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qianinterprises · 4 years ago

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Among the Horses {Part One}

Pairing: farm boy!Jaehyun x female!Reader

Other Characters: OC's, Haechan (sorta, kinda, not really), Renjun (sorta, kinda, not really)

Genre: fluff, angst, country au, farmboys and lady's au, falling in love, slow burn, friends to lovers

Warnings: verbally abusive aunt, yelling, degrading (not the fun kind)

Word Count: 3.8k

Overall Synopsis: Being sent to live with your aunt isn't exactly something wonderful, especially because she's verbally abusive and downright determined to turn you into a "proper lady" who a wealthy man will want to marry. However, perhaps living there won't be so bad. After all, you've got a handsome farm boy teaching you to ride horses.

Part One Synopsis: Arriving at your aunts is very challenging and trying. After being put through the ringer with your attire, you finally get a chance to explore the green world, and spend more time with the farm boy who'd picked you up from the airport.

Author's Notes: So I started this a while ago and didn't really do anything with it, but I love it and I really wanna write more so yeah... Also, I've posted this on a03 as well.

Tagging: @treasuretaeil @hachanbaecon @hwangful

A white, dirty pick-up truck pulled off the main road and onto a long, winding dirt road, leading them closer to a grand house that you had only been to a few times in your life. The place you’d be living for the next year or two.

The truck bumped along the loose gravel, crashing over potholes, sending you bouncing on the very worn cloth of the cab, your eyes glancing worriedly to the male beside you, one of his hands planted firmly on the hard steering wheel, the other loosely placed on the stick shifter in the center of the bench.

“Are you sure the tires won’t… fall off?” your voice was thick and laiden with worry.

He glanced over at you, warm brown eyes gazing intently into yours, the opticals flecked with curiosity and amusement. Embarrassment crept under your skin.

“You haven’t been out here in awhile? Have you miss?” he asked, tone filled with friendly amusement.

You awkwardly scratched at your nose, a bit of a nervous habit she’d picked up over the years.

“No. My parents never had the money to travel.”

Your voice was small, etched in nervousness and anxiety.

He cast you a gentle smile as he pulled the truck around a sharp curve in the road, and there it was.

The house was huge, at least three stories high and stretched across the land it was perched upon. The foundation red brick that looked freshly cleaned (it probably had been), a contrast to the pearly white of the rest of the structure. The curves and contours of the slightly oddly shaped house made it more enchanting and nerve-wracking, especially as you grew closer, tires hitting the smooth cement before your driver moved the shifter and parked the truck.

“Head on in, miss, I’ll get your bags.”

His accent was a combination of Asian mixed with southern, an odd mix that somehow seemed so delicately smooth and perfect, especially the way he drawled over the “r’s”

“Miss?”

You’d been stuck in your thoughts, eyes wide as you surveyed the prospects of your new home.

“Right, yes, thank you,” you said softly, moving to get out, the door creaking as it was opened.

Your black, falling apart sneakers hit the tan pavement of the driveway, the hooks of your overalls rattling loosely against your torso as they accommodated your movements; the loose denim legs falling just above your knees as you pushed the dingy door closed.

The male you’d ridden with, Jaehyun, he said his name was, pulled the latch of the truck bed and reached up to grab your mismatched luggage, his sturdy frame pressing into the hot metal of the truck.

“Do you need some help?”

Your voice was small, mixed with worry and hesitation.

You’d do just about anything to prolong the inevitable.

“That’s quite alright, miss,” he began. “You should head on inside. The heat is a harsh place for a lady,” he answered.

You looked down, playing with your fingers, but you didn’t reply. Instead, slowly moving toward the brick steps that would lead to the entrance of the beautiful home.

Anina Lee was a strict lady. She liked things just a certain way and she got them how she wanted. She didn’t tolerate bad behavior or disobedience. And she had a strong dislike for people that got in her way. Thus, she had never been married.

She lived alone, if you count having two live-in maids, a chef, and a stable hand that slept in the barn as living alone.

Alina was your aunt. Your mother’s elder sister who had alienated your mother when she’d married a man of lower class. That same man later had a wife who blessed him with three kids to care for, spending his days fixing the cars of those more fortunate than him, hoping to make a buck for his family.

That’s why you were here. A young girl, coming of age to be married off and starting a family of your very own. Your family couldn’t support you any longer, and as you prepared to move away in hopes of finding some sort of job or a life, your aunt had hastlessly offered to take you in. Your mother had all too happily obliged, hoping her only and eldest daughter would learn a thing or two from the elder woman, maybe turn you into the lady your mother and father had tried for years to make you.

The stainless white door slowly opened and an older woman stood in the frame. She was clearly in her 50s, stress lines drawn thickly in her forehead, wrinkles in the corners of her dull gray eyes, deep lines around her nose and mouth, her neck sagging just a little beneath her sharp jaw. She was a small lady. On first glance one may have a hard time understanding what makes her so fierce. She was small in stature, small in size and in frame, but she had the tongue of a snake, the heart of a lioness, and the skill of a chimp.

“(Y/N)! You’re finally here!”

You stood a good few inches taller than the woman, but that made you more nervous if anything. You made her way up the steps and, as you reached the woman in the door, you were promptly pulled into a proper hug that severely lacked warmth.

“I can’t believe you got on a plane and sat amongst all those people in that ghastly attire. You must change at once!”

The woman’s voice was so shrill it could pierce glass, but you held back the flinch.

“Martha!” the same voice called into the house as she pulled you in, shutting the door and encompassing them in the cool air conditioning.

A larger lady appeared, dressed in stained blue jeans and an ugly yellow shirt.

“Please show my niece to her room and help her change into something more… feminine and lady-like,” her aunt’s voice commanded.

“When you’re finished dear, have Martha show you to my study.”

There was no endearing term in the word “dear.” Simply an icy addition to a perfectly manicured sentence.

You watched your aunts receding form, pencil skirt tight on her legs, black heels sharply hitting the hardwood intimidatingly.

“Come with me, dear. Let’s get you changed,” the larger lady spoke softly.

She was older, maybe 60 or so, her skin dark tan, although you couldn’t tell if it was the sun or her natural skin pigmentation. Her voice was grainy, but soft and endearing. Motherly she’d dare say. And you thought that this woman may actually make living here bearable.

You followed the lady up the grand staircase, up two flights of stairs and down a long hallway until you reached the end. The lady pushed open the thick white door and stepped inside, you following her closely.

Inside, the room was surprisingly rustic. A simple, full-sized bed with an obviously homemade comforter thrown across it. A light gray plush rug beside the bed. The hardwood floors were surprisingly and delightfully bare. One large section of the wall was home to a large bay window that stretched from the ceiling to the plush gray cushion of the bench. There were a few flower paintings and other pointless nicknacks scattered on obsolete surfaces around the room, but you paid no mind to them as your attention was drawn to the lady opening the large mahogany grand dresser and plucking out two cloths.

She unfolded both neatly, placing them on the bed and you sighed. The skirt was long and pleated, patterns of red and white stretched in an annoying kaleidoscope arrangement across the nearly pointless garment and the white shirt appeared to be partly transparent.

“Go ahead and get changed dear, I’ll help you when you finish,” she said kindly and turned her back.

You waited for her to leave the room but it was apparent she had no intention to. Awkwardly, you began unhooking the straps of your overalls, letting the fabric clang to the floor. Your skin heated up, feeling all too exposed before sliding into the skirt, the itchy elastic clinging to your hips uncomfortably. You pulled your stained blue t-shirt off, swapping it for the crisp white one that you feared you’d stain in the next few moments.

The lady turned around, her wide hips bumping into the dresser slightly. The dresser was sturdy enough not to jostle, but it was obvious the corner was sharp and painful. You almost felt bad at the way the lady’s face winced, but it was quickly pushed away as calloused hands began gripping the delicate skin of your arms, squeezing along the skin up your arms.

She tsked and turned around, rummaging through the dresser once again, only to turn around with a black, light cardigan.

You gawked. Why on earth would you wear that atrocious thing in this weather? It was the middle of August! Not December!

“I know. But if your aunt were to see your arms, she’d have a fit. She probably still will,” she said.

You sighed. Your aunt hadn’t changed one bit. Your skin was fragile. The tops of your forearms lightly tanned, a pigment passed on from your father. The rest of your arms and body entirely was light. Lady’s should be gorgeously sunkissed to be beautiful and to be taken seriously.

With a huff, you put on the long black sleeves, the intricately designed cotton draping over your shoulders perfectly. But that didn’t mean it was any more comfortable. You could already feel the added heat seeping onto your skin. You’d be sweaty and uncomfortable soon.

“Now let’s do something about your feet.”

You looked down; your worn socks had holes all through them, mud permanently stained to the sweaty fabric.

Bustling from the room, you were left stunned in the wake of the surprisingly fast woman, watching her round the corner and disappear down the hall to fetch something to apparently “fix your feet.”

You thought you’d do something to speed along the process. The more time spent getting you dressed in these ridiculous clothes, the less time you had to explore the outside world. You made your way to the bay window, taking a seat on the plush cushion that accommodated you nicely. You pressed your back against the edge of the wall and turned your gaze to the picturesque green world filled with surprisingly lush looking grass, dips and hills along the valley, and the tops of trees further off in the distance. All this land was yours for the roaming. You couldn’t wait to get out those doors and go exploring.

The sound of water sloshing in a pot brought your attention back from the window, glancing curiously as the large lady placed the pot down in front of the window.

“Put your feet in.”

You didn’t argue. You were hesitant, but thought better than to argue and have your aunt boil you alive in this pot.

As soon as your dingy, dirty, mud pasted feet hit the water, you hissed. The temperature felt that it could boil the skin right off.

“I’m sorry, I know it’s hot, but your aunt is expecting you down soon and I have to do this as quickly as possible,” the lady said.

Grabbing your left foot, she picked the appendage up from the water along with a suds coated dish sponge and began mercilessly scrubbing away at the tender flesh. You whined and howled, tears pricking to your eyes as your skin was scrubbed and abused by the harsh bristles of the brush. You attempted to yank your foot away, but the tight grip on your ankle prevented much movement. You were stuck suffering as the skin became reddened from the irritation.

As soon as the painful experience came to a close, your now pink feet were dried with a towel before being slid into a pair of eccentrically beaded, golden strapped sandals that accentuated the rest of the over-the-top outfit nicely.

“You seem presentable enough now, although I’m sure the mistress of the house would have a few unkind things to say about your wild mane.”

You tried not to take offense. You liked your hair. It was an untamed mop that curved wildly carefree, blowing in the breeze that picked up the thick tufts.

“Thank you for your help ma’am.”

She bowed at the waist, a kind smile on her lips.

“No need for the ma’am dear. Call me Martha, or Mrs. Rivera if you must.”

And with no more haste, Martha Rivera led you back down the grand staircase to the bottom floor, the tight flats biting at your heels and ankles with every step you took, fighting off the winces that followed. You rounded a few sharp corners, venturing into a large sitting room with an extravagant flat screen high on the wall and couches that looked brand new. Through a dining room, table decorated with a sequined bronze cloth and the finest China you’d ever seen, although that wasn’t really a stretch. Finally, they made it to a large oak door, cracked just enough that you could see your aunt’s silhouette sitting behind an elegant red desk, glasses perched on her nose, pen in hand, eyes married to the computer screen. Mrs. Rivera left you by the door, and you almost spun on your heel and walked away. But of course, that would be too easy.

“Come in child. Stop standing in the doorway.”

Your blood froze in your veins. You pushed the door open and stolled in, tripping over the lion skin rug, stumbling a bit before catching your balance. Harsh wisps of breath rushed past your aunt's lips and the chair creaked as the weight lifted from it.

You straightened your back, staring fearfully into the cold gray eyes that trailed over your face and down your clothes.

The woman began moving slowly around you, manicured nails and boney fingers tracing over the outline of your clothes and jaw, running through your wild mane and down your hands, inspecting the bitten off nails. As she walked, she muttered things like “hair won’t do” and “horrible posture” before she stood back in front of you.

“You simply won’t do,” she said sternly.

The words hit hard. You may have been expecting something like this, but it didn’t make the words hurt any less.

“You look like you’ve been sleeping with the horses. Your nails are pitiful. Your skin is far too light.”

She gripped your jaw, tilting your head up harshly to expose your still slightly chubby neck.

“Can you ride a horse?”

The question was sudden and it caught you off guard, but you answered as quickly as your brain would allow.

“N-no. I’ve never ridden before.”

The woman sighed loudly, hot puffs of air pouring out of her flared nostrils.

“That’ll have to change. Starting tomorrow, you will be taking riding lessons from the stable boy. Every lady should have the basic skills of riding,” her tone was cold and brisk as she looked away and perched back at her desk.

“You’re dismissed. Dinner is at 6. Don’t be late. You may roam the grounds.”

With a wave of her hand, she dismissed her niece and immediately went back to work, not bating another eyelash as you fled hastlessly from the room, your eyes welling with tears as stress and fear washed over you, although more relieved that it was over and you could finally do something for yourself. You’d start by ditching these God forsaken shoes.

You made your way around the back door of the house, more by pure necessity than memory, simply logically thinking the best way around in the expansive flooring. When you made it, a smile broke across your face as you unfastened the painful shoes, kicking them off in a sloppy jumble by the door before opening the heavy door, the heat of the afternoon hitting your face, not that you minded.

As you stepped out, bare feeting meeting hot cement, you stripped the cardigan from your shoulders, draping it over a random, sun baked chair. You tore off through the grass, laughing giddily, breeze blowing wisps of your hair, skirt fluttering delicately over your skin. It would be difficult to do anything in the blasted thing, but you wouldn’t give yourself enough time to strip down into something better, opting to enjoy the last of the day while you could. And you’d start in the bright red barn your eyes immediately fell on.

Making your way through the soft grass that squished under the weight of your feet, you strolled into the half open barn, the soft snorts of animals bringing a smile to your lips. Just because you couldn’t ride, doesn’t mean you didn’t love the animals. You loved horses especially. They were such beautiful and majestic creatures. You’d always wanted a horse, but your family had never been able to afford one. You’d always wanted to ride, and now you could, although you didn’t understand why it was so important to your aunt.

The cool concrete felt rough beneath your feet, stray straws of hay littering the floor. It could have been a picture straight out of one of the Country Living magazines you’d kept hidden away at your parents home.

The first horse you came upon was a tall brown animal, head hung over the stall door, ears perked to attention, eyes trained on the new invader inside the barnhouse. He snorted at you and his hoof hit the barn door lightly in an attempt at getting closer. You stepped closer, slowly offering your hand out, letting the animal sniff searchingly.

“He’s looking for some sugar cubes.”

The voice came out of nowhere, interrupting your serenity, a yelp leaving your lips as your whole body jolted in the sudden fright.

You turned your head to the barn door where your driver was standing, taunt arms crossed over a broad chest, veiled from prying eyes by a lightweight flannel shirt, the sleeves rolled up to the elbows. His long legs were clad in dusty denim, mud and hay from his knees to the tops of the worn work boots.

“I’m sorry. I just like horses-”

“And you thought you’d come visit them?” he finished your sentence.

You immediately began shuffling your feet, eyes turning back to study the fading paint on the stall to keep from facing him.

Heavy footsteps hit the floor as the male moved closer until he was close enough to touch. His large, rough hand gripped your wrist lightly, bringing it up toward him. You let out a little yelp, riddled with confusion and curiosity until three small blocks were placed in your palm.

“Hold your palm out to him and don’t jerk away,” he spoke calmly, slowly urging you.

You nodded, having some sort of unkempt trust in his words as you turned back to the animal and extended your arm, palm flat, cubed sugar offered to the horse, who greedily munched them right out of your hands.

“His name’s Haechan. He’s a bit of a character.”

You nodded, drawing your now horse-slobbered hand away, opting to stroke the animal's fur from his nose to between his eyes.

“That’s an interesting name,” you said.

He hummed behind you and you heard his boots hitting the concrete as he moved away.

“Do you like animals?” he asked.

You spun around, eyes wide and shining.

“Yes! I love them! Sometimes I prefer animals over humans!”

His smile was gentle as he surveyed your physique, a dusty pink tinting his cheeks, although you thought nothing of it.

“Come on, I want to show you something,”he said, walking past you to the opposite exit of the barn.

You followed close behind, curious as to where he was taking her. Your feet fell back onto the grass, the long blades sliding between your toes as you followed in his wake. As they walked, a white picket fence came into view, not far from the barn, but oddly well hidden beneath the crest of a hill rolling through the land. Once you reached the fence, his hands curled around the boards, hoisting himself up, foot balanced on the bottom board as he climbed up, throwing a leg over one side, then the other, and jumping down. You stared at him in awestruck confusion.

“Climb over, I’ll catch you on this side.”

You didn’t know why you blindly trusted him. You didn’t know him from a random stranger in the town, but you complied, placing your foot onto the same board he had, pulling yourself up and swinging a leg over, then another. The skirt snagged in the boards a few times, one of your feet nearly slipping off the boards as you attempted to keep it pushed down. This proved to be more of a challenge as you balanced on your heels, hands clutching the top piece of wood as you contemplated how to get down now. That is, until his arms outstretched, slightly bent at the elbow, fingers parted, palms facing one another, and you knew what he wanted you to do. Taking a deep breath, you pushed off with your left foot, hands releasing your grip on the fence, letting yourself drop, eyes squeezing in slight fear that you’d soon flop hard against the green earth. But when strong hands caught your waist, arms drawing you in, broad chest breaking your fall, you braced herself against him, feet carefully being lowered until they pressed back into the earth.

“See, that wasn’t so bad.”

His teasing tone had you pulling away, glaring playfully at him before turning and pretending to walk away, leaving him in your path.

At least, until you heard a rustling in the long grass inside the fence.

You squeaked as it grew closer taking a step back as your harsh gaze followed the rustling of the grass, positive a snake would wrap itself around your leg as it dug its venomous fangs into your soft flesh.

Needless to say, you were in for quite a shock when the small head of a brown and white calf popped up from the grass.

And you were sinking to your knees.

The calf moved toward your lowered body, sniffing at your arms until you reached out to run a hand down it’s small head and back, cooing quietly, eyes brimming with unfiltered delight as you wrapped your arms around the baby, stroking the fur of its back lovingly.

“This is Renjun. He’s my little cousin's calf.”

You didn’t say anything. You didn’t have to. Your cooes of joy were enough to show every emotion you were currently feeling.

Horrible aunt or not. You could certainly find worse places to be trapped. At least here you had rolling hills of green, beautiful animals to fawn over, and Jaehyun, handsome stableboy who you couldn’t wait to get to know.

#ficscafe #klibrary #kdinernet #supermwritersnet #jaehyun x reader #nct x reader #farm au #farm living #horses #cows #jaehyun x y/n #jaehyun x you #original character #friends to lovers #slow burn #series #nct series #jaehyun series

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lavenderek · 5 years ago

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hi guys julie and i were talking about potential star wars stories that aren’t a part of this whole skywalker destiny shit all the canon movies can’t seem to let go of

and julie’s idea surrounded lesbians and a very heavy presence of Life Day because she hates me and wants me to be unhappy

my idea does not have life day in it because i have a soul. this was my idea that i pitched to her while i did my laundry and i dont think she was very impressed but i am impressed with myself.

so our main character is kristen stewart but purple. like her skin is a dusty sort of pastel lavender. but don’t let that fool you into thinking she is delicate - she is Indiana Jones But Backwards And In Space. her hair is like leonardo dicaprio’s in titanic, but wavy.

her name is Gax McKu and she is an archaeologist. she is the protag of a series. her whole thing is that she likes to discover and learn about ancient cultures and artifacts, but she fuckin hates museums. and if another archaeologist is sponsored by someone who instructs them to bring the artifact to a private collection or a museum, she tracks it down and steals it and puts it back where it is supposed to be. so it’s sometimes indiana jones and sometimes ocean’s 11, because she has to do a heist to get the thing back.

it’s just that other cultures and societies are lateral moves from gax’s own, neither superior nor inferior, and if somebody took some shit from her home planet she’d be peeved. besides, if we “discover” all the shit and take it away, there will eventually be nothing left for future scientists and historians to “discover.”

anyway, i digress.

this all takes place well before the prequels.

ACT I

we find our protagonist at a dig site, and she has unearthed something totally baller like the fossilized bones of a gigantic space condor or like a prehistoric buried treasure or something, and she’s just like crouching and dusting it carefully, looking very shrewd and sexy. she’s probably got like colleagues also dusting shit and one of them brings her a rock and they talk about the rock. idk.

this planet is like a mixture of how white people see africa, and australia. like some parts are a desert and some parts are a jungle kind of moment with lots of alien creatures.

the people whose home planet this is, is - you remember in return of the jedi when there is a keyboardist who looks like a big soft elephant puppet?

it’s those guys.

so they come up to gax at the dig site and interrupt her work, and she is very debonair about how she stands up and brushes her hands off to speak with them. they’re mad and they’re pointing at her and stuff. she understands their language and speaks to them in english like han does. she’s like “i don’t know what you’re talking about. we are here for this excavation only.”

they take her to one of their cities in a vehicle that’s like a wide flat oval thing with a single wheel underneath in the very center. roads are on faintly glowing tracks. this isn’t an extremely urban type of city, there is a lot of greenery and the buildings are etched adobe clay. they are well maintained. this is a people who take care of their community and have a lot of dignity.

she is brought to what we would assume is a beautiful chapel or church or something, with lots of colors painted in a very small geometric tessellation, but gax isn’t shocked or moved by this so we can assume she is familiar with these cities and culture.

inside there is a vast collection of like beautiful stoneware, like marble and opal and granite and shit. lovely. but the biggest pedestal is empty. they glare at her and say stuff to her. she’s very gruffly like, “why would i take your moonstone sphere? i already catalogued this, check with jan bourno.”

they insist and so she has to travel to another city, with a nervous friend who is john cho but he’s got a computer head like that computer head guy in cloud city.

don’t tell me who this guy is or correct me that it’s just a thing he wears like google glass, because i don’t care. it’s a computer head and im the boss.

john cho’s name is Flienn and he’s got a devastatingly handsome beard.

they go to the other city because she’s got to investigate who took the thing. then she finds who took the thing and it’s a white guy, obviously. she fights him. gax has this cool laser knife that uses the same tech as a light saber but it doesn’t buzz as loud or glow as bright, which means she wears it in a holster on her belt, because she’s impossibly hot. flienn is held back by henchmen. he’s very damsel in distress. but gax wins and gets the bad guy to tell her who hired him.

he was paid to get this thing because it is expensive and the rich guy collects rich stuff. he communicated through envoy and all he has is a name and a planet. the rich guy’s name is pelius bragnar. he’s scary. flienn checks on his computer head and tells gax that all records of bragnar have been wiped from any kind of system.

ACT II

they fly to pelius bragnar’s planet, and it’s a forest planet but it’s not like the endor moon, it’s just a very vertical, tree-based city with a lot of stone paths and structures based around the trees. this place is very urban, with a huge class gap. it is heavily policed and obviously corrupt. she meets an old colleague who is now a prosecutor. she is played by gabourey sidibe. her name is Graunda. she calls gax Sabine, and it turns out gax isn’t her birth name, which flienn did not know but gax makes it clear he’s not allowed to call her sabine.

graunda is like, “yeah i know pelius bragnar, i was trying to shut down his gang that operates a drug ring and has the police force in his pocket, and so to control me they kidnapped my little sister. i can tell you where their gang does most of its operations on this planet if you promise to save my sister.”

gax is like, “i don’t know what about my chosen profession indicated to you i was some kind of rescuer of sisters.”

“ok, i’ve known you for like fifteen years and it’s not like you don’t have a history of vigilantism,” says graunda, “but go off i guess.”

flienn is all, “the sphere probably isn’t being kept where they do their gang business, but this is all we have to go on.” flienn’s whole job in the narrative is to be stressed and point out the obvious in case the viewers are kathy and don’t get it. he mapquests the way there with his computer head and they have to devise a carefully designed plan to get in, this is the ocean’s 11 part.

gax is expecting graunda’s sister to be like some 19-year-old and is not expecting her to be the pinnacle of beauty and femininity. she’s in her mid 30s and has big hips and perfect dark skin and almond eyes with like orange eyeshadow. she looks like a monster high doll if monster high dolls were fat and shaped like real people. her hair’s in twists that she’s got all along the crown of her head like a tiara, and then the rest of her hair is in these two low buns on the back of her head and they’re really big and round. they are wrapped in a golden thread. like my point is she’s a total babe and there is a fuckload of sexual tension.

her name is Lamaa. not like llama, the accent is on the second syllable.

they find her like locked in some kind of interrogation room. flienn cracks the code to the door. lamaa’s obviously been roughed up a little bit, and is tired.

lamaa is super upset when gax tells her they can’t leave yet. gax is like, “sorry to add to what has probably been a shitty week for you, but what i came here for is a moonstone sphere.” maybe she goes over the history of the object a little bit. idk.

they spy on somebody who somehow reveals where pelius lives, and there is a gala there next week. they aren’t expecting the tech in this room to have spyware that detects flienn’s computer head the way your work computer knows when you’re trying to plug your phone into the usb port to charge. they have to escape. lamaa is super smart but only ok with weapons and doesn’t have a lot of upper body strength so there’s a lot of sexy peril.

they escape by the skin of their teeth and are now wanted by the corrupt police. they have to hide out in like the tree planet equivalent of a shitty motel and there is a hot love scene between gax and lamaa obviously, like, duh. it’s very steamy and people will be jerking off to it for eight hundred years.

flienn is bi. he doesn’t have a love interest in this installment, im just putting it out there.

ACT III

they go in disguise to the gala, which means they have to dress in formal wear, which is also extremely sexy. lamaa wears a silky backless gown and her hair is coiled in a rope braid beehive. gax wears a formal vest and her hair in a slight bouffant. flienn wears a traditional fancy costume that involves sheer fabric wrapped around him and covering part of his head. he is not religious and doesn’t usually dress this way, but he has to hide his computer head. also he’s wearing eyeliner because why don’t more dudes wear eyeliner? it’s not even because he’s bi. lots of dudes wear eyeliner where he is from.

they sneak around and find the sphere. i guess this is ocean’s 13, when matt damon has to seduce his way into the diamonds room. they get caught in there and are all held prisoner. gax and lamaa argue but it’s obviously just because lamaa is very scared of pelius, which makes flienn even more scared of pelius, which puts gax in a bad mood. she doesn’t really get scared until the physical danger begins.

the physical danger begins. pelius comes in, The pelius. he is a twi’lek. he does a lot of sinister taunting and gax is mad because she’s nervous.

lamaa escapes the ropes she is tied up with somehow and is able to get gax’s laser knife to her and they have to fight pelius’s henchmen, and they steal the sphere, and while she’s there anyway lamaa steals all his fancy gold and jewels and sticks them in her cleavage. they climb to the roof and use flienn’s drapes of fabric to zipline down some like fuckin ropes strung along all the treehouses and escape. pelius is like curse you gax mcku, i would have gotten away with it too if it weren’t for you meddling adults!! and your little computer head too!!! he is left as a future antagonist.

lamaa is obviously a target now on the tree planet, so she goes back to the elephant puppet planet with gax. there’s another love scene but gax finds all the jewels and shit in lamaa’s bra. she’s like, “you can’t keep these.”

lamaa is like, “i figured, i just didn’t want him to have them. i don’t know where these go.”

so future stories will probably involve them trying to put those things back while also being chased by pelius and his drug lords.

they all return to the dig, and now lamaa is wearing archaeologist clothes like gax, and her hair is pulled to the back of her head with a fancy barrette. gax is once again interrupted, but this time it’s by the guy who stole the sphere in the first place. he’s like, “pelius is going to kill me for giving up who hired me, and it’s your fault.”

gax is like, “you’re an embarrassment to the science of archaeology. you’ve gone against the very tenets of our profession and i don’t care what happens to you.”

this obviously makes him feel shitty, but rather than internalizing it he just hates her guts. he leaves, and she goes back to the dig and doesn’t watch him go. but he glares with contempt over his shoulder, because he will also be an antagonist in future installments.

and that guy’s name?

SHEEV PALPATINE.

i’m just kidding, these are all new characters, his name is like george or something.

the end.

give me money.

#YES i named kstews character after the character she plays in the totinos sketch YES im a girl #space fights #thing by betp #gax mcku

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littlemissonewhoisall · 7 years ago

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Justice League is really good, guys

Okay, let me be level with y’all: I hated Man of Steel. And I mean, despised it. Didn't like Batman V. Superman, though I thought it was slightly better. So far, the only DCEU film I liked was Wonder Woman, so as you can imagine, I didn't have too high hopes for a film by Zack Snyder, whose faux-philosophical brood-fests I despise, and Joss Whedon, who doesn’t always know when to tone down the humor and tends to use a lot of male gaze and other stuff I dislike. Combine that with a very generic plot, and I went into this movie expecting to find it mediocre at best.

I. Was. Wrong.

I don’t know how it happened. Two mediocre directors, a ton of behind the scenes issues, a bunch of questionable creative decisions, and tons of cut footage SOMEHOW combined to make a movie that I didn't just tolerate, but loved, in spite of its issues.

I’m gonna go more in depth under the cut, but here’s a brief spoiler-free rundown: Justice League is a movie that understands exactly what makes the JLA the most iconic super team in comic books. It combines some perfect characterization with great acting and some really fun scenes that more than make up for its dodgy cgi, occasionally uncomfortable cinematography (probably Whedon’s doing), and rather mediocre plot (probably Snyder’s).

I give the film an 8/10, and I think it’s a must-see for any DC fan.

Justice League’s first scene sold me on the film immediately. Superman actually taking the time to talk with some kids after saving the day yet again, being the lovable dork he is, washed away the bad taste in my mouth from the previous two movies almost instantaneously. Somehow, that one scene made the whole following montage of the world grieving for Superman incredibly compelling, despite how little I cared about Superman’s death in BvS. Of course, the movie very quickly reminds me of my issues with Snyder’s previous films when it shows us what is, in my personal opinion, the film’s weakest link: Lois Lane.

You have to understand something: I LOVE Lois Lane. She is my favorite character within the Superman mythos by a LONG SHOT. So seeing her reduced to this helpless shell feels so goddamn insulting to her character. From the beginning, Amy Adams’ Lois always felt like it was missing the spark that made her comic counterpart so great. She’s too gentle, too traditionally feminine, too much of a damsel in distress. Compared to her badass cynic-with-a-heart-of-gold comic self, I always felt this version of the character was a poor reflection of the original. But in this movie, she does nothing but mope around until Superman comes back. While her scenes with Clark after his return are good, they lack the perfect character dynamic that makes Clark and Lois my favorite couple in comics, and literally her only contribution to the plot is snapping Clark out of his rage when he gets in a fight with the League through some “power of love” crap. It’s really disappointing.

In addition, Commissioner Gordon feels like a real waste of such a great actor as J.K. Simmons. If you've seen the trailers, you’ve seen his role in the film. There’s nothing else there. He’s basically a glorified cameo.

The early parts of the film, while Bruce and Diana work to assemble the League, are great. Flash and Cyborg’s introductions are done perfectly, and while Aquaman’s is a little bit clunky, it still gets you interested in the character. As someone who was never really sold on the idea of Cyborg as a member of the League, this film made me really appreciate what he has to offer both in terms of skills and what he adds to the team dynamic. That said, I liked him much better when he had his hoodie on, because his overly complicated all-CGI body does him no favors. There was really no reason to make Cyborg CGI, and his design looks like a Michael Bay Transformer.

Speaking of unnecessary CGI, we’re soon introduced to our villain, Steppenwolf, who looks like he stepped straight out of a Halo game. Steppenwolf is... not a good villain. I did like his motivations, actually, but they were underdeveloped and his dreadful design did him zero favors. I’m of the opinion that his great-nephew Kalibak the Cruel should have been the villain, as it would have added a great deal of nuance to his motivations.

In contrast to the lackluster villain, the heroes are incredible. I’d say Aquaman was the weakest of them, but that’s really not saying much, because even he was a blast, especially in the final battle. The Flash is a highlight, as he spends most of his time in Superman’s spot in the main trio. This Flash is absolutely a joy. He’s clearly coded as autistic, yet doesn’t feel like a punchline despite being the film’s main comic relief. Admittedly, fans of Barry Allen will likely be a bit disappointed, as this hyperactive, socially awkward kid has little in common with the comic character outside of his backstory. Fans of Bart Allen like myself, on the other hand, will be overjoyed, as this is the closest we’ve gotten to a real adaptation of the character on-screen.

Speaking of the trinity: Wonder Woman isn't as strong a character as she was in her solo film, and most of what we get from her is just kicking ass, but she’s still great and feels pretty much like the same person we saw there. Batman is done very well, trading barbs with Alfred and generally being the emotionally stunted loser we all love. It’s obvious that his well-meaning control-freak tendencies are in full effect here, and it’s wonderful. But as great as the rest of the League is, Superman is easily the best part of the film. Holy shit, I was smiling every time he was on-screen. THIS is the Superman I fell in love with eight years ago when I first picked up All Star Superman by Grant Morrison. He’s a sweet, rather goofy dork who just loves people. The bit where he fights the League while still in a fugue state really showed off his powers, but after that his personality is what is most focused on. Yeah, that’s right, HE HAS A PERSONALITY. A huge relief, given his previous DCEU appearances.

The Justice League as a whole are great, but I’d be remiss if I didn't talk about the true star of the film: a random criminal Batman uses as bait at the beginning of the film. Holy shit, I love this guy. He gets ambushed by Batman, dangled off a roof to lure a monster from another planet, and sees Batman beat the crap out of it before IT EXPLODES. And how does he respond? He casually strolls up to Batman and chats with him about an oncoming alien invasion. What. A. Legend. I’m gonna headcanon he’s this universe’s version of Kite Man.

To sum it up, Justice League combines the greatest strengths of its directors, completely overshadowing their weaknesses.

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bellesdomain · 7 years ago

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Starlight Express Workshop - Thurs 14th Sept

Let me preface this with my overall impressions - this show was fantastic in many ways, the performances were all amazing, the band was fantastic, the staging was remarkably full and entertaining given the circumstances! It was an absolutely fascinating experience, I’m so glad I had the chance to go - and that I’m going again to see how it develops further.

But as reviews like this are bound to, this is all going to come across as very negative - but I want to start off emphasising how much I enjoyed it overall!

The theatre is a small, steeply raked auditorium, with a thrust stage about level with the 3rd row. The stairways on either side were accessible from the stage and used in the performance. There’s a gantry upstage, which forms a platform for the 8 piece band and Control - yup, live Control onstage. He had fabulous glowing headphones and an Ipad that seemed to be a racing game - I think it also included his script! Generally I am very anti-live Control, when it comes to non-replica productions - since the entire show takes place in his imagination, he exists on a different plane to the action therefore they shouldn’t interact. But given the fluid nature of this workshop, pre-recording the kid would be impossible so it worked ok!

The show opened with Andrew Lloyd Webber and Arlene Phillips giving us the context of the evening. Lloyd Webber explained how they’d workshopped “School of Rock” in a similar manner - no big automation, complex lighting cues or costume changes, just establishing the story telling. Great concept! And the venue “The Other Palace” theatre in Victoria, is being run for precisely this function.

Lloyd Webber also told us how he and Arlene Phillips had visited the German production for the English Gala, and he hardly recognised the show they were performing as his work. And indeed, I was also at the English Gala and suddenly hearing the material in its original language made the inconsistencies and plot holes glaringly obvious! So the point of this workshop is to see if they can get the show back into shape for a future production, as well as the German production’s 30th anniversary next May.

The show opened in a familiar manner, Control (playing with his ipad), sent to bed by his Mother. She sings her lullaby, the melody is taken up by the mouth organ. The Overture modulates, repeats, swells, in the fans’ mind’s eye you see the shadowy figures skating around the set - and then Control interrupts with “Stop that Boring Music!” And begins to introduce the National Engines.

I think it’s fair to say this change is getting a bit of negative feedback. That overture is the literal HEART of the show, it’s the preview of the Starlight Sequence, it’s the title song melody. It’s the magic happening, as Control falls asleep and we enter his dreamscape. The Overture alone will literally draw people to tears. To have Control dismiss it as “boring music” is crass, insensitive, and a tonal mis-fire, alienating Control from the audience. In other words, he’s a brat!

Entry of the National Trains is always a clunky way to start the show, these minor characters are so unimportant to the plot. Placing the scene later, before AC/DC, makes for better story telling, as the audience have already established who’s important and it contextualises Electra’s entrance as we’re calling forward the competitors for the race. Anyway, the workshop has given us some new names for the Nationals - Bobo the French train is now the feminine Coco, which works well. The German Engine is now named after Wagner’s opera das Rheingold. Rather than fix the dated and embarrassing reference, the Japanese train is still Nintendo. And the British train is now “Brexit” - which is as topical a joke, and I suspect will last in the public conscious about as well as his APT designation did. Yeah, that’s the point. Nobody remembers! A very quickly dated reference. There were a few of them throughout the night, so hopefully they’ll be reconsidered. Rolling Stock - Oliver Tompsett as Greaseball, greased back hair and stubble, was hilarious and a bit menacing - would probably be more menacing if I weren’t so steeped in his performances from Rock of Ages! The strangest thing here though, was it. Was. so. Slow. There’s a strange quirk that the 1984 original cast recording has the Rolling Stock track at a stodgy plod - as if an LP record is played on the wrong setting! And this is what they decided to replicate live. The performances were all brilliant, the ensemble mugging it up as their Nationals, it was hilarious and engaging, but why so slow? As far as I know, it wasn’t performed that slow in 1984, it’s just a quirk of the recording - but Andrew Lloyd Webber obviously approved of this!

Second number in was Crazy. Throughout, Crazy and Call Me Rusty have been mixed up and cut together - along with remnants of Engine of Love in there as well. It works, sort of, plot-wise it’s exactly like Engine of Love, here’s young Rusty and the coaches. There’s a lovely bit of contextualisation where Control explains “Rusty is the first train I got when I was six” which grounds us as these are his toys. Then into Crazy. George Ure as Rusty may have dried on his opening lyrics, but a bit of ad-libbing and he was back on track. Christina Bennington as Pearl got straight in there with the high option for Pearl’s “Til someone better comes along”.

Greaseball, Nationals come in to bully Rusty, and the coaches all stick up for him, however Pearl makes the point that she’s not actually Rusty’s partner, flirting with Greaseball. Then we have a version of “Call Me Rusty”, the short version used in Vegas I believe, layering “Call me Rusty if you dare. Call me Rusty if you like…” with the coaches still having the mid break from the original but with some new lyrics from Pearl about “we’re just friends”. Rusty is sent to fetch the trucks, and we have the original intro into Locomotion, “Rusty/can’t/be serious, him/go in/for the race?” but then there was some new material, Greaseball flirting with Pearl, saying “woowoowoo you’re brand new!” Dinah comes forward to warn him off Pearl but she gets sent to “go make the tea” by Greaseball and the Nationals. Here’s where we’re introduced to Tassita (shhh she’s a quiet coach and doesn’t like loud noises), and we go into the new song to “introduce” the coaches, “I Got Me (and that’s all I need)” This song felt to me like there’s some School of Rock type influence. It’s very “I can do what I like” independent rock chick. It’s not a bad song, but it doesn’t serve the purpose of introducing these characters at all, plus the pedantic mind says that these girls are railway coaches - and coaches DO need an engine. Sorry to break the vibe but coaches aren’t independent - but you can easily argue the case that an engine without coaches is as useless as coaches without an engine. The song ended quite abruptly to muted applause, but launched straight into a reprise, which was then interrupted by the Freight train.

Freight ran exactly as the 1992 London, with all the banter from the coaches, which was particularly entertaining despite being such very familiar lyrics. Whether it was due to the small ensemble, or an effort to address the gender imbalance in the show, Hopper 3 was female, and she was having a great time of it. Sadly no return of the Rockies, the Hip Hoppers are about the only remaining remnant of the contributions made by David Yazbek in 2003. The only new moment in the number was one of the most jarring changes - Caboose is included, but rather than introduce himself using the “There’s Me” melody (“at the back on every piece of track…” Being “All alone, you think you’re on your own…”) no, the Red Caboose comes straight in with “Wide Smile, High Style” melody, telling us straight off that he’s in the business of wrecking trains. His characterisation was very much aggressive, nasty and scary! No pretense at the sweet and helpful Caboose that anyone would trust, this guy is clearly one to avoid. Caboose made a point about being paid to do his job.

Straight after Freight, we have Control announcing technical problems… oh boy! A late entry! These must be his minders! Kilowatt is Electra’s security truck. Wrench is the repair truck, Purse the money truck ordered us to switch your accounts to Electra. Again money is an active concept in this world. Joule and Volta followed - male Volta, as with Hopper 3 is this a limitation of the size of ensemble?

Electra appeared in towering red velour heels, fishnet stockings under a conventional masculine ensemble of slacks and jacket. Liam Tamne has an incredible voice, great range and strength and falsetto! But his characterisation flat for my personal taste for Electra, and also really reminded me of someone else, a character on TV perhaps. He was very flamboyant and self-indulgent.

AC/DC is interrupted suddenly, as Greaseball appears. The coaches, who 10 mins earlier were making such a point of not needing no man, especially Dinah getting up in the faces of the Nationals to protect Pearl, undergo a complete 180 on their characters, turning to the regular excited fangirls we’re used to seeing in Pumping Iron. This felt especially wrong given Dinah’s “Back off girls, he’s mine!” - really? Is he? Because you were defending your girls from his flirting just now, and showed no suggestion of a relationship between Dinah and Greaseball other than antagonism. The earlier scene is massively out of character for Dinah.

Oliver Tompsett rocked Pumping Iron, of course, it’s easy to appreciate why the girls are all fangirling over him. The two female components stayed to dance, while Electra and his boys left in a huff. This was one scene where the minimal staging fell flat, as the dance break needs some rock’n’roll partner work, skates or not.

Coda Freight ran much as expected, the confrontation between Greaseball and Electra was extended by the two of them sharing the lines usually sung by the Nationals, as they mock Rusty’s intent to join the race. Coda Freight originally did not modulate key - the German production is one where it drops into a lower key which always jars. But this time we get a modulation UP a key, which is different! But not necessary, it’s quite busy enough staying in one key.

Control announces five minutes to race time, and “if you ain’t in twos, you lose”. This is where we would expect to find Crazy, and indeed we have a reprise of the number where Rusty approaches Pearl, but she rebuffs him with something about “don’t push me around”. But then their conversation follows the coaches’ melody from “Call me Rusty”, as she explains in no uncertain terms that while she likes him she wants an engine of the future. Then they are interrupted by Electra’s Bodyguard Kilowatt (shall we just call him K?) who explains Electra’s coach has a “Migraine”. Pearl has her dilemma, and will let Electra know.

Pearl has a new intro to “Make Up My Heart”, written to the “diddlydiddly” pre-race music (also used by Caboose pre-”Wide Smile”), as she discusses how Electra seems fun, then she had an echo of “He Whistled At Me” - which I think was the only occurrence of that/”Engine of Love” melody. Then that disjointed selection of melodies led into the full “Make Up My Heart” number, as performed on the 1992 London recording.

Control starts the races, with a comment about “I’ll pick your partners for you”. A new addition for the races which grew very tedious almost immediately, each engine as they’re introduced, sings the “Clear my track, this is my train now, this could be my dream, clear my track” fragment of “No Comeback” that Pearl sings in “Laughing Stock” - each with their own lyrics of course. But hearing that same fragment four times in a row was repetitive, and annoying given that that melody is meant to specifically refer to Electra. The concept of melodies referring to specific characters and event - the use of leitmotif - has more or less been lost, apart from a few occasions which shows that while they COULD use the concept, they choose not to! Race 1 ends up with a Dead Heat between Greaseball and Electra, with only the “No Comeback” melody appearing in the race music.

As the racers clear away, we have a mopey Rusty with the “Call me Rusty” melody on the mouth organ, as he approaches the Freight yard and “Momma” is singing The Blues. Mica Paris was poorly served by the existing score - while the major solos are within a reasonable alto range, most of Poppa’s recit is well below an alto. However her character, and the staging for the number was really engaging and fun, and included Caboose mooching in the background. Caboose has always seemed notable by his absence from this scene of the Freight - I presume the practical reason is that Caboose has just finished racing so to make him immediately be onstage but purely for context would be unkind. But within the world of the show, why is Caboose not hanging out with the rest of the freight? Momma’s response after “Let me hear you say Steam!” - the Starlight Express melody - is “When the Night is Darkest” rather than “When Your Goodnights have been Said”, which probably only coincidentally is kinder on her vocal range. But it’s slightly odd in a production that draws so heavily from the previous London productions, to bring in the Broadway variation of the title song. Control interrupts to inform us of heat 2, Momma decided to race and ends up with Dustin much as is familiar from other productions. The exact reason was unclear but Brexit meant the British train was missing, allowing Momma to race.

Race Two again seemed to have Control decide the race partners, and again repeated the “Clear my Track” melody, except Momma introduced herself with the Coaches’ “I got Me” melody which seems to be pretty random for an old Steamer. It was also incorporated into the race music.

After Race 2, into Laughing Stock, played much as normal, but with one small 1984 detail restored - Momma points out Rusty “Couldn’t face that losing shame!” rather than Rusty admitting his own weakness, or the line being omitted altogether.

Starlight Express - the title song closed act 1 with an unexpectedly subtle edit, new lyrics to the “When the Night is Darkest” melody. I’m not absolutely sure new lyrics were needed for this number, but they’re evocative and very much in keeping with the scene and Rusty’s emotional journey.

(And we have the interval. Go get a glass of wine. You’ll need it.)

Act 2 begins with The Rap - entirely a capella, started by Hoppers “Are you Ready?” which updated lyrics. The Coaches come in with something like “Swipe to the left? Swipe to the right? Who will be my date tonight?” which feels like it’ll date very quickly. It was a mix between the 1992 Rap in structure, “Gotta be in the frame if you’re gonna win the game, are you ready for the big one, ready!” with quite a lot of the individual lines tweaked. This meant that we’ve still got all the “Shut it, Dinah!” and some of the classic lines like “losing the race with this floppy disc” and “Boil with the oil or lose with the fuse”. Performed entirely unaccompanied, with much stomping on the beat, worked really well.

“Pearl Twirl” ran unaltered, giving Dinah a COMPLETE character shift from act 1. The confident, sassy girl is completely unrecognisable as the heartbroken Dinah singing “Uncoupled”. Fantastic performance from Natalie McQueen, really heart-felt and beautifully sung, but it was distracting how she seemed to be playing a completely different role to earlier. The staging was even much as normal, with the other two coaches hanging out behind, with varying levels of sympathy and boredom as they sing backing vocals. But without Dinah having established a character of a devoted, in love with Greaseball, the song was very out of place.

Invitation Dinah included some new material, a longer conversation between the girls, with Dinah saying “I can’t manage on my own” - again, this is not the Dinah we saw in act 1. The line “But if Greaseball changes his mind!” is in there. Tassita and Belle have very little to do - no Girls Rolling Stock - but whereas in the past the coaches only had “Oh, Dinah!” to express their frustration, this gives them a little dialogue.

Caboose’s scenes in the middle of act 2 almost had me vocalising my frustration! This scene is one of my biggest problems in the current show AND IT HAS NOT BEEN CHANGED!

First, Caboose tells Greaseball that Rusty is fast, and they plot as in the US Tour with Greaseball’s “Ohh that’s nasty, I like it!”. This conversation also gives us the existing line “Just cos I smile all the time, don’t mean I’m not into crime”. This is not news, this is not a reveal, and this Caboose has only been smiling in an evil, mean way. There’s been no pretense at Caboose being helpful or sweet, he’s been flat-out nasty from the beginning.

Then we have the Disco-tastic 1984 version of “Wide Smile” which repeated the “Just cos I smile all the time, don’t mean I’m not into crime” line, and included “Under the smiles, under the fun I’m public enemy number 1” - again, there’s not been any fun or smiles from this Caboose! Also they use the full 1984 “CB” lyrics including the CB radio references which were cut for the Broadway show in 1987 as too obscure!

Patrick Sullivan’s performance was extraordinary, hitting those falsetto notes, amazing energy and rhythm, a really enjoyable number. I don’t know if I should read significance into Electra not joining in the backing for the number, but it was only the components.

The problem is though this scene is a MASSIVE plot point. It should be the moment we learn that Caboose is a cheating back-stabbing bastard, but this has already been established. Also, there is a logical gap in this number - with Electra well aware of Caboose’s enjoyment of double-crossing, why on earth does Electra then choose Caboose as a race partner for the downhill final? Especially when surrounded by his components, any of which would be a suitable race partner. The simple solution, which I was hoping this workshop would consider, would be for Electra to be removed from this scene. Simply continue the song on from Caboose’s conversation with Greaseball, have Greaseball’s gang as the backing dancers rather than Electra’s components. Then, Electra is unaware of Caboose’s scheme, his choice of race partner makes sense. This would also remove a flabby feeling repeat of the material as different versions have been grafted together.

Race 3 - the Uphill Final - begins with Control announcing Greaseball and Pearl, Electra and Dinah, and Rusty and Caboose. This race has not had the extra “No Comeback” repetitions, but rather the normal spoken lines from each Engine including Rusty’s “Let’s hear it for Steam!”

No explanation is given as to how there are only three engines, since Control earlier quoted the 1992 London instructions “There are two heats, two qualifiers from each heat”. So what happened to the 2nd qualifier from Heat 2? Why did only Momma come through from that race?

Well, I can tell you why, it’s because Control’s lines are taken from the 1992 London, but the races are taken from the 2003 US Tour with the pre-recorded 3D races. Because the tour ran with only 4 Nationals including the British train, the races were run on the logic of two heats, and the winner from each would compete in the final, which should have consisted of two engines. But since Electra and Greaseball tied, they both went through to give us 3 engines in the final. But this story telling has been overlooked in this workshop.

The race was staged with Caboose literally picking up Rusty to make it clear he wasn’t going anywhere! The race music also included the inverted race melody, the descending phrase as used in Germany which always jars when used to the London versions. The Race music did include the “Wide Smile” motif. Rusty was thrown to the floor, injured, as Control shouts “Race Cancelled! Who did it? I didn’t do anything!” - again the 1992 London script.

The 1992 London show was the production which cut Caboose - which is particularly relevant in this part of the show, as without Caboose driving the story, the London show included material to patch over the holes. This material was then drafted into the UK Tour in 2004, to cover gaps where some of the David Yazbek contributions were removed, I believe. However the result is that there are two separate scenes which cover the same actions.

Firstly, the Caboose version is that Caboose has crashed Rusty. The original London staging in 1984 was one of the weaker points of the show, where a fairly illogical staging required all the racers to make it onto the bridge to be carried to the top level, mid-race. CB slowed Rusty to the point he missed the connection and the race was then cancelled due, I believe, to the fighting between Greaseball and Electra. This had Rusty challenge Greaseball with “That CB he never took off the brakes”, which is when Pearl realised that Greaseball and CB were in cahoots. The original version didn’t have Rusty injured apart from his pride, but gave us CB’s insane “10, 10 never again you’re no engine!”. CB’s gloating and insane pleasure at the damage he has caused is an essential part of his character arc. The German staging had Rusty crash and tumble down the bowl to land in a heap centre stage, where Greaseball and Pearl came by, with Pearl saying “I’ll go tell the Marshalls!” then as Greaseball pulls her away, she begins to realise she’s made mistakes.

Secondly, the No Caboose version, the London 1992 version, has to find another reason for Rusty to be out of the race. The Uphill final is cancelled by Control when it’s devolved into a fist fight on the bridge, Control didn’t see what happened so Greaseball and Electra jump on the chance to blame Rusty - “Rusty did it, he caused the wreck!” Greaseball then confesses “Shut it, I did it, he was good, he was fast” - without Caboose in the show, this comes as a surprise. The Marshalls have been wordlessly clearing everything up, Rusty then comes back to Greaseball with “They (the marshalls) say - “ “what do they say?” Greaseball then sics his gang on Rusty, to “make sure it won’t happen again”. The Gang then beat up Rusty (to the melody of “Wide Smile”) in order to bring him to the same, injured and dejected state, as if Caboose had been there.

These two separate scenes have been smashed together since the US Tour in 2003 gave the show major re-writes, and the story being told is flabby and confusing. If Rusty has been wrecked by Caboose, is already on his knees and his confidence destroyed, why do the gang need to beat him up directly? Unless the staging includes Marshalls directing the clean-up, who is Rusty talking about with “They say”? If Caboose is there, then how does the line “You told the Marshalls I drove into you!” make any sense?

The Workshop gives us the current version of this scene, with the 1992 London version of the show, including Greaseball and gang beating up Rusty. Then Pearl wanders in, sees Rusty wrecked on the floor, and realises things are going bad “This wasn’t how I wanted it, this wasn’t what I saw” (what had you seen, Pearl? We no longer have He Whistled At Me to specify her dreams and ambitions) Flat-top has his sympathetic line “Give it up Rusty, you’ll never beat them”, and Caboose has just left. Then we have a reprise of “Crazy” at a slow, reflective pace, as the badly injured Rusty picks himself up. This reflects back to Rusty’s naive hopeful attitude at the start of the show, contrasting his previous optimism with his sad current state. Then we hear the “Call Me Rusty” refrain on the mouth organ as standard. This reflects back to Rusty’s naive hopeful attitude at the start of the show, contrasting his previous optimism with his sad current state. Yes, the concept of Rusty’s confident introductory number being reprised in a slow, sad tone is exactly repeated in this scene.

Where we’d expect Right Place, Right Time, we have the Hoppers wander in and paraphrase the opening lines of the number, without any particular motivation for their presence, but the full number is omitted. This scene feels like it might be a compromise as the work in progress nature of the workshop, where this is a place-holder for a new version of the full number for the Hip Hoppers.

Rusty, alone and dejected, runs into the Starlight Sequence as normal, reflecting on how he’s “down and out”. The Starlight Sequence is always magnificent, but it was slightly soured after Control’s “Stop that Boring music!” comment during the overture, which is of course a preview of this scene. Mica Paris as Momma wasn’t quite comfortable with the vocal range of the song but at some moments opened up sounded glorious. There were also some slight lyric paraphrases such as “The Starlight Express is no more or less, I’m you, Rusty”, which doesn’t quite make sense, but I suspect was simply the nature of the workshop rather than a deliberate change. George Ure’s performance was stunning and so emotional, he really carried us on Rusty’s journey.

The Rusty and Dustin scene has some new music, using the same melody as Rusty’s monologue prior to the Starlight Sequence, the melody most characterised as the Coaches’ verse in “Call Me Rusty”. It’s a minor key, the music always suggests concern, worry, lack of confidence, so to use it for this scene felt off. The standard score uses “Belle’s Song” at this point, as that melody is connected with the Freight and Dustin as well as Belle.

Dinah’s Disco is re-worked to be a reprise of “I Got Me” which works well in this context. If “I Got Me” were moved from act 1 to replace “Girls’ Rolling Stock”, following “UNCOUPLED”, this reprise would work perfectly. Electra calls CB to his side with the “AC/DC” melody, the 7/4 time makes the short scene feel a bit awkward, but replacing the “Nobody Can Do It Like a Steam Train” melody makes sense when all references to “He Whistled At Me” have been cut. Electra and CB bargain for the price of CB’s help.

Control introduces the re-run of the Final Race, on the Downhill course. Again the score being used is snipped from the 2003 US Tour - the pre-race 4 has two versions, the original staging called for three finalists, the Broadway and later used four finalists. The beautiful, complex layered music was originally written for the six racers, then altered for eight. But then the US Tour version cut it back to six, rather than referring to the original score, the two vocal lines are simply left out leaving a gap in the music. Specifically the 1992 score had Bobo singing “Le jour du gloire est arrivé” (please pardon my french!) with Ashley singing “Gonna be hot, hotter than hot”. The alternative for that vocal part has Caboose singing “Just for me, I’m in this just for me” (or “Nur fuer Mich” in the German score) - but the workshop uses the Tour version which simply skips this vocal line. Once part that point the complex harmonies were gorgeously performed. While I love the “Rusty’s gonna race in the Final” moment in this number, it harks back so strongly to the original version of the Rap.

The Downhill Final was performed with a very witty side-comment from Control about “Sorry about the lights, use your imagination!” The race music was very much the 1984 original which was gorgeous! Control’s narration tells us the story, including Pearl being disconnected, and Rusty saves her - at which point the Crazy melody was incorporated in the race music, with the ensemble singing “Come on Rusty”. Immediately on winning, Rusty leaves with “I must find Pearl”, as usual.

One Rock’n’Roll Too Many was staged almost exactly as usual - in fact all that was missing was the kneepads! Contextually this was played the same as UK Tour / Germany, not like the 1992 London, which seems a shame. The only major difference (apart from the presence of Caboose) is that in London, the ensemble stayed onstage and witnessed the massive fall from grace of the major players in the game. I appreciate that practically, in staging the show, I am sure the ensemble are grateful for a couple of minutes backstage, but the story telling of including them as witnesses is important. Plus it gives the ensemble characters more time to establish their personalities. There’s no logical reason all the characters leave before the number, and come back at the end. Momma was struggling with the vocal range for the “Where’s Rusty gone?” section.

Pearl is introduced with the electric guitar playing the “He Whistled At Me” melody, but since neither version of her song appeared at the start of the show, her reprise that was the introduction to “I Do” has been cut. Which is super frustrating, because that little reprise was the only good addition with this dreadful song!

“I Do” is untouched, it’s still abysmal, with clunky, random, meaningless lyrics, poor melodic construction, long and repetitive. The lyrics scan very poorly to the music (“you think that noboDY would love you”), and the vocal ranges are very hard to sing, it’s fortunate the cast are so strong! They are genuinely adorable and you’re so happy that they’ve found each other, despite the music.

I have to admit, however, that with the changes to Pearl’s character, that she is given more time to think, the lyrics are not as contradictory as previously. It feels like Pearl, and to an extent Rusty, have been ret-conned to fit this song!

I am genuinely astonished that this song has been kept, I thought the one thing this workshop would be sure to give us was an improvement on the love song. It’s such a shame to have lost “Only He” - in any of its many variations - as the love song being a reprise of one half of the Starlight Sequence is an enormously important part of the story telling. The “Only You” melody speaks of discovery, completion, it’s the answer to the question, where the “Starlight Express” melody is the question.

Following “I Do”, Rusty and Pearl sing a reprise of “I Got Me”, and the “Well Done Rusty, King of the Track” is now set to the same melody, which is slowed, and jars with the dissonance. Then the reprise of the “Starlight Express” melody is as you’d expect, into Dinah’s “Greaseball you’re hurt!” - beautifully performed, and there isn’t the jarring sense of “No, honey, don’t go back to your abusive ex!” - which is possibly more of a negative statement since Dinah’s character is so inconsistent. Oliver Tompsett does have the most magnificent puppy-eyes pleading expression though, making it hard to resist forgiving his character!

Leading into Light at the end of the Tunnel, Mica Paris was again having difficulty singing the role written for a baritone! I had a moment of cognitive dissonance, given how there had been strong throw-backs to the 1984 version of the show, for the one line that was originally sung by Soul Queen PP Arnold as Belle, “The man who watched the pot and said, hey I got…” - for one moment being sung by Soul Queen Mica Paris! The final number bounced along, full of joy and energy as ever, with no changes from the norm. No megamix, just a play-out from the fantastic band.

#stexworkshop #starlight express #Scene by Scene analysis

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bwprowl · 8 years ago

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It’s a week of Wonder-ful reveals for an upcoming superhero movie, as well as delightful displays of dangerous desk lamps and real-world legends. We’ll also note pre-orders for swords and souls (eternally retold) and a plug for the best kind of toy of all: A book. All this, plus ninjas and squids, here on Tuesday Night Toys!

New Stuff: The Strongest Woman in the World

That Wonder Woman movie is definitely a thing, innit? As DC tries to steer their comic-film franchises into something that can hope to compete with Marvel, maybe we the consumers can at least win as far as collectibles go. Mattel revealed some of the line they’ll be doing the movie, and they thus far seem to be embracing the feminine focus of the film by combining their doll-crafting experience with their superhero-action game, producing some very nice-looking action dolls of Wondy. I honestly can’t overstate how impressed I am by these things, they’re fully-articulated figures decked out in well-detailed armor and outfits, ready for battle (even the evening-gown Diana comes with a ‘hidden sword’), and they also have rooted hair and fabric clothes, and overall the whole mix just looks really cool; it’s a great way to do the line. Getting those Negima dolls last month broke the seal for me on these types of things, so if I like the movie enough, maybe I’ll get one of these.

If you’re like me (and if you’re bothering to read this thing, you probably are, a little bit) you enjoy fighting games for their in-depth competitive scene as much as you do actually playing them. In probably the first of this type of thing I’ve seen, legendary Street Fighter player Daigo will be getting his very own statue by Kinetiquettes (who’ve made a few nice SF statues already). This is a high-end affair just like their other pieces, and features the likeness of The Beast holding his fight stick. It’s definitely one of the most interesting things I’ve seen happen, as far as toys and video games go.

This statue is better at Street Fighter than I am

If you’re less into a figurative god at fighting games and more about a living robot planet-god that eats other planets, then Soldier Story has you covered with this Unicron…desk lamp. Yup, this big, badass statue-thing is officially a lamp. Really, it’s just a huge awesome Unicron that lights up and projects a Decepticon symbol (even though Unicron isn’t a Decepticon…) and generally makes your desk look really impressive more than it provides light for it. As far as that goes, it looks good enough that it might be worth owning for that.

insert obligatory joke about lighting your darkest hour

Wishlist: Swordcraft Story

Between Bandai pumping out high-end toys of past toku trinkets and Bandai of America going all-in on classic-MMPR nostalgia-bait in their Legacy line, there’s never been a better time to be a fan of cool old Sentai stuff. BofA’s latest Legacy offering, the Red Power Sword, is up for pre-order. Big stuff like this makes for a great display piece, and if you’re one of those people that meticulously constructs a cosplay of the Red/Tyranno Ranger (and tops it off with that helmet they’re also selling), then this is a must-have.

Soulcalibur and I had a messy breakup a few years back (I disagreed with the lifestyle choices SCV made), but damn if I don’t still have some fond memories of that series. First4Figures must too, since they’re producing a statue of venerable villain and effective game-mascot Nightmare, in his most-iconic SoCal 2 appearance. They've even got an exclusive even-more-expensive version that has light-up eyes! Maybe I can grab this and do that memetic Wolverine pose when I feel a longing for all the good times me and this sword-swinging game shared.

Writer Blake Wright has a Kickstarter up for this book, Toys That Time Forgot, chronicling ‘lost’ toylines that were planned or licensed out but ended up not being produced for some reason, and it is *exactly* up my alley. I’m fascinated by stories of toys that were created based on series or movies or other licenses or what have you, and learning all about them. I’ve already kicked in for this thing, and it *seems* to be on-track to be funded. I’m really hoping to see some of the stretch goals there, such as a chapters on the long-canceled Alien figures that eventually got produced by Super 7, or the end of the ‘vintage’ Star Wars line.

I’m also just a liiiiittle salty I missed out on the exclusive pledge tier that came with that Alex Ross Super Grover print

On Desk: Ninja Starfish

I buy toys for a lot of reasons. Maybe they’re based on something I like, maybe they look cool or fun on their own, there are lots of easy, obvious reasons to pick these things up. And then sometimes things get a bit more esoteric. I’ve never watched any of Ninpuu Sentai Hurricaneger, let alone its Power Rangers adaptation Ninja Storm, but when Bandai of America’s Legacy line of figures rolled out toys of the Ninja Rangers in its first wave, my thought upon seeing the Blue Ranger was “Oh yeah, she was played by Nao Nagasawa, that cool actress who’s popped up in a lot of other toku shows I’ve watched”. So I’d thought about it for a while, and when I saw one still on the shelf the other day, I decided to go for it (I mean, it’s cheaper than buying the Figuarts for such a silly reason).

This is a pretty cool figure, all told! Bandai’s PR sculpts are still a bit too…defined for my tastes, but these aren’t quite as bad as some of the Roided-up/Supermodeled-out Rangers they were doing a few years ago. The design works fine enough for Nanami in her suit, and the Hurricaneger suit design is a very cool one (probably my favorite of the Ninja-inspired Sentai). The toy, being ostensibly a ‘collector’ piece, doesn’t skimp on detail either, with the ‘mail’ design of the arms and legs sculpted in, and everything including little glove details painted on.

Articulation is up to the standard it sets for itself as well, with the arms in particular getting tons of motion out of their various universal joints. The ball-jointed abdomen helps a lot too, and the double-jointed neck is great. The hips are one place the figure gets tripped up, predictably by the skirt. Bandai actually pre-cut slits in the sides of the skirt for this one (as collectors of their previous PR toys have been doing for years), and it helps a little, but the piece is still so stiff that the hips end up pretty restricted anyway. It rather cuts down on nicely ninja-esque crouching poses, but while it’s annoying, it’s not really a deal-breaker.

Accessories are a bit limited as well, coming with the standard Hurricaneger sword both in its sheathe to stick to her back, and out so she can hold and swing it. The sword on the back does a lot of cool things for the silhouette of this Ranger design, and is a big part of what I love so much about the look. And having some weapon assists in posing quite a bit. The only other thing she comes with are the Build-A-Megazord pieces, a really cool idea for a pack-in on these toys that I just have no use for in this case since I have no intention of getting the other figures from this set. These bits can’t even fit on the Astro Megazord BAF components I’ve collected with the Power Rangers in Space toys I’ve gotten so far, so no mecha-swapping funtimes. At the very least the ‘arm�� bit works as a little toy of HurricaneBlue’s dolphin mecha, I guess.

I also came upon Jakks’s Splatoon Inkling Boy figure from their World of Nintendo line. I’d been burned by their Link toy a few years ago so badly that I thought I’d sworn the whole line off, but my curiosity got the better of me, so I spent eight whole dollars to check this thing out. And it’s…actually not terrible! The design is nicely simple, so there’s not a lot Jakks could screw up in terms of sculpt or paint, and what there is has been cleanly applied and looks decently nice. The limbs are thin enough that I do worry about fragility, and there was a terrifying moment when I moved the leg and heard a cracking sound in the hip and went “Oh no not again” but it’s still attached so it must have just been some paint on the joint moving loose.

Overall, a fine enough job and probably worth it if you want a cheap, posable squid-kid figure (Splatoon 2 hype has already started, after all). If they do the girl Inkling, I’ll probably get it. Callie and Marie too.

Hope you enjoyed all that, everyone! I’ll see you back here next week, and until then, have fun!

#wonder woman #daigo umehara #transformers #power rangers #splatoon #soulcalibur #toys that time forgot #super sentai #toys

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bhintatta · 5 years ago

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Omegle Tales

Thanks Kartik for A2A

Qurantine proved to be the the the reason which made Omegle, once again the go to site for bored ones around the globe.

Warwrick Maths Professor- I expected this guy to be some teenage nerd, it’s not that common to find people with interest as ‘maths’. I opened up with Maths is gay, this guy didn’t say anything. I tired to seem smart by throwing some words like ‘you know complex analysis and group thory huh’, fella replied with ‘lol, who doesn’t’.

Later he mentioned he’s a professor at Warwrick University, he was realy into maths and entered college when he was just 17 (I did the same but I’m dumb). Ahter this basic introduction we talked about 3Blue1Brown, Numberphile, ZachStar (Major Prep) and other similar ones. Especially about 3Blue1brown’s video in which he plots the graph of COVID-19, algorithm and his approach.

Later he explained a better algorithm, he helped his students to design at University. I didn’t get most the things he was talking about but I kept humming along, pretended like it was obvious ‘yeah, that one is better hmmm’.

I got bewildered in buzzwords which I dropped earilier to look not complete outsider from the mathematical realm.

In the end he asked ‘You wanna keep in touch?’

Damn, that was a shit load of ego boost.

We talk about Modi on discord sometimes (okay, once).

E-Thot

After getting tired of bots spamming me to join their discord servers and “M27 horny” incel fellas, I changed my interest tags and bumped into this fellow Indian warrior who was in search of SeXtiNg. Then I reavealed that I trolled him becuase he was getting virtual BJ from a straight guy. #Mr.Prankster

This guy could feel the resentment and fear of dying virgin from my replies, he turned out to be omegle equavalent of Actor Varun Pruthi for me.

After some deep conversations like asking about my dick size and reason for being virgin, he gave me a proposal I couldn’t turn down. He turned sherlock mode on and started planning how we would execute this mission impossible 7.

It was time to explore my feminine side, I became his bi-sexual friend and he added me into a group chat and introduced me to this nymphomaniac. The dots started to connect, everything was connected, my dick size became my identity.

Objectification of women was an alien concept for me but now it wasn’t.

The first text popped up in chat ‘Do you suck a lot of dicks?’

Yup, that’s how the mafia works. I tried to ignore gay vibes and defended my masculinity by proclaiming myself as “Top”, followed by ‘squiddle my diddle’ to elucidate my intentions about what I was looking for.

I tried to act like a player and DM’d her, expecting some lame reply. Still I don’tknow why but she started speaking french, I mean c’mon. I can’t even speak english properly and you are flaunting your french. But I didn’t say anything, she was enjoying pussy-privillage.

Hardly two minutes passed and she sent ‘show me’.

Okay, that was quick, even our Indian boys don’t ask for bob-pics this much fast. *Incoming video call* adrenaline and cortisol nibbas rushed into blood, anxity bar was full . What if there’s some guy just trolling me or it’s a scam where she’ll record and blackmail me. I’m aware that no girl would want my nudes when they have unlimited supply of unsolicited dick pics but still I was scared and declined the call.

Now my friend cum pimp messaged and assured that there’s nothing sketchy. I was determined to see those majestic boobies for which I was lured into all this

I muster up the courage and call her and surprisingly she picked up immediatly, A dark screen shows up, my speculations were about to be the reality, I was sure that now someone from other side will say ‘chutiya bnaya’ laughingly and flash his penis before hanging up the call.

I had a sigh of relief when I heard her. Just like that Naughty America intro, her whispring voice ran a wave euphoric tingling in my whole body, the stress which was piled up earlier vanished. It was nothing less than ASMR voice, never thought my name could sound this much sexy.

She said: Show me now.

I was confused for a moment, show what? I wasn’t a salesmen who will just reach out to his bag and grab a full fledged erect penis to show her. I mean yeah, we go around popping random boners at un-expected places but this was just way too fast.

Things don’t work like this, at least mine doesn’t.

After explaining her about my need of visual stimulation to raise the bar for her, we did something (not going to explain).

As I explained earlier, she had a luscious voice, everything she said was arousing and surely it served its purpose. But she also wanted me to do dirty talk and *moan*.

So here I was saying Oh yeah (….) in my Punjabi accent which sounded something like “O jeh, phakk it bebi”.

Somehow she was okay with it and later swithched to Hindi for obvious reasons. Later she expressed her desire for a dominant male to treat her like a slave, call her all the cuss words one can imagine. All those hundreds of hours spent in watching BDSM were going to pay back, I started articulating my ideas for the script which will make me look like a chest-thumping alpha male.

It was showtime, I started shooting blend of swear words originating from both Hindi and Punjabi lexicon. My delivery was flawless, each gaali filled with emotions, my accent added inroduced a whole new dimension to it. She was awestruck, probably after witnessing my command over the art of profanity.

At this point I almost forgot what the actual fuck we were supposed to do, my inner toxic-tenager was ragging to destroy the opponent like it used to do on facebook in good ‘ol days. My erection was gone, I was sitting there in front of camera, holding my flacid shlong.

I’ve to admit she was very supportive, even after all this she didn’t leave. She giggled when I apologized for all the mess, and decided to revive the fallen one.

She came up with this idea of using a pen to visualise as mine and proceded to give virtual BJ. To make things more realistic she decided to add an extra aspect of sound, which sounded something like this- “dok-dok-dok-dok”.

I was trying hard to control my laugh but then out of nowhere she said ‘Chod bhen ke lode’.

At that moment I lost it.

After laughing like an retarded chimp, I was certain that she will say fuck off and block me but again, she proved me wrong. She did call me immature but wasn’t mad,

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