy. Clark was more used to forcing his will on Conner (even if he had gotten better at talking to him over time…Clark still wasn’t Ma Kent and the thought almost had him panicking. He tried to control his breath again -his meeting with Parallax and Sinestro not yet forgotten- and continued. Conner’s little frown didn’t help). “I meant that we would have to create a new mother and where you’d have lived before coming to Smallville -you know how thorough Batman can be when he wants to- and I just thought that me becoming my younger brother’s legal guardian after the death of our Mother made more sense. It allows you to stay here and continue your studies, if you want to. But if you need anything you know my home is yours.” Clark stopped. He was starting to mumble. This situation, with Conner, had never been easy. He had barely started to hit his 30’s when Kon had first appeared. He was too young to have a teenage son (it didn’t help that the child in question was born because a creep stole his DNA to experiment on). Now he was hitting his 40’s and Conner had lost so many years, first with his own death then with the last world-altering nonsense (if only it was only those) and he hadn’t caught up, Conner was barely out of his teens and while Clark could now be a father. Their history got in the way and Conner had a confusing enough track record and putting a little “normalcy” and “stability” in his life had been one of his main reasons to have him live with Ma in the first place. And yet, things had gotten so messed up. He looked at the young man in front of him (because at virtually 19 that’s what he was now and if it that didn’t send a wave of regret…-for Conner’s missed childhood? For not helping him like he should have been helped in his first few years? For everything Conner missed while he was forced to not grow up (and there were too many times it had happened in his life)?- then what could?). Conner seemed startled. Clark didn’t know what exactly had startled him but then he grinned and held out his hand for Clark to shake and said:

“Deal.”

Of course, Clark wasn’t naïve enough to think Conner was perfectly okay with this but being given a chance was all he could ask for. And they smiled awkwardly at each other. Damn.

“Hey Tim, what’s the matter with dad and Conner?”

Jon had just finished putting his clothes in the dresser of his room under Tim’s watchful eyes –he felt lucky he had had to deal with Bart for years and learned to watch out for hyperactive-like kids. The question, while expected was not one Tim was keen on answering.

“It’s not really my place to say at this point. Maybe you try asking him tomorrow morning?”

That pout. Damn. Tim could definitely see the family traits. Though Conner’s always seemed a lot less innocent (to be fair he never looked like an 11 years old and he almost always had terrible ideas fueling them). On a side note, what were the chances Jon had listened in on the other two? Tim didn’t know him enough to actually utter a guess.

“Anyway, due to various time issues we weren’t sure what kids your age like but we thought Video Games was kind of a timeless thing and we’ve got tons of them. Cass has been filling our living room with books if it’s more your thing but Conner and I are more comic books people…There’s also my own training gear in my version of the “Batcave” if you want.”

Apparently, those were the right things to say to divert the child’s attention because he seemed ready to start jumping again (it was probably the mention of video games).

“You’ve got video games? Are they old? ‘Cause you’re old, you’re even older than Conner and you guys haven’t had a lot of time to adjust right?”

Tim felt the urge to cry in protest but had to remind himself of the kid’s age and managed to avoid snapping at him.

“We’ve got all kinds, remember one of us is a speedster so even if Conner and I hadn’t yet, he’s had the time to catch up”

“Cool! By the way, did you mean it when you said I could train in your…what did you call it again? Nest?”

Once again Tim was glad he had had to deal with Bart for a long while otherwise, he’s not sure he could have followed Jon’s babbling. He wondered vaguely if Conner would have acted in a similar way had he been given a chance to be 11. And the bad jokes…Was Superman as bad? He seemed to be from the little times they had interacted and from what Conner had told him (though that one seemed more like unreliable narration).

“I don’t call it anything other than HQ. Conner calls it a nest too though so you can do it.” He paused. “Just please don’t use it outside of this apartment”.

Jon tried to hold in a laugh (and quite obviously failed) before Tim ushered him back downstairs.

“C’mon let’s save those two from an awkwardness overload.”

As Conner closed the door behind his cousin. Wait. Brother. It felt weird. He turned to his best friend and to the kid who apparently was his nephew now.

“So…This is finally over.”

He felt his phone vibrate in his back pocket and he felt his cheeks heat up as he read the message he had just received: “I heard that you know.” Tim and Jon looked at each other questioningly but seemed to decide not to pry (if only because they had already guessed what had happened, Jon himself having been on the receiving hand of his father’s hearing quite a few times). Conner tried to ignore them as he started walking to the kitchen.

“Alright, it’s time to eat!”

Tim’s deadpan voice came from where he and Jon and stayed, making him stop in his track:

“Conner it’s barely 6. How about we spend some downtime together”

Conner’s cheeks turned pink. in his hurry to forget what had happened with Clark he had forgotten pretty much everything else that was going on. He took a sudden turn to the right, toward the living room as he exclaimed:

“Video Games it is.”

Tim sighed and mumbled something about how it was lucky Jon was part of a video games generation and they had already decided it was going to be their next activity or the night would have started badly.

“Right, turn on the Switch, we still have the last sonic game to play and it’s ideal when we have guests”.

Tim snorted as he approached his best friend who had paused in the doorway, patting him on the back as he took his wrist to lead him toward the various video game stations they had. He turned to John.

“C’mon, want to help me destroy his sorry ass?”

“Tim! Don’t talk like that! Clark’s never gonna forgive me if we talk that way in front of his kid!”

Conner was starting to panic, and Tim felt sorry for him. That he was so stressed out about something as simple as…What was wrong exactly with what he had said? He looked at Conner Questioningly.

“You realize you’re not supposed to use words like “ass” in front of a kid, right?”

Tim’s eyes turned slightly vacant. He had, in fact, not known that.

“Oh.”

He turned toward Jon who, annoyed, was grumbling about not being a kid.

“Sorry Jon, I had no idea Conner had become a proper adult. You shall now only refer to him for adult matters. He’s the responsible one”.

Tim had left Conner’s side to set up the console with Jon while his friend was still shell-shocked. Conner was fuming, and he started to raise his arms in frustration.

“It’s not funny Tim! You know how much is riding on this!”

Tim stopped for a second and signed for Jon to keep taking out the console. He got up and walked toward Conner setting his hands gently on his right shoulder and forearm so Conner would drop his arms. He did, forcing Tim to drop his hands and turned to face Tim whose left hand had replaced his right one on Conner’s right shoulder as the other settled on the left side of his neck, hoping he could get his best friend to look him in the eye so he could try to ground him and avoid what he knew was going to turn into a sour mood.

“Hey, it’s okay Conner. Jon’s 11 so I doubt he’s never heard the word before that and he probably knows not to use this kind of language in front of his parents. And you’re stressing yourself too much this is just a mise-en-bouche.”

He stopped for a second, making sure Conner was looking into his eyes “But I promise I’ll make an effort” He patted his friend’s neck and put his hands back to his side and started to walk back toward the consoles. “C’mon let’s get defeated by your brother…Nephew...whichever.”

Conner caught up to him in a few tranquil strokes (being taller than Tim had its advantages and reminding him of the fact was one of them).

“Apparently, it’s Nephew, I’m Clark’s little brother now. Also you might get defeated but that’s because you su- I mean you’re awful at those kinds of Video Games.”

Tim was smiling. He knew it. He may not have been able to see it but he could feel Tim’s wry smile. It was there. Because not two minutes ago he had been pani- no he had been lecturing Tim about his language and he almost had a slip up himself. But Tim seemed to feel magnanimous enough not to mention it…yet.

They had been playing for about an hour and Jon had, in fact, kicked their asses. Conner would probably feel less sulky if Tim hadn’t gotten the best of him too.

He was starting to pout (glare. He was glaring at them) when Tim interrupted the game to say they should prepare their snacks-dinner and to join him once he was done taking the ingredients out. Conner wondered what it could be since they didn’t have much more than pasta ingredients and it wasn’t really “snack-dinner” worthy…Unless…Nah Tim wouldn’t show this side of them to a new guest…Would he?

Anyway, Tim had been in the middle of the couch, between the two Supers and feeling him slip away had Conner almost latching onto his arm and beg him to stay with them when the older teen threw him a look that meant “He’s here so you guys could bond, I’ve been playing the mediator for the past hour and a half, it’s time to deal with your shit”. Okay, so maybe Conner was reading a little more into this and the look just meant “grow a pair”, or “grow up”. The point of the message was still the same.

And damn, it was probably gonna be awkward. What if it was as awkward as when he talked to Clark but this time he would be in Clark’s shoes? This is a terrible ending. What if…

“Tim’s really cool! You’re lucky he was your Robin. I have to deal with Damian. I mean, we get along better (way better) than we did months ago but he’s still a pain. Tim was probably a thousand time more fun to deal with! I mean he’s already much more fun to deal with than most of the other bats even if he’s old.”

Conner looked at the new Superboy, mouth slightly open at having been interrupted in his internal freakout. He couldn’t help but laugh, both at Jon’s conclusion and in relief, startling the kid.

“Oh, Believe me, Tim wasn’t fun or even funny back then. Well…He still isn’t funny. His jokes are awful. He was our leader you know, so he felt responsible for our lives. Plus back then there was the secret identity issue. It frustrated me a lot. Back then we…We didn’t get along actually. In a different way from you and Damian because we wanted to be friends but the circumstances got in the way and pushed us apart. It was quite complicated if I’m being honest. Way more than I realized back then”.

He paused looking at his hands. He had loved that time; when they were all pretty innocent even if some of the most tragic moments of their lives happened during that very period of time : Tana’s death, Guardian’s, Gotham turning into a No Man’s Land, Bruce being accused of murder and going awry, the first time the gap between Tim and Steph really made itself known, Cissie almost killing someone, one of Bart’s clones dying…Apokolips in general…, among others. He really missed the innocence they had before all those events started accumulating. On the other hand, and he knew it was selfish of him considering all the hurt that was needed to get there and how much it caused afterwards, he wouldn’t give up the depth it had given to his and Tim’s friendship for anything in the world, with maybe the exception of Tim having a happy life. He looked up at the kid beside him, hoping he wouldn’t have to go through half as much as he did (but he had Clark and Lois and there was a better support system for young Heroes so he was already off to a better start than Kon had been, and he’d make sure to help keep it that way). He had to take a deep breath as nostalgia took hold of his heart. Because despite everything he had just thought, he wished the evolution of his and Tim’s relationship hadn’t happened at the expense of their innocence and he felt terrible at being responsible for such a big part of Tim’s own. Whether during the war or when he died. He was brought back to reality by Jon hovering next to his arm, looking slightly worried. Conner tried to recompose himself as he continued:

“What I mean is that we had to go through many trials for Tim –and the rest of us really- to learn, and re-learn to have fun and stop being so serious all the time. Now that Tim’s not needed in Gotham, he’s free to be more…at ease I guess…That and he’s trying to make us more...content I guess, so we would have less of a chance to end up like his family.”

He watched Jon grimace and mutter a small “yeah no kidding” and he winked at the kid. He was starting to truly like him. But he felt it was time to join Tim, after all –and despite what Tim himself might think- he needed to bond with Jon almost as much as Conner did.

They both got up as Conner ushered the young hero toward the kitchen which they found filled with recipients and when Conner started smelling it, all he could do was stop abruptly and say:

“Wait a second. Cheese? Potatoes. More cheese?” He paused, his voice going lower as if he had found the answer to the universe because he realized Tim had actually decided on what he had hoped they would be eating. “A deep fryer.”

He shared a look with Tim who smiled at him and they both exclaimed at the same time:

“Cuatro Quesos Dos Fritos!”

Jon started, surprised at their exclamation, staring at them as if they were aliens. Okay, wrong choice of word. Not alien, but something he hadn’t expected. Wondering if they weren’t lunatics –or if they really were adults. He asked in a small voice:

“What’s Quatro Quesos Dos Fritos?”

Tim seemed to remember they had a novice in the delicious art of cheesy food with them and started explaining as he got close to the oven.

“Only the most delicious snack of all time. It’s potatoes filled with a cheese mixture. And when they’re finished, they look a little something like this.”

While he had been distracting both Supers with his little explanation, Tim had taken a plate from within the oven and showed it to them. Conner looked at him, half amazed, half laughing.

“Dude, how did you just fabricate Cuatro Quesos Dos Fritos out of thin air?”

Tim smiled as Jon looked like a fish out of water. Luckily Conner had decided to humor him in his little game.

“C’mon Conner this is how all successful TV chefs do it.” He turned to Jon, his smile threatening to break his face as he took in Jon’s amazed look. “Try one of those, kid, because here’s the best part, they’re very healthy for us."

Jon snorted as he tried one of the Cuatro Quesos dos Fritos then stopped as he was hit by the amazing flavor of the treat, ready to complain to his father for hiding such marvelous food from him all his life. Conner, for his part, rolled his eyes and chose to focus on the delicious taste of the potatoes as he replied:

“I don’t even care that’s not true”

Tim looked affronted as if Conner had said the worse possible thing.

“Are you kidding? All major cheese groups are represented, you’ve got yellow, orange and white!”

Jon grinned as the two almost adults started arguing on the benefits of cheese.

They spent their night making Cuatro Quesos Dos Fritos and playing video Games. Jon complained about Damian (fully supported by Tim) and talked about his adventures in Super Hero-ing while Conner traded him for some of his own. Mostly those back in Hawai (no need for the kid to know about those times he was left to his own device or his Luthor Paranoia) with Roxy, Tana, Dubbilex, Rex and Sam. And while his heart squeezed when he thought about them (Dubbilex was dead and there was nothing he could do about it), they remained at the back of his thoughts. He was starting to truly move on from that part of his life and the various circumstances that had caused him so much grief. He was happy. His relationship with Jon was merely in its early stages, they were merely acquaintances at this point, but he could actually say “early” and believe there would be a follow-up.

He was happily settled against Tim, sharing his family with him because that’s how far they had gotten and he now had a nephew who looked up to him and it both scared him and left him elated (it almost reminded him of Bart when he was Impulse but he had known Kon’s issues better than Jon did and was much less star struck by him).

The best part though was that they were here making jokes and smiling and being happy without thinking about what could go wrong and, really, he couldn’t think of anything he would want more at this point (except having Bart and even Cassie with them).

Bonus:

“Can you believe it Robin? They had so many video games it was amazing! And Cuatro Quesos Dos Fritos had to be made in heaven, it’s hard to believe they exist!”

It was Sunday night and Jon and Damian had gone out for “Patrol” as Damian called it, and Jon had started rambling about his week-end in California the second Damian showed up. He snorted. His relationship with this Drake was more vitriolic than with the other one. Some details were confusing. The merging of the worlds meant that some things didn’t make complete sense as their different sets of memories adjusted to each other and some were just lost. In any case, it didn’t mean he had to be happy to hear about Drake’s “amazingness”.

“I’ve got to say though, I didn’t know what to expect when I got there but they’re so cool. Conner’s so lucky to have a boyfriend as cool as Tim!” He paused. “Wait, does that mean that we’re…kinda officially a family and…”

“They’re not dating”.

The voice cut right through Jon’s monologue like a cold shower would a heat streak gotten on a beach near Ajaccio. Jon was dumbstruck.

“What?”

Damian tried to level his eyes with Jon.

“I said that they’re not dating. As in they’re not together, not in a relationship”

Jon froze and Damian started waving his right hand in front of the younger boy’s eyes until he started blinking again. It was as if his stress levels had risen all at once and so had the pitch of his voice.

“How the hell is that possible ! ? “

Jon was now reviewing his whole Week-End, completely lost and looked at Damian when the boy, coming out of his own shock at Jon’s vocabulary, cleared his throat, trying to regain his snark.

“Now do you understand why I call Drake an idiot?”

AEN: First thing firsts, Conner actually knows what happened to him he just doesn’t want to think about it more than he has to. It was also a fairly important plot point in the real fic so when I thought about it later on I was fairly relieved :p

2nd, in my mind, Tim is about 6-10 months older than Conner. Because Conner was 16 for like a year and a half but when he started aging Tim was 15. So he died when he was 17 and Tim had turned 16 like 3 months before (Tim’s 16th Birthday issue happened around the beginning of Teen Titans). Then Kon was dead for a year and a half going on two years, Tim was 17 almost 18 at the end of Red Robin (we know that if N52 hadn’t happened we would have an issue about Tim’s 18th Birthday fairly soon after) so he was about 17 and a half (probably a little more) when Conner came back to life. Hence Tim being between 6 and 10 months older than Conner.

3. they need hugs. They all do.

4.  the Cuatro Quesos Dos Fritos was shamelessly stolen from the Psych Slumber Party bit on USA today for a Psych Marathon a few years ago. Because Half the time I see Shawn and Gus I can't help but think of Tim and Kon (except I reverse the roles often). I just slightly modified it to fit the story. (but seriously if you haven't, go watch the first four seasons of Psych).

[ratherhavetheblues]

INGMAR BERGMAN’S ‘THE PASSION OF ANNA’ “Real security…Security…”

© 2019 by James Clark

     Why do the films of Ingmar Bergman concentrate upon difficulties so few people care about? Some might rush to claim that his genius was all over the most pressing dilemmas of modern life. But although the works do touch upon well-known malaise, what, I think, he was driven to show has never been a serious concern for very many.

Though I recently claimed that all three of the films in the “Island Trilogy,” comprising, Hour of the Wolf, Shame, and The Passion of Anna, could appear with no damage being caused in released or viewing at any order, there is about the third entry, namely, The Passion of Anna (1969), which does go significantly even further into the savagery of cultural venom than the other two. There, Bergman’s dramatic depth finds a hitherto hidden dimension of perversity to imbue us with an added weight going forward. And as we unravel this difficult construction, let’s face the facts about how many viewers are apt to find it compelling; and, therefore, what comportment is valid for these few and besieged seers who do find it riveting.

Andreas Winkelman (“winkel,” denoting a “corner” or “being enclosed by woods”) is a protagonist who, when we first encounter him in the opening scene, we could say that his name is very suitable. He lives in a farm setting, with neither crops nor salient livestock. (A few sheep is all we glimpse.) A voice-over gives his name, and his age, 48. Also, we hear, “He has lived alone for a while in this house on an island out at sea. His roof has been in bad repair for a long time.” (The metaphorical involvement here should not be ignored, particularly as a matter of invasion is about to spring forth.) We find him on that roof, with slate and mortar, clearly not being a gifted roofer. His face is contorted; and then another demand brightens his day. The winter sky delivers to his unsteady perch a sun comprising the fireball, but also a complementary flare involving a small cloud of rose and grey hue. We never again see him appreciating such a mystical moment. But we’ll have myriad opportunities to understand that Andreas, though a middling construction worker, is a devotee of the uncanny—unlike the easily distracted musician couple in Shame and the painter in Hour of the Wolf.

During the patchwork, there is a moment when Andreas uses a hammer to drive nails into the new material. This action is seen in extreme close-up, with the glint of the hammerhead catching the sun as the speeding thrust takes aim. Though he had set off, there, a topspin of some promise, the power-in-waiting did not catch fire. During the opening credits, faint chimes come to us; but they don’t do anything for him or us. On closing down for the time being, there are sheep bells, and he allows the pail of grout to slide down the precipice as he backs down his ladder. The contents spill over the building and on to the barnyard. He picks up the fallen pail, only to have it fall again. Right here, so early in the crisis that it seems a comedy—perhaps a tragicomedy in the spirit of playwright, Samuel Beckett—we are given to understand that Andreas is something of a bust as an acrobat. However, he’s far more adept in caring about an elderly neighbor, Johan (a sign of being a juggler of some skill, the second power of dynamics as revealed in the crucial Bergman film, The Seventh Seal [1957]), whom he catches up with moving a heavy pushcart. Andreas offers a bottle of cough syrup for his spate of bronchitis. (Once again, with Johan bending over, almost touching the ground with his head to resume, there is the grotesquerie of Beckett bemusement.)

On the other hand, as we proceed to the interior of Andreas’ modest home, one feature lifts our heart. Several stained-glass panels and windows grace the otherwise unremarkable house. The surfaces radiate modernist uncanniness, like diffident lighthouses. Where have they come from? And with this question we are thrust into the perplexing cadence of the proceedings of this film. There do appear, later on, references to a long-gone wife having left her pottery studio at a building nearby the main structure. But we’ll need to reconsider that idea. None of the several visitors in play there give the magic the time of day. But they are far from his sensibility. Dangerously far. And Andreas is not only the craftsman of those crafts, but his is a life of such solitude that, with the exception of farmers like Johan, he has for years instinctively (perhaps rather carelessly) kept a distance from mainstream, bourgeois cravings for advantage.

   What, by another of those unspoken twists, could have breached his hideaway and his practices—an intruder aghast with such a difference? Not long after the wobbly climb to the top, a woman with a pronounced limp (which, twist-again, isn’t a serious injury at all) comes by to ask if she could use his phone—this being an era when phones had not yet become a test of being alright. While Andreas stands beside one of his non-representational reflections, she gets on the phone (a stage phone going nowhere, which suits here) and rattles through a hissy fit regarding monies, which we soon see she doesn’t need at all. In addition to being what he’ll later call her a “bad actor”—using her supposed (physical) cripplement to be a non-suspect—she’ll proceed to torture and kill many of the (disinterested) animals in the region, butchering a flock of sheep and locking and burning down a barn of horses and cattle. This is not, despite the various smokescreens, a whodunnit. This is a whydonnit. (And it raises—at a new level—the fascism disclosed in Hour of the Wolf.)

   During the fake phone call, she mentions, “This is not an ordinary transaction.” As if to emphasize that point, she leaves behind her purse, the sole item within being a well-worn, type-face letter from her husband [whom she’d murdered], demanding a divorce. (Beyond the characteristic elusiveness here, we can clearly recall the note from temptress, Veronica, in Hour of the Wolf, seeming to be imparting a friendly bit of gossip when in fact a warning that unless the receiver mends his [unorthodox] ways death will occur. How’s that for announcing herself as a doctrinaire scourge, imagining to be a tower of power, when the opposite is in effect?) All this goes over the head of the talented but socially naïve islander. The widow lives with a wealthy couple on the mainland (he having been a college friend of the deceased), and in fact the latter using the near-castle for the fateful week-end break, and its “car accident,” close to where Andreas lives and where she had done some research on the subject of bohemians and remote areas to kill that troublesome husband, also called Andreas, and their young son, complicating her ardent priorities. (On another occasion, the remaining Andreas comes upon Anna sleeping in her car, not far from the home of the supposed iconoclast and in the mold of a safari apropos an exotic beast needing extinction. When he wakes her to be sure she’s as OK as she could be, she claims that she doesn’t sleep at night, and so needs such naps.) Her bivouac involves the dead husband’s college friend, Elis [as in Elite], cynical and nihilistic and a bankable architect, with a wife who can’t believe that bulging bookshelves, like those of the prey, could ever be more than décor.

Anna prevails upon her hosts to bring Andreas to dinner. (You’ll remember the more than rigorous “simple family supper,” in Hour of the Wolf.) And here, at last, this murderer’s row gets to show what they’ve got.

   Along with the variable investigations of bourgeois presumptuousness, we have a very different self-exposure of Andreas’ being far more congenial in that arena than he should be. An ironist voice-over opens floodgates in terms of, “Without knowing why, he accepts and dresses up. The atmosphere is sincere, friendly and open-hearted. He feels a sudden affection for these people.” “You all look so nice,” he shouldn’t have said. “I’m not used to this. I’m not a hermit, as Elis says. I enjoy meeting new people… I only see the old neighbors…” (As often for Bergman, ironic features of the surround tend to comment silently upon how a protagonist is doing. Andreas, in close-up at the dinner table, is situated between a gold light at each side, and back a bit. Once again, the absence of a third synthesis aspect, portents something ominous.) He laughs easily at Eva’s generous remark, “It’s great having you here. Hope you don’t get tired of us.”

Elis, cutting off the saccharine, engenders some hard facts—recalling, in form, if not substance, the shift to assault at the dinner party of Hour of the Wolf. (Eva, perhaps far into the wine, had begun to talk about God.) “When I was girl, I thought God had a beard…” Anna, who was the inspiration of this night, and finding Andreas trite and passive, turns to her hostess for controversy where she already knows there will be no delinquency to speak of. (“Do you believe in God now?” Anna asks Eva, “Do I believe in God, Elis?”) Elis, a corporate panzer, delivers some carpet bombing for the sake of showing off to the stranger his version of fundamental ontology, or being. “When I go to Milan to create a cultural centre, I want you to come and visit. It’s a very interesting city. A huge city full of incredibly ugly, common, repulsive people… They will be given the opportunity of cultural activity…” In this early moment of the dinner, Anna had been completely offscreen; but the pronounced absence of sweetness and light puts her into a militant mood, and we await her bursting onto the scene. “How can you despise your work?” He, fluent with paradox, replies, “I don’t. I find it exceptionally important—I can satisfy your needs [both Eva’s and Anna’s] … especially the financial ones…” That doesn’t faze the semi-permanent lodger. “Why did you take this job?” Elis, drawing upon zeal while undermining it, argues, “I like designing houses. I’m a distinguished architect. I was flattered by the offer…” (Unlike the poverty-stricken, exhausted adversaries of world-history in the plays of Beckett, Elis siphons off the spiritual nourishment of his métier while sabotaging its functional development. Coherence, he well understands, being more trouble than he has the guts to sustain, he can play the easily liked and, as nearly everyone, respected mediocrity, while furtively sampling remarkable hors d’oeuvres on the run.) Anna perseveres, “What does a cultural centre involve?” The distinguished architect facetiously reports, “It’s a mausoleum over the utter meaninglessness which our kind of people live…” Only now does she appear onscreen, livid and pugnacious: “Why do you make fun of it? Why do you build it, without believing it? What’s the purpose?” (Could Anna’s passion include a sense of failure?)

   After Eva’s ramblings and Elis’ provocation, there was the moment for Anna to show something better. Once again, Bergman’s theatrical dialogue, by which to penetrate the depths of this drama, is a most potent engagement for viewers ready to open floodgates. Elis’ last word here was to argue that unloved structures do, at least, stave off idleness. Anna, seeing a slam-dunk in the making, sneers, “Idle? I do what I believe in.” (This would not be the first clash with the host, who, for all her umbrage, clearly recognizes Elis as upholding a venerable, though essentially squalid, way of life. It is the tongue-tied real troublemaker at the table she sees needing a treatment, and provides her apologia therewith.) “I try to live in the truth…” She’s seated in such a way that two stylized chess figures at the back of her chair contribute to the general irony. (The figures seem to represent a bishop and a queen.) Elis, having reached this point often before, asks, “How do you know what is right?” And away we go, she declares, “You know inside what is true and what is right. We fail sometimes, but I want to strive for spiritual perfection.” Trusting profound emotion could have merit in this matter. But, without an extensive investigation the possibilities of errancy are huge. “Do you fail often?” the wag persists. This finds her flustered, not knowing how to strike a cogent tone. (Failing often, might not be something to be ashamed of, in the murky, problematic ventures of striking alliances with others and hanging on to one’s far from easy equilibrium.) Only one golden light shows behind here. Eventually going on, she declares, “I haven’t failed in what has been most important to me—living together with my husband, Andreas. Do you know why I didn’t fail? Because we lived in harmony by being truthful.” (The Andreas still alive, and listening to this massive deception, unaware, says nothing. But the embarrassment all round is in the air.) “We were honest. We believed in each other. If I had the same attitude toward my marriage [only one gold light to be seen] as you have toward your cultural centre, I wouldn’t have any beautiful memories. I wouldn’t believe in anything…” [the pull to Beckett]. Here, a cut to the magnified, mangled marriage, in the form of Anna’s husband’s letter telling her, in a zig-zag frenzy, “… because I know we’ll run into new problems which will result in a nervous breakdown and psychological and physical violence.” This disclosure comes with a tick-tock aural insistence, as if the passage of time and the reality of death reach into her fear, her cowardice, her phoniness and her murderousness toward earthy creatures whose disinterestedness put her to shame. There is a cut back to the four at the table, Andreas talking to Eva, and Anna watching him, another, less effective, but wild creature to attack. Eva invites him to stay the night, and he does. He’s wakened by Anna’s nightmare and her harsh yelling out, “Andreas!”

   Next morning, Elis shows Andreas around the domaine. On arrival he had been struck by the large system of ancient stone walls, recalling a World War I battlefield. Now, he’s brought to a fine windmill which the cosmopolitan has revamped to a dazzling museum containing his voluminous photo collection from works around the globe, and his own accomplished productions. (The windmill action in Bergman’s, Smiles of a Summer Night [1955], would be a far less neurotic affair.) Andreas can only say, “It’s beautiful!” But his recommendation as a craftsman, despite technical carelessness, carries some weight, just as Elis—freed from swatting Anna—opens as much of his heart as he dares. “We have some privacy here.” However, instead of addressing the passion in his midst—so different from that of the serial killer he has been too obtuse to recognize—he turns to the noisy night and explains it as Anna’s (“accident”). That elicits from Andreas, “I understand,” which is more than a small error; but he has had a look at that letter and seems he’s trying to forget it. Thereby he dovetails, in an odd way, with Johan, the careless painter, in Hour of the Wolf.

When finally touching upon the concern for photography, Elis emphasizes that his output is “always about people” [a premium upon the powers of human presence]. The display and lecture, regarding a dynamic being somewhat imprisoned by the still camera— “Once I collected only pictures of violent acts…”—coincides with a classical sculpture, on several occasions and angles, eclipsing Andreas. Typically, the host wraps up the study with, “An irrational classification, just as meaningless as the collection itself.” Before leaving, the divided man asks the other divided man if he can take some pictures of him. “I would be flattered,” Andreas says. “I have all the time in the world.” Elis, going from bad to worse, initiates some hard-core drinking and tells the farmer that for a year Eva was the mistress of the dead Andreas. “He was a disaster for Anna…What was I going to say? Oh, yes, I want to tell you that Eva has extraordinary mental stamina…”

   I want to tell you that the only one in sight here with extraordinary mental stamina is Johan. After wending his wobbly way home, Andreas, unaccustomed to expensive and beautiful wines and spirits (and feeling foolish when being forced to intensely understand what he approaches rather lazily), tries to prime the pump with Gordon’s Dry Gin. All he accomplishes is falling on the floor, trying to ride his bike with no success and staggering into the woods where he passes out at the base of a pine tree, after feeling sorry for himself that no agency arrives from the skies. This rather drastic lacuna is visible to the push-cart neighbor, who howls like a loyal hound. “Winkelman! Do you hear what I’m saying?” He shakes Andreas, gets pushed away—more Beckett—and tells him, “Get up! You can’t sit here. Do you want me to kick you?” Johan does manage to drag the younger man to his cart, where the latter flops back to be carried home. The neighbor makes coffee, Andreas falls on the floor, and his affectionate dog—which Anna tried to strangle with a noose—joins Johan as a breath of sanity. With Elis off to Milan, Eva comes by and extraordinary mental stamina is hard to find. “I’m bored to tears,” she says. “You can always tell me to leave.” Romance could not seriously cover this meeting, with Andreas trying more social climbing (having, in fact, made a meeting of minds with Elis, around the elusiveness of a soft approach to something very demanding). But a few stunning sights and her facility for epigram show that others, with a taste for risk, might catch fire.

On the pretense that Anna could not have joined the diversion at Andreas’ because she had to undergo more surgery (that never happened), her real diversion was to skulk around the laboring district, where she would feel unwelcome to the point of butchering a flock of sheep. The liaison between Andreas and Anna is put in place as an inevitable dribble of domesticity—he in a tepid move to taste “modern life” and Elis’ money; she in an experiment of tempering her pedantic spleen. A voice-over tells us, “Anna and Andreas have been living together for a few months. They are moderately happy, with no arguments or passions to speak of [Close-up of Andreas glaring.]” It is late winter. One day Anna [perhaps the boredom getting to her] starts talking about her marriage. “We lived in perfect harmony. We thought the same thoughts. We understood each other. Do you understand? I know it sounds silly and exaggerated when I tell it, but it’s very hard to describe [another trace of integrity while piling up tons of rubbish?]. How two people can grow so close [the same fantasy of Alma, in Hour of the Wolf]. It sounds so trite, and doesn’t really express what we had together. The boy was an amazing experience for us, and everything about him. I passed my finals and got a teaching job. And Andreas became an associate professor [of some area of science]. We bought a little house out of town and furnished it by degrees. We built something together. I don’t know what to call it. Real security… Security… Everybody thought it was a perfect marriage, but it wasn’t… We had violent fights, but we were never suspicious or cruel to one another. We were completely honest. There wasn’t a vestige of pretense in our relationship… Andreas was unfaithful once [Elis has told us something else]. He came straight to me and told me, and I felt how much he loved me and I forgave him…”

   The desperate phoniness of this account, aligning with the most impoverished taste and craven fear, reaches an apex with the story of the “accident.” Anna shifts from the mawkish unbelievability sheltering her from adult struggle, to a smug, domineering menace. “The worst thing was when he left me. I found out where he was, then he changed his mind and came back to me [perhaps using the boy as a pawn]. And then we were closer than before. We stayed on the island one weekend with our little boy. Eva and Elis loaned us their house. On Sunday, Andreas took a nap after lunch. I wanted to take the car and see the church ruins. I got my way. Andreas asked me to drive [sure he did] as he’d had a couple of drinks [tests on the corpse, were it done, would probably show something else]. I didn’t drive fast at all” [more of the same]. (Her predatory eyes in close-up. Not a whit of sadness.) “We were all in high spirits [she was]. The road was slippery and the car began to skid.” (In Wild Strawberries, the brawl in the car did not result in any deaths.) “Andreas tried to take the wheel… but the car shot off the road [it was supposed to be a slow drive], down into the ditch and smashed through a stone wall and into the trees.” (No sadness in those hard, close-up eyes.) “When I woke up, I saw the wreck of the car… and a man in it [a man in it? You mean a military target] with his throat cut and half his body through the windshield. A boy [a boy?] lay farther away… He had been thrown out of the door, and his head was in a strange position [Would someone who loved the victim have made an issue out of that?]. I remember thinking, ‘What a horrible accident’ [as if she were a passer-by]. I wondered why nobody came to help those poor people [could be she chose a very remote place]. I made my way up the road and began to feel a pain in the side of my leg [having successfully killed her family while coming up roses]. I found myself dragging one foot behind me [as an effective fake leg injury]. Then I saw that I was covered in blood [lots of blood to smear over herself]. It was everywhere. My shin bone poked through my stocking [must buy a new pair of stockings]. They found us a few hours later [with her optics rocking]. I never thought life would be like this [requiring courage and very hard work]. I never thought life would be a daily suffering [no pain, no gain].”

Unlike the fanatics torturing Johan in Hour of the Wolf, there is no explicit religious animus within Anna’s campaign. Her mantra of, “Real Security,” appears to stem far more from a field of femininity, from an ideal of domesticity working on earth and its sentimental consensus. Anna would be positioned in the lunatic fringe, and therefore dovetails with the murderous imperial clique in the German castle and its wolves. But if we can get past her almost total foolishness, a far more formidable and interesting malignancy—somewhat like Elis’ ambiguity—comes to bear. The wry double entendres of her cold heart-to-heart, about the “accident,” are a self-satisfied, personal bitchiness, not a far-seeing program to rule the world.

The frustrating and melancholy denouement runs to absurdity in the style of Beckett. Our challenge comes down to understanding whether the filmic construction buys into the Nobel Prize celebrity’s wit, or whether Bergman—towering over most such prize winners, without the slightest attention—has other fish to fry. Are we to acknowledge the cowardice of Anna, along with the cousins of the Wolf, being paramount? Or will we be shown, in this last phase of the presentation, how a twisted non-entity—in heat about house and home securement—fails miserably to shut down the vectors of love and power?

After the bloodbath of the sheep, Johan, convicted, unfairly, long ago, of abusing his then livestock (wolves always active), becomes the most likely suspect in a small but volatile population. The first moments of the killing of Johan are conveyed by aural narrative from a policeman who rattles off details about the suspect. “He’s been in a mental institution, and that alone is suspicious. He’s totally isolated, never speaks and he has no pets.” (A cut from Elis, the camouflaged student of human nature, provides a homage-cum-mug-shot: “He was quite sociable back then, but got involved in a lawsuit, which he lost. Since then he lives like a hermit.” [The photographer also regarded Andreas as a [likeable] hermit.]) With the now suspect seen struggling with his cart, there are Andreas and Anna giving him a push in mucky terrain. We have, moreover, the supposed invalid showing as much strength as the others. Arriving to Johan’s cabin, he, feeling grateful for the assistance, opens up about his fears which a real friend would attend to. (Neither of the guests is capable of being a real friend.) “They’ll kill me… Because of cruelty to animals. This came through my window. ‘You damn animal killer. We’ll do to you what you did to the animals.’ [A close-up of Anna shows her with minimal discomfort. What would a nesting, effete pedant care for someone like Johan?] Me, cruel to animals?” [Johan adds a strong drink to his coffee. Andreas is nonplussed. He knows he’s got a nutcase in his house; and he can’t make a move.] He says, “Surely something can be done…” Johan, a superior thinker and superior human being, asks, “What?” (A cut to the farmer’s television allows us to ironically extend the sense of casual mayhem. A news program sends our way the execution of a soldier during a war. “What was that?” she asks, as if beyond her ken. Rushing from the kill she is in the midst of effecting, she pretends there is trouble outside. “It might be hurt… I’ll get the flashlight” [to leave an uncomfortable visit].)

Reaching home, there is a wounded bird, which Andreas smashes with a small stone. She had insisted, “You’d better put it out of its misery” [an echo of painter-Johan’s cold-blooded kill, in Hour of the Wolf]. She demonstratively wonders, “Could it have survived?”/ “No. It was too badly injured,” Andreas argues. As usual he has spared dealing with unpleasantness. The complementary, “What?” is both savage and uplifting.

Before the police pay a visit to the house of the forgotten glassworks, to hand over, to its shabby artist-in-residence, Johan’s suicide note to him, there was gabby Anna, as if she cared anything about animals, and her two-cents-worth, “I wonder why the bird was flying alone at night?” (Better to be alone than count on the populace?) Later that night, she has a dream indicating how she might become a heroine of a less bloody statement. Mysteriously, and as such, out of character, there is Anna in a recue boat, like the one Eve, in the Bergman film, Shame (1968), used to escape disaster. Coming to a port—a version of real security—she attempts to ingratiate the locals and finds them all intent on shunning her. A voice-over remarks, “The warning signs are beneath, and they manifest themselves unexpectedly.” She encounters a woman whose son is to be executed. Anna cries out. “Forgive me!” The mother is having nothing of that. Anna screams for attention to her discomfort (screams without sounds). A massive fire with black cloud rips the sky. Back to her default comfort of emotional cleansing, with the recent “relationship” going south, she has a reverie (sparked by the novel she’s translating, rejigging words coming naturally to her) of her adolescence. Her mother, surveying Anna going out to party, with those hard, dead eyes and a sneer, tells her, “You have cancer of the soul… You need an operation and radiation [particularly, in the form of a lift beyond her selfishness] … You have tumors everywhere. You’ll die a terrible death…” A little visit, amidst Johan’s passion, whereby the incurable jumps out at us by the billions. A coda, after that memory, finds Andreas fussing that he might have cancer. What, in fact, he has, is even worse.

An officer prefaces the contents of Johan’s last words with, “We found him today hanged. He had ugly bruises on his head and seemed to have been beaten up.” “Dear Andreas. A few hours ago, some people came by, and they told me I was a criminal and had to be punished. They dragged me by the hair into the yard. Then they beat me with their fists and spat on me. A younger one took a stone and hit me in the head. I was confused and told them I was innocent. They said that if I confessed, they would leave me alone. I said I would confess.[Andreas distraught.] Then they stopped hitting me in the face. They pushed me up against the wall and told me to talk. I said everything they wanted to hear. When I couldn’t think of anymore, they hit me again. One of them stood over me and pissed on my face. I couldn’t cover myself because I was too tired. They kicked me as I was lying there. They stepped on my glasses and I lost my false teeth and I couldn’t find them. I can’t recall what happened next, as I fainted. When I woke up, they’d left in their cars and I walked back inside. I didn’t want to live anymore because I could no longer look anyone in the eye. That’s why I can’t go on living. Dear Andreas, I’m writing this letter because you’ve always been good to me and always wondered how I was doing.”

The latter moments of this scene show Anna onscreen, performing, as usual, a sterile moment. As we now dispense of her and Andreas, with appropriate haste, the problematic of their destruction is eclipsed by the same kind of singularity as Jof, the would-be acrobat, in The Seventh Seal, who also had been repeatedly hit on the head by mob methods, and was far more fortunate in his enemies and also in having a rescuer, an almost resolved, irreverent squire. Having been out of sight from the lawmen, there is now Andreas calling out to her. As with Jan, the late-blooming psychopath in the film, Shame, she has to be found by carefully searching the premises. She’s seated in the studio and claims to be praying for Johan. Though he has the insight and nerve to nail her here— “You’re praying for yourself… Damn lousy acting! Damn acting!”—he lacks what it takes to combat a creature like Anna. (His passive implication in her murderousness being an added paralysis.)

   We hear, by voice-over, that a year passes after Andreas’ gently touches Johan’s hand while he lies dead on his bed. By increment, Andreas becomes more hypochondriac and needing to be “free.” (Her barb, “It’s terrible being a failure,” is another escalation which finally results in a physical brawl in the barnyard where he beats her repeatedly. She burns the animals behind the locked door and he allows to be driven from the scene in her car. He rants about “humiliated at heart, I’ve given up.” (Their drive covers a Beckett wasteland.) She drives madly, but Andreas squelches her murder attempt. He gets out of the car, she drives away, and he proceeds to pace back and forth like a creature in a theatre of the absurd. During the jousting on the ride he tells her, “I want my solitude back.” The presumptuousness of both of them is breathtaking. (She shows up at that fire, and he questions why; and she says, “I came to ask your forgiveness…”)

Each of the four major roles—the hard-core bourgeoisie and the one soft-core bohemian—are asked about their persona, in brief, out-of-character “interpretations.” All miss the point, thinking themselves hermetic agents. Liv Ullmann, in a bright orange sun hat, ready for LA, says, “I sympathize a lot with Anna’s need for truth. I understand why she wants the world to be a certain way. But her need, this desire for truth, is dangerous. When she doesn’t get the response she demands, she takes refuge in lies and dissimilation. That’s why it’s so hard to be honest… You expect others to be the same. We see that today in thousands of people.”

Bergman, with his ironic “island” campaign coming to an end, leaves us more aware of war and warriors being our destiny. Johan, the brave soldier, shines pretty brightly in this dark trap. The tale is extreme; but the story is very common.

[forlawfirmsonlymarketing]

A deep dive into BERT: How BERT launched a rocket into natural language understanding

by Dawn Anderson Editor’s Note: This deep dive companion to our high-level FAQ piece is a 30-minute read so get comfortable! You’ll learn the backstory and nuances of BERT’s evolution, how the algorithm works to improve human language understanding for machines and what it means for SEO and the work we do every day.

If you have been keeping an eye on Twitter SEO over the past week you’ll have likely noticed an uptick in the number of gifs and images featuring the character Bert (and sometimes Ernie) from Sesame Street. This is because, last week Google announced an imminent algorithmic update would be rolling out, impacting 10% of queries in search results, and also affect featured snippet results in countries where they were present; which is not trivial. The update is named Google BERT (Hence the Sesame Street connection – and the gifs). Google describes BERT as the largest change to its search system since the company introduced RankBrain, almost five years ago, and probably one of the largest changes in search ever. The news of BERT’s arrival and its impending impact has caused a stir in the SEO community, along with some confusion as to what BERT does, and what it means for the industry overall. With this in mind, let’s take a look at what BERT is, BERT’s background, the need for BERT and the challenges it aims to resolve, the current situation (i.e. what it means for SEO), and where things might be headed.

Quick links to subsections within this guide The BERT backstory | How search engines learn language | Problems with language learning methods | How BERT improves search engine language understanding | What does BERT mean for SEO?

What is BERT?

BERT is a technologically ground-breaking natural language processing model/framework which has taken the machine learning world by storm since its release as an academic research paper.  The research paper is entitled BERT: Pre-training of Deep Bidirectional Transformers for Language Understanding (Devlin et al, 2018). Following paper publication Google AI Research team announced BERT as an open source contribution. A year later, Google announced a Google BERT algorithmic update rolling out in production search. Google linked the BERT algorithmic update to the BERT research paper, emphasizing BERT’s importance for contextual language understanding in content and queries, and therefore intent, particularly for conversational search.

So, just what is BERT really?

BERT is described as a pre-trained deep learning natural language framework that has given state-of-the-art results on a wide variety of natural language processing tasks.  Whilst in the research stages, and prior to being added to production search systems, BERT achieved state-of-the-art results on 11 different natural language processing tasks.  These natural language processing tasks include, amongst others, sentiment analysis, named entity determination, textual entailment (aka next sentence prediction), semantic role labeling, text classification and coreference resolution. BERT also helps with the disambiguation of words with multiple meanings known as polysemous words, in context. BERT is referred to as a model in many articles, however, it is more of a framework, since it provides the basis for machine learning practitioners to build their own fine-tuned BERT-like versions to meet a wealth of different tasks, and this is likely how Google is implementing it too. BERT was originally pre-trained on the whole of the English Wikipedia and Brown Corpus and is fine-tuned on downstream natural language processing tasks like question and answering sentence pairs. So, it is not so much a one-time algorithmic change, but rather a fundamental layer which seeks to help with understanding and disambiguating the linguistic nuances in sentences and phrases, continually fine-tuning itself and adjusting to improve.

The BERT backstory

To begin to realize the value BERT brings we need to take a look at prior developments.

The natural language challenge

Understanding the way words fit together with structure and meaning is a field of study connected to linguistics.  Natural language understanding (NLU), or NLP, as it is otherwise known, dates back over 60 years, to the original Turing Test paper and definitions of what constitutes AI, and possibly earlier. This compelling field faces unsolved problems, many relating to the ambiguous nature of language (lexical ambiguity).  Almost every other word in the English language has multiple meanings. These challenges naturally extend to a web of ever-increasing content as search engines try to interpret intent to meet informational needs expressed by users in written and spoken queries.

Lexical ambiguity

In linguistics, ambiguity is at the sentence rather than word level.  Words with multiple meanings combine to make ambiguous sentences and phrases become increasingly difficult to understand. According to Stephen Clark, formerly of Cambridge University, and now a full-time research scientist at Deepmind:

“Ambiguity is the greatest bottleneck to computational knowledge acquisition, the killer problem of all natural language processing.”

In the example below, taken from WordNet (a lexical database which groups English words into synsets (sets of synonyms)), we see the word “bass” has multiple meanings, with several relating to music and tone, and some relating to fish. Furthermore, the word “bass” in a musical context can be both a noun part-of-speech or an adjective part-of-speech, confusing matters further. Noun

S: (n) bass (the lowest part of the musical range)

S: (n) bass, bass part (the lowest part in polyphonic music)

S: (n) bass, basso (an adult male singer with the lowest voice)

S: (n) sea bass, bass (the lean flesh of a saltwater fish of the family Serranidae)

S: (n) freshwater bass, bass (any of various North American freshwater fish with lean flesh (especially of the genus Micropterus))

S: (n) bass, bass voice, basso (the lowest adult male singing voice)

S: (n) bass (the member with the lowest range of a family of musical instruments)

S: (n) bass (nontechnical name for any of numerous edible marine and freshwater spiny-finned fishes)

Adjective

S: (adj) bass, deep (having or denoting a low vocal or instrumental range) “a deep voice”; “a bass voice is lower than a baritone voice”; “a bass clarinet”

Polysemy and homonymy

Words with multiple meanings are considered polysemous or homonymous.

Polysemy

Polysemous words are words with two or more meanings, with roots in the same origin, and are extremely subtle and nuanced.  The verb ‘get’, a polysemous word, for example, could mean ‘to procure’,’ to acquire’, or ‘to understand’. Another verb, ‘run’ is polysemous and is the largest entry in the Oxford English Dictionary with 606 different meanings.

Homonymy

Homonyms are the other main type of word with multiple meanings, but homonyms are less nuanced than polysemous words since their meanings are often very different. For example, “rose,” which is a homonym, could mean to “rise up” or it could be a flower.  These two-word meanings are not related at all.

Homographs and homophones

Types of homonyms can be even more granular too.  ‘Rose’ and ‘Bass’ (from the earlier example), are considered homographs because they are spelled the same and have different meanings, whereas homophones are spelled differently, but sound the same.  The English language is particularly problematic for homophones. You can find a list over over 400 English homophone examples here, but just a few examples of homophones include:

Draft, draught

Dual, duel

Made, maid

For, fore, four

To, too, two

There, their

Where, wear, were

At a spoken phrase-level word when combined can suddenly become ambiguous phrases even when the words themselves are not homophones. For example, the phrases “four candles” and “fork handles” when splitting into separate words have no confusing qualities and are not homophones, but when combined they sound almost identical. Suddenly these spoken words could be confused as having the same meaning as each other whilst having entirely different meanings. Even humans can confuse the meaning of phrases like these since humans are not perfect after all. Hence, the many comedy shows feature “play on words” and linguistic nuances. These spoken nuances have the potential to be particularly problematic for conversational search.

Synonymy is different

To clarify, synonyms are different from polysemy and homonymy, since synonymous words mean the same as each other (or very similar), but are different words. An example of synonymous words would be the adjectives “tiny,” “little” and “mini” as synonyms of “small.”

Coreference resolution

Pronouns like “they,” “he,” “it,” “them,” “she” can be a troublesome challenge too in natural language understanding, and even more so, third-person pronouns, since it is easy to lose track of who is being referred to in sentences and paragraphs.  The language challenge presented by pronouns is referred to as coreference resolution, with particular nuances of coreference resolution being an anaphoric or cataphoric resolution. You can consider this simply “being able to keep track” of what, or who, is being talked about, or written about, but here the challenge is explained further.

Anaphora and cataphora resolution

Anaphora resolution is the problem of trying to tie mentions of items as pronouns or noun phrases from earlier in a piece of text (such as people, places, things).  Cataphora resolution, which is less common than anaphora resolution, is the challenge of understanding what is being referred to as a pronoun or noun phrase before the “thing” (person, place, thing) is mentioned later in a sentence or phrase. Here is an example of anaphoric resolution:

“John helped Mary. He was kind.”

Where “he” is the pronoun (anaphora) to resolve back to “John.” And another:

The car is falling apart, but it still works.

Here is an example of cataphora, which also contains anaphora too:

“She was at NYU when Mary realized she had lost her keys.”

The first “she” in the example above is cataphora because it relates to Mary who has not yet been mentioned in the sentence.  The second “she” is an anaphora since that “she” relates also to Mary, who has been mentioned previously in the sentence.

Multi-sentential resolution

As phrases and sentences combine referring to people, places and things (entities) as pronouns, these references become increasingly complicated to separate.  This is particularly so if multiple entities resolve to begin to be added to the text, as well as the growing number of sentences. Here is an example from this Cornell explanation of coreference resolution and anaphora:

a) John took two trips around France. b) They were both wonderful.

Humans and ambiguity

Although imperfect, humans are mostly unconcerned by these lexical challenges of coreference resolution and polysemy since we have a notion of common-sense understanding. We understand what “she” or “they” refer to when reading multiple sentences and paragraphs or hearing back and forth conversation since we can keep track of who is the subject focus of attention. We automatically realize, for example, when a sentence contains other related words, like “deposit,” or “cheque / check” and “cash,” since this all relates to “bank” as a financial institute, rather than a river “bank.” In order words, we are aware of the context within which the words and sentences are uttered or written; and it makes sense to us.  We are therefore able to deal with ambiguity and nuance relatively easily.

Machines and ambiguity

Machines do not automatically understand the contextual word connections needed to disambiguate “bank” (river) and “bank” (financial institute).  Even less so, polysemous words with nuanced multiple meanings, like “get” and “run.” Machines lose track of who is being spoken about in sentences easily as well, so coreference resolution is a major challenge too. When the spoken word such as conversational search (and homophones), enters the mix, all of these become even more difficult, particularly when you start to add sentences and phrases together.

How search engines learn language

So just how have linguists and search engine researchers enabling machines to understand the disambiguated meaning of words, sentences and phrases in natural language? “Wouldn’t it be nice if Google understood the meaning of your phrase, rather than just the words that are in the phrase?” said Google’s Eric Schmidt back in March 2009, just before the company announced rolling out their first semantic offerings. This signaled one of the first moves away from “strings to things,” and is perhaps the advent of entity-oriented search implementation by Google. One of the products mentioned in Eric Schmidt’s post was ‘related things’ displayed in search results pages.  An example of “angular momentum,” “special relativity,” “big bang” and “quantum mechanic” as related items, was provided. These items could be considered co-occurring items that live near each other in natural language through ‘relatedness’.  The connections are relatively loose but you might expect to find them co-existing in web page content together. So how do search engines map these “related things” together?

Co-occurrence and distributional similarity

In computational linguistics, co-occurrence holds true the idea that words with similar meanings or related words tend to live very near each other in natural language.  In other words, they tend to be in close proximity in sentences and paragraphs or bodies of text overall (sometimes referred to as corpora). This field of studying word relationships and co-occurrence is called Firthian Linguistics, and its roots are usually connected with 1950s linguist John Firth, who famously said:

“You shall know a word by the company it keeps.” (Firth, J.R. 1957)

Similarity and relatedness

In Firthian linguistics, words and concepts living together in nearby spaces in text are either similar or related. Words which are similar “types of things” are thought to have semantic similarity.  This is based upon measures of distance between “isA” concepts which are concepts that are types of a “thing.” For example, a car and a bus have semantic similarity because they are both types of vehicles. Both car and bus could fill the gap in a sentence such as: “A ____ is a vehicle,” since both cars and buses are vehicles. Relatedness is different from semantic similarity.  Relatedness is considered ‘distributional similarity’ since words related to isA entities can provide clear cues as to what the entity is. For example, a car is similar to a bus since they are both vehicles, but a car is related to concepts of “road” and “driving.” You might expect to find a car mentioned in amongst a page about road and driving, or in a page sitting nearby (linked or in the section – category or subcategory) a page about a car. This is a very good video on the notions of similarity and relatedness as scaffolding for natural language. Humans naturally understand this co-occurrence as part of common sense understanding, and it was used in the example mentioned earlier around “bank” (river) and “bank” (financial institute). Content around a bank topic as a financial institute will likely contain words about the topic of finance, rather than the topic of rivers, or fishing, or be linked to a page about finance. Therefore, “bank’s” company are “finance,” “cash,” “cheque” and so forth.

Knowledge graphs and repositories

Whenever semantic search and entities are mentioned we probably think immediately of search engine knowledge graphs and structured data, but natural language understanding is not structured data. However, structured data makes natural language understanding easier for search engines through disambiguation via distributional similarity since the ‘company’ of a word gives an indication as to topics in the content. Connections between entities and their relations mapped to a knowledge graph and tied to unique concept ids are strong (e.g. schema and structured data). Furthermore, some parts of entity understanding are made possible as a result of natural language processing, in the form of entity determination (deciding in a body of text which of two or more entities of the same name are being referred to), since entity recognition is not automatically unambiguous. Mention of the word “Mozart” in a piece of text might well mean “Mozart,” the composer, “Mozart” cafe, “Mozart” street, and there are umpteen people and places with the same name as each other. The majority of the web is not structured at all.  When considering the whole web, even semi-structured data such as semantic headings, bullet and numbered lists and tabular data make up only a very small part of it. There are lots of gaps of loose ambiguous text in sentences, phrases and paragraphs. Natural language processing is about understanding the loose unstructured text in sentences, phrases and paragraphs between all of those “things” which are “known of” (the entities). A form of “gap filling” in the hot mess between entities. Similarity and relatedness, and distributional similarity) help with this.

Relatedness can be weak or strong

Whilst data connections between the nodes and edges of entities and their relations are strong, the similarity is arguably weaker, and relatedness weaker still. Relatedness may even be considered vague. The similarity connection between apples and pears as “isA” things is stronger than a relatedness connection of  “peel,” “eat,” “core” to apple, since this could easily be another fruit which is peeled and with a core. An apple is not really identified as being a clear “thing” here simply by seeing the words “peel,” “eat” and “core.” However, relatedness does provide hints to narrow down the types of “things” nearby in content.

Computational linguistics

Much “gap filling” natural language research could be considered computational linguistics; a field that combines maths, physics and language, particularly linear algebra and vectors and power laws. Natural language and distributional frequencies overall have a number of unexplained phenomena (for example, the Zipf Mystery), and there are several papers about the “strangeness” of words and use of language. On the whole, however, much of language can be resolved by mathematical computations around where words live together (the company they keep), and this forms a large part of how search engines are beginning to resolve natural language challenges (including the BERT update).

Word embeddings and co-occurrence vectors

Simply put, word embeddings are a mathematical way to identify and cluster in a mathematical space, words which “live” nearby each other in a real-world collection of text, otherwise known as a text corpus.  For example, the book “War and Peace” is an example of a large text corpus, as is Wikipedia. Word embeddings are merely mathematical representations of words that typically live near each other whenever they are found in a body of text, mapped to vectors (mathematical spaces) using real numbers. These word embeddings take the notions of co-occurrence, relatedness and distributional similarity, with words simply mapped to their company and stored in co-occurrence vector spaces.  The vector ‘numbers’ are then used by computational linguists across a wide range of natural language understanding tasks to try to teach machines how humans use language based on the words that live near each other.

WordSim353 Dataset examples

We know that approaches around similarity and relatedness with these co-occurrence vectors and word embeddings have been part of research by members of Google’s conversational search research team to learn word’s meaning. For example, “A study on similarity and relatedness using distributional and WordNet-based approaches,” which utilizes the Wordsim353 Dataset to understand distributional similarity. This type of similarity and relatedness in datasets is used to build out “word embeddings” mapped to mathematical spaces (vectors) in bodies of text. Here is a very small example of words that commonly occur together in content from the Wordsim353 Dataset, which is downloadable as a Zip format for further exploration too. Provided by human graders, the score in the right-hand column is based on how similar the two words in the left-hand and middle columns are.

money cash 9.15 coast shore 9.1 money cash 9.08 money currency 9.04 football soccer 9.03 magician wizard 9.02

Word2Vec

Semi-supervised and unsupervised machine learning approaches are now part of this natural language learning process too, which has turbo-charged computational linguistics. Neural nets are trained to understand the words that live near each other to gain similarity and relatedness measures and build word embeddings. These are then used in more specific natural language understanding tasks to teach machines how humans understand language. A popular tool to create these mathematical co-occurrence vector spaces using text as input and vectors as output is Google’s Word2Vec.  The output of Word2Vec can create a vector file that can be utilized on many different types of natural language processing tasks. The two main Word2Vec machine learning methods are Skip-gram and Continuous Bag of Words. The Skip-gram model predicts the words (context) around the target word (target), whereas the Continuous Bag of Words model predicts the target word from the words around the target (context). These unsupervised learning models are fed word pairs through a moving “context window” with a number of words around a target word. The target word does not have to be in the center of the “context window” which is made up of a given number of surrounding words but can be to the left or right side of the context window. An important point to note is moving context windows are uni-directional. I.e. the window moves over the words in only one direction, from either left to right or right to left.

Part-of-speech tagging

Another important part of computational linguistics designed to teach neural nets human language concerns mapping words in training documents to different parts-of-speech.  These parts of speech include the likes of nouns, adjectives, verbs and pronouns. Linguists have extended the many parts-of-speech to be increasingly fine-grained too, going well beyond common parts of speech we all know of, such as nouns, verbs and adjectives, These extended parts of speech include the likes of VBP (Verb, non-3rd person singular present), VBZ (Verb, 3rd person singular present) and PRP$ (Possessive pronoun). Word’s meaning in part-of-speech form can be tagged up as parts of speech using a number of taggers with a varying granularity of word’s meaning, for example, The Penn Treebank Tagger has 36 different parts of speech tags and the CLAWS7 part of speech tagger has a whopping 146 different parts of speech tags. Google Pygmalion, for example, which is Google’s team of linguists, who work on conversational search and assistant, used part of speech tagging as part of training neural nets for answer generation in featured snippets and sentence compression. Understanding parts-of-speech in a given sentence allows machines to begin to gain an understanding of how human language works, particularly for the purposes of conversational search, and conversational context. To illustrate, we can see from the example “Part of Speech” tagger below, the sentence:

“Search Engine Land is an online search industry news publication.”

This is tagged as “Noun / noun / noun / verb / determiner / adjective / noun / noun / noun / noun” when highlighted as different parts of speech.

Problems with language learning methods

Despite all of the progress search engines and computational linguists had made, unsupervised and semi-supervised approaches like Word2Vec and Google Pygmalion have a number of shortcomings preventing scaled human language understanding. It is easy to see how these were certainly holding back progress in conversational search.

Pygmalion is unscalable for internationalization

Labeling training datasets with parts-of-speech tagged annotations can be both time-consuming and expensive for any organization. Furthermore, humans are not perfect and there is room for error and disagreement.  The part of speech a particular word belongs to in a given context can keep linguists debating amongst themselves for hours. Google’s team of linguists (Google Pygmalion) working on Google Assistant, for example, in 2016 was made up of around 100 Ph.D. linguists.  In an interview with Wired Magazine, Google Product Manager, David Orr explained how the company still needed its team of Ph.D. linguists who label parts of speech (referring to this as the ‘gold’ data), in ways that help neural nets understand how human language works. Orr said of Pygmalion:

“The team spans between 20 and 30 languages. But the hope is that companies like Google can eventually move to a more automated form of AI called ‘unsupervised learning.'”

By 2019, the Pygmalion team was an army of 200 linguists around the globe made up of a mixture of both permanent and agency staff, but was not without its challenges due to the laborious and disheartening nature of manual tagging work, and the long hours involved. In the same Wired article, Chris Nicholson, who is the founder of a deep learning company called Skymind commented about the un-scaleable nature of projects like Google Pygmalion, particularly from an internationalisation perspective, since part of speech tagging would need to be carried out by linguists across all the languages of the world to be truly multilingual.

Internationalization of conversational search

The manual tagging involved in Pygmalion does not appear to take into consideration any transferable natural phenomenons of computational linguistics.  For example, Zipfs Law, a distributional frequency power law, dictates that in any given language the distributional frequency of a word is proportional to one over its rank, and this holds true even for languages not yet translated.

Uni-directional nature of ‘context windows’ in RNNs (Recurrent Neural Networks)

Training models in the likes of Skip-gram and Continuous Bag of Words are Uni-Directional in that the context-window containing the target word and the context words around it to the left and to the right only go in one direction.  The words after the target word are not yet seen so the whole context of the sentence is incomplete until the very last word, which carries the risk of some contextual patterns being missed. A good example is provided of the challenge of uni-directional moving context-windows by Jacob Uszkoreit on the Google AI blog when talking about the transformer architecture. Deciding on the most likely meaning and appropriate representation of the word “bank” in the sentence: “I arrived at the bank after crossing the…” requires knowing if the sentence ends in “… road.” or “… river.”

Text cohesion missing

The uni-directional training approaches prevent the presence of text cohesion. Like Ludwig Wittgenstein, a philosopher famously said in 1953:

“The meaning of a word is its use in the language.” (Wittgenstein, 1953)

Often the tiny words and the way words are held together are the ‘glue’ which bring common sense in language. This ‘glue’ overall is called ‘text cohesion’.  It’s the combination of entities and the different parts-of-speech around them formulated together in a particular order which makes a sentence have structure and meaning.  The order in which a word sits in a sentence or phrase too also adds to this context. Without this contextual glue of these surrounding words in the right order, the word itself simply has no meaning. The meaning of the same word can change too as a sentence or phrase develops due to dependencies on co-existing sentence or phrase members, changing context with it. Furthermore, linguists may disagree over which particular part-of-speech in a given context a word belongs to in the first place. Let us take the example word “bucket.” As humans we can automatically visualize a bucket that can be filled with water as a “thing,” but there are nuances everywhere. What if the word bucket word were in the sentence “He kicked the bucket,” or “I have yet to cross that off my bucket list?”  Suddenly the word takes on a whole new meaning. Without the text-cohesion of the accompanying and often tiny words around “bucket” we cannot know whether bucket refers to a water-carrying implement or a list of life goals.

Word embeddings are context-free

The word embedding model provided by the likes of Word2Vec knows the words somehow live together but does not understand in what context they should be used.  True context is only possible when all of the words in a sentence are taken into consideration. For example, Word2Vec does not know when river (bank) is the right context, or bank (deposit). Whilst later models such as ELMo trained on both the left side and right side of a target word, these were carried out separately rather than looking at all of the words (to the left and the right) simultaneously, and still did not provide true context.

Polysemy and homonymy handled incorrectly

Word embeddings like Word2Vec do not handle polysemy and homonyms correctly.  As a single word with multiple meanings is mapped to just one single vector. Therefore there is a need to disambiguate further.   We know there are many words with the same meaning (for example, ‘run’ with 606 different meanings), so this was a shortcoming. As illustrated earlier polysemy is particularly problematic since polysemous words have the same root origins and are extremely nuanced.

Coreference resolution still problematic

Search engines were still struggling with the challenging problem of anaphora and cataphora resolution, which was particularly problematic for conversational search and assistant which may have back and forth multi-turn questions and answers. Being able to track which entities are being referred to is critical for these types of spoken queries.

Shortage of training data

Modern deep learning-based NLP models learn best when they are trained on huge amounts of annotated training examples, and a lack of training data was a common problem holding back the research field overall.

So, how does BERT help improve search engine language understanding?

With these short-comings above in mind, how has BERT helped search engines (and other researchers) to understand language?

What makes BERT so special?

There are several elements that make BERT so special for search and beyond (the World – yes, it is that big as a research foundation for natural language processing).  Several of the special features can be found in BERT’s paper title – BERT: Bi-directional Encoder Representations from Transformers. B – Bi-Directional E – Encoder R – Representations T – Transformers But there are other exciting developments BERT brings to the field of natural language understanding too. These include:

Pre-training from unlabelled text

Bi-directional contextual models

The use of a transformer architecture

Masked language modeling

Focused attention

Textual entailment (next sentence prediction)

Disambiguation through context open-sourced

Pre-training from unlabeled text

The ‘magic’ of BERT is its implementation of bi-directional training on an unlabelled corpus of text since for many years in the field of natural language understanding, text collections had been manually tagged up by teams of linguists assigning various parts of speech to each word. BERT was the first natural language framework/architecture to be pre-trained using unsupervised learning on pure plain text (2.5 billion words+ from English Wikipedia) rather than labeled corpora. Prior models had required manual labeling and the building of distributed representations of words (word embeddings and word vectors), or needed part of speech taggers to identify the different types of words present in a body of text. These past approaches are similar to the tagging we mentioned earlier by Google Pygmalion. BERT learns language from understanding text cohesion from this large body of content in plain text and is then educated further by fine-tuning on smaller, more specific natural language tasks. BERT also self-learns over time too.

Bi-directional contextual models

BERT is the first deeply bi-directional natural language model, but what does this mean?

Bi-directional and uni-directional modeling

True contextual understanding comes from being able to see all the words in a sentence at the same time and understand how all of the words impact the context of the other words in the sentence too. The part of speech a particular word belongs to can literally change as the sentence develops. For example, although unlikely to be a query, if we take a spoken sentence which might well appear in natural conversation (albeit rarely):

“I like how you like that he likes that.”

as the sentence develops the part of speech which the word “like” relates to as the context builds around each mention of the word changes so that the word “like,” although textually is the same word, contextually is different parts of speech dependent upon its place in the sentence or phrase. Past natural language training models were trained in a uni-directional manner. Word’s meaning in a context window moved along from either left to right or right to left with a given number of words around the target word (the word’s context or “it’s company”). This meant words not yet seen in context cannot be taken into consideration in a sentence and they might actually change the meaning of other words in natural language. Uni-directional moving context windows, therefore, have the potential to miss some important changing contexts. For example, in the sentence:

“Dawn, how are you?”

The word “are” might be the target word and the left context of “are” is “Dawn, how.”  The right context of the word is “you.” BERT is able to look at both sides of a target word and the whole sentence simultaneously in the way that humans look at the whole context of a sentence rather than looking at only a part of it.  The whole sentence, both left and right of a target word can be considered in the context simultaneously.

Transformers / Transformer architecture

Most tasks in natural language understanding are built on probability predictions.  What is the likelihood that this sentence relates to the next sentence, or what is the likelihood that this word is part of that sentence?  BERT’s architecture and masked language modeling prediction systems are partly designed to identify ambiguous words that change the meanings of sentences and phrases and identify the correct one.  Learnings are carried forward increasingly by BERT’s systems. The Transformer uses fixation on words in the context of all of the other words in sentences or phrases without which the sentence could be ambiguous. This fixated attention comes from a paper called ‘Attention is all you need’ (Vaswani et al, 2017), published a year earlier than the BERT research paper, with the transformer application then built into the BERT research. Essentially, BERT is able to look at all the context in text-cohesion by focusing attention on a given word in a sentence whilst also identifying all of the context of the other words in relation to the word.  This is achieved simultaneously using transformers combined with bi-directional pre-training. This helps with a number of long-standing linguistic challenges for natural language understanding, including coreference resolution.  This is because entities can be focused on in a sentence as a target word and their pronouns or the noun-phrases referencing them resolved back to the entity or entities in the sentence or phrase. In this way the concepts and context of who, or what, a particular sentence is relating to specifically, is not lost along the way. Furthermore, the focused attention also helps with the disambiguation of polysemous words and homonyms by utilizing a probability prediction / weight based on the whole context of the word in context with all of the other words in the sentence.  The other words are given a weighted attention score to indicate how much each adds to the context of the target word as a representation of “meaning.” Words in a sentence about the “bank” which add strong disambiguating context such as “deposit” would be given more weight in a sentence about the “bank” (financial institute) to resolve the representational context to that of a financial institute. The encoder representations part of the BERT name is part of the transformer architecture. The encoder is the sentence input translated to representations of words meaning and the decoder is the processed text output in a contextualized form. In the image below we can see that ‘it’ is strongly being connected with “the” and “animal” to resolve back the reference to “the animal” as “it” as a resolution of anaphora.

This fixation also helps with the changing “part of speech” a word’s order in a sentence could have since we know that the same word can be different parts of speech depending upon its context. The example provided by Google below illustrates the importance of different parts of speech and word category disambiguation.  Whilst a tiny word, the word ‘to’ here changes the meaning of the query altogether once it is taken into consideration in the full context of the phrase or sentence.

Masked Language Modelling (MLM Training)

Also known as “the Cloze Procedure,” which has been around for a very long time. The BERT architecture analyzes sentences with some words randomly masked out and attempts to correctly predict what the “hidden” word is. The purpose of this is to prevent target words in the training process passing through the BERT transformer architecture from inadvertently seeing themselves during bi-directional training when all of the words are looked at together for combined context.  Ie. it avoids a type of erroneous infinite loop in natural language machine learning, which would skew word’s meaning.

Textual entailment (next sentence prediction)

One of the major innovations of BERT is that it is supposed to be able to predict what you’re going to say next, or as the New York Times phrased it in Oct 2018, “Finally, a machine that can finish your sentences.” BERT is trained to predict from pairs of sentences whether the second sentence provided is the right fit from a corpus of text. NB: It seems this feature during the past year was deemed as unreliable in the original BERT model and other open-source offerings have been built to resolve this weakness. Google’s ALBERT resolves this issue. Textual entailment is a type of “what comes next?” in a body of text.  In addition to textual entailment, the concept is also known as ‘next sentence prediction’. Textual entailment is a natural language processing task involving pairs of sentences.  The first sentence is analyzed and then a level of confidence determined to predict whether a given second hypothesized sentence in the pair “fits” logically as the suitable next sentence, or not, with either a positive, negative, or neutral prediction, from a text collection under scrutiny. Three examples from Wikipedia of each type of textual entailment prediction (neutral / positive / negative) are below. Textual Entailment Examples (Source: Wikipedia) An example of a positive TE (text entails hypothesis) is:

text: If you help the needy, God will reward you. hypothesis: Giving money to a poor man has good consequences.

An example of a negative TE (text contradicts hypothesis) is:

text: If you help the needy, God will reward you. hypothesis: Giving money to a poor man has no consequences.

An example of a non-TE (text does not entail nor contradict) is:

text: If you help the needy, God will reward you. hypothesis: Giving money to a poor man will make you a better person.

Disambiguation breakthroughs from open-sourced contributions

BERT has not just appeared from thin air, and BERT is no ordinary algorithmic update either since BERT is also an open-source natural language understanding framework as well. Ground-breaking “disambiguation from context empowered by open-sourced contributions,” could be used to summarise BERT’s main value add to natural language understanding.  In addition to being the biggest change to Google’s search system in five years (or ever), BERT also represents probably the biggest leap forward in growing contextual understanding of natural language by computers of all time. Whilst Google BERT may be new to the SEO world it is well known in the NLU world generally and has caused much excitement over the past 12 months. BERT has provided a hockey stick improvement across many types of natural language understanding tasks not just for Google, but a myriad of both industrial and academic researchers seeking to utilize language understanding in their work, and even commercial applications. After the publication of the BERT research paper, Google announced they would be open-sourcing vanilla BERT.  In the 12 months since publication alone, the original BERT paper has been cited in further research 1,997 times at the date of writing. There are many different types of BERT models now in existence, going well beyond the confines of Google Search. A search for Google BERT in Google Scholar returns hundreds of 2019 published research paper entries extending on BERT in a myriad of ways, with BERT now being used in all manner of research into natural language. Research papers traverse an eclectic mix of language tasks, domain verticals (for example clinical fields), media types (video, images) and across multiple languages.  BERT’s use cases are far-reaching, from identifying offensive tweets using BERT and SVMs to using BERT and CNNs for Russian Troll Detection on Reddit, to categorizing via prediction movies according to sentiment analysis from IMDB, or predicting the next sentence in a question and answer pair as part of a dataset. Through this open-source approach, BERT goes a long way toward solving some long-standing linguistic problems in research, by simply providing a strong foundation to fine-tune from for anyone with a mind to do so. The codebase is downloadable from the Google Research Team’s Github page. By providing Vanilla BERT as a great ‘starter for ten’ springboard for machine learning enthusiasts to build upon, Google has helped to push the boundaries of State of the art (SOTA) natural language understanding tasks.  Vanilla BERT can be likened to a CMS plugins, theme, or module which provides a strong foundation for a particular functionality but can then be developed further. Another simpler similarity might be likening the pre-training and fine-tuning parts of BERT for machine learning engineers to buying an off-the-peg suit from a high street store then visiting a tailor to turn up the hems so it is fit for purpose at a more unique needs level. As Vanilla BERT comes pre-trained (on Wikipedia and Brown corpus), researchers need only fine-tune their own models and additional parameters on top of the already trained model in just a few epochs (loops / iterations through the training model with the new fine-tuned elements included). At the time of BERT’s October 2018, paper publication BERT beat state of the art (SOTA) benchmarks across 11 different types of natural language understanding tasks, including question and answering, sentiment analysis, named entity determination, sentiment classification and analysis, sentence pair-matching and natural language inference. Furthermore, BERT may have started as the state-of-the-art natural language framework but very quickly other researchers, including some from other huge AI-focused companies such as Microsoft, IBM and Facebook, have taken BERT and extended upon it to produce their own record-beating open-source contributions.  Subsequently, models other than BERT have become state of the art since BERT’s release. Facebook’s Liu et al entered the BERTathon with their own version extending upon BERT – RoBERTa.  claiming the original BERT was significantly undertrained and professing to have improved upon, and beaten, any other model versions of BERT up to that point. Microsoft also beat the original BERT with MT-DNN, extending upon a model they proposed in 2015 but adding on the bi-directional pre-training architecture of BERT to improve further.

There are many other BERT-based models too, including Google’s own XLNet and ALBERT (Toyota and Google), IBM’s BERT-mtl, and even now Google T5 emerging.

The field is fiercely competitive and NLU machine learning engineer teams compete with both each other and non-expert human understanding benchmarks on public leaderboards, adding an element of gamification to the field. Amongst the most popular leaderboards are the very competitive SQuAD, and GLUE. SQuAD stands for The Stanford Question and Answering Dataset which is built from questions based on Wikipedia articles with answers provided by crowdworkers. The current SQuAD 2.0 version of the dataset is the second iteration created because SQuAD 1.1 was all but beaten by natural language researchers.  The second-generation dataset, SQuAD 2.0 represented a harder dataset of questions, and also contained an intentional number of adversarial questions in the dataset  (questions for which there was no answer). The logic behind this adversarial question inclusion is intentional and designed to train models to learn to know what they do not know (i.e an unanswerable question). GLUE is the General Language Understanding Evaluation dataset and leaderboard. SuperGLUE is the second generation of GLUE created because GLUE again became too easy for machine learning models to beat.

Most of the public leaderboards across the machine learning field double up as academic papers accompanied by rich question and answer datasets for competitors to fine-tune their models on.  MS MARCO, for example, is an academic paper, dataset and accompanying leaderboard published by Microsoft; AKA Microsoft MAchine Reaching COmprehension Dataset. The MSMARCO dataset is made up of over a million real Bing user queries and over 180,000 natural language answers.  Any researchers can utilize this dataset to fine-tune models.

Efficiency and computational expense

Late 2018 through 2019 can be remembered as a year of furious public leaderboard leap-frogging to create the current state of the art natural language machine learning model. As the race to reach the top of the various state of the art leaderboards heated up, so too did the size of the model’s machine learning engineers built and the number of parameters added based on the belief that more data increases the likelihood for more accuracy.  However as model sizes grew so did the size of resources needed for fine-tuning and further training, which was clearly an unsustainable open-source path. Victor Sanh, of Hugging Face (an organization seeking to promote the continuing democracy of AI) writes, on the subject of the drastically increasing sizes of new models:

“The latest model from Nvidia has 8.3 billion parameters: 24 times larger than BERT-large, 5 times larger than GPT-2, while RoBERTa, the latest work from Facebook AI, was trained on 160GB of text 😵”

To illustrate the original BERT sizes – BERT-Base and BERT-Large, with 3 times the number of parameters of BERT-Base. BERT–Base, Cased : 12-layer, 768-hidden, 12-heads , 110M parameters. BERT–Large, Cased : 24-layer, 1024-hidden, 16-heads, 340M parameters. Escalating costs and data sizes meant some more efficient, less computationally and financially expensive models needed to be built.

Welcome Google ALBERT, Hugging Face DistilBERT and FastBERT

Google’s ALBERT, was released in September 2019 and is a joint work between Google AI and Toyota’s research team.  ALBERT is considered BERT’s natural successor since it also achieves state of the art scores across a number of natural language processing tasks but is able to achieve these in a much more efficient and less computationally expensive manner. Large ALBERT has 18 times fewer parameters than BERT-Large.  One of the main standout innovations with ALBERT over BERT is also a fix of a next-sentence prediction task which proved to be unreliable as BERT came under scrutiny in the open-source space throughout the course of the year. We can see here at the time of writing, on SQuAD 2.0 that ALBERT is the current SOTA model leading the way. ALBERT is faster and leaner than the original BERT and also achieves State of the Art (SOTA) on a number of natural language processing tasks.

Other efficiency and budget focused, scaled-down BERT type models recently introduced are DistilBERT, purporting to be smaller, lighter, cheaper and faster, and FastBERT.

So, what does BERT mean for SEO?

BERT may be known among SEOs as an algorithmic update, but in reality, it is more “the application” of a multi-layer system that understands polysemous nuance and is better able to resolve co-references about “things” in natural language continually fine-tuning through self-learning. The whole purpose of BERT is to improve human language understanding for machines. In a search perspective this could be in written or spoken queries issued by search engine users, and in the content search engines gather and index. BERT in search is mostly about resolving linguistic ambiguity in natural language. BERT provides text-cohesion which comes from often the small details in a sentence that provides structure and meaning. BERT is not an algorithmic update like Penguin or Panda since BERT does not judge web pages either negatively or positively, but more improves the understanding of human language for Google search.  As a result, Google understands much more about the meaning of content on pages it comes across and also the queries users issue taking word’s full context into consideration.

BERT is about sentences and phrases

Ambiguity is not at a word level, but at a sentence level, since it is about the combination of words with multiple meanings which cause ambiguity.

BERT helps with polysemic resolution

Google BERT helps Google search to understand “text-cohesion” and disambiguate in phrases and sentences, particularly where polysemic nuances could change the contextual meaning of words. In particular, the nuance of polysemous words and homonyms with multiple meanings, such as ‘to’, ‘two’, ‘to’, and ‘stand’ and ‘stand’, as provided in the Google examples, illustrate the nuance which had previously been missed, or misinterpreted, in search.

Ambiguous and nuanced queries impacted

The 10% of search queries which BERT will impact may be very nuanced ones impacted by the improved contextual glue of text cohesion and disambiguation.  Furthermore, this might well impact understanding even more of the 15% of new queries which Google sees every day, many of which relate to real-world events and burstiness / temporal queries rather than simply long-tailed queries.

Recall and precision impacted (impressions?)

Precision in ambiguous query meeting will likely be greatly improved which may mean query expansion and relaxation to include more results (recall) may be reduced. Precision is a measure of result quality, whereas recall simply relates to return any pages which may be relevant to a query. We may see this reduction in recall reflected in the number of impressions we see in Google Search Console, particularly for pages with long-form content which might currently be in recall for queries they are not particularly relevant for.

BERT will help with coreference resolution

BERT(the research paper and language model)’s capabilities with coreference resolution means the Google algorithm likely helps Google Search to keep track of entities when pronouns and noun-phrases refer to them. BERT’s attention mechanism is able to focus on the entity under focus and resolve all references in sentences and phrases back to that using a probability determination / score. Pronouns of “he,” “she,” “they,” “it” and so forth will be much easier for Google to map back in both content and queries, spoken and in written text. This may be particularly important for longer paragraphs with multiple entities referenced in text for featured snippet generation and voice search answer extraction / conversational search.

BERT serves a multitude of purposes

Google BERT is probably what could be considered a Swiss army knife type of tool for Google Search. BERT provides a solid linguistic foundation for Google search to continually tweak and adjust weights and parameters since there are many different types of natural language understanding tasks that could be undertaken. Tasks may include:

Coreference resolution (keeping track of who, or what, a sentence or phrase refers to in context or an extensive conversational query)

Polysemy resolution (dealing with ambiguous nuance)

Homonym resolution (dealing with understanding words which sound the same, but mean different things

Named entity determination (understanding which, from a number of named entities, text relates to since named entity recognition is not named entity determination or disambiguation), or one of many other tasks.

Textual entailment (next sentence prediction)

BERT will be huge for conversational search and assistant

Expect a quantum leap forward in terms of relevance matching to conversational search as Google’s in-practice model continues to teach itself with more queries and sentence pairs. It’s likely these quantum leaps will not just be in the English language, but very soon, in international languages too since there is a feed-forward learning element within BERT that seems to transfer to other languages.

BERT will likely help Google to scale conversational search

Expect over the short to medium term a quantum leap forward in application to voice search however since the heavy lifting of building out the language understanding held back by Pygmalion’s manual process could be no more. The earlier referenced 2016 Wired article concluded with a definition of AI automated, unsupervised learning which might replace Google Pygmalion and create a scalable approach to train neural nets:

“This is when machines learn from unlabeled data – massive amounts of digital information culled from the internet and other sources.” (Wired, 2016) 

This sounds like Google BERT. We also know featured snippets were being created by Pygmalion too. While it is unclear whether BERT will have an impact on Pygmalion’s presence and workload, nor if featured snippets will be generated in the same way as previously, Google has announced BERT will be used for featured snippets and is pre-trained on purely a large text corpus. Furthermore, the self-learning nature of a BERT type foundation continually fed queries and retrieving responses and featured snippets will naturally pass the learnings forward and become even more fine-tuned. BERT, therefore, could provide a potentially, hugely scalable alternative to the laborious work of Pygmalion.

International SEO may benefit dramatically too

One of the major impacts of BERT could be in the area of international search since the learnings BERT picks up in one language seem to have some transferable value to other languages and domains too. Out of the box, BERT appears to have some multi-lingual properties somehow derived from a monolingual (single language understanding) corpora and then extended to 104 languages, in the form of M-BERT (Multilingual BERT). A paper by Pires, Schlinger & Garrette tested the multilingual capabilities of Multilingual BERT and found that it “surprisingly good at zero-shot cross-lingual model transfer.” (Pires, Schlinger & Garrette, 2019).  This is almost akin to being able to understand a language you have never seen before since zero-shot learning aims to help machines categorize objects that they have never seen before.

Questions and answers

Question and answering directly in SERPs will likely continue to get more accurate which could lead to a further reduction in click through to sites. In the same way MSMARCO is used for fine-tuning and is a real dataset of human questions and answers from Bing users, Google will likely continue to fine-tune its model in real-life search over time through real user human queries and answers feeding forward learnings. As language continues to be understood paraphrase understanding improved by Google BERT might also impact related queries in “People Also Ask.”

Textual entailment (next sentence prediction)

The back and forth of conversational search, and multi-turn question and answering for assistant will also likely benefit considerably from BERT’s ‘textual entailment’ (next sentence prediction) feature, particularly the ability to predict “what comes next” in a query exchange scenario.  However, this might not seem apparent as quickly as some of the initial BERT impacts. Furthermore, since BERT can understand different meanings for the same things in sentences, aligning queries formulated in one way and resolving them to answers which amount to the same thing will be much easier. I asked Dr. Mohammad Aliannejadi about the value BERT provides for conversational search research.  Dr. Aliannejadi is an information retrieval researcher who recently defended his Ph.D. research work on conversational search, supervised by Professor Fabio Crestani, one of the authors of “Mobile information retrieval.” Part of Dr. Aliannejadi’s research work explored the effects of asking clarifying questions for conversational assistants, and utilized BERT within its methodology. Dr. Aliannejadi spoke of BERT’s value:

“BERT represents the whole sentence, and so it is representing the context of the sentence and can model the semantic relationship between two sentences. The other powerful feature is the ability to fine-tune it in just a few epochs. So, you have a general tool and then make it specific to your problem.”

Named entity determination

One of the natural language processing tasks undertaken by the likes of a fine-tuned BERT model could be entity determination. Entity determination is deciding the probability that a particular named entity is being referred to from more than one choice of named entity with the same name. Named entity recognition is not named entity disambiguation nor named entity determination. In an AMA on Reddit Google’s Gary Illyes confirmed that unlinked mentions of brand names can be used for this named entity determination purpose currently.

BERT will assist with understanding when a named entity is recognized but could be one of a number of named entities with the same name as each other. An example of multiple named entities with the same name is in the example below.  Whilst these entities may be recognized by their name they need to be disambiguated one from the other. Potentially an area BERT can help with. We can see from a search in Wikipedia below the word “Harris” returns many named entities called “Harris.”

BERT could be BERT by name, but not by nature

It is not clear whether the Google BERT update uses the original BERT or the much leaner and inexpensive ALBERT, or another hybrid variant of the many models now available, but since ALBERT can be fine-tuned with far fewer parameters than BERT this might make sense. This could well mean the algorithm BERT in practice may not look very much at all like the original BERT in the first published paper, but a more recent improved version which looks much more like the (also open-sourced) engineering efforts of others aiming to build the latest SOTA models. BERT may be a completely re-engineered large scale production version, or a more computationally inexpensive and improved version of BERT, such as the joint work of Toyota and Google, ALBERT. Furthermore, BERT may continue to evolve into other models since Google T5 Team also now has a model on the public SuperGLUE leaderboards called simply T5. BERT may be BERT in name, but not in nature.

Can you optimize your SEO for BERT?

Probably not. The inner workings of BERT are complex and multi-layered.  So much so, there is now even a field of study called “Bertology” which has been created by the team at Hugging Face. It is highly unlikely any search engineer questioned could explain the reasons why something like BERT would make the decisions it does with regards to rankings (or anything). Furthermore, since BERT can be fine-tuned across parameters and multiple weights then self-learns in an unsupervised feed-forward fashion, in a continual loop, it is considered a black-box algorithm. A form of unexplainable AI. BERT is thought to not always know why it makes decisions itself. How are SEOs then expected to try to “optimize” for it? BERT is designed to understand natural language so keep it natural. We should continue to create compelling, engaging, informative and well-structured content and website architectures in the same way you would write, and build sites, for humans. The improvements are on the search engine side of things and are a positive rather than a negative. Google simply got better at understanding the contextual glue provided by text cohesion in sentences and phrases combined and will become increasingly better at understanding the nuances as BERT self-learns.

Search engines still have a long way to go

Search engines still have a long way to go and BERT is only a part of that improvement along the way, particularly since a word’s context is not the same as search engine user’s context, or sequential informational needs which are infinitely more challenging problems. SEOs still have a lot of work to do to help search engine users find their way and help to meet the right informational need at the right time.

Opinions expressed in this article are those of the guest author and not necessarily Search Engine Land. Staff authors are listed here.

  About The Author

Dawn Anderson is a SEO & Search Digital Marketing Strategist focusing on technical, architectural and database-driven SEO. Dawn is the director of Move It Marketing.

https://www.businesscreatorplus.com/a-deep-dive-into-bert-how-bert-launched-a-rocket-into-natural-language-understanding/

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Hannah Watches LOSH - Man of Tomorrow

This is my start on what will be a one episode-per-post re-watch and review/analysis of Legion of Superheroes. I am going to go through all the episodes of both seasons, and when I finish the show, I will also go into the comics afterward. I will try to aim for once a week at minimum, but that depends on school. The reviews will be made while I’m watching, with much pausing and commentary being made and screenshots being shown, and a final word at the end on both the episode overall and the characters.

I will also be comparing my view when I first saw the episode vs now. Also please keep in mind I did not start with the first episode when it aired. And these will all have my opinion alone, and if you have any feedback/comments you want to give, go ahead ^^

So, let’s start of with the first episode.

Man of Tomorrow

So we first get the preview of the Legion fighting the Fatal Five before cutting to Clark Kent during his last night in Smallville before going to Metropolis.

Watching this again, it struck me that Clark probably didn’t get the best support from his parents on the super power part.

What do I mean? Ma Kent said “Just please be careful. Remember Clark, your not like the rest of us.” Which he replies with “I know.” Now in the animated show most people are familiar with, the superpowers came into being around high school. But his parents seemed to have handled it rather well, as does Clark in the end, and he is given a device that has a message from his birth parents to give him an explanation. But here that’s not the case. I think it’s more likely that the parents were less ready to deal with superpowers, and god, given Clark didn’t know squat about Krypton as evident in the comics that tied into the show – will go into that eventually, who knows how well Clark was dealing with the powers when they first came up. Probably much worse than in the Superman animated series.

Speaking of parents, noticed that Pa was not in the episode. Where is he? Is he dead in this version? Ho geeze, adds to the stress the poor guy must be under.

And then we get our time bubble trio aka TBT: Brainiac 5, Saturn Girl, and Bouncing Boy. I wonder what the decision process was behind them. Which will be discussed in a bit.

Cutting back to the fair, we get more evidence of Clark not dealing the best way with his powers after a Jock taunts him and his physical abilities. He is getting ready to toss the ball, recalls Ma’s words. And god, the facial expressions now have the ability to pick apart my heart now.

Just. Ow.

And then comes the trope-tastic faulty Ferris wheel. I bet Grunkle Stan branched out to this fair.

And then we get back to the TBT. What do you mean food on a stick is not normal?! WHAT DO YOU DO FOR POPCICLES?! COTTON CANDY?! CANDY APPLES?!

Wait, how did he get that food? Was it samples? Or did the trio steal it?

I couldn’t help but snicker at Brainy’s and Saturn Girl’s expression at Bouncing Boy. Imma have to go with “stealing”

Also, what performance would the TBT be part of? I mean, I understand cosplay at a convention, but they look a little off the mark at the fair for me. But I would totally pay money to see that performance.

And it happens.

The beginning of what was one of the many triggers in many for shipping a gay ship.

When I first watched this show, I was in elementary. I was having some curiosity towards gay ships – I was in a very heavy weeabo state, and especially into CLAMP’s manga, which is filled with LGBT characters. I was also going through a bit of a religious phase, and my parents aren’t the most accepting people, especially back then. So I was scared by possibly shipping anything that wasn’t deemed right. I wouldn’t go bashing in public, but I wouldn’t confide with others. I wouldn’t really support the LGBT community until high school.

But now, I can fully appreciate the show and what it tried to do. The storyboards probably have more representation for the LGBT community by far, but still, I will take what I can get with this show… THAT’S A LIE I WANT THOSE STORYBOARDS.

Gotta appreciate the dramatic music that comes with the scene as well.

Look at those two concerned guardians.

Now back to Clark.

Given my earlier talk with him and his powers… THIS BOY MUST HAVE HAD A HEART ATTACK WHEN BOUNCING BOY SPOKE TO HIM. HE WAS CAUGHT. YET HE GOES “EVERYTHING IS FINE HERE,” AND PROCEEDS TO SWOOP IN WHEN THE THING STARTS TO FALL APART. KUDOS TO MY BOY IN HOLDING HIMSELF TOGETHER.

GRUNKLE STAN YOU HAVE A LOT OF EXPLAINING ON THE STATE OF THAT FERRIS WHEEL.

Saturn Girl, I don’t think now is the time for intros.

Pfft, BB is confused by this as well, to the point where his animation is a wee bit off.

And then he proceeds to walk behind Clark and… what’s the best word for this…

 WHAT A PRECIOUS FACE THAT FOLLOWS THAT SILLY BOING NOISE. AND THE WAY HE SAYS “help?” AFTERWARDS IS SO CUTE. EXPRESSIONS IN THIS EPISODE ARE SO GOOD.

I never realized how big Bouncing Boy could get.

Clark starts to nope out, and Saturn Girl said she did the same thing when she saw Bouncing Boy to do that as well.

And cue more internal panicking for Clark.

So, did Saturn Girl like did the whole fair a mind wipe, or just the guys who were witnesses?

More gayness, both sides.

And Clark has a gay panic.

Which will eventually turn into “I’m not Straight” in the future. I’ve been through that phase my boy.

Saturn Girl looks like a mom here, telling the kids to stop flirting atm.

Oh man, Clark asking them not to tell anyone about the super power thing. What a heart breaker.

“It’s okay. We know all about you.”

Wow, great conversation starter B5, totally not sounding like a stalker.

BRAINY WHY DID YOU CUT OFF BOUNCY?! JEALOUSY?! LOOK AT THESE GOSHDARN EXPRESSIONS.

Good job B5, weirded out your crush.

At least Saturn Girl knows saying “Coming to the future” sounds crazy.

“Clark!”

“Wait!”

Oof. My heart at his voice.

And Cool Mom has to step in.

He looks like a kicked dog at this frame.

Let us appreciate how immediately when Saturn Girl says “Let’s just give him some time,” the episodes is edited so that they show up in the kitchen at his house.

So Saturn Girl has a coffee mug, Bouncing Boy has pie, and nothing for the green child. Oh, and embarrassment for Clark.

Well, okay, B5 kinda looks like an angry kid who’s upset their BF is an hour late to the date.

And the introduction the do at the home seems to be much smoother at the fair. Think they did rehearsals waiting for Clark to get home? Did they switch out constantly? And how far did B5 take his crush with the rehearsals?

But Clark defiantly has a lot of self-doubt at the idea of him being a super hero. He uses his powers for good, but he definitely lacks the confidence that he’s good enough for it. He laughs it off at first, then seems a little angry and scared at how much they knew about his powers. Reminds me now of Yuuri Katsuri. And given how little confidence I have had in the last few years about myself, I can further appreciate him now than what I did back then.

Clark was very tempted in coming at “Come with us and you won’t have to hide them anymore.” It’s like getting a safe place to come out, finally, after years of being told that it’s safer to hide himself. Further more appreciative with time for me.

Wow, B5 looks so demanding here.

(Where did they keep that time bubble tho?? It just appeared out of nowhere?)

I kinda laughed at the part where Ma goes “Take a sweater!” then comes down stairs, confused at what he said. “Future?”

I like the atmosphere of New Metropolis in this show. Good use of complementary colors in this shot.

AND THANK ****ING GOD LOOK AT TRIPLICATE GIRL IN HD HER SKIN IS DARKER

I CRY BLOOD AT THE FACT THAT THE FACT SHE WAS SUPPOSE TO BE MUCH DARKER AND THEN SHE CAME OUT SO PALE IN SD QUALITY THANK GOD FOR HD

Granted the concept art of her gave her darker skin but SHE’S SO BEAUTIFUL WITH DARK SKIN

And here we have Queen Sinnamon Roll and Lighting Trash Baby, who PG proceeds to sass out with an eye roll and reality, and then has Trips back her up. Positive female friendships, that’s an instant gold star.

What a jealous baby, getting phased through and shoved aside. Thinking back to the jock we saw earlier, I find it interesting that Lightning Lad was made to fit that image on the first episode. Interesting move. Perhaps it was to show the character development as we went along?

The girls look so disappointed that the skinny Superman came out instead of some muscular guy. Personally, I prefer the skinny Superman design. Muscular guys just don’t seem as attractive to me as often. Might have something to do with that I find myself attracted to girls more often. But I love all girls, and buff girls are on the list of those I am weak for, so I’m just further confused. Maybe I just need another 10 years to figure this one out.

And when Lightning Lad proceeds to poke fun at B5 and Clark…

Brainy looks like a cat who is planning his demise. I had cats for a little over ten years. I know this look. Brainy is giving him the look that says he will murder him in his sleep. Painfully.

And then Lightning Lad proceeds to be a jerk, doing the last thing Clark needs: degrading him on his powers. After everything I talked about earlier, this hurts me in the hard. Trash Baby will be sent to the garbage pit as required.

We cut to the Superman museum, where Saturn Girl brings Clark to speed what’s going on, explaining who the Fatal Five are.

While watching this episode, I realized how much emotional support and guidance Saturn Girl provided for those in need – particularly B5 and Clark in this one. And she doesn’t seem to need to read their minds to figure out what they are feeling. So really, that is really thought provoking. Maybe she studied psychology or hosts therapy groups. In any case, it makes her far more interesting as a person.

I’m kind of interested to see what the military forces were like in this show’s universe, given that they were deemed not available for help against the Fatal Five. How restricted are they? Is there restrictions based on international laws? And as for the Science Police… well, I’m going to discuss that in a future episode.

Okay so tallying up the other legionnaires who were mentioned when the code red was sent out. Shrinking Violet was undercover, Colossal Boy is on Rawl (did I spell that right?), while Cosmic Boy, the leader, is at the outpost, where it is commented he won’t make it on time. Good god, they were spread thin. Just how much shit is going on elsewhere?! Just leave less than ten people at the HQ where one of the biggest problems will find them. NOT A PROBLEM AT ALL.

So the Fatal Five show up, and at least the police try to do something, but still get their asses kicked. A for effort.

And what does Clark do when confronted with his first Comic Villain fight? At first he seems like he’s running away. Leaving the Legion to get their butts kicked. But instead he’s getting the costume, and tries to fly. He’s taking a step forward to define himself as someone who can help. He’s becoming Superman.

But how did that costume just suddenly adjust to the tinier frame? Krypton Science?

And what about his hair? It changed too! It just popped out that signature curl!

Regarding the fight, there are several things I noticed: Triplicate Girl can be forcibly merged back into one singular being, and all three of her can carry Persuader and PG with the ax. Validus chased Bouncing Boy like a dog, which was kind of funny. Lightning Lad abandons his original opponent during fight to go help his teammates, and manages to resist for a while. And then he gave Superman tips in fighting. Saturn Girl is the first to break out of the control, and uses her powers to free the others. B5 has strong robot muscles (what’s the mechanical equivalent?)

Also, I think I should thank this episode for giving the idea of the ax for a weapon in the SU AU i work with, since she got to hold it several times in the episode.

Now regarding the villains, honestly the only one who I find of any interest is Emerald Empress. She was just so causal to Superman when she sees him in costume, and sounded disappointed at the small number of the people who came to confront her team, which gives her some character. Also, I heard somewhere that she is a lesbian. If anyone has a source that can confirm, I would appreciate it so much, cuz I need more queer ladies in my life.

Post fight, Lighting Lad says he knew Superman could do it, only to get the look from everyone. Karma much?

And we see sad Brainy when he says Superman has to go home.

But then Superman is the one who proposes he stays.

And as one last boot to the episode, Superman steals what Lightning Lad’s spot during flight with Brainy’s help. Continuing Karma on the trash baby.

So final thoughts on the episode overall.

It’s a good start the first season, definitely. But I feel there could be better execution. Like the first bit can get people to think that the fight happened before the Legion went to fetch Superman. Like only some of them managed to get away from the Fatal Five, and realize they need help in rescuing the rest of the Legion. That would be more interesting for a first episode, to me anyway.

Villains could have used more development.

Maybe seeing a bit more of the life back at Smallville would have been nice as well.

And how did that decision for the Time Bubble Trio/TBT go? I know B5 probably demanded to go, justifying he was the one who built the device. And wanted to see Superman first. But why Saturn Girl and Bouncing Boy? Did they draw stick, or was it based on the idea that they are probably the most responsible of the group? TELL ME~

But given what we got, I love it. The members of the legion are fun to watch, and it’s a good take on the younger Superman, and the interpretation I got out of the episode was so much deeper than what I got when I was younger.

And kudos out to the staff in trying to squeeze that gay stuff in.

Characters in this episode:

I really like Superman/Clark’s personality here. I can relate to it now better than how I did when I was younger. And now the experience seems like a parallel to finding a safe place to come out. Gold. Star.

Brainiac 5 was nice to see, crushing on Superman. We discover more of him personality wise later on, but it’s so good to see the gay game getting on this early.

Saturn Girl – god I love how she’s so emotionally aware of others in parts of this episode. This girl is definitely someone I would talk to during a hard time.

Lightning Lad… thank god for later character development. He’s a lovable brat here, but needs that character development stat.

Bouncing Boy is a delight. Such goodness in a person. An early-version of Hunk from Voltron. Good emotional support as well.

Seeing the sass that just oozes from Phantom Girl is a joy. My beautiful daughter.

And Triplicate Girl… THANK GOD YOU ARE NOT AS PALE HERE IN HD AS YOU WERE IN SD. I feel that we could have seen more of her and PG, but I really love how they got along in the HQ before the TBT got back.

The villains. Not much to say other than what I said about Empress earlier and that they needed development overall. Sorry.

Well, that’s all for this episode! Hope this was a good read for you all! lemme know if i should put any under a Read More bar.

[hellyeahheroes]

Cleansing the Crimes of Old Krypton: Comparisons Between Superman #1-6 and Supergirl #1-6

Ever since the rise of the comic-book anti-heroes, Superman and his family were positioned by writers in the opposition to them. This is a natural progression for those who understand the character’s roots as the hero of the little folk. Such qualities are resonating with the liberal and socialist ideals. Meanwhile, antiheroes often voice ideas that would be very terrifying if said by real-life politicians. The efficiency being presented as more important than human rights or collateral damage. The idea that the justice system only stops the protagonist from doing what’s necessary. An approach where stopping the bad guys is more important than protecting the innocent. These ideas can easily be applied to politics. And as a result, lead to authoritarian or outright fascist thinking. Don’t get me wrong. Some people claim if Batman won’t kill the Joker, he has the blood of Joker’s future victims on his hands. I’m not saying they’re cheering Donald Trump saying federal judges who overruled his ban on Muslim Immigrants are to blame if a terrorist attack happens. But we need to recognize the parallels.

Many successful antihero stories were built on exploring the consequences of this approach. You can find those themes everywhere from The Authority and V for Vendetta to Code Geass. Sadly, lately, we have a continuous increase of those problems being glossed over. And not only for actual antiheroes but even more upstanding characters. Especially in movies. Once paragons of virtue on big screen become terrifying. And yet we're supposed to cheer when they commit atrocities. Violating borders of a foreign country, intruding on people’s privacy, destroying an entire city in battle, murdering people. It all becomes not only justified but even glorified. They say it’s okay for “good guys” to do those things. Because otherwise, we’re all going to die. Because they’ll stop once the danger is gone, pinky swear. Because only the bad guys get hurt and killed. So relax and handle all the power and no accountability to those guys, they need it to protect you.

Superman stories often tackled this issue. Sometimes results is a compelling, meaningful voice in the discussion. Other times we get an awful, hypocritical story. That is given praise regardless because it sticks it up to the other side. “What’s So Funny About Truth, Justice And American Way” and it’s adaptation “Superman vs the Elite” are a prime example. There Superman proves wrong the Authority knockoffs who claim that might makes right. By beating the living shit out of them, thus proving that might do indeed makes right…. if you’re Superman. Thankfully, two stories I want to talk about do not have this problem.

For inspirations, both stories reach back. To a tale of 4 individuals that tried to replace Superman after his supposed death - Reign of Supermen. Superman books under Rebirth banner, in general, try to recreate the feel of that era. Superman is dead and his replacements start showing up. Kenan Kong in the New Super-Man, Lana Lang in Superwoman, even Lex Luthor dons the cape. But DC managed to have their cake and eat it too. The main Superman book still has it's Man of Steel. It's Superman from another Universe, with wife and son. He is more in line with old DC Continuity, compared to Superman that died. Meanwhile, Supergirl reaches to feel more like beloved TV Series, even if Kara is still a teenager. To connect with Reign of Supermen both books use a different way. They reach for its “bad” Supermen - Eradicator and Cyborg Superman. They also revamp them to have them fit a specific purpose.

Or use earlier revamps, as is the case with Cyborg Superman. Before Flashpoint this name was held by Hank Henshaw, a scientist with a grudge. In New 52 he is the man who had sent Kara to Earth from Argo, last surviving city of Krypton. Her father, Zor-El. He failed to save the whole colony and is desperate to undo past failures. He turns dead corpses of his citizens and even wife into cyborgs like him. But to regain sentience the need to consume life force of intelligent beings. Then Zor-El hears Kara cry in her moment of doubt. She question she’ll even be able to fit on Earth and how strange and, well, alien, our customs are for her. Her father doesn’t hesitate. He decides to invade Earth, harvest humanity to resurrect Argo and take his daughter back.

Eradicator was absent from New 52 era of DC, to resurface in Rebirth, with a simplified origin. Before Flashpoint it was an alien A.I. obsessed over Krypton. In Rebirth Eradicators were created by General Zod. It was a mechanical police force used against both criminals and political rivals. This one came back to life through contact with the blood of Superman’s son, Jonathan. And then vowed to protect and restore Krypton’s legacy. Starting with the last heir of House of El, Superman himself. Clark is reluctant to trust the robot when it offers to examine Jon’s health and fluctuating powers. Turns out it was a good call. Eradicator decides that being half-human half-Kryptonian, Jon is impure. And that the best way to heal him is to eradicate human part of his DNA. Jon would become fully Kryptonian, but also cease to exist as a person he was up to this point.

Both those villains have a history of representing darker shades of Krypton. In old continuity, Eradicator was a go-to explanation for every Krypton-related bad thing. Villainous interpretation of Zor-El is nothing new either. Before Flashpoint his whole motivation was "He hates his brother, Jor-El". He didn't send Kara away to save her, but to make her kill Kal-El. He had brainwashed his own daughter to make her a weapon against her cousin.

If anything, this version of him comes off as, if not sympathetic, then at least pitiable. Flashbacks show us he was a caring, loving father, who sent Kara away to protect her. It makes it much more tragic to see how far he has fallen. Even Kara starts to feel bad for him over the course of the story. She recognizes in him a man haunted by his failures, whose actions are a desperate try to fix everything. But Supergirl still calls him out. She points out that he doesn't care about anything but himself anymore. If he did, he’d see how twisted his “solution” actually is and try to find a better one. The results were more important than how he achieved them. And things like mass murder became merely means to an end. It doesn't matter how many he has to kill. It doesn't matter he turned his wife and friends into mechanical monsters. Once he gets them back, everything will be back to normal, he tells himself. He expects his wife and daughter to go back to their old life and ignore all the blood on his hands. He is delusional. When his wife regains part of her mind, she sacrifices herself to save Kara's adoptive mother. She'd rather be dead than part of this. Does it get to him? No. because for Zor-El it doesn't matter how appalling his methods are. Only that he wins.

Both Zor-El and Eradicator are operating on racist and xenophobic assumptions. They see everyone who is not Kryptonian as inferior and disposable. The whole idea of a Kryptonian living with human family is appalling to them. Zor-El several times states he never meant for Kara to stay on Earth forever. He expects her to simply abandon her new home, now that it served its purpose. He also mentions in passing wars betweenKrypton and other races. It's implied they were as horrible as what he is doing now. Meanwhile, what is Eradicator? A Kryptonian version of police brutality and law-enforcement being used for political reasons. All these factors make the reader ask a question neither of the villains bothered with. Should you bring old Krypton back? If Kryptonians were warmongering xenophobes, then why should they return? Who is to say if they do, they won’t go down the same path again? Neither Eradicator nor Zor-El makes a strong case against this argument. Not when they’re willing to stomp into the ground anyone who stands in their way.

We live in times when people in power tell us we need to give up parts of our freedoms for our own protection. That we need to do whatever it takes, no matter how unethical, to protect our way of life from “the enemy”. Even if it means crushing rights of those different from us. This is no different from many anti-heroes in comics. How often do we see one accusing more restrained superheroes of not having what it takes to “get the job done”? Or claim not only are they too weak, but people they protect are dumb masses easy to sway and control? Those themes are still being explored by creators of both books. Peter Tomasi and Patrick Gleason do it through later Superman villain, the Prophecy. Lord Havok and the Extremists serve this role in Steve Orlando’s JLA. But it isn’t enough to have heroes beat this type of villains. What is even more important is how they beat them. As I mentioned above, in that kind of stories it’s easy to come off as a hypocrite, if you play your hand wrong.

Luckily, even on that ground, the stories are on point. Neither Superman nor Supergirl can defeat their enemies alone. It is the strength of family, friends, and allies that allow them to overcome this threat. As Kara says, she isn’t on Earth to inspire humans – they inspire each other. Threat Eradicator and Zor-El present cannot be defeated by an individual. It needs the united effort of everyone it threatens. Even average people like Cat Grant or Bibbo Bibbowski have their part to play. It’s love, family, and unity that save the day.

And in true classic fashion, they are both shown mercy. While Eradicator’s physical form is destroyed, Superman’s very aware that’s not enough to kill him. Meanwhile, Cyborg Superman ends immobilized and imprisoned. The story ends with Kara hoping to find a way to save her father. If you follow solicits you know they’ll both be back in May’s Action Comics. Some might complain about the never-ending nature of superhero comics. How no victory is ever meaningful because the villain will come back. It’s one of the major problems raised by supporters of the antiheroes. But looking at those villains a metaphor for fascist tendencies, it works. Fascism can be beaten, but it cannot be killed. It will always find a way to creep back under a different name. The weakness of anti-hero stories lies in them giving the reader a fake sense of finality. They tell us we have to do whatever it takes, even if it’s immoral and unethical, to win against the evil. That once we beat it, it’s gone and we can go back to normal. But that’s not true. Evil is forever and it will keep coming at you in new forms. We can see it in today’s world as well. Not so long ago many folks would say fascism died when WWII was over. Allies victory over this evil was final and definite. The questionable choices made by them like bombing civilian cities, were justified because fascism is now dead. Once put down it will never rise to power again. And then Richard Spencer and Steve Bannon started making the news…..

The purpose of this text is not to bash on fans of the antihero characters. But when working with them it's important to show their questionable aspects. Otherwise, they can become propaganda tools for the worst kind of people.

[monkeypressde]

THE MISSION veröffentlichen “Tower Of Strength” neu

Ein absoluter Klassiker-Song wird neu erschaffen. Unter dem Deckmantel eines Charity-Projekts mit dem Namen ReMission International wird Tower Of Strength der Band The Mission als TOS2020 von über 20 musikalischen Gästen zusammen mit Wayne Hussey neu aufgelegt. Mit darunter sind Musikergrößen wie Martin L. Gore von Depeche Mode, Lol Tolhurst von The Cure, Midge Ure von Ultravox, Gary Numan, Andy Rourke, Billy Duffy, Budgie, Evi Vine, James Alexander Graham, Jay Aston, Julianne Regan, Kevin Haskins, Kirk Brandon, Michael Aston, Michael Ciravolo, Miles Hunt, Rachel Goswell, Richard Fortus, Robin Finck, Steve Clarke und Trentemöller. Für das Abmischen sorgt Tim Palmer, der schon David Bowie und andere Hochkaräter produziert hat.

Lass Dir den Beitrag vorlesen:

/wp-content/TTS/144482.mp3

Veröffentlichungsdatum ist der 28.08.2020 für die digitale Version und alle Harddisk-Freunde können die Schallplatte oder CD ab dem 02.10.2020 käuflich erwerben. Der Erlös dient zur Unterstützung aller Key Worker, die weltweit mit COVID-19 zu tun haben. Die Gelder gehen dann an wohltätige Organisationen, die von allen Beteiligten persönlich ausgewählt wurden.

Wayne Hussey: “Als Covid-19 zuschlug, erhielt ich viele Nachrichten, in denen ich gefragt wurde: “Warum veröffentlichst du Tower Of Strength für all die Arbeiter an der Front nicht neu? Das Lied war anscheinend von einigen National-Health-Service-Mitarbeitern als ihre Hymne angenommen worden, und es brachte mich auf den Gedanken, dass ich in dieser beispiellosen Zeit etwas für die größere Sache beitragen könnte – und das Einzige, was ich wirklich beitragen kann, ist Musik. So kam ich zusammen mit meinem guten Freund Michael Ciravolo auf die Idee, eine neue Version von Tower Of Strength für wohltätige Zwecke aufzunehmen, indem ich die Hilfe von Musikerfreunden und -bekannten in Anspruch nahm. Tower Of Strength wurde erstmals 1988 und dann 1994 von The Mission als Single veröffentlicht. Die Single schaffte es zweimal in die britischen Top 40 und erwies sich als unser wahrscheinlich größter Song und es ist dieser Song, mit dem wir im Allgemeinen unsere Shows abschließen. Es ist eine Hymne. Ich fragte mich, ob die Neuaufnahme eines bekannteren Liedes vielleicht eine größere Reichweite hätte, aber weder Michael noch ich konnten Vorschläge machen, die textlich zu passen schienen, ohne zu kitschig zu wirken. Also wurde es ‚Tower Of Strength‘.”

“Normalerweise verabscheue ich Dinge, die für wohltätige Zwecke getan werden, die gleichzeitig auch selbstsüchtig sind, aber ich habe mir einen Plan ausgedacht, der mein Gewissen befriedigt hat. Ich sprach mit meinen Bandkollegen von The Mission, die den Song mitgeschrieben haben – Craig Adams, Mick Brown und Simon Hinkler – und wir kamen überein, alle durch die neue Version erzielten Verlagseinnahmen an nominierte Wohltätigkeitsorganisationen abzutreten, einschließlich mechanischer und Aufführungslizenzen sowie 100% aller Einnahmen aus Verkäufen. Der Song wurde in ‚TOS2020‘ umbenannt, um diese Gelder von der ursprünglichen Version abkoppeln zu können – und die Wohltätigkeitsorganisationen wurden alle persönlich von den an Aufnahme und Veröffentlichung beteiligten Personen nominiert. Da es sich bei den musikalischen Beiträgen um globale Spenden handelt, gehen wir davon aus, dass die Einnahmen gleichmäßig unter allen Begünstigten aufgeteilt und verteilt werden.”

Die Mitwirkenden über TOS2020:

“Being given the chance to do some good to raise money for people and animals struggling in these frightening times by singing one of the best songs ever written was such an easy thing to say yes to. An absolute honour to be involved.” Gary Numan

“Today as we face an unprecedented crisis with COVID 19, we have to be united in purpose to help humanity and especially the disenfranchised and impoverished among us, survive. Music can be a powerful way to join us all together and help those that need it most now.” Lol Tolhurst

“I’ve seen and heard Tower of Strength played often and I’ve experienced its effect and the impact it has on others. It’s an anthemic song of hope, comfort and joy, with a message that now seems more relevant than ever. I hope this project, in which I am privileged to be involved, brings a little light into the shade, and allows us all to, albeit momentarily, focus on an ‘afterwards’.” Julianne Regan

“You get a message from Wayne Hussey asking if you can put a vocal (alongside a great list of singers, musicians and friends) on a reworking of a massive track in the repertoire of The Mission to aid COVID-19 charities around the globe – you say yes and get it done as well as you can.” Kirk Brandon

“I did it coz Wayne asked me to and I love Wayne.” Billy Duffy

“Being asked to contribute to making a piece of music isn’t overly taxing for a musician. I’m just pleased Wayne didn’t ask me to perform brain surgery or fly a jumbo jet, something which takes some form of skill.” Midge Ure

“My positive of the pandemic has been connecting to kindred spirits. Honoured to lend a hand.” Budgie

“I would like it known that, if asked, I would do absolutely anything for Wayne Hussey. Tower Of Strength is utter perfection: it is daring in its intent and supremely executed in both its original recording and every single time I have seen it performed live. To be asked to contribute to this new version was a very emotional experience for me. So many intense memories came flooding back as I sang, there were tears, I can assure you of that.” Miles Hunt

“Direct Relief is an organisation that helps people in times of emergency like natural disasters or in times of poverty by getting medical equipment and supplies to where they are needed most. At the moment they are obviously heavily focused on Covid-19.” Martin Gore (on Direct Relief, his nominated charity)

“Love and gratitude.” Robin Finck

“I jumped at the opportunity to be a part of this project – I always loved this song and asked Wayne if I could take a crack at John Paul Jones’ string arrangement, which I have always admired. Hopefully my take on it does it justice.” Richard Fortus

“The power we have collectively is transformative … I love and admire Wayne and the band and the warmth and intention behind this release. I know the power of this song and I feel so honoured to have been invited to join so many celebrated artists, this is a beautiful star in the darkest of times and I know the difference it will make.” Evi Vine

“To be amongst these amazing artists that I’m a huge fan of and have so much respect for is a true honour, especially for such an important cause. The sacrifice that all the amazing NHS staff and key workers have made is truly humbling and inspiring. To be part of an incredible group of people that want to give something back and show their gratitude is something I’m extremely proud of.” James Alexander Graham

“When I was asked by Wayne to be part of this fantastic charity project, I immediately said yes! If I could contribute to supporting the hard work fighting Covid 19 by making a remix of Tower Of Strength, that was a way for me to make a small difference. I’m very honoured to be a part of this.” Trentemøller

“I signed on for this project because I felt that it would be a great way to raise a lot of funds for those in need at this time. When I heard all the names of artists who were collaborating, I knew that it would turn out very special. I’m very grateful to be given the opportunity to contribute to this marvellous project.” Kevin Haskins

“When Wayne emailed me with the idea of contributing vocals to this project I jumped at the chance. Tower of Strength is such an anthemic song it’s only fitting that this has been done to support the various charities. It’s an honour for me to be a small part of the process and what a stellar line up of people involved.” Rachel Goswell

“Not every day do you get the chance to play on one of your favourite songs with some of your favourite artists, and to have it be for all the right reasons and for an amazing cause.” Michael Ciravolo

“So honoured to be part of this wonderful project. It’s also interesting that three of the original performers on our – Gene Loves Jezebel – very first recording, ‘Shaving My Neck’ are reunited by chance some 37 years later: Julianne Regan, J.P, and myself. Hats off to Wayne and the Mission for giving this rendition for charity during this pandemic.” Michael Aston

“Absolutely buzzed and honestly flattered to be asked to not only add my voice to this wonderful recording, but also give something back to our much loved and beleaguered NHS. The perfect song for these difficult and challenging days.” Jay Aston

Zu den nominierten Wohltätigkeitsorganisationen gehören derzeit:

NHS UK St. Jude’s Children’s Hospital Memphis Music Venue Trust UK Covenant House New Orleans Disasters Emergency Committee MusiCares Plan International Direct Relief Alzheimer’s Scotland Liberty Hill Foundation The Shrewsbury Ark Memorial Sloan Kettering Center NYC Prostate Cancer UK The Teddy Bear Clinic For Abused Children The Anthony Walker Foundation Crew Nation Memorial Sloan Kettering Cancer Center, MSK Kids Venice Family Clinic

Weblink THE MISSION:

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© monkeypress.de - sharing is caring! Autor/Fotograf: Marcus Nathofer

Den kompletten Beitrag findet Ihr hier: THE MISSION veröffentlichen “Tower Of Strength” neu

[travllingbunny]

The 100: 6x10 Matryoshka

Yes, that last scene was one of the most emotional, powerful and beautiful scenes of the season and arguably the entire show. And we all have been talking about it, posting gifs and obsessing over it the whole week.

 I doubt that I have anything substantial to add about it that others have not already pointed out, from the fact that this was the first time Bellamy has actually said “I need you” to Clarke (she has told him “I need you” and “We need each other” a few times, but he has never expressed his feelings through words like that), without any qualifiers like “we all need you”, but only mentioning that he and Clarke’s daughter need her; to the ironic foreshadowing from 6x02, when Bellamy, under the eclipse psychosis, got into Clarke’s face and told her “Maybe you haven’t noticed, Clarke, but I don’t need you anymore”(of course, it was obvious that he was just protesting too much). I sometimes have mixed feelings about the phrase “the head and the heart”, because it has been overused and misinterpreted in the fandom, and has led to me oversimplifications of both Clarke’s and Bellamy’s character. But it was used beautifully in this scene. And yes, Bellamy’s CPR skills are crap and he seemed to be massaging Clarke’s belly instead of restarting her heart (while mouth on mouth actually doesn’t matter much compared to restarting the heart – it just looks good on TV) – but it wasn’t the CRP that brought Clarke back, anyway. It was hearing Bellamy’s voice in her mind, passionately telling her that he needs her and wouldn’t let her go, that he couldn’t lose her again, and that she’s a fighter and needs to fight.

If there still people arguing that Bellarke is not an epic romance, it must be incredibly difficult to argue that after Bellamy has actually brought Clarke back to life with his love. In 6x07, Clarke gave up and was going to let Josephine have her body while she dies, after Josephine had made her believe that Bellamy had given up on her and already moved on from her death. She changed her mind later, prompted by the part of her mind that is her moral compass and voice of reason, embodied by her mindspace version of Monty. But she really got strength to fight and defeat Josephine after hearing Bellamy’s voice and knowing that he needs her and has fought for her, and after he gave her strength with his voice. Proving that love is not a weakness – it can be an incredible strength.

However, I also enjoyed the scene of Josephine and Gabriel’s reunion and goodbye that happened right before the Bellamy/Clarke reunion, the scenes in Clarke’s mindspace – which I was so glad to return – and all the Clarke and Josephine’s interactions. And, of course, Bellamy coming to save the day (in a very similar way as he did when he saved the Delinquents from the Mount Weather guards in season 2), and the awkward hug between him and Octavia.

This entire storyline is great enough to put Matryoshka among my favorite episodes. But, to be objective, I can’t give it a perfect score, because the other storyline in the episode – taking place in Sanctum – while also good, wasn’t as great, and missed some chances.

The title of this episode is one of the The 100’s best ones. Russian nesting dolls are a pretty good analogy for the way that each new iteration of a Prime has, in their mind, memories of all the previous lives.

More thoughts under the cut...

I loved Clarke’s snark about how much Sanctum guards suck. Because, well, they really do. They have obviously never needed to fight a really dangerous enemy, as the Primes are used to having all their people brainwashed and docile, and their only real enemy before the Earth people arrived, the Children of Gabriel, are also rather incompetent. As Josephine pointed out, they have never managed to kill any of the Primes. They seem to have just killed a few of the potential hosts. The Primes have, in fact, been better at killing each other, since Kaylee killed Josephine, Josephine killed Kaylee, and then had the entire Lee family wiped. (This makes me wonder about the lifespans of the Primes in their previous hosts. It doesn’t seem that most of them lived to old age, going by how many of them there were over the course of 211 years, which begs the question what the causes of death were. Illness? More “accidents” like the one Josephine VII died in?)

Clarke and Josephine’s interactions in this episode were lots of fun and even featured some funny moments (a rarity on The 100), with Clarke snarking at Josephine a lot. Their relationship turned into more of a frenemy one, as they started to see some of their similarities and had some sort of almost-bonding… which, of course, was not going to last. That was obvious even when Josephine was trying to convince Bellamy that she and Clarke were friends – which he didn’t buy. Still, it was fun to see Clarke and Josie arguing like roommates or even sisters annoyed when one is leaving her things in the other’s room.

So much in this episode focused on the history between Josie and Gabriel, such as when she and Clarke were in the hatch where Josie used to come for “research” – and to have some fun with Gabriel. It reminds me of season 1, when Clarke used to go and research Earth, first with Finn, and later with Bellamy, as they found the depot with the weapons. But, unlike Gabriel and Josie. they never got to have a drink and other things together.

I like the way they continued to use drawings/books as embodiments of Clarke’s and Josephine’s memories, respectively, with the image of books lying around in heaps in Clarke’s side of the ship, as their minds started merging and Josephine’s memories spilled into Clarke’s mind. She didn’t need to go into Josie’s side of the mindspace to see glimpses of her memories, most of them from scenes we have already seen – such as that Dave guy killing himself right in front of her;  Russell killing her during the Red Sun eclipse; Josephine waking up in Brooke’s body; or scenes that had been referenced and that we were meant to see – Josephine convincing Tai and his wife to give up their baby son to be sacrificed to the gods, telling them that his spirit will be with the gods. This is a scene that was deleted from 6x07 (as confirmed on Twitter by the actress who played the mother), and I now I wish it had not been, since this subplot played such a big role in this episode, but  seeing a few seconds of it, at least, made up for it to an extent.

It’s interesting that the drawings on the walls of Clarke’s mindspace room have changed significantly since the last time we saw them, in 6x07. I noticed it as soon as Clarke woke up in her mindspace, because the wall right behind her bed was completely different and, most obviously, featured a huge drawing of season 5/6 Bellamy, to Madi in shock collar. (Not to be confused with another drawing of the same scene of Madi in shock collar, next to a drawing of a smiling Madi, which was and still is on the wall to the left of the door.) Another new drawing on the same wall is the season 4 scene of Jasper showing the Arkadians the list, and there are other drawings that have been moved around. After rewatching the episode, I noticed a lot of other differences as well. See the screenshots for comparison in this post.  

The fact they reworked the entire room for this episode suggests that the changing walls reflect the way that Clarke’s mind works - some memories are more prominent than others, or are brought back from her subconscious, and they also cluster in different ways. But the main reason the prop department made an effort to change the drawings was most likely because they wanted to focus on different images this time. So the scene of Clarke waking up immediately shows, most prominently, Bellamy next to Madi – which may mean that Clarke is now letting herself think of Bellamy more and in a different way, knowing he is trying so hard to save her and how much she means to him – unlike in 6x07, when she was scared to face him and afraid that he could never forgive her.

Another reason for the reworked walls is so Josephine and Clarke can focus on the drawing of Tondc after the bomb, which was already there in 6x07, but is now in a different place and larger, covering the entire wall opposite of Clarke’s bed. (More on that below.)

One of the reasons Josephine was such an effective villain is because she was a "shadow " character to Clarke, with both many similarities and sharp contrasts. Josie is, in many ways, what Clarke haters (in universe and in the fandom) say that Clarke is. The show seemed to purposefully play with the parallels between them, between the Lightbournes and the Griffins, while the Gabriel/Josephine relationship was played as a parallel and contrast to Bellamy/Clarke, especially throughout episodes 6x09 and 6x10, even down to the casting of all the actors who played the former two characters.

Episode 6x07 Nevermind was mostly focused on loss, grief and guilt. Clarke’s spirit was almost broken by her trauma and her guilt over the deaths she caused directly or indirectly, especially those of people close to her (e.g. blaming herself for Maya’s death and for Jasper’s downward spiral it caused), or even those she almost caused (Blodreina blaming her for the times she left Octavia to die, but also for her greatest regret, leaving Bellamy to die in Polis). We saw that her darkest place was about the trauma caused by the deaths of her lovers, Finn and Lexa, the primal traumas that Josephine referred to, and Clarke uncovered Josephine’s primal trauma, Dave’s suicide. While we don’t know for sure what previously happened between Josephine and Dave, the way those memories were paralleled made me think he was Josie’s Finn, so to speak. (If you don’t think that comparison is fitting, remember that Clarke rejected Finn once he made up his mind about her, that he turned into a stalker by season 2, did something terrible and basically caused his own death, which caused a lot of trauma to Clarke, and her first retreat into the “Love is weakness” mentality.)

But this time, Josephine’s memory that was focused one of her and Gabriel, which represents love and happiness for her. It is my second favorite scene of 6x10, and it isvery beautifully done, with the music and the cinematography giving it a dreamlike quality and conveying the romance between those two, which we hadn't seen much on screen even though it plays such an important role this season. (The choice of songs used on The 100 is always on point – and the song “Apocalypse” by Cigarettes After Sex is perfect for the show in general, and contributed a lot to making this scene what it was.) It felt romantic and dreamlike because it is Josephine's happy place and a memory she didn't want to give up - but we were also reminded of the disturbing aspects of it - through Gabriel’s obvious discomfort and guilt (he didn’t want to be brought back, but after having killed at least 46 people to bring Josie back, he couldn’t have held it against her that she did the same) and the fact that neither of them were in their original body - reminding us of the fact that many innocent people were murdered to make those 160 years of romance and happiness possible.

Josephine looked lost in her memory, which made Clarke look at her in a different way, seeing some humanity in her, as it is the first time Josephine showed genuine love for someone. Clarke easily empathizes with people and is usually inclined to see the good in them (though she had almost lost that ability, as we saw in Eden: “There are no good guys”.), so she saw something she could relate to - it's no coincidence that she went on to believe, for a moment, that Josephine could get a second chance to be better.

Josephine: I wasn’t always like this.

Clarke: Trust me, I know the feeling. I mean, look around you.

Clarke: We can let the bad things that happened to us define who we are, or we can define who we are.

The scene of Tondc are the bomb are an easy visual way to convey the destruction that Clarke ended up causing while trying to save people she cared about - but it’s also arguably the first morally bad choice she has made, and the first time she genuinely started doubting herself and losing her moral certainty. It was also her letting a bunch of strangers die (and putting Bellamy’s sister at risk, which he blamed her for during their confrontation in 3x05) mostly to protect Bellamy. (Lexa, who convinced Clarke to do it, justified it with strategic reasons, which were her motivation, and, of course, it was also, by extension, about making sure that the mission of saving Delinquents from Mount Weather continues. But, for Clarke, it was mostly about removing a threat to Bellamy.)  Is it meaningful that this is the bad memory Clarke brings Josephine’s attention to, right after seeing a memory of the romance between Gabriel and Josephine, which happened right after Josephine had brought Gabriel back, after he had brought her back - which meant murdering innocent people (two of the many) so the two of them could get their 160 years of happiness? Was Clarke thinking that maybe she could move on from the bad things like Tondc (and Mount Weather etc.) and do good in the future while also finding happiness, as Monty told them to?

And she was ready to extend that hope even to Josephine, someone she had previously seen killing babies and decided was so evil that she definitely needed to be stopped. For a moment, she thought Josephine could be stopped by some other way than destroying her.  Wrongly, as it turns out - Josephine was defined by bad things in her past, as the last thing she did was try to kill Clarke in the exact same way Russell had killed her 236 years before, even saying the same lines: “Sanctum is mine”. Selfish, immoral people can fall in love and have relatable feelings, but they are still selfish and immoral.

One could say that Josie did feel responsibility for “her people”, as her reason for not letting Clarke live was because she thought Clarke would kill everyone in Sanctum. But her “people” she cares about really only consist of 12 8 people. We know she never cared about the rest of the people in Sanctum and never saw hosts as anything but bodies to be used, black blood gene carriers as anything but breeding cattle, and nulls are useless and disposable, or even vermin to be exterminated. 

And no, Clarke would not kill everyone in Sanctum – not if there was any other way to save her people and stop the Primes. But people like Josephine are inclined to project and see the worst in other people.

Mindspace Clarke was in her season 5 gear this entire episode (unlike in 6x07, when she kept switching between looks from different periods of the show), but it’s interesting that she appeared as early season 5 Clarke, with pink streaks in her hair, when she fought Josephine in the end.

Eliza Taylor has really been knocking it out of the park all season, and she was fantastic again at the end of this episode – first playing Josephine in her reunion/goodbye with Gabriel, and later playing Clarke in her reunion with Bellamy. Chuku Modu was also excellent, and both of them did a great job convincing us that their characters have had a 236-long history, even though this was their first scene together. What made the ending even stronger was the parallel and contrast between Gabriel telling Josephine he still loved herm but that they had had their time, and he had to let her go; and Bellamy refusing to let Clarke go. Gabriel had to kill Josie, after having been the one to revive her the first time, while Bellamy brought Clarke back to life. The important thing there is that letting Josephine keep Clarke’s body – as Josie suggested to Gabriel, with her tempting suggestion that they use another life and then grow old and die together, taking out their mind drives - would have been morally wrong, while bringing Clarke back was the right thing to do. Gabriel had done a lot of bad things in the past – for over 160 years, he killed a lot of people to bring Josie back, he created the system of bodysnatching, and lived for a century as one of the Primes, before having his moral awakening. But better late than never. The look on his face as Clarke and Bellamy were hugging was a mix of many different feelings – he could easily relate to them, even though he had never met them before, and see the similarity with his determination to bring back the person he loved, and there was some sadness and maybe envy at seeing something he had but wouldn’t have anymore – but he also knew that, indeed, he and Josephine had had so much more time than regular people ever get, and should now let other people live and experience happiness.

It is nice to see Octavia acting like the old Octavia of season 2, with love and concern and happiness for her brother and for Clarke. But Bellamy’s awkwardness around his sister makes perfect sense, because he still doesn’t know anything about Octavia’s change of heart and personal growth, and she still hasn’t actually done anything to atone and show that she’s changed. He wasn’t willing to hug her back, but he did give her a little pat on the back, because he doesn’t really hate her, but you can’t just erase everything that happened between them.

Josephine is definitely dead now. As Gaia pointed out, the mind cannot be in two places at once. Just as there has been no copy of Clarke’s mind in the Flame, because she left it and Clarke’s mind has been in her own body since - Josephine stayed in the neural mesh instead of returning to the mind drive, so there can’t be a copy of her in the drive.

Meanwhile, in Sanctum…

Abby and Raven didn’t bring any reinforcements from the ship, because they had no idea about the things that have happened in Sanctum while they were away (Madi killing Miranda and attacking Delilah, Jordan’s injury, Russell arresting all the Earth people, Bellamy taking Josephine to CoG territory, or even the fact Clarke had been bodysnatched). They finally learned about Clarke’s “death”. Unfortunately, with the events happening so fast, we didn’t get to focus much on their reactions.

After reading the released script pages for the scene between the Earthkru in captivity,  I think that it was a big mistake to cut some of the lines – Miller’s and Raven’s exchange about Jordan, and Raven’s comment that she is sure Clarke will also be fine, because she has Bellamy to save her. Both of these would have gone a long way to show 1) that our protagonists do care about Jordan and are worried about him and 2) that Raven does care about Clarke, which a lot of the fandom is doubting this season.

Raven seems to have had some subtle character development – she’s not inclined to be mean and judgmental to people as she was in the first few episodes, but is taking a cue from Kane and trying to be gentler and more compassionate as she talks to Murphy about him screwing up and about the importance of morality. (Are many Arkers religious? The idea of avoiding hell by doing morally right things certainly sounds like a religious one.)

Why are some fans now dissing Abby for her anger at Murphy? Fans wanted to see Abby upset over Clarke’s death, and now we see it, that’s not good, either? When she learned about Murphy’s betrayal, Abby must have also realized that it was Josephine, not Clarke, who convinced her to go with the plan of the Primes and put Kane in another body, so she’s aware that Murphy helped Josephine manipulate her, pretending to be Clarke and saying she’s doing it all out of concern for her. Of course she’s furious.

Emori is again trying to defend Murphy, by presenting his actions in the best possible light, but not lying: “He was trying to protect us all. When he learned she was alive, he did the right thing… Eventually.”

One of the things I love the most about the Sanctum plot is this episode is that it showed that Russell is really the worst. I’ve hated him from 6x03, but many fans believed he would turn out to be not-such-a-bad-guy. He looks sad as he does bad things, but then he does them anyway, and justifies his actions, and while he may appear less ruthless than his wife or daughter, in the end, he is just a bigger hypocrite. He is a megalomaniac who thinks he is better than anyone else. And oh, God, could he be more hypocritical? Dude actually thinks he and the Primes are somehow morally superior to the Earth people, calls them criminals and think he is doing justice by burning them at the stake. Justice for what, exactly? Because they didn’t take revenge when Russell and his wife tried to murder and bodysnatched one of them? When he (as he believed) murdered Clarke, he thought “Sorry” was good enough, but when Madi, a child grieving for her mother, lashed out in revenge and killed one of the Primes (who can come back), this is a crime that he needs to get “justice” for by executing one of the people who had nothing to do with it? Then he decides to burn them all, because one of his own people killed Simone after learning the truth about them, realizing that he had let them take and kill his baby son? I guess, in his mind, no one except the Primes qualifies as real people? (And not even all the Primes matter. He doesn’t seem to care that his wife and daughter wiped four drives and murdered the Lee family for good.)

Unlike Russell, who was obviously never going to turn around and be a good guy, Ryker is a character torn between doing the right thing, and being loyal to his family or ‘family’. (Priya is his mother, but Russell and the others are also the only family he’s had for 200 years, after he arrived to Sanctum as a teenage boy.) Which makes him wishy washy (although for understandable reasons) and a character whose actions can’t be always predicted.

When Echo told him: ‘Echo and Ryker “Admit it, it feels good to be on the right side”, she may have been talking from her own experience. But I’d expect someone like Echo, an experienced spy / assassin, to be more suspicious and careful and not so trusting as she was with him.

It’s very fitting that Russell is burning people at the stake (just as Cadogan, another cult leader, did) – as this was the traditional method of execution of “heretics”.

The episode was very tense until the moment when we learned all the Earthkru were going to be burned. All the tension was gone - one character dying is something that seemed likely, but all of them? That was obviously not gonna happen.

But poor Tai did get burned. And Ryker must be feeling pretty guilty now – he initially caused Tai to turn against the Primes by telling him the truth about them, although he didn’t predict Tai would kill Simone; and then he stopped Echo from assassinating Russell, who went on to burn Tai at the stake.

Echo remarked that Gaia only cared about Madi, even after she had banished her. But the truth is slightly more complicated – as a Flamekeeper who deeply believes in the Grounder faith, she cares only about Madi as the Commander, but she is also ready to consider killing Madi, if it saves people from a Chaotic Evil Commander, Sheidheda 2.0 (who was apparently so bad that it would make people long for the days of Blodreina). The relationship between Commanders and their Flamekeepers is complicated, and we learn that Sheidheda murdered three of his Flamekeepers (so, two more after his mentor), until he was killed by the fourth one. But the whole thing begs the question, even more than before, why does anyone think that putting the Flame into people, especially children, is a good idea? The idea is to help new Commanders use the knowledge and wisdom of the previous ones – but that doesn’t really work if one of them is incredibly evil, does it? All this time, we have only seen the Flame do something helpful once, and that was in 5x12 when it helped Clarke deal with her emotional issues. Other than that, it doesn’t seem to have helped a lot (especially with the Grounders somehow forgetting all the technology, in spite of having Becca’s memories). Other than that, we know that the previous Commanders were against Lexa abandoning the “blood must have blood” policy, and were not the ones to stop Madi from killing all the prisoners of war in 5x13. So, is it really worth keeping it, when it presents such a huge danger?

This is why I like this Dark Madi storyline – it really shows the dangers of making a child Commander and letting them have too much power, which season 5 glossed over, because Madi ascending was a means to an end. Now, contrary to what some fans have been complaining about, no one who is currently on the planet, other than Madi and Gaia herself, actually cares but the Grounder religion or considers Madi their leader, Bellamy and Clarke even left her sleeping while they took the team with them to the planet. But the fact is that is there are hundreds of people sleeping on the ship - the Grounder part of Wonkru – who do take Madi’s authority seriously and would follow her. Gaia pointed that out – the danger of what could happen if Madi goes back to the ship and wakes up her sleeping army, while she’s being demon child controlled/influenced by the Dark Commander.

Let’s take another moment to appreciate the fact that Simone wasn’t against burning a child, but only against wasting a potential host. Russell may have had an objection on the grounds of her being a child, but considering the fact he was OK with sacrificing newborn babies, I’m pretty sure he also is mostly concerned about not wasting a good host until she comes of age. The Primes are the worst.

Murphy saved the day with his quick thinking, suggesting a way to make new hosts, in order to stop the execution and saved all their lives, while Raven again proved to be a great problem-solver by coming up with a way to isolate and delete Sheidheda from the Flame and save Madi, and used bone marrow extraction as an excuse. It was very lucky that Russell was either suspicious, or just being himself, when he refused to be the bone marrow donor to save his wife, instead ordering it extracted from Madi – which will be a great opportunity to fix the Sheidheda problem. No, the Primes should not be allowed to create new hosts, but this is clearly a temporary solution, to buy time. (And BTW, contrary to what some fans think, bone marrow extraction doesn’t necessarily mean torture and certainly not death, people donate bone marrow to save people’s lives in real life, and no, the doctors who do it are not evil or Mountain Men-like. Nor did, for that matter, Abby’s experiments to find a solution to save the human race in Becca’s lab in season 4. Fandom seems to forget that the Mountain Men were killing the Delinquents only because 1) they needed too much bone marrow, and 2) they were d1cks and didn’t give a damn about other people’s lives.)

Questions and speculation for the rest of the season

Among brief glimpses of Josephine’s memories we saw spilling into Clarke’s mindspace, the one we have have not seen before or heard referenced featured a guy reading a book. In the end credits, he is called “Adjustor”. This must have something to do with the “Adjustment Protocol” from the title of episode 6x12, whatever exactly that is. The Primes have mentioned that a certain period for adjustment is necessary after waking up in a new body.

Why did Rose ask Clarke “Are you here to take us home” in 6x02? Will long-running mystery get resolved by the end of this season, or is it something for season 7?

What happened with Diyoza in the Anomaly? Or with Octavia? I think we’ll get a hint about that in the finale, but it will be the big theme for season 7.

Will Sheidheda be defeated by the end of season 6? Will Madi keep the Flame? If the Sheidheda problem/Dark Madi storyline continues long enough for Bellamy and Clarke to come back and learn about it, I expect Bellamy to feel very guilty about the consequences of Madi taking the Flame that he had not foreseen. (He never really gave much thought to the Flame itself, he just saw it as a pragmatic means to defeat Blodreina ensure peace and save the people he loves, and I don’t think he seriously thought it posed much danger to Madi beyond the danger she was in from Blodreina.) Fans have complained that this issue has not been addressed between Clarke and Bellamy this season, while we have seen Clarke feel guilty and apologize to Bellamy for leaving him in Polis.

Just how brainwashed are the majority of people in Sanctum and how long will they continue like this? They were obviously uncomfortable watching Tai die at the stake. We’ve seen what happened when Ryker revealed the truth to Tai. Delilah’s parents were similarly shocked and unhappy. But I’m afraid it would be too optimistic to hope that they all turn against the Primes, which would make the resolution way too easy, as there are currently just three active Sanctum Primes – Russell, Priya and Ryker. Gavin’s widow, for instance, is still fully loyal to the Primes, but she seems convinced that they are gods and that hosts get to be “one with the Primes”, rather than deleted from existence.

I’m sure Jordan will recover, but will he continue defending Priya, hoping to get Delilah back, or will he soon realize it is impossible, and what will his reaction be then?

(SPOILER) The synopsis for 6x12 mentions a “special Naming Day”. I like the idea that this will be the official ceremony for Josephine VIII – because it’s now time for Clarke to pretend that she is Josephine, just as Josephine pretended to be Clarke in order to fool the Primes and their loyalists, for a while. Clarke has a huge advantage there, as she’s gotten to know Josephine quite well.

Rating: 10/10

[totesmccoats]

Doomsday Clock #1

We open in Watchmen’s New York, on November 22nd, 1992; which is 25 years to the day before this comic’s release, and also the week that Superman #75 – the Death of Superman – was released. A mob gathers outside the business headquarters of Adrian Veidt, the world’s smartest, and now most wanted man, for his orchestration of the “alien” attack on New York City that resulted in over three million dead and thousands more physically injured.

The hoax revealed, the fragile peace it ushered in rapidly collapses as Russia begins an invasion of an ununited Europe; North Korea expands their nuclear capabilities to match the rearmament of other nuclear states; and the President of the United States, Robert Redford, is too busy golfing to properly respond. Dozens of media voices in the US are replaced by one Schutzstaffel logoed National News Network that prepares people for a righteous nuclear war.

Amid this chaos, Rorschach breaks out two criminals, Marionette and her partner, Mime, from prison to bring them to his new partner – Ozymandias, who again tries to cure the world, this time by bringing back its Superman.

And, in a distant land, a Superman wakes up from a nightmare.

Whether or not you think this story is a good idea, you have to admit that this issue makes a strong argument for itself. The issue echos Watchmen in the same ways Watchmen echos, well, itself; presented it’s separate threads as thematic and visual reflections of each-other. Rorschach unlocks a prisoner’s cage, releasing them; just as soldiers key into a nuclear console, unleashing armageddon.

Geoff Johns may be the only person capable of picking up Watchmen, given that his personal superpower as a writer has been his reverence of old comic stories, and ability to weave their threads into new patterns and expand them into larger universes. He’s basically doing to Watchmen’s character what he’d previously done with Barry Allen and Hal Jordan. And while Johns is an incredible talent in his own right, he’s aided by his ability to match Alan Moore’s style of dialogue; particularly in his writing of Rorschach, who switches between gorey purple-prose in his narration, and article-less laconism in his speech.

Gary Frank is a perfect artist for matching Dave Gibbons’ detail heavy illustrations, giving the book a texture and shadow-heavy tone that conveys the anxiety and dread of its world. Where the resemblance breaks is with Brad Anderson’s colors, which are more realistic and understated than John Higgins’ brightly saturated pop-art aesthetic.

Doomsday Clock’s biggest achievement so far is that, against all expectations, it fits. Johns wrote a story that, so far, makes sense as a sequel to Watchmen, and manages to infuse it with the same political resonance and thematic weight to today as the original had in the 80s.

  Batgirl #17

Then: Batgirl and Robin close in on the Mad Hatter, and rescue Ainsley from his control; and Dick keeps Barbara from crossing a line.

Now: Batgirl and Nightwing close in on the Red Queen, who has a few more tricks up her sleeve, including giant nanobots, and bringing Nightwing under her control.

I really enjoyed this entire Dick/Babs story, and this issue gives both timelines a really strong ending. The “then” timeline gives the two a solid shared experience for their relationship to start from; a time where they both needed to rely on the other to get through something incredibly taxing, physically, and mentally, but mostly emotionally. And in the present, the two work on a case recalls all those same emotions and have to rely on each-other in many of the same ways. As George Lucas might say, “it rhymes.” And Wildgoose’s art perfectly captures both the couple’s intimacy, and their emotional distance, in the two’s body language. If you’re a fan of Dick/Babs, this is a story that should be in your collection.

  Wonder Woman #35

Wonder Woman’s brother – Jason! Who he is, and how he came to be!

Glaucus begins the tale of raising Jason, Diana’s secret brother; from the day that he discovered his powers until the day Jason wouldn’t need him anymore. And from that point, Jason takes over, telling of how, even though he kept his powers a secret from the world and the mythic figures who would look for him, they found him anyway.

The most interesting part of this otherwise typical origin story is how it riffs on the familiar stories of Superman discovering and training his powers – particularly the version told in Man of Steel. Like Clark in that movie, Jason is told by his adoptive father to keep his powers hidden so that he wouldn’t be hunted for them. But, hewing a bit closer to Wonder Woman’s own origin, Glaucus does ask Hercules to train Jason, realizing that if his powers are only going to grow, he should learn how to use them, even if he shouldn’t.

Once Jason takes over narration, he tells of how hiding his powers created a hole in his life that he couldn’t quite identify until he saw how his sister – Wonder Woman – was using her powers to help people.

Unfortunately, Jason’s story ends on a cliffhanger, which means that we’re dedicating at least two issues of Wonder Woman completely to the history of this completely new, and relatively unimportant dude. Superhero comics really doesn’t need any more riffs on this origin story. We’ve seen it all, in almost every possible permutation – and we especially don’t need it taking up room in a Wonder Woman book. Also, who are Glaucus and Jason even talking to? They’re supposedly in completely different places, so…how is this even supposed to work? And if they aren’t “talking” to anyone, then why is Glaucus’ narration written phonetically?

  The Flash #35

Meena steals the Negative-Speedforce from Flash, and explains that she’s loyal to Black Hole because they’re the ones who saved her when Godspeed pulled her into the Speedforce when Barry had already written her off as dead. Then she escapes back to Black Hole’s labs, where she meets with Black Hole’s true leader – Raijin, God of Lightning.

Meanwhile, Barry and Wally finish off the rest of the Black Hole troops at the demolition derby, agreeing to work better in tandem to explore the real potential of the Speedforce to better combat Meena and Black Hole.

Kristen continues her investigation into Central City’s new crimelord at Iron Heights when she’s interrupted…

After Flash drops Wally off at home, where Wally comforts Iris; he gets a call from Warden Wolfe – there’s been a murder at Iron Heights.

This issue is an improvement over the last one, which mainly rehashed a bunch of information we already knew; but is still very exposition heavy, and does more work in introducing new plot questions than it does in making progress along already set-up plot threads. The issue’s biggest development is a return to status-quo, Barry’s got his usual powers back. Everything else is pretty much the same: Iris still needs her space from Barry; Barry and Wally are still repairing their relationship; Black Hole and the new Central City crimelord are still at large.

  Nightwing: The New Order #4

Kate Kane and the Crusade discover that Jake isn’t just immune to the power-neutralizer, his biology actively fights against it, making him that much more of a threat to the current world order.

Dick wakes up in the Titan’s secret headquarters, surrounded by Starfire, Beast Boy, Cyborg, (Kid) Flash, and Lois Lane(?), who is a Blue Lantern now. It’s not the sweetest of reunions, with there still being a lot of bad blood between Dick and the Titans, who are outlaws under the new system Dick ushered in. But, even if nothing else, they can agree on rescuing Jake – especially after their man on the inside reveals that Jake can possibly reverse everything.

And here’s where this story goes full X-Men. We got the ad-hoc family with interpersonal conflicts, the one mutant who can cure everything, the government oppressors; the whole shebang, really. Honestly, I never got into the X-Men, nor the Titans, but a good template’s a good template; and this story’s pulling it off, even if it’s really dropped the ball on some of the more resonant themes of systemic persecution in favor of more of a rescue the POW vibe.

  Black Panther #167

Shuri retrieves Dr. Franklin from a maximum security prison, legally, and brings him to Wakanda to continue their investigation into Klaw’s return. While he’s busy with that, Shuri leads T’Challa into the Djalia to learn more about Wakanda’s mythic history and the Originators. What he learns disturbs him. The Wakandans were not the native people of their land, and they did not take it peacefully.

Oofa-Doofa. This may be the heaviest reveal of Coates run so far, but one that plays directly to his strengths. Wakanda was built on genocide, their gods made as literal weapons against the native Originators. And now T’Challa, who has already recently made so many decisions to make his country – the most powerful in the world – more democratic; has to decide what to do after confronting his country’s original sin.

Basically, if you haven’t read Coates’ Case for Reparations, I suggest you do before the next issue.

  Snotgirl #8

It’s the boy’s issue!

Sunny wakes up from a weird dream where Charlene gives birth to a green puppy, and goes to meet Ashley at the sports club before he marries Meg. While the two attempt to bond over Squash, Ash tells Sunny that he’d like to bang Lottie before he marries Meg, which really gets under Sunny’s skin.

After Squash, Virgil, who’s up to something accidently walks in on the two in the locker room and gets all hot and bothered.

Ash and Sunny continue to the showers, and Ash will not shut up about sex and girls and how much he wants to bang Lottie. It’s really gross, and even Sunny wonders if he can keep up this hang-out much longer.

Meanwhile, Lottie is bored and alone, and makes it worse by texting her friends randomly; and when she runs out of those, she texts Detective John Cho – who instantly responds because he’s also thirsty for Lottie.

Later, John happens to join Sunny and Ash in the sauna, where he reveals that he’s been friends with Sunny since they were kids. Ash asks everyone about their kinks, because he’s gross as heck, and John reveals he also has a thing for girls with green hair. At this, Sunny finally loses his cool and gets into a short fight with Ash, at least until their towels fall off and it gets too weird.

Getting home, Sunny finally checks his texts.

This issue is just as meandering as usual, but the change in perspective is nice. We’re finally in the head of someone sane as opposed to Lottie’s addled narcissism. The issue is also a great look into the phenomena of “locker room talk,” in that it frames that sort of behavior as just as bad and gross even in a locker room. And to his credit, Sunny eventually does stand up for his girls instead of letting boys be boys.

AND OH BOY IS THIS ISSUE HOMO AF. Just…all the sweaty muscle boys talking about their “zords”!

Comic Reviews 11/22/17 Doomsday Clock #1 We open in Watchmen’s New York, on November 22nd, 1992; which is 25 years to the day before this comic’s release, and also the week that Superman #75 - the Death of Superman - was released.

[thechiefreport]

40 Movies (so far) in 2017

I seem to have watched a lot of movies so far this year, most of them for the first time.  Thought I'd do a quick rundown of all of them with additional thoughts that I couldn't fit into 140 characters.

The year started off with The 33, the movie about Chilean miners trapped underground. Surprised this didn't get more traction at the box office because it was quite good, though a bit long.  The Magnificent Seven was next (the one with Denzel and Chris Pratt) which had all the markings of a fun movie, but even now I couldn't tell you a single thing about any of the characters beyond the single defining characteristic they were given.  I went to Interstellar next because every so often I feel this need to watch a movie about space.  I have this crazy fascination with outer space so movies that take place there will always get a nod from me.

Ride Along 2 was next.  Kevin Hart is one of those guys that either you find funny or he annoys the daylights out of you.  The movie was fine but it wasn't as good as some of his others.  Hidden Figures I saw because it was MLK weekend and it was an important film.  Unfortunately when you buy reserved seating tickets at the last second, you sit in the front row which was not fun.  I'll need to watch this movie again from my couch to appreciate it more.

Split and xXx: Return of Xander Cage were next in theaters.  Split was another slow burn from M. Night Shyamalan with an out-of-left-field reveal at the end that was cool but didn't add anything to the actual film.  It does make for an interesting sequel though.  And xXx was what you'd expect it to be.  Nina Dobrev is on my list of top 5 celebrities I want to meet (#1 on that list will be coming up in a few paragraphs) so if she's in a movie, I'll go see it.

Not 100% sure why I decided to watch The Usual Suspects next.  Probably because it was on HBO or Showtime and I recorded it just to have.  Not as good as the first time (what is I suppose) but still holds up pretty well.  Then I decided to watch Transcendence because apparently I like to torture myself.  You'd think by now Johnny Depp wouldn't need to do movies for the money but this was nearly unwatchable.  Followed that up with Unbreakable because of the ending of Split.  I think I enjoyed it more than I did in its initial release.

Movies 11-22 were all movies I saw for the first time in 2017.  Eye in the Sky was one of those edge-of-your-seat thrillers that you shouldn't overlook when picking a movie for movie night.  Me Before You was the type of romantic dramedy that I enjoy, especially when you have someone as ridiculously adorable as Emilia Clarke in it.  Pete's Dragon was decent if uninspiring.  Never saw the original movie so I don't know if it's exactly the same.  

Back in high school friends and I made a horror-comedy as a senior project and one of the movies we referenced (by name, not anything else) was Killer Klowns from Outer Space.  Found a free version on some random site through my Roku device and soldiered through it.  Not great but you know what, it wasn't all that bad either?  Especially compared to Sharknado 4.  I get that the Sharknado films are the height of cheese but they really stopped caring.  In between that I saw a movie called The Voices with Ryan Reynolds, Anna Kendrick and Gemma Arterton.  Great cast, bizarre serial killer movie.  Hard to say who I'd recommend it to.

Sing Street was a movie that got a few award nominations but somehow flew under the radar.  Great movie if you like music in your films.  Sisters has the ultimate girl pairing of Tina Fey and Amy Poehler and was better than the previews might lead you to believe, but it wasn't their best work.  The Lego Batman Movie was the next theatrical and I fell asleep for about 10 minutes.  Batman as a supporting character in a Lego movie is great, but as a lead it was too much.  Went back to a girl comedy for Bad Moms and thought it was a lot of fun.  Can't wait for the sequel.

I thought John Wick: Chapter 2 was pretty dumb and nonsensical.  Unfortunately I watched it with an SVP from Lionsgate at a screening where they asked for our opinions at the end and I couldn't very well say it in front of him, could I?  It was extremely violent so I suppose if that's your thing.  Moonlight was next in time for the Oscars.  Yes it was a great movie but I will always believe La La Land deserved the Best Picture award it had for 2 minutes.

I got trapped at my parents house during one of the snow storms of the season so I watched Harry Potter and the Order of the Phoenix because I had it saved on their DVR.  Two more theatricals came next - The Great Wall and Logan.  The Great Wall was good for the action sequences but bad for almost everything else.  Logan on the other hand is one of the best comic book movies I've ever seen.  Dark and violent with an unhappy ending that felt right.

I was (and still am) a huge fan of The Office (both US and UK) so I was looking forward to David Brent: Life on the Road but without the supporting cast I grew to love, it wasn't the same.  Another disappointing movie was The Angry Birds Movie.  Previews looked great but man the movie was dull.  Went straight into another animated film, Beauty and the Beast, which is the movie I've watched close to 100 times in my life, and that is not an over-exaggeration.  25+ years later and I am still mesmerized by it.

Another Disney film was next with The Jungle Book.  Don't understand how it made so much money.  I thought the CGI was really badly done and the story was uninteresting.  The animated movie is far superior.  As a change of pace I went with The Purge: Election Year since it feels more and more like that's where this country is headed.  These movies aren't deep but they are well made.

Passengers was another one of those space movies I enjoy, this time with more romance.  The story wasn't great and it lacked a lot but I love Jennifer Lawrence and Chris Pratt so I'd definitely watch this one again.  Back to the theater for Kong: Skull Island which had a dumb story but tremendous special effects.  If The Jungle Book can win an Oscar for visual effects (over Rogue One??) then Kong should sweep the awards next year.  The Red Turtle was next which was the one film I actually had in-depth conversations about with a couple of friends trying to figure out what actually happened.  It doesn't feel like a kids film, even though it has some great animation.

The Legend of Tarzan was directed by the guy who did the last four Harry Potter movies so I thought I'd give it a chance but as much as I tried to like it, the story was dull and the special effects were weak.  Then I had to go to jury duty and as we sat there waiting for a case to be called (which never happened) I watched Guardians of the Galaxy since I had it on my tablet.  Still a fun flick.

American Ultra was next since I like Kristen Stewart and sometimes like Jesse Eisenberg.  But this was a bad mistake since the movie was just weird.  Usually I don't see movies in theaters one we get past opening weekend but the buzz for Get Out was so loud I figured I should make the trip.  I think it was over-hyped by the time I saw it, but it was pretty good.  Not scary per se, but creepy and uncomfortable.

Then I saw my most anticipated movie in years, Beauty and the Beast with the person #1 on my list of celebrities I want to meet, Emma Watson.  I loved every single second of it.  I was afraid I wouldn't enjoy it because of how much I loved the animated film, but I thought the story was better because they added pieces of background information we never had and it cleared up some missing pieces from the original.  The character CGI took some getting used to but I stopped noticing after a while.  When I first saw Harry Potter and the Sorcerer's Stone I was in awe because here was something I loved as a book, coming to life on the big screen.  Beauty and the Beast felt the same way, except it was an animated movie coming to life with Emma Watson.  I will 100% be seeing this at least once more in theaters, if not more.

On a Disney high I watched Zootopia again, as it was my second favorite film of 2016, and I still liked it as much as I did when I first saw it.  It was one of those movies where I wished I could go visit some day.  And movie number 40 so far this year (after only 77 days!) was The Edge of Seventeen, a showcase for Hailee Steinfeld who is, I think, the most talented actor of her generation.  She'll be making box office smashes and winning Oscars soon enough, even though this movie didn't quite hit with audiences.

So there you have it, a somewhat quick rundown of the first 40 films of 2017.  I'm sure I'll be back with more in a couple of months.