#like i talked about it a bit in my byronic hero post but there's a thing of pathologising and infantalising gothic heroines which i mean

[pynkhues]

https://www.tumblr.com/pynkhues/769063810095087616/im-curious-about-your-thoughts-on-something-i?source=share

Okay this whole post just blew my mind

Ahaha, I hope in a good way!

[kellyvela]

Byronic heroes are always my favourite and I was so surprised when I came from other fandoms with mutuals of mine who shipped the H*und and Sansa and then discovered Jonsa. To me Jonsa is so much more obviously fitting to the ship archetypes I'm used to (woman powerful with emotional and spiritual acuity vs. mean sad man) and what I thought I shared in common with my online friends. Like, in terms of characteristics the H*und really doesn't fit the Byronic hero, he's a fragmentary Beast in Sansa's story and ultimately peripheral to her endgame, whereas Jon just through and through meets the criteria for the Byronic hero... and future Beast in Sansa's story...

It makes sense to me GRRM would continue to explore the BatB motif through a major pair of characters and not shuffle it off to the side. But moving back to what I was saying, and away from canon speculation, I'm just so surprised the H*und pairing is popular and taken for granted as being canon... and popular with my enemies-to-lovers and Byronic hero-shipping friends lol!!!!

I guess that might just be me though, but I just thought that was so interesting, and of course there's that bit with the H*und where Sansa is only a little girl, I had a very different impression of the pairing before I investigated the text. I mean, I saw people talking about how well the H*und and Sansa would've got along as children because they both believed in stories (before his disillusionment) - mind her age in canon lol - imagine my surprise when I discover this is literally a canon trait about JON!!!!!!! Why do Jonsas get such a bad rap lol, Jonsas are literally just studying the text and not even having to do hard work to make up headcanons!!!! Like it's all there!!!!!

Anyway, I just wanted to share that just because the superficial traits in common between the H*und and Jon came up, and it made me think about the fandom perception and what I had encountered before I actually read the books and found all of the Jonsas on Tumblr. Thanks for all of the wonderful posts you make.

I really wonder where that fandom divide comes from, like I search for Byronic heroes everywhere, I found it in Jon, not the H*und lol. Do you think that's as something as simple as the fact that Sansa simply has more on-paper interaction with the H*und - though in this case I'm not sure what explains Jon and D*ny being popular - or something else? Like is Jon just a bit more archetypically inscrutable, or not taken as seriously? I personally feel like both Sansa and Jon suffer from the same issues in fandom perception - not being taken as they are and not taken seriously, Jon's a simple fantasy hero and Sansa's a silly girl etc. when they're so much more. That's why I love them both.

Thank you and hope you have a great day.

Hello Anon! Thank you so much for your kind words. And you are so right with your observations.

By definition, a Byronic Hero is a protagonist. Jon Snow is a protagonist and the Byronic Hero of ASOIAF. GRRM has said it himself:

Q: One viewer wants to know, what character would you play?

A: If I could magically clap my hands and become a different person and, it would be could to play, you know, Jon Snow, say, who’s much more of the classic hero, everybody wants to be the classic hero.

—Game of Thrones’ Author George R.R. Martin - ABC News [April, 18 - 2014]

And the character I’d want to be? Well who wouldn’t want to be Jon Snow — the brooding, Byronic, romantic hero whom all the girls love.

—GRRM - Meduza - 2017

There is a lot of confusion, cursory reading and wishful thinking around that other character, a whole made up narrative that has lasted so long, and has been repeated so much, that people have accepted it as true and/or canon. But it's just so ridiculous, to believe that a non-protagonist, a non pov, just a back row character, can be a Byronic Hero and/or the love interest of the Classic Princess of the story.

The "confusion" is so big, that those shippers just ignore what, GRRM, the author himself, has said about that ship, and prefer to keep believing in their wishful thinkings:

weltraummuell: The Hound Oh please don’t cast an old guy for the Hound, his scenes with Sansa are so romantic and erotic, I couldn’t bear if it’d feel creepy all of a sudden. Well, that’s me making demands. LOL

GRRM: Re: The Hound Old guy? No, but… the Hound is still a whole lot older than Sansa, and was never written as attractive… you know, those hideous burns and all that… he’s a lot more dangerous than he is romantic.  

kestrana: The Hound Yeah its a “girl always wants the bad boy” kind of thing although Sansa seems to pull something else out of him. It feels so wrong sometimes but I want to see them together again tee hee.

weltraummuell: The Hound Hehe, George, maybe you didn’t intend it, but he turned out to be a very erotic character to female readers. Especially since he’s mutilated and dangerous. Makes him unpredictable and vulnerable which is the most explosive aphrodisiac for a girl’s fantasy. ;)

weltraummuell: The Hound And I know from discussions on other board other women feel just the same about Sandor. He’s an absolute favourite with the ladies!

halfbloodmalfoy: The Hound LOL, you’re such a man. To many of us women, dangerous *is* attractive.

GRRM: The Hound But no one has any love for poor old Sam Tarly, kind and smart and decent and devoted…

[Source]

GRRM: I am sometimes surprised by the reactions, of women in particular, to some of the villains. The number of women over the years who have written to me that their favorite characters are Jaime Lannister or Sandor Clegane [the Hound] or Theon Greyjoy… All of these are deeply troubled individuals with some very dark sides, who have done some very dark things. Nonetheless, they do draw this response, and quite heavily, I think, in the case of some of them, from my female readers in particular.

Veronica Belmont: I’m a big fan of the Hound, myself, actually.

Tom Merritt: Of Sandor? Really?

Veronica Belmont: Yeah, the Hound… Maybe it’s not because I feel any compassion towards them, I’m not really sure what the attraction is. Ah, I’m not going to call it attraction, actually. Let’s just say it’s a fascination, perhaps.

GRRM: [Chuckles] Well, I mean, fascination is one thing, but some of these letters indicate that there really is like a romantic attraction going on there. And I do know there’s all these people out there who are, as they call themselves, the “San/San” fans, who want to see Sandor and Sansa get together at the end. So that’s interesting, too.

Tom Merritt: The TV show has sort of played with that a little, and probably stoked those fires.

GRRM: Oh, sure. And I’ve played with it in the books. There’s something there, but it’s still interesting to see how many people have responded to it.

[Source]

Question: “Is there any fan reactions that you have been surprised by, like is there a character that’s more popular than you thought or have people been shocked by something you didn’t think we would be shocked at?”

GRRM: “I’m reasonably certain what people will be shocked by. I knew that the Red Wedding would provoke a big reaction and it did. I was pretty confident that, you know, throwing Bran out the window and then killing Ned in the first book would get reactions, and indeed they did. All of those worked exactly the way it did to the extent that things that have surprised me, they tend to be smaller things. I guess I… Maybe I should not have, I don’t know. How do I phrase this without getting myself in terrible trouble… I guess I don’t understand women, but I was definitely, you know, way back when, surprised by the number of women who reacted positively to characters like Theon and the Hound as dashing, romantic figures. The san/san kind of thing took me by surprise, I must admit, and even more so the women who, and there are some, who really like Theon. So that surprised me.”

[Source]

If you search here or on other platforms, you will see that these shippers cherry-pick here and there from GRRM's words to support their ship and live in perpetual denial and willful blindness.

That's why you will read that according to them Sansa ships herself with their fave; that GRRM also ships their ship; that he has commissioned fanarts of their ship; that since he wished that the actor that played Vincent (the Beast) in the TV series to play their fave in GOT, then their fave is The Beast of ASOIAF; that since he called Vincent (the Beast) in the TV series, a Byronic hero, then their fave is also a Byronic Hero. And s long et cetera....

Their own love for their fave character makes them believe that Sansa is attracted to old, dark and dangerous men like their fave, but that's just a serious case of projecting their own fantasies and lust on a fictional 12 years old girl....

And about Jon and the ship with his aunt, well, I think there's also the same combo of a lot of confusion, cursory reading and wishful thinking, starting from the association of Jon/Ice and aunt/fire then Jon/aunt are the Ice and Fire of the story. And here again, people just ignore what GRRM has said on the subject.

��¯\_(ツ)_/¯

Thanks again for your kind words and your best wishes, the day I got your message I had a really great day, it have been a really great time recently and I thankful for it.

Good night ♡

[floriannas]

What Exactly Gothic Is

(Let me preface with trigger warnings, because Gothic makes a point of delving into dark themes: murder, abuse, racism, homophobia, incest, ableism, misogyny)

I have seen certain posts about what the definite characteristics of gothic fiction are that, I hate to say...felt either incomplete or inaccurate. And that has bothered me enough to make my own post about, at the very least, my understanding of this genre. 

Some things to get out of the way:

Gothic does not have one fixed definition. It is fluid and nebulous, and while all literature reflects its society, genre changes massively depending on where it was written. Canadian Gothic is not Welsh Gothic is not American Gothic. Victorian Gothic is not contemporary Gothic is not Regency Gothic. Nineteenth century British gothic is often in response to the drastic technological changes of the industrial revolution. Welsh Gothic has a lot of focus on the disenfranchised and the coal mining industry. Where and when your WIP is, and where and when YOU are writing it, is going to define it. 

We cannot talk about Gothic as a genre without talking about the racism that much of it is rooted in. We cannot ignore Charlotte Bronte’s dehumanising description of Bertha Rochester, a creole woman. We cannot ignore that Edward Hyde’s physical description is less ‘white’ than Henry Jekyll’s. We cannot ignore Heathcliff’s identity as a racially ambiguous villain. We cannot ignore just how bigoted in every way Dracula is. We CANNOT ignore the whiteness of much of the ‘feminist’ gothic literature, either. This is something you must be aware of if you're writing Gothic - it is not integral to gothic fiction but as I will explain, the traits of the genre lend themselves to antagonising marginalised groups.

Gothic is not just gothic horror. It can be horror, but it is still a genre in its own right and the horror is not mandatory.  

This post is about gothic as a literary genre. I will not be talking about Ostrogoths, Visigoths, gothic architecture or art, and - for once - I’m not talking about the Goth subculture either, the two actually have almost nothing in common.

Some frequent, though not all required, characteristics of the gothic (this is NOT a checklist. I cannot stress that this is a genre purposefully WITHOUT a clear definition):

Familial trauma - the ending of family lines (the presence of the aristocracy is common in Gothic, this trope perhaps most blatantly depicted in Edgar Allan Poe’s The Fall of the House of Usher), hauntings - not necessarily literal but metaphorical. There’s often a secret, or some kind of terrible incident that has been covered up, amongst a family that is inevitably unearthed. Marital trauma is very common - as seen in Jane Eyre with the original ‘madwoman in the attic’, the mystery surrounding the titular character in Rebecca, the secret room of The Bloody Chamber, the murdered husband being literally unearthed in House of America. 

The setting is everything in Gothic. It often has a presence enough that it is a character in its own right. Key things about the setting is that it’s typically old - or at least old enough to have a turbulent history - and typically remote, ‘feral’, in amongst nature and separate from civilisation. The latter is very often executed in a racist and/or xenophobic way in Gothic classics. Think very critically of what is considered ‘civilisation’ and what is not. Dracula being a novel about white Christian Britons being threatened by an Eastern European vampire? Don’t replicate that. You will also see the ‘sublime’ (see below) here, and motifs of decay (which can be linked to the ending of a family line easily!), and themes surrounding imprisonment and escape. Gothic fiction loves pathetic fallacy - whether a storm, fog, rain or bitter cold, the weather is absolutely there to set the tone.

Repression. This can be of a trauma, but repression of sexuality can feature too. I have seen it asserted that homoeroticism is a key component in Gothic, and while it can feature, I would not say entirely agree, for a number of reasons. There is often a focus on ‘taboo’ sexuality, a categorisation which places LGBT people with taboos such as incest (which features often in some forms of Gothic). Homophobic tropes such as the predatory gay villain (e.g. Dracula’s obsession with Jonathan Harker and Mrs Danver’s obsession with Rebecca) are fairly common, and a general treatment of homosexuality as immoral or depraved especially older texts, so let’s not act like it’s always been a LGBT friendly genre. Something either hidden away or repressed that is then discovered is a huge, huge, component to most gothic fiction. 

Misogynistic gender dynamics are often present: the combination of a young, vulnerable and innocent woman with an older male ‘Byronic Hero’ type love interest is common. The Victorian template of ‘bad’, ‘promiscuous’ or otherwise ‘improper’ woman reaching a sticky end is well loved. And then there’s Poe’s sinister obsession with ‘beautiful dead woman’. Don’t forget the intersection of ableism and misogyny with the ‘mad’ women like Bertha Rochester and Miss Havisham (though Eleanor Vance of The Haunting of Hill House is a sympathetic antidote of this trope.) The way women are written is something I’d very much like us to move beyond. 

The sublime: this is everywhere. That something, especially the wilderness, is beautiful and massive enough to be incomprehensible. 

Doubles or doppelgangers. Often as a ‘darker’ reflection of the protagonist - such as the hero and villain having close parallels, or the heroine as a foil to her husband’s mysterious dead first wife. It doesn’t have to exist just in this way, but the motif of the doppelganger is one Gothic fiction likes a lot.

‘Otherness’ or monstrosity. ‘Otherness’ and ‘Othering’ is something that is a crucial part of literary theory - what the narrative deems strange, unfamiliar, not like us, and so most depictions of monsters will also be Othered. Considering how almost all of the time in the Western literary canon this is a vehicle for racism, please think critically. Frankenstein’s monster has a more nuanced approach to what society defines as strange, or monstrous, how monstrosity is created, and self fulfilling prophecies. 

Cultural anxiety. This is by no means unique to Gothic but the genre is shaped by what the society of its creation is afraid of. This - like Frankenstein or The Strange Case of Dr Jekyll and Mr Hyde - can be scientific advancement and new discoveries we do not yet understand, but the problem arises that for a lot of Western Gothic this has been marginalised groups. 

The Uncanny. As found in various forms of horror - same with the fear of the unknown, but often in Gothic - that something resembles something else enough to recognise at least what it ‘tries’ to be, but not enough for it to be truly familiar. This is a really effective way to make any person, place, or thing unsettling.

I think I’ve covered most of my notes - please take my first bullet point into consideration as this will inevitably be a bit UK centric. The thing about gothic is that it doesn’t really have one fixed meaning, so you have a lot of freedom. Bonus: if you want to read a really good gay feminist Gothic short story, ‘The Resident’ by Carmen Maria Machado is one of the best pieces of fiction, ever. 

[onewomancitadel]

Something something nonviolent resolution to Jaune/Cinder is not theoretically or at all incompatible with Jaune still being a badass blah blah blah combat prowess blah blah for the people who might take issue with the characterisation of him presented here on my blog (... go ask Chapter 14 of Skimming Eye!Jaune what he's thinking). Both because imo he's a far more interesting character than a flat 'him big sword kill stuff' though it's a show with a focus on fights/combat so he can and does do that but also because I think nonviolence in the presence of violence is more conceptually stark.

There's something very thematically peculiar going on there because Cinder is part-Grimm Dark Cursed, is the dragon to the knight, but also a Maiden. The thing Huntsman were made to kill is ostensibly someone who won't be (and killing a maiden is not the answer at all here).

I mean I even contended in Skimming Eye - sorry I'm talking about my fic here but more of my Jaune thoughts are contained in his character in that than necessarily on my blog - that pretty much the fact he has mercy-killed a Maiden means he won't and can't touch another. Once again I am pointing out that Penny's death has potentially many positive resolutions (because I've had anons very worried about Jaune).

I think I also find it amusing that essentially the most underpowered/occasionally comic relief character people dismiss is also someone wielding a very different power (which I think is why they make such a big deal out of his Semblance, especially around the time of Ruby's silver eyes) which is monumental/symbolically part of a major and unexpected turn in the story (Cinder's redemption). As I've said I think the path to getting Cinder purified by Ruby's eyes involved someone getting her there, and it's not Ruby herself initially, and - well - the organic/better answer to Rhodes...

The thing with Jaune is that he's also kind of in that category now of a subtle storytelling theme which is that 'the healer has the bloodiest hands'. It's rarer than my usual fare of crack like with the Byronic heroes/sad villains in need of apologia, but it's no less a favourite. I love healers who are exposed to violence/intimate with violence (Cinder)/capable of great cruelty but are not cruel/finding the wound to let the healing in/etc. etc.

That strikethrough was a joke but it's literally not a joke, the idea that you have a killer and a villain in love with a healer is, once again, complete crack to me.

The point of this post was to point out characters can have complexity without being watered down and I think the show already does this with the characters (that Jaune-Penny move is, as you can tell, still one of my favourite things). I'm also minding the detractors lol.

On another note, writing about Cinder's conceivable redemption arc is something easier to do, because themes/morals of the series is easier to describe, and there are demonstrable redemption arcs in the show to derive from. When it comes to Jaune, discussing the inverse - how do you get him to a position of being able to sympathise, or come to understand Cinder - is still sort of rooted in that, but it's something I prefer to write fanfic about it, because it's so much more deeply emotional. There are also many ways to do it, but as I've expressed before, the position of narrative empathy felt in killing Penny with Cinder is probably doing a lot. (You might say, Pyrrha killed Penny, but that is distinct in motivation, or lack thereof. There's still an interesting linkage between Pyrrha -> Penny, Cinder -> Pyrrha, and Jaune -> Penny, particularly in putting that cycle of unnatural resurrection to rest).

I don't know how to cap off this post. Sorry other Jaune fans, if you want to know what I think about him and the things he does it's more in The Distance Which Fools the Skimming Eye, though I think I do post about him quite a bit? I don't know. Maybe I'm just self-conscious in thinking I don't come off like a proper Jaune apologist. Lol

[365days365movies]

January 29-31, 2021: The Mad Max Franchise

Now that I’ve finished watching all of the Mad Max films, I can confidently say that I am indeed a fan! The journeys of the ex-cop through a post-apocalyptic landscape that just gets increasingly worse and worse. Yeah, I can dig it.

And so, I thought it’d be fitting to talk about all of these movies at once, rather than just talk about them one at a time. And I mean ALL of these movies. After all, I started this month by saying the Fury Road was my favorite action film; might as well end it talking about the movie!

Recap

Mad Max: 78%

Mad Max was a great movie, honestly. It’s also HANDS-DOWN the weakest of the quadrilogy. I think that, since this is Miller’s first film, as well as being the first in this franchise in general, this is Miller carving out this universe on screen for the first time, so it doesn’t feel as fleshed out and as stylistically unique as the succeeding films. So, it’s hard to hold that against this film. Anyway, let’s break it down a little.

Cast and Acting: It’s legitimately nice to see Mel Gibson before he became...well, Mel Gibson, at least from a cinematic standpoint. And yes, Hugh Keays-Byrne is certainly memorable as Toecutter, and is a fitting first villain to the franchise. But, uh...that’s it for standout performances. Yeah, Joanne Samuel is endearing as Jess, and I like Steve Bisley as Goose, of course. But they don’t take the spotlight in my memory as much as our main two players. Which, obviously, is fine, but I like me a good supporting character in there as well. Still, this is getting a good 8/10 from me.

Plot and Writing: Plot’s you’re pretty standard cop story. Cop is awesome, cop wants to quit to spend time with family, cop’s family is killed by the villain, cop destroys villain. Not much outside of that. The biggest thing to praise to story for is the mild universe-building given to us. And even then, there isn’t a whole lot. Not, of course, that there needs to be. Credit goes to George Miller, Byron Kennedy, and James McCausland for this 7/10.

Directing and Action: George Miller’s cutting his teeth on the celluloid for the first time, and it’s awesome...for a first-time director, anyway. As for the action: yes, please. It doesn’t have the same pageant s future entries in this franchise, but it’s certainly great at the same time. Overall, 8/10 here.

Production and Art Design: It’s beginning, even though it’s not there yet. This universe hasn’t become the post-apocalyptic hellscape that it’s going to become, but the beginnings are there. Because of this, leather might be a dominating fashion choice, but...not as much as its gonna be. But, OK, let’s stop comparing this to the rest of the franchise. On its own merits, this film looks good! Doesn’t stand out too harshly from the crowd, but it still looks quite good. So, 8/10 here, too!

Music and Editing: Tony Patterson and, yes, George Miller were the editors for this mad boy, and they sought to make an Australian film with a fast-editing style, and in a way that the film could work without sound, as well as with. They way they incorporated sound and music (by Brian May, but not the one you’re thinking) into the film would actually be incorporated as industry standard practice in general! Wow! So for all that...8/10. It’s good, but this is early in their careers, so it can be a teensy bt choppy at time. And the music’s recognizable, but not particularly memorable after the fact. But still, 8/10.

Mad Max 2 AKA The Road Warrior: 92%

This is where I start to fall in love with the franchise. The Road Warrior is where the franchise really begins for me, and it’s EXTREMELY high up on my favorite action films list for this month. Obviously not the highest, but it’s up there for sure.

Cast and Acting: Gibson’s starting to come into his own and own this character, and I think this film is where he’s at his finest as Max. Definitely the most memorable and noteworthy. Antagonists, both Vernon Wells and Wez, and Kjell Nilsson as Lord Humungus, are fanTAStic, and I love them both. Supporting cast also ain’t no slouch this time! Bruce Spence’s Gyro is a wonderful character, and extremely fun to watch. Even the settlers, like Michael Preston’s noble portrayal of Papagallo, were memorable to me. Great cast all around, and they’re getting a 9/10 from me. Why not a 10? Well, for all of those performances, there’s also Feral Kid and Toadie...so, it’s not perfect

Plot and Writing: Plot’s definitely more interesting this time around! We’ve gone into the deep end of apocalypse, as compared to the first film, and we instead get an enforcer storyline for Max. And, yeah, I love that. This movie would carve out the tone of the rest of the franchise, and there’s a reason for that: it’s great. Terry Hayes, Brian Hannant, and of course, George Miller, you guys get a 9/10 for this one, too!

Directing and Action: Right off the bat 10/10. Action is AMAZING IN THIS MOVIE, and George Miller is doing a great job with directing. Not much to say here, other than the fact that this movie looks fantastic, all the way through.

Production and Art Design: A 9/10. This is where the franchise comes into its own, and it does that with a HELL of a lot of leather and metal studs. And yeah, the villains of this movie have a BDSM vibe about them, but it’s still iconic. Not to mention that the vehicles are now taking their true, metal-modded forms. Again, 9/10.

Music and Editing: Brian May turned it UP this time, and the music here is iconic and great. Editing’s pretty good, too, although I did notice some spotty sound editing areas, like in Mad Max. For this one, 9/10 as well.

Mad Max Beyond Thunderdome: 86%

I honestly wish this was rated higher for me, but there are a few issues that I did have with it. However, I gotta say, this one might be the second-highest in my heart. You know what the number one is. Still, I wanna talk about this one, because it’s what made be fall in love with the universe of this franchise.

Cast and Acting: By the time we get here, Mel Gibson is, well...Mel Gibson. He kind of stops inhabiting the role of Max at this point, and becomes the ‘80s and ‘90s action star that we’re all familiar with. So instead, the focus should be on the villains. Tina Turner! WHOOOOOO, Aunty Entity! Look, I love Lord Humungus, but Tina Turner definitely beats him in terms of character. And I might like Wez, but I love MasterBlaster, and...well, mostly Angelo Rossitto. Paul Larsson’s good too, even though there isn’t much acting in the role. And then, there’s Helen Buday, Tom Jennings, and the rest of the desert kids. And let’s not forget Bruce Spence or Edwin Hodgeman! Yeah, this one earns its 9/10 for some memorable performances. Might not have been Oscar-worthy, but they have a special place in my heart.

Plot and Writing: Intricate plot this time! It does seem like George Miller and Terry Hayes get better and better with each movie. Real talk, the universe-building in this one is INTENSE, and well-done for that matter. And the writing’s good as well. This one gets another 8/10, because it’s not perfect in the writing department, but it’s still damn good!

Directing and Action: Y’know, weirdly, 8/10 on this one. Yeah, the action’s pretty damn light here, as compared to the previous two films. Not that I’m complaining, mind you, I love me some good character development and story. But if I’m judging it for action, it’s a bit less. Still, direction’s fantastic; definitely George Miller’s best effort so far. So, 8/10.

Production and Art Design: No surprise, but it’s a 10/10 here. The style of these films is evolve WAY FURTHER with this one, as we get the sense that the world has gotten worse, just by pure physical comparison. And yet, everything is starting to return to some kind of rudimentary order, with places such as Bartertown. Yeah, this one RULES visually, and I would say it’s arguably the best yet.

Music and Editing: Well, music’s still good, but the tone shift from rock instrumentals is a little jarring. Still, for the score, Maurice Jarre does good. And, yeah, Turner’s power ballad, “We Don’t Need Another Hero”, is more well-remembered than the movie itself by many. Hell, I had NO IDEA that this song came from this movie. But for all of that (and for great editing), an 8/10 is going here.

Mad Max Fury Road: 94%

Need I say anything? Let’s get into this one.

Cast and Acting: Well, Tom Hardy’s Max Rocktansky is fine, and definitely takes off of Gibson’s earlier portrayals, but I can’t really say he’s the absolute star. No, that’s the Atomic Blonde herself, Charlize Theron. Furiosa is FAR more memorable than Max here, and that’s pretty obviously on purpose. And hey, Hugh Keays-Byrne is back for a FAR more memorable villain in Immortan Joe. GOD, I love Joe; he’s great. And again, supporting cast aren’t slouching a BIT. Nicholas Hoult, Rose Huntington-Whiteley, and of course...iOTA. You know, the Doof Warrior. Yeah. The dude who plays the blind flamethrower guitarist on the back of a truck is called the Doof Warrior, and is played by a dude who calls himself iOTA. I LOVE THIS GODDAMN MOVIE. 10/10!

Plot and Writing: OK, I’l freely admit that this is the weakest element of an otherwise amazing movie. Because, yeah, it’s basically one long chase with some background plot. Not bad, but not great at the same time. While it’s certainly engaging, and the writing is overly memorable, I’m still giving this one an 8/10.

Directing and Action: I mean...c’mon. 10/10.

Production and Art Design: I mean...COME ON. 10/10!

Music and Editing: MUUUUUUSIC. Junkie XL is the composer this time, and he’s put to excellent usage. Yeah, this is the most memorable music in the franchise, bar none. And the editing is also great, as per usual. While it’s not on my playlist (yet), it deserves to be, just for pump-up music. Although, if I listen to that while driving...eh, maybe not. 9/10!

And the winner is Mad Max Fury Road, at a...94%.

Wait...94%? OH. OH NO.

That means...it’s been dethroned? I, uh...I’m gonna have to figure that out. End-of-month summary?

End-of-month summary. See you later today, people.

[g-perla]

The ACOTAR Series is a Romantic/Gothic Horror Stage and Only Nesta Got the Memo

Not even SJM knows what’s going on.

Ok, this is going to seem off the rails but bear with me.

So I'm a big fan of Wuthering Heights by Emily Brontë (top 5 books and all that jazz) and I was thinking about it because it deals with themes of the Other and the supernatural, Nature as Character, the overlap of the animalistic and human, blurring of established binaries...fun, Romantic shit like that. Interestingly, this overlaps with how SJM illustrates her world and characters a lot of the time, hence why I was considering it while working on my Nesta project. I’ve mentioned before that Nesta really gives me Byronic heroine vibes and that’s a character construct of precisely this literary tradition.

I started thinking about Heathcliff and Cathy and how they're ridiculously extra and just feel the most intense emotions towards each other but also towards literally everything (nothing half-assed ever, this is a Romantic novel after all). I then remembered how so many people ship them, but like in earnest, in a totally aspirational way. It's not a #cursed ship to them at all. It's...romantic to them not Romantic. I even read often that people quote it at their weddings, specifically the infamous "two souls" quote.

Then I had an epiphany. I was like "wait, what if SJM is one of those people?? What if she has the energy of a Cathy/Heathcliff earnest shipper and that's why all her ships are messy??" Because if that is the case, my friends, oh boy oh boy would it explain so much. I will post some sections from Wuthering Heights:

Doesn’t the acotar series seem like a 1/50 dilution of that energy?? And that is barely a taste of all the spiciness this book has to offer. To illustrate further: SJM gave us the F/eysand suicide pact and the near-death battlefield Nessian scene. One is certainly more outlandish than the other, but both are the result of intense emotions. To that Emily Brontë raises the following: Heathcliff asking the sexton to dig up Cathy’s grave to see what’s up because her ghost has been haunting him since he personally dug up her grave 18 years prior and she has been haunting him ever since. He later demands to be buried in the same exact grave when he dies so they can decompose together. They both married other people though which only adds to the mess. (I am not lying to you the Romantic tradition really gave us these gems lmao. As an aside, Mary Shelley was also a writer of the Romantic tradition and she confessed her love to husband Percy Bysshe Shelley on her mother’s grave. Her mother was liberal feminist icon Mary Wollstonecraft by the way which only makes this even more amazing. Additionally, biographers believe that the Shelleys also had sex there. Talk about Romantic 😉.)

Then I had ANOTHER thought! (Dangerous)

If we read the series from the point of view of just another YA high fantasy things might get a bit boring because the world-building is honestly lazy and the magic system is pretty soft, which isn’t a pre-requisite in high fantasy (The Lord of the Rings has a soft magic system) but it's not the norm and it doesn't pay off in this series. Not to mention that the plot is pretty lackluster and derivative. To add to that the romantic and sexual relationships are questionable in their healthiness and consequently are the source of much argument in the fandom. 

But, dear reader, if we think about the ACOTAR series as being a sort of thematic and ideological 21st century YA homage to the Romantic tradition of the 19th century (within which Gothic Horror also lives), things get REALLY, REALLY SPICY.

No longer do we just have a romance fantasy with messy, hyper-emotional, animalistic characters who constantly partake in morally grey situations rife with dubious dynamics. No longer does plot really matter. No longer do we require quasi-scientific descriptions of the world and the magical system. No! All that matters now are the characters and the mood. Now we have potential! Add a lot of Nature ambiance: expanses of dark woods, great mountains, the unknowable and sublime energy of the ocean, a violent rainstorm/hurricane/tsunami, an impending snowstorm whose intensity reflects the growing emotional intensity of the characters as the story goes along (I’m looking at you impending snowstorm in acofas that curiously matches the growing complexity of Nesta’s emotional state). Blur the lines between any imaginable category: life and death, human and animal, known and unknown, Self and Other, beautiful and monstrous, good and evil, masculine and feminine, the list goes on. Most importantly make your readers uncomfortable by frustrating their desires to sort things into easy binary categories and don’t apologise for making them question their assumptions about the world, morality, gender, and any other kind of previously constructed Order. 

Basically write the story with Dionysus-in-a-Greek-tragedy energy and bring to us mere mortals artful Chaos.

Once that is done we can have a literal Romantic/Gothic Horror story.  The Acotar series could have been this unapologetically, with the added element of being told through the eyes of the "Cathy" character instead of through the lens of a third person getting second-hand accounts about what went on. This whole series is honestly enough of a chaotic mess of Byronic-like heroes and heroines and cursed familial relationships that it could have been that. That alone is peak entertainment. The problem, however, and the main reason why I can’t really say that this series truly delivered this wackiness is that SJM committed the act of not fully committing to the bit (very un-Romantic of her, I know). Now, I am not saying that SJM actually intended this. I’m just saying it really could have accidentally been this genius with some tweaks. Unfortunately, she made the crucial mistake of trying to justify too much, trying to make things too neat, too tidy, too sensical (in other words: the reason we really can’t have nice things). 

I could end this here, lamenting the potential of what SJM had set-up for us were it not for one element, one gift:

Nesta 

OHOHOHO DO THINGS GET GOOD HERE SO BUCKLE UP

Most of the characters refuse to fully commit to the bit in their desire to satisfy modern sensibilities, by which I of course mean they want ridiculous things like political power, to conquer lands, to be a Girl Boss, to get married, have kids, celebrate holidays, converse about mundane things, be relatable, etc. You know, pretty pedestrian stuff that only requires a bit of genetic luck, a sprinkle of energy, and the right circumstances within the world of Acotar. I would like to reiterate the beginning of this paragraph: most of the characters. 

Let’s say you’re stubborn and you decide to still read the series through the lens of the Romantic/Gothic tradition, what happens then? 

The most hilarious thing (for the Nesta stans that is. The antis would probably hate this)

Nesta, based on what we know about her through Feyre and the limited amount of other scenes, is the only character who really takes the performance seriously. She's the only one that SJM hasn't managed to confine through justification. Nesta just shows up and simply refuses to make sense (her POWER what a queen 👑). She is endlessly fascinating because she just exists in her world on her terms, established categories be damned, and in this manner she frustrates not only the sensibilities of the characters in the stories but those of the reader as well. This double duty is, I suggest, the result of the other characters not fully inhabiting the nebulous world of Romantic characters and thus being a little too plausible and understandable even if they are not justifiable. 

Ok, you may say, but I relate so much to Nesta. I do understand her. I don’t justify all of her actions, but I understand where she is coming from. (You’re not alone, friend. I like to think these things too. Alas, we are but plebs).

To that I reply; Nesta does things, certainly, and we can spend hours trying to explain through extrapolation, educated guesses, and personal experience why she did those things, but the fact is we really don't know why. We are never explicitly told. Our insight into who she is and her motivations comes predominantly from the understanding of her youngest sister and from our own interpretation of the actions she takes. I must make clear that our own interpretations are rooted in pre-established assumptions about what is sensical and orderly in our own world and in our own lives. We cannot interpret with the tools available to us that which may be, by definition, unfathomable. It is simply paradoxical. Nesta, as we currently know her, is a construct derived from a limited number of scenes and our interpretations and projections of these scenes. Even the scenes where we get third person narration don’t explicitly tell us her motivations and her logic. For all we know there really is no comprehensible reason for her actions and that is endlessly amusing to me in how utterly Romantic it is. Acosf may and likely will change this of course, but as it stands, Nesta is a whole Romantic character. Her divisiveness in fandom and in the narrative could be due in part to her refusal to fit the discrete categories available in her world and ours. 

Isn’t that wonderful?

To illustrate this a bit more I will share some details SJM gives us about her/ elements she sets up that fit in with the characteristics of the Romantic tradition (these are not exhaustive by any means):

The absolute pettiness (and extra-ness) of being so angry at her father’s inaction that she is willing to starve to death to see if he does something.

How in Acowae she is described as shifting between emotions as if she were changing clothes and feeling everything too strongly (probably to the point of destruction)

She is constantly being compared to animals, even when she is still human. Granted, SJM compares everyone to animals, but that strengthens the blurring of lines between usually discrete categories. It is still most powerful when used as a comparison when she is human because it dehumanises Nesta.

Often, SJM describes her characters as forces. Forces of nature, for example. Acofas is full of details like this in relation to Nesta. There is a storm brewing leading up to the solstice party and it is in full swing when she arrives at the townhouse. The language used there suggests that Nesta herself may be the storm (against the onslaught of Nesta). It really adds to the Maleficent energy tbh.

She is often associated with death post her transformation

She is Other even to Others. She was Made like Elain, Feyre, and Amren in a sense, but the process of her specific transformation differentiates her greatly from the others. As it is, she doesn’t fit in anywhere

Her intense attachment to her femininity and its expression are at odds with the ideas and assumptions about the performance of womanhood and a woman’s role in her world and even in ours. She is unapologetically feminine in her physical presentation, but her character, her thoughts, and possibly even desires transgress the unwritten rules of acceptable femininity (unfortunately there still are abject expressions of femininity in our ‘”progressive” mileux

She displays in many of her actions a disrespect towards authority and to the status quo. This is particularly notable when her intensely polarised sense of right and wrong is aggravated.

Her self-destructiveness. This is referred to most strongly in Acofas, but I would say she was remarkably blasé about self-preservation in Acowar as well

She is described as intelligent, cunning, ruthless, attractive, and prone to debilitating extremes of emotionality. All of these are characteristics of Byronic heroes, a subtype of the Romantic hero

Here are a bunch of quotes that touch on many of the elements that I have discussed above:

“I looked at my sister, really looked at her, at this woman who couldn’t stomach the sycophants who now surrounded her, who had never spent a day in the forest but had gone into wolf territory...Who had shrouded the loss of our Mother, then our downfall, because the anger had been a lifeline, the cruelty a release. But she had cared--beneath it she had cared, and perhaps loved more fiercely than I could comprehend, more deeply and loyally.” 

--Acotar, emphasis mine, note the strong emotions. This is a recurring element for Nesta.

“Cassian’s face went almost feral. A wolf who had been circling a doe...Only to find a mountain cat wearing its hide instead.” 

--Acomaf, animal comparison

“Nesta is different from most people,” I explained. “She comes across as rigid and vicious, but I think it’s a wall. A shield--like the ones Rhys has in his mind.” “Against what?” “Feeling. I think Nesta feels everything--sees too much; sees and feels it all. And she burns with it. Keeping that wall up helps from being overwhelmed, from caring too greatly.”

--Acomaf, emphasis mine

“I knew that she was different [...] Nesta was different [...] as if the Cauldron in making her...had been forced to give more than it wanted. As if Nesta had fought after she went under, and had decided that if she was to be dragged into hell, she was taking the Cauldron with her.”

--Acomaf, Nesta had her own plans for the Cauldron what a queen

“Something great and terrible.”

--Acowar, referring to her eyes. Oooh, spooky Nesta 👻

“The day she was changed, she...I felt something different with her [...] like looking at a house cat and suddenly finding a panther standing there instead.”

--Acowar, a two in one here: difference + animal comparison. Boy does SJM really go heavy when establishing Nesta as Other.

“‘Not in flesh, not in the thing that prowls beneath our skin and bones...’ Amren’s remarkable eyes narrowed. ‘But...I see the kernel, girl.’ Amren nodded, more to herself than anyone. ‘You did not fit--the mold that they shoved you into. The path you were born upon and forced to walk. You tried, and yet you did not, could not fit. And then the path changed.’ A little nod. ‘I know--what it is to be that way. I remember it, long ago as it was.’

‘I don’t know what you’re talking about.’“

--Acowar, show don’t tell gets thrown out the window here, but it is useful for the present purposes

“What if I tell you that the rock and darkness and sea beyond whispered to me, Lord of Bloodshed? How they shuddered in fear, on that island across the sea. How they trembled when she emerged. She took something--something precious. She ripped it out with her teeth. What did you wake that day in Hybern, Prince of Bastards?

What came out was not what went in [...] How lovely she is, new as a fawn and yet ancient as the sea. How she calls to you. A queen as my sister once was. Terrible and proud; beautiful as a winter’s sunrise.”

--Acowar, who knew rocks, darkness, and the sea were such gossips, but look how many connections to nature! To be compared to the sea, a significant example of the sublime, is peak Romanticism. If any of you have read Moby Dick, think about what the ocean and the white whale might have represented there and how that might relate to Nesta.

“I think the power is death--death made flesh.”

--Acowar, Feyre referring to the possible nature of Nesta’s power. Alluding to her powers possibly being related to death is quite significant because that is something most of us cannot comprehend, nor can most of the characters. For Nesta, a “reborn” but very much living character to have death associated with her is a strong blurring of the lines. The case of her being labelled a witch is similarly significant as it solidifies the elements of the supernatural while simultaneously comparing her to pretty much the only exclusively female-coded monster in western pop culture. I will touch more on this when I do my study of Nesta through the framework of Barbara Creed’s Monstrous Feminine.

“I am not like the others.”

--Acowar, we love a self-aware queen.

“Nesta took in his broken body, the pain in Cassian’s eyes, and angled her head.

The movement was not human.

Not fae.

Purely animal.

Purely predator.”

--Acowar

There are a lot more details and quotes that support this interpretation, but I didn’t write them all down in my archived notes. This post is obscenely long, however, so even though there is more to be said, I’ll leave it for another day. If you made it this far you really are an MVP and probably love Nesta to a concerning degree like me. Please rest your eyes if you’re actually reading this 😂

I’d love to read about any other takes and thoughts that might have come to your minds after reading this monstrosity,

G

[bittybattybunny]

Did Kai have any sort of family after losing her foster family and becoming the Demon King? Or did she only have her husband?

Yes actually!!! A lot of Kai’s own story involves her own found family collection (i say collection just. cuz she tends to outlive them)

I’ve briefly mentioned she has a few kids and you see them in one of my sketchbook tours

but she also has a group of friends who she was close to

and the opening chapter of one of her ‘stories’ involves her dealing with the loss of a close friend she considered family (she even tried to go through legal means to see him but when humans turned around and said fuck you she snuck in. I can actually post this writing if people wanna read it?)

She also has some of her adoptive family still alive tho the bloodline is thinner. The Hellsing family she was raised in still exists to a point in her story (before the great catastrophe at least) Her whole ‘became the demon king’ thing happened when her uncle attacked her but she was able to get her sister in law and unborn nephew to escape while she distracted the rest (i have a whole ass animatic planned for this to the song “monster” from frozen’s musical. someday. someday I’ll be able to sit down on it weep)

This nephew was the one who hired Ren to help find “the king of fear” as she was known at that point. Alex is a good boy. His son was the one who went to find his great aunt after Ren’s death and she fully became a fallen god and offered her a place to stay and just. try to relax. She ended up falling into a deep sleep for a while and his family was the ones to build the ‘tomb’ she normally rests in when ever she has these extreme ‘low energy’ periods which can last between 5 years to her longest one was 5000. Typically she’ll rest for between 20-50 years at a time. and there’s a legit reason she does this too. But that’s not about family---

Point is that family is still very fond of their matriarchal demoness and she helped them found “Prometheus” a group to help humans deal with monsters and monsters live in peace. (cuz boy howdy do people have trigger fingers) there are other groups in their world with either similar goals or ones to ‘suppress’ monsters (example: The Order is a group who sees monsters as tools and lesser beings. sometimes Prometheus is forced to work with them and normally they send strong demons or dragons and such so that The Order can’t do anything to their operative. it was on one of these collaborations that Kai kidnapped Booberry from them. she regrets nothing.)

Kai often just refers to the current descendant as just “her nephew” as she’s too lazy to shove the amount of “great” in front of it because she’s old. there’s only one case of a niece and that’s where the bloodline ended (again that’s another story all together)

When Kai woke up after the Great Catastrophe alone she ended up meeting a young man named Leo (who if you look in Kai’s tag on my blog you can see him!) Who she bonded with and she likes hanging out with (and there’s other things but I’m not gonna talk about it)

There’s also her ‘generals’ and a few of them are gonna show in TLC soon (just a brief cameo) A group of 4 who’ve met Kai in a few incarnations and they always tend to get along. Original names were Matt, Trisha, Faith, and Maki is Maki (she’s an elf so she lives longer) Current names are Byron, Tiffny, Jacob and Maki. These four actually form Ren’s party when he’s trying to find his wife at the actual start of “Nightmare’s Dream” and you learn they each have a connection to Kai through the story.

Matt/Branden/Byron; he’s featured in the writing I mentioned up top, he’s kinda similar to Leo in the way he interacts with Kai as an almost human morality pet for Kai. He used to be Kai’s student when she was teaching, and his father was the warden at the jail her friend Sammy was in (this is the friend she lost) Matt can see through her disguise when she’s showcasing nightmares. Kai can cause hallucinations on targets using her ‘fear’ hence her title “king of fear” and normally they are only visible to her and her target. But Matt can see them.

He ends up getting in trouble a few times; once with a tribe of demons who want to turn children into imps, once with the literal Anti christ, once with a haunted house. And each time Kai was there and ends up saving him.

Matt later is in an accident and ends up reincarnating as a winged human named Branden and has all his past memories. So when he starts working at Prometheus as one of their ‘informants’ (aka he goes to gather information in both human and supernatural affairs. he’s referred to often as the angel of trust because of his silver tongue) and he meets her again he shouts something from one of his classes with her causing her to snap back on reflex until she realizes (running joke is Kai loathes Julius Ceaser and if you say his name she always whips around shouting “WAS A SLUT AND A HARLOT” in a very aggressive tone. It makes people laugh when she does and she always gets embarrassed afterwards)

The two of them end up working together for a while and become good friends (and maybe a bit more but they never state really) but then when with his new work partner Trisha (nicknamed angel of death, she works in the sector that deals with cleanup) he ends up betraying Prometheus and Trisha rips his wings off and kills him (this is the context between the ‘redraw’ meme I do every few years of a man with a bleeding back drowning)

Trisha is also someone who grew close to Kai (hence she killed Branden because his folly led to Kai nearly going berserk) but she was killed by a sleeper agent from the order. And this is how Kai lost two of her close friends.

Now backing up to Sammy the inmate one; he was with her when Kai met her first child, the young moon goddess Artemis. Arty is a constant for the demoness ever since she picked her up in the woods (her arc also has one of my favorite kai lines: (which i can’t find the direct line but)

Sam shuddered as he looked around the woods, “Do you ever feel like there’s 100 eyes watching you?”

“Yes but it didn’t work out so we broke up.” The demon responded flatly as she looked around with a deep set scowl.

While she was out with Sammy when he was hunting they ended up finding a little girl who turned out to be a new goddess and her elder sister was kidnapped by the embodiment of Greed in his attempt to become a god. Kai ends up stopping this but also kinda ends up becoming Arty’s mom. While she doesn’t raised Arty fully she does do a lot of teaching and such for her and does refer to her as “her daughter” and Arty calls her mom. when the great catastrophe occurs, Arty is one of the few gods who remained when the rest went to new ‘realms’ or simply vanished and is considered one of the main gods of their world because of this.

And then there’s her son Ganon, an Orc Lord she adopted when his village was ruined. he currently poses as her ‘demon king’ while she pretends to be the chancellor (this is the ruse she uses. normally heroes will fight the ‘king’ and lose but if they actually are a threat or have poor reasoning she kills them from behind. this is also how the story starts as someone found a spell to try and incapacitate her buttt)

There’s also morte and her daughter demeter (I’ve shown them before, a set of necromancers) who she’s very friendly with. Demeter even calls her aunty Kaya and loves to sit on her lap and such during meetings. (i have one snippet when Kai was recruiting someone to their side but hadn’t told her yet she was the REAL demon king and Demeter was sitting on her lap laughing) Morte is thankful to Kai for saving her circus (Morte runs a circus that helps those stuck in limbo pass on but at one point demons of sin over took it in a way to gather souls)

There’s also her friend Ciera, the daughter of the girm reaper. she’s Kai’s best friend for the most part of her life, and is the one who helps Ren when the gods of life and death try to prevent him from reincarnating again (which is like other things a whole other story) (she also briefly shows in Bone Stealer at one point. While visiting bunny’s sick grandmother, Bunny and Steve run into Ciera as she’s leaving. Steve stops Bunny from attacking her) She’s over all chill.

There’s also Nicki. Kai’s ‘twin’ brother. He’s the ‘bad guy’ through the arc that contains Leo and sets up ‘the great Split’ that Kai will cause (this is lore/plot stuff) He originally was raised to hate her by their maternal Uncle who’s a arch mage like Ren however he’s fallen due to his hatred of Kai’s birth. Nicki is not really her brother (in the first life) but a failed clone of the demoness. When Kai is reborn Nicki gets to actually be her brother and the two get along really well and he’s very protective of his sister now that he understands what her actual deal is and not the bs his uncle fed him. Before the rebirth too Nicki helped kai solve some stuff and worked with her until his death (unlike her, he was not immortal)

And then Kai actually has two bio children with Ren! Akito her son takes after her and he’s the one who takes over her role as the true demon king of Tir-Na-Nocht so she’s able to die and try life again, and a daughter, Rei who takes after Ren in looks but... she’s a himbo. pure moron. she got her grandpa’s himbo gene strong. She’s a cat girl who works with her brother and she is the head of the guard.

Aki actually has his own story where he grew up in a ‘mundane’ world but then his entire class got ‘isekaid’ to another. it gets shown that this isn’t truly the case. the great ‘split’ mentioned above was Kai literally broke the world in two realms. She made one primarily humans and high tech and then the other was magic and mostly monsters. there are a mix of both but it cut down heavily on the murder. She raised Aki in the human side for his and Rei’s safety due to them being the children of a fallen god (mama worries) and Aki inherited his mother’s odd ‘status’ “Hero/Demon King”  so he has to not expose his demon nature and also stay below the radar (it turns out the person who summoned them was attempting to break a centuries old treaty) until his mother and father can figure out what happened to him (thankfully he can go to a church and his older sister Arty can act as a messenger but there’s a bit of a time split in the worlds) That world is actually the one “Fae Rules” takes place in o7o.

She also is friends with a dead prince named “Shade” (yes this is who you think it is) as well as her ‘cousin’ Sena (who she loves to give shit to)

And in her second life she obvs has her brother, cousins, her father (her father’s boyfriend/her manny), aunt’s etc!!!

So yes; she had family other than her husband!!!! And she cherishes them all.

[unexpectedreylo]

Here It Is:  My Spoilerific Review/Post Mortem of TROS

When I saw The Last Jedi two years ago, the movie haunted me for days, for weeks, for months.  It inspired the imagination, dragging me into the world of Reylo and reassuring whatever reservations I had about the post-Lucas sequel trilogy.

The Rise of Skywalker haunts me too but more in a “Demon House” kind of way.  It fires up the imagination, but more in the sense that it keeps you up at night thinking of all of the ways it could’ve been better.

This isn’t to say I hate the movie.  I don’t.  It’s not even entirely or mostly bad which is what makes it extra frustrating.  You can laugh your way through a total disaster like “Cats” or “The Room” but a movie with plenty of promise and of talent behind it that makes some bad decisions is tragic.  Especially since this is the closing chapter to a trilogy and the saga itself.

You can see there are bones for what could’ve been a really good, maybe even great movie.  One of my favorite parts was the opener where Kylo Ren literally descends into hell/the underworld to confront the devil for no other reason than he didn’t even want Satan above him, a man who serves no gods or devils.   (That right there is a classic Byronic hero.)  Exogol is a great haunted house/spooky setting.  The revelation that it was Palpatine manipulating him all along was a shocker and makes Ben’s story that much more poignant.  I also really liked the contrast with Rey’s introduction, a beautiful shot of her in the verdant forest floating among rocks as she’s meditating.  She is Persephone in her element (which makes the ending all that more baffling but don’t worry, I’m getting to that).

This sets the stage for the revelation that the two are part of an intriguing concept, a Force dyad, kind of a Star Wars version of soulmates maybe even twin flames.  The two just had to acknowledge the feelings between them, reunite, and take out the Sith trash while Rey finally confronts her own dark side.   I don’t mind the latter concept at all because with the trilogy’s thickest plot armor, I think it’s valuable to put her in some peril and to have her better understand Kylo/Ben.

Abrams also wanted to recapture the feel of 1980s blockbusters like the Indiana Jones films or The Goonies, both made by his old mentor Steven Spielberg.  That’s most palpable when the Space Scoops Troop, er “trio,” falls into quicksand and pokes around an underground cave looking for one of the film’s many MacGuffins.  Abrams does good set pieces and powers them along with snappy dialogue.  Like TFA, it’s peppered with some genuinely funny scenes.

If nothing else, you can’t blame the cast for any of the film’s problems.  Everyone does the best they can with what they’re given and the long-standing chemistry between various pairs (Adam and Daisy, John and Oscar, Adam and Harrison Ford for example) do a lot to serve their scenes.  I think Oscar’s best scene was when he confesses to Leia lying in state that he doesn’t know if he can be the leader the Resistance needs.  It’s an honest, human moment.  Daisy continues to infuse Rey with her natural luminance.  I particularly liked the few quiet moments she has, such as meeting the children on Pasaana or healing the snake.  It shows her compassion and foreshadows healing Ben.

Daisy does pretty well with what she is given about struggling with her dark side.  (Remember, she didn’t write her own screenplay.)  Maybe it’s unpopular to say this but I kind of liked her brief turn as “Dark Rey.”  I have no doubt had she turned dark she would be pretty scary.  Her desire for revenge and fear of her own nature--driven by genetics or not--were intriguing concepts and I thought she tried to make the most of it in her performance.

Ah Adam Driver.  God bless that man.  He brings his considerable A-game 100% of the time no matter what and it shows.  He could sell sand on Tatooine.  I have no idea why they put the mask back on him other than a marketing department decision as I suspected, but taking it off when he’s making his appeal to Rey before she leaps out to the Falcon carries a gravity few people can pull off.  His reconciliation with Han was one of the film’s highlights.  For once the repetitive nature of the script actually worked in TROS’s favor, as Kylo retraces his steps in that fateful scene from TFA and finds a way to clear his conscience.  I also think this was originally meant to help the audience forgive him, especially since right after this he renounces the dark side.  Which makes later choices baffling, which I’ll get to.  Driver’s shiniest shining moment though is when he is once again Ben Solo.  Deprived of dialogue for the rest of the film other than “ow,” he nevertheless manages to convey a different personality that is very much Han Solo’s son.  His fight scene is right out of a 1970s martial arts movie, imbued with determination and sass.  I want to see a trilogy about THAT guy.

The Reylo scenes are, well, until it goes south, wonderful.  Some of us would’ve  preferred a lot less fighting but I see it as mostly Rey trying to deny herself and Kylo not being sure if he really wants Rey to turn to the dark side.  (On that note, I wish we’d seen Rey’s vision of sharing a throne with Kylo rather than just hear her talk about it.)   As I predicted, the turning point of the relationship came after the lightsaber battle on the Death Star wreckage.  I find it interesting that Kylo hesitates to kill Rey--partially because of his mother’s influence--and it’s she who could’ve killed him.  She immediately recognizes the dark side was turning her into something she didn’t want to be and nearly costs her the man that deep down she loves.  She heals him completely and along with her confession that she would’ve taken Ben’s hand, his soul is nearly healed by the power of love alone.  Which makes the film’s later choices baffling.  If you think about it, Ben’s turn is even more dramatic than Vader’s.  Vader chose his son over the Emperor at the last minute, some inkling of his light still there shining through at the right moment under duress.  Ben flat out rejects the dark side of his own volition.  That is pretty powerful.  Which makes the ending far more painful.

Rey and Ben’s one big romantic moment was tender and sweet and that was a pretty good kiss.  We finally get to see Ben’s big toothy grin.  Even though we all hate it, Driver did an amazing job conveying first his sorrow over Rey, then his relief, his joy, his love, and finally his strength leaving him.

Visually, the film looks great.  I think J.J. did an even better job shooting this film than TFA.  Adding to the visuals is the fabulous art direction.  They hired supervising art director Paul Inglis immediately after his previous flick Blade Runner 2049 came out, and that decision paid off.  This leaves the film with a number of beautifully-rendered scenes, whether it’s the haunted house scary underworld beneath Exogol, Kylo Ren’s starkly white quarters, the landscapes of Pasaana, the stormy seas around the Death Star II’s wreckage, the shot of Rey hesitating in the Star Destroyer’s hangar before leaping out to the Falcon, or Rey meditating among the floating rocks during her introduction.

I liked D-O and Babu Frick.  I even liked the lady who complimented Kylo’s helmet.  

Where do I start having problems?  The first time I saw the movie the scenes with Leia didn’t bother me but the second time I saw it, it was far more apparent they wrote around the bits of footage they had left.  It was a valiant effort to make Carrie Fisher part of the last film she never had the chance to perform in but it didn’t feel organic.  Since Leia dies during the movie anyway, I don’t know why having her pass away offscreen in between TLJ and TROS is less merciful to the audience than having her body lie beneath a sheet for half the film.  No wonder Billie Lourd skipped the premiere of this flick.  I couldn’t take it if it were my mother either.

On my second viewing, the Resistance base scenes started to get on my nerves.  Maybe it’s because I got tired of looking at the same group of like 10 people over and over.  Maybe I was annoyed that the only purpose of those scenes was to earnestly spout exposition.  Now, exposition is important.  I’m surprised Abrams, notorious for not bothering with it even if it’s necessary, even did this much.  But there was something about George Lucas’s Rebel base scenes that made these people look and act like guerrilla soldiers.  Maybe it was Lucas’s experience shooting films with Navy guys as a student, or his documentary style.  Abrams’s Resistance behave more like college students and activists than soldiers.  

But TROS’s biggest problems lie in its breakneck pacing and its writing.  Parts that should’ve had greater emotional resonance don’t because it moves along too fast.  I would’ve sacrificed one of the set pieces/action scenes or chuck one of the pointless new characters for the sake of deepening the relationship between Kylo and Rey or showing us more Ben Solo.

Some of the characterizations seemed off.  I know a lot of fans are deeply unhappy Rose Tico didn’t get to do much but I was surprised to see her in it even to the degree she was there.  What gets me about the whole Rose thing was her relationship with Finn is totally forgotten FOR NO REASON.  Really, why drop it?  There was no narrative purpose for doing so!  

General Hux is totally wasted in this film, reduced to little more than a cameo.  Sure it might be a surprising twist that “I am the spy!!!” (LOL) but his reasons for it are totally OOC.  He might despise Kylo Ren but to the point of helping the Resistance?  This is the guy who cheerfully blew up the Hosnian Prime system and wanted to blow up more.  He’s evil, a psychopath, a true believer in the First Order.  He might give the Resistance a tip that would result in embarrassing Kylo Rey and use that to start a coup against him but just helping the Resistance out of petulance and spite?  Nah.

Poe tries in this film to be a combination of rogue and deadly earnest idealist, but you generally don’t find those two qualities in the same person.  One second he’s talking about smuggling space dope, the next second he’s saying stuff like “Good people will fight if we lead them!”

Finn, God love him, is reduced to largely running around yelling, “Reeeey!” and eagerly trying to tell Rey something but the film never really got around to what it was.  It wasn’t until a Q&A session that Abrams revealed Finn was trying to tell Rey he was Force sensitive (something that should’ve been developed over the course of the trilogy).  Abrams had time to show us a random lesbian kiss for representation points, but no time for Finn to tell Rey he was Force sensitive?  Huh?

The story not only contradicts the previous films--I wonder if Abrams even saw his own movie TFA much less anything else besides the OT--it contradicts itself throughout.  Palpatine’s return is never really explained and his motives with Rey keep changing.  MacGuffins are added on top of MacGuffins with side missions thrown in.  Chewbacca is blown up then he’s miraculously alive on another transport we didn’t see.  Abrams and Chris Terrio didn’t just add to Rey’s origins, they blatantly spackled over it and TLJ’s overall message.  Discovering one is of evil origins is a gothic storytelling trope but really, it should’ve been developed since the first film so it doesn’t feel like whiplash from something else.  Everyone keeps telling Rey don’t be afraid of who you really are, but Rey ultimately does nothing but run from who she really is.  With each reversal, retcon, or contradiction in the film, it leaves a mess.  We’re supposed to believe Rey was better off sold to Unkar Plutt than be with her not-so-bad parents?   Who the bloody hell had sex with Darth Sidious?  You mean to tell me Luke and Leia knew all along Rey was a Palpatine but they never bothered to say anything and somehow they had more confidence in her than in their own flesh and blood?  Oh while we’re at it, I noticed the second time I saw the movie they straight up gave away Ben’s death before it happened!  WTF?  “Leia saw her son’s death at the end of her Jedi path.”  It seems like Luke and Leia were resigned to Ben’s fate as some horrible destiny that couldn’t be changed but Rey was still an open book to them.  That’s so stupid and really fellow OT fans, how does this respect our childhood faves?  Han comes off as the only decent person in this thing.

Rey and Ben taking on the Emperor was a great applause moment, the dyad unified against the ultimate evil.  For the most part it was fantastic...until The Yeetening.  Two things annoy me about the remainder of the conflict against Palpatine.  One, Rey and Ben should have destroyed Palpatine together.  If Rey could do it on her own then what the hell did she need Ben for?  He could’ve sat out the rest of the movie at Starbucks and remained alive while Rey killed Palps on her own.  There’s no point to their combined power because it wasn't necessary.  Two, while poor redeemed I-turned-back-to-the-light Ben was crawling up the pit with no help from anyone, every good guy we ever knew of in Star Wars, even from the cartoons, is giving a voice over pep talk to Rey.  (It seems cheap too since we don’t see the characters.  Avengers Endgame did this kind of thing far better.)  How about if the pep talk was given to the BOTH of them?  That Anakin Skywalker, the man Ben had idolized, had time to say “wakey-wakey” to his tormentor’s granddaughter and not his own grandson is appalling.  The third thing is while Darth Vader defeated Palpatine with the love for his son and his long-gone wife, Rey defeats Palpatine simply with power.  Rey and Ben’s love for each other could’ve been the force that defeats the Sith once and for all but for some reason it doesn’t occur to Abrams and Terrio.

I could’ve forgiven most of this--the jar of Snickles and all--had they got the resolution right.  But they didn’t.

ROTJ and ROTS’s endings were masterful.  ROTJ gives you an idea of what trajectory our heroes were likely to follow:  Han and Leia were going to end up together, Luke was going to bring forth the next generation of Jedi.  ROTS sets up Obi-Wan on Tatooine, Yoda on Dagobah, Leia on Alderaan, Luke on Tatooine, Darth Vader on a Star Destroyer, and poor Padmé on her way to Star Wars Heaven.  I have no idea what happens to Finn.  Maybe he’ll train with Rey.  Maybe he’ll go to college.  Maybe he’ll backpack through Europe.  I have no idea.  His story just stops.  Same deal with Poe.  Aside from getting shot down by Zorii, what’s he going to do?  The film gives zero indication.  It goes from the Free Hugs session to Rey squatting at the old Lars homestead.

The biggest crimes though occur to Ben and Rey.  Ben’s death sucked all of the air out of the film.  Yes, it’s beautiful that Ben loved Rey so much and so selflessly he was willing to surrender his life for hers.     It’s beautiful that it never mattered to Ben who Rey was, whether it was “nobody” in the last movie or the granddaughter of his tormentor/enemy in this one.  Had the Palpatine concept been there all along, there would’ve been something sweet about healing the rift originating in the prequels.  But I wanted Ben to live.  I wanted for once for someone to address the issue of atonement but Terrio and Abrams were too lazy to bother.   If The Grinch could be redeemed AND find atonement with those he wronged in a 30 minute Christmas special with commercials, then why not Ben Solo in a 150-minute movie?  

I could have lived with a sacrifice arc though had it been handled correctly.  But they flubbed it big time.  The sacrifice isn’t honored at all.  He just dies, he vanishes as Leia’s body vanishes, and he’s “never to be seen again.” Or mentioned.  Rey barely reacts on camera.  It’s as though reviving Ben from certain death, choosing good over evil, making a valiant attempt to save his girlfriend armed only with a blaster, and giving his life for hers weren’t valued by anyone.  The movie didn’t give a damn.  When Vader died in ROTJ, he at least had final words with Luke who then burns Vader’s remains on a pyre.  We see Anakin restored to his true self join the Force Ghost crew at the end of the movie.  We got none of this with Ben.

It’s also the most frustrating and disappointing disruption of a romantic arc since 1980′s “Somewhere In Time.”  In that film, Christopher Reeve travels back to 1912 and finds true love with Jane Seymour.  Everything is going great and Reeve’s character has made the choice to stay in that time and marry Seymour.  Then he pulls out a 1979 penny and is sent “back to the future” as Seymour screams.  At least that film though had the decency to reunite the love birds in the afterlife.  Which might explain why the movie still has a cult following to this day.  Tragic love stories always make sure there’s some kind of catharsis for the audience.  Rose takes Jack’s name, lives her life as he asked her to do for him, tells his story, and reunites with him when she dies.  Romeo and Juliet are united in death and the healing of their respective houses begins.  Even Padmé got a state funeral and had the legacy of her children.  There was no such catharsis for Rey and Ben.

Rey ends up right where she started:  alone and in the desert.  She got the Dorothy ending, there’s no place like home.  But the difference is Dorothy is a child not yet ready for the big scary world and the answers to her problems weren’t out there but right where she was.  Rey is a grown woman.  She should’ve been treated like one.  Instead she is deprived of her lover/soulmate and while such a separation should have been painful, it doesn’t even register.  She has a “found family” but they’re not there with her.  She’s in a home others tried to escape from, haunted by ghosts instead of being among those she loves.  Taking the Skywalker name seems tacked on, as though they realized if the name is to live on somebody needed to take it.  Why not then just have made her Han and Leia’s or Luke’s daughter in the first place?  It’s worse when you remember it’s a Palpatine who’s usurping the name.  Or when you realize she’s still hiding who she is.  

Here’s what would’ve been better.  Rey tells the Resistance about the pure selflessness of the Skywalkers and she wants that to be the core value of the new Jedi going forward, where every new student was going to learn their story.  Then we see her anywhere but Tatooine, happy and surrounded by students of all ages.  Maybe Finn training too.  She sees the approving Force ghosts of Leia, Luke, and Anakin.  Then Ben, clearly a different entity, materializes beside her.

Or something, anything other than what we got.

It’s as though they kept making story decisions without giving any thought at all to their implications.  They tried to do too much while being lazy about it.  They went for expedience--copy pasting ROTJ when convenient--over meaning.

The ending accomplishes what no other Star Wars film has done to me in 42 years of being a fan...it broke my heart and fulfilled my worst suspicions about where the ST was going to end up, largely due to its deflating ending and terrible denouement.  It leaves for me and many other fans a big gaping open wound, not closure.  

Ultimately the sequel trilogy’s biggest flaw is that there clearly was no plan.  What we got was a billion dollar game of exquisite cadaver with no real design for characters, their arcs, the story, or even what message these films are supposed to have.  Every decision was based on the director’s own ideas along with corporate meddling.  So we get conflicting ideas and blatant spackling over what the last director didn’t like. Was Kylo Ren meant to be a guy we love to hate or a lost boy we want to come home?   Was Rey a heroine we can all aspire to be or a lost princess of darkness?  What the hell was the point of Finn or Poe?  What does this add to the saga overall aside from more stuff?  Who are these films even for, old OT fans or young fans?  I believe it’s this lack of a plan that has generated so much confusion and bitter internet wars among fandom.  

[raptured-night]

7&34?

Oh, yay! Thanks for the ask @snapeling!

7. What is your most self-indulgent Snape headcanon? No, your MOST self-indulgent headcanon. That one

I’ve read so many imaginative answers to this one, even a really lovely short about Snape surviving the Battle of Hogwarts to become a bee-keeper. I absolutely adored that one because I have long nursed a little headcanon about Snape as a retired teacher turned bee-keeper in the style of Sherlock Holmes. 

That being said, my most self-indulgent Snape headcanon has long been that the man who once spoke so mesmerizingly about being able to “put a stopper in death” to a class of rapt first-years was also able to have the foresight to be able to survive Nagini’s attack. Rowling laid the foundation for it to be possible and there was enough vagueness surrounding his death in the book that one could easily imagine scenarios where Snape survives and carves a better place for himself in the wizarding world post-war or he succeeds in faking his own death and quietly leaves the wizarding community of the UK behind for a fresh start elsewhere. In the latter scenario, everyone (or mostly everyone depending on if I’m feeling the idea of someone helping him fake his death or him managing it on his own) assumes he died and that his portrait didn’t just appear among the other Hogwarts’ headmasters because they believe he had “abandoned his post” but when his portrait (assuming Harry had one installed in his honor) suddenly comes to life and begins talking many decades later they realize the truth --the real reason that it had not appeared that night is because Severus Snape had not yet died. 

I often go back-and-forth between what life he might make for himself in a scenario where he survives and the wizarding community of the UK is aware of it and the ones in which he survives and fakes his death. In AUs were Snape remains in the wizarding world of the UK and people know he survived I tend to see his life as more fraught with challenges but eventually stabilizing into something better than what he had before. I suspect the people’s views of him would be something similar to what we see of the fandom, in the sense, it might be a varied mix of public acceptance, hatred, and so on. There would be people who overly romanticize him and his role during the war and, to Snape’s own chagrin, seek to make him out to be far more of a tragic victim of circumstance than he would care to be seen as (he might balk at the odd marriage offer he gets from witches in the mail, expressions of sympathy bordering more pity, and even embarrassing assumptions about his sex life and offers, should he wish it, to “lose his virginity” or find comfort in willing arms). There would be others who might urge the Ministry to bring him up on charges and revile him even in the face of Harry’s or other people’s public defense because they just refuse to believe that the man who killed Dumbledore and usurped his position as Headmaster for over a year is anything other than a villain who managed to save his own skin and pull the wool over people’s eyes. 

In the aftermath of the war, and with so much recent loss and fear, Snape would bear the brunt of their outcry for more vengeance (some with the thinly veiled prejudice that didn’t completely die with Voldemort that an “ugly half-blood who came from nothing” could have killed a great wizard like Dumbledore and fooled so many) under the guise of justice and they would project their collective trauma onto him. There would also be survivors of the war who came from families of Death Eaters and said Death Eaters who again slip away from justice that view Snape as either a traitor of the most extreme kind or as a curiosity. Was this man truly so capable an Occlumens that he could conceal from everyone, including Voldemort, his true beliefs and loyalties for so long, or had he successfully managed to play both sides of the war to secure himself a place with whichever side proved to be the victor? Ultimately, I see where his detractors would also be convinced, as many Snaters are, that whatever connection he had to Harry’s mother was something seedy and Snape would have to contend with their hatred. 

Oddly, I see him finding those who revile him easier to reconcile (aside from their assumptions about Lily and what relationship he had with her) than his “fans” who might send him love letters and cast him as some Byronic hero. Largely because he has had to contend with being loathed for much of his life and it’s familiar territory. Being made into a romantic figure or even earning the respect of some people would be new territory he would have to learn to cope with. Learning how to tell the difference between admiration and romanticization, sympathy and pity, etc., would be a rocky course to navigate. I also see a tense and uncomfortable post-war relationship with many of his colleagues at Hogwarts. Their guilt over not trusting him would be difficult for him to contend with; they only believed what he and Dumbledore intended for them to believe. I think a bitter part of him might even privately feel that the guilt some of them felt for believing the worst of him came too little too late and would have been better served during his youth when so many of them seemed to have written him off and turned a blind eye to the Marauder’s bullying. He might be more inclined to avoid those of his colleagues who insist on dwelling on their guilt and rehashing his time as Headmaster. 

For that reason, I have never seen him returning to Hogwarts as very likely. I do indulge in some thought of him and McGonagall eventually coming to an understanding after a few difficult conversations, some of which might be carried out in person over uncomfortable tea or stiffer drinks and some of which might occur through initially tense correspondences that eventually begin to veer off into more comfortable territory and lengthy discussions of topics that have nothing at all to do with the war as time passes. I also like the thought of Snape returning long enough to speak his peace to Dumbledore’s portrait. He would learn Dumbledore had tried to lay the groundwork for him to survive (he intended him to gain possession of the Elder Wand to offer him some protection and not to single him out to be killed but things did not go according to his best-laid plans); he wasn’t just a spy tossed out into the cold with no hope of being saved by a man who didn’t see him as more than a pawn in a much bigger game. Still, there are conversations that need to be had (such as why, from his perspective, Dumbledore once looked at a young Sirius Black and saw a boy who could still be saved even after his attempt at murder but could see nothing more in him than a lost cause to give up on) that Snape was unable to have with Dumbledore while he was still alive when they were still in the middle of a looming war other concerns, by necessity, took priority. 

Those conversations would be difficult and painful but Snape would find that there was still catharsis to be found in the opening of old wounds when they had been left to fester so they could properly begin to heal. In such an AU, my most self-indulgent headcanon is one where Snape learns to take the reigns on his life and become his own master; he makes peace with his demons (for the most part) and allows the ghosts of his past to finally rest. Most importantly, he begins to plan for a future that is his own and reflect on what that means for him. I imagine a Snape that becomes better adjusted (as we see in Cursed Child) in terms of how he copes with his trauma. He would retire from Hogwarts and, finally, relocate from Spinner’s End to make a quiet but contended living for himself in a more comfortable flat or cottage home full of walls lined by shelves of books by applying the knowledge he has acquired over the course of many years not as an over-worked and frustrated teacher who doesn’t enjoy directly working with a classroom but as a prolific writer of educational textbooks on everything from Potions brewing for novice to advance brewers to treaties on defenses against Dark Arts so undeniably valuable they become standard syllabus at Hogwarts and amongst would-be Aurors at the Ministry. 

In AUs where Snape leaves wizarding Britain behind him and fakes his death, the catharsis does not come easily. It’s a process of learning to accept leaving his past behind him, even if parts of it remain unresolved and open-ended, and finding peace in the new life he forges for himself. I like the idea of him leading a private life in another country. Often I imagine him in places like Tangier in Morroco, or Turkey, or Thebes in Egypt, Ethiopia, or Sudan, etc., places steeped in history or at the very cradle of civilization or in places lush with potentially useful and undiscovered species of flora, fauna, or species of magical creature that could be used in potions brewing, such as Indonesia, Malaysia, or Brunei (which share access to the rain forest in Borneo) or Brazil. In this headcanon, Snape would spend his days conducting research into obscure or ancient magical texts, studying potential new magical ingredients for potions, or even rediscovering old ways of brewing lost to many, and making a new name for himself as a talented Potioneer writing under an assumed name. 

I like to imagine this Snape as benefiting from his time outside of the UK; his skin would pick up some color from his time spent outdoors in a warmer climate and if he always remained more on the side of slender he would not be so thin as to seem malnourished. He would gain a healthy bit of mass from his ventures and while he would always be a “substance over beauty” sort, the positive benefits of this new life would be evident through the changes in his appearance and overall demeanor. Enough so that when he came across a person from his past unexpectedly while they were on vacation his appearance and general baring were so altered that they would look right past him and wouldn’t realize until many decades later (by which time Snape would have lived to a ripe old age for a wizard and they too would have begun to feel the evidence of their own advancing years), when Snape’s portrait suddenly came to life among the Hogwarts’ Headmasters and began talking, as a sudden shocking afterthought that the person they had seen had been none other than Severus Snape --wrongly presumed dead after the Battle of Hogwarts and remembered by many witches and wizards, particularly The Boy Who Lived, as the bravest man any of them had ever known. 

34. Pick out a chapstick/lipstick for Snape.

I may be breaking the rules a bit with this one but I have two answers, one serious and more thoughtful and one that just amuses me.

The serious answer is that I could headcanon Snape using a chapstick made from beeswax. It would be colorless (and if it had any flavor then he might indulge in a honey flavor or even a honey lemon flavor, which has the added bonus of being comforting and settling the stomach against any nausea) and protect his lips against chapping as a result of alternating between the colder temperatures of the dungeons and the heat of cauldron flames. This also ties into my favored headcanon of a Snape who keeps bees and finds economical uses for beeswax and honey. 

As an aside, I like using the Burt’s Bees products myself (the company does aim to be cruelty-free and doesn’t test on animals which is a deciding factor in all of the cosmetic products I purchase, although their subsidiary company Clorox, which bought them out in 2007, does do animal testing with some of their products so it’s a bit of a murky territory where you have to debate if supporting one company’s cruelty-free policies balances against the fact their parent company does do animal testing or not; additionally many of the ingredients in their products are also naturally sourced, if not vegan for those who prefer cosmetic products that are both cruelty-free and vegan) and I occasionally indulge when I can afford the extra expense, so there’s that as well. 

The funny answer is there is a brand of lipstick by Jeffree Star Cosmetics called Unicorn Blood and another by Too Faced called Unicorn Tears. Either of those sound as if they could be ingredients in a potion, so I could easily imagine our favorite Potions Master getting a sardonic kick out of using them. 

[thisiswhatwereupagainst]

I started reading some Captain Britain not because I was interested in the titular character, but for interest in other characters that appeared who I was intrigued by. And I discovered something that shocked me, as I haven’t seen it discussed anywhere else, save a mention of it on his TV Tropes article. Captain Britain, aka Brian Braddock, is a rape victim twice over. And, unusually for female-on-male rape, this is not portrayed as comedic or as him getting “lucky”. It’s written as a terrible, humiliating event for him the first time, and as juxtaposed against his sister Betsy being nearly raped (suggesting the two are equivalent) the second time. This is especially exceptional given that the comics are from 1985. And I think they should be talked about, given this is something still rarely discussed or shown seriously, in media or real life. Discussion of the events, and the panels to accompany them, under the cut. Content warning for female-on-male rape and male-on-female rape, as well as incestuous rape (of a sort)

Both events take place in the second series of the Captain Britain comics. The first assault is committed by a woman named Vixen in #3. Vixen is not a superhuman, but an elderly crimelord. She’s kind of a neat character in herself, since that character role is typically filled by a man, and, when it is filled by a woman, the woman is usually made to be young and sexy. Not Vixen. She gets to be an old (and very fabulous) woman. Unfortunately, she also gets to be a rapist, and it’s pretty unambiguous. Captain Britain’s arch-nemesis, Slaymaster, captures Brian and brings him before Vixen. Vixen has him stripped naked and restrained. She then enters the room, apparently naked save for a transparent negligee, and tells him that he belongs to her now, to do with as she pleases. He asks her what she wants with him. It’s not shown or stated directly what she does, this is a comic book and it’s 1985, but as Slaymaster watches on screen, he’s angry and disgusted by whatever it is transpires, and in fact apologizes to the captive Brian after, saying it was never his intention to see Brian humiliated like that. If that’s NOT supposed to imply that Vixen raped him, then I’m not sure what other conclusion we’re meant to draw, especially since Brian is physically unharmed.

The next assault comes in #6, at the hands of a villainess name Sat-Yr-9. Now, bear with me a bit, the setup involves alternate realities. Basically, this evil version of Captain Britain/Brian Braddock shows up, Kaptain Briton aka Byron Bra-dhok. Turns out, he’s an alternate universe version of Brian, and in his universe, he’s the consort of his world’s empress, the evil Opul Lun Sat-Yr-9 (who is herself the physically identical counterpart of Saturnyne, another Captain Britain character, whom Brian at first mistakes her for). Angered by his abandoning her and fleeing to another world, Sat-Yr-9 sends some interdimensional mercenaries after him to 616, but they grab the wrong guy, taking Brian back to Sat-Yr-9, while leaving the sadistic Byron masquerading in 616 as Brian. Sat-Yr-9, thinking that Brian is her runaway lover returned to her, drugs him and pushes him down on the bed. He wakes up naked later. As with Vixen, the act is never explicitly shown or named, but there’s no other conclusion to draw. What’s more, the event is juxtaposed against Byron’s violent attempt at raping Betsy, they’re shown as happening in tandem in the panels. The fact that both are shown as basically mirroring each other, suggests to me that Brian was indeed raped by Sat-Yr-9, just Betsy was nearly raped by Byron. Which means that the writers do indeed realize these are equivalent things, regardless of which genders were involved in which roles, and whether it was done by physical force or by drugging. Which is a shockingly progressive stance even now, let alone at the time this was written.

Not only is Betsy’s assault the more violent one, so is her response---while Betsy kills her rapist, Brian only flees his. And while Betsy has no remorse for what she had to do to save herself, Brian walks away from his assailant with obvious emotion for her as she pleads for him to return.

This is interesting to me, because this makes him the more passive one, both in his lack of resistance (due to being drugged) and how he ends the story by just leaving his rapist, not by hurting her in any way. Despite the fact Betsy is female and, at this point in comics, far from the killer ninja she’d become years later, and Brian is the man and the big muscular action hero. Yet their responses are written in a way that would seem more befitting of the opposite sex, at least in terms of stereotypes. Then again, that’s typical of Betsy and Brian---even before she was the killer ninja we know from the 90s, Betsy had a more violent streak beneath her surface, a desire to be a fighter, and was an active exhiberant tomboy as a child, whereas despite being written as kind of a meathead in Excalibur, Brian was actually the more quiet and bookish of the twins as a kid, who liked to study physics. When he became Captain Britain, he was offered a choice: the Amulet of Right or the Sword of Might. Considering himself to be no warrior and unsuited for the challenge, he rejects the Sword and chooses the Amulet. Maybe it also has to do with their own genders, and the genders of their assailants, and in the way the assault takes place. Betsy is a woman; she’s grown up knowing what rape is, knowing that it can happen to her, and that if it does, it’s probably going to be by a man. Once she gets past the shock of it coming from someone she thought was her brother, she knows exactly what’s going on, especially since it’s violent, overt, and something she’s conscious for. And she knows what she must do. Brian has grown up a man, never expecting that this could happen to him, and his assault is through drugging, and by a woman, a woman who is smaller and weaker than he is. He has no chance to toss her aside (as he otherwise easily could) during the act itself, and thus probably can’t argue to himself it’s “self-defense” to pummel her after it’s already over ad done with. There’s also the fact that Sat-Yr-9 thought that he was her lover, Kaptain Briton. While of course it is as EQUALLY WRONG to drug and rape a partner as it is a stranger, Brian may not see it that way, and think that her assaulting him is excused by it being a case of mistaken identity. He even, if his face is any suggestion, feels sorry for her as she calls after him, still thinking him to be Briton. By the way, Brian never discusses these events with anyone to my knowledge, nor seeks any kind of help or therapy. In any case, this gave me a lot more understanding of Captain Britain going into Excalibur (which I was reading for, again, OTHER characters), particularly of his alcoholism that develops after this, and the problematic dynamics of his relationship with Meggan. Speaking of him and Meggan, a lot surprised me about the pair of them, that I decided to make a whole post of that on its own, which I’ll put up tomorrow.

[pynkhues]

Idk if uve discussed this before, im new haha but I really enjoy your readings of the show and I’m curious, would u call louis a femme? Idk i think it’s a widely accepted canon in the fandom and i constantly see it spread all over twitter with no argument whatsoever and im over here like i.. i dont see it?? Idk!

Hey! Welcome, anon! And thank you for your kind words! You’re very sweet!

I think I’ve probably discussed it in fragments before, but not outright said it, but no, I wouldn’t call Louis a femme. It’s certainly a largely accepted fanon in a vocal part of the fandom, particularly on Twitter and ao3, and yeah - - I mean. I’m really glad people are having fun with it! I do also sometimes feel they’re watching a different show to me though, because it’s honestly not something I see at all. I don’t know if their arguments are necessarily organized in the one place (although I could be very wrong in terms of that!) but I might use this as an opportunity to collate my thoughts and the previous posts I’ve made addressing the arguments around this particular topic. SO! Okay! Let’s break it down and dive in:

Louis is femme because he’s a Gothic Heroine

I just don’t agree with this argument, I’m sorry. I’m not going to get into the weeds of this one, just because I feel like I’ve done so already, but I don’t personally read Louis as a gothic heroine at all. In fact, I see him as a very archetypical Byronic Hero, which I talked about in this post, and in others in my Byronic Hero tag.

Louis is femme because he is a Battered Housewife / relying on a Sugar Daddy

This point often gets tied up into the gothic heroine one, and it’s one that always kind of surprises me a little bit. Even putting aside the fact that it’s an ugly, misogynistic trope in general, Louis’ relationship to being a quote-unquote ‘housewife’ is one that – to me – is symbolic of his feelings of emasculation in the Rue Royale household not as a result of Lestat alone, but as a result of the white power structures in New Orleans that would disempower and disenfranchise him. He doesn’t like it, it doesn’t make him ‘femme’, in fact, my interpretation is the opposite – it emasculates him as a Black Man, and he feels that in every part of his life to the point that both his daughter and sister weaponize it against him, and I personally think it’s a factor in his periodic impotence in his marriage. Respectively, Claudia calls him the housewife, and Grace calls Lestat his white daddy – these aren’t compliments, these are callous insults from both of them designed to bruise his pride and force him into action. The fact that neither of them work to move him the way they want doesn’t mean Louis identifies with them, rather it means he’s – at the time – committed to Lestat for better and worse, but their words compound in a way that fuels his resentment of Lestat as both an adulterous husband and a symbol of everything wrong with his life.

Further to that – and I say it in the Byronic Hero/Gothic Heroine post that I link to above  – but a vital part of power dynamic tropes in gothic literature is that women lose power through marriage, they don’t gain it, and Louis does, in fact, gain it. Lestat’s a ticket to social advancement for Louis because as much as Louis (rightfully! It’s extremely racist!) hates being forced into a servitude role publicly at the theatre or in lease agreements, it’s Lestat’s whiteness that allows Louis into more conversations politically, and eventually allows him to buy the Fair Play Saloon and turn it into The Azaelia. It’s a limited power, of course, as a result of his race and the era, but the show actually explicitly lays out certain things for us like the fact that Louis pays Lestat back in full, and pointedly, that Louis never felt that he had to pay Lestat back at all:

The last line of which is Louis greeting Lestat not as a sugar baby or a housewife walking out to his sugar daddy or husband, but as a business man to his husband.

In fact, the interesting exchange of power in that sequence actually leans to the reverse as Lestat ends up playing host to a new client while Louis lords over an empire.

(You can't see it exactly in these subtitles, but it's Louis who says 'you about five years late', and Lestat honeytrapping with taking the man away).

It's a dynamic that repeats with the musician who tries to leave that Lestat coerces into staying - Louis' king of the castle, and Lestat, the show implies, I feel, plays the placating partner smooting over the edges.

But isn’t Lestat a symbol of patriarchal power in the Rue Royale Household?

I’ve had a couple of asks about this and have a long reply in my drafts that I’ll try and post this weekend, but yes and no? I think in Rue Royale, Lestat’s definitely a symbol of patriarchal power to Claudia, and I think Louis sometimes feels him that way too, but I don’t think it’s actually true for Louis in the way that it is for Claudia. Gender isn’t what divides Louis and Lestat, it’s race, and every time Louis has the chance to exert patriarchal power against anyone outside that house or inside it, he uses it – from coercing Lestat into Claudia's rebirth to physically assaulting Claudia over Lestat’s murder, to even trying to influence her diet and guilting her into staying, to throwing Lestat out of his own house and then fucking him in his lover’s bed (which, obviously, are after Lestat's singular act of violence), to being literally a pimp, strongarming his sister and his mother, to giving less than 0 fucks about Lily’s murder and the attempted anal-rape of Bricktop - - just.

Yeah. There are two patriarchs in the Rue Royale household, and both their names begin with L.

Eldest daughter syndrome

Sometimes men are also eldest siblings who feel the burden of responsibility?

Even beyond that though, I think Louis’ response to Grace is particularly paternalistic, a pattern he’d repeat with Claudia, which I talk about here. I do think Louis has a lot of responsibility and weight on his shoulders as an eldest child, absolutely, and I actually think there’s a lot to talk about in terms of his complex position as brother-father to Paul and Grace in s1 (and I empathise with him intensely in this regard as someone who’s been a sibling’s guardian), but like. That’s not a feminine trait, nor is it one that makes him an eldest daughter. I’m not one, and he’s not one either. Sibling dynamics aren’t cut and paste.

But Louis buys and reads Madame Bovary and obviously relates to Emma

I mean, he doesn’t buy it – the show literally, explicitly makes the point of telling us that it’s Lestat’s copy of the book that he’s reading, which honestly makes sense to me. I talked about it here (where I include the caps of it being Lestat's book too), but Emma as a character cheats because she finds monogamy boring, provincial life even more so and dislikes her daughter, while married to a successful man in a regional town. Louis’ not the Emma in that equation, Lestat is, given he's fucking Antoinette – allegedly because he wants variety – escaped the Auvergne in Paris, and can’t cope with parenthood and/or Claudia.

Interestingly too, Louis’ focus in that scene is on the 'denseness' of the prose and 'the absence of metaphor' not the content, as he ignores Lestat having a meltdown directly opposite him. My interpretation of that scene is that the writing is pointing out exactly how disconnected they are from each other, and that Louis can read a story that parallels a lot of Lestat’s experience, and fail to relate it to, or empathise with Lestat at all, even as Lestat indulges Louis’ depression and hoarding, which ! I love Louis, but Lestat does in that sequence (not that that justifies anything that Lestat does, of course).  

Isn’t Louis compared to Juliet and Mélisande?

Mmm, yes and no? Armand does put him in the Juliet role, which Louis riffs with Dreamstat about, but I tend to interpret that more to be about the involvement of the balcony than I do about their roles as Romeo and Juliet – because, y’know. Not everything’s actually about gender, particularly with same sex couples of that era who had limited reference points generally, and certainly limited mainstream ones.  

And Melisande - - not at all, actually? I do have to say that I’m a little bit baffled by this particular argument given we have the lyrics to Come to Me and Lestat puts himself in the feminine role of Mélisande (and I actually do think you can mount the argument that he's done that because he’s intending for Antoinette to sing it, which I thought for a long time before hearing Long Face tbh, and now I actually do think it’s deliberately playing into Louis’ sense of masculinity), and he does cast Louis in the masculine role of Pelléas. The chorus literally goes:

Ruin each other Like star-crossed lovers Your Pelléas, my Mélisande Oh, come to me Come to me

So, yeah. Again, that argument just doesn't quite land for me.

Wasn’t he jealous of Grace’s pregnancy though?

Was he? That wasn’t my interpretation, but I’d actually genuinely be interested to hear a case for it, because I feel that’s kind of tasty on a narrative level, haha. My interpretation of that entire sequence though kind of feeds back into that eldest sibling thing again where he a) resented Grace building something of her own before he could, and b) was terrified of the idea that her having her own family would mean that she’d pull way from him which she, of course, did.

I tend to see Louis’ desire to have Claudia as a fairly impulsive one, and I actually see (in the show’verse) his desire to have Lestat be the one to turn her as a part of him further interlocking him and Lestat together, particularly after he's effectively just broken up with Lestat. It's messy! But yeah, I mean, I think 2.07 laid out pretty cleanly that Louis' choice to turn Claudia was inherently a selfish one, and I personally don't see it as one borne out of jealousy so much as needing an anchor. 

Anne bases Louis on herself

She also bases Lestat on herself and/or everything she wants to be, and also washes her hands of Louis as a character for books at a time, and like - - I’m sorry, this is not the tone I usually take, but like - - lowkey, who cares? Everyone in this fandom loves death of the author until Anne says one thing they can use to justify their headcanons, and I just don’t really get it. Why are you trying to interpret a vampire novel as a memoir? Obviously it’s not factual? Anne’s not a man, she’s not drinking blood, she’s not romantically entangled with her dead daughter, like I do understand that it can feel noodly sometimes with authors and characters, but as someone who works with a lot of writers, I can promise you they’re dipping in and out of characters like crazy, haha.

It doesn’t mean a character’s them, and it certainly doesn’t mean you’re interacting with Anne when you're interacting with Louis, which I suspect a lot of people don’t want anyway? I don't know, personally I view this one as a bit of a non-starter.

Louis’ pretty though

Yeah, he is! He’s your Helen of Troy! He’s beautiful! He’d look amazing in tights and heels! That doesn’t mean he’s canonically femme though.

[sweetwriting]

TimKon Week 2020 - Day 1: What’s Going On?

Category: Gen or Pre-slash

Genre: Angst/Friendship

Fandoms: DC Comics, Superverse, Teamverse

Continuity: Post-Crisis/Pre-Flashpoint & Rebirth

Summary:  Iris Force didn't really have visions, she just knew things. But tonight, for the first time, she had one. And it was about somebody who shouldn't be there. The TimKon part isn’t that big even if it hints at how bit it could be. As of this story they’re still just friends so it can be seen as platonic or romantic

Word Count: 3356

AN: A part of this is a WIP I had already posted here : https://sweetwriting.tumblr.com/post/165029401671/hello-this-is-a-snippet-for-a-fic-ive-always but to which I was never able to find fitting parts. This part stayed at least as an inspiration of the Vibe I wanted to give but ended up being put to the side. However this Prompt gave me an idea so I’ll try to see where it goes and if it does’n work well…It will be considered as a bonus :D There’s also a reference to Ruelle’s song “I will Find You” as this song is kinda linked to most of the TimKon Angst and general New Rebirth Plot.

Prompt:  Under Lock & Key - Future 

Can be read on AO3

A breath. 

Everything was dark. Were his eyes even open?  

Another breath. 

What was he feeling around him? It felt like a liquid. But how could he possibly breathe in a liquid?  

Another one. He extended his arms. Glass. Surrounding him.  

And another. Faster. 

He didn’t have enough place to extend them completely.  

Another breath. Panic. 

Who was he? Another one. 

How did he know he was a “he”.  

And another. 

What was going on?  

And another. 

Where was he? 

And another. 

Why. 

Another. 

How.

Another. 

Where. 

Another. 

Superman. 

That was his name. But it wasn’t. It was supposed to be his name. But it wasn’t. Why. Who was he? 

Paul Westfield.

That was his father? No. 

Alexander Luthor. Was he his father? No. Disgusting. 

Who? 

Why? 

How? 

Where? 

Was Superman his father? No. Brother. Clark Kent? Same. 

Names. 

So many names. 

Robin, Impulse, Wonder Girl, Roxy, Rex Leech, Dubbilex, Tana Moon, Sam Makoa, Guardian, Hero, Matrix, Aura, Half-Life, Sparx, Empress, Arrowette, Secret, Red Tornado, Traya, Speedy, Green Lantern, Ravager, Starfire, Beast Boy, Cyborg, Nightwing, Flash, Max Mercury, Wonder Woman, Troia, Agent A, Batman, Not Robin, Red Hood, Spoiler, Batgirl, Knockout, Lori, Simon, Ma Kent. Cassandra Cain, Stephanie Brown, Jason Todd, Damian Wayne, Bruce Wayne, Alfred Pennyworth, Donna Troy, Diana Prince, Wally West, Dick Grayson, Jim Harper, Victor Stone, Garfield Logan, Koriand’r, Rose Wilson,,Sterling, Kyle Rainer, Mia Dearden, Victoria no Greta Hayes, Cissie King-Jones, Anita Fite, Donna Carol Force, Byron Stark, Lindsey Wah, Hero Cruz, Cassandra Sandsmark, Bart Allen.

Tim. 

Tim Drake.

He remembers. 

Names. 

His best friends. 

Bart and Tim. 

This is a pod or a tube or whatever.

He’s Superboy, Kon-El, Conner Kent. The Metropolis Kid, The Boy of Steel.

And he has to find his friends. To make sure Ma is okay.  He can’t abandon them again. He can’t abandon Tim again. How long was he in there? 

Panic.  

Everything goes completely white. 

- - - - -

Shortly before Flashpoint happened.

Timberton, British Columbia, Canada.

Iris Force woke up with a gasp. It was the first time she saw what felt so far off in the future and felt so entwined with the recipient of her vision. It was that boy, Superboy who had been one of her dear D.C’s friends back when she went to that horrible party place.

She suddenly heard her door open and the voice of her granddaughter, Anastasia, come to her.

“Granny Iris, I’ve felt you panic, are you alright?”

Iris felt her dear Anastasia settle next to her and help her sit by pulling her elbow.

“I’m sorry, did I wake you up?” She answered, leaving herself time to try and sort out what could be happening.

Anastasia’s hands came to take her own in them in a reassuring gesture.

“Don’t worry, I’m honestly more concerned by the strangely strong reaction you showed to one of you visions. And especially since I’ve never known you to have prophetic dreams”.

Iris turned her head toward her granddaughter. She might not be able to see but she wasn’t going to be impolite.

“This is a problem, It didn’t seem to be a prophetic dreams yet it still was. It seemed to be happening in a far-off future but in the past at the same time. Distant and close at once. I’ve been trying to make sense of it but I can’t seem to be able to do that. And it’s something I’d rather have sorted out before I talk to Donna Carol.”

Anastasia startled and asked in a tiny voice why her sister was concerned.

“It’s about the Superboy. You remember, they were friends a few years ago. Even if they lost touch his death and resurrection had deeply affected her and I think this might too.”

- - - - - -

Prime Earth. Around the Time Red Robin’s future self came to the present.

Timberton, British Columbia, Canada.

Iris Force woke up with a gasp. It was the first time she saw what felt so far off in the future and felt so entwined with the recipient of her vision. It was that boy, Superboy who had been one of her dear D.C’s friends back when she went to that horrible party place.

She suddenly heard her door open and the voice of her granddaughter, Anastasia, come to her.

“Granny Iris, I’ve felt you panic, are you alright?”

Iris felt her dear Anastasia settle next to her and help her sit by pulling her elbow.

“I’m sorry, did I wake you up?” She answered, leaving herself time to try and sort out what could be happening.

Anastasia’s hands came to take her own in them in a reassuring gesture.

“Don’t worry, I’m honestly more concerned by the strangely strong reaction you showed to one of you visions. And especially since I’ve never known you to have prophetic dreams”.

Iris turned her head toward her granddaughter. She might not be able to see but she wasn’t going to be impolite.

“This is a problem, It didn’t seem to be a prophetic dreams yet it still was. It seemed to be happening in the near future but in the past at the same time. Distant and close at once. I’ve been trying to make sense of it but I can’t seem to be able to do that. And it’s something I’d rather have sorted out before I talk to Donna Carol.”

Anastasia startled and asked in a tiny voice why her sister was concerned.

“I do not know, I just know it concerns a Superboy. They were friends a few years ago. No. They were not. I know the universe had changed but I don’t exactly know how. This is one of these changes.”

She knew Anastasia was frowning. She could not blame her as it was confusing even for her. She had told her family the universe had changed but since most of those changes were unknown even to her, and since their family didn’t seem in any immediate danger, they let it be and almost never thought of it again. Except for Donna Carol. She wanted to act. To become a hero. It was obvious but she had never acted on it. Probably due to the knowledge that a past she had lived had been erased. While it fueled her desire to help as a hero more than before it also scared her. The fact that her aunt had not left the family and as such making sure Donna Carol did not have an example to follow might have also helped.

Because yes, Iris knew Donna Carol had been a hero and Allure had left. But that was only because she saw the shift between then and now within the family. She could only see the very big changes when she met people concerned by them.

Just like she knew this conversation had happened before the shift. Maybe not the exact same but her other/past self had the same vision.

What was happening?

- - - - - - -

Conner awoke to a dark room. Or was it a cave? It was too dark to tell but he could not hear the telltale sign of machinery. No sound, no light. Nothing

He wasn’t sure. What he knew was that he was in a pod, in a liquid. That he had woken up some time before and gotten most of his memory back. The pod had fallen sideways on the ground and was the glass was cracking. He tried to push against it but he couldn’t.

Why? Why couldn’t he just burst though? Why wasn’t his TTK working? Where was he? What was going on?

So he screamed.

“HELP! SOMEONE HELP! BART! TIM! CLARK! CA…”

He was interrupted by crackling. And a sudden burst of blue light.

Right in front of him was electricity in the shape of a woman. He smiled in relief. He knew her after all, she was an old friend of his.

“D.C! Boy am I glad to see you! It’s been a while!”

The girl however didn’t seem to show the same joy.

“Wow Granny said I knew a Superboy in the old world but I half believed her. But you actually look that other Superboy who disappeared, and you seem to know me.”

Now Conner was confused. What old world? Why would she need Granny Iris to tell her they were friends? Why was he still in this thing?

“Whatever! Can you help me get out? I can’t seem to be able to use any of my powers.”

D.C shrugged and agreed. She fried the commands and opened the lid of the pod before lifting him then she promptly let him fall as she covered her eyes and turned around.

Conner fell on his butt, the floor was made of wood so he didn’t hurt himself much, but apparently he hadn’t retained his invulnerability.

“Hey! Why did you drop me DC?!”

D.C. had curled up in the air, her back still to him. She answered him in a small voice.

“You’re naked”

Conner looked down. She was right. It was luck then that the floor was made of wood and not a less smooth surface. He looked around. There wasn’t anything to cover himself as he was in a bare rectangular room only filled with cables. The door DC had opened seemed to show water as he could see the ripples reflecting the moon and stars in what would be a rather bleak night otherwise.

D.C ran toward the door with her eyes closed.

“I’m gonna go try and find you something more decent. Wait here!”

And she left him there. Well he didn’t have much shame but even he knew better than to walk around naked -if only to avoid unwanted attention when he was already so confused. In the meantime he would try to see what he could still do. So he tried to get up, and promptly fell down again.

“OK so baby steps…literally.”

Two hours later and he could finally walk almost normally. However he really couldn’t use any of his powers. He also wasn’t anywhere close to knowing what was going on. That’s when he heard the telltale sound of Sparx’s powers nearby.

She came in with her eyes closed and two pieces of cloth in her arms.

“OK so pants are harder to fit especially since I don’t know your size so I found a hoodie and a skirt, hope you don’t mind”.

She threw the clothes n the room and turned around. Conner Started putting them on as he answered.

“They definitely wouldn’t be my first choice but I don’t mind. At least the skirt is nicer than the dress I had to wear last time”.

“Wait.You really wore a dress?”

“Yeah, it was to be used as a distraction. Honestly it was fun even if I had my costume underneath. All right, I’m all done.”

D.C turned toward him.

“Hey it’s actually not that bad. Though the fact that it’s night and we can’t really see the colors probably help.”

Conner rolled his eyes. Of course he looked good in it. He looked good in almost everything. Granted he wasn’t sure what he looked like right now. Sparx coughed and he brought his attention back on her.

“OK so…this isn’t the most comfortable place to talk and I’m honestly not the best person to talk world heroics with so I’m gonna bring you to my family and especially my granny Iris. Don’t worry though they all…”

“Have powers, yeah I know I already met them, you brought us there remember?”

“That’s the thing actually, I don’t. I’m only here because of granny Iris”

“Oh.”

There was a slight lull before D.C started again.

“Anyway we should go, you can fly right?”

Conner shifted slightly.

“Yeah, actually, no. I seem to have lost my powers actually”

“Well it’s okay, I’ll just have to fly you there. We might have to take a few breaks though because while I’m not slow, I’m also not strong enough to go all the way there while holding you in one go”

Conner nodded and they left. As Sparx got high up in the sky, he noticed that what they left wasn’t a room but actually one of several train cars left on the side of a river bank. It seemed to have been separated from another part which was nowhere to be found. Moss had started to grow on it so it had been there for a while. He had been there for a while.

- - - - - - - -

It took them six hours to get to the Force family and they mostly spoke about the new tv shows that D.C. had found interesting lately so they would avoid any topic too heavy (apparently he had missed out on a hilarious cop show). Also Smartphones were so much more advanced as they were the last time he saw them.

- - - - - - -

Timberton, British Columbia, Canada.

As they landed in front of a house in a clearing surrounded by woods, a young brown-haired teenager came to greet them.

“D.C ! Mom said that you would probably need to rest when arriving so you need to show Superboy the guest room.”

D.C. undid her transformation and turned into a cute girl with short brown hair and dressed in a baseball shirt and jeans.

“No way! I’m not tired and I wanna know what’s going on!”

Ana smiled at her big sister and turned toward the house.

“Granny Iris said you’d say that and is waiting for you both in the living room”.

D.C rolled her eyes and grumbled a short “then why not invite us there directly?” before going after her sister followed by a nostalgia filled hero.

Iris Force looked as dignified as ever when, putting the cup of tea she was sipping back on the teacup in her hand, she greeted her granddaughter and her friend from another life.

“Hello Superboy, it has been a while. Though I believe you did get a few name since we last saw each other.”

“Hi Mrs Force. I go by Conner as a civilian and Kon El among other heroes now. Though you already knew that. It’s nice to see you again”.

The older woman kept her eyes closed as she smiled at him. He and D.C sat down on the couch next to Granny Iris’ armchair. Both had a teacup waiting in front of them on the table, filled with warm tea.

“You’re much more subdued than I remember young man. I would like to say it is nice to see you have grown up but as I know what some of it implies I’m afraid I am just saddened for you”.

Conner flinched at the bluntness and D.C almost got up to yell at her grandmother before changing her mind as Conner nodded at Granny. The older woman started talking again.

“I’m afraid I won’t be able to fill in most gaps, you know our family doesn’t really get involved in heroics so we don’t have the same kinds of information you could get from those people. All I know is that a few years ago, I woke up with the distinct feeling that things had changed. I didn’t know what but when I saw Allure and D.C. I immediately knew what had changed for them. For you….I can see what you where but I’m not sure what you are right now. Do you have any idea what happened to you?”

Conner stared at the teapot in the middle of the table for a few minutes.

“I don’t remember how I got there to be honest. The last thing I remember clearly was being with my best friends, Tim and Bart. I’m…I’m pretty sure I was with Tim for a while but I don’t know where or what happened.”

There was a pause.

“Oh my God! I don’t know where he is! I don’t have my powers I can’t make sure he’s okay! What do I do?”

“Maybe just google his name, whoever “he” is.”

Conner turned to D.C who showed him her phone already put on a google page. He tapped Tim’s name in the search bar and found pictures of the Wayne family with basic information. He frowned. Something was definitely wrong and it was not just because of Tim’s height…Wait.

“That’s not Tim!”

D.C Looked on her phone and almost screamed.

“You know the Waynes? Wait. Why do you say it’s not him?”

Kon turned the phone fully toward her.

“Look he reaches Bruce Wayne’s ear and it say he’s 5’10” and that’s just wrong. Tim’s tiny. He barely reached 5’6” and his hair here is way too short so that can’t be him.”

D.C. looked at him with an unimpressed look.

“Seriously, that’s what you’re basing this on? The Tim Drake from this world could have simply eaten better food that helped him grow up or there was a light alteration to his genes that made him taller and maybe he just got used to having short hair.”

“Well it also says he just turned 17 and I remember celebrating his 18th birthday.”

“This could simply be a timeline issue”

“He’s just weird okay! And not just him. This picture kinda creeps me out actually”.

Conner gave D.C her phone back as he started pouting. He wasn’t good with words but he knew something was wrong. It was in the attitude displayed. There had always been a level of fakeness in these kinds of pictures if only because of Brucie Wayne’s character, but the affection never felt as fake or distant as it did in this picture. DC played with her phone for a few seconds before giving it back to him.

“Maybe it was just that picture, look here are some other ones”.

So Conner tried. He looked at them all but they all gave him the same vibe. He tried to look for Bart too but nothing came up. There was only Barry Allen. He gave D.C her phone back and shook his head while trying to stifle a yawn. He would look for Cassie and the others later. He wasn’t sure he could take another disappointment right now.

It’s at this point that Granny Iris intervened.

“I think it’s time for you both to go to bed. Donna Carol you’ve flown for a while you should rest. Conner will try to get in touch with other heroes later on. I believe the Wally West you know is around somewhere. But you need to rest a little.”

Both D.C and Conner nodded and D.C lead the not-so-much Boy of Steel to the guest bedroom for the night. Before they parted ways, she informed him there should be clothes for him there and that he better explain how they knew each other after breakfast.

There was a small bathroom linked to the room and Conner used the opportunity to take himself in. He was tiny. Well not really but compared to how buff he had gotten in recent times he was closer to how he was when he was born at first. He even had his hair back. Even though he had cut it short to try and avoid looking like Superman, he had to admit that he missed having longer hair.

As he settled in his bed the only thing he could only think of one thing. He would find them no matter where they were. He was not going to lose Tim and Bart. They could probably handle themselves but he didn’t want them to have to. He didn’t want Tim to be on his own again. He just wanted to be with him right now.

- - - - - - - -

Somewhere in Metropolis

“CLARK!”

Clark Kent woke up with a start. He tried to focus on a voice he thought he heard. But when he tried to focus on it he couldn’t seem to remember what it had been.

Maybe it was just a dream. He wouldn’t have lost it if it had been real after all.

He went back to bed.

[gigi-sinclair]

Just a Little More Than I Wanted To Know, rated T

Based on THAT gifset of @mmcnulty’s. Yes, that one. Content warnings at the end if you have concerns. 

Edward had a boyfriend.

John didn't mind that, of course. He was religious, but that didn't make him a homophobe, or a prude, and Edward had been his friend since childhood. John wanted him to be happy.

On a practical level, things had been a lot tighter, budget-wise, since George moved out to live with his pregnant girlfriend. John and Edward had talked about looking for a new flatmate, but that would mean John giving up the flat's third bedroom, which he was currently using as a home studio for his watercolour painting. If Edward's boyfriend moved into Edward's bedroom, John reasoned, John wouldn't have to give up the studio, and they would still get a little extra income each month. Enough that John might not have to resort to Bombay Bad Boy Pot Noodles more than once a week.

And John liked the boyfriend. Tom, he was called. A bit younger than Edward, he worked at a swanky menswear shop in Mayfair, the kind of place where you had measurements taken and everything looked like it belonged in your granddad's closet, if your granddad was a wealthy hipster. He and Edward met when, on his way to work, Tom was knocked over by a bike messenger. Or would have been, had the passing Edward not stepped in and caught him at just the right moment.

“Sounds like something out of a romantic comedy,” John commented, when Tom told this story. Tom was holding Edward's hand and gazing into his eyes. “Or a nineteenth century novel.”

“My Byronic hero,” Tom agreed. Edward, who had never shared so much as a meaningful glance with any of his previous partners in John's presence, looked back at him and, to John's utter astonishment, kissed Tom on the mouth. It went on for some time. Long enough, in fact, that they were still making out when John came back with his Pot Noodle and put up his feet to watch the Aston Villa match on his laptop.

Tom obviously loved Edward. The feeling was clearly returned. Tom was at their place nearly all the time anyway. They might as well make it official. I'll talk to Edward about it tonight, John decided, retrieving the bills from the postbox and climbing the stairs to their flat.

If life was a movie, John later thought, this was the point at which the soundtrack would have begun a slow build-up of suspenseful strings, a hint that horror was just around the corner. In reality, thanks to a headphone-wearing girl on the Tube who would likely be stone deaf by the age of thirty, John was humming the lightly blasphemous “Good as Hell” when he slipped his key into the lock and stopped in his tracks.

Edward was standing in the kitchen. Unfortunately, the open floorplan, which had seemed such a boon when they first found the flat, meant his position was clearly visible from the front door.

“Edward!” The name slipped out before John could consider other, wiser alternatives, such as immediately moving back to Scotland, although he hadn’t lived there in decades, and never communicating with his longtime flatmate and even longer time friend again.

“Oh, fuck!” was Edward's immediate reply. To be fair, the crudeness did fit in with his current wardrobe aesthetic, which could best be described as “dishevelled, half-naked schoolboy.” For a moment, John wondered where Edward had found the school tie and blazer, the only articles of clothing he was wearing. Then he realized they were Edward's own, from when the two of them were in sixth form college.

John wasn't sure whether that made this scenario better or worse, but he had to concede, it was impressive Edward could still fit into a jacket he'd worn at eighteen, even if the sleeves were a little short.

“Now, now, Mr. Little,” another voice came through Edward's bedroom door. It sounded like Tom, if Tom had stepped from the set of a lower-rated porn video. Not that John would know anything about porn, poorly rated or otherwise. “You know what happens to boys who swear, don't you?”

Even as Edward's face turned pale, John made the instant decision to pretend he had gone as deaf as that girl on the Tube.

“I thought you were working late tonight,” Edward said, his tone strangled.

“That's tomorrow.”

“Shit.”

John felt himself begin to pale a little, too. “Listen, Edward, I...”

Then Tom appeared in the bedroom doorway.

John wouldn't have expected his lacy black panties, although now that he'd seen Edward dressed as a naughty schoolboy, John didn't think there was much that could shock him in terms of attire. The table tennis paddle in Tom's hand was a little astonishing, given John was reasonably certain there wasn't the space for a table in Edward's bedroom.

“John!” If Edward was deathly pale, then Tom was rapidly turning the colour of a ripe summer tomato.

“I was just leaving.” John turned. He heard Tom call something out after him, an apology it sounded like, but it didn't matter. John fled as fast as he could down the stairs and back onto the street, only stopping to catch his breath when it became obvious neither of them was pursuing him. Well, John told himself, they aren't exactly dressed for it.

A laugh rose up inside him. He tried to force it down. He thought about the suffering of Jesus, the frailty of mankind, all the usual things, but it wasn't sufficient. The laughter exploded loudly enough for a passing woman with a dog to look at him like he was insane.

Maybe I am, John thought. But Edward was his best friend, Edward loved Tom, and John really, really loved his home studio.

He pulled his phone from his pocket. Text me when I can come home, he wrote to Edward. Emojis were not John's forte, but he added a little smiling face, because he knew Edward, and Edward would be dying of humiliation at the moment. Then, We should talk about Tom moving in. With, naturally, a few ground rules about proper attire in the common areas, and a copy of John's up-to-date work schedule posted on the fridge at all times.

He sent the text, not expecting a reply for a while, and headed to Waterstones for a cup of tea at Café W and a browse through the art magazines.

Now that his studio was going to be permanent, John had a lot of projects he wanted to pursue.

CW for implied spanking, implied age play, and explicit embarrassment. For @theterrorbingo square [accidental] exhibitionism. 

[wolfofansbach]

I’ve always been curious- is there any particular river dale character you find hard to write when you move time periods in fic?

Fun question.

First off, the characters that are easier to slot into different time periods: Jughead’s a bit pretentious, God bless him. So for me, his voice is not so hard to imagine during the Great Depression or the civil war. The way he talks about the “death of small town America” or “the godfather of indie cinema, Quentin Tarantino” (kill me), it’s fairly easy to picture him ranting about “the death throes of the capitalist system” or “the genius of Blanqui”. He’s also fairly easy to wrangle into the classic broody Byronic hero role with a bit of work. If I end up using him as a protagonist. Which I usually do.

Archie’s kind of the opposite in that he’s a pretty simple guy (at least his season 1 incarnation, and season 1 incarnations are always what I base characterization off of). So no matter when or where he lives, his goals aren’t (usually) too complex. In canon, he wants to be a musician. Okay. He can want to be a musician in pretty much any time. Not to mention he easily becomes the wholesome, salt-of-the-earth, farmer boy if necessary. Poor Archie only rarely gets a big role in anything I write, so I don’t have to worry about him too much, anyways.

Betty is interesting. A big part of her arc (again, we’re all about season 1 here) is her dealing with encumbering standards and expectations. It’s interesting to see how that can be translated into different historical periods, though I admit it’s not something I’ve explored too much. Like in the Princess and the Chekist, she’s Cheryl’s maidservant and has to deal with a lot of her abuse. She’s not the MC in that story and Cheryl kind of lightens up so that she doesn’t really have to confront that conflict in the end, but it’s kind of there.

The toughest might be Cheryl (even though she’s one of my favorites to write). Her references generally have to be downdated for the period of the fic. Obviously you can’t drop Mad Men references if it’s 1936. But you can drop Fritz Lang or Dos Passos references. It’s always fun to wonder “what pop culture references would Cheryl shoehorn into the conversation in this decade”? But it’s also hard. She seems like such a distinctly contemporary ‘mean girl’ archetype that can only properly exist with the advent of the modern high school that it can be hard to picture her anywhere else. But on the other hand, the Blossoms have such an aristocratic, old world spirit and aesthetic that can make them feel right at home in bygone days. Like when I make her literal nobility it doesn’t feel out of place at all to me. Because in canon she basically is American WASP aristocracy (it’s never been dwelt on much in the show, but I’ve always headcanoned the Blossoms as an ooooold family, probably literal aristocracy before the revolution. But I have lots of head canons about the history of the Blossom dynasty that could fill a post on their own)

Which leads me into another thing—one aspect of the characters I never like to change is social status/class. I feel like that’s such an integral part of their personalities in canon that to alter it is unbearably disruptive. If Cheryl isn’t a privileged rich girl is she really Cheryl? If Jughead isn’t a starry-eyed yet cranky poor boy is he really Jughead? Betty and Archie I always like to keep comfortable petit bourgeois middle class. Veronica must always be relatively new money (it’s never confirmed in canon just how new the Lodges are, but I always like to think Hiram’s father was the first in the family to really strike it rich, just because it provides a nice contrast to the pedigree of the Blossoms)

[thornsickle]

Does your opinion or thoughts still stand regarding where things end in IX?

I would say the priority concerning IX is the Force, so in terms of story, I believe to create a cohesive story that joins I all the way to IX, you have to deal with the issue of the Force and give it some kind of conclusive ending. Whether the Force as a form of magical power available to humans will disappear, I do not know, it is a bit vague and abstract for a main stream audience and I have no idea how they would do it, but to me I think it gives the whole saga the best ending. From what I have heard on the set, don’t worry, no spoilers, the Force does play a major part for Rey and Kylo. I think the return of Palpatine also lends credence to the idea of the Force as a power being a major issue in this film, becoming more solid and present than ever before. Also, I think JJ’s focus has always been on the Force. He named Episode VII ‘The Force Awakens’ after all.

As far as Rey and Kylo are concerned, I stand by the idea that Ben Solo, if not Kylo Ren, will survive. But by taking away their powers, Rey and Kylo will in essence be able to live in peace, and Ben will no longer be burdened with this gift, which is almost a curse upon his family. Yet the reason his family had to endure all this pain and suffering was because they were the only ones powerful enough and ‘grey’ as far as the spectrum of the Force is concerned, to deal with this issue somehow and ultimately bring true balance by setting the Force free. I don’t know if you have ever watched ‘The Dark Crystal’ but a very similar ending is applied there as well. It would also mean the whole story of the force-sensitive Skywalkers ends, and they reclaim their anonymity within society.

Now, the second half, concerning whether they will be together? I don’t know honestly but I will give it a stab since you asked. Once the Force is free, if that is indeed what happens, who knows, but then I think their fates could be left unclear. The fact that they were separated after TLJ, makes me ponder though and look back at what I wrote. In my post I stated that the ‘yin yang’ concept is where the two characters can no longer be together because they have finally found their respective identities. In a way, this is what Rian Johnson did at the end of his film; Rey finally embraces her status as a jedi “I will not be the last Jedi” and Kylo is the Supreme Leader, finding his identity by rejecting his mentor and doing what he said he wanted to do, building something new (will he though?).

What is perplexing and quite honestly throwing people off I think, is that as a story arc, this is a form of conclusion. In any other story concerning opposites, like those I mentioned in my post (His Dark Materials, Spirited Away, Casablanca, Princess Mononoke), this would be the end of the story. They cannot stay together though they care for each other, because they understand they are opposites and don’t belong in their respective worlds, after having defeated some form of evil and found their identities (in this case Snoke).

But this isn’t the end of the story. The point which is unresolved, is Kylo Ren. This is where we deviate and something else I think should be seen as a reference point, other than the ‘yin-yang’. Ben Solo, as depicted in TLJ, is more than simply the ‘monster’ in Frankenstein, more than the shadow figure. He is about as byronic as you can possibly get, right down to his costume. The scene where Rey rejects Kylo’s offer, screams of ‘Jane Eyre’. Jane also, the main heroine in this book baring her name, rejects her Byronic Hero, Mr Rochester, half way through the novel. Not because she does not love him, but because of her morality. The same can be said of Rey; she cares about Kylo, she understands why he is the way he is, she wants him to make the right choices, but she cannot make them for him, and also recognizes the corruption within his mind, just as Jane does with Mr Rochester, who states he loves her more than any form of morality. I won’t go through an entire analysis of ‘Jane Eyre’, we would be here forever and I am sure someone out there has done one already with links to what we are talking about, but the point is Mr Rochester has to reform and pay sacrifices in order to finally earn Jane as a partner in life. He has her love, but it is only when he understands his own faults and selfishness concerning his hunger to have Jane as his own, that he can finally be able to walk through life with her in peace and harmony. I would say Ben Solo will ultimately have to do the same and reform therefore his ideas concerning his past, his moral compass, and ideas concerning power. It’s possible this is what Rian Johnson sowed into his story. Not an ultimate conclusion, but a barrier, something unresolved between them because they have still not reached the end of their journey together. If so, and if JJ agrees, then I think it was actually possible and not ridiculous, to suggest Rey and Kylo could end this story together, since they were apart at the end of TLJ. But who knows.

Now, as far as the film is concerned, it’s possible it will remain unclear even to the audience what they fates will be. They could simply slip away into myth, a bit like the end of ‘Phantom of the Opera’. There you have an antagonist who also happens to be a Byronic Hero (at least in the musical, a mixture of ‘the monster’, as he was in the novel, and the more romantic hero, much like Kylo Ren is a mixture of the two) who kidnaps his heroine and kills people. Pretty damning right? But at the end, we hold sympathy for him but you understand he can never be part of the real world. That’s the grain of realism which I really appreciate about that story. He slips away, only leaving his mask behind, a symbol of his past, a legacy, a myth, and he escapes literally, but becomes for the audience something else, like a ghost, slipping into the mists of time, never to be seen again. I would be very satisfied to see something similar with Ben Solo, taking the legacy of his family with him, but putting an end to their story by returning it back to where all these things must return, the pages of a book, a story, a myth, a fairytale. He is no longer important to that legacy because it can now take on a life of it’s own. I think JJ very much is interested in the ‘fantasy’ element of Star Wars, if his commentary on TFA is anything to go by. His use of terms like ‘castle’ Princess’ and ‘Prince’ are pretty telling, as well as the dialogue he gives to Rey, as she states “Luke Skywalker? I thought he was a myth!”

And after all, this whole thing started with a very telling line.

‘A long time ago, in a galaxy far, far away….’

[haledamage]

In-Character Interview Part 2

Continuing from here, but with (post Inquisition) Cait because I couldn’t choose a favorite. Not tagging anyone new, tags are on the first post.

1. What is your name?

“Cathain Cousland Howe. You can call me Cait.”

2. Do you know why are you named that?

“Father read too many adventure stories as a kid,” she said wryly. “I was named after some ancient Avvar warrior.”

3. Are you single or taken?

“Married.” She smiled to herself, something fond and private. “Childhood sweethearts, if you can believe it.”

4. Have any abilities or powers?

“I’m good at stabbing things,” she said with a sharp smile. “Pretty good with locks and words, too, I suppose. No magic or anything like that. Just knives.”

5. Stop being a Mary Sue.

“Did you know that Mary Sue is just the way misogynists say ‘protagonist’?” she said, saccharine sweet, her smile more a snarl than anything resembling friendly.

6. What’s your eye color?

“Grey. Not much to say about it, I’m afraid.”

7. How about your hair color?

“Also grey,” she said sourly. “Well, mostly grey. It was brown once. I’m barely in my 30s, believe it or not, but life and ancestry can be a potent combination.”

8. Have any family members?

“An older brother. My husband. A sister-in-law, her husband and daughter. A lot of others that aren’t with us anymore.” A look of grief passed quickly over her face, but was replaced by a smile that looked just a little forced. “And my Wardens, of course. Family doesn’t have to just mean blood. I’m told I have a habit of picking up strays.”

9. Oh? How about pets?

“I have a mabari war dog. His name is Byron! He was named after a hero from the Rebellion, Arl Byron Howe. I, uh… I didn’t expect to marry into the family when I named him. He’s been with me a long time.”

10. That’s cool, I guess. Now, tell me something you don’t like?

“Politics. Dishonesty. When people put me in charge and then second-guess my decisions. Giant spiders. Fine with the regular ones, could do with less of the big ones.”

11. Do you have any activities/hobbies that you like to do?

“I’m too busy to have hobbies. I like to travel, though. And climbing trees or hiking.”

12. Have you ever hurt anyone in any way before?

“Sure. Lies, betrayal, violence. Mostly violence, if I’m honest.”

13. Ever… killed anyone before?

“Yes. Good at stabbing things, remember?” She shrugged. “If it helps, I only kill things that try to kill me first. Or that really had it coming.”

14. What kind of animal are you?

“A wolf. They’re pack animals, like I am, and good hunters. Related to dogs, and I’m Ferelden so I’m a bit related to dogs too. Plus, you know,” she pointed at her hair, then her eyes, then the silver griffon on her armor, “grey. Get it?”

15. Name your worst habits?

“I get angry easily. I let violence do the talking more than I should. I’m stubborn, and arrogant, and pushy. But at least I’m aware of it, right?”

16. Do you look up to anyone at all?

“My mother. She was a remarkable woman. Poised and noble and kind, but she was also a raider captain once upon a time. I can’t maintain the balance between the two quite as well as she did, but I’m trying.” She grinned and leaned forward as it sharing a secret. “Also Loghain, but don’t tell him I said that. He was my hero when I was a child, and while the man and the myth are very, very different, I still look up to him. He may not have always made the right choices, but he understands that someone has to make a choice and is willing to be the one to do it. I wish I had even half his conviction.”

17. Are you gay, straight or bisexual?

“I’ve never really thought about it.” She paused to think about it. “Bisexual, I suppose. Pretty people come in all shapes, sizes, genders, and races and I’ve never really noticed a preference one way or the other.”

18. Did you attend school?

“I had a tutor as a child. I didn’t pay attention as much as I should have, probably.”

19. Ever want to marry and have kids one day?

“Well, I am married. I’d love to have kids, but it’s… complicated. There are factors that make it difficult. It’s a work in progress.”

20. Do you have any fangirls/fanboys?

“Comes with the territory, I’m afraid. Hero of Ferelden and all that.” She rolled her eyes. “You learn to ignore them after a while.”

21. What are you most afraid of?

“Abandonment. Being locked in a cage and left to rot. Dying in the Deep Roads, alone and forgotten.”

22. What do you usually wear?

“Armor. Shirts and breeches, comfortable boots, clothes for travel and that are easy to move in. Once upon a time, I mostly wore dresses and slippers and pretty things, but those days are behind me. I still own a few.”

23. What’s one food that tempts you?

“I have a bit of a sweet tooth, so cakes and candies and such are always a hit with me.”

24. Am I annoying you?

“Nah, it’s fine. I like talking about me, it’s one of my favorite subjects.”

25. Well, it’s still not over!

“Great. I’m sure there’s no other work in my very important job that needs doing or anything.”

26. What class are you (low/middle/high)?

“As a Grey Warden, I am technically stripped of all titles and holdings. But as a friend of the king and queen of Ferelden, I was granted a title and holdings. So… high? My parents were the teryn and teryna of Highever and my husband is the arl of Amaranthine and I’m whatever politics decides I’m allowed to be on any given day.”

27. How many friends do you have?

“Lots. I love to surround myself with people. Only a few really close ones, though, but I wouldn’t trade them for all the jewels in Orlais.”

28. What are your thoughts on pie?

“I have nothing against it, in theory. Food is food.”

29. Favorite drink?

“Coffee. I’ve developed a taste for Antivan brandy as well.”

30. What’s your favorite place?

“My tree. There’s this huge, old tree in the courtyard in Vigil’s Keep. I’ve been climbing it for as long as I can remember. I also like to go up on the roof of the Vigil sometimes. The only others that ever come up there are Nate and Justice, so it’s a good place to get away from work for a little while.”

31. Are you interested in anyone?

“I mean, I’m married. I’m pretty blighted interested in my husband. But if you asked me the same question ten or twenty years ago, the answer would have been the same. It’s always been Nate. I’m lucky in that way.”

32. That was a stupid question…

“Was it? I’ve been asked stupider questions.”

33. Would you rather swim in a lake or the ocean?

“The ocean. I grew up by the sea and I love it.”

34. What’s your type?

“Dark haired and grumpy, if you believe my friends.” She grinned like it was an old joke. “In truth… I like someone who challenges me. Who stands up to me and is willing to call me on my bullshit. Someone I can let my guard down with. There haven’t been many people like that in my life. Also, archers. Every one of them I’ve ever met has been really blighted sexy. All of them. It’s like magic, I swear.”

35. Any fetishes?

“Ah, see. I knew you could ask a stupider question if you really wanted to. Congratulations.”

36. Camping or outdoors?

“Yes. Always. I’d live in the woods if I could. The less walls the better.”