#it’s literally a crime that they performed outlaw live like once and then never again

[retoxjusttodetox]

that one bitch (me) who don’t play about the world ep.2: outlaw

[aion-rsa]

Best Serial Killer Movies of the ’90s Ranked

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Someone must have left the freezer door in the morgue open, because grisly reminders of the past are thawing before our eyes. You can see it this weekend with the release of John Lee Hancock’s The Little Things, a throwback to the days when movie stars hung out at crime scenes instead of in spandex, and it’ll be more apparent next month with the launch of Clarice, a television spinoff of 1991’s The Silence of the Lambs. All the evidence points to only one conclusion: the serial killer thrillers of the ‘90s are back!

Not that we’re complaining. For a macabre minute or two, every Hollywood name appeared eager to play either the detective or the killer—the hunter or the obsessed, which often proved interchangeable for both characters. Granted that means there can be something formulaic about many of these movies. Yet they can also be bleak, hard-edged, and ambiguous. From our modern gaze, where the dominant studio conventions prefer reassuring morality tales and sunny lighting, these movies’ preference for shadows and discomfort in the mainstream is kind of startling.

So grab your magnifying glass and fortify your stomach, because we’re about to revisit some of the best (and worst) of ‘90s serial killer thrillers. (Also this list is strictly for the decade when the genre was at its height and it excludes slasher movies like Scream, which may feature serial killers but were not exactly adult-oriented thrillers.)

12. Eye of the Beholder (1999)

Eye of the Beholder is a tonal oddity that only passingly flirts with the conventions of ‘90s serial killer thrillers, all while it tries to pay homage to (read: rip-off) Alfred Hitchcock. But any credit it deserves for deviation—including making Ashley Judd’s central femme fatale the killer—it loses in execution. As a muddied, impenetrable tale about an intelligence officer (Ewan McGregor) who spies on and falls in love with a serial killer, Eye of the Beholder is a scattershot of bad ideas that run the gamut from ludicrous to misogynistic.

Beauty may be in the eye of the beholder, but this movie will close the lids over your pupils inside of 30 minutes.

11. Nightwatch (1997)

It feels a little mean to rag on Ewan McGregor back-to-back, but maybe serial killer movies just aren’t his genre? That could be at least one takeaway from an ill-advised double feature of Eye of the Beholder and Nightwatch, the latter of which is a remake of a 1994 Danish film that I’ve not seen… and probably won’t since both the original film and American remake are directed by the same man.

McGregor plays medical student Martin here, a kid who gets an after school job by becoming the night watch security at the local morgue. But as a series of grisly prostitute murders pile up, Martin realizes he needs to figure out who the killer is—that or continue to be framed by the necrophiliac fiend who keeps coming by the morgue for one last liaison. It’s exactly as skeevy as it sounds. Do yourself a favor and go your whole life without hearing Nick Nolte sing “This Old Man” while climbing onto a corpse.

10. Natural Born Killers (1994)

The movie that Quentin Tarantino disowned, Natural Born Killers is a seedy mess based on a Tarantino script that was heavily rewritten by Oliver Stone, David Veloz, and Richard Rutowski. The concept itself is a seemingly inevitable escalation of the “bad romance outlaws” archetype that’s been floating around Hollywood since at least 1950’s Gun Crazy, and which was then made iconic by Bonnie & Clyde (1967).

But whereas those films relied on bank robbers living fast, Natural Born Killers descends into a seeming final form with Mickey and Mallory (Woody Harrelson and Juliette Lewis) as giddy serial killers who are eventually out for maximum carnage. Technically the pair are supposed to be presented as victims of traumatic child abuse—and who are then wrongfully glorified by the media. But Stone’s sloppy and tanked vision lacks the discipline to achieve anything beyond its maliciousness. Early sequences imagining Mallory’s abusive childhood like it’s a television sitcom, and later psychedelic visions of Robert Downey Jr.’s opportunistic news reporter as the Devil, do little to divorce the film from its shallow self-satisfaction in close-ups of heads being shot.

The movie came under controversy in the years after its release for inspiring alleged copycat killers as well as school shooters. It feels irresponsible to blame media for actual violence, but it’s still quite an indictment that Stone’s attempt to criticize media glorification became a favorite for many a disturbed individual with a gun.

9. Kiss the Girls (1997)

When studying competent, middle of the road Hollywood thrillers, Kiss the Girls is a solid place to start. As a decently made bit of studio convention, the movie is anchored by strong elements like Morgan Freeman as James Paterson’s literary hero, Alex Cross, and Ashley Judd as Kate, the victim who survives a masked killer’s attempt to abduct her into his harem.

Moments like Kate’s escape sequence through the North Carolina wilderness are effectively filled with adrenaline, and Judd particularly gives the salacious piece conviction. However, it is salacious to a fault. Even if the movie toned down the source novel’s even more lurid misogyny, the film studies Kate and the other victims with a lascivious male gaze, blurring sex with violence, real world horror with leering entertainment. Right down to its title, the film can be rightly criticized as Hollywood glamourizing another story about violence against women. Whether that damns the whole movie depends on the viewer, but it certainly keeps it low on our list.

8. The Bone Collector (1999)

Marketed with a hell of a tagline about there being thousands of taxi cabs in New York City that’ll get you home—and one that won’t—The Bone Collector is almost comically slavish to the clichés of ‘90s moviemaking. The wrinkle here is that after a faux cab driver begins abducting his victims off the street, the crime psychologist who must stop him is entirely stuck by his bedside. Due to a tragic accident, Denzel Washington’s Lincoln Rhyme is paralyzed from the neck down. Yet he is still able to catch serial killers by communicating in the earpiece of police officer Amelia Donaghy (an entirely unconvincing Angelina Jolie).

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Movies

Lost Girls Review: Netflix Takes on the Long Island Serial Killer

By Rosie Fletcher

Books

The Last Book on the Left Takes on the Grim History of Serial Killers

By Alec Bojalad

Together the pair stay one step behind the mystery killer’s tracks as he executes a series of increasingly gruesome and ridiculous murders. It’s preposterous, and in some ways a forerunner for Saw with the satisfaction it takes in absurd death traps, but Washington is effortlessly compelling, even when he never leaves his apartment. As a bit of absurd Hollywood fluff, right down to the ultimately lackluster unmasking of the killer, it can be entertaining, even if you’ll deny it afterward.

7. Copycat (1995)

More potent than I remembered, Copycat is a genuinely well-crafted Hollywood thriller that may not reinvent the wheel but takes it out for a damn good spin. In the driver’s seat is Sigourney Weaver as Dr. Helen Hudson, a criminal psychologist who is an expert on serial killers until one follows her into the bathroom after a guest lecture. He nearly hangs her from the ceiling. Following that white-knuckled opening, the film jumps years ahead and Helen has become agoraphobic and afraid to leave her home.

Yet when a local series of murders reveal the pattern of a predator imitating the methods of his favorite “celebrities”—one crime scene is like the Boston Strangler and another emulates the horrors of Jeffrey Dahmer—Helen is pulled out of retirement by a no-nonsense detective (Holly Hunter). The winning chemistry between Weaver and Hunter—who are refreshingly free from the studio-mandated romantic subplots in some of the other movies on this list—and the blunt force power of their performances aid this sincerely disquieting flick. A needlessly convoluted third act aside, the movie still works as a warning about the danger of fanboys a generation early.

6. Fallen (1998)

Denzel Washington appears again thanks to this clever supernatural spin on the serial killer genre. At the beginning of Fallen, Washington’s John Hobbes appears on top of the world. The serial killer he chased for years (Elias Koteas) is about to breathe deeply in the gas chamber. Yet after the lever is pulled, and with Koteas singing the Rolling Stones’ “Time is On My Side” until his last breath, a funny thing happens: the murders continue.

In fact, more than just the killings, strangers in the street sing “Time is On My Side” in Hobbes’ ear, and he soon realizes that he faces a devil of a killer whose been operating since the beginning—quite literally since the villain is a demon who was once an angel that fell with Lucifer. It’s a bizarre premise given strutting confidence thanks to Washington’s performance, as well as good supporting work by John Goodman and Donald Sutherland. Twenty years later and its ending still sticks with me.

5. The Exorcist III (1990)

If you haven’t seen The Exorcist III, we know what you’re thinking: “Really?!” Yes. In fact, this isn’t even an exorcist movie; it should’ve been titled Legion like the 1983 novel it’s based on. Alas writer-director William Peter Blatty was forced to use the title and do reshoots that added an exorcism in the climax. Still, this supernatural thriller which involves a serial killer back from the dead is far better than it has any right to be.

Following the character of Lt. Kinderman from the 1973 masterpiece, the middle-aged gumshoe is now played by George C. Scott instead of the late Lee J. Cobb, and he possesses Scott’s usual love for contrasts between the restrained whisper and a bombastic howl. He also makes a sympathetic, secular detective forced to face the horrors of Hell when a series of murders committed against Catholic priests appear to be the work of the Gemini Killer (Brad Dourif), a serial killer whom Kinderman sent to the chair more than 10 years ago.

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Movies

The Exorcist III is a Classic and Better Than You Remember

By Jim Knipfel

Movies

The Exorcist Is Still the Scariest Movie Ever Made

By David Crow

Somehow the fiend—plus Kinderman’s long dead pal Father Damien Karras (Jason Miller)—appear to now be living in the same body of a John Doe kept in a mental asylum. With an unrelenting atmosphere of dread, palpable tension, and more of Blatty’s intellectual struggle with concepts of faith and evil, the film is more high-minded than its hacky title suggests. It also features one of the best jump scares in movie history.

4. Summer of Sam (1999)

The only movie on this list directly based on an actual serial killer’s crimes, Spike Lee’s Summer of Sam is a serious-minded joint. However, it’s only partially about the murders perpetrated by David Berkowitz, aka the “.44 Caliber Killer,” aka the Son of Sam. Rather the film focuses on the effects a serial killer has on the culture of New York City during the sweltering summer of 1977, and how it affects young lives trying to make it in the big city.

Influenced by Lee and his co-writers Michael Imperioli and Victor Colicchio’s memories of growing up in 1970s New York, the pic is a love letter to a grim moment in history when the city was about to explode with murders, blackouts, crime, and disco. All of this is digested from the vantages of Vinny (John Leguizamo), a philandering hairdresser guilt-ridden for cheating on his wife (Mira Sorvino), and his childhood pal Ritchie (Adrien Brody), who’s left the old neighborhood behind to join the fledgling punk rock scene.

With a greater interest in how a serial killer affects the culture and institutions of a city on edge than being a traditional crime drama, Summer of Sam is a bit of a forerunner to David Fincher’s far more polished Zodiac from a few years later. With heavy-handed dialogue and a plot too big for Lee to fully get his arms around, even at 142 minutes, Summer of Sam can be uneven and messy. But it has the sweaty incorrigibility of a long night out, and of revelries half remembered like from a fever dream.

3. The Talented Mr. Ripley (1999)

The rare serial killer movie told entirely from the perspective of the killer, Anthony Minghella’s The Talented Mr. Ripley is disarmingly creepy. Despite its glossy awards bait sheen, there is a cold-blooded streak that runs deep to the heart of the piece, likely due to Patricia Highsmith’s source 1955 novel. Starring Matt Damon fresh off his Good Will Hunting golden boy sheen, the film uses its casting to disorient and ultimately disturb.

Like Highsmith’s book, the film is not structured like a traditional thriller. It instead favors a detached ambivalence about its seemingly nebbish hero as he agrees to become an errand boy for the rich by traveling to 1950s Italy in order to retrieve a silver spoon cad (Jude Law) for his father. But the more time Tom Ripley (Damon) spends with Law’s Dickie Greenleaf, the more he grows envious of Dickie’s lifestyle, his wealth and confidence, and maybe even his affection for socialite Marge (Gwyneth Paltrow). There is a subtle—too subtle due to ‘90s Hollywood conventions—homoerotic undercurrent throughout the film as Ripley slowly works up the courage to take his first life. It won’t be his last.

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Movies

Knives Out: When Murder Makes You a Better Person

By Natalie Zutter

Movies

Seven: The Brilliance of David Fincher’s Chase Scene

By Ryan Lambie

Highsmith wound up publishing four subsequent sequels to The Talented Mr. Ripley, but unfortunately no more were made with Damon. Perhaps because this was too unsettling for an ongoing franchise.

2. Seven (1995)

While watching David Fincher’s masterful Seven, the thing that immediately stands out is the oppressive nihilism that permeates throughout. There were decades of neo noir before this detective yarn about the hunt for a serial killer, but none demonstrated such an overbearing sense of despair before the opening credits were even concluded. And perhaps what makes it unshakable is how welcoming the film is toward bleakness; it succumbs long before the gut-punch finale.

Telling the story of an old cop days from retirement (Morgan Freeman) and a hotheaded rookie detective (Brad Pitt), Andrew Kevin Walker’s script has an economy of pace that still impresses despite its cynicism. Very quickly one murder becomes two, then three, and soon four. Yet none of the atrocities are reveled in by Fincher’s blocking; they’re off-screen mutilations which leave psychic damage on his two leads and, eventually, us. The deaths also quickly establish a pattern that their serial killer is targeting seven souls, each intended to embody one of the seven deadly sins.

The movie is a classic now for its climax where the killer “John Doe” (a reptilian Kevin Spacey) turns himself in and leads the cops into the darkest pit, but it’s the entire package that makes this one linger more than 25 years later. At the end of the film, Somerset quotes Hemingway by saying, “‘The world is a fine place and worth fighting for.’ I agree with the second part.” I’m not convinced his film does.

1. The Silence of the Lambs (1991)

As the film that kick-started the idea that serial killers could create their own film genre, The Silence of the Lambs still remains the best of its kind. Blessedly unaware that it was creating conventions for countless copycats, the film tells its psychological drama with simplicity and clarity. Whereas other films on this list bask in their bleakness, there is a dogged optimism and even perverse warmth to this Jonathan Demme adaptation of Thomas Harris’ Silence of the Lambs novel. And that’s of course largely attributable to the casting of Anthony Hopkins and Jodie Foster.

As Dr. Hannibal Lecter, Hopkins is of course monumental. It’s a performance that turned a quinquagenarian into an overnight movie star, and became Hopkins’ calling card as he returned to the not-so-good doctor’s well one too many times. Still, he’s undeniably enthralling as Hannibal, a cannibal psychologist with superhuman powers of observation and mental menace. Even so, Foster is often overlooked by critics for her own contributions as the FBI trainee who’s proverbially fed to the incarcerated Lecter—a pretty face to get the serial killer to consult pro bono on the crimes of another mass murderer. It’s just one more example of casual sexism faced by Clarice that gives Foster as much to play as Hopkins.

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Culture

David Fincher’s Zodiac: The Movie That Never Ended

By Don Kaye

Movies

The Little Things Ending Explained

By David Crow

Surrounded by the slights and prejudices of men—be they in law enforcement or straight jackets—Clarice is constantly underestimated. She finds an intellectual rapport with Hannibal, but she pulls herself out of the darkest night, and the screaming of the lambs, without assistance. Her perseverance matched by Hannibal’s darkly seductive qualities is the juxtaposition that makes Silence of the Lambs one of the finest films of its decade.

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[skinks]

hi!!! what are your favourite movies? like actually good ones but also any trashy comfort movies? is IT (2017) one of them?

Hello!! IT (2017) IS ABSOLUTELY ONE OF THEM oh man, thank you for this, I love talking about movies!!!! This is possibly the most difficult question you could have asked me. Apologies for how absolutely off the rails this got, I just... love movies so much lmao

I’ve said this before, but opening night of IT ch1 was the best cinema experience I’ve ever had, I’m so glad I got to see it with a fully packed audience who were all laughing and screaming together the whole way through. I’m a huge fan of... everything ch1 was doing, the 80s nostalgia, the summer-coming-of-age themes, the solid ghost train funhouse JOY of the Pennywise performance and scares, the washed-out cinematography, the tiny background details to make everything that much more eerie, the kids’ ACTING?!

Like, a lot of the time I find child actors can be really awkward and stilted to watch, but I remember leaving the cinema really impressed by JDG and Sophia Lillis in particular. I liked that they were all allowed to be little shitheads with potty mouths, it felt like a callback to 80s movies like The Lost Boys or Stand By Me. The whole thing worked to make me really care about what happened to the kids (even if I do still have issues with how they handled Mike. I understand even ch1 had limitations with juggling so many characters, but still). I saw it another 2 times in the cinema and have rewatched it at least, I dunno, 7-10 more times since then?

Add to all of that the retroactive CANON R+E baby pining subplot? I just love it, as if that wasn’t obvious by now given my Whole Blog. It’s a really special movie to me!

Anyway!! Ok, the main handful of movies I rewatch all the fucking time are:

Back to the Future, The Lost Boys, Pride and Prejudice (2005), Jaws, Ferris Bueller’s Day Off, The Breakfast Club, Ocean’s 11, POTC 1, The Dark Knight, Inception, Die Hard, LOTR trilogy, Snatch, The Nice Guys, Logan Lucky, Mad Max Fury Road, Clueless, 10 Things I Hate About You, Billy Elliot, Dirty Dancing, Tomb Raider (2018)...

Those are the easily consumable ones that I’ve seen so many times I don’t really have to concentrate or think about them, but I really love them and unfortunately often KEEP rewatching them instead of new stuff. It would take too long to go into why I love all these movies so much because I could write the same amount as I already did for ITCH1, and everyone already knows why those movies are good, so, lol.

I think I’m gonna have to subdivide and categorise this whole post because there are too many separate criteria for... goOD MOVIES, AUUHH 😩

Okay so first off, HORROR MOVIES? I’m especially in love with Re-Animator (1985) and its sequel Bride of Re-Animator, they’re such good examples of camp and batshit 80s practical effects, and also EXTREMELY funny. I’m actually just gonna post my list of my fave horror movies that I do actually keep on my phone at all times lmao. These are in no particular order:

Wholeheartedly recommend every one of these. I’ve never been so scared in my life as I was watching Hereditary in the cinema, hoo boy. Mother! by Aronofsky is one of the strangest experiences I’ve ever had (and I actually saw it on the same day I saw IT ch1 for the first time!! That was a fun day)

Psycho (1960) and The Fly from 1986 should also be on there but I couldn’t fit them in the screenshot.

I’m a HUGE fan of a ton of martial arts movies too, like Kung Fu Hustle, Shaolin Soccer, Ip Man, The Raid movies, John Wick 3 is my fave of the trilogy, Drive from 1997 with Mark Dacascos is incredible, SPL 2, Ong-Bak, Operation Condor, Project A, Iron Monkey, and Zatoichi (2003) are some favourites.

My favourite Tarantino is Reservoir Dogs, fave Coen brothers are Raising Arizona, The Ballad of Buster Scruggs and O Brother Where Art Thou. Love some old-timey colour correction and weird offbeat dialogue. I also love Goodfellas!!! And Donnie Brasco! And The Firm, I’m so easy for any good crime/law/gangster/heist procedural like that, especially if they’re from the 80s or 90s in a super dated way.

Fave Disney movie is Tarzan, favourite Ghibli movies are Spirited Away and Lupin III. I remember watching Spirited Away during a thunderstorm one time and it being.... god! Transcendent! Favourite Pixar movie is The Incredibles (the first one. ALSO the documentary “The Pixar Story” is great and well worth a watch, it’s very comforting for some reason) and my favourite Dreamworks movies are HTTYD1 and Spirit: Stallion of the Cimmaron.

I tend to watch more anime movies than tv shows, so stuff like Akira, The Girl Who Leapt Through Time, Summer Wars, Journey to Agartha, and my ultimate fave anime is Sword of the Stranger (2008). The climactic fight in that movie is fucking stunning and should be counted in “bests fights” lists right alongside anything live action

Also if we’re talking animated movies another hearty favourite is Rango, and a Belgian stop-motion (which at one time I considered my favourite movie ever) called Panique Au Village (2009) which is one of the funniest movies ever made imo.

As for TRASHY movies, I’m not sure if that’s the right word for how I feel about these ones but.. dumb/silly/slightly guilty pleasure movies? Ones that I feel need some kind of justification lmfao

Troy - something u must know about me is that I’m a giant slut for the Assassin’s Creed franchise, so if a movie smashes historical and mythological nonsense together with fun costumes and sword fights, I’m gonna enjoy myself. Even if they should have made Achilles and Patroclus gay. Other movies in this vein are King Arthur: Legend of the Sword, and Immortals (2011)

Gods of Egypt - I know all the reasons this movie is whitewashed bullshit. But it was already bullshit with giant Anubis mecha and giant snakes and bad acting and ridiculous CGI and frankly I had a blast at the cinema (my friend who I forced to come with me did not have a blast. Sorry H***)

Avatar - yes, the one with the big blue people. This movie gets a lot of flack nowadays but I really do enjoy it just for the spectacle. The full CGI world technology was so new at the time and I love to wallow in the visuals and daydream about riding a cool dragon around in the jungle

George of the Jungle - I’ll defend this movie to the death ok this movie shaped me as a person, it is fucking hilarious and Brendan Fraser is the himbo to end all himbos. It’s perfect. The song Dela is perfect. I still want to write a reddie AU about it. It’s one of the best movies ever made and I’m not being ironic

Set It Up - I KNOW this is a dumb Netflix original romcom but consider this; it was funny and the leads had great chemistry. I got butterflies. I once watched it and then literally immediately set it back to the start so I could watch it again

The Brady Bunch Movie - when people talk about great satires or parodies you will see them bring up the same movies over and over again, Blazing Saddles, This Is Spinal Tap etc, but they never talk about The Brady Bunch Movie from 1995 for some reason, which they should. It is one of the funniest things I’ve ever seen and every time i watch it somehow it gets funnier

Some more general favourites that I do still love but don’t rewatch as often, and don’t wanna go into more detail about are:

Moon (2009), Crna Mačka Beli Mačor, The Sixth Sense, Parasite, The Handmaiden, Tremors, Wet Hot American Summer, Tucker and Dale vs Evil, What We Do In The Shadows, Hunt For the Wilderpeople, The Secret of My Success (I love kitschy 80s movies, is that obvious by now), The Green Mile, When Harry Met Sally, Rear Window, The Odd Couple, Breaking Away, Pan’s Labyrinth, To Kill A Mockingbird, The Eagle, Gladiator, The Artist, The Extraordinary Adventures of Adèle Blanc-Sec, Call Me By Your Name, Master and Commander, Pacific Rim, Kiss Kiss Bang Bang, Legend (1985), Emma. (2020), Flash Gordon, Trolljegeren, Hross í Oss, Beverly Hills Cop, Coming to America, WarGames, District 9, Ajeossi (2010), Tracks (2013), Sightseers, Mud (2012), Pitch Black, Four Lions, Shaun of the Dead, Starship Troopers, The Truman Show, Withnail & I....... Jesus Christ ok I need to stop

NOTABLE EXTREME FAVOURITES that I didn’t include in the regular rewatch list because they’re too heavy/not as well known/require more attention.:

Thin Red Line (1998), Badlands (1973) both dir. Terrence Malick

Malick’s brand of dreamy impressionistic filmmaking is something I find really appealing, both of these movies are gorgeous and unusual and poignant and, in the case of Thin Red Line at least, have a lot of things to say about a lot of rough subjects. I don’t totally understand all those things sometimes, but a theme with a lot of my favourite movies is that I’ll be more likely to love something long-term if it raises unanswered questions, or is surreal/esoteric etc. Plus the cinematography is incredible, and I wish there was a way to get Jim Caviezel’s narration from The Thin Red Line as an audiobook because it’s very poetic and soothing.

Let the Bullets Fly (2010) dir. Jiang Wen

This movie is WILD, it’s so much fun. It’s sprawling and intricate and epic and smart and really fucking funny, it! Has! Everything! A gang of very tolerant outlaws!! Jiang Wen’s beautiful broad chest!!! Chow Yun Fat absolutely DECIMATING the scenery, and the two of them outsmarting each other in order to gain control of a small Chinese town!!! Plus it’s long, but it packs so much nonsense and intrigue that it goes by really fast. Wow what a flick

A Field in England (2013) dir. Ben Wheatley

I know I included this in my horror list but aaaaahhh ahhhh Wheatley is one of my favourite directors (he also made Sightseers, and is directing the Tomb Raider sequel which makes me absolutely rabid.) This is a surreal black-and-white psychological horror black comedy set in the English Civil War about some deserters who may or may not meet the Devil in a field. People eat mushrooms. It’s bonkers. I love being blasted in the face with imagery that I don’t understand

Mandy (2018) dir. Panos Cosmatos

Speaking of being blasted in the face!!!!! This movie... I saw it in the cinema and I can’t even begin to explain the experience, but I’ll try. My favourite review site described it like this:

“...somewhere between a prog album cover come to life and a metal album cover come to life, and subscribes to both genre's artistic tendency towards maximalism: what it ends up being is basically naught else but two glorious hours of being pounded by bold colors...”

So, prog and metal are my two favourite genres of music. This movie opens with the quote ���When I die, bury me deep, lay two speakers at my feet, put some headphones on my head and rock and roll me when I'm dead.” and then a King Crimson song, it is SURREAL to the nth degree, it’s violent and bizarre and Nic Cage forges a giant silver axe to destroy demonic bikers and there is a CHAINSAW DUEL. A galaxy swirls above a quarry. Multiple animated horror nightmare sequences. At one point a man says “you exude a cosmic darkness” and releases a live tiger. At another point Cage says, in a digitally deepened voice, “The psychotic drowns where the mystic swims. You’re drowning. I’m swimming.” and I haven’t stopped thinking about it for two years

Paper Moon (1973) dir. Peter Bogdanovich

Really fantastic movie set in the Great Depression (and also in black & white) about a conman and a little kid who may or may not be his daughter, running cons across the Midwest. It’s beautifully shot, so sharp and sweet and the progression of their dynamic is really well done because they’re played by an IRL father and daughter. Tatum O’Neal was NINE YEARS OLD and she’s so amazing in this movie she’s actually the youngest person to win a competitive category Oscar. I keep trying to get people to watch this fbdjfjdbf it’s wonderful

Alpha (2018) dir. Albert Hughes

THIS MOVIE IS A VICTIM OF BAD MARKETING ok, the trailers made it look like some twee crappy sentimental Boy And His Dog Adventure, plus it had voiceovers in American-accented english? That’s a total disservice to one of the coolest things about this film; the fact that they got a linguist to construct an entirely original Neolithic language that all the characters speak for the entire runtime. And yes, it is eventually a Boy And His Wolf adventure, but it’s COOL and fairly brutal, and it has some really incredible cinematography. The landscapes are so strange and barren and alien, you really get the sense that this is an ancient world we no longer have any connection to. And it’s also about like, the birth of dog & human companionship sooo it’s perfect.

Free Solo (2018) dir. Elizabeth Chai Vasarhelyi, Jimmy Chin

The Free Climbing Documentary. I loved climbing as a kid, I love outdoor sports, and I love movies that elicit a physical reaction in me, whether that’s horny, scared, real laughter, overwhelming shivers, or in the case of Free Solo - HORRIBLE SWEATING TENSION. Like, I knew about Alex Honnold beforehand because of this adventure film festival I go to every year and I followed him on IG so obviously I knew he lived, but the actual climb itself was torture. My hands sweat every time I see it!! It’s incredible, such a cool look into generally what the human body can do, and more specifically, why Honnold’s psychology and life means he’s so well suited to free soloing. It’s such an exercise in getting to know an individual and get invested in them, before they attempt something very potentially fatal.

Brokeback Mountain (2005) dir. Ang Lee

I can’t even talk about this. When I was around 13 I snuck downstairs to watch this on TV at 11pm in secret, and my life was forever changed. I wouldn’t be who I am if I hadn’t seen Brokeback at the age I did. I seriously can’t talk about this or I’ll write an even longer essay than this already is

God’s Own Country (2017) dir. Francis Lee

The antidote to Brokeback Mountain, I’m so glad I managed to see this one in the cinema too. It makes me cry every time, as someone who’s spent years working on a cold British farm with sheep it was very realistic, which is expected since Lee grew up on a farm in Yorkshire. I love that this movie isn’t really about being closeted, but about being so emotionally repressed and self-loathing that the main character finds it so hard to accept love. Or that he deserves to be loved. The cinnamontographies.... lordt... but also the intimacy and sex scenes are fucking searing wow who hasn’t seen this movie by now. 10 stars. 20 stars!!!

Tomboy (2011) dir. Céline Sciamma

I saw this years ago but I’ve never forgotten it, it cut so deep. It’s from the director of Portrait of a Lady on Fire and it’s about a gnc kid struggling with gender and misogyny and homophobia in a really raw, scrappy way, it reminded me very much of my own... childhood... ahh the central performance is amazing for such a young age. I haven’t seen Portrait yet but I feel like if you went nuts for that, you should definitely check this out, it’s lovely.

Donnie Darko (2001) dir. Richard Kelly

EVERY TIME I WATCH THIS MOVIE I UNDERSTAND LESS AND LESS and that’s what I love so much about it. I love surreal movies, I love time-fuckery and stuff about altered perception etc etc and Donnie Darko scratches all my itches. I wish I could find a way to figure out an IT AU for it, because I know it would work! Somehow! Plus it’s got the subdued 80s nostalgia and I found it at an age when I was really starting to explore movies and music and the soundtrack FUCKS.

Offside (2006) dir. Jafar Panahi

I wish more people knew about this!!! It’s an Iranian film about a disparate group of women and girls who are football fans and want to watch Iran’s qualifying match for the World Cup, but women aren’t allowed into the stadium, so they all get thrown into the Stadium Jail together? They don’t know each other beforehand, but it’s about their changing relationships with each other and the guards and just, their defiance alongside hearing the match from the outside and WOW it’s so lively. Great dialogue and very funny, and such a different kind of story from anything you usually see from Hollywood.

The Fall (2006) dir. Tarsem Singh

This movie... I guess it’s the ideal. This is the platonic ideal of a film for me, it has fantasy, magical realism, glorious visuals, amazing score and costumes and production design and a really interesting, heartbreaking relationship at the core of it. I don’t know why so many of my favourite films feature incredibly raw performances by child actors but this is another one, Catinca Untaru barely knew any English and improvised so much because of that, and it’s fascinating to watch! Also the dynamic with Lee Pace is one of my favourites, where a kid forms a friendship with a guardian figure who isn’t their parent, but the guardian grows to really care for them by the end. It’s like Paper Moon in that sense. What is there to even say about this movie, it’s pure magic joy tempered and countered by genuine gutwrenching emotional conflict in the real world, it’s also ABOUT old moviemaking, in a way, and it’s stunning to look at!

Mad Max Fury Road (2015) dir. George Miller

I know I included this in my “most rewatched” section but it deserves its own thing. We all know why this movie is fucking incredible. I remember clutching my armrests in the cinema and feeling like my skeleton was being blasted back into the seat behind me and tbh that is the high I’m constantly chasing when I go to see any movie. What a fucking gift this film is

Théo et Hugo dans le Même Bateau (2016) dir. Olivier Ducastel, Jacques Martineau

I only found this movie last year and it became an instant favourite. Initially I was just curious because I’d never seen a movie with unsimulated sex before, but it’s so much more than the 18 minute gay sex club orgy it opens with. No, not more than, AS WELL AS. The orgy is important because this movie is so candid and frank about sex and HIV treatment in the modern day, it was eye-opening. Another thing that really got me is that I’d never seen a real-time film before. It’s literally an hour and a half in the lives of these two men, their intense connection and conversation and conflict in the middle of the night in Paris, with some really nice night photography and just!!! Wow!!! AMAZING CHEMISTRY between the actors. This is such a gem if you’re comfortable with explicit sexual content.

Ok. This is already over 3k but film is obviously one of my ridiculous passions and I can and do talk about it for hours. I’ve been reading magazines about it for years, listening to podcasts and reading review blogs and recently, watching video essays on YouTube because the whole process is so interesting to me and I want to learn more!!

Recently I’ve been thinking a lot about the concept of valuing form over narrative. The idea that story can often come second to the deeper physical experience and emotional reaction that’s created by using ALL the elements of filmmaking and not just The Story, y’know? Whether that’s editing, shot composition, colour, the sound mix, the actors, how it should all be used to heighten the emotional state the script wants you to feel. And so, I think for a few years now this approach has been influencing the types of films I really, really love.

I think I love surreality and mind-bending magical realism in films specifically because the filmmakers have to use all those different tools to convey things that can be way too metaphysical for just... a script? I’m always chasing that physical response; if a movie can make me stop thinking “I wonder what it was like to set up that shot” and instead overwhelm that suspension of disbelief, if I can be terrified or woozy or crying for whatever reason, that’s what I’m looking for. That’s why I watch so many fuckin movies, and why I’ll always remember nights like seeing IT (2017) for giving me another favourite.

Thank you again for this question, I didn’t mean to go so overboard. Also there’s no way to do a readmore on tumblr mobile so apologies to anyone’s dashboard 😬

[victoodles]

Fleur Sauvage

yeehaws but softly. back again, read it on AO3 and i hope you enjoy

Arthur is uncomfortable.

The sleeves of his stupid tuxedo are too tight and the cotton of his stupid bowtie is too itchy against his neck. But mostly, it’s because he’s surrounded on all sides by pompous displays of how the other half live.

Arthur has been encircled by wolves before, ravenous beasts of varying shapes and sizes. Unfortunately this time around he can’t shoot his way through the pack. If he had a say in the matter, he would take fangs and claws over coiffed hair and expensive suits any day of the week.

But he doesn’t. He rarely does, so here he stays.

The air is heavy with cigar smoke and foreign chatter. Arthur always presumed other languages would have an essence of beauty to them. Though as he overhears these gentlemen prattle on, cackling at their own self-proclaimed witticisms, he finds it to be extremely grating. Dutch insists though, as he is prone to do, that they continue to meet with the true master of Saint Denis.

Angelo Bronte.

A man with all the charm of a cottonmouth snake and twice as deadly. Every word that falls from his mouth is dripping with so much venom, Arthur is surprised listening to him hasn’t been fatal. Among those words is the promise of money; a key to freedom from the shackles of a modern word.

Now Arthur is the one to insist that Dutch reconsider his faith in this “parasite", as Arthur so fondly described. Dutch disregards it, telling him that home is just “one more score” out of reach. Arthur thinks that these grandiose fantasies are going to get them in over their heads more so then they already are. Hosea shares the sentiment but their unconditional loyalty has them tethered to this plan for the time being.

Angelo cackles from his perch on the manor’s balcony. He finds himself (both literally and figuratively) above the party-goers and that seems to fill him with malicious glee. They are merely bugs under his expensive shoes, and he’ll go well out of his way to stomp on them.

He sorts through the crowd one by one, expressing his contempt and expansive knowledge of Saint Denis’ denizens. Each one has a filthy secret that Angelo pours forth like fine wine. A jeer follows every name until his gaze falls upon a certain young lady, arm secured around Hosea’s.

“And who is this? I’ve never seen her before,” Angelo turns to his men with a smirk, “I’d certainly remember one so pretty.” Arthur tracks Angelo’s leering gaze to you, and his ire is sparked like flint. Taking a step forward to act, he aims to silence this lecherous cretin permanently.

Unfortunately, he is promptly stopped by Dutch’s hand, a silent plea to contain himself. It’s a small one and Dutch hopes Angelo doesn’t notice, they’re already on thin enough ice. Thankfully, he doesn’t.  

“Is she one of yours?” It’s posed as a question but Dutch knows he expects an answer - the right answer.

“Yes,” he answers immediately, “she’s like a daughter to me.” Dutch is careful not to give out too much information but still emphasizes you are no part of their meeting. “Just wanted to show her a good time away from the debauchery of our lifestyle. We think she deserved it, didn’t we Arthur?”

Every muscle in Arthur’s body is wound tight, ready to fight if you’re put in Angelo’s crosshairs. He clenches his jaw and manages to grit out an affirmation.

Another smirk spreads across Angelo’s lips. “Is that right?” He says something in Italian to his men, most likely a derogatory comment, before turning his attention back to the outlaws.

“It’s quite a crime to keep a flower like that out of reach. Such a beauty should,” he pauses to take another drag of his cigar, licking his lips lasciviously afterwords, “be enjoyed by all.”

Angelo seems to revel in the heat of Arthur’s rage; he’s garnered what you mean to him by reactions alone. Arthur’s trigger finger is suddenly restless; he wishes he had the sense to conceal a weapon. Dutch speaks again before Arthur sets this whole party ablaze.  

“We shall keep that in mind, Signore Bronte. Now, if you’ll excuse us,” Dutch begins to lead Arthur back inside.

“Yes, yes go! Enjoy, my friends!” He says with a dismissive wave before he returns to his own festivities. Angelo wears a mask of gracious host but Arthur can see the cracks in it, revealing the true monster underneath.

That doesn’t matter right now though. Arthur needs to get back to you.

As the two of them head back downstairs (Arthur a little more briskly in contrast) Arthur starts up with Dutch. “I told you bringing her along was a bad idea,” he growls. It’s clear Dutch doesn’t have the patience to placate Arthur right now.

“And I told you that we needed her! She still can speak their pretentious language. Discover leads that we couldn’t with our “barbaric” intellects.” Dutch says sardonically, paired with a roll of his eyes.

“Dutch,” Arthur warns but is once again interrupted.

“I will keep her safe, son. As I have done for all of us.” Dutch smiles fondly then. “You’ve got yourself quite a woman there, a true sheep in wolf’s clothing. I gather she won’t need much assistance from either of us.”

Arthur is momentarily rendered speechless. It was true, you were beyond capable of fending for yourself. But he still did not want to take any chances.

A man who held the world in the palm of his hand? What could someone with that type of power do to a woman closely associated with a (potential) enemy gang?

Arthur didn’t think himself overly imaginative but he could picture possible outcomes vividly. Too vividly.

One of many servants opened the main doors before those thoughts could evolve into more grotesque nightmares. Arthur is cruelly reminded of the events transpiring just beyond. However his racing mind is thankful for the distraction. He finds on the other side a dapper Hosea and Bill, looking even more miserable than himself.

But no you.

Arthur opens his mouth to inquire and Hosea has the answer before he can ask. It seems everyone’s in the habit of cutting Arthur off tonight.

Hosea tilts his head towards the courtyard. “Down there. She’s getting a head start on the mingling,” he informs his frantic son. Arthur’s feet carry him so fast he barely catches Dutch’s request to stay out of trouble. Wishful thinking but he’ll try his best regardless.

To Arthur, you stand out amongst the throng of people, clear as day. Your pink dress (you tell him it’s peach) compliments you completely. From the way it hugs your waist to the roses embroidered along the skirts. How fitting of a design, a wild rose with her own kind.  

An array of golden hair pins - courtesy of Miss Grimshaw’s heydey - keep your complicated braid in place. They shine like stars in the lamplight, twinkling faintly with every turn of your head. Your decolletage is bare of any jewelry, save for some cream colored lace along the sleeves of your gown. Arthur is oddly more distracted, eyeing the exposed skin hungrily.

Your beauty doesn’t hold a candle to any of the satin clad or feathered fan socialites. You are elegance personified and he aims to immortalize that within the confines of his journal later.  

Arthur makes his way forward, drawn to you as he often finds is the case. Obstacles in the form of other guests stand in his way and he wades through them. He doesn’t mean to push and shove; he is quite colossal when next to these dainty women. An apology comes in the form of a flute of champagne as to not stir up any more trouble before he presses onward.

Your company is being enjoyed by the mayor himself and his entourage. The gentlemen are enraptured by whatever it is you’re regaling them with. Hanging onto every pretty word and starring at you like you hung the moon. Arthur finds himself in the same position more often than not.

Laughter, airy and delicate, tugs at Arthur’s heart as he approaches. It envelops him; it’s a warmth he still isn’t accustomed to, especially in his line of work. But you coax him into it, and he learns his hands are still capable of gentleness.

You notice Arthur, a grin playing on your lips, and you stop mid-sentence to acknowledge him.  

“Oh Tacitus, my darling,” You coo, waltzing up and wrapping your arms snugly around Arthur’s neck. He fights to contain his guffaw at your act: the high society primadonna. It’s your favorite role to play whenever Hosea needs you for a swindle. And you play it exceptionally well.

A kiss is placed on his cheek, tantalizingly close to the corner of his lips. It’s a promise of more to come.

The mayor and his colleagues chuckle at this impromptu display of affection. “It seems your new bride is quite taken with you. What a shame for us, eh gentlemen?” The mayor asks, feigning disappointment which earns him a wave of laughter. You titter yourself, finding a new place around Arthur’s arm this time.

Arthur looks at you bemused, but humored. You take that as your cue to subtly fill him in on your little game. You smile affectionately at Arthur before turning attention back to the mayor. “I’m terribly sorry my good men, but my heart utterly belongs to my Tacitus,” you keen, dramatically casting a hand over your chest. If he wasn’t an actor in this play, Arthur would quite enjoy watching the performance.

"Mon coeur, it is broken!” The mayor jests and you playfully swat at his hand.

“Ne sois pas bête!” You tease back.

This French tit for tat goes right over Arthur’s head but he does understand something. Dutch was absolutely right in bringing you along. Not even an hour later and you already have a major city official wrapped around your finger. Color Arthur impressed (and slightly jealous). But then he remembers he is your “husband” after all, and the petty emotions are assuaged.

“And,” the mayor finally turns his focus to Arthur, “whose pleasure is it to have this delight of a woman for a wife?” Arthur sheds his skin of an outlaw and adapts, following your lead.

“Good evening,” he says smoothly, extending a hand out. “Tacitus Gilgore.” The mayor seems pleased at the gesture and eagerly shakes Arthur’s hand. You’re beaming at Arthur’s side at the interaction.

“Well it certainly is a pleasure Mister Gilgore. Henri Lemieux, mayor of this fine city.” There’s a hint of disgust in his words; Arthur doesn’t blame him. Henri gestures to his surrounding accompaniment and begins to introduce them. Arthur tunes it out - they don’t matter. Finding the mayor was his goal, not these buffoons.

Though his attention does perk up at the mention of a familiar name. “And this is Monsieur Evelyn Miller.”

“Like the writer?” Arthur inquires, earning another giggle from you.

“Yes darling,” you chirp enthusiastically. “He wrote all those books your father positively adored.” Your conversation takes a turn. “Tacitus is the sole inheritor of his father’s oil company,” you inform with a coy smile. A few of the men raise their eyebrows, impressed. The mayor included.

“Ah an oil proprietor?” Henri inquires. “Well, congratulations are in order. A beautiful wife and a flourishing business? You sir, are a very lucky man.” He reaches out and takes Arthur’s hand firmly in his.

“I look forward to speaking more with you, Monsieur Gilgore. But for now,” he relinquishes his hold on Arthur, “why don’t you and your young bride enjoy yourselves?”

Arthur places his now free hand on the small of your back. The satin feels soft under his calloused palms but he yearns more for skin to skin contact. Time and place, unfortunately.

“I think we will. Thank you for your hospitality, good sir.” Arthur takes his leave with a tip of his head before he escorts you away from the crowds. He thinks he deserves some semblance of peace for now. While the excess of unwanted company isn’t ideal, as long as you’re there he feels calm.

An impressive gazebo at the apex of the courtyard is devoid of any guests. It seems the majority of them strive to be in the limelight of this affair for reasons Arthur can’t seem to care about. Regardless, he is grateful for the temporary isolation as he leads you there.

The crowd begins to progressively wane much to Arthur's delight. A few still linger and you placate them with your arsenal of bonjour's and merci's. Once again Arthur finds himself grateful for you. He's reached his "mingling" threshold for the night a long time ago. Your's on the other hand seems to have just begun as you keen and wave to every passing sir and madam. It's rather amusing and Arthur chuckles lightly.

"Another minute there and I think he woulda' handed you the key to the city," Arthur teases. It's a rare occurrence for his bark have no bite, just playful nips You welcome it eagerly.

"That would've been ideal. I could have given it to Dutch so he can sell all of Saint Denis for a few mangoes." You respond back coolly. Arthur snorts.

"Seems like a fair trade."

You nudge him for his cheekiness. "Mind your tongue, Gilgore," you jab. He concedes to your wishes (as always).

"My apologies to my lady." Arthur's inner gentleman (the one he vehemently refuses is there) is showing. You want to say something, acknowledge the sides he wants to reveal. 

But now isn't the place for him to sink into that place of vulnerability. The predators here are too hungry. So you continue on as if it were a game still, keeping things lighthearted.

Placing a finger to your chin, you pretend to mull his words over. "I suppose," you begin, twirling out of his arms and swiftly dashing up the gazebo's steps. "I can forgive you," you spin around a column, "if you come sit with me for a moment?" You plop down on one of the many benches facing the river, tapping the empty space next to you. 

Arthur finds your impishness endearing, but now isn't the time. There's work to be done, people to mislead, men to k-

You can practically hear the discordance in his head. "Just for a moment," you plead, hoping it will alleviate some of his tension. It does, and he wordlessly complies as he sits down with you.

While Arthur doesn't claim to be an expert on the finer things in life, he is awestruck at the view. The gazebo seems to be on its own wooden isle in the middle of the water, surrounded on all sides by flowers. Gentle waves lap at the platform and it creates a steady, lulling rhythm. Petals drift lazily along the river, continually cascading down from the gentle push of an evening breeze.

The swamp he detests is transformed into an ethereal landscape as the lanterns’ reflections sparkle on the water’s surface. It appears that the rich can even buy the better parts of nature as well. Who would’ve thought.

The two of you are settled in comfortable silence, admiring the picturesque scenery as the party’s twittering becomes mere background noise.

Arthur speaks first. “So,” he begins bashfully. In this suit, he looks as awkward as he feels. A familiar hand on his knee, while slightly flirtatious, is a kind reminder he can be himself. It’s a freedom he still has trouble getting accustomed to at times. He lets his shoulders relax, “You think yer folks are around ‘ere somewhere?” It’s a question made in jest and you answer with a dry laugh.

“My parents wish they could be invited to a mayoral affair,” you say with a scoff. “Would’ve tried to sell me off twice as young if it meant they could eat the leftovers.” Though you try to hide it, Arthur picks up on hurt in your voice.

You hear it too, and you turn your head away from him for a moment. On instinct, you look out to the shoreline and see the manor you once called home. It's the same despite the ten years that have gone by: imposing and grand. You wonder if mother and father are awake, scornfully starring over at what they have continually failed to achieve. A jovial party serving as a painful reminder. The irony makes you feel a little bit better.

Walking up to that house every day for sixteen years had instilled fear into your core. Now, it was just an ugly scar across Saint Denis. The pain wasn't permanent, but you would always remember it. You're regarding the house apathetically, not being able to bring yourself away.

Arthur notices and begins to worry. “Hey,” Arthur begins gently, tracing circles over your knuckles. His voice summons you back and you look at him expectantly, gaze tender. You render him speechless; he’s ensnared and the simple control you exude over him has his nerves singing.

Arthur manages to compose himself and finds a way to bring your smile back. “What will people think if they see my beautiful wife so upset?” Again you laugh, this time sincerely. He finds himself smiling back, "They'll say I'm a beast of a man."

Tears threaten to spill from his sincerity. You try to shoo them away. “Oh lovely Tacitus,” your accent is back full swing. “You are just the kindest husband. How in this cruel world did I find myself so blessed?” While the titles are just pretend, he’s finding himself addicted to their honied sweetness. He wants more and your lips have the power to temporarily quell his want.

Leaning closer, falling further in love.

His lips are a whisper away, practically feeling the heat of your blush radiating off you. There’s a crowd of people just beyond a few white pillars but he doubts anyone is paying them any mind. And if they do, well, Dutch didn’t specify his distaste for getting into an upper class brawl.    

“I ask myself that question every day,” Arthur says reverently, a hand coming up to rest on your cheek. Your eyes flutter shut as his places his lips against your own with a gentleness reserved for you. This is a song and dance he is pleasantly more accustomed to, moving against you effortlessly. Each pass of his lips draws a sigh from you satisfied than the last.

Inhibition rears its ugly head again once Arthur thinks he actually has the luxury to enjoy himself. He pulls back slightly, much to your dismay but you don’t pursue. Like a deer, you don’t want to startle him. Instead you wait, a patience that Arthur is grateful you provide.

Arthur almost forgot why they’re here, and loyalty has always come before his happiness. “I gotta,” he mumbles. “Gotta do something for Dutch. I-” his words fall short when you silence him with another kiss. It appears chaste, but there's a fire behind it that’s nipping at his lips as the tip of your tongue traces over them.

Your poor cowboy would deny himself everything, so long as Dutch said the word. So you took some of the weight off his already bad shoulders for him.

Arthur’s eyes go comically wide as you withdraw from him, hand sliding down between your breasts. Realization (and relief) sweeps over him when it returns with a small envelope in tow, labeled "Classified".  

“What? How did you-”

“I wasn’t just talking to those old men for the caliber of their conversation,” you simper, tucking the envelope securely back into your bosom. “Managed to pilfer these documents pertaining to Cornwall off poor Monsieur Lemiux,” you purse your lips in a faux pout. Arthur continues to stare at you in awe.

You may have been planted in a gilded garden, but you had uprooted yourself, new roots digging their way deep into the forest floor. Growing thorns and blooming within the wild: free and untamed.

Wolf in sheep’s clothing indeed.

“So,” Arthur’s musing is ceased by you. Let him enjoy himself, as many this night have told him do. Yes he was on a mission, but let him have a moment to breathe. With you.

“Worry about what you ‘gotta’ do for Dutch later. But for now-” you lean in and purr against the shell of his ear, “let’s just be.”

The softness of your words is paired with a clap of man-made thunder cutting through the sky followed by a brilliant array of colors. Fireworks begin to dance across the night and gasps of wonder fill the air. The stars are met with blooms of blues, greens, and yellow to rival them. It's quite the spectacle; Arthur had never seen fireworks before. He had only heard Hosea' numerous tellings about taking Bessie to see them. The concept fascinated him; gunpowder igniting but instead of death, it brings magic.

But as they continue to burst, casting vibrant shades of gold and red across your face, Arthur thinks he’s found a new kind of magic to believe in.  

[a-marlene-s]

Prompt/Genre/Au List: Send in an idea~

New and updated list.

Due to.. some things that have been happening, I need to take my mind off things for a while.

Send in an ask or message if you would like a dabble or possible one-shot.

Fandoms:

Miraculous Ladybug

FMA/FMAB

Fairy Tail

Naruto

Harry Potter/Hogwarts Mystery

OHSHC

Fallout

Dragon Age Inquistion

A:TLA

My Candy Love/University

Rules:

Rating:

The highest the story will be T to M. Mainly due to blood, death and possible murder.

WHAT I WILL NOT WRITE:

Rape

Incest

Hardcore NSFW

Pedophilia

Certain Kinks.

Genre: Group A

Angst

Action

Adventure

Crime/Detective

Drama

Fable

Fairy Tale

Fantasy

Folktale

Historical Fiction

Horror

Humor

Legend

Magical Realism

Mystery

Mythology

Romance

Sci-fi

Suspense/Thriller

Tall Tale

Western

Paranormal

Drabble List: Group B

“Just…. Stay there.”

“Please, I’ll do anything.”

“It doesn’t feel like home anymore.”

“They’re walking all over you.”

“Give me a chance.”

“Not you again.”

“Why do you hate me?”

“I thought you loved me?”

“I wish I’d never met you.”

“I fucked up.”

“I came to say goodbye.”

“About the baby… it’s yours.”

“I did it.”

“Stop ignoring me.”

“Well, fine: just this once.”

“She’s locked herself in her room.”

“My heart hurts.”

“What do you need”

“Please stop crying, please.”

“Anyway, all joking aside…”

“I’d like it if you told me the truth.”

“Define normal”

“I love you. You enormously stubborn pain in the ass.”

“She’s crazy. And just when you think you’ve reached the bottom of her craziness, there’s a crazy underground garage. ”

“If I survive, can I go home?”

“Insanity runs in my family.”

“Excuse me, I have to go make a scene”

“She’s hot, but she’s evil.”

“You’re kinda anti-social, you know that?”

“And hello to you too… little homewrecker”

“You’re Satan”

“No. Regrets.”

“I swear, I’m not crazy”

“How drunk was I?”

“STOP INTERRUPTING ME!”

“You’re not interested, are you?”

“Tell me you need me”

“Oh honey, I’d never been jealous of you.”

“We’re not just friends and you fucking know it”

“Walkout that door and we’re through”

“Well. Yell, scream, say something. Anything.”

“Just talk to me”

“What if I told you I’ve been in love with you since we were kids”

“Please don’t shut me out”

“Love interest finds an open diary”

“Please don’t say goodbye”

“You’re holding me back”

“I’m willing to wait for it.”

Roommates heroes whom everyone thinks are together but are just living together. They do love each other but they set boundaries that prevent a relationship to happen. It all goes out the window as a villain points it out.

“I’ll kiss that guy over there if you keep ignoring me..”

“You still love me, right?”

“I’m only here because there’s food”

“Life isn’t a fairy tale.”

“What are we fighting for?”

“There was never an us.”

“Just because I don’t show or say that it hurt, doesn’t mean I don’t have any feelings.”

“I said you can’t fall in love with me, but I didn’t say I can’t fall in love with you.”

“You’ve always abandoned her/him/them easily, and fetching her/him/them again when you finally remember.”

AU: Group C

Aging Up

All Human

Bodysharing

De-Aging

Ghosts

Magic

Robots/Androids/Cyborgs

Vampire

Werewolf

Wingfic

Zombies

Theme/Setting/Style: Group D

A/B/O Society

Afterlife

Barista/Coffeeshop/Bakery

High-school/College/University

Historical: Modern/Future/Past

Magic

Noir Detective

Prison

Royalty

Pirate

Spy/Secret Agent/Assassin/Hit-man

 Holiday Fic

Isolated or trapped

Reincarnation

Time Travel

Individual Elements: Group E

Amnesia

Character Death

Doppelgangers

Presumed dead

Pretend Couple

Based on Canon: Group F

Au

Recasting

Crossover

Dark

Denail

Missing Scene

Mirror-verse/Spiderverse

Fix-it

Futurefic/Next Generation

Pastfic/Backstory

Tropes: Group G

Abandoned Hospital

Abandoned Playground

Aborted Declaration of Love

Accidental pregnancy

Achilles' Heel

Adrenaline Makeover

Afterlife

Agents Dating

Alibi

Almost Kiss

Alone amount the Couples

Amicable Exes

Amnesia

Anchored Exes

Ancient Evil

Back From the Dead

Back to School

Badass driver

Best friend’s sibling

Billionaire

Blackmail

Blind Date

Childhood Friend Romance

Class Warfare (One comes from money, the other lacks it.)

Close Shave

Common Law Marriage

Cruel and Unusal Death

Enemies to Lovers

Everybody Lives

Eye for an Eye

Fairy-tale

Fake Relationship

Fake-Out Make-out

False Friend

False Soulmate

Fling

Forbidden Love

Friends to Lovers

Gaslighting

Graveyard

Halloweentown

Hallway Fight

Happily Married

Haunted House

Hidden Villian

Hunger Games

I don’t want to ruin our friendship

If I can’t have you...

Ignorance is bliss

It’s not you, it’s me

It’s not you, it’s my enemies

Jilted Bride/Groom

Justified Criminal

Kidnapped

Lady and Knight

Let’s just be friends

Literally loving Thy Neighbor

Long Distance Relationship

Longing look

Love at first Note

Love at first punch

Love at first sight

Love Confession

Love Hurts

Love Potion

Love Transcends Space time

Loved I not Honor More

Loves Me not

Loving a Shadow

Loving Bully 

Make Up or Break Up

Marriage of Convenience

Married to the Job

Marry for Love

Matchmaker

Maybe Ever after?

Meet the In-Laws

Military

Mistaken for Cheating

Mistaken Identity

Mob

Morning After

Muggle-Mage Romance

My girl back home

New Old Flame

No Romantic Resolution

Nobody thinks it will work

Office Romance

Offscreen Breakup

Offscreen Romance

On the Rocks

On the run

One that got away

Opposites Attract

Outlaw Couple

Performer-Musician

Playboy

Please Dump Me

Politics

Prank Date

Red String of Fate

Redemption

Relationship Reveal

Relationship Revolving Door

Relationship Sabotage

Relationship-Salvaging Disaster

Removed from the picture

Removing the rival

Return to Hometown

Reunion

Revenge 

Romantic Wingman

Royalty

Runaway bride/groom

Runaway Fiance

Scars

Second Chance

Secret Baby

Secret/Lost Heir

Shotgun wedding

Stranded

Sudden Baby

Time Travel

Ugly Duckling

Undercover as Lovers

Unrequited Love

Van Helsing

Widow(er)

World Tour

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The Bounty Hunter

Back in home in Gettons & Yaduru (in Kasu-Kasu City, specifically), Baaba Owusu was an up-and-coming detective. She had recently come off a big solve, and was put in charge of a special task force as a promotion. The task force was created to investigate allegations of a high-profile human trafficking ring.

According to whistle-blowers, Members of the Joint Parliament of Gettons & Yaduru were stealing/kidnapping children from native Pagatowar families, specifically residents of the Palatamco Reservation (home to the Bent-Leg Creek Tribe), located in Todd, a rural territory in south Gettons.

 The Pagatowar of Palatamco (Rebekah says: this is pronounced as either pah-lat-ah-em-co or pah-lah-tam-co depending on east/west dialect variations between the people of Gettons & Yaduru) were known for their (relatively) high birth rates of children with the Lamott-Lowrie Gene, more crudely called “Human Familiars.”

Lamott-Lowrie babies are people born with the ability to "harness” raw viv without the use of refining Ley Lines. They are incapable of wielding magic on their own, but they can "boost" the magic performed by a partner Wielder (or Wielders) by "lending” the viv they naturally collect.

In the not-so-distant past, those with the Lamott-Lowrie gene were treated as subhuman. They were called Familiars and kept as "human pets," working as slaves for their Wielder owners. Progress was made and Familiars liberated, their "keeping" officially outlawed with Jenny's Law (named for the Human Familiar whose case helped get protections passed, Governor Borscheid named Nona “Jenny” on purpose as a twisted reference to the law specifically meant to protect children like her).

Though illegal, that has not stopped some Wielders from seeking out Lamott-Lowrie children. Among the traffickers, there is an erroneous belief that if taken from their parents early, Familiar children will "imprint" on their “owner.” Imprinting will make the Familiar loyal and also increase the power of the viv they lend.

 Owusu and her task force investigated claims that Senators from the Joint Parliament had been traveling to Palatamco (and other reservations) under the pretext of "Reconciliation Projects," in which they chose impoverished/at risk children to adopt/sponsor. In actuality, these Reconciliation projects were scouting trips. The Senators picked out children with the Lamott-Lowire gene and took them from their families without permission or warning. The children were just gone.

They were dubbed the "Lost Children" by the Gettons & Yaduru media, but Owusu and her task force referred to them as Stolen. The Pagatowar called them Nishnona-yeoc, which literally translates to “Nameless person.”

The naming of children has a lot of cultural significance in Pagatowar society. On their tenth birthday, Pagatowar children participate in a Naming ceremony called Nishwa-télën in which they essentially name themselves, announcing who they are to the tribe. Once Pagatowar people name themselves, their name cannot be changed by anyone but themselves - their True Name cannot be changed, not their parents, their peers, other members of the tribe, or by Outsiders (Karstlanders).

The only way it can change is if the person in question commits a terrible/violent crime, at which point their name is taken away and they are known only as Nishwanona. It is considered the highest disgrace to be Nishwanona.

When the Senators took Lamott-Lowrie children from their Reservation, they purposefully did it before their tenth birthdays so that the kids could not participate in Nishwa-télën and name themselves/develop a Pagatowar identity.

Owusu and her team worked relentlessly to break the case. They even managed to recover a few of the (older) Stolen Children. The turning point for Owusu came when she and her men freed several children. When she asked them their names, the Stolen called themselves Nishwanona. From a young age, Pagatowar children are taught about the importance/significance of Nishwa-télën. But because they had been taken from their people, they never got to participate in the Naming Rite. It was the deepest expression of shame and grief to call themselves Nishwanona.

Owusu was livid/heart-broken for these children, and equally furious that no matter what she did, her task force couldn’t ever pin anything on the suspected Senators. There were too many cover-ups, loopholes, bribes, too many “yes men” willing to take the wrap for their boss.

Again and again, cases were thrown out against the senators because evidence  was ruled “circumstantial.”

So Owusu made a decision: she falsified evidence in order to force the case to trial.

She wanted a conviction (instead of a fine/slap on the wrist) for the Senators. She didn’t care about the letter of the law anymore, she wanted justice. Helping those kids mattered more to her than anything else. 

Her falsified evidence was convincing enough that for the first time, the case looked like it might go to trial…but then one of Owusu's associates (who was jealous that she had been appointed to lead the task force instead of him) exposed Owusu. In a matter of six months, Owusu was charged, convicted, and sentenced.

The case against the Senators was thrown out for good, and the task force permanently disbanded. And so Owusu was on her way to Meteoria, the land of Monsters. But far worse for her was the knowledge that her tampering had not only not helped, but made everything worse. The investigation was delayed/shelved indefinitely. She had completely and utterly failed those kids.

On the ship to Meteoria, Owusu added Alice to her name, so that she was Alice Baaba Owusu. She didn’t want her true name in the mouths of her “owners.”

At Hipplethwaite, her “labor” was (first) bought by a cruel man who wanted something to beat on. Under his ownership, she suffered greatly. During one violent outburst, her owner beat her so severely that it opened gaping, defensive wounds on her arms. Her left (dominant) took the worst of it and was flayed to the bone. The wounds got infected and her owner sent her off to die in a prisoners’ hospital.

She ended up losing her arm, and also nearly died from sepsis. It was in hospital that Alice met a Durukan (a descendant of one of the Da-rai tribes of Yaduru) missionary named Silas Asenso. Silas had originally come from Yaduru to help advocate for prisoners’ rights in Meteoria. They chatted for a bit and Owusu was delighted to learn that Silas’s hometown was Kasu-Kasu, just like her. They bonded over memories of the city, specifically the sweet rolls (called nana buns) which were sold at the central market in Yasu-Yasu every first Saturday of the month. 

 Working with Silas, Owusu managed to get placed at Second-Chance Ranch, located just outside Crossings. Second-Chance ranch was run by Silas’s fellow missionaries. Their mission was focused on rehabilitation and lawful re-entry into society for emancipated prisoners.

The missionaries of Second-Chance bought out prisoner contracts in mass, and then put them to work as ranch hands. At the end of their sentence, and upon their emancipation, the Prisoners were given small parcels of the ranch’s land. That way, they could use the skills they’d learned while prisoners to make a life for themselves as emancipated settlers.

The work was demanding, but the workers were well treated. Owusu even came to discover that she had a knack/appreciation for bee-keeping.

 Silas lived at the Ranch when she wasn’t out doing mission work. She visited Owusu out in the fields often, to bring her water and homemade nana buns (which weren’t all that good because Silas was a shitty cook, but Owusu ate them anyway). Owusu developed a bit of a crush. One day, after one of Silas's visits, Owusu point blank asked her on a date…in two years' time, when she would be emancipated. Silas (pretended) to weigh the ethical implications of dating someone she’d “mission-worked.” Owusu teased and Silas happily agreed.

Two years passed, and the second Owusu’s Ink went dark (sign of emancipation/fulfillment of sentence), Silas was there to take her on a date. They went to get nana rolls (better ones than what Silas dished up). The date was a success, and so they went on another, and another, and then a few more, and four years later they were married. 

Together, they worked the small bit of farmland that Owusu had received as part of her “emancipation package” from the Ranch. Owusu even managed to keep bees and pick back up some Stringent Magic, which she hadn’t practiced since her days on the force.

Silas experimented with potions and "kitchen witchin'". She was mostly awful at it. She occasionally did some mission work, but was away from home less and less often. Silas was ready to settle down with Owusu, and to live a “stable” life.

And against all odds, it was a stable life. Heck, it was even a good life. 

They made homemade nana buns. Owusu joked that she’d had to get arrested to find a wife, and Silas teased that nowadays, she was doing more missionary position than missionary work (hands down Owusu’s favorite joke).

Their life was together was surprisingly normal, and to Owusu's amazement, she was happy. When she'd been sentenced, she had resigned herself to a short and miserable life. She expected (and accepted) that the only thing she’d feel for the rest of her life was guilt. But then she’d met Silas, and found work and refuge at the Ranch, and then even a little bit of domesticity...and even though it wasn't the life she’d imagined, it was the life she wanted.

Then, two years later, Owusu was widowed.

 One summer evening, police from Port Grace came knocking. They had an arrest warrant for a member of The Coalition for Prisoner' Rights  (a group of freedom fighters working to improve life for prisoner-workers through uncivil disobedience). The fugitive in question was one Efia Arusei, alias Silas Asenso, and she was hereby accused of committing terrorist acts, inciting violence, recklessly endangering the public, and committing treasonous acts against the government of Meteoria and the Karstland Kings.

 Uh-oh.

Silas Asenso (whose real name was apparently Efia Arusei) had been on the run from Port Grace authorities when she'd sought asylum at Second-Chance Ranch. Somehow, she’s never bothered to mention any of this to Owusu, her fucking wife.

Silas/Efia was arrested on the spot, and taken away, leaving behind a gobsmacked and heartbroken Owusu, who knew that her wife would not be spared the death penalty. People like her were to be made an example of.

In the fallout from this, Owusu shut down. She went back into her shell and once again took up the name Alice. She left her little farm and went to Port Grace (on the off chance that she might see Silas/Efia again - despite everything, she couldn’t hate her) as a bounty hunter, using her (objectively) impressive set of skills to hunt down runaway prisoners and return them to their owners for cash.

She took no mercy, accepted no sob story, just tagged and bagged ‘em. She lived to work, just as she once had back on the force in Kasu-Kasu. But this time justice was not her objective…she didn’t have one. Money to get by, money for liquor, money for rent. That’s all “Alice” cared about. Baaba had cared about justice and look where it got her. Owusu had cared about Asenso (or Arusei or whatever Efia’s name was) and look where it got her. So now she was just Alice, Just Alice who did nothing but take up space and put down runaways.

 She no principles, no problems, no purpose.

 Then she meets a girl in a dumpster...a girl who calls herself Nishwanona.  

****************************************************************************************

 Abbreviated Timeline:

·       Detective at 35

·       Sentenced at 36

·       Emancipated at 43

·       Married at 47

·       Widowed at 50

·       Gauntlet Runner at 56

Abilities: Owusu is a practitioner of the Stringent Magics, mathemagical principles that allow her to use vectors to write Sigils for weapons’ precision/accuracy, as well as to create pocket dimensions.

With a bit of back alley tinkering, Owusu got her left arm fit with a prosthetic that doubled a Summoning device  i.e. she can “summon” a loaded gun into her prosthetic hand essentially out of thin air.

All her weapons are Marked with her handwritten vectors/sigils (Owusu is HIGHLY insulted when Nona asks why there’s “scratches” all over her gun). Owusu is a dead shot, and a bit of a gunslinger. She also uses Stringent Magic to open pocket dimensions. She’s basically a walking armory, with all kinds of guns/weapons and every kind of ammo at her disposal.

World-building note: As an Emancipated-Prisoner, Owusu is not allowed unlimited access to Ley-Line/refined magic. She’s doesn’t have the Lamott-Lowrie gene so she can’t use viv. She gets “vouchers” every month that allow her to use a certain amount of Magic/magical energy. If her voucher runs out she’s shit outta luck. When prisoners (emancipated or otherwise) enter the Gauntlet they are granted Unlimited access to Ley Magic. Governor Borscheid is desperate (besides there’s no actual shortage of magic, no reason for it to be limited or rationed, it’s just another way to belittle/handicap prisoners and to punish them even after their Ink goes dark).