#let me write the dialogue for these films bc seriously

[thelastharbinger]

Ryan Bergara's 1 second cameo with no speaking parts is the best part of the new Ant-Man movie (not even by a long shot) right after the lokius date post-credit scene ofc

Oh, um, spoliers!

[luwritesomething]

read the thing you wrote abt mickey altieri 🥺🥺 i love that man so much. if i could, i was wondering if i could request something abt him? maybe something where the read has insomnia and he helps them actually sleep <33 only if you want, of course 🫶

Mickey Altieri x Reader: Nothing’s Gonna Hurt You Baby.

Words: 1199

Warnings: mickey is a killer but reader doesn’t know that (however this is not what the fic is about). there are light mentions of anxiety, stress and pills (for headaches), i think there's swearing (bc it's me).

Summary: after a movie night with your boyfriend mickey, you don’t want to go to sleep.

Author's note: thank you so much for requesting, @altierirose!!! mickey will always have my heart, and he’s so fun to write for. i didn’t make this explicitly about insomnia, but reader does have trouble sleeping and that’s what this is about. no hate to dirty dancing, btw!!! (just a bit.) i'm giving you a follow bc there's not much people appreciating our boy... feel free to request whenever !!!! this is my attempt at not using "y/n" anymore.

Criticism is appreciated and request are open (except for the Wednesday fandom)! Hit that anon button and tell me your idea! You can see the character i write for HERE.

Every Friday night was reserved to you and Mickey since you two had started dating, some months after the beginning of your first college year. It had been agreed by the two of you, because you had soon realized that college life was messy, difficult and crowded; and a little bit of bonding time reserved for your relationship sounded like a good idea. Slowly, it escalated from cute little dates in the campus’ cafeteria to coffee shops outside the enclosure, until you two finally retreated to one plan and one plan only — movie night.

Fairly chosen, one week he was the one to choose one of his movies in between his precious collection, worthy of a Film student; and the next one you would choose, sometimes with better or worse criteria, but always having fun. Popcorn, candy and a blanket pulling you close together, his hand either around your shoulders or wrapped around your waist, letting you lean into him. It was a great plan for a Friday night.

This week it was your turn, and you had purposely chosen a movie that would piss off his movie buff extraordinare’s taste; something like Dirty Dancing. Mickey had bitched around for quite a while, not letting you hear the somewhat awful dialogues, but amusing you anyway because even if he could be annoying, Mickey was still funny and charming, in his own way.

The movie ended not too late, to Mickey’s relief, and as soon as the credits rolled in your little TV he jumped out of the bed with the empty bowl of popcorn in his hands, while he roasted the movie like it had personally offended him.

“It just makes no sense.” He said, putting the bowl in the only table you and your roommate had in your shared dorm. Your friend had always been kind and comprehensive enough to allow you to have the dorm whenever Derek, Mickey’s roommate, didn’t want to leave his. Mickey turned to you, still in bed, with a wide grin. “And seriously, Baby? It’s just so unrealistic for someone to spend a whole summer being called Baby by everyone.”

“Mickey, it’s a movie.” You laughed quietly, your head cocking to the side. 

Mickey pointed at you with his index finger. “That’s not an excuse, and you know that.”

You rolled your eyes at him. “Whatever.”

He couldn’t help but chuckle at that sight, and you watched him do so. Mickey looked really handsome when he laughed, as his face filled with joy and beaming happiness — you liked the way he enjoyed himself around you. It was something sweet.

“I’m dead.” Mickey was able to say as soon as he stopped laughing, exhaustion washing over him after a hard week. His body felt sore, you could tell by the way he crawled to your side in bed. His body next to yours, even on top of the sheets and blanket, felt so familiar. A smile was shot your way. “Let’s go to sleep, uh?”

Something inside you crumbled suddenly as soon as you saw him getting inside the bed, without bothering to look if you were doing the same because he thought it was rather obvious. It produced you a feeling close to anxiety, thinking about sleeping while you slid by his side — this week had been hard on both of you, but what had kicked your ass the most wasn’t assignments and classes, like it had happened to him, but sleep. 

A series of all-nighters the last week had thrown you off, and now your sleep schedule was messed up. You had laid in bed every night, eyes closed, waiting for Orpheus to sweep you out of the world and into sleeping, but it hadn’t happened — as much, an hour or two before your alarm went off you would fall slightly asleep, producing you low headaches that you had successfully avoided with a few pills.

“But it’s so early.” You said, and your voice went a little higher like it used to do whenever you lied, catching Mickey’s attention.

His eyes drifted to your alarm clock behind you, head tilted. “You’re not tired?”

“I am.” You sighed, and then you stuttered a bit, before confessing. “But… I haven’t been sleeping well. It’s– It’s silly.”

Mickey’s body language changed instantly. His back straightened, so he could sit up with it against the headboard, body turned to look at you and give you his full attention. His eyes scanned you slightly, making you look away in embarrassment — you were a grown adult, and not wanting to go to sleep without a good reason was childish, you knew. 

“Is this about the murders going on?” Mickey asked quietly, like someone else apart from you could hear him talking about the matter that had been hunting everyone in your circle for the last couple of weeks. Two people had been murdered in the new, based on real events, slasher’s opening night. “Because if it’s that, I can promise you, you have nothing to worry about.”

“No, it’s not that.” You shook your head, to prove your point, then just shrugged. Mickey watched you curiously, carefully. “I think I’m just too stressed. The exams, and all… College life isn’t as good as they paint it and, I don’t know, maybe I can’t take it.”

A beat of silence, then two, before Mickey’s brows furrowed together. “That’s bullshit.” It surprised you enough to not let you speak instantly, giving him time to speak first. “I mean, I understand you being stressed, it’s natural. But if you can’t take it, then no one can.”

“That’s not true.”

“But it is!” He insisted, seriousness written all over his face. You had only seen him this serious once or twice before, when he was passionately defending a horror movie from Randy’s criticism, and when he had asked you out for the first time. “I think you’re taking it all too seriously. You stress too much about every single test and—”

“But it is serious, Mickey.” You interrupted softly, wrapping your arms around your knees for comfort. “I can’t slow down.”

“It shouldn’t take your sleep away.” He retorted. His hand reached out for you, comfortably squeezing once. “You’re doing great. I mean that. But you need to chill.”

Nodding slightly, your gaze fell down and away from him, processing his words. The silence settled between you, but Mickey needed to know what you were thinking — not anymore to have the upperhand, but because he was worried, and if there was something pure in him, that was his love for you. 

His hand left yours to barely graze your chin, lifting your head and gaze up. “Is that all of it?” Mickey asked softly. His eyes shone. “Nothing more on your mind?”

“That’s all.” You muttered, nodding slightly. He gave you a smile.

“Wanna go to sleep now?” 

Once again you nodded, and you two slid inside the bed. He switched off the lights and his arm surrounding your waist and pulling you closer didn’t startle you. Mickey didn’t fall asleep until you did, surrendering yourself to the calm circles Mickey rubbed onto your back and his even breathing close to you.

[lizacstuff]

Anon asks: SCK Fragman 38 speculation

(Asks under the cut)

Anonymous said: Do you think they're getting married this next episode? idk if the tattoos were confirmation

I think it’s possible? But I also think it’s entirely possible that they get the tattoos as a symbol of their love and a promise of sorts that they are through messing around, but they’re not actually married yet.  Frankly, they already gave us all the wedding hoopla with these two, I’m absolutely fine with an elopement or quick courthouse style wedding, or just a couple of witnesses in a garden. Whatever they want! Let’s just get her done.

Also... I know I said it before, but I’m just in love with the idea of these tattoos. Such a great solution to their ring issue. 

Anonymous said: Thoughts on all these twitter theories from the “sick” line in the fragman?

- it’s about piril and engins kid bc basak and anil filmed in the hospital, and piril was hit by a car in 36 and in 37 she had that moment where she clutched her abdomen and had to sit down

- it’s a flashback serkan has to when his brother alp was sick

- serkan is sick and it’s a way to reveal Kemal as his bio dad (blood or organ donation)

- serkan is sick and it’s a way to reveal eda is pregnant when they draw blood from her to donate

That fragman could be hinting at so many things, and it very well could have been misleading. So lets take each theory in turn. 

“it’s about piril and engins kid bc basak and anil filmed in the hospital, and piril was hit by a car in 36 and in 37 she had that moment where she clutched her abdomen and had to sit down”

Very possible. Engin thinking something had happened to Piril two eps ago did feel like foreshadowing, almost preparing the audience for something. It would be so heartbreaking if she loses the baby, and seems too dark for this show, but it is something that happens to millions of women, so we’ll see.

Also can you imagine after the way Piril stuck by Selin, if Piril lost her baby, and she then witnesses Selin using her baby as a pawn to get revenge on Serkan and Eda?  I’d like to see Piril and Engin’s reaction to that. Though again I think that’s pretty dark, especially for the side couple. 

- it’s a flashback serkan has to when his brother alp was sick

I think this is a very good guess. Serkan probably will see a doctor after he passed out, and if it is another panic attack brought on by the stress of losing Eda, I could see a doctor telling him if he wants to move past the panic attacks, he needs to get at the root of his abandonment issues, which all lead back to his brother’s death. That could be why he’s getting out a box of his things and reading that letter.  So I could very well see a flashback happening to Alp’s diagnosis.

- serkan is sick and it’s a way to reveal Kemal as his bio dad (blood or organ donation)

I’m honestly fully onboard with Kemal as Serkan’s bio dad.  I hear a lot of people poopooing the idea because of opportunity, but I think they told us when it could have happened. In their first meeting, (unless my subs were bad) Aydan mentioned that Kemal had returned once to apologize for standing her up when they were young and going to run away together. I assume that was the window. Kemal showed up years later (after Alp was born) to apologize.. they had a fling and there’s the opportunity for Serkan to be his son. 

Though, to me, if they’re doing something with Serkan’s health it’s got to be related to the plane crash. The chest clutching since he’s been back is concerning, plus wasn’t his hand shaking at one point? So I don’t see him having some serious underlying issue that’s unrelated. This guy does not shy away from going to the doctor and was just in the hospital for probably over a month recovering, so you’d think if there was anything wrong before, we’d know it.  Unless the plane crash acerbated something that’s genetic? And/or requires a match like bone marrow or kidney. I suppose they could give Serkan some rare blood type and that would be something applicable to most any ailment. We shall see. 

- serkan is sick and it’s a way to reveal eda is pregnant when they draw blood from her to donate

This one I think is the least likely. It’s been very fuzzy how much time has passed, but at the minimum 3 months since they were supposed to get married and were having sex, so if Eda were pregnant I think she would have noticed the signs by now.  

Anonymous said: Liza, I know they won’t kill Serkan, but could you reassure me that they won’t? I’ve followed you since Once and you were always good at reassuring.

Ha! I remember making lists of all the reasons they would never kill Hook. 

THEY WON’T KILL SERKAN.

And I’m even more certain of this than I ever was of them not killing Hook, and I was damn certain then. 

There is literally not ONE reason for this show to exist without Eda and Serkan. Not one. This is their love story, and really, storyline wise, the show should have ended awhile ago, and the only reason they keep it going is to keep Hande and Kerem on screen together, making their magic. Seriously, that’s the only reason.

You see how Serkan dying would be counter to that, right?  And if the show were about to end, trust me, there is nothing in it for anyone to have a tragic ending. This started as a romantic comedy, and will end as one, with a happily ever after. And if you’re still nervous, trust this, the production company is still hopeful to sell it into even more foreign markets, especially English language ones, a surprise tragic, twist ending that gets vilified on social media (and trust me this fandom is huge, vocal and capable) would really hurt those chances. 

So even if we’re headed into a bad diagnosis for Serkan, he will be fine in the end, it will just be something for him and Eda to fight through. I promise. 

Anonymous said: thoughts on that wonderfully beautiful fragman? i was watching with hearts in my eyes and then read the translations.. poor serkan!! if it really isn't misleading i definitely think it's some consequence of the plane crash. but, we are secure in what kind of show this is and the full knowledge that it's not a drama and no one is gonna actually die, i'm excited for the potential this storyline is gonna give us!! (esp with the return of the old writers)

I can’t wait to see that rain scene, and the after-the-rain scene and their motorcycle ride. The fragman was very beautiful, but it also felt very poignant and a little melancholy.

It’s interesting with the announcement that the second writing team was back, there were tidbits from several legit entertainment-type reporters yesterday that the show was going back to it’s roots being funny and entertaining.  So a terrible diagnosis for one of the current characters, especially the romantic leading man, doesn’t really fit with that. 

It the writers hadn’t changed I’d be more concerned, not about a character dying, just about the show leaning into some big sort of health-related melodrama.  But I think whatever might be happening will be in service to the plot.  As far as Serkan having a health-scare related to the crash, as I said above it’s very plausible. I mean what are the chances that a man survives a plane crash, is fished out of the sea, spends weeks in a hospital, gets amnesia and is perfectly fine 3-4 months later with no other repercussion? Doesn’t seem possible! 

Anonymous said: Liza, the second set of writers is really coming back! We might actually get comeuppance for Selin!

YESS!!!!! Please. I had completely lost hope with the last set of writers who seemed hellbent on normalizing her behavior.  Look I’d be fine with a 3 minute conversation where Serkan tells her that he knows she’s a manipulative liar and the baby is not his, that he wants her out of their lives for good, and that if she ever comes near Eda ever again he will personally destroy her. 

Is that so much to ask?

Though I’d like her to be humiliated in front of the rest of the team. Just so everyone knows what kind of psycho she is and no one in Edser’s orbit is tempted to give her another chance ever again. 

It will be interesting to see how this plays out.  With the news that Sarp Can (Deniz) is COVID positive, he obviously won’t be back on set anytime soon. They could probably get some VO from him if necessary, for a phone convo, but I’m gonna guess he’s done on screen. 

It’s time to write both characters out! 

As for the 22-23, 25-30 writers coming back, that is the best news I’ve had in ages.  They weren’t perfect, but the things they did well, they did really, really well. Their comedy, romantic scenes, heartfelt dialogue, accurate characterizations and penchant for sizzling scenes that “break the Turkish family structure” will all be most welcome. I’m really excited for the first time in ages. 

Anonymous said: Very interesting that the fragman did not address the Selin baby drama at all. It focused solely on Edser which was a welcome change while at the same time has me a bit nervous for the angst & drama no doubt headed our way. But if Eda & Serkan are together for good now to face the challenges coming then I cannot wait to watch. The last episode was so well done but Eda & Serkan were both near their breaking points for different reasons & you just felt awful for both of them. Really glad that the engagement did not happen and the show focused on the fallout from Serkan’s amnesia. And even had the side characters addressing how difficult things have been for Eda and that she might need some time before picking things back up with Serkan! Looking forward to the resolution of the baby story/exit of Selin and seeing Eda & Serkan heal together.

I hope that the fact that nothing Selin-related was addressed in the fragman means that we finally have people in charge who understand that we are so damned fatigued of Selin that featuring her an active deterrent for viewers.  Also I haven’t seen any evidence that Bige has been on set for 38. That doesn’t mean she hasn’t, it’s still possible, but it is encouraging that the ep will be  light on Selin. 

As far as the drama and angst, I think there’s more headed our way, however I’m hopeful it will be the good kind and not the kind that made us really uncomfortable and want to tear our hair out during the Selin/Deniz era. We know that Eda and Serkan must decide to stay together (spending time together, ring finger tattoos) so the point of the pregnancy storyline is done. When Eda found out Selin was pregnant, it gave Selin the chance for one last Hail Mary pass, and she took it, trying to break them up, but it failed. So it’s usefulness is over. She can’t keep the charade going because of Deniz, and because once Serkan has time to calm down and think, he’ll realize that any time in Slovania where he was so injured that it’s possible he doesn’t remember, he also would have been too physically incapacitated to do anything of the sort. 

As for Eda needing some time, yes, things in 36 were just too easy for Serkan in terms of the fallout from his amnesic behavior. Episode 37 made him work for it and I think come to terms with the fact that, Selin manipulations or no, there’s work to do and things he needs to atone for.  Putting her first throughout the episode, and showering her with love, was a good start. 

Anonymous said: The conversations Selin had with Eda, Serkan and Aydan in this episode had my blood boiling. Someone stop this psycho! The unnecessary hole digging was real, my god. I don't care if she's pregnant, don't hold Eda back this time and let her fight this snake. Let everyone fight her! If she's lying to Deniz now, he can fight her too.

I know, she reached new levels of abusive manipulation.  They better be planning a comeuppance, if she’s just allowed to leave with people waving goodbye, I will scream.  The Aydan conversation with her posing the question about abortion was something else. It came across to me more as a threat. Like... I’m thinking about doing this, if you don’t want my decision to be your fault, you better stay on the right side of me. 

The Eda and Serkan stuff goes without saying. It still floors me that she’s willing to pretend like she raped him (if he can’t remember because he was that injured and foggy, then it’s impossible for him to have given consent.) rather than just giving up and living the truth.  

Anonymous said: Like I get it (kind of) but I am so sick of watching Serkan be nice to Selin. Very much looking forward to Serkan chewing her out for how much she hurt Eda with this fake Serkan baby daddy story when she is exposed. I get that Serkan feels he is to blame for calling her to Slovenia in the first place & essentially in his mind giving her hope of them being together but he needs to stop excusing her horrible behavior from there. No decent person would take advantage of that situation the way she did. It seems like the only way that Selin will have an epic fall is if Deniz decides to fight for the kid he knows must be his and tell Eda everything. Going to be tough for her to believe initially but it will have to start making sense once she thinks back on things and then if the photos surface then she will know it must be true.

Agreed. I get Serkan’s guilt, and it actually shows what a good person he is, but he needs to get over it.  Because seriously, all Selin was obligated to do when she got his call was to hang up, and then dial one of the following: his mother, his father, his fiancé or best friend/business partner Engin. That’s it. Call them and say, hey, Serkan’s alive, this is where you’ll find him. But NOPE! Instead she decided to fly there, manipulate him, keep him hidden and try to use it to get back with him. She made him beholden to her, just another in the long line of brainwashing and manipulation. Her flying to his bedside was the wrong thing to do, and it would be great if someone beside Eda recognized that. 

Anonymous said: Even though Selin is the worst and I just cannot wait for her to finally be unmasked as the manipulator she is, I am really looking forward to Edser in the next episode. Eda taking care of Serkan after he passes out, the two of them reaffirming their commitment to each other with the tattoos & possible elopement, Eda reassuring Serkan that she will be at his side even if the kid turns out to be his and also the two of them working together to get to the truth. So darn excited! And if the spoilers are right that Deniz tells Eda the truth and Serkan sees the photos from Ferit then I will be so happy. It is time for Selin to go for good!

SELIN MUST GO. Yes, I think as soon as the news that Selin is pregnant and trying to pass it off as Serkan’s brain-fog baby, Ferit will unleash the photos. (if it’s him that has them).  

I just want Selin and Deniz gone so we can focus on other things. Their presence on this show is a energy drain, and I want to focus on rain frolicking, motorcycles and bed sharing!!!!!  

Anonymous said: I'm so glad that we had a scene of Serkan telling Eda that even without his memories he fell in love with her again, he just couldn't admit it. Serkan has an interesting perspective on the memory loss part of their lives where I think he almost feels too guilty about it all and just wants to move past it. I've noticed that in his dialogues in 36 & 37 where he wants to leave it in the past and basically do his all to make it all up to her in the present and future.

I think this is very well observed. He definitely was trying to leave the past in the past, but honestly I think that’s just laziness on the part of the old writers, not wanting to have to have a reckoning for all the things they had him say or do. Since the writers decided to go that way, I could buy it’s because Serkan feels too guilty about it all. We know how much he loathes making mistakes or being wrong or owing apologies. If that’s what they wanted to do, it would have gone a long way if they’d shown a bit more of him blaming himself, especially in 36. 

I was also very happy that Serkan came out and said that he’s fallen in love with her again. My only thing is I wish if they were going to do that, they would have thrown a little more detail in the dialogue. Like Serkan admitting to her that he started thinking about her all the time as soon as he returned and met her, maybe admit that he slept on his office couch clutching her wedding invitation.  A couple of things like that would have been very nice for Eda to hear. 

Anonymous said: SCK sure loves creating difficult situations for Eda & Serkan. I really felt for Serkan in the last episode especially since he was back to being the romantic robot we all love. He so baldly wants to make up for lost time with Eda that he rushes ahead with the proposal and then gets crushed when she rejects him. And then spends most of the episode frantically trying to figure out what is going on with her and trying to show her how much he loves her. I was really happy though that the show addressed a few different times how awful the last few months have been for Eda and it also made Serkan address it. His plan to just forget about everything and move forward did not happen. Loved that the side characters stepped up to remind him of everything he & Selin put Eda through. Not so crazy that the show decided to use Selin’s pregnancy as the plot device to get Serkan to finally realize “oh yeah, what happened since my accident is a very big deal & now I have to face it & come to terms with it” but still glad it happened. Selin is obviously so much more in the wrong than Serkan but let’s hope her downfall takes place in the next episode.

All of this.  I think you’re exactly right, Serkan tried to brush past everything and I’m glad that finally the other characters stepped up a little to help make him see that he had more work to do. Special shout out to Seyfi for his sassy comment about Serkan almost marrying another woman. And finally Piril was useful and acted like a friend, the first time she had since he returned.  

[theplanetprince]

Fanfiction Review

I can already tell this is gonna be super confusing bc I've been writing fic since I was 12 but have since gone through so many identity changes. But let's play anyway!

Thanks for the tag @redead-red

1. How many works do you have on AO3?

My current library is 8. I don't actually write fanfic too often unless a specific idea intrigues me-- or something in the fanon just doesn't line up with me. I do have at least 4ish more stories planned and maybe a revised version of an ancient story from when I was young. 2. What’s your total AO3 word count?

166,451! Pretty neato!

3. How many fandoms have you written for, and what are they?

Uh, in no specific order,

Teenage Mutant Ninja Turtles (lost to purging)

Doctor Who (you ain't gonna find these)

Sonic

NiGHTs into Dreams

Dead by Daylight (<3)

Danny Phantom (my beloathed) Supernatural (my other beloathed)

and uhhhh, I think a bunch of various other video games I can't remember. For the sake of brevity I'm gonna put the rest under the cut.

4. What are your top 5 fics by kudos?

This is actually pretty funny bc I have so few fics released. I only get emails for certain ones all the time, so I wrote this part out by guessing, but I ended up not needing to change it. (also, don't read most of these; they're old and bad)

1. Schrodinger's Adolescent, 337 Kudos (Danny Phantom)

2. Teen Years and How to Survive Them, 97 Kudos (Secret Trio)

3. Two Fake Feds Come up the Laneway the other dayyyyyy, 56 Kudos (Letterkenny/Supernatural)

4. Brother's Keeper, 40 Kudos (Halloween, DBD)

5. Beginner's Guide to Destroying the Moon, 37 Kudos (Sonic)

5. Which of your fic do you want more attention for?

I'll be real here, I still enjoy most of the work I did for both Beach House Bummer, and Beginner's Guide to Destroying the Moon. I just wish I got more love for the latter bc I might be inspired to finish it lmao.

6. Do you respond to comments, why or why not?

I really try to! I love the long rambly comments I get on Schrodinger's because I can feel those people are giving me the same passion I put into my work-- Though most of the time I get the generic "post more" or "update plz" which I dunno I'm grateful for the interaction. Still, I don't really want to repeat like "I'm trying my best, dude." about 12 times a day.

7. What’s the fic you’ve written with the angstiest ending?

I'll be real I only have two completed fics rn-- but I can tell you I had this one fic that I wrote when I was fourteen where the ninja turtles had to burn down a lab full of half-born mutant embryos, and like I remember writing that and then going to middle school the next day like "They don't know I'm a literary genius."

8. Do you write crossovers? What’s the craziest one you’ve written?

Probably the Letterkenny/Supernatural crossover-- I feel very strongly about SPN and how people take it way too seriously, so when I found out it was filmed in Canada. It used famous Canadian actors from the show Letterkenny, it felt way too good to pass up. I do hope to write in that space again when I'm feeling less depresso-espresso.

9. Have you ever received hate on a fic?

Yeah. It's probably a big reason why you'll never see the tmnt fics for a while. I also used to write a lot of OC stories, and this was back in 2014 so like those were def hit the hardest. I'm glad to say it's like... subsided for the most part. I don't get hate as much as I just get really confusing and creepy comments, which don't hurt my rejection-sensitive-ass as much.

10. Do you write smut? If so, what kind?

Hahahaha, no.

I am kind of bad at writing it, and I don't really like writing it. Which yeah that makes sense. My friends sometimes when they find out I write fanfic as a joke they'll send me some of the worst examples smut they can find and to test my talent I'll try to rewrite it to make it some kind of titillating-- but alas it just isn't my forte. The cons of being an asexual I guess.

11. Have you ever had a fic translated?

Uh, yes and no? I think I had one of my older fics stolen, retranslated, and then retranslated again to English? That was so long ago tho.

12. Have you ever co-written a fic before?

No, but I'd love to give it a shot sometime.

13. What’s your all-time favorite ship?

Honestly, it's sonadow. I know it's cringe but I'm free, dammit. Outside of that I guess my favorite dynamic is jock/nerd, which you've probably gleaned from my resume here fhsdkjf.

14. What’s a WIP that you want to finish but don’t think you ever will?

I've been working on Teen Years and How to Survive them since I was 16, I only started making headway on it when I was 19-- so I feel like that speaks for itself hskjhg.

15. What are your writing strengths?

It's been told to me that I'm very funny and I write convincing dialog that captures a character's voice. Which is extremely flattering despite the fact that I feel like I'm tricking you all.

16. What are your writing weaknesses?

probably scenery and landscape, if I'm honest. I also accidentally keep creating scenes just for the dialog instead of action or environment.

17. What are your thoughts on writing dialogue in other languages in a fic?

I think as long as I can guess what they're saying from context clues, and the writer is courteous enough to include body language and the like, then it's mostly harmless. I love including a bunch of references in fic whether it's cultural, historical, or just like a quote from a movie or something so I have a bunch of tabs open regardless it wouldn't be too inconvenient for me to fire up google translate or something.

18. What was the first fandom you wrote for?

Teenage Mutant Ninja Turtles!

19. What’s your favorite fic you’ve written?

Probably Schrodinger's Adolescent, it really opened up a lot of doors for me in the DP fandom and I got to meet a lot of cool people because of it. It really cheered me up from a dark place. And despite me writing it initially out of anger and spite its grown into this soft thing that really means a lot to me.

20. What fic are you most proud of?

Honestly, I can't pick. I'm both embarrassed by them all and yet glad they bring people some form of comfort.

Uhhhh who to tag-- I don't really know

@ten0rreaper is the only one I can think of-- whoever else I guess can have at it. I'm not very good at these things lmao.

[aaaaaaaaaaaaaaaoldretired]

some p!g-drv3 theories (spoilers obvi)

First of all I think people demonize the pg versions wayyy too much because its a good way to be le sexy in like fanfictions. And i get it, villains are hot or whatever. and also hs is a horny age to be. But even the edgiest and horniest of teens aren’t like. that sexual/monstrous. its kind of insane the portrayals people are placing

maybe this could also be like me being older bc when i was early hs i was like yea its fair to place these super mature portrayals on a 18-22 year old they are like adults but young and now im that age and im like woah there pardner. might be an age/maturity thing. 

also like its normal for people to relate to and portray characters their same age in a similar fashion, but when adults write more sexual content about the dg kids i get hella fucking sus

idk where i was going with that first comment i guess its like a preface and in the end i think its important when characters especially teenage characters are morally grey not because they’re mature and dark/brooding but because they are still young and learning. fuck im older than like most of them, but im still young and learning. its good to be in turmoil and confused, especially the drv3 cast. they are more confused than anything.

which i think is a reason why people would join dr because if you are completely loss and in turmoil, it is appealing to be given a purpose in life and amazing talents/abilities. despite the morals of danganronpa, it is a simple reality to be told who you are and what to do

OK ONTO HEADCANONS (not doing all bc i dont have thoughts about all)

first of all i understand changing stories but i think, deep down, you can’t change fundamental personalities/values. so while the backstories might be different i think, in the end, a baseline is always the same

SHUICHI being a Bad Boy is like canon obviously but i dont think he’s as manipulative as people make him out to be. i think he falls in the more the bully role that like. mae borowski or tf2′s scout filled before they grew up. rough background, bad anger issues, lots of emotional turmoil, and the only way he knows how to deal with shit is by committing crimes and beating the shit out of people. and, similar to those characters, drv3 represents an older, more emotionally sober yet equally confused version of himself. the urges are still there as foreshadowed in the dialogue. i think he struggles with guilt, mostly survivors, but there is still a lasting impact of guilt of what he did in his past, even if he can’t remember.

KOKICHI is a child. a piece of shit motherfucker child but a child. I really do think he’s like one of the youngest people in the cast. he reminds me a lot of when my brother doesn’t take his adhd medicine and takes jokes way too far and does mean and cruel things because he thinks its funny and that its just a fun joke, but is hurting people. he desperately wants approval, which is why his leader role is so interesting because in the dr narrative he has the approval he craves and so he is satisfied. still, he does try to impress characters like rantaro and values his opinions a lot, even developing a brotherly relationship in the time they knew each other. this being said, its established kokichi was bullied before, but i dont think he’s like. the wimp people make him out to be. i think he’s more of like the class clown who desperately uses humor to make people like him, and ends up resorting to be the butt of most of his jokes. you don’t just develop a good sense of humor out of a brainwash, and that’s not something you can program in. i think that was a remnant of before, and he’s so good at bullying people and coming up with roasts - i just think that in p!g the roasts were about him.

KAEDE is baby but her p!g personality seriously reminds me of any ~quirky/edgy~ girl in a teen coming of age story who tries to be edgy and cool and act like she doesn’t care but deep down, she really does. if she didn’t have an empathetic personality, she wouldn’t want to end the game. i also think she has that self-identifying QuIrKy personality because its like she lives in her own narrative, practically announcing this story is about her and she is the protagonist. i know i used to self narrate like that and distinguish how i was different when i was like. 15-16. she has a tumblr. 

I really like the theory where KAITO is a make-a-wish kid who was better when he was younger but relapses later in teens. he never used his wish before, so he decides to use it now to be on danganronpa and become the hero he always wanted to be. i also think he might have joined as a way to raise awareness about adolescent healthcare. definitely the type who puts on a “heroic” character to make everyone else feel better about the fact he is literally dying of a terminal illness, and keeps that act up till the end. 

i think KOREKIYO is still a serial killer. i think honestly a reason why he mightve auditioned for danganronpa is because he is a serial killer. maybe his sister found out and he felt so much shame that’s why he auditioned. he probably mentioned why in his interview because duh, tell them im a serial killer and then only reason im coming clean is my sister found out and im ashamed, that is like a guarantee to get on the show.  i LOVE the theory that his sister is still alive, however, and has to watch her brother go insane because they wrote her into the story as the villain. because technically, she brought on this guilt, and is the reason why he auditioned - as a way to cause despair, twist it around so she’s the one to blame for his insanity. also, because its pretty accepted DR members become celebrities, kork’s sister is totally bombarded with paparazzi and is demonized in the media. she might end up writing a tell-all memoir about kork’s actual childhood and personality. quiet kid, thoughtful, interested in anthropology, she never thought he’d hurt a fly. watching her brother go insane probably destroyed her. 

I also think, timeline wise, kork is probably one of the oldest members along with rantaro. tbh i think kork actually graduated hs and went on a gap year doing the whole “hitchhike around the world to discover myself thing” which is where he began killing people. he was getting ready to go to college when his sister found out about what he did. this is when he decided to go on danganronpa instead of university. this would help explain why he knows so much about other cultures/travel/been so many places with so many memories/killed/is knowledgable on a level most other students are not. this would place him at like, 20-21, where everyone else is like 15-18.

ok so there’s two p!g RANTARO, p!g before 53 and p!p!g before 52. i’d like to establish now i think rantaro is the oldest of the characters, seeing as though he was already pretty old to begin with in 52, it takes time between television seasons, and he was in another game. so im placing him like 21-23, similar to yasuhiro in d1 being so much older than everyone else. i do think, in all iterations, rantaro was pretty much raising his sisters, though i don’t think he had twelve like the story (i think that’s an exaggeration, his sisters mean a lot to him, lets make him have a TON and then lose them all and feel GUILTY) rantaro joined the first game, partially to get money for his family and hopefully establish them as celebrities and let them have a comfy lifestyle, even if he doesn’t live...and also to finally ahve some sort of experience without his siblings tagging along. if he’s been raising his sisters all his life, he’s never had like something that’s JUST his. that’s his adventure. 52 is his ULTIMATE adventure. ahaha. mostly for money, kind of dreading it, still a tiny bit excited

ok p!g rantaro between 52 and 53 probably came back broken. he did the signings and appearances, but mostly wanted to spend time with his family and make sure they were set up. i think he knew the whole like few months between seasons he had to go on another show, but he did’t tell his sisters. his family found out when they saw a billboard with his face plastered on it hyping up the return of a fan favorite. yikes!

ok i get it a lot of people hate HIMIKO but i think she’s not nearly as similar as other “useless” characters in other games. its like, pretty clear she’s depressed, and the only thing she’s holding onto with dear life is magic. lack of hygiene, lack of personal care, constantly tired, social interaction exhausts - she has depression, but she’s not an UWU depressed character. so people find her depressive traits (which are some of the most realistic portrayals of mental health in the series) SUPER annoygin. she joined dr because she was completely lost and needed some sort of direction in her life, even if she’ll die for it. the thing is, even with direction, her mental state didn’t change because she wasn’t getting legitimate help. it’s like that one SNL skit that’s like. same sad you from before but in a new place. i also think she knows the magic is not real, because how could she not. i think she’s so adamant that it IS real, less as a way to convince others, and more of a way to convince herself. it’s like really super cruel that team danganronpa took a girl who is desperate for meaning and gave her literally a meaningless, fake talent.

i also kin himiko and find her a comfort character because i feel seen by her, replacing her useless talent of magic with mine of like shitty film making and comedy. i am seen.

related i don’t think she’s nearly as ugly as everyone says she is, i think she’s probably just depressed and takes absolutely no care of her hygiene and sleep and looks like sick and greasy all the time. same queen.

honest to god i think RYOMA’s backstory, tennis and all, is like 100% real and he’s the only one who keeps all of his memories except for the fact this is a tv show. i think he rolled up, a hot fucking mess, and the danganronpa team were like damn. we cannot improve upon this. 

[incarnateirony]

Hey dude! Do you have any recommendations for LGBTQ+ movies in the romance genre that have like a happy ending. I really don't care how old they are. I'm feeling the Gay™ hence I need the Gay™. You feel me?

HIIIIIIIIIIIIIIIIIIIII NONNIE

First sorry for taking so long, not only did I have to timeline this :) but :) my computer :) froze :) after writing like :) 2 pages :) and I had to do it again :)

So anyway let it be said, the LGBT dialogue is one of osmosis and shared growth and awareness. Some of these films will be very poorly dated, but as you (thankfully) mentioned that them being old wasn’t a *problem*, expect a lot of old stuff. Because one of the most important things to have under your belt when talking about the LGBT media representation battle is the actual journey from A to B – be that incrementalization, subtextual inclusion, text-breeching features, outright evocative and groundbreaking films at the time (which is what MOST of this list will be) and an improvement in our dialogue; let us never forget that while tr*nss*xual is considered a slur and transgender is proper, tr*nss*xual was at one point the politically correct way to speak it – things like that breach in our growing understanding of the spectrum of human sexuality. 

I *WILL* disclaimer these aren’t all romance, so if you explicitly want romance, google them and take a look if it sounds to appeal, but I’m taking this as a general cinema history plug considering what a confused mess fandom conversation about LGBT history in film or modern text as applicable, accepted or not.

Wonder Bar (1936) (I wouldn’t really call this queer cinema, but if you have the time to watch it too, I think it was the first explicit mention of homosexual engagement even if it was fleetingly brief. You might even call it Last Call style. A blink and you’ll miss it plug that was still decades ahead of its time)

Sylvia Scarlet (1936) (Again, I wouldn’t call this queer cinema, but a lot of the community takes it as the first potential trans representation on TV due to the lead literally swapping gender presentation, even if the presentation is… not what we would modernly call representation IMO)

Un Chant d'Amour (1950) (Worth it for the sheer fact that it pissed off fundies so bad they took it all the way to the US supreme court to get it declared obscene.)

The Children’s Hour (1961) (also known as the 1961 lesson to “don’t be a gossipy, outting bitch”)

Victim (1961) (The first english film to use the word “homosexual” and to focus explicitly on gay sexuality. People might look on it disdainfully from modern lenses, but it really helped progress british understanding of homosexuality)

Scorpio Rising (1964) (Lmao this one deadass got taken to court when it pissed people off and California had to rule that it didn’t count as obscene bc it had social value, worth it for the history if nothing else)

Theorem (1968) (Because who doesn’t wanna watch a 60s flick about a bisexual angel, modern issues and associations be damned)

The Killing of Sister George (1968) (by the makers of What Ever Happened To Baby Jane)

Midnight Cowboy (1969) (…have I had sassy contagonists in RP make a Dean joke off of this more than once, maybe)

Fellini-Satyricon (1969) (AAAAAAAAAAAAAAAAAAAAAAAA THIS)

The Boys in the Band (1970) (This… this… this made a lot of fuss. Just remember leather)

Pink Narcissus (1971) (a labor of love shot on someone’s personal camera)

Death in Venice (1971) (This is basically a T&S prequel but whatever, based on a much older book)

Cabaret (1972) 

Pink Flamingos (1972) (SHIT’S WILD)

The Bitter Tears of Petra von Kant (1972) (The title doesn’t lie, be warned)

The Rocky Horror Picture Show (1975) [god I hope you’ve at least seen this]

Fox and His Friends (1975) (some really hard lessons that are still viable today, that just because someone acknowledges your sexuality doesn’t mean they give a shit about you as a person, and that some will even abuse the knowledge for gain)

The Terence Davies Trilogy (1983) (REALLY interesting history look it up, it’s sort of one of those “drawn from own experience” story short sets)

The Times of Harvey Milk (1984) (Documentary)

Desert Hearts (1985) (Pretty much the first film to put lesbianism into a good light as a true focus based on a novel from the sixties)

Parting Glances (1986) (the only film its creator got out before his death from the aids epidemic)

Law of Desire (1987) (two men and a trans woman in a love triangle, kinda ahead of its time)

Maurice (1987) (This one’s really interesting, cuz it was based on a book made about 15 years before it, but the book itself had been written half a century earlier and wasn’t published until after the guy died, he just thought it’d never get published Cuz Gay, so basically it’s based on a story written in like, the 20s finally getting screen time. It has a bittersweet but positive-leaning-ish ending without disregarding the cost that can come with it and even addresses class issues at the same time 100% DO RECOMMEND)

Tongues Untied (1989) (a documentary to give voices to LGBT black men) 

Longtime Companion (1990) (This one’s title alone is history, based on a NYT phrasing for how they talked about people’s partners dying, eg longtime companion, during the AIDS epidemic)

Paris Is Burning (1990) (Drag culture and related sexual and gender identity exploration as it intersected with class issues and other privileges explored in a documentary)

The Crying Game (1992)( I should correct this that I guess it’s more, 1992 considered, “SURPRISE, DIL HAS A DILL!” – I guess I really didn’t do that summary justice by modern language and dialogue as much as how people in the 90s were talking about that and that’s a my bad. LIKE. SEE, EVEN I CAN FUCK UP MY LANGUAGE I’M SORRY CAN I BLAME THE STRAIGHTS T_T) #90skidproblems – I guess I should call it a trans film. And this alone tells me I should go watch it again to recode it in my brain modernly rather than like circa de la 2000 understanding.

The Bird Cage (1996) (So you mix drag culture, otherwise heterosexually connected lovebirds, and then realize the girl comes from an alt-rightish house and the guy comes from a Two Dads Home and does cabaret, how to deal with the issues OF this conflict when it’s between you and your happiness, even if the fight isn’t even your own as much as it is that of the person you love. The answer is PROBABLY NOT to dress in drag and pretend to be straight, but what are you going to do? – while played for laughs we’d consider modernly crude, the fact that they even dared to approach this narrative was pretty loud)

The Celluloid Closet (1996) (Ever heard of the Vito Russo test for LGBT representation? This is based on a book by Vito Russo.)

Happy Together (1997) (Ain’t this shit an ironic name; a mutual narrative, via chinese flick, of hong kong ceding to china and an irrevocably tangled MLM pairing as a giant mirrored metaphor)

Boys Don’t Cry (1999) (one of the most groundbreaking films about trans identity at the time)

Stranger Inside (2001) (As easy as it is to recoil to the idea of “black gays in jail”, the film makers actually went and consulted prisoners and put a great deal of focus into intersectional african american issues that really weren’t around even in straight films at the time)

Transamerica (2005) (While it made a bit of a fuss for not casting an actual trans actor, it was one of the first times a big budget studio really tried to tackle it which really pushed us forward)

Call Me by Your Name (2017) (since I’ve apparently leaned really heavy old cinema throw in a modern one lmaooooo)

Also honorable The Kids Are All Right (2010) mention for the sake of the fucking title alone. 

And to any incarnation of “On the Road” by Kerouac, which

Was originally a book

Released a sanitized de-gayed edition because of the times

Later released the full homo manuscript

had a few film adaptations

Was one of Kripke’s founding inspirations for Supernatural once he left behind “Some reporter guy chases stories” and took the formula of Sal and Dean (and tbh later, Carlo) in a beat generation vibe gone modern as we know it today.

Reading both versions of this can actually help some folks currently understand that when you get confused over some shit (WHY IS CARLO SO UPSET? WHY IS HE ACTING LIKE AN UPSET GIRLFRIEND??? WHY IS HE SO JEALOUS AND SAD WHEN DEAN IS AROUND GIRLS???? WE JUST DONT KNOWWWWWWWWWWWWW) it’s because some big money asshat bleached the content, and sometimes, it takes a while for the full script to come out and again, surprise, it’s been GAY, they just didn’t want to OFFEND anybody. *jazz hands*

Now if you wanna go WAY WAY BACK, during 191X years, a bunch of gender role flicks came out like Charley’s Aunt, Mabel’s Blunder and the Florida Enchantment.

Also where is @thecoffeebrain-blog to yell about the necessity of watching Oz, for the next few hours? But no, seriously, just look into the entire LGBT *HISTORY* of Oz.

Beyond that though I’m gonna stop here cuz hi that’s a lot. I really don’t know how much counts as “happy ending” but if I had to give an LGBT cinema rec list, that’s it as a sum. I don’t really have like, a big portfolio of UWU HAPPY ENDING GAYS because 1. there aren’t a lot of those but 2. to me, it’s not about the ending, it’s about the journey. Be that in flick or through culture and history itself.

If you want more happy ending stuff, you definitely have to look at 2010+, but it’s not like we’re in a rich and fertile landscape yet so honestly just googling that would probably serve you better since I don’t explicitly explore romance genre or happy endings to really have a collection. LGBT life is hard and film often reflects that if we’re making genuine statements about it and really representing it, and we’re just now getting to a point of reliably having the chance at a happy ending. That or maybe someone can add like “Explicit happy endings” lists after this that has more experience in that subgenre.

Also, I can’t emphasize ENOUGH to remember what was progressive then is not what is progressive now, and frankly, what some people think is progressive now they’ll probably look back on what they said and feel really fuckin’ embarrassed. See: “It’s not text because by alt right homophobic dialogue, M/M sex isn’t gay if you do the secret handshake” MGTOW kinda crazy ass dialogue or parallel narratives they inspire that encourage self-closeting and denial based on the pure idea that being gay makes you somehow lesser, so It’s Not That. Like. I am. 99% sure. At least half of the people talking in this fandom. Are going to regret that the internet is forever. And maybe hope hosting servers end in the inevitable nuclear war that will annihilate this planet.

Also, edit: Speaking of mistaken dialogues and words aging poorly, I’d like to apologize from the poor description I rendered “The Crying Game” with, but that really goes to show how deep-seated the issue is we can so casually fuck up identifying a trans narrative as SURPRISE DICK IS GAY when we were all absorbing the content like 20+ years ago and HOW HARD it can be to de-code yourself from that kind of programming because here I am, writing a giant assed rep post and fucking it up because my brain hadn’t soaked that movie since Y2K. Guess what, time for me to go watch the Crying Game again.

[oceanmonsters]

thoughts on “tall girl”

I’m gonna make another post actually going into detail (edit: made post here) about some of the points that really bothered me (because I had a Lot of thoughts while watching this) this is just an overview & what I was thinking while actually watching the film:

movie about a straight white girl opening with Make Me Feel by Janelle Monáe playing...........

the movie is going so hard straight off the bat with the “Jodi is alienated and unaccepted by society because of her height” with the parallel being made between Jodi and the character in the book

“You think your life is hard” god I was really trying to go into this movie with an open mind but literally within the first 5 minutes they’re doing exactly what I predicted and making it seem like being tall is literally the biggest source of oppression ever. Like yes, her life is harder than it would be if she was average height but she’s still a rich cis straight white girl. That doesn’t mean she can’t have problems but there are SO MANY people with lives harder than hers. This line was so tone deaf that it’s so hard to give the rest of the movie a chance.

“How’s the weather up there” is literally being treated as if it’s a slur. Like yes it’s annoying but it’s really not that deep.

this school seems very racially diverse which is usually a good thing but when you’re framing the white girl as having the biggest problems and being picked on / harassed by everyone else, it’s really not...

the scene with the mom taking about her “problems” in high school for being so beautiful and popular and asking Jodi if that counts as adversity and her being like ‘what the fuck, is this what she really thinks adversity is’ is literally a metaphor for me watching this movie rn

her friend Jack is Sam from American Vandal and that’s not relevant to the plot but I keep thinking of his name as Sam now

Sam: He might not even be smart

Stig: *writes the molecular formula of the molecule drawn for which literally all you have to do is count the number of atoms of each type, and happened to recognise the molecule

Sam: oh NO what’s he DOING fuck I’m screwed he’s a genius he’s literally the PERFECT GUY

also is the movie really trying to tell me Jodi is the tallest person in her whole school? There are NO guys taller than her? Because my school was definitely smaller than most American schools and there were definitely at least 5 guys in my year taller than 6’

most of the mean girls making fun of & laughing at Jodi are WOC which really feels wrong...

why is he talking about c-sections what the fuck that was so creepy!

why is Jodi acting like just because she’s tall she somehow has some sort of claim to Stig over Kimmy... like I know Kimmy was horrible to her and now she’s dating the guy she likes which sucks but Jodi’s not entitled to Stig’s affections and he clearly likes Kimmy back but she’s acting like Stig is rightfully hers or smth

Sam is the best thing about about this movie so far, like his character is annoying but he’s actually not bland and is somewhat amusing to watch

also I literally can’t remember his character’s name, they just call him Dunkers or Dunkleman, they haven’t mentioned his first name since they first introduced him so I’m just gonna keep calling him Sam

he just kissed her even though he has a girlfriend... Jodi, run away girl

why is she enabling her sister’s extreme dieting?? This is a teen movie, they should really not be normalising this

I don’t know if it’s because of Griffin’s acting or because of how bland the other characters are so far but Sam is actually my favourite character so far even though he’s annoying and is actively trying to sabotage their relationship... like at least he has personality

also she keeps going on about how tall girls never get the guy or aren’t considered attractive or whatever but she’s had 3 GUYS be interested in her throughout the course of the movie

this kissing scene is making me very uncomfortable... like it’s sooooo zoomed in on their faces to show how they’re all looking at each other

who let Sam just come into her room while she’s sleeping???

he’s sitting on her bed and watching her hello????

he’s now weirdly touching her hair

SHE FUCKIN DECKED HIM SHKSHDKSJ and he deserved it

also this has been bothering me for a while but why does this kid wear so many rings. Who made this style choice bc it adds nothing to his character and imo just looks weird

I’ve also been noticing this for a few scenes but her house is SUPER nice, damn. Like she’s definitely rich, which makes the “You think your life is hard?” comment even more tone deaf.

okay Sam’s actually redeemed himself, if your friend wouldn’t charge at someone way bigger than them with a fucking crate for being an asshole to you are they even your friend

although DAMN if he’d actually hit him with that crate he could have seriously injured him, he was going straight for the head

why was everyone cheering so much for that bland, cheesy speech that was all about her. If I were in that crowd I’d just be like “girl get down & let us enjoy our dance, jesus.” Like realistically hardly anyone would be invested or really care about what she has to say because they literally don’t know or care about her. The movie’s acting like she’s known by everyone in the school, when in reality while people would recognise her they probably really don’t care that much.

also yes, some people in her school are assholes but I refuse to believe that the majority of her school constantly going on about her height - especially if she’s been at the school for a long time, they should be well past used to it by now. Most people in the crowd probably literally just don’t care about her at all and just want this to be over

this guy carried his shit around in a milk crate for all this time JUST IN CASE she ever wanted to kiss him?? I honestly don’t know how to feel about this because on one hand that’s a really extra level of dedication, which I somewhat respect but on the other hand... it’s just way too much

I literally feel nothing for this couple at all - I like Sam but as a couple, I wasn’t rooting for them or particularly happy or satisfied when they got together. Also, they didn’t show Jodi liking him at all up until this point. He was in love with her but there was no indication that she had any kind of feelings for him whatsoever. I guess it could be one of those situations where something happens and you see them in a whole new light and realise that you’ve been overlooking them the whole time but I feel like the timespan between her realising this and then getting together was way too short for me to actually care about them as a couple because for like 98% of the movie the attraction was completely one sided. If they’d shown her starting to have feelings for him earlier in the movie, e.g. when he started dating Liz, and shown her feeling jealous or upset or anything that indicates she actually does have underlying feelings for him but is scared to date him because of the height difference or whatever, I think I would’ve found the romance way more believable.

Also the characters of colour are so underdeveloped & sidelined in this movie - there’s Fareeda, who is literally just a walking “angry black girl”+”sassy supportive black friend” stereotype. She has no other development throughout this entire film. We literally know nothing about her other than that she’s Jodi’s best friend and always sticks up for / supports her even though she’s clearly ungrateful. Kimmy is a one dimensional caricature of a Mean Girl with apparently nothing else that matters to her but being a dick to Kimmy for no reason and being popular and being Homecoming Queen. There’s literally no reason given for why she hates Jodi so much either, because she’s never shown being awful to anyone else - she just really has it out for Jodi. And apart from Fareeda, the only named characters of colour only exist to be rejected romantic interests for the white characters and have no purpose or personality beyond this.

Overall I wouldn’t say this was the worst movie I’ve watched but I disliked it more than a lot of objectively worse movies I’ve watched - it was definitely one of the least enjoyable and most frustrating movies I’ve ever watched. I was hoping that even though the premise seemed dumb it would still be a cute, enjoyable teen movie - but they focused so much on how much supposed adversity she faced and how difficult life is for a tall girl that it’s hard to focus on anything else. Honestly I think that if they’d just cut out all of the dialogue about how hard life was for her, about adversity, about how “tall girls don’t get happy endings” or whatever, the movie could actually have been somewhat enjoyable with the rest of the plot being the same. It could’ve just been about a taller-than-average girl who feels insecure about her height trying to date a tall guy but realising her best friend is actually the right guy for her - and realising that it’s not the world that’s holding her back, it’s actually her own insecurities. My opinions on the quality of the plot and romance are obviously just my opinions and you obviously don’t have to agree with them but I don’t think you can deny how objectively tone deaf the premise is and how the characters of colours are basically sidelined and only exist to support the white character’s storylines, which is why I’m definitely putting this movie in the Never Watch Again pile.

[thedeaditeslayer]

Running Time Restored Interview: 1997 Josh Becker and Bruce Campbell Indie Gets a New Life in 2K.

You can read the full interview on the upcoming release With Josh Becker, Bruce Campbell, and Don May Jr. from Diabolik Magazine below. 

In 1995 on New Year’s Eve, Josh Becker had an idea. Born out of a session pondering Alfred Hitchcock’s legendary, true crime classic, Rope, he decided that he was going to improve upon the master of suspense’s legendary concept of shooting a film in real time. A daunting task but Becker was up to the challenge.

What resulted was perhaps one of the most ambitious efforts to ever grace the silver screen, Running Time. This neo-noir thriller about a heist gone wrong and a small-time criminal who rekindles his love affair with his high-school sweetheart was a hidden gem that didn’t get the recognition that it deserved. Written expressly for Becker’s childhood friend and Super 8 cohort, Bruce Campbell, the pair were once again, doing gonzo-style filmmaking just like when they were growing up in Michigan with the likes of Sam Raimi and Rob Tapert.

Josh Becker was and is an adventurous soul who does things his way, just like the director gods of old. When I think of his work, the names of John Ford, William Wyler and John Huston readily spring to mind. There is something admirable about his driven determination that was the heart and soul of this black and white throwback to another era which is ultimately endearing. Yes, I have a special place in my heart for Running Time because it is honest and not filled with “tentpole” tendencies. At the core of it is the written word. The end result is one of the most overlooked masterpieces of both Becker’s and Campbell’s careers.

What is truly amazing is that this flick was shot in two weeks and that everyone went home early. It was like having a 9 to 5 job. No 18-hour-days, just fast, efficient, run and gun style filmmaking that resulted in a production that could stand toe to toe with noir classics from a bygone era like The Petrified Forest and Desperate Hours.

Prior to Running Time, Bruce was known predominantly for his work in the horror and science fiction genres which can sometimes be limiting for an actor. Becker gave him an incredible script to work with that really showcased his range as a thespian. Behind the smart-ass quips and bravado lies a talented individual who takes his craft seriously. He is capable of creating complex characters and he is most assuredly fit to be a romantic lead.

I had the chance to sit down with the major players in the restoration of Running Time (Josh Becker, Bruce Campbell, Don May, Jr. and Gerry Kissell) to reminisce about the journey of this film from its humble beginnings to preserving this indie classic for future generations.

The Director and His Muse

Diabolique: Bruce, I have to start off by telling you that Running Time is my favorite out of all of your films.  

Bruce Campbell: It’s a cool, little flick. Too bad it sort of escaped, it wasn’t released as the old joke goes.

Diabolique: What I like so much about it is the neo-noir aspect. It’s a throwback to the 40’s and 50’s. In Josh’s book, Rushes, he talks about how he convinced you to be in the film. You weren’t getting paid and you invested in it. What was his pitch, how did he sell the concept to you?

BC: The pitch was that it was NOT McHale’s Navy. I just spent 11 weeks in Mexico just sort of bullshitting our way through that film where we would make up our lines of dialogue because there was nothing written for us. In the script it would say things like, “McHale and his guys get off the boat,” “McHale and his men go to Cuba.” Which means they hadn’t thought anything up for you. I did it because I liked the show as a kid. It was a very popular thing; it was from Universal. It made sense at the time. It was just a case of when something is underwritten, the problem that it causes actors. I had just come off of that, and Running Time was very ambitious, low budget it was meant to be this conceit of being done in one shot so it was cinematic. So, I was like, okay, yeah. It was like the anti-studio movie, small crew, fast moving and yet no money. Basically, I invested the money that I was paid back into the movie in order for them to make it. It was definitely for a love of the movie type deal.

Josh Becker: I’ve known Bruce since we were twelve and I’d seen him in a number of plays. I knew that he had a much bigger range as an actor than he’d had a chance to show at that point. Plus, he’s a pleasure to work with. Once I pitched him the idea, he was all for it, partially because the long takes are a way for an actor to really show their ability.

Diabolique: Thinking about your filmography, Bruce, you haven’t played a traditional romantic lead. Do you see Running Time as a love story of sorts?

BC: What’s funny is Josh had Carl come back. In a proper film noir, he would have gone, you would have heard the tires squeal and she would be sitting there crying and the credits would roll and that would be it. It would be bleak, but Josh deep down is a sentimentalist and I think I am too. We had no issue with the happy ending. We wanted to make the audiences think for quite a long period of time that it’s going to be a sad ending. She packs her bag and then she unpacks it. The whole thing is quite an extended piece but I thought it was well worth playing just to kind of throw a little wrinkle in it. Maybe even in a criminal story you can have a happy ending.

Diabolique: In terms of the storyline, Josh, we all know that Rope was the blueprint for Running Time. You hadn’t made a film in 7 years. What was it about that production that captured your imagination besides the challenge of the “long take”?

JB: Part of my inspiration was simply getting another feature film made after seven years of working in television, which was never my goal.  But as I thought about Rope, I wondered why the continuous, real-time concept didn’t really have any impact on the story. Then it occurred to me that there was no time element involved.  Two young men—ostensibly Leopold and Loeb—have killed another young man for the fun of it, put the body in a chest, then invited people over for a party, including a cop. Well, if the chest was spring loaded and had a timer on it so that at some point it would pop open and reveal the corpse, that would be a time element. So, I thought, how do you use the real time technique and add a ticking clock? The first story that came to mind was a heist which generally has a time element—we’ve got to get the money and get out of here before we’re caught.

Diabolique: Running Time was shot in sequence like a play. Did it pose any challenges for you as an actor?

BC: I liked what Josh was trying to do. These long uninterrupted takes from an actor’s point of view, you know stuff can get really choppy these days. My complaint from Burn Notice is they wouldn’t let a full sentence stay on camera; they would have to cut away to somebody else. It felt like they had to keep cutting, cutting and cutting. This movie was no cutting for like ten minutes at a time. It’s great from an actor’s perspective because you can feel the juices flowing. It’s like a play. You can work on the pacing; you can have something build over a period of time and minutes to play out in literally real time. It’s a real time crime drama. I liked it conceptually and it was challenging. There was a fair amount of dialogue because my guy, Carl is calling the shots. I thought it was a good premise. Guy gets out of prison turns right around and robs the prison because he knows how the prison laundry system works. I thought that was pretty sound. I am always sympathetic for the low budget independent movie. I always will be.

Diabolique: Were there any other films that influenced you and your writing partner, Peter Choi? The entire concept is very noir and the desperate situation that Carl finds himself in is reminiscent of any number of films from the 1940s.

JB: My main inspiration was Straight Time with Dustin Hoffman, an overlooked movie from 1978. And though I didn’t think of it at the time, several folks brought up Joseph Lewis’s Gun Crazy after it came out, and I do see that. The film has one long take in it during a bank robbery, and even though the camera stays in the backseat of a car, it has that same feeling of a real time event.

Diabolique: I know you are a fan of classic movies, Bruce and in a sense Running Time reminds me of Desperate Hours or The Petrified Forest especially when the robbery is botched and the situation is escalating in the enclosed office. Did you find any inspiration from the noir genre for your portrayal of Carl?

BC: No, but the classic tough guys were always awesome. We loved them all, Bogart and Robert Mitchum…the fact that Josh shot the film in black and white was perfect. Because it really helped lend itself to a look of that time period when Jack Palance was a leading man.

Diabolique: In your book Rushes, you talked about your decision to shoot in 16 mm Kodak ASA 64 black and white stock. You get sharper images due to the finer grain of the film, but did that pose any problems in terms of showcasing your work at that time since most people weren’t shooting in black and white?

JB:  I didn’t think of it regarding showcasing my work. I thought it was appropriate for the subject matter and that it would be visually striking.  Also, moving the camera from inside to outside in color posed the problem of adding or removing filters which would not be an issue with black and white.

Diabolique: You shot over a period of 10 days which was unheard of even back in the 90’s. How were you able to keep things moving along?

JB: It was based on pre-planning. I knew exactly what I wanted. We rehearsed the film and the actors were all very comfortable with the dialogue. Then it was just an issue of getting the complicated camera moves in regard to the actor’s blocking to work right, and that didn’t turn out to be all that difficult.

Diabolique: As an actor, did you enjoy working on an accelerated timetable?

BC: It was exciting to do and so different. The toughest thing was the technical demands. It wasn’t like there were explosions and stuff like that. But in order to do blocking inside of an apartment, the camera is moving in circles, well, the crew had to move every object behind the camera before it got there and then had to put it back before the camera saw it again. So, there was a lot of voodoo, a lot of magic. We would rehearse and rehearse and rehearse and we could never get it right. Finally, we were like fuck it. Let’s just start shooting because everyone gets a little more alert when you shoot. That did it. That allowed us to conquer the impossible. After 3 or 4 takes if we got it, we were done even if it was 10:30 in the morning. I don’t think we spent more than two thirds of a day getting that particular shot. The end result is cool. I’ve seen the cleaned-up version without all the scratches and the dust marks. You can’t even tell what year it is. It almost seems like its videotape transferred like those teledramas of the 60’s that were done on TV. There were moments in the film that weren’t perfect, and that’s okay.

Diabolique: When I revisited Running Time recently, I was impressed with how well it holds up because some efforts don’t. With the 2K restoration, Bruce, this will give your fans a chance to see it. For some, it might be their first time. Do you have a scene that you are particularly fond of?

BC: There’s some scenes that are fun to do. After I get shot, I am in Janie’s apartment and she’s trying to put me together, that fainting on the toilet while she’s trying to patch me together it felt kind of real, playing shot and being delirious. Stuff like that. Just fun to be able to take the moment to do it.

Diabolique: Josh, do you feel shooting in black and white made the 2K restoration more challenging?

JB:  Slow speed black and white film stock has a lot of silver in it which creates an inordinate amount of static electricity. When I did the initial film transfer back in 1997, the negative kept getting covered with dust, causing us to have to stop and clean the film every 30-60 minutes. Since the transfer was $375 an hour—in 1997 dollars—I could only stop so many times before it became financially prohibitive.  Dust on a black and white negative shows up as white dots. Using the newest technology, Don May was able to remove all of the dust digitally. Therefore, the film has never looked as good as it does now.

Diabolique: What excites you the most about Running Time getting restored, Bruce?

BC: I am always happy when something gets re-released which means in this case, it gets preserved. It will look fantastic in 2K. That’s why with all these reissues fans are like, “Why should we care?” Like well, if you care about preservation, this means it will be the latest version of a movie that is fairly obscure. Sometimes a movie can die on the vine because no one will pay the money to keep it current. Now, we can show the sucker, hopefully, anywhere.

Diabolique: Josh, do you have any plans to showcase Running Time once the restoration is completed? This is a great film that fans should definitely see.

JB: We have no plans at the moment, but then the film isn’t out yet. When it’s done, we’ll see what happens.

Breathing New Life into Running Time: The Art of Restoration

Don May, Jr. along with Jerry Chandler and Charles Fiedler created Synapse Films in 1997. Known for their work in preserving unique genre classics, May had previously collaborated with Josh Becker when his company restored the director’s 1985 production, Thou Shalt Not Kill…Except.

Gerry Kissell was the official artist on Running Time and will be reprising his role for the 2K restoration. He has been friends with Josh since the Freaky Film Festival where he and Bruce premiered the film on the University of Illinois campus.

Both gentlemen were kind enough to take time out of their busy schedules to talk to us.

Diabolique: Were you able to obtain the original negative for Running Time?

Don May, Jr: Yes, thankfully. Josh Becker is a true movie fan and loves the filmmaking process, so we were fortunate to work with him. He kept everything stored properly in a climate-controlled vault, as a man who cares about his movies should.

Diabolique: Can you talk about the scanning process for 2K?

DMJ: The 16mm negative was separated into A/B rolls, so we had to scan a lot of reels separately at Prasad in Burbank, CA. Luckily, because of the actual nature of the “one-take” aesthetic Josh utilized, there were only a total of about 30 cuts in the entire film… hidden in editing, of course. So, we basically scanned the 30 separate shots, and then assembled them digitally using DaVinci Resolve. We had to be VERY careful the way we put the 30 cuts back together, making sure the shots were frame accurate and of the proper length. Unlike a film that has a conformed negative separated into 10- or 20-minute reels, Running Time was all in separate pieces, with each shot edited on separate reels. It was a challenge, but we were able to use a previous master as a reference and most of it went together without a hitch. Being shot in B&W also helped in color correction to hide the edits properly to make the real-time aspect as seamless as possible. Once the film was properly assembled, we were able to ship everything off to India for restoration. Because Josh had everything stored properly for decades, the negative itself was fairly free of a lot of dirt and scratches, but we did carefully sonically clean all the pieces before scanning commenced.

Diabolique: How long does it take the digital artists to fix debris or scratches on the original negatives?

DMJ: There’s a lot of data wrangling involved. Copying data for safety. Making backups, etc. But we have a great working relationship with Prasad. They have worked on such classics as Lawrence of Arabia, How the West Was Won, A Fistful of Dollars, Gandhi, The Red Shoes, etc. They do the lion’s share of my output, and I put a lot of trust in them. They’ve never failed me. We do ship the film scans to India and that takes time. I think Running Time took about 4-5 months. I let them take their time, though, because I don’t want to have to keep sending things back for fixes. With Running Time, they did an excellent job, right from my first restoration test reels. But, again, Josh had taken very good care of his materials, so it wasn’t much of a challenge.

Diabolique: Gerry, what artwork did you originally provide for Running Time and what can we expect from you for the 2K restoration?

Gerry Kissell: I did promotional art that ended up on tee-shirts. It included the shot of the three main characters, which I called Tres Hombres, on one, Jeremy Roberts aiming the pistol at the camera on another, and the last, which you’ve seen of Bruce’s mug all heroic and chinny. All of the art was done on Bristol cold press illustration board. The new painting for the Synapse release is me, 20+ years later, a tad bit better at drawing and painting, lol.

Diabolique: Besides the idea of preserving Running Time, Don, what attracted you to the project?

DMJ: We had worked previously with Josh on Thou Shalt Not Kill…Except, and we had a lot of fun with that one. I like working with Josh. He’s a great guy, and I love that he’s so passionate about film. He loves movies, and he loves MAKING movies. It’s so great to see people like Josh doing things like Running Time, back when using computers to do a “one take” approach was non-existent. You see things today like the film 1917, which is a fine film in its own right, but they cheated a lot of its “one take” aspect using computers. Josh did Running Time, but used his brain, and actual organic film splicing and editing to achieve the same result. He’s smart, funny, talented and I love working with people like him. It also doesn’t hurt that Running Time stars Bruce Campbell, so… yeah… of course, we jumped at the chance to do it.

Diabolique: When can fans expect to see the Running Time 2K restoration?

DMJ: I would imagine late summer/early fall 2020. We’re wrapping up extras and artwork now.

[iamanartichoke]

This is neither eloquent nor organized. I’m very frustrated and I just need to get things off my chest. 

Please do not reblog this post. 

Cut for anti-Ragnarok discourse, pro-Ragnarok discourse, the Ragnarok discourse war, mention of Thorki, and general venting. 

I’m not using tags bc I don’t want this post to show up in them. Very sorry and if any of these things is one of your blacklists, please keep scrolling.

Yesterday, I read a fic.

I was wandering through some of the Thorki content on twitter, and followed a link to one of the big bang fics, bc it was a human AU and das my jam.

I didn’t recognize the author’s name. The fic was extremely well-written, though: lots of feels, beautiful narration, a sweet ending balanced with a lot of sadness. It was one of those fics that gave me a lump in my throat.

I was only going to leave kudos, but then I figured I’d take the extra five seconds and leave a comment, bc we all know how much authors like comments. I mean, I’d rather someone leave a comment than kudos, especially if the fic really affected them.I get it and I gotchu, fam. 

Anyway, so I left a comment and proceeded to click on the author’s profile to see what else they’ve written. As you do.

I recognized their AO3 icon, even though I didn’t recognize the name. I’d seen them around on some Ragnarok wank on tumblr. I went to double-check, and it was the same user, and also they’d blocked me.

I do not know this person. I have never spoken to this person. Yet they’ve gone out of their way to block me, most likely bc I associate with the anti-Ragnarok crowd. This happens to me a lot. I’ve even had a couple of former mutuals unfollow and block me (without saying anything to me) and those felt like punches to the gut.

I understand not wanting to see content that you don’t like or that upsets you. Everyone has the right to block whomever they wish. But I can’t deny that getting blocked like that – by someone I don’t know, let alone interact with – fucking hurts. I know it’s not that deep but I can admit it. It’s a shitty feeling and it’s hard not to take it personally.

It’s not really about this particular person at all, although it’s a shame bc they’re a good writer I probably would have followed otherwise. But this entire anti/pro Ragnarok war has gone so far and it’s exhausting. I stayed pretty neutral for as long as I could. 

And here’s the thing. My observations, both from being neutral and also being someone who, despite often being quietly blocked, tends to fly under the radar are this:

The majority of the negativity comes from the pro side.

Look, I side with and agree with the anti side on this one. I can admit, however, that sometimes it gets tiresome to see posts get turned into Ragnarok criticism or tiresome to see more posts on my dash about this that or another thing that sucks about Ragnarok and why. It, like anything, can be tiring.

But I also see that the anti side largely does its best to keep to itself. The pro side complained about the Ragnarok tags, so the anti side made an anti tag, and the pros still come into it to complain. The anti side will post their discussions and criticisms and they largely just circulate within the same group of people. The discussions are almost always criticisms on the source material (ie, the film) and not about anyone who enjoys it.

Now, maybe I don’t see everything. Though I don’t think I’m biased just bc I agree with the anti side – in fact, it was these attributes that made me take a closer look at what they were saying bc maybe they had a point after all. I don’t follow every anti Ragnarok user, but I do follow a lot. I can’t say personal attacks and whatever never happen - but, I hardly ever see them.

That’s not the case with the pro side. I don’t think I follow many from that side, but I see so much negativity from them. It’s like this kind of underhanded negativity that I’m not quite sure how to explain. It’s tonal negativity. 

I mean, sometimes it’s blatant. Name-calling (Loki stans, lackeys, pathetic, delusional, and racist come to mind) is an example. But more than that, there’s this collective tone among the pro side that smacks of condescension and I can’t stand it.

They make fun of the “dissertations” that have been written.

They always include an “lol” or laugh emoji or something to express that they’re not the ones taking this seriously.

They fall back on saying they don’t care about a two-year-old movie.

They’re laughing and making fun and at the same time acting like they’re so above it all.

They want us to just shut up already.

What it comes down to is this: it’s not just a matter of being able to agree to disagree because the pro side actively acts offended that the antis are even having these critical discussions, even if the antis have gone out of their way to not involve the rest of the fandom at all.

(Again, this is not every pro person, but the majority. Tone does matter online, and the overall tone of the pro side is not positive. I say this from a mostly neutral place.)

And here’s a thing about “oh my god, it came out two years ago, get over it!” Yeah, it came out two years ago. So fucking what? You guys are still engaging with it, via fics and headcanons and art. How old the movie is doesn’t matter when you’re having fun with it, but when someone wants to engage with it in a (valid) critical way that you don’t like? No. That’s unacceptable. That’s pathetic. That’s being a lackey. Get over it.

Even writing this, I know that things are much worse for others than they are for me. I get stealth blocked; others are called out by name in public posts, receive anon hate, and are actively targeted.

It’s just, this shit is so fucking toxic to this fandom and it honestly needs to stop. Both sides need to not only stop engaging one another, but also stop acknowledging one another. We get it: you either like the movie or you don’t.

Let people do their own thing. Don’t be fucking obnoxious. If you disagree and genuinely want to talk about it, then try to remember there’s a person on the other side of the screen and be civil. If you disagree and don’t want to talk about it, then just fucking don’t.

If you see a post you disagree with, scroll past. And, yes, block the person if you need to (and sometimes it might be me that needs blocking and I recognize my hurt feelings are my own personal problem, not whoever else’s).

There are a lot of movies in the MCU that are not perfect. (Btw, it baffles me a little to get hated on for my stance on Ragnarok, when I am so much more vocal [and emotionally invested] in hating the Russos and IW/Endgame – but, whatever.) There are a lot of interpretations of characters that are different. There are a lot of people who project their own identity or issues or whatever onto any particular character that resonates (and that’s okay!) and there are a lot of people who don’t project but still identify with a particular character (and that’s okay, too).

Stop judging whether someone is a “real” fan of a character/franchise or not. Just because someone isn’t engaging with the source material in the way you are, and just because they don’t see it in the same way that you do, does not make them wrong. (Yes, this applies to the pro side, too. None of them are wrong or less valid for enjoying and even stanning the movie.) It doesn’t make anyone better than anyone else here. 

Acting otherwise is honestly going to kill this fandom. Because it bleeds over. Fics will have less readers, bc they don’t want to interact with something posted by someone they dislike (or who blocked them). There’s less sharing of things like art and headcanons and content. People unfollow and block each other, people are having to watch what they say, people are losing friends (and potential friends) bc they may be a great person but they don’t agree with you about fucking Ragnarok.

I came to tumblr bc it was the only place where not only could I find other people who loved Loki as much as I did, but it was the only place where I could express that. Express it in fic, in headcanons, in meta. Being creative and starting dialogues and just interacting. I wish we could get that vibe back.

I wish none of this bothered me so much.

[thealogie]

u said the other night that u would explain the "you go too fast for me" line, i'm not the anon that asked about it but if u would be willing to do so still, i would love to hear ur thoughts. i have a straight friend who laughed at it bc they interpreted it as the surface level "crowley drives really fast" and thought it was intended as a joke and i don't know how to explain to them the depth of that line and i was hoping ur reading ur thoughts might help me articulate mine. thank u

oh yeah absolutely. I should have known that my adhd would get in the way of me remembering to explain it without that ask there to remind me!

Ok I feel like you’re asking me to explain it to people who literally do not have any media literacy so let me take it truly step by step.

Step 1: writers, actors and directors use subtext in film. Literally all stories have SOME KIND of subtext because stories suck without subtext. subtext can be things that are implied about a character’s feelings (eg we kind of know han and leia have feelings for each other before they tell us so), it can be symbols you use to encode your story with political/ideological messages (famous example: the eyes in the great gatsby...the light in the great gatsby...gatsby in the great gatsby), and you use it to create tension and raise the stakes in a scene by making the scene be about two things at once, a surface level thing that moves the story forward and s secondary thing that moves character forward...I wish I could think of any other famous example off the top of my head but the one they use in so many writing classes is basic instinct...the detective interrogates sharon stone “what’s your new book about?” She says “about a detective who falls for the wrong woman.she kills him.” She’s implying he’s gonna fall for her etc. This is super obvious but there can obviously be subtler examples

Ok so premise 2: it’s more likely that a scene or piece of dialogue or plot point serves a purpose beyond its literal meaning when reading it literally (and only literally) would render it completely superfluous to plot or character. This is especially true of gay coding in film. is there any point to Plato having a picture of Alan Ladd in his locker or swinging around a rubber hose like that in Rebel without a Cause if NOT to tell us he’s gay? 10/10 film teachers (all across the Kinsey scale) say nope all of that is there to Drop Hints He’s Gay. Ok at this point if your friends go “obviously that’s just a prop not a plot point that has another purpose as well”...he’s a great example. in BBC Merlin when Arthur is dying he gives his seal to someone to take back to Guinevere, naming her as his successor and then he goes off with Merlin who is trying to cure him and then he dies in Merlin’s arms...on the dvd commentary, as he hands off the seal, the writer of the show said “oh there goes the last vestige of his heterosexuality—i mean marriage!”...like yeah he was half kidding but writers absolutely know this stuff and they know use of subtextual cuss creates a subconscious impression in the viewer’s mind, leading them to the right emotional place (in the Merlin example, even if you don’t read the handing off of the seal as a symbol of him saying “goodbye to his heterosexuality,” it gives you the mental impression that he is easily parting with Gwen and going with Merlin).

Finally in the context of that actual scene: 80% of the conversations aziraphale and crowley have in that montage are completely unnecessary to plot. it’s all about character. By the time we get to the car specifically, we already know aziraphale is anxious about rules but willing to break them, we know these two like each other and we know crowley likes to be nice to aziraphale. So what possible new thing could they communicate? well, lots. even without a gay reading...we get that aziraphale cares enough about crowley to specifically break a rule for him, that he’d rather do this than see crowley in danger, and we also get that crowley wants to hang out and is disappointed that aziraphale won’t come with him. Up to the point where crowley offers to give aziraphale a lift as a thank you, you can be like “ok even if I read this at a surface level, I’m getting new character information, this all makes sense and is communicating new information to me” but it’s utterly pointless to have crowley offer a SECOND TIME and insist “I’ll give you a lift anywhere you want to go” and it really serves no purpose for aziraphale to say “you go too fast for me” in THAT voice if NOT to tell us a subtextual GAY story. What does it add to the story for crowley to offer again and for aziraphale to say I can’t come with you because you go too fast if NOT to also communicate to us something about their relationship? even if you don’t read it romantically it’s just so clear that it communicates crowley being needy and aziraphale being unwilling to get on crowley’s level about breaking the rules/being friends. But it’s clearly romantic (like deliberately meant to build up subtextual “oh it’s forbidden” romantic tension). Look at the performances and directing choices! They matter! he doesn’t say this line in a funny way...this could have been played as a joke. Like aziraphale was using heaven as an excuse the first time he said no to the ride but actually he’s been trying hard to hide that he’s scared of cars going too fast!! I know it doesn’t sound like a good punchline but I could 100% direct that scene to be incredibly funny with no dialogue change. You just need to change the tone and pacing to set up “you go too fast for me crowley” as a comedic reveal...but he says it softly....he says it super seriously and sadly......why.....WHY......

[d0gdaze]

Top 5 movies and why?

oh boy choosing five is hard and i could write entire essays on films i like but i’ll try to make this concise ! also i’m not gonna include any of the IT adaptions just bc i wanna spice it up a little

(no particular order)

1. fantastic mr fox

im a big ol slut for wes anderson in general but this one is just. amazing. it’s probably my most watched movie ever, like i seriously don’t think i’ll ever get tired of it. the cinnamon tography. the music. the fashion. the dialogue. that scene at the end with the wolf. “i’m not different am i?” “we all are but there’s something kind of fantastic about that isn’t there” it just makes my heart warm i love it so much. 

2. rango

yes the lizard movie. i don’t like jonathon depp really at all but like, i love this film. it’s so pretty and the character design is really cool. i wish more animated movies were like this. also it’s endlessly hilarious to me and i genuinely laugh out loud at parts even having watched it a hundred times. “thespians? that’s illegal in seven states” has me dead every single time. those walking cactus things? the armadillo? beans? the anti-capitalism? iconic, all of it.

3. stand by me

just 4 boys on an adventure and talking about their feelings. love that. teddy duchamp walked so richie tozier could run.  this film still makes me cry and i love it sm. it’s just very charming and simple and lovely and, yknow, it’s an 80s coming of age film so of course i’m all over it. 

4. napoleon dynamite

oh my gooooD a true classic. idk why i like it so much but it is just. so fucking funny to me. i can be feeling like absolute pure shit and i watch this movie and im c a c k l i n g. it’s very much a nostalgia thing too bc i watched this a lot when i was younger but its still a big fave. it’s so deadpan i LOVE IT

5. coraline

yo the animation>????? the soundtrack???????? that little cat bastard?? hell yeah. used to scare the shit out of me but now i watch it all the time. tbh any stop motion animation has me completely in awe but this one just hits all the right buttons yknow. 

honorable mentions: the aristocats, the worlds end, never let me go, moonrise kingdom, the muppets most wanted, perks of being a wallflower, back to the future, cabin in the woods, the skeleton twins, the goonies, super 8, homeward bound, bunks (lol), and definitely a lot more but like. i’ll shut up.

[drnucleus]

I don’t know what to expect from IX. I’m really hoping it is endgame and they don’t just drop the romance angle, but it’s also kind of what I’m expecting? Like I don’t expect follow-through from it, even though I would love it if it happened

Hi Nonnie, 

I totally get it. I understand that completely. Do I think it’s endgame? Yes. 

However am I going into IX with any expectations? NOPE. I’m a fandom granny. No seriously I have lived through so many fandoms that I simply go in with no expectations. That way if what I think might happen if even in some small way happens then I will be super happy and overjoyed and if it doesn’t I am usually able to divorce myself from my disappointment and respect the creator’s vision.

As a writer and someone who was professionally trained to do so, I know that creators have a vision. They have an endgame in mind. And they drop breadcrumbs about it from the beginning and if you’re clever enough to see them you usually can figure out any story. 

This is why I ruin police procedurals for my mom. My dad and I made a game of it watching Law and Order as a kid growing up (and I mean OG Law and Order with Det. Lenny Briscoe). Whomever could figure out who committed the murder first won. We used to keep a running tally. My dad was really good at it, but when I got really into reading and started reading mystery novels and horror novels and other stories that rely heavily on mystery boxes I started getting better at it. We also watched Law and Order because my two actor 2nd cousins have been guest stars as defense lawyers idk how many times but that’s neither here nor there.

And tbh ESB’s twist of Vader as Luke’s father came as such a shock because IDK if even Lucas really knew he was going to do it until he did it. Luckily the story was vague enough in ANH that a throw away line about certain points of view was enough to close what could have been a crippling plot hole. 

My mom is an OG Star wars fan. Mostly bc she loves the pew pew and the lightsaber battles, and secondly because Harrison Ford is a very handsome and talented man (tbh my first crush was Han Solo and second was Indy).

My mom was there when everyone was UP IN ARMS about Leia and Luke kissing. And how that was SOOOOOO going to be endgame. Which originally Lucas had intended that Leia would be a love interest for Luke and that the twin sister would be revealed in 7, 8 and 9 someday. However during writing ROTJ and filming ESB he decided to really hone in on Leia and Han’s chemistry (granted Irving was directing then) but he made the narrative choice to make Leia the sister and Han her love interest. It simultaneously elevated Leia’s narrative importance and made her the leading lady of her own story on equal footing to her equally powerful twin brother instead of just being Luke’s sidekick love interest.

Even when I was a KID and I saw ESB it always kind of made me laugh that Leia’s response to Han goading her about liking him was to smack lips with the only other humanoid male in the room just to prove how NOT smitten she was with Han. (AND if that doesn’t make her simultaneously Padme and Anakin’s child I don’t know what will convince you otherwise).

TPM came out when was was 13 and a half which will be 20 yrs ago next May - HOLY FUCK. And I’ve been an avid reader since I could read so I had gobbled up countless numbers of books by then. I was in the theater with my parents and legit held my hand up over Ian’s eyes and gasped and tugged on my mom’s sleeve. 

“Mom that’s THE EMPEROR” and she was like “No honey he’s just a senator who’s now chancellor of the republic”

And this was still in the age of Dial-up internet and no IMDB. So I did my own digging and found our VHS copies of the OT and looked at the cast listing at the end of the movie. And saw the same name playing the Emperor as the man playing Senator-Chancellor Sheev Palpatine. Now the movies in the OT never actually say the Emperor’s real name. He’s just the shadowy, scary Emperor with lightning bolts shooting out of his hands. So like we knew in TPM that Palpy was going to become the emperor. Now say what you will about the Prequels but Lucas did do a fair bit of narrative arc planning with it than what he threw together with the OT. 

He knew we had to meet Anakin as a boy, see him as a caring and compassionate individual who is uniquely gifted in the Force. And that had circumstances been different he would have probably been the paragon force sensitive and balanced the force. However due to realistic flaws of all characters, good and bad alike, including flaws within Anakin’s character himself he falls prey to the darkside and it’s temptations and then becomes the very thing he feared.

Tbh next to TLJ, ROTS is right up there with ESB as my favorite in the saga. Sure the dialogue is wooden and clunky. Lucas is not a dialogue director. He’s a vision director. He has a scene in his mind, and he wants it played like that. Which is fine. He also came from a school of thought in the 1970s where sci-fi was pure camp and overdramatic. His style never really changed. The OT is so lauded because he didn’t direct all of them. He had other people come in and he had script doctoring and his first wife in the editing room taking his vision and turning it into a cohesive narrative. We seem to forget that Lucas was a young dude right out of film school when he made ANH. He barely knew how to string a narrative together and the early cuts of ANH were terrible and nowhere near what people saw in the theater. Don’t believe me? Google “how star wars was saved in the editing room” it’s a remarkable story about how Lucas’s first wife and principal editor basically made ANH into an actual story instead of a mish mash of ideas that it was before. The prequels had Lucas at the helm for all three. Yes by then he had gotten a hold of narratively what he wanted to convey, but he still didn’t always convey it in the most efficient ways.

But there are moments in the prequels that I’m stunned by their perfection. “This is how liberty dies? With thunderous applause.” as Padme watches in horror as the Republic becomes an empire before her eyes. It’s perfect to convey the horror she feels and her disgust at what the thing she’s fought for so long to just crumble and slip away. 

Or the entirety of the Anakin v. Obi Wan Mustafar battle. Visually STUNNING, and heartbreaking. You can feel how much neither of them want to fight the other but how they both are so entrenched in their now opposite ideologies that they know they have to fight. 

I’ve also been a fan of JJ’s for a long time. 

Sure he loves mystery boxes but he usually makes the answer SO obvious that most people ignore it. 

Like on Lost which I never actually watched save for maybe a few episodes, it’s pretty clear that something metaphysical is going on in that island with the crash. And there are clues dating back to the pilot as to what happened in the finale. 

In TFA we’re introduced to Rey. We’re given a mystery box of who is Rey and why is she important and who is her family. But we’re also given the answer. She’s no one. And that’s why she’s important. She is no one. She doesn’t need to have this huge galactic sized legacy on her shoulders to be important, to be special. SHE IS NO ONE. And that’s why the Force chose her as its vessel. 

Reason why is that she’s narratively the perfect foil for her counterpart Ben Solo/Kylo Ren. He has all that legacy and weight on his shoulders. They’re equals in power in strength, in light and darkness. They are complete equals. And TFA was all about establishing that fact. Now TLJ was all about deepening that initial connection. To get them both to scratch beneath the surface of one another, and get under one another’s skin. In doing so Ben learned that Rey just wants to belong, to be loved and have a place in the galaxy. And Rey, she learned that Ben is just as lonely, but has rejected his birthright because he felt rejected and abandoned by those who should have unconditionally loved and protected him from Snoke (which granted OT Trio tried but they def didn’t have great parenting examples either sooooo).

Now as an adult Ben is bitter, full of resentment and rage because the people he should have been able to count on fucked up royally. And I love that. I resonate with it because of my own experiences as an abuse survivor too. But even more so because it makes Han, Leia and Luke less perfect legends and more human. It makes them real and relatable that they tried to do everything right by their kiddo but ended up fucking him up.  Luke’s betrayal itself was the least shocking part of TLJ tbh. Like does no one remember him going ABSOLUTELY banana balls insane when Vader threatened Leia in ROTJ?

That kind of Skywalker level extra doesn’t just go away with age. 

And yeah Ben needed someone in the fam to be like “so kid, um, lets talk about this.” No one in the OT Trio is good at talking about their feelings. Luke tries to control his by just not dealing with it - the kind of thing you’d expect from a “pray the depression away” type. Leia ignores it and bottles that shit until it comes out as thinly veiled anger. And Han is the most ridiculous of the three with his constant hot and cold routine throughout ESB.

The ST is yes about the failures of the OT trio, the failures of the Jedi and the Sith. But it’s also a story about the force and it’s two chosen vessels. A girl from nowhere and the last scion of the Skywalker line. The fact that their connections in TLJ are coded as sexual awakenings is very indicative of where I think this is all going to go. The Force is basically the Skywalker Patriarch if we’re going on the whole immaculate conception with Shmi. And Ben fell from his path for years now thanks to the other Skywalkers falling from the path and inadvertently pushing him down the rabbit hole with Snoke, manipulating everything like a master of puppets. 

JJ himself even said he was upset that he didn’t get to direct TLJ because he loved Rian’s script so much. 

I have faith we’re going to get a hell of a finish to the 9 film Skywalker saga. With Reylo as endgame or not I think we’re going to get something truly satisfying that links all 9 movies together in a way that will have meta writers writing for years to come about all the parallels and thematic Leitmotifs within the narrative as a whole that encompasses technically 4 generations of Skywalkers (Shmi, Anakin, Luke/Leia, and Ben).

When Ben killed Han in TFA and you get that focused in shot of Adam’s face as the weight of what he just did HITS him and his eyes widen and his lips part, you see the exact moment he shatters his soul realizing that he just seriously fucked up. I leaned over to my best friend that night in the midnight showing and said “do you smell redemption arc?” and I’ve been on that train from day one. 

If he were truly irredeemable he wouldn’t have split his spirit to the bone by killing his father. He wouldn’t have cared to try to convince Rey to be her teacher in the middle of their battle. He wouldn’t care that Rey stares at him like she did that night and call him a monster. A real monster wouldn’t care at being called one. And is so very shook and pained by that moniker with his lower lip quiver and his eyes red rimmed. If he were truly irredeemable he wouldn’t have killed his master just to save the girl, he’d have just usurped power and shrugged her off instead of trying to convince her to stay with him. He wouldn’t have addressed her fear and insecurity of being nothing and no one while shaking his head and saying “but not to me”. If he were truly a monster he would have pulled the damn trigger when his had the bridge of the Raddus in his sights but couldn’t because he felt his mother’s love for him even after everything he’s done.

Has he done terrible things? YES. He definitely has. But he has the equal potential for amazing things as much as he has for the terrible things he’s done. And I for one will be happy to see him begin to even slightly embrace that potential by the end of ep 9. Reylo or no Reylo I’m sure I’m going to be happy with ep 9. There’s no way Adam and so many other brilliant actors would have signed on without at least knowing where this is all gonna go. Adam himself was hesitant to take on the burden of SW but was convinced to do so because of the complexity of Ben’s character. That to me says we’re getting something amazing in ep9. And I can’t wait.

[smoria]

Ok so obviously you know I don't really watch, nor do I like, Riverdale. But tbh as cringey as S1 was, it wasn't that awful. I started watching bc I live where they filmed it and I thought ok sure why not. It was a good 'dont need to think too hard' tv show to have on and it was no worse than some others I've watched (lookin at you PLL) S2 had me like :/ ugh and by the end of it I knew I was jumping ship. The characters and plot because Too Much wow I'm running out of ask room

But yeah S2 is what made me jump ship they were trying too much and getting nowhere? like the plot didnt even really make sense. And now s3 dont even get me started like what the fuck how can you possibly write such trash and have people think its good? I’m genuinely embarrassed for the actors in this season because its so bad.

I had so much to say that I put it beneath the cut. You can tell how passionate I am. This is why I call it my five cents because I end up saying more than what needs to be said.

Though you really don’t watch, I appreciate your input. I actually like season one and it was a decent start that I was genuinely curious to see where it would go, but boy oh boy! the rabbit hole that it ended up going down. Did season one have cringeworthy moments? HELL YES, but it felt appealing to me for some reason or another and the show knew what it was doing and exactly what it was, which I have stated was a campy, overdramatic teen soap opera, but it had promise. It had potential that was immediately flushed down the proverbial toilet and turned into the roman orgy we know it as now.

Characters had aspiration and room to grow. The writing still needed work and the dialogue made me want to wring my hands in frustration, but as we got into season two, I saw where it was headed in terms of writing and character motivation and development. It got right down to all things uncanny and wild, which I wasn’t a fan of – developing storylines that seemed to have no real end in sight which didn’t help when they wouldn’t even get to the actual main plot [whatever that ended up being] and it pulled a pll in my eyes when it started to become more centralized on the ships.

I felt no mystery unless I was meant to feel it which was very far and few between. It felt like it got longer with filler and it just kept getting worse. I started feeling like these teenagers [which we all know they’re supposed to be] were going into their late twenties into their thirties, ready to settle down, get a mortgage, and have a couple of kids – white picket fence with a golden retriever. They are already so ride or die, it doesn’t even feel real. Season three is by far the worse because it feels so supernatural that we aren’t even supposed to take it seriously – which we both know that I don’t by the way my posts look.

I’m not into the whole R/V/A love triangle shit. Might as well have them be in a poly relationship, but know like hell they won’t since R and A are too hard headed and stubborn to let V go. They have B looking like Miss Perfect even though this whole damn town needs therapy. Riverdale skips over so much of mental health aspects with each character having their own issues completely skated over. The Farm makes no sense, G&G is just an off brand of D&D that took its own fizzle rocks and went for a ride in a Mustang, and I don’t think they’ll ever penetrate much of the issues they have with this current season in ONE episode.uih 

TL;DR: Get the town of Riverdale therapy, let V be single and figure her shit out before she gets into a relationship with someone else, pump the brakes on the what feels like several mini subplots and focus on at least two, and stop making me forget that these are juniors in high school. #savemefromgettingmyentireliferawdoggedbyriverdale #getmeagreasemonkeysoicangetthatlube.

[noussommeslessquelettes]

🌻 ~50~ bc I thought of a question that I don’t think is on the list- do you have a favorite quote or line from your writing? Not even necessarily a favorite just like, are there any lines that you really love? Also, 30? (and possibly 40 if there’s any random jay factoids you have bc I l o v e h i m)

50.  [Other question—ask me anything]

Ooh yes, I have lots of fave lines from my fics. I think one of the lines I’m most proud of when I think about it is this one from Brother:

The deep brown of his irises was washed of its richness by the harsh light of the screen, like a photo that’s been overexposed: too much light coming through the aperture, becoming a display of so much of everything that no single feature could take discernible form. The weight of his stare pressed deep into Lance’s chest, his lungs seizing while his heart raced in a vain attempt to remedy the former.

I think of my writing as fairly utilitarian; I try to spare a lot of description in favour of action and dialogue. So like I’m pretty proud of this part because it’s the kind of thing I don’t do often, but I think I executed it pretty well. Especially because it’s a fic about Lance being a film major, and I was able to use photography in the imagery lol.

Also it’s got a Fall Out Boy reference because I’m Like That gkjgfkj.

30.  Favourite idea you haven’t started on yet

I’ve outlined for what will hopefully be the next story I post after this current WIP (WHICH I HAVE TO NAME BECAUSE I’M SO TIRED OF CALLING IT “CURRENT WIP.”) It’s a college AU where Keith gets tricked by Hunk and Pidge into joining the school newspaper and writing the weekly horoscopes (under a pseudonym,) then he uses it to mess with Lance who is obsessed with them. I want it to focus on autistic!Keith, and I’m hoping it’ll play as a comedy with some Emotional moments (bc u know I drink that shit up)

So I’m pretty excited to get that one started!

40.  Share some backstory for one of your characters

Hahaha u had me thinking about Jay all week I’ve got a little bit for u

He’s a bona fide Toronto boy, grew up like actually in the city (not like my ass who lives just outside of the city [but I spend so much time there so liKE TECHNICALLY--]) Through the story he’s dating his highschool sweetheart, Sarah. She’s a lot like him: fun-loving, rags on u to show she cares, but she can be a bit more serious than Jay at times and she’s definitely not afraid to call him out on his shit. I allude to this in the ANs at the end of Convenience but they break up some time after the end of the fic. It’s an amicable and mutual break-up; they basically both realise that they’re way better off as best friends than they were as a couple, and they’re both kind of sad that it’s over--because they’d been dating since like grade 10--but they both know it’s for the best.

She’s technically the first person he comes out as bi to, but she’s the first he tells. (He first comes out to Lance and Keith after the break-up, basically saying that now that he’s single he wants to go with them to a bar. A very specific kind of bar. Keith’s like “why would you want to go to a bar with a couple?” and Lance, whose bi-fi has been going off on Jay for a while now, catches his drift and is like “honey he gay.”) He’s scared to come out to Sarah initially, even though he knows she’s cool and he’s known her forever, because he doesn’t want it to seem like that’s the reason they broke up, but she’s super supportive about it, including when he starts dating his boyfriend, Isaac. (I named him Isaac right???)

He and Isaac meet at the bar the first night he goes out w Lance and Keith. They go home together that night, after being jovially teased abt it by their respective company that night, but end up falling asleep on the couch talking and joking. The next morning Jay wakes up to the sound of a sizzling frying pan, and he walks in to see that Isaac is making them omelettes (plain because Jay has nothing at all in the fridge except a carton of eggs, some red bull, and three family-sized bottles of ketchup. Seriously, who the fuck let him live by himself??) Isaac fucks up the omelettes and they end up being more scrambled eggs than anything, and that’s the moment Jay falls in love with him.

He takes his time before coming out publicly, and when he does he declares their team to officially be the gayest in the league. Keith hands Jay the cup when they win it (bECAUSE THEY DO WIN IT EVENTUALLY I’M THE WRITER I DRIVE THE FUCK TRUCK THIS IS MY STORY AND I DECIDED IT)

Also Jay’s a big cuddler and he platonically spoons with literally any teammate who is willing to when they’re on the road. Very often this ends up being Keith because he’s the easiest one to annoy into doing it.

A Writer’s Ask Game

[ziracona]

One aspect I find fascinating about your fics is that Meg and a lot of the other characters are pop culture savvy, but also live in a universe where some of the most popular horror characters were real people. So, how do you think they would've reacted to meeting Nancy and Steve, who come from a universe where Michael, Laurie, and Freddy are all horror movie characters?

Ahhh thank you so much! I’m really glad you liked that. Pop culture was a really big element for a lot of the cast, & it is kinda funny I guess that several of them /are/ core horror pop culture.

So, this is kind of a hard one for me to answer, because I didn’t do ILM canon like DbD official canon. I do explicitly reference Stranger Things as fiction in Nearly Departed, but that was because I had not the foggiest clue DbD would /add/ a Stranger Things chapter—both because it’s super new and ongoing unlike their other horror “classic” staples, & because I wouldn’t even really call Stranger Things horror. I had been so damn careful 😂—I think the only horror film I name is Friday the 13th, which felt safe at the time because it’s got its own similar game & thus seemed unlikely to give DbD rights. If I had included Nancy & Steve, I would have gone back and replaced that segment with something similar, and just had ST exist in the same world as Halloween, NOES 2010, and Saw/all of the ILM cast. It’s the best solution, and you really don’t have to change any of the stories to do it. All that would have to change is that in this version of ST, Max wore a different Halloween costume, & three lines of dialogue are different. Fundamentally it’s exactly the same world. I know that’s maybe not the most exciting answer TuT, but it’s what I’d have done for a few reasons. Ima drop the rest under a read more bc I go way into writing & a little w horror meta tho: 💙

For one, it’s just kinda sad. It lowers the storytelling stakes because even a best-case scenario would be kind of a letdown for everyone. Not as much to gain: Not as much to lose. So, sad emotionally & kinda less motivating story-wise. Like, if any version of a happy ending even hypothetically would always mean these people who have bonded through years of self sacrifice and friendship and trauma and growth either /never/ see each other again, or go to one world together where only maybe one person would ever get to see their OG family again, and might also have to suffer with seeing their life as a film on that planet? Joked about, critiques, not taken seriously, no privacy? That’s just. It’s not a happy ending, or a satisfying one, even for the characters to /fight/ for, regardless of if they can win it or not. 

I’m aware that official DbD is multiverse, and there’s no assurance for even say Claudette and Meg being from the same world, let alone the world Halloween happens in, and was when I started writing. I just elected to ignore it. The devs even also explain a lot of the cosmetics as “alternate world versions” of the characters, instead of just fun costumes. I personally think that’s silly? And I’ve really never liked the multiverse decision. I got nothing at all against multiverse stories—they can be amazing—but you’ve got to have a reason if you do, and as far as I can tell, the only reason DbD is multiverse was so the Devs could release a bunch of classic horror characters into their game without worrying about continuity, which is lazy & not a great reason to pick multiverse. It can be great for stories, but in DbD, it would if anything just detract from the reality of the situation & the storytelling? Like, if I showed up in a hell pocket universe, and Michael Myers was there, it would be hard to take that situation entirely seriously, and it would fundamentally change how I interacted with others & they with me. If I knew his history, I’d use that to try to get through to him (what’s the worst that’ll happen? I’ll die like I do every day anyway?), but it would also be just weird & hard for people to relate. Like, if Steve Harrington has had conversations with a buddy about Laurie Strode being careless for not double-tapping her dead assailant & thinks of her as Jamie Lee Curtis & in some ways knows more about her life & family & universe than she does, but knows it all as an element of fiction? And at the same time, Kate’s seen Steve’s actor do interviews & play other roles and caught continuity errors in his /life/ while watching ST??? Hypothetically, someone /could/ unpack all that to tell a story, & maybe a fan has, but the Devs/game really, really haven’t, and in most instances, it’ll just mess up the characters’ abilities to relate to each other as human beings, as well as being miserable for the ones told they’re just characters from horror films in other people’s worlds.

The way DbD is set up really doesn’t lend itself to the kind of meta character vs humanity, role relationships between fiction & life narrative of, say, The Final Girls. Really all it does is make the world less real feeling. Less whole, more artificial. Less to be taken seriously, less belief willing to be suspended. Why are Laurie & Quentin fake in someone’s world? Does Meg not being in a story in Quentin’s universe mean she’s more real? It’s just messy. Multiverse is fine, but if you pick multiverse solely to make your job easier, at the cost of a more coherent, real, and engagable story (@ Devs >.>) that’s lazy/bad writing. I’ve read & enjoyed multiverse stories, but I’d never write DbD that way, bc I’d need a reason to, and I don’t have one. There was really no need for the devs to feel like they had to either, except pure ease w no work at all thinking about how or needing to explain anything, and I wish they hadn’t. : /

Like. Technically, Halloween & Scream shouldn’t be in the same canon—Halloween H20 plays a chunk of Scream 2 on TV, Scream 1 they’re watching Halloween 1978 & Scream 4 Sidney is asked “Who are you? Michael fucking Myers?” When she survives a murder attempt. But that’s not a big deal. It’s not a pivotal piece of world building and canon for either franchise. Scream is not fundamentally different if Randy is watching Friday the 13th or even some made up film, instead of Halloween. On top of that, a lot of horror references each other for fun and as tribute and I’m a huge nerd who adores this tradition. 😂 Scream & Halloween are so tight as franchises by the time Halloween H20 was released, that it actually uses chunks of Scream’s OST. It’s much better narratively for DbD if they’re all from one world, and in a way, it’s just a cool next step to the preexisting horror friendship metas between a lot of films. It’s really fun to figure out how they’d function together in one universe.

Anyway, that was long but I have so many thoughts on DbD & writing thank you for giving me an excuse to gush!! And thank you again for the compliment. I’m really happy you like my writing. It means a lot. 💙

[physiiological]

hello just stopping by! do you have any tricks on how to get better at writing film essays? By the way I also do NCEA but lvl 2 :") film essays had always been the most difficult task for me to write and I always get lower scores on that topic during mocks.

hi lovely, thanks for dropping by!

first of all I can definitely understand you bc from experience I know that film essays are no walk in the park and in fact, I didn’t do as well with those exams last year (got away with 5) but I will try to help you the best that I can! click below to see some handy tips and tricks a seasoned NCEA warrior has learnt in the short time frame of 12 months :~) 

so real talk, the most important thing to do is to actually know your content. Know your film, know your director, know it like the back of your palm/like it’s your best friend. There’s nothing more embarrassing than telling the marker that you will be exploring ‘V for Vendetta’ by ‘some director’. So in the next month or so, try and devote some time to ‘get to know’ your film; understand its themes, main messages, settings, visual features + anything/everything you can think of!! 2016 was such a shock set of questions for me so you never know what NCEA will pull out of their butts this year. (if you’re seriously strapped for time, try to find the director’s commentary for your film - it’s worth it - kudos to @literate--trash for this tip) 

Secondly, understand what in the world the question wants you to do/is asking you. If it asks you how ‘the relationship between characters helped to illustrate one or more important themes. ‘, don’t try and brain dump by completely transforming a memorised symbolism essay to match the question. 10/10 times it does not work so follow step one and make sure you are prepared for anything NCEA may throw at you~~

ok - game time; but before any writing is to be done; plan plan plan. MAKE A PLAN. I know I know; ‘but I know how to plan! I do it in my head / I don’t need to do it’ but believe me the driving force behind all successful essays is a good plan bc if you don’t have one, you end up ‘waffling’ and rambling and your markers will not only be very unhappy, they will most likely shift down criterias as they read your essay; so learn how to plan! ‘unpack’ your question - find out what they want, decide your main points that you want to argue and list down how you will structure that argument - which means brain dumping all important quotes, film techniques, camera shots, sounds, symbols basically ANYTHING that will strengthen your argument!! I know this seems like a big ‘waste of time’ but like they say; a little goes a long way. It only takes about 5-10 minutes, the only regret is I wish it didn’t take me almost 3 years to realise that........ Your plan defines the quality of your writing (like 90% of the time, but hey if I did okay w/o one then so can you - DO NOT RECOMMEND THO) 

a strong intro is key!! so make sure you start off with your film, director, year and ‘seamlessly’ include the three points you will be arguing to answer your question. this will help the marker so much and you as well as all the info is laid out in the intro 

When you’re writing, make sure you have a ‘framework’/’structure’ that you know you will use to make sure you’re enroute to actually finishing the paragraph. Structures like ‘PEDAL’ / ‘TEXAS’ / ‘TAKO’ / ‘SERQUEL’ will definitely ensure you get your analysis and quotes in there properly, which at this level is crucial for those e’s. For those extra brownie points, ALWAYS refer back to: 

the question - okay, you wrote a paragraph about how this relationship affects the theme of identity; so what? make sure your paragraph answers the question and do this by summarising at the end!! make sure to constantly use keywords from the question as to show that you are going back to the question and that you are ‘answering’ it :-) 

the director’s purpose - ok kwl this dialogue was used and lighting was set specifically for this scene, but why? what was the director trying to achieve? What were they trying to show you? Did it link back to the theme? Did they want the audience to feel something? WHAT WERE THEY DOING??????? (this is where your interpretations come in!!) 

society - I’m sure since Level 1 you’ve been hearing about this ‘real world context’ and let me tell you now, if you know how to utilise this strategically, you will get ultimate brownie points (aka the golden 8). So for example, if you were talking about how a relationship showed the theme of identity, you can link it to a discussion on how relationships are important in our teenage years to ‘discovering’ who we really are bc people can bring out different things in us and what not. 'insightful’ comments are highly praised so do try and think outside of the box! markers love ‘originality’ but in saying this do make your conclusions/connections plausible!  if not, go with your gut :-) 

p.s - make this convincing!! if you half-ass your arguments, your markers will know, and they will not hesitate to hand out bad brownie points (trust) consistency is key so make sure you’re doing these in every piece of evidence you’re introducing! 

okay! so you’ve done everything above, you’ve successfully analysed, provided examples, made links to director’s purpose, themes, to the real world/commenting on society (or whatever the question needed you to do), now what? 

Now you get to walk out of that exam room and give it the finger. You never have to write on that stupid piece of paper ever again.......

But that’s after you finish your conclusion, of course ;)

The conclusion is basically the cherry on top and literally the .1% you need to get yourself across the finish line. Make it impactful. Summarise your points that you argued and more importantly; show them what the film taught you/taught society by referring back to the real life links you made in your paragraphs. Show them what the director showed you and how this may apply in your life. No fluff. No extras. Just summarising what you discussed and most importantly; answer your question. How did the relationships illustrate your themes? Base your conclusion around your question. No more new points pls, the marker will be very tired at this point (as will you I’m sure). As it is a conclusion, keep it short, sweet and simple (unlike what I’ve done just now lol sorry). 

Anywho I could ramble on forever but i’d literally be going against my own advice if I did so I hope this helps! Do let me know if you have anymore questions/ want more advice (what film are you studying?) and I will try to help you to the best of my abilities :-) english is always a nightmare and a half but with practice, it’ll come naturally! Let me know how you go in the end too! All the best and good luck for the rest of your exams lovely x