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new-sandrafilter · 3 years ago

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How Timothée Chalamet Channeled The Blockbuster Pressure of Leading Denis Villeneuve’s ‘Dune’ Back Into His Role – Venice Q&A

DEADLINE: In a few days Dune will premiere at the Venice Film Festival. You first met Denis Villeneuve about the role in May 2018 and started shooting in the early half of 2019. It was always going to be a long journey, but the pandemic stretched it even further. How does it feel to have finally arrived at this moment?

TIMOTHÉE CHALAMET: You know, I like to think that with every film I’ve done, whether it’s Call Me by Your Name or Beautiful Boy, The King, or Little Women, the character you play is almost a piece of your flesh. And that’s always true, but simply from the perspective of how long the shoot for Dune was, and also the arc that Paul Atreides is on, as well as the huge love and almost biblical connection that so many people have for the book and the original film, it really felt… tectonic, if that’s the right word for it. Just getting to this finish line feels like: phew.

And independent of what the film is now, and what it has become, the experience of making it was I was put in such a safe environment, which you can never take for granted as a human, as an actor, but especially when you’re just starting your career, and when this is the first film of this size you’ve ever done.

To get to work with Denis on it, to get to work with someone of his caliber, let alone on a book that he considers the book of his youth and one of the things he has connected to the most… When he would have it in his hands on set, his body language would become that of a fan; of a kid who had fallen in love with the book at home in Montreal. And when all the kids around him were wearing hockey jerseys with their favorite players’ names on the back, this was a kid wearing a jersey that said ‘Spielberg’ on the back.

For it all to come together, especially with the added challenge of the pandemic, it has all combined to make this moment feel especially spicy [laughs].

DEADLINE: The entire ensemble will show up in Venice.

CHALAMET: Right. And I just can’t believe it; Jason Momoa has the number one film on Netflix right now with Sweet Girl, which I just watched. And since we shot, Zendaya has had all this success with Euphoria and Malcolm & Marie. Just to be part of this cast, period, let alone as one of the title characters, it’s really the shit you dream of.

And let me not forget, too—and I know I’ve told you this before—that The Dark Knight was the movie that made me want to act. That movie had a score by Hans Zimmer, and he has done the score for Dune. And it’s almost not what you’d think. It’s totally appropriate and excellent for the movie, but he has somehow managed to do something subversive, in my opinion. It’s a pinch-me moment all over.

DEADLINE: So, take me back to the start. Is it true you had a Google alert set up to track the latest news on this project before you were ever cast?

CHALAMET: Yeah, it’s true [laughs]. Not right away—Legendary had the rights and was developing it—but as soon as Denis got involved, I set up a Google alert and that’s when I got the book.

In total honesty, I think my understanding of Dune at that point was from a graphic novel I’d seen at Midtown Comics when I was shopping for Yu-Gi-Oh! cards when I was about 10. The year you and I first met, when I was there at Deadline Contenders with Call Me by Your Name, that would have been 2017 or early 2018, and Denis was there with Blade Runner. I remember I was trying to put myself in front of him as much as possible and set up a meeting with him. We had a night at the BAFTA where one of my good friends, Stéphane Bak—who’s also an actor—saw Denis across the room and was like, “Hey buddy, he’s right over there.” So, we went over to talk to him. I kept trying to put myself in front of him, but I didn’t really get a sense of the possibility [of working with him].

I was about halfway through the book when I got the call that he was going to be the president of the jury at the Cannes Film Festival, and I was in London prepping The King. He asked me if I could come out there, so I quickly busted through the second half of the book as best I could. So, like, the first half of my copy is properly annotated and full of my thoughts, and then the second half I just raced through. And then I had that meeting with him, and it was such a joy.

I’m struggling with this even now, as I’m working with Paul King [on Wonka], because he’s another guy I have huge respect and admiration for, and it’s hard to feel on a level. Not that you ever are, because as an actor you’re a cog in the machine, and you’ve got to be humble to the vision of the director. But with Denis, he was pacing around the room, throwing ideas around, in some fancy suite in Cannes, and all I could think was that a year before I was just sat on a stoop on 9th Street in the East Village or something.

DEADLINE: Was that your first time in Cannes?

CHALAMET: Yeah. Well, bizarrely, my sister would do dance camps growing up. Ballet intensive programs in a town called Mougins, which is nearby Cannes, so I spent a lot of time there growing up, but never during the festival, and not on the Riviera. To get to be there for the festival was just nuts. I went to see the Romain Gavras movie, I think, and it was just a huge joy.

I got attached [to the role in Dune] a couple of months after that, and it was nerve-wracking from the announcement, because like I said before, the fans of the book, and the fans of David Lynch version, the computer game, and everything, there’s so much love and strength of feeling. And so much of our pop culture and films and books have been derived from Dune, and all the philosophy the book. I’ve been shocked to learn how many people have a next-level connection to the book. I compare it to how our generation grew up with Harry Potter, and that one makes sense to me. But it’s cool to see with Dune also, when you actually sit down and read it… It’s not that it’s a quote-unquote “hard read” or anything, but it’s not made to be consumed easily, I think that’s fair to say.

So, I was grateful to be working on something of this size not only with Denis Villeneuve leading it, who between Polytechnique, Incendies and Prisoners had nailed the smaller indie film across languages, and then had nailed Arrival and Blade Runner, but who, in his own words, he didn’t feel he’d made his greatest film yet. But also, to be working with this cast. I don’t know if there’s some nightmare version of a film where a young lead is not supported by the rest of his cast, where every one of them had been the leads in their own huge projects. But on this, everyone was there to support, and I think it’s because we all wanted to be foot soldiers for Denis, and I think we understood the potential, based on the script by Eric Roth, Jon Spaihts and Denis, that this could be something really special.

DEADLINE: I don’t have a connection to Dune; this movie is really my first experience of the story. What strikes me is this is clearly an enormous universe—a broad canvas being painted with various families and factions and politics and mythos—but that ultimately it comes down to very elemental, human themes, and we feel them through this character you play, Paul Atreides. Did those themes help ground the experience for you?

CHALAMET: Yes, and I would give the credit entirely to Denis. He would constantly say on set that he had some opposing drumbeat or something. In my diminished intellectual standing, I didn’t understand it, but it was like some vision for the movie based on how biblical the book is that tries to tackle so much that it doesn’t tackle anything. I think he felt the need to be close to a character in it, and Paul is that guy in the book. He’s a character that is still in formation, like a lump of clay, which makes him a great figure for the audience to mirror off.

It speaks, I think, to Denis’ premonition and his directing ability that there were times when we’d move on from a shot or move on from a scene, and I swear, literally, we’d go back because Denis wanted to get something over my shoulder, or push in on my reaction, just to make sure [it stayed on Paul].

And again, it’s something where I’m pinching myself. I had the best time on Interstellar, and that was one of my favorite films I’ve ever worked on, but it was very much something where I was aware of when I had the opportunity to do real acting. And on a movie like Dune, again, one could think it would get lost in the scale and scope. But I felt every day like my plate was full.

DEADLINE: One of those themes is fear, and Paul must overcome his to become the person he needs to be. When you are number one on the call sheet on a project of this scale, and the cast list reads like an address book of Hollywood in the 21st century, and Legendary has injected hundreds of millions of dollars into this production, and it’s all falling on your shoulders, I have to imagine fear is a theme you can readily relate to.

CHALAMET: Oh yeah, and they can bleed into each other for sure—not to diminish the other work that goes in. It’s great when your life experience can inform the role. That’s not at all to say I’m on some crusade in the universe or anything, but definitely… And I had that same good fortune with The King I think. My life is not nearly as significant or as exciting as Paul or Prince Hal, but we all share an unwitting needle in the haystack feeling. On The King that feeling was because I was so new to having a career. On Dune it’s because of, as you say, just feeling the pressure of the hugeness of the project in all those different ways. Those things can absolutely inform each other.

And then there are the moments of glee that come, too, like seeing Jason Momoa running at you at a hundred miles an hour, or just getting to shoot the shit with Josh Brolin, or getting to do a scene with Oscar Isaac. I felt so supported, whether it was Rebecca Fergusson or Charlotte Rampling. When Zendaya came, it was a total breath of fresh air, and she’s one of my favorite parts of the movie. I just got really lucky, and I can’t wait to see them all in Venice.

Denis split the book in half, and the hope is a second movie will get a greenlight. That’d expand Zendaya’s role in the story.

CHALAMET: Definitely, Chani will play a huge role in the next film. I don’t know if there’s a script yet, but just based on the book, along with Lady Jessica [Rebecca Fergusson], they have a lot to do together, let’s put it like that. And Zendaya was incredible in this movie; the moment she pulls the mask down, it felt properly showstopping and powerful. I was hiding behind the camera, counting my lucky starts, because I was there in month two of the shoot and here was a total powerhouse just coming in for the first time.

And as I said before, this was before I’d seen Euphoria and Malcolm & Marie. She’s doing such incredible work and is just trailblazing her own path, and she’s so, so cool. She also happens to be in the most-watched trailer of the moment, too, for Spider-Man: No Way Home. I cannot wait for that movie, and I was there, by the way, with everybody else, clicking through the trailer frame by frame looking for clues [laughs].

#timmy #timothee chalamet #dune movie #dune 2021 #denis villeneuve

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emmafreakecreations · 2 years ago

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You call this fantasy!?

I have a likewise account, which you put in your favorite books, movies/TV, and podcasts and gives you suggestions based on that. Sometimes ppl make their own posts asking for suggestions and everytime I see a fantasy suggestion ACOTAR is always there. Like do you ppl ever read any other fantasy books?! I have been thinking lately about acotar as a fantasy series and comparing it to fantasy books I read when I was younger and books that I'm reading now like A Deal with the Elf King, A Dance with the Fae Prince, and the folk of the air series. Acotar falls so short. I can think of three books/series that I read when I was younger that were way better at empowering women- and two of them are written by men!

I apologize if I'm not great at describing some these books bc it has been years since I read them. Also nostalgia might be a factor.

Ranger's apprentice series (the og-haven't read the spin offs) by John Flanagan- very lotor vibes. While the series centers around a male protagonist in his journey in becoming a legendary apprentice, there is still powerful and intelligent women in the series. Lady Pauline is in charge of espionage at the fief that Will the MC grows up at, and she gets married to Will's mentor. Princess Cassandra, later Queen Cassandra (that's right she is the heir and becomes a ruler) is in disguise during a war in the series and can defend herself. She also helps Will when he is drugged and kidnapped. I always thought she was cool when I was little and she was my favorite. Alyss who is Lady Pauline's apprentice and Will's sweetheart, is marvelous at her espionage job (suck it Feyre). Princess Maddie-Cassandra's daughter- becomes the first female ranger. Jenny, who grew up with Will, trains to be a cook and becomes greater than her mentor and starts her own restaurant. Even if these women aren't warriors they still have power and influence and are actually good at their political jobs.

Cry of the ice Mark by Stuart Hill- mc Thrirrin is a warrior princess and the heir to her kingdom. When a nearby empire threatens to invade she has to rally nearby kingdoms who aren't friends with her kingdom. The kingdoms of werewolves, giant snow leopards, ghosts, and vampires. Also the snow leopard king and werewolf king become drinking buddies\bffs and its the BEST. At some point Thirrin's father dies so she becomes queen and has to lead her kingdom through war.

Igraine the brave by Cornelia funke (author of inkheart) - mc is born into a family of wizards but she doesn't have magic. Because her great grandfather was a knight, she is interested in fighting and military and her family is supportive of her. But when a evil dude wants to steal some magical books from her parent's castle she with some companions must save the day. This book is middle grade but its cute and short.

Princess of the silver woods by Jessica Day George- I honestly don't remember much about it but it's a retelling of twelve dancing princesses and there's a cute leader of a band of thieves that kidnaps the mc on accident. It had an interesting plot-can't remember what it is-but I liked it. That's about it......

Shadowhunter chronicles by Cassandra Clare ( I know the author and this series has it's own problems but I still enjoy most of it)- I feel like i don't have to explain this one. All I have to say is Clare gets mythology correct (from my understanding) and doesn't use it will nilly. She also portrays fae correctly bc everytime there is a plot with the fae involved I think "oh no here we go again this is going to be tough"

Four dead Queens by Astrid Scholte (this isn't a childhood book but it's good)- The world building in this book is so interesting, it reminds me of the worlds in the animated winx club. There is a kingdom giving off medival vibes, another gives off victorian england/oliver twist vibes, one has Venice during the renassiance vibes, and one gives off distopian sci-fi vibes. These kingdoms are ruled by queens who have a capital city- they rule together but are in charge of their respective kingdoms. the mc is a thief and steals important information from a palace messenger. She finds out the message is about killing the queens and so the messenger and the mc must stop the assassinations. The plot twist was interesting and you can easily piece together clues to figure it out yourself, or you could just be like me and see the clues and think "huh that's interesting" and move on then when the twist comes be like "you know I should have seen that coming."

I have lots more but this is getting long

#anti acotar fandom #anti acotar

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cappymightwrite · 3 years ago

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Jon Snow, Manfred & The Byronic Hero: Part 2

Previous Posts: PART 1

Hopefully Part 1 served as a good introduction on the topic and characteristics of the Byronic Hero, as well as how Jon Snow in particular is likely an iteration of this figure. But now we come to the real meat of this meta series — a closer look at Byron's dramatic poem Manfred (1816–1817), and more importantly, its titular character in comparison to Jon Snow. I was originally going to do an analysis and comparison of two key episodes in Manfred and A Storm of Swords, Jon VI, but have since decided to give that its own post... that's right kids, there will be a part 3!

(Detail from Lord Byron, Thomas Phillips, 1813)

So... why Manfred? Why not Childe Harold's Pilgrimage, or The Corsair, or Don Juan, or any other work by Lord Byron? Well, I'll tell you why, my sweet summer children. It's because of THIS:

Manfred/Manfryds and Byrons in ASOIAF, by order of first appearance and publication:

Ser Manfred Swann (ASOS, Jaime VIII)

Ser Manfred Dondarrion (The Hedge Knight)

Manfred Lothston (The Sworn Sword)

Manfryd o' the Black Hood (AFFC, Brienne I)

Manfryd Yew (AFFC, Jaime V)

Ser Byron the Beautiful (AFFC, Alayne II, TWOW, Alayne I)

Ser Byron Swann (ADWD, Tyrion III)

Manfryd Merlyn of Kite (ADWD, Victarion I)

Manfryd Mooton, Lord of Maidenpool (The Princess and the Queen, TWOIAF)

Manfred Hightower, Lord of the Hightower (TWOIAF)

Manfred Hightower, Lord of the Hightower (Fire and Blood)

Like... what the hell, George?

I find this very interesting, very interesting indeed! *cough* intentional, very intentional *cough* And I have to thank @agentrouka-blog for reminding me of the existence of these Manfreds/Manfryds, and thus pointing me in this particular direction. This evidence is, for me, my smoking gun, it's why I feel justified in exploring this specific work. In my opinion, it really strongly confirms that GRRM is aware of Manfred, he is aware of its author — as a literary name, it is pretty much exclusively connected to Byron, it's like Hamlet to Shakespeare, or Heathcliff to Emily Brontë. In fact, GRRM likes it enough to use this name several times in fact, its frequency of use aided by a slight variation on its spelling.

So, as we can see, there are a striking number of Manfred/Manfryds (9!!) featured in the ASOIAF universe, whereas Byron (2) is used a bit more sparingly — perhaps because the latter, if more liberally used, would become far more recognisable as an overt literary reference? Interestingly, though, we can see a direct link between the two names as both bear the surname Swann: Ser Manfred Swann and Ser Byron Swann (note the exact spelling of Manfred here, as opposed to Manfryd). Ser Byron was alive during the Dance of Dragons and died trying to kill the dragon Syrax, whereas Ser Manfred was alive during Aegon V's reign and had a young Ser Barristan as his squire. So, in terms of ancestry, Byron came before Manfred, which makes sense since Lord Byron created the character of Manfred; he is his authorial/literary progenitor, if you will.

But why Swann, though? Is there any significance to that surname? Well, I did a little bit of digging and turned up something very interesting, at least in my opinion. In Percy Bysshe Shelley's poem Lines written among the Euganean Hills (1818), in its sixth stanza, the poet addresses the city of Venice... the “tempest-cleaving Swan” in the eighth line is clearly meant to be his friend and contemporary, Lord Byron, that city’s most famous expatriate:

That a tempest-cleaving Swan Of the songs of Albion, Driven from his ancestral streams By the might of evil dreams, Found a nest in thee;

(st. 6, l. 8-12)

Ah ha! But let's not forget that the Swanns are also a house from the stormlands — stormlander Swanns vs. "tempest-cleaving Swan." It seems a nice little homage, doesn't it? You could also argue that the battling swans of House Swann's sigil are a possible reference to Byron's fondness for boxing (he apparently received "pugilistic tuition" at a club in Bond Street, London). But to make the references to Byron too overt would ruin the subtly, so it isn't necessary, in my opinion, for the Swanns to be completely steeped in Byronisms.

All in all, it would be very neat of GRRM if the reasoning behind Byron and Manfred Swann is because of this reference to Lord Byron by Shelley. How these names and the characters that bear them might further reference Byron and Manfred is a possible discussion for another day! It's all just very interesting, very noteworthy, and highlights how careful GRRM is at choosing the names of his characters, even very minor, seemingly insignificant ones.

(Illustration of Villa Diodati from Finden's Illustrations of the Life and Works of Lord Byron, Edward Finden, 1833)

Now onto the actual poem, and the ways in which Jon Snow could being referencing/paralleling Manfred. First things first, a bit of biographical context. Take my hand, and let's travel back in time, way back when, to 1816, the year in which Lord Byron left England forever, his reputation in tatters due to the collapse of his marriage and the rumours of an affair with his half-sister, Augusta Leigh (plus he was hugely in debt). No doubt, most of us are familiar with the story, but in 1816 Byron travelled to Switzerland, to a villa on Lake Geneva, where he met the Shelleys and suggested that they all pass the time by writing ghost stories.

The most famous story produced by them was, of course, Mary Shelley's Frankenstein (1818) — which may have served as the partial inspiration behind Qyburn and Robert Strong! Byron himself did begin a story but soon gave it up (yesss, we love an unproductive king); it was completed, however, by his personal physician, John William Polidori, and eventually published, under Byron's name, as The Vampyre (1819). But Byron didn't completely abandon the ghost story project, as later that summer, after a visit by the Gothic novelist M. G. Lewis, he wrote his "supernatural" tragedy, Manfred (1817).*

*I've seen it dated as 1816-17, but the crucial thing to rememeber, in terms of Byron's own biography, is that unlike The Bride of Abydos, he wrote it after his departure from England... this theme of exile will come up later.

Manfred is what is called a "closet drama", so is structured much like a play, with acts and scenes, though it wouldn't have actually been intended to be performed on stage. Indeed, Lord Byron first described Manfred to his publisher as "a kind of poem in dialogue... but of a very wild—metaphysical—and inexplicable kind": "Almost all the persons—but two or three—are Spirits... the hero [is] a kind of magician who is tormented by a species of remorse—the cause of which is left half unexplained—he wanders about invoking these spirits—which appear to him—& are of no use—he at last goes to the very abode of the Evil principle in propria persona [i.e. in person]—to evocate a ghost—which appears—& gives him an ambiguous & disagreeable answer..."*

*As in Part 1, more academic references will be listed in a bibliography at the end of this post.

To sum up the narrative for you, Manfred is a nobleman living in the Bernese Alps, "tormented by a species of remorse", which is never fully explained, but is clearly connected to the death of his beloved Astarte. Through his mastery of poetic language and spell-casting, he is able to summon seven "spirits", from whom he seeks the gift of forgetfulness, but this plea cannot be granted — he cannot escape from his past. He is also prevented from escaping his mysterious guilt by taking his own life, but in the end, Manfred does die, thus defying religious temptations of redemption from sin. He therefore stands outside of societal expectations, a Romantic rebel who succeeds in challenging all of the authoritative powers he faces, ultimately choosing death over submission to the powerful spirits.

According to Lara Assaad, the character of Manfred is the "Byronic hero par excellence", as he shares its typical characteristics found in Byron's other work (as discussed in Part 1), "yet pushed to the extreme." As noted above, there is a defiance to Manfred's character, which is arguable also found in Jon. Certainly though, in all of Byron's works, the Byronic Hero appears as "a negative Romantic protagonist" to a certain extent, a being who is "filled with guilt, despair, and cosmic and social alienation," observes James B. Twitchell. I'll come back to those characteristics presently.

As noted by Assaad, "Byron scholars seem to agree on this definition of the Byronic Hero, however they focus mainly, if not exclusively, on the dynamics of guilt and remorse." Indeed, it is only in more recent years that the incest motif, as well as the influence of Byron's own biography, have been more widely discussed. But perhaps the most compelling aspect of the Byronic Hero is his complex psychology. Although trauma theory only really started to flourish during the 1990s, thus providing deeper insight into the symptoms that follow a traumatic experience, it nevertheless seems, at least to Assaad, that "Byron was familiar with it well before it was first discussed by professionals and diagnosed." As we know, GRRM began writing his series, A Song of Ice and Fire, during the 1990s, and character trauma and its effects feature heavily in his work, most notably in the case of Theon Greyjoy, but also in the memory editing of Sansa Stark in terms of the infamous "Unkiss".*

*The editing, or supressing, of memories is not exclusive to Sansa, however. E.g @agentrouka-blog has theorised a possible memory edit with regards to Tyrion and his first wife Tysha.

But if we return back to that original quote, in which GRRM makes the comparison between Jon and the Byronic Hero, his following statement is also very interesting:

The character I’m probably most like in real life is Samwell Tarly. Good old Sam. And the character I’d want to be? Well who wouldn’t want to be Jon Snow — the brooding, Byronic, romantic hero whom all the girls love. Theon [Greyjoy] is the one I’d fear becoming. Theon wants to be Jon Snow, but he can’t do it. He keeps making the wrong decisions. He keeps giving into his own selfish, worst impulses. [source]

As noted by @princess-in-a-tower, there is a close correspondence between Jon and Theon, with each acting as the other's foil in many respects. In fact, Theon does sort of tick off a few of the Byronic qualities I discussed last time, most notably standing apart from society, that "society" being the Starks in Winterfell, due to him essentially being a hostage. Later on, we see him develop a sense of deep misery as well due to his horrific treatment at the hands of Ramsey Snow. Like Theon, his narrative foil, Jon is also a character deeply informed by trauma (being raised a bastard), but the way they ultimately process and express that specific displacement trauma differs profoundly — Theon expresses it outwardly through his sacking of Winterfell, whereas Jon turns his trauma notably inwards.*

*Obviously, I'm not a medical professional — I'm more looking at this from a literary angle, but the articles I've read for this post do include reference to real medical definitions etc.

Previously, I observed how being "deeply jaded" and having "misery in his heart" were key characteristics of the Byronic Hero, as well as Jon Snow — this trauma theory is a continuation of that. Indeed, to bring it back to Manfred, Assaad goes as far as stating that the poem's titular hero "suffers from what is now widely recognised as post-traumatic stress disorder (PTSD)." I am purposely holding off on discussing what the origin of that trauma is, in relation to Manfred specifically, because, well... it needs a bit of forewarning before I get into it fully. Instead, let's look at the emotions it exacerabates or gives rise to, as detailed by Twitchell, and how they might be evident in Jon and his feelings regarding his bastard status.

(Jonny Lee Miller as Byron in the two part BBC series Byron, 2003)

Guilt

Does Jon suffer guilt due to him being a bastard and secretly wanting to "steal" his siblings' birthright? I'd say a strong yes:

When Jon had been Bran's age, he had dreamed of doing great deeds, as boys always did. The details of his feats changed with every dreaming, but quite often he imagined saving his father's life. Afterward Lord Eddard would declare that Jon had proved himself a true Stark, and place Ice in his hand. Even then he had known it was only a child's folly; no bastard could ever hope to wield a father's sword. Even the memory shamed him. What kind of man stole his own brother's birthright? I have no right to this, he thought, no more than to Ice. – AGOT, Jon VIII He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. – ASOS, Jon XII

But I think Jon's sense of guilt also extends to the high expectations he sets for himself, his "moral superiority" in the face of his bastard status, as discussed in Part 1. He feels guilt pulling him in two different directions, in regards to Ygritte: guilt for loving her, for breaking his vows, and potentially risking a bastard, but also guilt for leaving her, for abandoning her, and potentially leaving her unprotected:

His guilt came back afterward, but weaker than before. If this is so wrong, he wondered, why did the gods make it feel so good? – ASOS, Jon III Ygritte was much in his thoughts as well. He remembered the smell of her hair, the warmth of her body... and the look on her face as she slit the old man's throat. You were wrong to love her, a voice whispered. You were wrong to leave her, a different voice insisted. He wondered if his father had been torn the same way, when he'd left Jon's mother to return to Lady Catelyn. He was pledged to Lady Stark, and I am pledged to the Night's Watch. – ASOS, Jon VI "I broke my vows with her. I never meant to, but..." It was wrong. Wrong to love her, wrong to leave her..."I wasn't strong enough. The Halfhand commanded me, ride with them, watch, I must not balk, I..." His head felt as if it were packed with wet wool. – ASOS, Jon VI

This guilt surrounding leaving the women/girls he cares about unprotected also extends to Arya. Yet it was his need to prove himself as something more than just a bastard, by joining the Watch, which initially prevents him from acting, and which also makes him feel guilt for being a hyprocrite:

Jon felt as stiff as a man of sixty years. Dark dreams, he thought, and guilt. His thoughts kept returning to Arya. There is no way I can help her. I put all kin aside when I said my words. If one of my men told me his sister was in peril, I would tell him that was no concern of his. Once a man had said the words his blood was black. Black as a bastard's heart. – ADWD, Jon VI

I think there is a lack of reconciliation between Jon and his bastard status, between what being a bastard implies in their society: lustful, deceitful, treacherous, more "worldly" etc. Deep down, subconsciously, Jon really rebels against it. You can see that rebellion more clearly in his memories as a younger child, less inhibited:

Every morning they had trained together, since they were big enough to walk; Snow and Stark, spinning and slashing about the wards of Winterfell, shouting and laughing, sometimes crying when there was no one else to see. They were not little boys when they fought, but knights and mighty heroes. "I'm Prince Aemon the Dragonknight," Jon would call out, and Robb would shout back, "Well, I'm Florian the Fool." Or Robb would say, "I'm the Young Dragon," and Jon would reply, "I'm Ser Ryam Redwyne." That morning he called it first. "I'm Lord of Winterfell!" he cried, as he had a hundred times before. Only this time, this time, Robb had answered, "You can't be Lord of Winterfell, you're bastard-born. My lady mother says you can't ever be the Lord of Winterfell." I thought I had forgotten that. Jon could taste blood in his mouth, from the blow he'd taken. – ASOS, Jon XII

But Jon knows this truth about himself, he knows that he has "always wanted it", and that causes him so much guilt because he can't allow himself to be selfish in that regard, because to do so would confirm for him his worst fears... that he truly is a bastard in nature as well as birth — treacherous, covetous, dishonourable.

Despair

As he grows up, learning to curb his emotional outbursts from AGOT, Jon appears more and more stoic upon the surface. But beneath that, buried in his subconscious in the form of dreams, you have this undyling feeling of despair, this trauma connected to his bastard status, his partially unknown heritage:

Not my mother, Jon thought stubbornly. He knew nothing of his mother; Eddard Stark would not talk of her. Yet he dreamed of her at times, so often that he could almost see her face. In his dreams, she was beautiful, and highborn, and her eyes were kind. – AGOT, Jon III

These recurring dreams, sometimes explicitly involving his unknown mother, sometimes not, represent a clear gap, a gaping blank in Jon's personal history and his perception of his identity:

"Sometimes I dream about it," he said. "I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening doors, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle." [...]

"Do you ever find anyone in your dream?" Sam asked.

Jon shook his head. "No one. The castle is always empty." He had never told anyone of the dream, and he did not understand why he was telling Sam now, yet somehow it felt good to talk of it. "Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That's when I always wake." His skin cold and clammy, shivering in the darkness of his cell. Ghost would leap up beside him, his warmth as comforting as daybreak. He would go back to sleep with his face pressed into the direwolf's shaggy white fur. – AGOT, Jon IV

"That always scares me", he says quite tellingly. From this key passage, in particular, we can see that Jon feels a deep rooted despair at essentially being unclaimed, unwanted... being without a solid (Stark) identity around which to draw strength and mould himself. He's afraid of being a lone wolf, because as we all know, "the lone wolf dies, but the pack survives," (AGOT, Arya II).

This dream points him in the direction of the crypts — "somehow I know I have to go down there, but I don't want to" — which actually does have the answers he seeks because that is where Lyanna Stark is buried. Yet Jon is "afraid of what might be waiting for [him]", and wants to "scream" with dispair because of the darkness. So, this need for a confirmed identity is a double edged sword, which will no doubt be further complicated when his true parentage is revealed.

Elsewhere, Jon's dreams continue to have this despairing quality to them, often involving Winterfell, the Starks, and especially Ned, which is very interesting on a psychological level:

The grey walls of Winterfell might still haunt his dreams, but Castle Black was his life now, and his brothers were Sam and Grenn and Halder and Pyp and the other cast-outs who wore the black of the Night's Watch. – AGOT, Jon IV

Last night he had dreamt the Winterfell dream again. He was wandering the empty castle, searching for his father, descending into the crypts. Only this time the dream had gone further than before. In the dark he'd heard the scrape of stone on stone. When he turned he saw that the vaults were opening, one after the other. As the dead kings came stumbling from their cold black graves, Jon had woken in pitch-dark, his heart hammering. Even when Ghost leapt up on the bed to nuzzle at his face, he could not shake his deep sense of terror. He dared not go back to sleep. Instead he had climbed the Wall and walked, restless, until he saw the light of the dawn off to the east. It was only a dream. I am a brother of the Night's Watch now, not a frightened boy. – AGOT, Jon VII

But it is never "only a dream", is it?

And when at last he did sleep, he dreamt, and that was even worse. In the dream, the corpse he fought had blue eyes, black hands, and his father's face, but he dared not tell Mormont that. – AGOT, Jon VIII

Even Jon's conscious daydreams in AGOT revolve around his dispairing search for a solid identity:

A lot of these early dreams occur in A Game of Thrones, probably in response to his removal from Winterfell... his self exile. But later on in the series Jon continues to have dreams that tie him to the Starks and to Winterfell, ominous and sometimes despairing too. There's honestly too many instances to list, but if you want to understand the root of Jon's existential despair... it's in his dreams.

Cosmic Alienation

Cosmic alienation, now that's an interesting one in regards to Jon, since he definitely hasn't reached this state... yet. Life and his belief in the divine (the old gods) still hold meaning for him, but then he gets murdered by his black brothers. In the show, the writers hint at some cosmic alienation through Jon stating that he saw "nothing" whilst dead, but then they take it no further and generally do a piss poor job of post-res Jon. This characteristic of Manfred coming to the fore in Jon depends on what happens in The Winds of Winter, but I don't think it is at all that far fetched to assume that Jon will return to his body with a darker, altered perception of things.

Social Alienation

In Part 1, I discussed how Jon, like Byron's heroes, could be read as a "a rebel who stands apart from society and societal expectations." On a more psychological level, we can see how this Otherness, stemming from his bastard status, deeply affects Jon and his perception of himself and the world:

Benjen Stark gave Jon a long look. "Don't you usually eat at table with your brothers?"

"Most times," Jon answered in a flat voice. "But tonight Lady Stark thought it might give insult to the royal family to seat a bastard among them." – AGOT, Jon I

In his very first chapter, we see him quite literally alienated from the rest of his siblings, made to sit apart from them, an apparent necessity he seems fairly resigned to. Also in Part 1, I gave examples of instances in which Jon is mockingly called "Lord Snow," as well as a "rebel", "turncloak", "half-wildling", all of which serve to alienate him from the rest of the brothers of the Night's Watch.

Stannis gave a curt nod. "Your father was a man of honor. He was no friend to me, but I saw his worth. Your brother was a rebel and a traitor who meant to steal half my kingdom, but no man can question his courage. What of you?" – ASOS, Jon XI

The above interaction may seem on the surface to be about one thing — whether or not Jon will be of help to Stannis, offer him loyalty etc. — but tagged onto the end we have quite a poignant question: "what of you?" What are you, essentially. Who are you? The truth of his parentage may, in part, solve these questions... but it may also serve to alienate Jon from his perception of himself further. Ultimately, who exactly he is — what he believes in, who and what he fights for, etc. — will be solely his decision to make going forward.

So, the Byronic Hero, certainly in Manfred's case, but also in later iterations, is arguably traumatised by his own past. But regardless as to whether his trauma is related to a mysterious past, a secret sin, an unnamed crime, or incest, aka "secret knowledge", what is clear in Assaad's interpretation, is that the Byronic Hero is "living with the traumatic consequences of his own past and so suffers from PTSD." But why is Manfred traumatised, what is the specific cause of this trauma, or how might it reveal something deeper about Jon's own trauma? Now, here we come to the unavoidable... I'm going to start talking about Byronic incest and the pre-canon crush/kiss theory, and how it potentially parallels certain aspects of Manfred.

I should preface this by stating that I don't think Jon is suppressing trauma because he committed intentional incest with Sansa, but I do think (or at least somewhat theorise that) Byronic incest does come into play regarding his intense feelings of guilt and existential despair.

But still, stop reading now if are opposed to discussions of the pre-canon crush/kiss theory and the literary incest motif as a whole!

(Detail from The Funeral of Shelley, Louis Édouard Fournier, 1889)

Hey there to the depraved! If you aren't already familiar with the theory, here are some previous discussions/metas on the subject:

Full Blown Meta:

A Hidden and Forbidden Love by @princess-in-a-tower

Ask Answers (Long):

Jonsa as a more positive mirror to Jaime and Cersei? by @princess-in-a-tower, with additional comment by @jonsameta

Discussing the theory by @jonsameta

Evidence for pre-canon Jonsa? by @agentrouka-blog

Kissing in the godswood? by @agentrouka-blog

Why don't we read about Jon's reaction to Sansa and Tyrion? by @agentrouka-blog

More on Jon's supposed non-reaction by @agentrouka-blog, with additional comment made by @sherlokiness

A Jonsa "Unkiss"? by @fedonciadale

A hidden memory? by @fedonciadale

Sansa's misremembering by @fedonciadale

Descriptive parallels between A Song for Lya and Jonsa by @butterflies-dragons

Ask Answers (Short) & Briefer Mentions:

Jealous Jon by @princess-in-a-tower

Your new boyfriend looks like a girl by @butterflies-dragons

Like in Part 1, I've tried to cite as much as I could find, but as always, if anyone feels like I've missed someone important or that they should be included in the above list, please just drop me a line!

Now, it's a controversial theory, and not everyone's cup of tea — I think that's worth acknowledging! I myself am not wholly married to it, I'd be fine if it wasn't the case, but that being said, I can't in good faith ignore it when considering Lord Byron and the Byronic Hero. The incest is, unfortunately, very hard to ignore, both in his work and in his personal life. It's pretty hard to ignore in Manfred, for that matter, which is why I've held off talking about it... until now!

All aboard the Manfred incest train *choo choo* !!

First stop, Act II, scene one. Oh, wait, an annoucement from your conductor... apologies everyone, I purposely neglected to mention quite a key detail. Remember "Astarte! [Manfred's] beloved!", (II, iv, 136)? Yeah... it's heavily implied that Astarte is in fact Manfred's half-sister. *shoots finger guns* Classic Byron! *facepalms*

Oh, and that's not all! Let's consider the context surrounding the writing of this work for a moment, shall we? Unlike The Bride of Abydos (1813),* Manfred was written notably after the fallout of his incestuous affair with his half-sister, Augusta Leigh, composed whilst in a self-imposed exile. *spits out drink* Woah, woah there cowboy... what in tarnation?! EXILE?!

*As referenced in Part 1, @rose-of-red-lake has written an excellent meta on the influence of Lord Byron's work (and personal life) on Jonsa, paying special attention to the half-siblings turned cousins in The Bride of Abydos.

Although, as noted by rose-of-red-lake, The Bride of Abydos bears strong parallels to the potential romance of Jon and Sansa, as well as Byron’s own angst regarding his relationship with Augusta Leigh, the context surrounding Manfred seems... dare I say it, even more autobiographical. Because like Byron himself, Manfred wanders around the Bernese Alps, solitary and guilt ridden, in a state of exile heavily evocative of Byron's own — as I mentioned earlier, the beginnings of Manfred occured whilst Byron was staying at a villa on Lake Geneva, in Switzerland... the Bernese Alps are located in western Switzerland. In light of this, I think it's very understandable that some critics consider Manfred to be autobiographical, or even confessional. The unnamed but forbidden nature of Manfred's relationship to Astarte is believed to represent Byron's relationship with his half-sister Augusta. But what has that got to do with Jon?

Look, I don't know how else to put this:

Byron self-exiles in 1816, first to Switzerland, to Lake Geneva, where it is unseasonably cold and stormy — his departure from England is due to the collaspe of his marriage to Annabella Milbanke, unquestionably as a result of the rumours surrounding his incestuous affair with his half-sister.

Displaced nobleman Manfred wanders the Bernese Alps, in a kind of moral exile, where "the wind / Was faint and gusty, and the mountain snows / Began to glitter with the climbing moon" (III, iii, 46-48), traversing "on snows, where never human foot / Of common mortal trod" (II, iii, 4-5), surrounded by a "glassy ocean of the mountain ice" (II, iii, 7). He feels extreme, but unexplained guilt surrounding the death of his "beloved" Astarte, who is heavily implied to also be his half-sister.

In A Game of Thrones, Jon Snow chooses to join the Night's Watch, with the reminder that "once you have taken the black, there is no turning back" (AGOT, Jon VI). By taking the black, Jon arguably exiles himself from the rest of the Starks, from Winterfell, to a place that "looked like nothing more than a handful of toy blocks scattered on the snow, beneath the vast wall of ice" (AGOT, Jon III). But we aren't given any indication that he does this due to incestuous feelings regarding a "radiant" half-sister, akin to Byron/Manfred, are we? And it's not like we have several Manfreds/Manfryds AND Byrons namedropped within the text, is it? Oh wait... we do. *grabs GRRM in a chokehold*

What the hell, George?!

(Lord Byron on His Deathbed, Joseph Denis Odevaere, c. 1826)

But lets get back on track here and take a closer look at that section of Manfred I mentioned at the beginning — Act II, scene one, aka the part where all the incest and supressed trauma really JUMPS out.

So, early in Act II, in the chamois hunter's abode (a chamois is a type of goat?), according Assaad's analysis, Manfred is "hyper-aroused by a cup of wine." The wine is offered in an attempt to calm Manfred; however, to the chamois hunter's great dismay, it instead agitates him and makes him utter words which are "strange" (II, i, 35). Rather than wine, Manfred sees "blood on the brim" (II, i, 25). His sudden agitation and erratic behaviour confound the chamois hunter, who observes that Manfred is losing his mind: "thy senses wander from thee" (II, i, 27). Assaad's analysis of this scene, which she believes "is the most revelatory in the entire play" discloses "a bitter truth: Manfred's traumatic past informs his present life."

We might compare this with Jon, in particular, how his dreams reveal certain bitter truths to do with his past, now subconsciously informing his present. I've already looked a bit at his crypt dream from AGOT, Jon IV, but we see a sort of recurrence of this dream again in ASOS, Jon VIII. The imagery of being in a crypt, somewhere underground, buried, in the dark, a place of ghosts and spirits, is extremely evocative. Indeed, to go back to Byron's own description of Manfred, the setting of a crypt is extremely suggestive of certain bitter truths "left half unexplained", of secrets buried... and we know that's true because the secret of Jon's parentage is hidden down there, in the form of Lyanna Stark.

He dreamt he was back in Winterfell, limping past the stone kings on their thrones. Their grey granite eyes turned to follow him as he passed, and their grey granite fingers tightened on the hilts of the rusted swords upon their laps. You are no Stark, he could hear them mutter, in heavy granite voices. There is no place for you here. Go away. He walked deeper into the darkness. "Father?" he called. "Bran? Rickon?" No one answered. A chill wind was blowing on his neck. "Uncle?" he called. "Uncle Benjen? Father? Please, Father, help me." Up above he heard drums. They are feasting in the Great Hall, but I am not welcome there. I am no Stark, and this is not my place. His crutch slipped and he fell to his knees. The crypts were growing darker. A light has gone out somewhere. "Ygritte?" he whispered. "Forgive me. Please." But it was only a direwolf, grey and ghastly, spotted with blood, his golden eyes shining sadly through the dark... – ASOS, Jon VIII

I don't think it's outlandish to state that, unquestionably, Jon's bastard identity is a source of ongoing pain for him. I talked about the theme of despair in Jon's characterisation and it is very evident in the above, and it stems from this "bitter truth" of not being a trueborn Stark, of not being "welcome", or having a true place. The emotions/mindset this trauma, concerning his birth and identity, evokes in Jon is arguably what brings him, on first glance, so closely in line with the Byronic Hero:

Their grey granite eyes turned to follow him as he passed / The crypts were growing darker = A mysterious past / secret sin(s)

You are no Stark / I am no Stark = Deeply jaded

There is no place for you here / I am not welcome there / This is not my place = standing apart from society and societal expectations / social alienation

He dreamt he was back in Winterfell / He walked deeper into the darkness = Moody / misery in his heart

He fell to his knees / Forgive me = Guilt

He walked deeper into the darkness / Please, Father, help me / He fell to his knees = Despair

These aren't all the Byronic characteristics I've addressed in relation to Jon, but it is a substantial percentage of them, all encapsulated, in one way or another, within this singular dream passage. As far as what is fairly explicit in the text, being a bastard is Jon's "bitter truth", it is the "traumatic past inform[ing] his present life." But what is Manfred's "bitter truth", what past trauma is informing his present? And can it reveal a bit more about another layer to Jon's trauma? Because there is a key distinction — Manfred's trauma, his PTSD, stems from a specific event, notably triggered by the (imagined) "blood on the brim" of his wine, whereas for Jon, we have no singular event, we have no momentus experience, we just have this "truth."

As mentioned previously, Assaad has recognised the character of Manfred as displaying symptoms of post-traumatic stress disorder (PTSD). In Assaad's article, she remarks that "an experience is denoted as traumatic if it completely overwhelms the individual, rendering him or her helpless," and this is quite evident in the interaction between Manfred and the chamois hunter. Sharon Stanley, an educator and clinical psychotherapist, writes that "the word trauma has been used to describe a variety of aversive, overwhelming experiences with long-term, destructive effects on individuals and communities."

So, if trauma is related to an experience, or experiences, is it still accurate to say that Jon experiences trauma, connected to being a bastard? Because there is seemingly no singular or defining root experience, or event that it stems from, it just is… it is a compellation of several moments, revealed to the reader through Jon’s memories and/or dreams. What is being "left half unexplained” here?

Assaad makes reference to the American Psychiatric Association's definition of PTSD, in which it observes that for an individual to be diagnosed with PTSD, they have to suffer from one or more intrustion symptoms, one or more avoidance symptoms, two or more negative alterations, and two or more hyperarousal symptoms. The dreams Jon has certainly suggest something, but it seems like a stretch to say that, like Manfred, he is suffering from PTSD, right? We and Jon are very much aware that he is "no Stark", at least not in the sense that he is Ned's trueborn son, this isn’t something Jon is actively suppressing. By comparison, it is incontrovertible that Manfred committed something in the past, which he deeply wishes to forget and disassociate from:

Man. I say ’tis blood—my blood! the pure warm stream Which ran in the veins of my fathers, and in ours When we were in our youth, and had one heart, And loved each other as we should not love, And this was shed: but still it rises up, Colouring the clouds, that shut me out from heaven, Where thou art not—and I shall never be. C. Hun. Man of strange words, and some half—maddening sin

(II, i, 28-35)

However, we cannot be sure what this traumatic point of origin is, though we know that it is related to something he has done to his beloved Astarte, which subsequently led to her death. Many critics have suggested that his sin is that of incest, and as I noted earlier, that Manfred as a whole is more than just a bit autobiographical and/or confessional in nature. Manfred's incestuous sin therefore re-enacts Byron's incest with his half-sister Augusta. But regardless of the true cause, Manfred is traumatised by his past and cannot overcome it. Is there something in Jon’s past, that may have subconsciously, or consciously, influenced his departure to the Wall — his self exile — which he cannot overcome, and which is closely tied to the issue of and pain he feels due to being a bastard, not just the illegitimacy, but also the negative characteristics it assigns? Is there an event, or experience, we can pinpoint as the origin of Jon’s trauma and potential PTSD?

To circle back to Jonsa, there is some, not unfounded, debate amongst us concerning the validity of the pre-canon crush/kiss theory. I've always found it an interesting theory, but until now, I haven't really given it too much thought. In light of the Byron connection, however, as well as the textual analysis I have for Part 3, I think this scenario, as detailed by agentrouka-blog, seems more and more likely. And I don't say that lightly, I really don't. It is a somewhat uncomfortable speculation to make, even if the interaction was more innocent rather than explicit (this is the side I firmly fall down on), however, it’s ambiguity does potentially parallel Byron’s Manfred and Astarte. This post would be even longer if I included my side-by-side text comparisons, so you may have to trust me for the moment that there are some very striking similarities between Act II, scene I of Manfred, and Jon's milk of the poppy induced dream in ASOS, Jon VI, as well as the actual buildup to that vision.

But, that sounds frankly terrible doesn't it? And it doesn't bode well for his future relationship with Sansa, does it? And what does it mean if Jon is suffering from PTSD due to an incestuous encounter with Sansa? What does that mean for Sansa, Sansa who is doggedly abused and mistreated by men within the present narrative? This is awful, why would GRRM root their romance in something traumatic? Oh I hear you, and these are questions I needed to ask myself whilst compiling this. But you see... now bear with me here... it isn't the actual encounter itself that was traumatic, for either Jon or Sansa, and that is reflected in both their POVs, because, though they think about each other sparingly (explicitly at least), it is never done so negatively. No, the potential PTSD Jon suffers from this experience isn't connected to Sansa, to whatever occured between them. Rather, I believe, it's connected to either the fear, or the reality, that Ned, his assumed father, saw and/or caught him (either Sansa had left at this point, or didn't fully grasp the issue), and this fear, this guilt, this sense of despair, is made evident in this passage:

When the dreams took him, he found himself back home once more, splashing in the hot pools beneath a huge white weirwood that had his father’s face. Ygritte was with him, laughing at him, shedding her skins till she was naked as her name day, trying to kiss him, but he couldn’t, not with his father watching. He was the blood of Winterfell, a man of the Night’s Watch. I will not father a bastard, he told her. I will not. I will not. “You know nothing, Jon Snow,” she whispered, her skin dissolving in the hot water, the flesh beneath sloughing off her bones until only skull and skeleton remained, and the pool bubbled thick and red. – ASOS, Jon VI

That's the traumatic experience, I believe, not the kiss — yep, I strongly suspect there was a kiss. Moreover, Jon's recurring assertion, throughout the series, that he "will not father a bastard" is tied to this in some way, it’s tied to Ned, it’s tied to some sense of guilt and shame. It’s not tied to Sansa. But we'll look at this passage, what it means, what it parallels, and what directly precedes it, in comparison to Manfred, a lot more closely next time.

I'll leave you with a slight teaser though — the parallel that made me really sit up and take notice:

C. Hun. Well, sir, pardon me the question, And be of better cheer. Come, taste my wine; 'Tis of an ancient vintage; many a day 'T has thaw’d my veins among our glaciers, now Let it do thus for thine. Come, pledge me fairly. Man. Away, away! there’s blood upon the brim! Will it then never—never sink in the earth?

(II, i, 21-26)

Note this imagery!!!

Maester Aemon poured it full. "Drink this."

Jon had bitten his lip in his struggles. He could taste blood mingled with the thick, chalky potion. It was all he could do not to retch it back up. – ASOS, Jon VI

In both instances, a drink is offered, with "blood upon the brim", and "blood mingled". In Manfred's case, this is an explicit trigger for him, whereas for Jon? Well, it bit more hidden, a bit more buried, but this moment is, to my mind, the catalyst, because its imagery strongly evokes the colours of the weirwood tree — "blood" red and "chalky" white — you know, the "huge white weirwood" he later on envisions.

*spits out drink*

Maybe the magnitude of this parallel isn't completely evident as of yet, but it will be... or at least I hope it will be, so stay tuned for Part 3!

(Starting to run out of Byron pics so... I dunno, here's Rupert Everret, from The Scandalous Adventures of Lord Byron, 2009)

In Conclusion

To summarise, why is the Manfred connection so monumental to me? Why do I find the pre-canon kiss theory, specifically the scenario detailed by agentrouka-blog, now very hard to dismiss? Because:

The nine (!) Manfreds/Manfryds included within the text, as well as the two Byrons, one of which, the first mentioned in fact, first appears in Sansa's POV. But crucicially the direct link made by GRRM between Byron Swann and Manfred Swann.

The strength of the similarities that can be observed between Jon and the Byronic Hero, but also notably to Byron's Manfred, the "Byronic hero par excellence", according to Assaad. Especially the recurring emotions of guilt and despair, the latter exemplified perhaps most clearly in Jon's dreams.

The prominent theme of self-exile to escape something, something that perhaps cannot be openly stated, present in Manfred, Byron's own life, and Jon's narrative.

Those pesky half-sisters: Augusta, Astarte, and Sansa.

The PTSD symptoms clearly present in Manfred, but left "half unexplained", and seemingly not explained at all in Jon's POV — I'll dig more into this in Part 3.

The "blood upon the brim", and "blood mingled" — more on that in Part 3, I hope you guys like in depth imagery analysis!

Obviously, this is all still just speculation on my part, and it's speculation in connection to a theory that is understandably controversial. I'd be happy to dismiss it... if it weren't for the above. So, I suppose I'm in two minds about it. On the one hand, however you look at it, it's more trauma in an already traumatic series... which is *sighs* not what you want for the characters you care strongly about. But on the other hand, that literary connection to Manfred (and by extension to actual Lord Byron), the way it's lining up, plus that comparison GRRM himself made between Jon and the Byronic Hero... that's all very compelling and interesting to me as a reader, as a former English literature student. So, I don't want it to be true because... incest hell. But then, I also want it to be true because then it makes me feel smart for guessing correctly.

But anyway, we're going to be descending into incest hell in Part 3, so... we'll just have to grapple with that when we come to it. I hope, if you stuck with it till the incesty end, that you enjoyed this post!

Stay tuned ;)

Bibliography of Academic Sources:

American Psychiatric Association, Diagnostic and Statistical Manual of Mental Disorders, 5th edn (Arlington, VA: American Psychiatric Publishing, 2013); online edition at www.dsm5.org

Assaad, Lara, "'My slumbers—if I slumber—are not sleep': The Byronic Hero’s Post-Traumatic Stress Disorder", The Byron Journal 47, no. 2 (2019): 153–163.

Byron, George Gordon Noel, Byron’s Letters and Journals. Ed. Leslie A. Marchand. 12 vols. London: Murray, 1973–82.

Holland, Tom, "Undead Byron", in Byromania: Portraits of the Artist in Nineteenth- and Twentieth- Century Culture, ed. by Frances Wilson (Basingstoke: Palgrave, 2000).

MacDonald, D. L. "Narcissism and Demonality in Byron’s 'Manfred'", Mosaic: An Interdisciplinary Critical Journal 25, no. 2 (1992): 25–38.

Stanley, Sharon, Relational and Body-Centered Practices for Healing Trauma: Lifting the Burdens of the Past (London: Routledge, 2016)

Twitchell, James B., The Living Dead: A Study of the Vampire in Romantic Literature (Durham, NC: Duke University Press, 1981).

#jonsa #jon x sansa #jonsa meta #jon as the byronic hero #byronic hero #lord byron #tw: incest #cappy's thoughts #grrm and the Romantics #Jonsa and Romanticism #percy bysshe shelley #romantic poets #literary references #damn this was a long one!#glad a split it into another part!#i started to get a bit unhinged by the end not gonna lie

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alittlefrenchtree · 3 years ago

Note

Tomorrow we'll get Timmy's profile in 5 key-days which I suppose are chosen by the journalist and approved by Tim's pr team.

But let's imagine YOU had to make his profile 🤓 What special days would you choose? ☺️

I LOVE the question, Nonny 😍 Thank you for asking!

I think the concept of the profile is to make the guest reflect on (at least) semi-public or public key-days but I’m going to cheat and pick a bit differently. Most of my days would be way too personal for him to reflect on on record, but lets pretend Tim and I are best friend and that he trusts me. Like he should.

#1 : The day he got his first transformative experience listening to music, if it was with Cudi or not and what kind of memories he has from that moment.

#2: The (first?) day he walked on a theater stage and fell in love with the art.

#3: The day after the Oscars. Or the day after Austin. Or whatever day he considers as the closure of the CMBYN era.

#4: Maybe the day of the Toronto premiere of Beautiful Boy. Or Venice for The King. Or Busan. Or whatever day he found himself in front of a gigantic crowd just throwing up delirious amount of love at his feet. I don’t really want to hear about him being grateful or whatever he usually says but how he felt besides that? Scared? Like he belonged here? Like he was part of something bigger than he could control and a part of his life will never belong to him anymore? Did it still feel the same now as he did the first time?

#5: The last time he thought about quitting the job. Of course, without going into details of that day if he doesn’t want to but I don’t know. If it’s something he still dealing with today or if he’s over it now. How often he has that kind of days? Is he getting over them by diminish whatever bothering him or if he loves acting so much he’s ready to endure anything? I don’t know. This general era of thinking I guess.

I have no doubt that I’m going to keep thinking of your question and probably will come up with more days so I’ll probably reblog this post with new ideas. And anyone willing to answers with their own ideas is more than welcome to join the party!

Thank you again for asking 💜

#alft asks

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saintobio · 3 years ago

Note

HWJSJEJDQHHQ I'M A MESS RN 😭 MAI MY BELOVED CAMEO & toji has my heart already plsss imagine if mc decided to push thru with the clothing line bc of toji and mai's undying support that would be so cute!!! i hope we could see them more because mc deserves to be surrounded by nice and genuine people too 😌 ps: fawk u gojo 😋💓

Anonymous said

I'm so engrossed in this fic that I genuinely felt the sheer happiness when Toji wanted to talk more about our interests. I kept on thinking that there might be some ulterior motive that's leading the convo but as soon as he widened his eyes and smiled when we shot him w that "forgot you were pushing 40" just made me feel so comforted idek 😭 until a fucking grumpy furby came in and ruined it all 😭 I love how we did that "u see this fucking face? He's satan :D" with gojo though, it felt good ⛈

Anonymous said

toji i am in love with you ‼️ yn leave gojo pls (for now)🙏 and now we seeing some of gojo’s inner turmoil too 👀 he tryna ignore how he starting to feel

just to let you know you’re literally my favorite author on this app bc my lord the amount of DEVELOPMENT we’ve already seen in five chapters, and the way every single character has so much depth. please never stop writing 😭 please take care of yourself too 🙏 you gotta publish a book or something and you can’t do that if you don’t take time for yourself ‼️ thank you for all your efforts and incredible talent 🥰

Anonymous said

Ok so I’m 99% sure Y/N is gonna die at the end and this makes me so sad ):

After this chapter I just want her to get closer to Toji and get the happy ever after she deserves with him and they raise Megumi together. Periodt.

Anonymous said

Yooo this was wild. I’m all for Y/N just packing it up and being w/ Toji. He’s a fine ass dilf who cares about her and her well-being beyond her money and status. But I think that it’s really funny that Sera seems to focus only on what Gojo can do for her in terms of the materialistic sense rather than emotional. So far, he’s only been seen giving her things rather than true affection (Although that could just be because we don’t see both of their POVs that often). Not to mention the fact that Gojo doesn’t seem to love her enough to give up his money and status for her 🙃. Anyway, Gojo and his hoeish ass can go be with his beloved Sera. At this point, I’m shipping Y/N x Toji until further notice.

Anonymous said

ZENIN TOJI COME TAKE YN AWAY TO VENICE'S WEDDING!!!!!!!! DAMN TOJI I LOVE YOU WTF😭🖐️ I LOVE AI-SAN MORE THO😻 LET'S GO RUN AWAY WITH OUR BLESSINGS NAMED MEGUMI, PAPI🧚‍♀️✨ LIVE THAT SOFT DOMESTIC LIFE YOU ALL DESERVE!!!😘🥰🧚‍♀️✨

also.... YN seemed to be... Sick.....

- 🌸anon

Anonymous said

AAAAAAAAAAAAA GODDAMNIT yn does NOT deserve to be treated like this 😭😭 i’m glad she found a friend in Toji, but i’m begging you to give Yn more friends she can rely on 😭😭

Anonymous said

I love love love this series, your writing is beautiful I am in tears.

All I want is for YN to stop caring and Gojo to finally notice exactly how great she is, like everyone else sees.

BUT I hope it’ll be too late because she will already be Tojis. YN will be designing her wedding dress and she will be Megumis new step mom, and she’ll finally be loved softly. Her dad sucks, fuck his business.

@seashellmichellee said

ngl if I were y/n I’d fucking leave Gojo for Toji WLDJAK like???? I stan a gentleman and someone who genuinely cares 😫

Anonymous said

another great but heartbreaking update :”) canon toji is a lil uhh sus BUT SN!Toji is a sweetheart !! Imagine yn discovering what true love is really like w toji :(( he appreciates n loves her sm that he supports her dreams of being a fashion designer !! Toji eases her insecurities AND IS AN AFTERCARE KING, yn builds her own brand outside of her family while gojo and sera end up in the streets where they belong <33 in all honesty we’re in for more angst before any fluff bc you’re the author LOL

Anonymous said

the way toji & y/n need to get together... gojo gotta look at them and be like oh fuck i messed up 💔 anyways toji+mc supremacy <3 thank you for putting it in my fav character! the way you wrote toji & mc’s interactions was SO good and so soft! you can tell toji warmed up to mc and was willing to literally protect her... he could cherish her so much better than gojo ever could 😭😭😭 can’t wait for the next chapter! you always keep us on our toes ILY for that 💗

i am loving the toji brainrot you guys !! i’m glad you liked his introduction <33 i also enjoyed writing the zen’ins i just love them sm ?? :’) i hope toji lessened the angst for this chapter bc we are all fuming at gojo until further notice 😤

#saintobio.asks #series: sincerely not

37 notes · View notes

bts-ficrecs · 4 years ago

Note

hey!! can you recommend a few series (any member)? thank you very much!

“a few” hAHAHAHA you’re really funny.

Bro, why’d u have you make ur request sooo broad 😂 i tried to reign in the crazy and failed. I decided I’m going to give you a list of series that are sitting impatiently on my to read list! Making this list makes me want to devour them all right now lol.

Feel free to go through my archive to find series that I have read, cause there are plenty of those too :”) So without further ado…

Note: please be aware several of the ongoing series are either on hiatus or discontinued or just haven’t been updated in 17392 years lol. I know some people can’t deal with that so do make sure to check if the writers are still active and/or when the last update was! And don’t pressure the writers about updates kthxbai ❤

ONGOING

Aristocrat by @itskimtaehyung

Genre: angst, smut

Parts: 3/4

Summary: In which Namjoon pays you for your *ahem* services.

A Valediction: Forbidden Mourning by @therealredraven

Genre: angst, smut

Parts: 4/? (discontinued)

Summary: Love comes in many shapes, but does not always have a prosperous fate. However, whereas parents might have found it, all the children can do is live in kalopsia. Forbidden yet denying the mourning of the path chosen for them by Fate.

Blood Princess by @mintchockookie

Genre: angst

Parts: 9/?

Summary: Choi Y/N is one of the most dangerous and feared members of Papa Choi gang. But she doesn’t want to be. Kim Nam Joon is the leader of the biggest gang in all South Korea and craves revenge for having his godfather being killed by Papa Choi. When their paths cross, nothing can hold them.

Untold Stories by @interludemoonchild

Genre: fluff

Parts: 8/?

Summary: A series of drabbles based on Namjoon owning a bookshop in a small town.

What Am I To You? by @honeyedhoseok

Genre: angst, smut

Parts: 2/?

Summary: To Namjoon, she could make the salt taste like sugar on her hands. But in the end, she isn’t as sweet as he believed her to be.

COMPLETE

Best Friend!Namjoon by @lamourche

Genre: angst, fluff, smut

Parts: 3/3

Summary: “I locked the keys in the car.”

Passionfruit by @joonbird

Genre: smut

Parts: 4/4

Summary: To you, matters of the heart have always been simple. You’ve always lived by three rules: you don’t do emotions, you don’t do attachment, and you don’t do love. That is, until you meet the enigma that is Kim Namjoon- a man who shakes your entire world upside down.

Piercings by @personawife

Genre: smut

Parts: 2/2 + 1 (feat. Yoongi)

Summary: “What’s that sticking through your shirt?”

Rumor Has It by @jjungkookislife

Genre: smut

Parts: 2/2 + drabble

Summary: After hearing a rumor about your best friend, it's all you can think about.

Tear by @polaritae

Genre: angst, fluff, smut

Parts: 3/3

Summary: Getting the attention of your crush seems impossible. Good thing your best friend is always willing to help out!

ONGOING

Dame-De-La-Nuit by @cyphahobi

Genre: fluff, smut

Parts: 2/?

Summary: First night on the job turns into a week long adventure of business and pleasure. Landing business man, Kim Seokjin as your first client, turns your whole world upside down.

Evanescent by @jinletgo

Genre:angst, smut

Parts: 1/?

Summary: You’re a journalist-aspiring secretary to Kim Namjoon, the CEO of Telescope, a leading lifestyle and culture magazine. One night with a handsome and charismatic stranger ignites a passion and excitement that you didn’t know you had. When that stranger turns out to be Kim Seokjin, the print journalist of a rival magazine, the simple life you take for granted and dream career you’d been working towards are left in jeopardy…

King of Hearts by @thecozywhaleshark

Genre: angst, fluff, smut

Parts: 9/10

Summary: You are a famous writer who can’t exactly show up to an event alone… so you hire an escort… his name is Jin.

The City Comes Alive by @minflix

Genre: angst, fluff, smut

Parts: 1/2

Summary: Being a street performer, Kim Seokjin sees many nameless and forgettable faces each and everyday. But there is this one girl that he can’t seem to forget. Maybe it’s because his heart seems to fall in love with her a little more each time she passes him by.

COMPLETE

Aperitivo by @bangtanbetchfics

Genre: smut, feat Jungkook

Parts: 2/2

Summary: On the heels of a breakup, you fall hopelessly in lust with two pastry chefs on your vacation in Venice.

Burden by @neonlights92

Genre: angst, fluff, smut

Parts: 8/8

Summary: After the death of his wife during childbirth Kim Seokjin is unable to hold his baby daughter without grief taking control. Just three weeks after the love of his life is taken from him so suddenly, Jin is expected to marry somebody new. You are foolish and have spent your whole life pining after Kim Seokjin from afar, even after he marries your best friend, Seul. But suddenly Seul is gone and you are expected to marry Jin and raise his child. You know your heart is already in it, but what about his?

Alt. Summary: A marriage to Kim Seokjin was all you ever wanted. But not at the cost of your best friend’s life.

Don’t Wanna Fall by @9uk

Genre: fluff, smut

Parts: 4/4

Summary: After your boyfriend breaks up with you, you are in need of company. Strangely enough, you get more company than you had initially wanted.

Alt. summary: His world revolves around wealth, power and most importantly—women. He’d spoil every one of them by his side or on his bed, with limited edition bags and expensive heels. So why is the CEO of kim corporations currently buying you a pet bunny?

In The Bleak Midwinter by @pcyheartgirlx

Genre: angst, fluff, smut

Parts: 25/25 + 2 different endings

Summary: We’re all whores, we just sell different parts of ourselves.

Peach Parfait by @jamaisjoons

Genre: fluff, smut

Parts: 2/2

Summary: You and Seokjin have always been at odds as the top two chefs at Big Hit Academy of Culinary Arts.

The Devil Wears Armani by @floralseokjin

Genre: angst, fluff, smut

Parts: 5/5 + drabbles

Summary: You never imagined accidentally attempting to sell your soul to the devil would lead to this…

ONGOING

Addicted by @yoongiandchiminie

Genre: angst, fluff

Parts: 4/?

Summary: Suga, the Stealth and Weapons guy of Bangtan meets his Soulmate with a bang. He’d grown up believing in the idea of finding the person he was destined to be with and won’t let her get away. Even if she’s addicted, he’s determined to help her. He just wants to save his Blue girl.

Choices by @btsiguess

Genre: fluff, smut

Parts: 4/?

Summary: You didn’t think that when you woke up this morning you were going to go out and buy a hybrid. But really, ending up with this stupid cat might be the best thing that ever happened to you. Much to both you and Yoongi’s chagrin.

Grey Area by @blushoseoks

Genre: angst, smut

Parts: 13/?

Summary: And just like that, your fate was sealed - because min yoongi was absolutely going to destroy you. But hell if you weren’t going to let him, or bask happily in the flames as he did so.

Reputation by @mindayss

Genre: angst, smut

Parts: 1/?

Summary: Min Yoongi’s got quite a reputation. As do you.

COMPLETE

Di piano e forte by @justoneday-namjoonii

Genre: angst, fluff

Parts: 6/6

Summary: Piano; A keyboard of cypress, played with soft and loud. Was it the ivory and onyx keys that let you escape from your reality…Or was it the man with sable hair and ivory skin.

Errantes by @cno-inbminor

Genre: fluff

Parts: 2/2 + Epilogue

Summary: Yoongi accidentally gets spiked pumpkin juice, but it’s not by alcohol. More like it was spiked by a Love Potion – Beguiling Bubbles, to be exact – and Sora may or may not have had a hand in this. The point is, she’s hoping Yoongi will never find out and she’ll be alive to take her N.E.W.T.’s.

Fragility by @writtenyoongi

Genre: angst, fluff, smut

Parts: 3/3

Summary: “There are a lot of fucked up things about me, you know? And there’s a lot of fucked up things that have happened. But when I’m with you all of those things, yeah they still exist but it’s like they’re a lot further away, I don’t feel as if they’re eating me alive.”

Long Time Coming by @an-exotic-writer

Genre: fluff, angst (?)

Parts: 6/6 + drabble

Summary: In which it’s been a long time coming since you’re meeting Min Yoongi once more.

Private Lessons by @baeseoul

Genre: smut

Parts: 2/2

Summary: “I have an idea,” Once he saw how you straightened in your seat, your gaze flaring with aggravation, he continued quickly, “For every question I get right, you tell me something about yourself.”

Skin Deep by @aquaminwrites

Genre: fluff, smut

Parts: 10/10

Summary: Yoongi has never—and presumably will never—like tattoos.

ONGOING

Bygones Of The Sun by @scriptaed

Genre: angst, fluff, smut

Parts: 3/?

Summary: Jung Hoseok was once the sweetheart of the school, the dance captain whom every girl, including you, can’t help but fall head over heels for. But like the force of the ever-glowing sun, everything that rises must also set. A year of inactivity later and he’s now the school’s resident bad boy. You’re a firm believer of allowing the past be the past, and yet you can’t help but wonder where the rises sun has gone into hiding- because perhaps its shadows have out-shines its own radiance.

Euphuistic by @guksthighs

Genre: angst, fluff, smut

Parts: 2/?

Summary: Hoseok’s delivery of flowers does not go as planned when it starts raining and someone mysertious gives him an umbrella.

Plant A Kiss On These Tulips by @honeyedhoseok

Genre: fluff

Parts: 2/?

Summary: After your boss, Jisu–head wedding planner at Ornate Events–develops a ragweed allergy, you are put in charge of working with the florist company In Bloom. But instead of their top-notch flower arrangements, their incredibly radiant owner Jung Hoseok proves to be what catches your eye over the course of the months that follow.

Salted Caramel by @your-miss-right

Genre: fluff

Parts: 9/?

Summary: She liked him…a lot and she just wanted to get the point across. Too bad the wrong guy got it. Note to self: Check orders before writing little notes to the wrong customer!

Starfire by @readyplayerhobi

Genre: angst, fluff, smut

Parts: 6/?

Summary: The schism that broke the galaxy began, as it usually does, over a disagreement. The resultant civil war has raged for hundreds of years. When a ragtag group of travellers discovers something that could turn the tide of war, for good or for worse, the bonds of friendship and love will be tested.

Note: ok but basically just read all of Tali’s Hoseok series sdjfakjaf

Wall to Wall by @winetae

Genre: smut

Parts: 1/4

Summary: Temporary popularity is the biggest threat to your career right now. Without a solid core fan base you’re doomed to be forgotten. If not now, then in a month or two, and if not then, surely by the end of the year. That’s how quickly the adult film industry cycles through their actors, especially when you’re a woman. Your agent comes forward with a proposition to help put you back on the map.

COMPLETE

By Its Cover by @crystaljins

Genre: angst, fluff

Parts: 8/8

Summary: Your annoying little brother Jimin accepts a dare and summons a demon into your living room. There are multiple problems with this. 1) Demons are the most hated species on earth. 2) That demon happens to be Jung Hoseok, the most popular guy on campus 3) The fact that Jung Hoseok is a demon is his biggest secret and 4) Jung Hoseok hates your guts. You’re in for a wild ride.

Life in the Fast Lane by @sugaxjpg

Genre: angst, fluff, smut

Parts: 1/3

Summary: Hoseok was not someone who expected to find love, even less under the conditions he met you—bleeding to death in an alley, unable to go to an hospital without being recognized by the ones who did such thing to him. Though, he would soon learn that the best things in life are the unplanned, kind ones. Especially the kind ones.

The Black Book by @honeyedhoseok

Genre: smut

Parts: 9/-- (discontinued)

Summary: Being personal assistant involves doing a lot of different tasks for your boss Jung Hoseok–including setting up his rendezvous with his black book clientele.

The Gentlemen’s Club by @brookelegend

Genre: smut

Parts: 15/15 + Epilogue + author’s note + drabbles

Summary: You’ve been in a dating drought, more specifically, a sex drought. Your best friend has the perfect remedy for your problem: The Gentlemen’s Club.

ONGOING

Contraband by @leadermon

Genre: angst, fluff, smut

Parts: 11/?

Summary: If you had known what you had known now, would you have gone? If you knew who you would meet, the boy with the bright orange hair, and how getting wrapped up in him would tear all your brother had built to the ground, would you have gone?

Crossroads by @honeyedhoseok

Genre: angst, fluff

Parts: 4/?

Summary: You summon Park Jimin, the crossroads demon who rather than taking your soul and granting you wish, wants to become an extremely annoying life companion.

induratize by @hobiwonder

Genre: angst, fluff

Parts: 5/?

Summary: Prince Jimin had grown up despising people from your empire and vice versa. When your father weds you to the crowned Prince of Haelyra, your kingdom’s sworn enemies, as a form of alliance to fight a greater evil, you struggle to make sense of your new life as the future Queen to be and deal with a husband who cannot stand you.

Jealousy Games by @avveh

Genre: angst, fluff, smut

Parts: 3/?

Summary: You decide to play a game of push and pull with your ex Jungkook, bringing Jimin along for the ride.

COMPLETE

Handyman by @drquinzelharleen

Genre: angst, smut

Parts: 5/5

Summary: Jimin is your landlord’s son. After one stressful day he comes to fix your shower for you. You find yourself constantly thinking about him. Could he be the perfect submissive?

I’ll Never Be Her by @anon-luv

Genre: angst, fluff

Parts: 5/5 + Epilogue + drabbles

Summary: You loved him with all your heart, but he could only give you half of his. Jimin was the love of your life, your night in shining armor when she wasn’t around. She was his ex girlfriend, his first love, actually she was his many firsts and she kept coming back. He had warned you she was his weakness, but you didn’t listen, because to you having him even if it was only partially was better than not having him at all. At least for now.

Neighbors by @jkeuphoriadreamland

Genre: angst, smut

Parts: 7/7 + Epilogue

Summary: Finally achieving your successes in life you never expected the distraction that came with your new hot neighbor. He however, had been trying to get your attention for a much different reason.

Nine One One by @yminie

Genre: angst, fluff, smut

Parts: 2/2

Summary: When murder and crime threaten the city of Seoul, there’s a team in place to help keep the public safe, but just what do you do when all your training is to help others, and the one that needs help is actually you?

Limerence by @jiminscenarios

Genre: angst, fluff

Parts: 14/14 + Epilogue

Summary: He was a coldhearted asshole and the leader of South Korea’s most wanted gang, whereas she was an innocent and kind college student. They were polar opposites, yet he was so infatuated with her. But opposites are supposed to attract after all, aren’t they?

Love Yourself Trilogy by @threeletterslife

Genre: angst, fluff

Parts: 3/3

Summary: Excelling in every school subject, acing every math test and conquering the academic world is something you do as easily as breathing. As your residential social outcast nerd, you live rather as a recluse, talking to almost no one except for your dear ol’ cousin and that sweet boy in a few of your classes—Jungkook? was that his name? Befriending your ʰᵒᵗ AP stats teacher was the last thing on your high school senior agenda… but when life throws you curveballs, it is what it fucking is.

ONGOING

Begin Again by @writtenyoongi

Genre: angst, fluff, smut

Parts: 4/?

Summary: Things had been tough since your divorce from yoongi, you were still heartbroken over losing him whilst trying to balance being a single mother and providing the best you could for your daughter. When Kim Taehyung enters your life you start to learn how to love again, but the beautiful man is not without his own source of heartbreak.

The Client by @jungkookiebus

Genre: angst, smut

Parts: 2/?

Summary: Your services applied to many types of people and you were good at what you did, delivering sexual fantasies. This particular client happens to be your personal favorite for more reasons than one.

Van Gogh by @btsjeonjazz

Genre: smut

Parts: 1/?

Summary: Who would have guessed that Kim Taehyung, honorable student and your tutor, had some dark secrets?

V2 by @honeyedhoseok

Genre: angst, fluff, smut

Parts: 9/12

Summary: This series is reader-insert revolving around Taehyung and his long-term surreptitious relationship with Y/N.

When You Least Expect It by @johobi

Genre: angst, fluff, smut

Parts: 12/15 + drabble

Summary: You’re in love with your childhood friend, Taehyung. The problem is, you treasure your friendship with him far too much to ever risk losing it. Oh, and he’s quite the Casanova. At your wits’ end with feelings you can no longer hide as diligently as you once did, you ask him to set you up with someone, anyone, in a last ditch attempt to avoid a heartbreaking conversation.

COMPLETE

Change by @junghelioseok

Genre: angst, fluff, smut

Parts: 9/9 + Epilogue

Summary: A kind, handsome stranger makes you question your deteriorating relationship.

One Good Purr (Deserves Another) by @jinpire

Genre: fluff, smut

Parts: 4/4

Summary: Maybe it wasn’t the best idea to visit Taehyung just before your heat. (Or to ask if his best friend was available.)

Summer Love by @analovegirl

Genre: angst, smut

Parts: 3/3

Summary: It was Summer when he lost his whole world, his family and his identity. And it’s summer again when he comes across the girl he swore was his enemy. Join Taehyung, as he tries to find his true identity– as a human and as a merman, along with the mystery of his parent’s demise.

The Chrysanthemum Effect by @rosaetae

Genre: angst

Parts: 10/10 + Epilogue

Summary: Keeping your flowers, keeping your pain— it’s already everything you need to move on. How do you move on from things if you’re not willing to accept them?

Yarn by @dreamhimcloser

Genre: angst, fluff, smut

Parts: 2/2

Summary: The mere idea that someone will kiss you while you slept made you shiver with disgust, but your educators promised you time and time again that this is exactly how you reach true love.

ONGOING

Block Party by @minlucent

Genre: smut

Parts: 2/?

Summary: Moving into your new apartment brings back memories of your biggest mistake.

Employee Perks by @chiminiemoans

Genre: angst, smut

Parts: 3/?

Summary: Sure, the employee perks at your job were bonuses, life insurance, sick leave, health benefits etc. etc., but the best employee perk of all was working with a man known as Jeon Jungkook.

In Debt by @ichirakukpop

Genre: angst, fluff

Parts: 2/?

Summary: All your life you’ve been taken care of by your rich father and his money, but when a someone named Jungkook barges into your home demanding for his money back, your life is turned upside down.

Serendipity by @rohobi

Genre: angst, fluff, smut

Parts: 10/13

Summary: The occurrence and development of events by chance in a happy or beneficial way. After forgetting to click out of his pornhub incognito tab last night, you find yourself shoulder-to-shoulder with Jungkook at 3am watching the rest of it.

COMPLETE

Anima Meaology by @arckook

Genre: angst, fluff

Parts: 4/4 + Epilogue

Summary: Your best friend was never supposed to know that his name was on your wrist.

Falling Skies by @fortunexkookie

Genre: angst, fluff, smut

Parts: 6/6 + drabbles + spinoff oneshot

Summary: Jeon Jiyeon was your childhood best friend; her brother, Jungkook, was something else entirely.

Goldilocks by @perpetually-jungshook

Genre: angst, fluff, smut

Parts: 10/10 + drabble

Summary: After getting evicted, your two best friends Jimin and Taehyung offer you a place to stay until you get back on your feet. Needless to say, with a part time job and a mountain of student debt, that’s not happening any time soon. Eventually, they DO become really fond of having you around, helping with chores and even splitting rent. So when you come home one day to find someone has been sleeping in your couch-bed, well… it’s something you won’t take lightly.

Oath by @bangtan-yeonghon

Genre: angst

Parts: 33/33

Summary: What if one day everything you ever wanted is taken away and your whole world comes crushing down? If you were to forget today, who would you be tomorrow?

Watch Me Babygirl by @lunarimagines

Genre: fluff, smut

Parts: 20/20

Summary: Jungkook is your brother’s annoying best friend. You can’t stand him but he just can’t resist teasing you. How far will he actually go?

Will You? by @jungee

Genre: angst, fluff

Parts: 2/2

Summary: Jungkook + you = prom dates??

ONGOING

Bangtan Crossing by @mintedmango

Genre: fluff

Parts: 4/?

Summary: You step off the train in the quiet of dusk with a relieved sigh, just looking at the awakening of some stars and the bottoms of trees of this countryside town in awe. It was so different from the city, so dark at night, not lit up by thousands of street lamps and buildings turned on in the wee hours of the evening.

Lifeline by @forgottenpasta

Genre: angst, fluff, smut

Parts: 6/?

Summary: What happens when a witch curses seven vampires to share one fated mate between them?

Lueur De Lune by faery_kth (AO3)

Genre: fluff

Parts: 5/?

Summary: Your recent move has caused a lot of stress and you decide to take a stroll by the little lake behind your house only to find the moon and her fallen star.

Over the Moon by @threeletterslife

Genre: angst, fluff

Parts: 6/8

Summary: You feel isolated in the vast American country with no one but your older brother and your six rowdy friends to keep you company. But when they disappear without a trace, you’re left with nothing. Nothing until you become dragged into the world of the mob. The mafia world promises glory, fame and big bucks. But that comes with backstabbing, pain, regret and vengeance behind the veils. You’re not ready for that alone. Are you?

Potions, Magic, And Otherworldly Charmers by agentlemanshat (AO3)

Genre: fluff

Parts: 3/7

Summary: Have you ever imagined Namjoon as a high-end witch? Jungkook as a werewolf or Jimin as a merman? And a magical world full of possibilities? Well, look no further! Because here is where it happens.

Twisted Tails by @kmseokjins

Genre: angst, fluff, smut

Parts: 4/?

Summary: After the death of your older sister, you're suddenly entrusted with her two hybrids. Who knew that following your sister's wishes would eventually turn your life upside down.

Void by @btssavedmylifeblr

Genre: angst, smut

Parts: 6/?

Summary: You are the only female crew member on a 12 year space mission with seven handsome men. The sexual tension is real, y’all.

COMPLETE

A Fairy Tale’s End by @bangtan-dreamland

Genre: angst, fluff

Parts: 8/8 + Epilogue

Summary: You wanted, for once, to be someone important, someone needed- to be wanted and appreciated, to love and be loved. Well, you should be careful what you wish for.

College by @btslibrary

Genre: smut

Parts: 7/7

Summary: A 7-part BTS smut series.

Hybrid House by @hollyhomburg

Genre: angst, fluff, smut

Parts: 3/3 + Epilogue

Summary: To Seokjin, Home consists of his human partners Namjoon and Hoseok as well as their Hybrids; the pups- named Taehyung and Jimin, their black cat- called Yoongi, and their foxboy- called Jungkook. Together they have the happiest family possible, everyone loves everyone equally. So what happens when Namjoon finds you? A cat hybrid, beaten close to death left alone in an alleyway on the coldest night of the year? He takes you home, shows you his family, and together they teach you what love can be like.

congratulations you made it to the end....lol. enjoy all these fics and give the authors lots of love, okay? 🧡

#bts fan fic #bts fic recs #namjoon fluff #jungkook fluff #yoongi fluff #taehyung fluff #seokjin fluff #hoseok fluff #jimin fluff #g recs #g replies #anon

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green-and-grey-kenaz · 3 years ago

Text

Ghosts of Venice

Language: English

Characters: Nico di Angelo (Percy Jackson Series), Ezio Auditore (Assassin’s Creed)

Summary:

While trying to find out more about his past, Nico di Angelo travels to Venice where he meets a shadowy figure, the ghost of an assassin. The self titled Ghost King is rather used to commanding the spirits of the dead, unfortunately this ghost seems intent on giving him advice, whether he wants it or not.

The spirit of Ezio sees a lot of himself in a young teenager, who's come to Venice looking for answers and has the shadow of death over him.

Word Count: c. 2 500

Link: https://archiveofourown.org/works/32877292

Nico stared down at the people passing by on the streets and tried to piece it with the fragments of memories he’d slowly been recovering. Had Venice (Venezia) been this busy when he had lived here all those years ago with his mother and Bianca? Did they have quite so many boats (and quiet so large)? If he walked through the streets long enough, would he find the house that he had once lived in? Would he know it? His mother had been the daughter of an ambassador, she must have been somewhat important and the house somewhat grand but that didn't narrow down his options. Nico wondered who lived in what used to be his home. Might he have cousins and if so, did they now live there?

The answer would have been to walk the streets and see if any memories resurfaced and that had been Nico’s intent but even in the dead of winter he felt like there were too many tourists. Nico did not mind the bitter cold that blew in from the mountains carrying flecks of snow that were not confined to the mountainous hillside but neither did the visitors. They just pulled their gloves and coats closer around them. Nico stared down at his own hands, a slight purple tint to them. Like so many things, he could ignore it but his body was annoyingly physical and took repercussions. Unfortunately he had no lira to his name (Nico frowned, it was the euro now) and while he was not opposed to a little bit of theft, he'd rather avoid it if possible.

Crossing his arms, he pressed his fingers against his sides with a begrudging awareness that loosing his fingers to frostbite would likely be to his detriment. His dark gaze returned to the city below him. It would be quieter once the evening set in.

“È bella, no?” A voice asked.

Nico jumped, nearly falling off of the tower he was perched on. Behind him was a white robed, a pointed hooded casting a strange shadow over his eyes which glittered uncomfortably bright in the darkness. There was the stench of death around the man and not just because he himself was not counted amongst the living. Nico could tell that this spirit, who ever he was, had killed many people. It clung to him, a miasma upon his very being but he did not seem bothered.

The more pressing concern though, was that somehow this spirit had managed to appear without his notice. That was something the son of Hades was not used to. Far down below him he could sense the lares, angry spirits that seemed so endemic to Italian cities and they had generally accepted his orders to keep back. This ghost seemed completely unbothered by the aura Nico was giving off. Another reason to be cautious.

“What are you?” Nico growled, pulling out his sword and pointing it straight at the ghost’s chest. Most would shy away from Stygian Iron but this figure seemed unbothered as he moved to stand next to Nico, who’s sword followed the ghost’s movements but he just stared out across the city.

“I have been many things but what I am more than any is a free spirit.” He answered, turning to look down at Nico and pushing the hood down to reveal young features, he couldn’t have been much more than eighteen and there was a certain carefreeness to him . It did not put Nico at ease.

“Nobody is free.” He said slowly. The stranger gave him a look that stunk of pity. Nico jabbed his sword forward, stopping shy of the ghost’s chest.

“Don’t look at me like that.” He growled.

“If you think that this is the first time I’ve had a sword pressed to my chest, you would be sadly mistaken, piccino. But perhaps your question should not be what am I but why am I here?”

“Don’t talk to me in such a familiar way.” Nico snarled, doing his best to force the ghost to leave. The Undead were his domain and they would listen to the son of their master. The teen sighed and leant against the wall.

“I too came here with much anger and hatred in me. Anger at the world, at the failure of justice and most of all anger at myself although I did not know it then.”

“I don’t feel that.” Nico said stiffly although he could feel a rising panic. Had he summoned this spirit without realising it? He should have a stronger grasp over his powers but this man seemed to know too much about him and if he had summoned him that would explain not realising until he was here.

“Hm.” The shade agreed, staring back out at the city.

“Who were you?” Nico asked as an uncomfortable silence lapsed between them. He may prefer the company of the dead but even they grated on him if they wouldn’t bend to his will.

“My name is Ezio Auditore da Firenze, although I doubt you have heard of me. If you had, I would have rather failed in my work.”

“What did you do?”

“I was an assassino.” Ezio said as if it were no matter. Nico looked out across the city and wondered about the angry shades down there.

“I gave my victims their rites. They should not linger.” Ezio assured, guessing the direction of his thoughts although Nico wasn’t so sure in the truth of Ezio's words – he had met some very stubborn and angry spirits during his time in this world. Again he felt the urge to ask this shade what exactly was he but that had gotten him nowhere. Instead, he got the feeling that Ezio would be cryptic when it suited him (never trust spirits, they always had an ulterior motive, usually wanting life).

“Do you want something?” He blurted out. Ezio was not leaving and seemed to have every intention on staying. It was irritating when he was here to be alone, couldn't the spirit take a hint by Nico sitting alone in the tower? Of course, he could shadow travel out of here but Nico did not particularly relish the idea of having fled from a spirit. It set a bad precedence.

“I do not want anything but to offer my advice and support.” Ezio said and he looked at Nico with a gaze that stopped his heart. The smile on his face was warm and accepting, just like Percy when he smiled with his friends. Nico’s hand clenched and the stones beneath his feet began to tremble. Not ideal when you were in a tower.

“I do not need help. I do not need advice.”

“I find the people who don’t need help are perhaps the ones who most require it. I certainly wish I had thought to ask for help more. I was not as alone as I thought I was and I would have been happier to not remain in my solitude.”

“Maybe I like being alone.”

“Perhaps. But if you did, would you insist so much on it?”

Nico frowned. Finally he lowered his sword and took a seat next to Ezio, feet dangling over the edge. It occurred to him that it would be easy to simply slip over the edge and plummet to the earth with just one wrong move. Perhaps he could shadow travel before he hit the ground, perhaps he couldn’t. He wondered whether his father would care.

“I used to live here.” Nico said softly. “But I don’t remember it. I thought by coming here I might get some memories back. My mother and sister…” His voice tightened.

“They are not here.” It was a soft observation.

“My father wiped my memory of my mother…. Of her death. My sister died not long after… Someone I knew failed to save her.” He glared at the ground below.

“A man my father trusted signed his death warrant, and the one for my brothers and myself. It was fortune that I escaped although they did not.” Ezio said, almost easily but there was a catch in his throat. Nico felt his heart ache with that catch and he stared down least Ezio see emotion in his eyes. “It is why I came here. There was a web behind their deaths and it was a web I desired to untangle. Or rather burn.”

“I can’t ki… There is no possibility of vengeance for me.” Nico sighed, head drooping. His mother had been killed by Zeus’ thunderbolt and Bianca had died killing the automaton that killed her and while it was Percy who had failed to save her... He was Percy. It left him feeling somewhat empty.

“That may be just as well. Vengeance made no man happy.”

“It would be a good first step though.”

“I cannot count how many I killed in the name of vengeance, only to realise that killing those who had wronged me would not bring peace. It takes greater courage and strength to build, il mio giovane amico, than it does to tear down. I realised that only too late in life.”

Nico’s nose wrinkled at the familiarity this man had slipped into.

“You don’t know anything about me.”

“Then perhaps you should tell me. Or someone.” Ezio said gently. He may be a ghost, but the wind ruffled his hair.

“No one would understand.”

“Perhaps that is the great thing about talking to one who is already dead. Does it matter whether I understand or not?”

“Will you leave me if I tell you?”

It wasn’t a plead. It was exasperation, Nico told himself. And it certainly wasn’t a desire to push someone away so he could mope in solitude and generally feel bad for himself. What did it matter that this long dead man had lost his family. Ezio was dead and not living with the realities of it. Ezio had been able to get vengeance and was happy like Percy. His fingers twisted the ring and perhaps he should have felt that but apparently they were numb now.

“If that is what you still desire.”

Nico frowned, thinking. Ezio was dead and if there was one thing that the dead were good at, it was keeping secrets. What was more, he had been an assassin and that sort were notorious about taking their secrets to the grave. Still…

“And you were not sent by my father?”

“Your father?”

“Hades.”

Ezio frowned and leaned back so he was stretched precariously on the wall. If he’d been alive, a small nudge would have been enough to send him plummeting.

“I have not met Hades in my life or my death. The only fortune I had was to once meet the goddess Minerva.”

Nico frowned.

“You mean Athena?”

“She informed me she has had many names.”

Nico made a note to ask his father about that. He’d never thought about how the Roman gods were so similar to the Greek ones.

“That means… you were mortal. As in not a demigod?” Almost all the ghosts he spoke with had ancestry with one of the gods. They tended to leave more of an impact and he certainly would rather understand the enigma of this spirit that he could not control.

“You would be the second godly figure I have met.” Ezio smiled. It was too warm and friendly.

“I wouldn’t say I was godly.” Nico muttered. “I’m the son of Hades. That kind of puts a damper on any relationships I might he able to have. Who wants to hang out with someone who’s more comfortable with the dead and darkness? I can see the fear in their eyes when I turn up at meals, how they shift uncomfortably away from me at the fire in the evening. No one wants me because I don’t belong. No one wants a reminder that death will come to them eventually.”

“I may not know what it is like to be the son of a god of the dead, but I know what it is to be an assassin and to many I was the kiss of death. I could have chosen to walk alone and in many ways, I had. I could have had love, for so many did love me and I would have only given my love too freely, yet I kept my ways to myself and pushed those I had left away.”

“I have no one left.”

“You have your father.”

“He’s… busy. And I don’t exactly get on with Persephone.”

Ezio placed a ghostly hand on Nico’s shoulder and he flinched. It was warm and suddenly he felt filled with promise and hope. He felt Ezio’s anguish as he pushed his way towards the gallows only to hear his family drop to the jeers of the crowd. He felt the young man’s burden as he guided his traumatised mother and sister to the only place left to them. Nico could feel his anger as he killed his childhood rival that had helped put in place the events that had caused everything to go wrong. He saw the deaths that Ezio had caused in his grief and determination. He could feel the drive that corrupted the carefree youth who had once run over the tiles of Florence. And he saw the love that fought within Ezio’s chest. He felt the love and companionship that Ezio had found with Leonardo Da Vinci and the Thieves. The growth from anger to acceptance and wisdom. The realisation that he could trust his sister to defend herself and mend that bond tossed aside decades ago. The warmth of brotherhood and found family that built around that. Ezio’s knowledge in his dying moments that his greatest achievement had been what he had built and not torn down and he was happy with that.

“You care greatly, although like me, you believe that it is not something that you can’t allow yourself to feel.”

Normally these things weren’t a two way streak and Nico pressed his lips together. That was too presuming of Ezio, to read his own feelings and heritage.

“I don’t care.” But his words did not have their usual bite.

“I think you do, Nico di Angelo. You have put so much of yourself into helping others at the expense of yourself and I do not see this being something you can escape. You care deeply yet you do not let them know all you have risked. Do you know what the creed of the Assassins was?”

Nico shook his head and Ezio rose to his feet, standing on the edge of the tower.

“We work in the dark, to serve the light.” A ghost of a smile went over his lips highlighting a scar that glistened in the weak winter light. With a pang, Nico felt a kindred spirit. He gave Ezio a nod.

“Until we meet again.”

The shade leapt into the air, arms outstretched as if he could fly. He twisted through the air and Nico stared after the descending figure who shifted into shadow moments before he would have hit the ground had he been alive.

#Assassin's Creed #percy jackson series #heroes of olympus #Nico di Angelo #Ezio Auditore

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collecting-stories · 5 years ago

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Temporary Love - Jess Mariano

A/N: Because I love Jess and I’ve been reading some Beats lately. Based on the song ‘Temporary Love’ by Ben Platt.

///

“Dear god, this is abhorrent.” You tossed the book across the desk to where Jess was sitting, revising the last few chapters of his latest novel.

“What did you get a dictionary for Christmas?” He joked, grabbing the book to see what you were reading. It was his Grove Press first edition of The Subterraneans. You’d gifted it to him for Christmas but now it was February and he had yet to get the opportunity to read it.

“You’re hilarious Jess.” You mocked, “it’s like pulling teeth. Has he never heard of a punctuation mark?”

“You say that like you didn’t read the edited and original scroll versions of On the Road back to back.” He remarked, tossing the book back to you before he could get sucked into reading. There was a lot of editing to be done on his own novel before he could think of picking up someone else’s.

“I was reading the Beats, what was I supposed to do, ignore On the Road?”

“Have you read Matt’s latest, he’s trying to stylise himself that way.” Jess mentioned.

“Not surprising. I think he’s hoping a counter-culture revolution will happen right here in Philly.” You replied, pulling papers out of your backpack. You had essays to grade and had only come by to bother your fiancé about the impending trip home to Connecticut. Which you had yet to do.

“Don’t be so cynical. It could happen.”

“Says the king of cynicism.”

“Ouch,” he laughed, grabbing at his chest, “you’ve really wounded me.”

“So,” you began to prepare to change the subject, almost laughing out loud when Jess put down his pen and leaned back in his chair, appraising you. It was a wonder that he could always tell you were about to say something he wasn’t particularly on board with hearing, “about the trip.”

“What about it?” He had asked you to go up with him for a visit to his uncle’s. He had mentioned to Luke that he was engaged and he wanted his uncle and you to meet. Though there was the matter of returning to Stars Hallow and Rory and Lorelai and everything else that small town Connecticut life had been.

“Well, you’ve been pretty evasive since you mentioned it.”

“What’s evasive about, ‘come home with me’?” Jess asked, refocusing on the manuscript in front of him.

“For starters, you’ve told me nothing about the town. Just that we leave on Friday and we’ll be back on Thursday.” You replied.

“That’s all you need to know.”

“Jess.” You reached across the desk and grabbed the pen from his hand. “Should I expect like a firing squad when I get in there or something?” You had no idea what to expect but you had read his first book and knew plenty about the girl and the life behind the inspiration. He had been still in love with Rory when he met you and that had been fine because you weren’t looking for a relationship. Now you were engaged though and despite the title and the ring on your finger there was still that feeling the bubbled up in your chest whenever you thought of the infamous Rory Gilmore. A stupid fleeting feeling that you wanted nothing to do with but one that existed nonetheless.

“You certainly are feeling dramatic tonight aren’t you?” He joked.

“I’m not being dramatic I’m just wondering...like? I haven’t met anyone from there before.” You replied.

“No one there matters aside from Luke.”

“Okay.”

You took the manuscript pages that Jess had already worked through, grabbing Matt’s green pen from his coffee mug and beginning to read. Your annotations were less grammatical corrections and more comments about things you liked or didn’t. You questioned subplots that felt messy and complimented his writing when you especially loved a part. Jess looked over the desk at you fondly.

There was a lot you already knew about his family but there were gaps in his stories, moments that he didn’t talk about. Sure, you had read his first book and you knew about Rory but not enough to really know her. It was like looking at a silhouette sometimes, you had the shape and the idea but nothing concrete. It didn’t implore the anxiety in you that you thought it would, that you sometimes felt it should. When you had first read the infamous book you weren’t dating and it didn’t matter to you that he seemed still so in love with this small town girl. When you reread it, later into the relationship, you expected that it would feel different but it didn’t. It felt just as beautiful as the first time, more so because you knew Jess so intimately now.

“Are you really worried about going to Stars Hallow?” Jess asked, breaking you from the rough draft of his book.

“No,” you shook your head, “I just feel like I should be.”

“Yeah, cause that makes sense.”

“I know I should be totally weirded out about going up there but I'm honestly okay with it. Kind of excited, honestly.” You mentioned. Truthfully you were excited. A peek into your boyfriend’s life before he was your boyfriend. “I’m not worried, I just wanna know something about it.”

“It’s small.” He replied.

“Wow, thank you. That really helps me.”

“Google it.”

“Jess,” you slumped back into your seat and groaned. He was going to be annoying about this trip, you knew that, and still you were surprised by it.

“There’s nothing special about it.”

“Except that it was your home for a significant few years.”

Jess nodded slowly. “What do you want me to tell you? Certainly wasn’t the worst time I ever had but it was no paradise either.”

“Well no, that’s living with me.” You gloated, smiling when the stoic editing face broke and he laughed.

“Oh yeah? I think that depends on your annotations.”

You shuffled the papers you were reading through into a stack and sat them on your lap, away from Jess. “You’ll see them when I’m finished.”

He watched you lean back in the chair again, papers on your lap as you read through the last pages of his most recent work. You chewed at the end of the red pen you had swiped of Matt’s desk and pulled the sleeves of your Venice Beach tourist sweatshirt down on your hands further. You had gotten it over Christmas, when the two of you had taken a roadtrip out to see his dad, Sasha, and Lily. You’d spent a glorious week getting to know every stray dog that hung around their bungalow and going to the beach. He had proposed on the last day there, rather spontaneously.

“I like this edit to chapter 10,” you mentioned, thumbing through the pages you had already put down so that you reread chapter 10 again now that you had decided you liked it.

“Thank god.” Jess replied, rolling his eyes. It sounded sarcastic but you knew better, a quick glance up found a soft, barely there smile on his face.

When he had met you he was still under the impression that no one would ever mean as much to him as Rory had. He was convinced that she was his one great love and no amount of other girlfriends or dates could change his mind about it. And then somewhere along the way you had weaseled yourself into his life so subtly and wonderfully Rory was just a memory. A great love, a first love, by not you. Not a best friend and a lover. She wasn’t the person he imagined making a life with anymore. You had filled that space, had taken up the room that Rory had left.

“I’m excited to meet Luke,” you said, eyes on the papers as you added comments and underlined favorite bits.

“It’s not a big deal.” Even though he said it both of you knew it wasn’t true. Luke had made a huge impact in his life and he cared about his uncle’s opinion. Even if he thought he hadn’t when he was younger he wasn’t that seventeen year old boy anymore trying to pretend he was cool. He knew who he was and who Luke was to him and he respected Luke. He wanted you and Luke to get along. To like each other.

“It is.” You replied, “will Liz be there?”

“I can’t stop her.”

“Hey, I love your mom, she’s so sweet.”

He hummed and nodded his head.

“Jess.”

“Yeah?” He asked, looking up at you. You were sitting there with your hands clasped over the papers, smiling at him.

“I love you.”

He ducked his head and smiled before looking back up at you, “love you too.”

Has anyone ever not been Team Jess? I’m rewatching now and sorry, he’s my favorite emotionally unavailable problematic boyfriend.

#jess mariano x reader #jess mariano imagine #jess mariano fanfic #jess mariano fanfiction #Gilmore girls imagine #Gilmore girls fanfic #Gilmore girls fanfiction #collecting stories imagine #cs discography series

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pinnochiro · 3 years ago

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pinn reviews - final fantasy xv

a long ramble about final fantasy fifteen that sort of looks like a review, as written by someone who finished the game fifteen minutes ago and needs to get these words out of his head. spoilers inbound.

i'm a pretty big fan of video games. i don't know what my first was, but it was probably either banjo and kazooie or mario kart 64, at my cousin's house when i was very small. i think that video games as a medium are so interesting, since the fact that video games are inherently interactive changes the way that they tell any story. it's a shame that despite loving video games so much, i'm absolutely terrible at them.

i'm absolute dogshit at video games. whenever i boot up something new, i always play on easy mode because. i'm that bad. unfortunately, this means that a lot of video games are simply. impossible for me to beat. that's fine, as at the moment i live with my good friend lizz, who is certifiably Good at Video Games, and so we've been playing video games together for a little bit now. typically this means that she will actually play the majority of the game while i sit with her and watch, but occasionally i'll have a go, but she'll end up with the controller as soon as a boss fight or puzzle or a mechanic i just can't seem to grasp shows up. we recently played through the entirety of the kingdom hearts series together, and this was an absolute blast of a time. i'm glad to say that i adore kingdom hearts now, and it's become one of my hyperfixations, which you might be able to tell from my icon. but we'd finished the kingdom hearts series, and we were left to move onto something else. we'd also played final fantasy 7 remake, so in my wisdom, i suggested that we play another final fantasy game.

we looked through the ff games that were already purchased on our consoles thanks to lizz's uncle, and eventually, we decided that we should play. all of them. however to start, we were going to play final fantasy xv, 15, and work our way backwards through the mainline, single-player games.

i'd heard that xv wasn't very good, but honestly, i was still quite curious. one person who i'd been following on twitter for years was pretty obsessed with the main party members, to the point where i knew their names and what-not even though i didn't have much of an idea what the game itself was about. i remember watching a video by supereyepatchwolf a few years ago about how the game sucked, but i couldn't remember much of the details, and i knew, based on my obsession with kingdom hearts, that xv had started as a different game called final fantasy versus xiiv. i don't know all the details about versus thirteen, but i do know that it was originally helmed by the creator of my beloved kingdom hearts, mr tetsuya nomura, and that after many years, the vast majority of the game was thrown out, nomura wasn't in charge any more, and the whole thing was rewritten and reworked, which sounds like a fairly rough development cycle. but so what, i don't care about gameplay. i want to play the video game with those cute guys that i see fanart of on twitter, and lizz seemed happy enough to play through it with me.

and so we started final fantasy xv. i've been told that since the game was practically dead on arrival, they threw in a bunch of new content and reworked a lot of the early game before i got my hands on it. so my gameplay started with a scene of the four guys fighting some demon dude on fire and they're all old and grotty. whatever, that cutscene ends and we're put into a combat tutorial. that's over and we're on the road in what looks to be central america, pushing a car.

our four leading lads are noctis, the prince of the lucis empire, his best friend prompto, his bodyguard, gladio, and his chef and other things, ignis. i do quite like the main four members of the party in xv. prompto is quite easily my favourite, voiced by robbie daymond of goro akechi fame and with a bunch of fun little animations and quips that make him very likeable. he gets extremely excited at the idea of riding chocobos and has what i considered the best scene of the game, where he and noctis meet on a motel rooftop and discuss prompto's imposter syndrome, since he's only part of noctis' official retinue as his best friend. noctis is a fairly typical main protagonist, he's in love with a woman he hasn't seen in eight years and needs to go marry her or something, i don't care. gladio is a tough macho man with a mullet who wears leather jackets and wields a greatsword, and is apparently only 22, which is at least 10 years younger than i assumed. ignis is a strategist and chef, who takes on the most authoritative role and constantly tells noctis to not drive his car at night. i was not a fan of ignis at the start, but he grew on me, especially with how hard the game hit me with his personal arc. the four boys are off, driving to noctis' wedding in a different country across the desert when their car breaks down. we then run into the first issue of the game.

cindy is a mechanic. she also has her ass and tits out constantly, like your sleazy uncle's shirt with a naked woman was instead semi-alive as a video game person. she fixes your car and acts fairly sexual and it's just like. why do we have to do this. aren't we over overtly sexualised women in video games who have no reason for the way they dress other than the character designer was horny? whatever, i like women as much as the next guy, but cindy's design just. makes me feel so uncomfortable.

anyways you get to do a little driving around with the boys, until you stay the night before catching the boat to your fiance. overnight, you find out that noctis' kingdom has been basically destroyed by an invading empire called niflheim, and practically everyone noctis knows, including his father, are dead. you learn that noctis and his bride to be are also assumed dead, with noctis hearing his own death announcement on the radio. the game has a bunch of added cutscenes that are actually footage from the three-hour-long prequel movie that came out after the game, are extremely hard to follow and honestly i had no idea what i was looking at. anyways, noctis' family is dead, so it's time to do some hunting sidequests.

that brings us to the combat, i suppose. rather than the turn-based or even active turn-based combat that the series is known for, xv opts for more modern action rpg-styled combat. i was, naturally, terrible at this, but i managed to get around it with the fact that. it is almost impossible to die in this video game, provided you have enough items. the game allows you so much time to heal yourself that there's practically no way to have your entire party wipe unless you're doing absolutely terrible, and even then, your party members will probably try and heal you themselves before that happens. lizz tells me that the combat is boring, you just push the same button over and over and then you win. i do appreciate that, for someone like me who is terrible at reading enemy movements, there is a giant button that pops up on screen that tells you when to push the block button, but even then i was prone to fucking it up. whether that's the bad game design or my terrible gaming abilities is up to you to decide. anyways, the game is fairly easy but has annoying combat, your teammates limit breaks will only land about 50% of the time (or never, if you are gladio) and i was still bad at it, so i didn't have all that much fun.

instead of an active levelling system, the game will only tally your character's level ups when you either make camp or visit a hotel. camping is, in my opinion, the only saving grace of this game. each time you make camp, you get to see the characters doing fun little camping activities together and just hanging out, ignis will cook up a new meal in a dramatic fashion and everyone will compliment him and eat it off their coleman's branded plates, it's just very fun. you also get to see what pictures prompto has taken, which is one of my favourite gameplay features. prompto's passion is photography, and while i support him in this wholeheartedly, his picture taking skills are, quite frankly, awful. the game will randomly take shots while you're on the move, which leaves you with a delightful selection of awkward poses, characters hidden behind bushes, pictures taken while someone is half-dead in combat, and snaps where the natural lighting absolutely makes it impossible to tell what's going on. it's hilarious and going through prompto's collection of photos each night is honestly the best part of the game. we managed to wind up with a few shots that, even despite being scripted events, turned out absolutely terrible, and i will cherish those forever.

anyways, since noctis' father and fiance are dead, that leaves him the king of lucis. the only important person to make it out of the capital alive tells you to drive to the middle of nowhere, where he randomly springs on you. hey. go into a bunch of these dungeons and absorb a bunch of swords, this is your destiny as king and how you will defeat the empire. noctis goes, uh, alright i guess, and you're set loose again to wander around for a bit collecting the 'royal arms'. this plot point wasn't explained well but hey, whatever, we're collecting the glowy swords and that's fine.

you're introduced at some point to ardyn, the main antagonist. he's old, kind of groady and wears a fedora. he's a dick to you and talks about his automobeeel. apparently my friend miri thinks he's hot, she is wrong.

i can't remember what happens specifically but you're told that your fiance is still alive and in fantasy venice, and she's talking to the gods on your behalf to borrow their powers. there's a mission where you follow some purple trees that are electric, and you do that i guess. i enjoyed riding the chocobos around, but couldn't care much for the plot at this point. ardyn leads you to a volcano, where you fight a giant lava god. he tries to step on you and i, a denizen of the internet and with an active fear of foot fetishists, was extremely uncomfortable. noctis becomes friends with foot man and a lightning god who lived in those trees, and ardyn steals your car.

very upset by this, noctis and his gang risk everything to sneak into a military base and steal it back. because this is a video game, this works out fine.

there's a little mining city which is all about Girl Power, because all the Women run the Mining Industry like Girl Bosses, and you hang around there for a bit. because all the women are so Empowered, they wear bikinis all the time with overalls over the top. gladio decides he needs to fuck off for a bit, i have no idea what he does since i haven't played the dlc, and then he comes back with another scar. you hang out with his sixteen year old sister, who has a crush on the engaged and 20-year old noctis, and then you drive her to a lighthouse. when she's in your party, she can't really fight, but she gets a pink chocobo and i thought that was very cute. we turned out own chocobo white and lizz named him 'jones' after a mount she has in ffxiv.

eventually, you have a long boat ride over to fantasy venice. this is the part where the game stops being 'fun with a few issues in combat and a rushed and poorly told story.' the open world, which was a main feature with a bunch of little areas to find where noctis can fish, little hunting sidequests and random photo spots where prompto takes touristy photos, is now gone, and it will not return for the entire rest of the game. you can 'go back in time', but the open world was the most enjoyable part of the game, and it kind of really sucks that the main story doesn't let you have any more freedom like that.

after arriving in fantasy venice, you have a talk with fantasy hillary clinton and beg her to let your girlfriend summon a god into the middle of her city. hillary agrees, and you don't get to meet up with your fiance, because even if the game is constantly telling you how much noctis loves her, there is. barely any interactions between the two in the entire game. from what i can tell, they met when noctis was a child and they haven't seen each other in ten years but are still fantasy dog pen-pals. noctis marrying her was supposed to make an alliance or something like that, but her brother has betrayed her to the army. noctis' girlfriend is also an oracle, which means she can heal people, i guess? everyone talks about how important she is and she's constantly telling people that she needs to use her powers to help noctis but she's practically a non-entity.

as can be expected of most female love interests in a game primarily focused on men, noctis' fiance is killed while summoning a god for noctis to befriend. noct gets very mad about this, and turns super saiyan and kills the god back, but his girlfriend is dead and that's super sad you guys. there's a beautiful prerendered cutscene where she says goodbye to noctis but since we barely know her, and we've only been told over and over that they're in love without anything to actually well, show this, it didn't have much of an impact. fantasy venice is destroyed, and ignis is blinded while trying to help calm the giant raging god.

iggy's blindness and how the game makes you account for this and grow to care for him was one of the highlights, in my opinion, as well as crushingly depressing. while i'm not disabled and have no right to say if this was 'good disabled representation' or anything like that, i believe that the game handles it decently enough. the group falls apart as noctis is upset about his girlfriend, gladio is extremely mad that noctis won't care for ignis, and prompto just wants everyone to get along. there's a mission where gladio constantly yells at you passive aggressive things to noctis about how he's a cunt for running, which is obnoxious, but the character arc itself is fairly strong. when you make camp, ignis can't cook anymore, so everyone eats cup noodles in a depressing ass cutscene. ignis remains in your party for the rest of the game despite his disability, and he doesn't magically regain his sight like other fantasy media would do, which at the very least i think is good. i'm not sure what the opinion of actual disabled people is of the character, considering how often disabled characters are either turned into misery porn to make the abled audience be glad that isn't them and if ignis' arc falls into this trap, but i hope that it wasn't handled too poorly, as that would just be another terrible mark in this game's list of bad moves.

the characters eventually make it to the evil empire's capital, which is abandoned and filled with daemons. the characters learn that ardyn is super evil and taught the king of the empire how to turn humans into daemons, which has now happened to the entire city. the 'magitek suits', presumed to be enchanted armour that fights as the empire's infantry, actually house the souls of the human-turned daemons. honestly i like this as a plot point but the game handles it pretty terribly. there could have been more lead up to this, the explanation is pretty lacking, and prompto's Big Plot Twist is. terribly handled. turns out that prompto was born in the empire and was going to be one of those empty soldier daemons, but he was rescued by people belonging to noctis' empire. not that the game tells you that. instead, prompto goes 'turns out i'm one of ... them' and Does Not Elaborate. The game doesn't tell you shit, not about prompto's past, not about how he feels about this, not about how anyone else feels about this either because the other party members just go 'oh that sucks, good thing you're not evil' and the scene ends. robbie daymond tries so hard to sell these terrible, terrible lines, and it almost entirely fails, i'm so sorry prompto. fortunately because i'm a nosy ass, i read prompto's wikia page and knew the plot twist ahead of time, because i don't think i would have even registered it if i didn't.

anyways everyone in the evil empire is dead and ardyn starts talking about how he's immortal and an ancient king of noctis' country but the gods thought he sucked because he's too evil. i missed most of this because the cats got the zoomies and were dashing across the couch right in the middle of his speech so i can't tell you anything else. noctis tries to get a big magic crystal to fight him and instead. gets schlorped inside.

TEN YEARS LATER

yes then ten years actually pass while noctis is asleep. the game shows this by switching the head on noctis' character model to have a beard, but that's it, no changes in animations or whatever. the sky is permanently night and only one human civilisation remains, the rest destroyed by daemons. as a plot point, this ends up feeling. extremely worthless. why was noctis asleep for ten whole goddamn years? so we can wake up and go 'damn it sucks out here'. but it's barely even a like, incentive to fix everything, because you have a long talk with a former child you were friends with where he talks about how humanity is still going fine and everyone's okay and the world has moved on without you. it feels. pointless. when you meet up with your party members, they are exactly as you left them, only with slightly different character models. there is no change in the voice performance, the character's movements or how they talk to show that they've been without you for ten years. they barely mention it. i'm just. so confused as to why they decided that a ten year timeskip was the way to go? since nothing really changes, couldn't you have made it like, two years? one year? six months?? have the characters react a little more? something??? at least if it was only a year or so i wouldn't have to deal with the fact that noctis looks like norman reedus with his shitty facial hair now.

anyways after that there's a bunch of long and boring boss fights. you fight some dead kings for some reason, your party members get a little bit to talk about how cool they are and how much they love noctis, and then you meet up with ardyn. there's another boring boss fight and god this was only a few hours ago but it's already gone from my head. you summon the gods and the old kings to beat the shit out of him after you both go super saiyan again? there's incredible music but it feels barely earned and just kind of eh. anyways, noctis dies, which was the price of using the crystal of light or whatever the fuck. his ghost marries his fiance's ghost finally, and they smile as they look at one of prompto's pictures. you can pick any picture you want to go here, and then the credits roll, showing all of the pictures you saved of prompto's shots. showing me all the pictures at the end is honestly lovely, but it really only served to remind me of how much more fun the game was in the first half. and that's the end, of final fantasy xv.

so what did i think of the story? it's terribly cobbled together and struggles to get you to feel anything and play out all the plot beats. you feel awful for the countless employees who spent years working on the beautiful cutscenes only to have them be in this game, which sucks and the story barely gets through. there were parts that i enjoyed, mostly the thing about the daemons being people, but honestly the rest of it is a mess. it's hard to follow at the best of times and just awkward and terribly written at the worst. the ending is cheap, and it doesn't feel like you've actually accomplished anything. i left that game feeling numb and empty, sad that i'd wasted so much time to end up with such a colossal failure of a conclusion.

i had fun with the game when it was my four little guys running around doing sidequests and camping together. after the midway point of the game, there's none of that, and you're bogged down into a plot that just pushes you from point a to point b and boring overlong bossfight to boring overlong bossfight. the character moments between your party are a lot of fun, but the second you hit fantasy venice, everything is pretty much on rails and you can't do anything except what the game tells you explicitly to do.

should you play this game? no lol. if anything i've mentioned about the story interests you, you'll be better off watching a lore video or reading the wiki. if you do want to play it after all that, just don't proceed after the myrthril refining quest, it's pretty much all downhill from there. will i play the dlc? unlikely, i think lizz and i will just watch a cutscene movie of those.

this game left me feeling empty and numb and not in a fun way. i wanted, so, so hard to like this game, and it all crashed around me in a beautifully overproduced and confusingly written cascade. i love you prompto, but even your cute little freckly face and terrible photography can't save this trainwreck of a game.

tl;dr - final fantasy xv sucks. i hope that 13, our next ff game, will be better.

#ramble #review type thing #did you read all of this? im impressed #i did not proofread #so if its a mess #just pretend thats a meta commentary about the game itself #i wrote this for like an hour trying to understand the feelings this game gave me #final fantasy xv

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saintcirce · 4 years ago

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Hello dear tumblr followers!

I don’t do much posting of my own on here, usually just reblogs. However, I’m going to break from that trend for a moment to post a list of books, articles, and a few websites that are related to race in the European Middle Ages and Renaissance. I’m a current Medieval & Renaissance Studies major, but I’ve spent little time learning about early modern conceptions of race. This is something I intend to fix now and in the future. As such, I wanted to put together this list, which is by no means comprehensive, of some of the sources that I’ve found on this subject. I’m no expert, so please DM me or send me an ask if you want me to add a book/article, or if I have misinformation. Also, feel free to DM me if any of the links to the articles don’t work and I can send you a PDF.

Thank you to @therepublicofletters and my tumblr-less friend, Hannah, for helping me find some of these articles.

Articles:

“Representations of Blacks and Blackness in the Renaissance” by Peter Erickson (link)

“Invisibility Speaks: Servants and Portraits in Early Modern Visual Culture” by Peter Erickson (link)

“Mistaken Identities? Alessandro de’ Medici and the Question of “Race”” by Mary Gallucci (link)

“Presence of Mind: Revealing Africans in Renaissance Art” by Adrienne L. Childs (link)

“The Diary of the Swiss Leonhard Thurneysser and Black Africans in Renaissance Lisbon” by Bernardo Jerosch Herold (link) *note the translated document is in German*

“Visible Lives: Black Gondoliers and Other Black Africans in Renaissance Venice” by Kate Lowe (link)

“The Specter of the Blackamoor: Figuring Africa and the Orient” by Ella Shohat (link)

“Black Metaphors in the King of Tars” by Cord J. Whitaker* (link)

Books:

Black Metaphors: How Modern Racism Emerged from Medieval Race-Thinking by Cord J. Whitaker (full text not available online, some via google books)

Reading and the History of Race in the Renaissance by Elizabeth Spiller (link to review by Sujata Iyengar)

Websites:

As part of Black History Month (2020), the Uffizi Gallery in Florence, Italy put together an itinerary of its collections housed in the Uffizi itself and the Palatine Gallery in the Pitti Palace that focused on the Black identity and African presence in Renaissance and post-Renaissance art. The exhibition and itinerary are titled “On Being Present: Recovering Blackness in the Uffizi Galleries” (Presenza. Il Recupero della figura africana nelle Gallerie degli Uffizi) and the works included can be viewed online via these links (i.) (ii.)

"Race and Medieval Studied: A Partial Bibliography” is a crowdsourced collection of works that have to do with race in the Middle Ages compiled by Jonathan Hsy and Julie Orlemanski available via the “Medievalists of Color” website, as well as in partial PDF form (last updated January 8, 2018).

Not Strictly Med/Ren, but:

Artist Kehinde Wiley is known for his monumentalizing portraits of Black “subjects against backdrops that are intricately patterned, or refer to classic art-historical settings.” Wiley’s art places Black subjects in setting, positions, and mediums traditionally occupied by white subjects in Western art historical canon. It is truly stunning and if you like Renaissance/Baroque art, you will like Kehinde Wiley’s. Incidentally, he is also the artist of this 2017 portrait of Barack Obama. He gave a talk about his work at the St. Louis Art Museum in October 2018. The full lecture is available on YouTube. Also, here is a link to the New Yorker article I quoted above, as well as to Wiley’s website.

As always, I’m sending love to my BIPOC followers. Your lives matter, your experiences matter, and you deserve to live in a world where you do not fear for your life.

Black lives matter.

#academia #history #renaissance #renaissance history #art history #black history #european history #art #medieval #middle ages #medieval history #books #uffizi #kehinde wiley #wellesley #mine #articles #dark academia #light academia

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new-sandrafilter · 5 years ago

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Timothée Chalamet and Eileen Atkins Interview - British Vogue May 2020

“Maybe your knuckles weren’t bleeding, but there was ice,” Timothée Chalamet tells Dame Eileen Atkins. He is recounting, with no small amount of awe, how he first came to hear of the legendary 85-year-old actor with whom he is about to appear at The Old Vic. It transpires that Oscar Isaac, Chalamet’s co-star in the upcoming blockbuster Dune, was at the receiving end of Atkins’ fist in Ridley Scott’s Robin Hood (all in the name of acting, of course). Chalamet was duly impressed.

“I gave him the worst time of his life,” says Atkins, bristling at the memory, before merrily launching into several candid, very dame-like stories from her time on set – “That was a nightmare movie. A nightmare.”

It is a Saturday afternoon in late February, and the two actors – one a titan of British theatre with an eight-decade career; the other, Hollywood’s most in-demand young leading man, with an insatiable Instagram following – have just finished being photographed together for Vogue. Chalamet, 24, in louche, low-slung denim and a white T-shirt, has folded his Bambi limbs into a chair next to Atkins, whose hawkish frame, in a navy jumper and jeans, belies her 85 years.

“Do you like being called Tim or Timothée or what?” Atkins asks in her warm but brisk RP, all trace of her Tottenham upbringing erased.

“Whatever works,” he replies in a bright American accent, that shock of chestnut hair falling into his eyes. “Anything.”

“So you won’t object to ‘darling’? I call everyone darling. I’m told I mustn’t say it these days.” He assures her he is fine with it: “It’s a rite of passage, being called darling by Dame Eileen Atkins.”

“You always, always, have to put the dame in, otherwise you can’t address me,” she jokes.

It’s good the two are getting all this sorted now. A couple of days after our interview they will begin rehearsals for a seven-week run of Amy Herzog’s play 4000 Miles, in which they star as a grandmother and grandson, each quietly dealing with their own grief. Chalamet takes on the role of Leo Joseph-Connell, a somewhat lost 21-year-old who experiences a tragedy while on a 4,000-mile-long cycle ride with his best friend. Atkins plays Vera Joseph, his widowed 91-year-old grandmother, upon whose Manhattan doorstep Leo unexpectedly arrives in the middle of the night, unsure of where else to go. What follows is a wonderful, and wonderfully witty, study in human relationships, a portrait of two generations with decades between them trying to make sense of the world.

Its stars, who’ve met twice previously, in New York last year, are still very much getting to know each other – and are confident in the appeal. “There are things like this play – hoping I don’t butcher it – where you can just sit back and go, ‘Oh, this is a delicious meal,’” says Chalamet. Atkins agrees. “I have a phrase in mind that I shouldn’t really say because it’s going to sound terrible in print.” Which is? “I find it a dear little play, a really dear little play. I think it should be very moving. But who knows? We might f**k it up.”

It’s unlikely. Atkins has been a regular on The Old Vic’s stage since the 1960s, going toe-to-toe with greats from Laurence Olivier to Alec Guinness, and fellow dames (and close friends) Maggie Smith and Judi Dench. Chalamet, meanwhile, is a relative novice, with only two professional plays under his belt. But since his turn as Elio in 2017’s Call Me by Your Name (for which he was Oscar-nominated), his celluloid rise has been meteoric. Roles in Lady Bird, Little Women, The King and Wes Anderson’s upcoming The French Dispatch have not only earned him the slightly fraught badge of “heart-throb”, but proved him to be among the most captivating actors of his generation.

He says he couldn’t resist the opportunity to come to the capital. “There was something exciting about doing a play that feels very New York in London,” Chalamet explains of taking on the part. He’s a diehard theatre fan, too, revealing he saw the six-and-a-half-hour epic The Inheritance – twice. “There are films like The Dark Knight or Punch-Drunk Love or Parasite that can give you a special feeling. But nothing will be like seeing Death of a Salesman on Broadway with Philip Seymour Hoffman or A Raisin in the Sun with Denzel Washington.”

Herzog’s writing particularly spoke to him. “Leo’s in a stasis that was very appealing to me,” he continues. “We find our crisis in moments of stasis, but there’s an irony to it when you’re young, because the law of the land would have you think that to be young is to be having fun, to be coming into your own. But as everyone at this age who’s going through it knows, it’s often a shitshow.”

It’s safe to say that, in casting terms, director Matthew Warchus, also artistic director of The Old Vic, has hit the jackpot. He first took the play to Atkins three years ago, but it was only towards the end of 2019 that Chalamet came on board. When it was announced, in December, that Hollywood’s heir apparent to Leonardo DiCaprio would be making his London stage debut, the news was met with a level of hysteria not usually associated with the 202-year-old theatre’s crowd.

“Oh, my friends have told me who the audience is,” Atkins chimes in when I ask who they think will be coming to see the show. “It’s 40 per cent girls who want to go to bed with Timothée, it’s 40 per cent men who want to go to bed with Timothée, and it’s 20 per cent my old faithfuls.” Is Chalamet prepared for the onslaught? “I think it will be 100 per cent Eileen’s faithfuls,” he demurs.

On the surface, they can seem quite the odd couple. Chalamet, raised in Manhattan by an American dancer-turned-realtor mother and French father, an in-house editor at the United Nations, may be living a breathless, nomadic movie-star life but there’s an iron core of Gen Z earnestness there. He arrives on set with minimal fuss, even deciding to wear the clothes he came in for one shot, before knocking out some push-ups, politely ordering an omelette and generally being divinely well-mannered.

He turns on the star power for the camera, though, and I can confirm it’s as dazzling up close as it is on the red carpet, where he has, famously, casually redrawn the rules for male dressing. From that Louis Vuitton sparkly bib at the 2018 Golden Globes, to a dove-grey satin Haider Ackermann tux at Venice last year, he’s a true fashion darling. Then, of course, there’s his dating life – from Lourdes Ciccone Leon to Lily-Rose Depp – that remains an endless source of fascination to millions worldwide. (All this, it must be said, is of significantly less interest to Dame Eileen.)

Atkins started dance lessons aged three, shortly before the start of the Second World War. By 12, she was performing professionally in pantomime, not far from where she grew up in north London, the youngest daughter in a working-class family. A fast-established theatre star, wider fame didn’t find her until late in life. Despite memorable turns in Upstairs, Downstairs and Gosford Park, it was the 2000 television hits Cranford and Doc Martin, when she was in her early seventies, that finally made her a household name. Today, she lives alone in west London, since her second husband, the TV and film producer Bill Shepherd, died in 2016. She has often spoken of being happily childless, and has zero time for razzmatazz.

And yet, despite their differences, the pair appear perfectly matched. They already have their grandmother-grandson dynamic down pat. Atkins does a fine line in mischievous eyebrow-raising, and at one point recites a limerick that is, honestly, so rude it almost makes her co-star blush. Chalamet, meanwhile, is politeness personified, still trying to work out his thoughts on various subjects, less inclined to give so much of himself away. There is a physical likeness, too, in their delicate features and fine bone structure. They share a naturally melancholic look, one that melts away when they laugh.

Their upcoming play, which premiered to rapturous reviews Off-Broadway in 2011, “about a block” from Chalamet’s high school, LaGuardia, could have been written for them. “Other than not being American, I’m very like the old woman,” says Atkins of the Pulitzer-shortlisted play. “I can’t be bothered to learn the internet.” If there’s one thing she won’t tolerate in rehearsals, it’s people on their phones. That’s the only thing that will “piss me off ”, she says, brusquely.

Ah, phones. Are they really the symbol of generational disconnect? “It’s easy to point to these things,” Chalamet says, tapping his phone on the table, “as the cause or the symptom, but I think my generation is a guinea pig generation of sorts. We’re figuring out the pros and cons and limits of technology.”

Equally, Atkins is keen to distance herself from some of the criticism levelled at her age group. “There’s a saying isn’t there: if you’re not very left wing when you’re young, you’re heartless. And if you’re not very right wing when you’re old, you’re foolish. I’m not political, but I’m not with this government I can assure you – and I’m not with Brexit. I wanted to wear a sweater saying ‘I did not vote Brexit’, because it was all old people who did. Not me, not me,” she snaps. “I went on the march.”

Both are in agreement that intergenerational friendships are too rare these days. “So. Important,” Chalamet says, hitting the table between each word. “There is so much to learn from people who have walked the path of life. That’s why I’m so looking forward to these next couple of months.”

Atkins is thoughtful on the matter. “I don’t miss the fact I don’t have children, but I do envy my friends who have grandchildren,” she says. “About five or six years ago I met a couple of young people – they are just about 30 this year – and, do you know, we go out together. And people immediately say to me, ‘Are these your grandchildren?’ And I say, ‘No.’ And they say, ‘Your godchildren?’ And I say, ‘No, they’re just friends.’ Everybody thinks there is something weird about all three of us. They just don’t get it. But the boy makes me laugh more than anybody and the girl is enchanting. I have more fun with them than I do with almost anybody else.”

I remind Atkins about her description of today’s youth as being overly serious. “I do call them the New Puritans, yes,” she says, before motioning to her young co-star. “He probably drinks like a fish.”

Chalamet, currently single, is remaining tight-lipped about plans for his new London life, and how many late-night manoeuvres in Soho or Peckham it may involve. “I’ve got friends here, which is nice. But I’m here for this – to be terrified at The Old Vic.”

Before we leave, there is a final thing to clear up – Atkins’ aforementioned limerick. “Do you know about the Colin Farrell situation?” Eileen asks Timothée. No, comes his reply. “Better get it over with now because someone will tell you,” she says, proceeding to explain how, when she was “69, about to be 70” and filming Ask the Dust with a 27-year-old Farrell, “he made a pass at me. He came to my hotel room. He was enchanting. I let him chat for two hours, thoroughly enjoying it, but no not that. He was very cross I didn’t.”

But then, she explains guiltily, she later told the story during “some stupid TV show” (Loose Women), where despite her best efforts at keeping Farrell’s identity secret, the internet did its thing and news got out. An apology to Farrell was required. “So I left a limerick on Colin’s phone…” she says. She clears her throat: “There once was a **** of a dame…” she begins, in her imitable theatrical timbre, before reeling off one of the filthiest rhymes I’ve ever heard.

There is a moment of stunned laughter. “Wow, that’s sincerely amazing,” comes Chalamet’s response, as Atkins finishes the verse. He gives her a solemn oath: “I promise I won’t hit on you.”

4000 Miles is at The Old Vic, SE1, from 6 April

#timmy #timothee chalamet #4000 miles #british vogue app #Eileen Atkins #my edit

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