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she-posts-nerdy-stuff · 2 months ago

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Literally not a single soul asked for more information about my idea for a Florence + the Machine jukebox musical of Shakespeare’s Othello (because, well, why would they?) but I have a lot of time on my hands so buckle up because you’re getting more information

(If you want to be able to better picture my mad rambling, I'd recommend playing the songs so you know what parts I'm referring to)

Opening number: 100 Years (from High As Hope)

We open on an almost empty stage with Desdemona slowly stepping into the spotlight as she sings the first few lines (I believe in you and in/our hearts we know the truth/And I believe in love and the/darker it gets the more I do); if we want to get super specific she’s wearing a white dress that’s a similar shape to the one Florence wears on the album art because just yes yes yes and also angel imagery for the win and ALSO over the course of the production her dress becomes pale pink or grey and then very gradually gets darker but in fact the nightdress she wears when she dies is back to white again. She does not bleed, people, she is the only character that dies without bleeding (!!!!!!!) and I will never shut up about that. Anyway, she sings up to the repetition of “and never, and never turn to night” with orchestral accompaniment and then when the “Then it’s just too much” line hits and the beat comes in things change. More lights come on and the chorus (wearing all black) move slowly into the stage; they’re tap dancing, creating the beat/ rhythm of the song. As they’re moving in Desdemona seems to show some level of fear towards them, constantly switching focus to see them approaching her on all sides; they represent the inescapability of her being the tragic hero. Notable: Desdemona is performing ballet and maybe some lyrical but I’m kind of imagining her en pointe for a lot of this; the chorus is performing tap. At natural breaks in the music and rhythm the tap dancers freeze in place for Desdemona to dance whilst she sings the next lines. On the second rendition of “then it’s just too much” vocal accompaniment to Desdemona’s melody begins and members of the chorus grab Desdemona’s shoulders and arms to pull her backwards, as she continues to sing she tries to break away from them and they follow her/she falls into other chorus members. They close in on her and she is completely covered until the rise in the music on the next rendition of “And then it’s just too much” when she reaches upwards and is lifted above the group, set down on the same line. The chorus continue to seemingly fight her through the next two lines. Then entrance of Othello comes on “I let him sleep, and as he does”. He does not sing yet. What we’re seeing here is more about Desdemona’s thoughts than it is actual events; Othello enters and takes Desdemona’s hand to briefly dance together, including him lowering her almost to the floor and then snatching her back to her feet again on “my heart bends and breaks so many, many times”. They stand opposite each other for “And is born again with each sunrise” and Desdemona reaches to touch his cheek. Othello catches her hand in the air and holds it so she walks with him as he begins to exit (he is walking backwards) and he sings the repeat of the line, but as they approach the wing he turns and exits alone, abandoning Desdemona on stage to be taken hold of by the chorus again in the following instrumental. For the final verse the chorus join Desdemona in singing but she is still the only main character on stage

Othello and Desdemona Duet: I’m Not Calling You A Liar (I should mention I’m not listing these in any particular order and also I do not have a copy of Othello with me rn to double check that I've got order right so I won't be trying just in case I get mixed up)

Gonna be so honest I feel like if you know the song then this one is self-explanatory, but I would also really love a quiet, sad, short reprise of it in the last scene with Desdemona on the bed reaching up to cup Othello's cheek and whispering "And I love you so much/I'm gonna let you kill me" before she dies

Emilia and Iago Duet: Back In Town

Iago and Emilia are alone on stage. The song begins after the exit of Desdemona at stage left and Emilia, who followed her almost to the wings, is subsequently standing alone at down or centre stage left and does not immediately know that Iago is standing somewhere behind her upstage right. Emilia steps slowly away from where she was been watching Desdemona leave and slowly starts to approach the audience as the music begins, and sings the first two lines believing she is still alone - Never really been alive before/I always lived in my head. Iago steps forward from the shadows and sings the next two lines (And sometimes it was easier/Hungover and half dead) taking Emilia by surprise, as though he is simply stating fact to her and she is forced to nod along and accept them . At this point Iago takes over the song and from now on sings most of it as a solo. He approaches Emilia across the stage and takes hold of her - notably by the wrist, not by the hand, to pull her in as he sings “I’m back in town why don’t we go out?” and on “spin” of the next line twirls her across the stage and straight into him so she falls against his chest and he is holding her up. The choreography continues in a relatively similar fashion as the song goes on; it is a slow dance, they are constantly close together, it is not entirely believable that Emilia wants to be there. To a casual eye it may appear that they are simply dancing together, but when you actually watch them you can see that her movements are always half a beat behind his, and always in the direction that he moves her. He never lets go of her for long, and in the brief moments of freedom that she catches she tries to move away as though it is part of the dance, as though she thinks she can hide her true intent beneath fluid motions that mimic his own, but every time he notices and forces her back. This is both a metaphor for their entire relationship and foreshadowing of her death. By the time he’s sing “And if you get spat on that’s just your big city baptism, you’re the star of the show” it is plainly evident that he is trying to convince her to do something for him. On this line Emilia finds herself with her back pressed against Iago’s chest as they both face out to the audience, his hand raised as though showing her a name is glowing lights, and she follows the movement of his hand with her head and with awe, eagerness, and the slightest edge of terror in her eyes. From here, as the lines continue, Iago turns and dips her slowly towards the floor. Emilia’s leg extends and he reaches his free arm to force her raised foot into pointe/demipointe; she is not committed to this dance, but he will force her to be. On the final lines Iago lifts her back to standing and pulls her close to him, moving her hands so she is clasping them together and he is clasping hers to his chest. He lifts her chin with his fingers so she is forced to look up at him as he sings “‘cause it’s always the same”. Still holding her chin, he looks out to the audience when he sings “I came for the pleasure but I stayed,” and it is Emilia who sings the echo “Yes, I stayed,” not at first looking at the audience but directly up to where his hand is now retracting from where he moved her to. She slowly turns her face towards the audience as they harmonise together for the final words: For the pain. On the final, low beats of the music Iago paces away and Emilia stumbles as she realises that he truly was the only thing holding her up. He exits stage right and Emilia sinks to her knees, watching him - a direct reflection of her watching Desdemona leave just three or four minutes ago on the other side.

Emilia Song 1: What Kind of Man

This will immediately follow on from the one above, thus beginning with Emilia knelt on the stage alone somewhere near centrestage right, looking out into the wings. She will sing the very opening lines exactly where she is, I envision only a very brief pause between these songs, and then slowly begin to stand and brush herself off so that she is ready to start walking towards centrestage by the time she is singing “I’d already had a sip, so I reasoned I was drunk enough to deal with it”. She sings alone at first; the stage is dark but for a spotlight on her, the orchestral accompaniment is relatively low to add emphasis to quite how complete her loneliness is in this moment - she is not safe, she does not know what to do, and the one person she can usually confide in and trust (Desdemona) is not only not here but also the very subject of the terrifying questions Emilia must now grapple with. On the higher background notes surrounding the line “and with one kiss” Emilia raises her hands and thrusts them towards her chest as though there is a blade between them, as though these hands belong to someone other than herself. She is both foreshadowing her own death with this movement, in the very pattern that her husband will commit it, and also presenting the image of her very first kiss with Iago being the thing that sealed her fate rather than anything within the content of the play: Emilia was doomed from the start, perhaps arguably doomed by the narrative, because her marriage is not one that she would have ever been able to survive. On that note I would really like to emphasise the youth of these characters so I would probably change “a fire of devotion that lasted 20 years” to “the fire of devotion that’s lasted all these years” so that we don’t get confused and tangled in the numbers of it. On this line (You inspired the fire of devotion/That’s lasted all these years) Emilia looks towards the wing where Iago exited with longing in her expression, but as she turns away her face hardens and her voice gains new vigour for the disgust and outrage with which she spits “What kind of man loves like this?”. And now we get the beat dropppppp. The music swells and gets louder; the lighting change is remarkable - lines spotlights running up and down stage, overlapping each other in places, and through them we can see the chorus moving into place. The slow, balletic movements of Emilia that have been the remnants of the control Iago instilled in her during Back In Town are abandoned completely in favour Contemporary as she paces backwards and the lights settle to illuminate the entire stage. The chorus are two lines of people all in black and Emilia, dressed in either red or grey I haven’t quite decided yet (maybe she is in grey and Bianca is in red??), is at the centre of the front line. The take up various positions with arms raised at strange angles and on the low notes of the background music turn their wrists until the beat hits - when they stamp their feet and snap their wrists into position. (Pls note I am not looking a score of anything I’m just listening to spotify so I might be badly screwing up musical terminology/details but I’m hoping you can gather which parts I mean) All participate in this until the lyrics begin. The “oohs” are sung by the chorus. When the lyrics begin Emilia steps forward to sing them, maintaining the same energy, and the chorus continue the same choreography until the repetition of “What kind of man” begins. As the repetition of these lines begins Emilia paces backwards and the two lines of chorus morph into a crowd that semi-circle close around her back. They grab Emilia on each beat, releasing her in between, and pull her in different directions as she sings (+the chorus are providing vocal accompaniment).At first it doesn’t particularly appear that she’s fighting them but as we exit the chorus to approach “You’re a holy fool all coloured blue” she does; she throws herself forwards on this line and the chorus are forced to relinquish her. She spreads her arms and the chorus are thrown backwards

Damn I just reached text block maximum whoops

The chorus are thrown backwards and spiral out to create a larger curve. Two chorus members take hold of Emilia’s arms to lift her and carry her a short distance upstage as she sings, raising and lowering her within the confines of the line “You do such damage how do you manage?” At the end of which Emilia is briefly lost in the crowd before she appears trying to force her way between two chorus members who are creating a wall in front of her, reaching out towards the audience as she sings “trynna crawl in back for more”. She gives in at the end of this line and sways sidewards as though fainting, caught by chorus members and lowered to her knees as she sings the repetition of the “and with one kiss” refrain. This time she remains on her knees for the first “What kind of man loves like this?” and then bound to her feet and continues to dance for the following. The chorus sing the following lines as Emilia dances I don’t have super specific moves in mind for this but continuing the same energy and the same style, I want everything about this to both vastly contrast and deeply reflect who she was in the previous song. Emilia begins to sing again for “But I can’t beat you/Cause I’m still with you” and the following verse, for which the chorus continue to provide vocal accompaniment. The chorus join her again when the What Kind Of Man chorus begins again. The dance and choreography continue in a similar fashion until the very last line; the chorus exit in a whirlwind and leave Emilia alone on stage as the music dies down to sing much quieter “What kind of man?” She has fallen still, her hands clutched closer to her stomach as though she is already holding the wound that will kill her

Ensemble song with Othello and other solos (maybe even to close act 1??): Howl

Starts with the stage empty except for Othello. The chorus slowly move in, all wearing flowy white costumes. The dance is one of slow, consistent movements during the intro music but on the accented notes they make sharper hand or leg motions before continues the same smooth line much slower as the music relaxes. Othello is mostly still during this but he does pace slowly into centre stage. Desdemona also slowly walks in during the intro, having returned to a long white dress instead of the pink or grey or something like that that she'll have been wearing in her previous scene. She moves very much like the chorus do, whilst Othello moves just as he usually does. Othello takes Desdemona's hands and pulls her in to dance with him as he sings the opening lines "If you could only see the beast you've made of me/I held it in but now it seems you've set it running free". It is very much that Othello is controlling the dance and Desdeoma is following him, an eerie parallel to Iago and Emilia during Back In Town. He spins her beneath his arm on the lines "Screaming in the dark/I howl when we're apart" and she leans back with her weight on one demi-pointe and in the arm he has around her, the othr leg extended. Othello sings "Drag my teeth across your chest to taste your beating heart" and leans into her, his other arm wrapping around her so the audience can barely see her. Desdemona drops into him and to her knees, now facing the audience kneeling directly in front of Othello, who takes tight hold of her shoulders and leans down towards her ear as he sings "my fingers claw your skin/try to tear my way in/you are the moon that breaks at night for which I have to howl". For most of this the chorus have been in pairs mimicking a similar dance to Othello and Desdemona, but now they have turned and are watching them, moving slowly closer. When Othello repeats the last two lines his voice is more desperate, clinging to Desdemona whilst she stares blankly out at the audience, barely seeming to notice his presence. On the rising repeat of "howl" the chorus closes in around them and pull the pair in opposite directions. Othello and the entire ensemble sing the word "howl" together. The following two lines are a repeat of this word, during which the dance becomes more rhythmic and Othello and Desdemona are moved to face each other on opposite sides of the stage. Though the chorus still appear to be attempting to separate them, they sing to each other across a gap that has formed down centrestage and are fighting to reach other. They exchange lines of the next verse as follows:

Desdemona: There's no holding back

Othello: I'm making to attack

Desdemona: My blood is singing with your voice

Othello: I want to pour it out

Desdemona: The Saints can't help me now, the ropes have been unbound

Othello: I hunt for you with bloodied feet across the hallowed ground

During this exchange they break free and meet in centre stage, taking up a dramatic dance that is mostly in hold. However, Desdemona pulls away from hold on her "The Saints can't help me now" line, and Othello draws her back in on his. Desdemona steps forwards, as though telling the audience, when she sings "like some child possessed, the beast howls in my veins". Othello grabs her by the shoulders and pulls her in, leaning over her almost as though he would go to kiss her neck as he sings "I want to find you, tear out all your tenderness". Desdemona throws herself free as both of them sing the repeated "howl" lines, joined again by the chorus, but this time Desdemona's voice can distinctly be heard differently from the rest because she is not singing from any kind of power or passion but from genuine terror. By the end of this chorus Othello and Desdemon are in an almost violent dance together, half in hold and half out, big sweeping arm movements and I'm imagining that Desdemona's skirt would unpin to fan out and show a gorgeous wide black or dark red skirt that would properly like swish around whilst they were dancing and stuff (does that make sense???). They continue to dance without singing whilst the chorus, who are back in their pairs and dancing faster, more intense dances than before but none quite to the extent of the main couple, sing "Be careful of the curse that falls on young lovers/Starts so soft and sweet and/turns them to hunters". I'm imagining that the chorus' skirts could also unpin in the same way so either Desdemona's would turn black and all of theirs would turn red or vice versa, but I want to kind of see some variety in the chorus outfits maybe (??) instead of them all being identical so I might have to put a bit of thought into that. Anyway the point is that after this line we get a big rhythmic chorus dancing moment and it looks super cool, they're singing the low "hunters" "howl into your heart" repetitions and moving their swishy skirts and dancing and then they part to show Othello and Desdemona again and Desdemona is now dressed in a super dramatic dress that is entirely the colour that was hidden inside her skirt and the skirt of this new dress is insane and Othello all but carries her to the front centre stage and he is all over her as he sings "the fabric of your flesh, pure as a wedding dress/Until I wrap myself inside your arms I cannot rest/The Saints can't help me now" and everything kinda continues in a similar style with some gorgeous choreography. I'm kind of imagining there being a table on stage by the end because I want Othello to lift Desdemona onto it and her to lay down on it, don't ask me how the table got there I don't know, but this happens with the massive dramatic flowing over the sides of the table and onto the ground whilst the chorus sings "A man who's pure of heart and says his prayers by night/May still become a wolf when the autumn moon is bright" and I'm picturing that they would sing these lines like they were a Church choir gathered around Othello and Desdemona, and they continue to sing the closing lines of the song as Desdemona stands up and Othello climbs onto to the table after her. He unpins the skirt and the fabric all falls away (removed from the stage by chorus members) like a waterfall so that he and Desdemona (who will be wearing trousers/leggings/a leoptard) beneath the skirt) can dance together on the table top whilst the chorus continue to sing, moving away from the choir-imagery and back to the earlier style. This continues right up until the very last line ("I hunt for you with bloodied feet across the hallowed ground") where Othello drops to his knees and clasps his arms around Desdemona's legs on the word "ground" and the curtain falls.

I am wondering if this would work for the act 1 closer????? But I'm not 100% sure where the interval would be

Emilia Song 2: Which Witch

If this isn't Emilia questioning herself for "betraying" Desdemona and whether or not she should give Iago the handkerchief then I don't know what is. I don't have loads to say about this one but the most potent lyrics for it in my opinion are these ones:

And it's my whole heart/deemed and delivered a crime/I'm on trial

Who's a heretic now/ am I making sense?

I'm miles away/He's on mind/I'm getting tired of crawling all the way

I'm not beaten by this yet/You can't tell me to regret/Been in the dark since the day we met/Fire help me to forget

And it's my whole heart/while tried and tested, it's mine

And it's my whole heart/burned but not buried this time

We'd have all of these lines (ie most of the song) whilst she's weighing up what she ought to do and she'd feeling really strong but then there's a small musical interlude where Iago comes on stage without her expecting him to, they speak briefly and she hands the handkerchief over; he walks away as she tries to ask him what he intends to do with it, chasing after him until he physically shoves her off and keeps walking. Emilia falls to the ground and as the music sweels again she sings the closing lines "Chained and shackles, oh/I'll unravel, oh/It's a pity, oh" [she gets to her feet] "Never to return/But I never learn/It's a pity, oh" and then repeats it with particular emphasis on the transition from "Never to return" to "Say I won't return". By the time she finishes the final rendition of "it's a pity, oh" the orchestra has almost completely died out and she wanders alone offstage humming the final few notes to herself

I could keep going...

Maybe I will at some point but I'm tired now

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avelera · 1 year ago

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The Three Act Structure as Foreshadowing in Across the Spiderverse

I re-watched Across the Spiderverse yesterday, as its a perennial favorite in our household, and once again found the crafting of the story so rich that there's always something new to discover. In this case, whether or not we've left Miles in a good place or a bad place at the end of the film is left ambiguous, and this ambiguity is built into the very structure of the film.

In a Shakespearean comedy or tragedy, one easy way to chart which one the story takes place in is whether it begins in a good place or a bad place. If the story opens with happiness and triumph, bad news, you're in a tragedy. And vice versa, if something bad happens at the beginning, good news, you're in a comedy.

For example, Othello begins with Othello's triumphant return to the city after a successful military campaign, honored and adored by the city, and ends in the destruction of everything and everyone he loves. Whereas in Much Ado About Nothing, Beatrice's best friend Hero is falsely accused of infidelity, creating the dramatic action of the story (gross simplification) and unlike poor Desdemona in Othello, by the end her name is cleared and all the happy couples can get married.

Right, so back to Across the Spiderverse, Act 1 opens with Gwen and Miles, our co-protagonists, in a bad place. Their secrecy around their Spider-Person identities are leaving their family lives in shambles, with Gwen estranged from her father and Miles feeling alienated from his parents. However, Act 1 ends on a happy, hopeful note in the form of the Spiderverse HQ. Miles finally got his wish to reunite with his Spider-family, and the future (literally, 2099) seems bright.

But watch out. Because Spider-verse brilliantly uses story hooks to pull you from one Act to the next. Act 1 really follows its own plot structure, with The Spot as action, A-plot villain being battled throughout. The emotional, B-plot story is around family trust and loneliness. By the end, Mumbhattan is saved, though the Spot got away, tugging us along through the story, and Miles and Gwen's loneliness is at least temporarily solved with all the new and old Spider-friends they meet.

However, this means we go into Act 2 in triumph. Which means we've got tragedy on the horizon. Act 2 has Miguel as our villain, they don't make much secret of it, and the encounter with him as Miles eventually flees the Spiderverse HQ is the action climax of Act 2. Our themes of belonging reemerge and echo Into the Spiderverse, (sometimes with direct visual call-backs, flashes of the younger Miles while he flickers between universes, as well as with the return of Peter B.).

Now, this is where the structure gets interesting. Because I argue that Act 2 ends with Miles escaping Spiderverse HQ and Gwen being forcibly kicked out. Act 3 is a shorter Act, but not as short as it seems, from when Miles ends up in Universe 42 to the end credits is actually a pretty long sequence. In that sequence, we close out other important beats in the story, like the dangling thread of Gwen and her father's estrangement.

So, Gwen's story in Act 3 begins with a tragedy: she's been kicked out of Spiderverse HQ against her will. This consequence she's feared since the beginning, that she'll be forced to return to her home universe, is finally realized. However, note that structure again, because she starts in a bad place, we can fully expect her to end in a good place. And she does! She reconciles with her father, defeats the bad guys like 90's Spider-Man (Ben Reilly) and gets the band back together. She has finally resolved her emotional story, which began in tragedy and thus moved towards comedy/happiness. She is full-actualized with her allies by her side and her father back in her corner.

Miles though? Miles story gets really interesting in Act 3.

Because at first glance, his story would be the opposite of Gwen's. She was kicked out of HQ, but Miles fled which means his arrival should be a triumph. That would mean he's set up for tragedy, and that is what it appears to be at first. He ends up imprisoned by the Universe 42 Miles Morales and Uncle Aaron, apparently getting ready for a fight for his life and for the life of his father.

However, it's actually a bit ambiguous if he opens tragically or comedically. Because Miles doesn't know where he is. So arguably, you could flip the truth of the opening of Act 3 - Miles begins tragically, because he tried to go home but he's actually far from it, in another universe.

But here the flipping gets even more interesting and complex, because I'm not convinced Miles is the good guy in Universe 42. His speech to Universe 42 Rio about how he "beat them all" in terms of his former Spider-friends sure sounds a lot like a villain speech. Miles also dives in by making a lot of assumptions when he arrives there, like that Uncle Aaron is a bad guy here too, that he's the Prowler, and that this means he's a supervillain. When he learns that Universe 42 Miles has assumed the mantle of the Prowler, he continues to try to talk them into joining, "the good side" all based on almost zero information. They laugh at him. But why are they laughing?

All we know about Universe 42 is that they never had a Spider-man. That Miles was supposed to be the Spider-man of this universe, but the collider transported the radioactive spider so it bit our Miles instead. Miles knows nothing about what this unprotected universe suffered as a result but at first glance, it's clearly bad. Indeed, on that point alone as Miguel pointed out, our Miles is a villain in this universe because his becoming Spider-man robbed them of their Miles Spider-man.

And actually, knowing that Miles is Miles, that he's a good kid at heart, there's just as much evidence that in this universe, Miles is already a good guy, that Uncle Aaron is his mentor (after all Uncle Aaron was always a bit on the fence about evil and in a world that's gone to evil, it's easy to imagine that he leans good). Thus, 42-Miles and 42-Aaron's anger and dark amusement at Original Miles speech about good vs. evil could be because they're offended to be labeled as villains by this privileged kid who never lost anything, who indeed comes from a privileged universe where his father never died.

So going back to the Act 3 structure, from the Miles perspective, which is subjective and not objective, the Act begins with a triumphant escape, and therefore must be headed towards a tragic defeat - capture by his evil alternate universe self. But Miles didn't know at first that he was tragically in the wrong universe. Which means that he could actually be in a structural comedy: beginning the Act with something bad happening, a transport accident gone wrong, and ending it exactly where he needs to be: surrounded by heroes who can help him, his own alternate universe self who is a good guy in this universe, along with Uncle Aaron. All of the darkness is in Miles's head, because he just came from a place where he was betrayed by supposed allies, but actually it's much more complicated than that, ending in ambiguity.

#writing #across the spiderverse #into the spiderverse #spider-man #miles morales #maggie rambles #writing structure

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pianocat939 · 2 years ago

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Can i request a yandere rise!turtles blurb of Y/N being invited to the lair games, but what they don't know is that the turtles agreed that whoever wins can go on a date with Y/N. How would the turtles react to winning? would they be more competitive?

I LOVE THIS IDEA SO MUCH THAT I CANNOT RESIST

Tw: mention of possible injury, sabotage

First of all, the lair games is going to be straight up war. They’re all going to go for each other’s throats, to the point some might end up in med bay.

They’re going to be their upmost best, to the point many games will have ties with each other.

Out of the worst rivalries out of the four, I would say it’s Leo + Donnie and Raph + Mikey. Leo and Donnie make sense since it’s canon they literally are so fucking competitive with each other. For Mikey and Raph, the reason I say this is 1. canon details 2. Raph is Mikey’s least favorite brother, which can only mean his extra disliking.

You’re helping April + Splinter record the whole thing without knowing what the final prize is. And just when you think one of turtaleles are about to lose, they’re right back on their feet.

In the end, I would assume a 4 way tie between them. With the final game being something related to you. Perhaps a “who flusters them first” or “knowledge test” about, of course, you.

But whoever wins in the end, the other three are going to mope really bad or plan revenge.

Now let’s talk about how would they react if they won?

Raphie is going to pick you up and swing you around, so happy he gets to romantically hang out with you. But not without some “In your face!” to his bros. Mikey is not happy with this at all. “Woohoo! I get to show how much I love you!”

Leonel is SO fucking cocky. He’s going to literally sling an arm around your shoulder and give you a peck on your cheek (if he knows you’re ok with it) and give his signature shit-eating grin to his bros. Especially Donna. “Oh won’t you look at that~? Looks like I won, again.”

Diana is first going to have a little stim moment before aggressively screeching at his brothers for how incompetent they are. Definitely dances in a menacing way at Leo. “Aha! Othello Von Ryan does it again! Now if you’ll excuse us, we have a date to go to.”

Maple Syrup is a dramatic ass bitch who will kneel and hug your knees and expresses how thankful he is. The world has seen his effort to please his divinity and has rewarded him! “I love you so much. You’re so kind to me, the world doesn’t deserve you *more blabbering*”

Meanwhile the losing ones are devising plans in their head to either ruin the date or glorify themselves so that you’ll rather pick them.

I wanna write an actual piece on this ahhhhhh

#yandere #yandere x reader #tmnt #rottmnt #yandere rottmnt #rise of the teenage mutant ninja turtles #rise of the tmnt #Yandere tmnt #rottmnt x reader #Tmnt x reader #tmnt 2018 #blurbs

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locke-esque-monster · 5 months ago

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I have so much love for Loki in the 1602 What If episode.

Why you ask?

Letting renowned Shakespeare actor Tom Hiddleston have fun reciting Shakespeare all episode.

The idea that Loki, who is basically a tragic Shakespeare character himself, is obsessed with Shakespeare. Like, your father wasn't your real father and he hid your evil half sister from you too - your life is already a play.

That all it took to make Loki happy was to get Odin out of his life, stick him in the early 17th century, and make him a theater nerd. (Zero surprises on the theater nerd - he is possibly the biggest drama queen in the MCU.)

And not only is Loki happy, he literally just channels all his evil and dramatics into playing evil and/or dramatic characters. The rest of his time is for the finer things in life because he's a prince with high standards.

That either he fundamentally misunderstands Othello, or he truly believes that the character he most emphasizes with, the antagonist and master manipulator, is obviously the lead in Othello.

That the only reason I suspect Loki himself was not actively in the "Thor 2/death of Loki" play from Thor 3 is because Loki was in disguise pretending to be Odin. If he was ruler in his own name and face, Loki would have 100% made everyone watch his performances in various plays.

I had a fun time with this episode, it was arguably my favorite in season 2. But I also would have watched an entire episode of Loki obsessed with Shakespeare with no complaint.

#what if #what if season 2 #loki tom hiddleston #loki marvel #loki mcu #loki odinson #loki laufeyson #shakespeare #what if 2x8 #what if...?#thor ragnarok

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citrus-cactus · 1 year ago

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The concept of soulmates in Gargoyles is so interesting.

On the one hand, you have Demona and Macbeth, whose repeated meetings while dealing with the Hunter and eventual fate-sealing pact was something that they (for the most part) were manipulated into by outside, otherworldly, and unknowable forces (including one closed-loop time travel paradox… the idea that they, specifically, were necessary for the Archmage’s plans was one that cannot be attributed to any individual, including the Archmage himself). They are fated to be together, are quite literally bound together by fate: sharing each other’s pain, effectively immortal, because the only way for them to die is for one of them to kill the other. And thus they have been carrying on throughout the centuries, hating each other, thorns in each other’s sides, and yet one of the only constants the other has after 900+ years of living. One of them seeks to end their arrangement while the other is driven to survive at all costs—and thus they are destined to go on existing while remaining pawns in someone else’s game. They are neither able to escape the fate that they (by their personalities) or others (by their machinations) made for them, nor can they ever truly escape each other… no matter how much they (either secretly or openly) might want to.

And then you have the Coldtrio. Three sides of a relationship triangle comprised of two lovers and a schemer, who were (perhaps) close enough in proximity at the time of their death that their remnants lay mingled for a thousand years, and became the piles of rubble Demona and Xanatos scavenged in order to make their gargoyle version of Frankenstein. Their three souls were corralled into a single magic-and-science animated corpse made from their shattered body parts, three minds vying for control of the body they were forced to share, doomed to exist in a sort of cyberspace limbo and continue the relationships they had in life. Desdemona/Coldfire even used the word “soulmate” to describe what the three of them were to each other… even though one of her “mates” was her love and the other was someone who coveted her from afar and would do anything to “have” her, even against her wishes. Even after they became three separate entities again, both she and Othello/Coldstone felt they had an obligation to track down Iago/Coldsteel and attempt to put an end to his endless scheming.

It’s just fascinating that both of these examples touch on the concept of a soulmate, but then the show takes the extra step of mixing in these less-than-noble but very real emotions of petty jealousy, suspicion, and hate, adds a healthy dose of immortality and dramatic irony to the proceedings, and then spends a significant amount of time telling stories meant to explore the consequences of all that.

Having a “soulmate” in the Gargoyles universe, it would seem, is not something to wish for. At once tragic and horrific, the polar opposite of an ideal, akin to snakes eating each other’s tails. To have a soulmate is to lose a significant part of your autonomy, becoming a participant in an endless cycle of violence in which you are either the pursuer or pursued, tormentor or tormented, one ingredient in a cocktail of clashing personalities shaken together, poured into a glass, and then purposefully dropped on the floor to become shards in someone else’s feet. The part of you that yearns for release will be powerless to enact it because the other parts of you will always have a say, and the sum total of yourself becomes something that is both unwilling and unable to ever truly stop. And then it all comes to a head in "High Noon," when the Weird Sisters—manifestations of fate, vengeance, and grace— very blatantly involve themselves in both.

I just think that’s neat, is all.

#sorry releasing 1 MILLION POSTS from my drafts today #didn’t mean to write a mini-essay I’m just so fukcing fascinated #seriously though city of stone + high noon are five absolute banger episodes in a row I could watch them all on endless repeat ahahaha #gargoyles #disney’s gargoyles #the cactus speaks

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thedawningofthehour · 2 years ago

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do you have any rottmnt fanfic recommendations? Either ones that inspired doth or just ones you like generally?

Inspired doth? Hmm, I'm trying to think back. I'd say probably

One Two Three (Four) by CringePhase was probably where I started getting the brain worms. I was still playing with my 2012 crossover idea when I stumbled across that fic. Completely lost interest in that and started thinking about what would eventually be the first table scenes. It's more in-line with the comedic tone of the show, which I really can't do and applaud the author for.

Kick It Up A Notch by Brokenpitchpipe, kind of the inverse of that idea. I feel kind of guilty though because I am absolutely not caught up with it.

And I took some inspiration from all the separated AUs floating around, Cupcakeslushie's in particular. Which sounds kind of weird considering what a good dad Draxum is being in my fic, I know. I considered covering Galois in spray paint for the Aesthetic but I feel like that's a patented Three thing and Slushie has copyright. (Galois still has Donnie's sensory hang-ups anyway, and Good Dad Draxum wouldn't let his kids inhale spray paint fumes like that)

And of course the LFLS influence, though I'm not sure where that ends and where it just becomes ROTTMNT fandom influence. Not really that much, to be honest, if anything doth was born out of my frustration of "No, it makes no sense for Draxum to do that!" while reading. Oh, and I should mention that I've been a Danny Phantom fan since literally the show began so I am undeniably being influenced by his relationship with Vlad Masters and the scores of fanfics where Vlad raised/kidnapped Danny I've read over the past 'check notes' nineteen years.

Other than that, some fics that are sort of like doth:

The Analogous Hues series by alwerakoo, good dad Draxum with Donnie and Mikey

at least they stayed in the family by PurpleCatGhost, separated AU

Blood is Thicker Than Ooze by mybrainisacandywrapper, Donnie is the only one separated, Draxum is a Bad Dad

For Tomorrow by A_Star1234, I believe the only actually kidnapping fic on this list

Nothing Left to Lose by halfwayzone, still in early stages, but Draxum seems to be at least a loving father

The Art of Conflict by Hawkward34, very bad dad Draxum

The Desolate Soldier by ace_pan_enby_bitch, yeah Draxum seems to be a shithead here too

time well spent by codyfromstatefarm, a cute little separated AU and a quick read

Papa Draxum by LeopardShadow, Draxum is an okayish dad

And then just some fics I get excited when I see the update in my inbox:

Little Scraps of Wisdom by clandestineClairvoyant, Splinter stays Lou Jitsu but is still a himbo trying to raise four turtle children

The Rat Race by SixthJaw, where Splinter is a homeless rat himbo trying to raise four turtle children

The Pixelated Purple Dragon: Othello Von Ryan by ObsessedWithTeetles, Purple Dragons kidnap Donnie and put a shock collar on him because they're hoes

And I think that's it for now? Good god there's so many Fallout fanfics in my subscriptions that haven't been updated in five years.

#doth #doth asks

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butchhamlet · 9 months ago

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Do you have any Othello thoughts? I liked it all but most especially when unprompted and for no particular reason Iago constructs a lie about making out with Cassio in his bed at night. Like. He very very easily could have just said a slightly different lie that didn't involve an unconscious Cassio pulling him in for a smooch and then he lets it happen for? Minuets? I guess? Never pulls away? Like I'm truly floored by the sheer level of how unnecessary it is for Iago to construct this particular story. Just fucking tell the guy you heard Cassio sleep talking. Huh. Also why were you sleeping in his bed already in the first place that is never brought up by anyone, ever. Truly an insane scene to me

LITERALLY WHY DID HE DO THAT. WHY DID HE DO THAT!!! in general i don't love the directions people take gay iago (often, like, "he's jealous of desdemona for getting to have othello and thus decides to ruin their relationship because he's gay and twisted" or whatever) because i think it kind of ignores the occam's razor fact that iago is racist. like. he is a complex character with a lot of motivations but the prime motivation for the specific shit he does to othello is racism. HOWEVER. the WAY he acts toward cassio. there is NO heterosexual explanation for that what the fuck is going ooooooooooooon. othello doesn't even call him on it he's just like yeah okay that sounds about right he threw his leg over you and you guys made out

anyway i don't have a ton of thoughts on othello but i do like it! it is the only shakespeare play that makes me actively tense even when i'm rereading it for the third or fourth time. i've seen it compared to merchant & taming of the shrew as the plays with the most potential to do harm and perpetuate/create stereotypes, and i think that's true, but i also think othello has over merchant and taming that it is actually well-constructed and interesting. and i do think it's fascinating that it does have real points to make about the psychological effects of being forced into a model minority role, but also, like, it's a white guy writing in the 1600s, so how good can it really be and is it still worth performing today? (recommended reading on this: this article, keith hamilton cobb's american moor. please read american moor it's so fucking good it's a stage play in monologue format about a modern black actor trying out for othello and musing on his complicated relationship with shakespeare and it's SO good)

scattered personal feelings: emilia is a lesbian. i know it's important that desdemona is not actually cheating on othello, but i feel like if she and emilia kissed it wouldn't count because they're girl best friends. iago has gotta be one of shakespeare's best roles, actingwise, but it always strikes me as somewhat discomfiting that he gets more lines than and as much exploration as othello, the titular hero, because imo it again emphasizes that this is a play written by a white man, however hard that white man is trying, from a white society and a white vantage point. desdemona and othello make me really fucking sad. and cassio's fun i like him that guy's bisexual as fuck

#max.txt #asks #othello

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homosexualmanslaughter · 2 years ago

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‘You Have Been Weighed, You Have Been Found Wanting’: On Kendall as His Father (Or Not)

This is going to be another long post, so I apologise in advance, but as the world’s premier Kendall Royologist (jk), I had to give my take on where we are after episode four.

I want to start by saying that for me, when it comes down to it, ultimately, none of this is the fault of the Roy kids. For the siblings, whatever happens, wherever they end up, it’s not their fault. They are products of a lifetime of abuse, and I cannot stop having so much compassion (maybe too much, I’ll admit it) for them as they try and survive it, even though they do such heinous things.

I want to talk about Kendall. I say it all the time when it comes to him, but my poor boy. Oh, my poor babe. My heart aches. I spent the entire evening after watching ‘Honeymoon States’ thinking about all the new dark and terrifying avenues that have opened up, and feeling nauseous about it. None of it is satisfying for me, and objectively I don’t even find it to be a glorious, villainous volte-face. I can’t say ‘slay he’s in his villain era’, because it’s so sad to me. It’s just so sad. His behaviour in that episode shows how deeply rooted his trauma is, and how it might actually be an inescapable force. And that’s so sad.

This episode was about the two sides of Kendall. One, true Kendall; and two, the constructed Kendall. Both products of the abuse in different ways. Here they are, contrasted:

It’s so telling that we start and end the episode with these polar opposite moments.

The first, this is the real Kendall. We can see him. So broken, so bereft, so without identity, so lost without the person to whom he was trauma bonded, the person against whom he defined his entire being. What’s going to be easier, confronting that? Or - simply - just going mad? He’s going mad in the Othello and Macbeth sense, befitting for the end of a Shakespearean tragedy. And it’s Logan’s doing, even from beyond the grave. This is what I’m going to talk about in this post.

Kendall wasn’t born a “killer”. It’s not something etched into his soul. It’s something he’s learnt, an unnatural quality that he’s had to develop. When he ‘turns’ at the end of this episode, it’s not “Logan’s DNA showing through after all”. It’s not “he’s in his evil era”. This is a man who is so paralysed by the fear of confronting a life without Logan (due to their trauma bond) that he would prefer to become him as a form of coping, even though it will inevitably kill him.

His smile at the end is not one of liberation, it is the smile of a man who has been utterly psychologically broken.

Yeah, his initials spell ‘KLR’. But this isn’t merely a clumsy way of telling us that he’s a killer. It’s a way of signifying that his identity is so deeply entwined with Logan that he is (or feels as if he is) nothing without him. ‘Logan’ is at the heart of his name - right in the centre. He can’t be free of him, because the chain has been on him since he was named as a baby.

Who knows what was going on in that old man’s head when he edited that letter? I see that the underlined/crossed debate is going to dominate discourse for the week, but I think it’s utterly meaningless.

It does not matter at all what Logan INTENDED to write. It’s what Kendall perceives that counts. La mort de l’auteur, literally.

In that piece of paper, Kendall sees a potential confirmation of everything he ever wanted to hear, and he articulates these desires explicitly to Frank: he needs to believe it was underlined, because that means he was wanted, he was loved, he wasn’t a mistake, he wasn’t a failure.

He pretends to have already known that Logan did sudoku, to kid himself and everyone else into believing that they were close. He’s going mad - like all Shakespearean tragic protagonists are. He’s being driven mad by his need to believe that Logan wanted him.

Personally, I think it was underlined. Not because Kendall was his favourite all along, but because he was the one Logan most wanted to control. The role of CEO is a chain to them, it’s an embodiment of Logan’s hold on them. By dangling it in front of him, Logan can keep Kendall chained and controlled and under his thumb, even after death.

As @kaiyashunyata on Twitter phrased it: it doesn’t matter if Kendall’s name is underlined or crossed out. What matters is the uncertainty of it and how Logan can taunt his children and spark their ruin even after death.

And it’s why capitalism and the family are so intwined, and why it’s admirable that the show does a great job of showing this.

Jeremy Strong articulates this entire dynamic so insightfully and elegantly:

Your father makes you a promise: this is your destiny, this is your birthright. Capitalism promises people the same thing. Both are completely empty and misleading.

But Kendall is so desperate to feel as if his life has meaning, so desperate to know he was loved, that he’s willing to chase the false dream anyway.

Because - ever since childhood - CEO has been held up to all the children (but especially Kendall) as the only thing that gives you worth as a person. And Kendall needs to believe that he has worth in the eyes of his father because, without that, he’s nothing. Or at least he thinks he’s nothing, that’s the impact of a trauma bond.

We know that he’s not nothing. Stewy knows it. Rava knows it. Naomi knows it. His siblings and children know it. But he has been trauma bonded to someone who made his love a rare and valued commodity, and without it, he doesn’t feel like there’s any reason for him to exist at all.

It’s the often repeated metaphor again of Logan’s love as the sun - when you’re in it, you are covered in light and feel invincible. Without it, you are left to die in the dark.

I think that’s why the hug scene is significant but also tragic. It’s the only other time we see Kendall as himself in this episode, and in the company of another person at that. And he only lets it show for a few seconds, before the brave face returns. Stewy is so right when he skeptically perceives Kendall’s run for CEO as “diving into work”. That’s exactly what he’s doing, to avoid confronting the dark realities.

If Stewy’s love could save him, he would be saved already. But only Logan’s love is enough for him.

One of the cruelest things about the will letter is that it makes it so clear that ‘CEO’ is a stand-in for love, approval, acceptance. The kids (well the Strong Dogs at least, Kendall and Shiv) are ready to kill each other over it - days after tenderly holding each other outside Teterboro Airport - because they have been so brainwashed into seeing it as the be all and end all of their entire existences.

Kendall, who loves his baby sister. Who held her hand when she was crying and succumbs to her puppy dog eyes in seconds. Kendall, who is willing - in an instant - to go back to war with Shiv, because that’s all they’ve been taught to do. That’s their purpose. Their reason for life.

And Kendall is severely mentally ill, I think that needs to be made very clear.

Frank sees the danger of it. “You seem so well…” Frank says, and Kendall is for all appearances, for that beautiful bit of time when he’s free of the war.

But of course, despite Frank’s advice and reservations, Kendall can’t help but be drawn back into the war. Because he feels it’s the only way to define his identity now that his trauma bonded abuser isn’t there to do it for him.

And when he blackmails Hugo? When he uses Logan’s style of violent sexual language? This isn’t a new era for him. It’s not villainy. It’s the same Ken we saw at the very start of S1, trying so desperately to ape his father, to be his father, taking ideas right out of Logan’s playbook. But he’ll fail.

And he’ll fail because, at the end of the day, he isn’t Logan.

Kendall manipulates people. He emotionally blackmails Stewy and his siblings (especially Roman). Out of bitterness, he demands that Frank spread lies about two women being sluts and junkies. He withholds important information for his own use later. He threatens to “burn” Greg after showing him kindness. He uses violent sexual language in business settings. He calls the vote of no confidence. He makes the groundbreaking press conference. He goes in aggressive.

These are Logan’s lessons, this is what Logan means when he says “he learnt it from me”. However, they fail. They’ll always fail.

Whatever he does, he’ll never convince.

The sexually violent language is especially interesting, because it never hits the same. Kendall threatens to fuck Lawrence “with a silver dildo”, very similar to the way in which he threatens to use “the strap-on” with Hugo. False penises, artificial implements, unnatural, not part of his body. He threatens to cut Stewy’s dick off, another emasculating act that doesn’t involve him personally penetrating anyone. The only time he physically involves himself in his sexual metaphors is when he viscerally describes giving Lawrence a blowjob.

Like Tom says so succinctly in season three, Kendall is always the one who is going to get fucked.

Kendall isn’t Logan, no matter how much he thinks that achieving that goal will heal him. Kendall wasn’t hardened by poverty, or the suffocating patriarchal norms of the 1940s and 50s. He is sensitive and lonely and emotional and weak and insecure and vulnerable. He is desperate to be none of those things. In trying and failing to be Logan, he’s unwittingly showing who he really is.

But he is a fighter. And that’s the thing Logan always feared. That is the person Logan raised - yes, “the best of all of them”, but also someone with the grit to potentially escape. And that is what was unacceptable and terrifying.

We root for Kendall because we know - we have seen - that he has to ability to break free. We also know, from Chiantishire, that his deepest desire is to be free. To be unchained. To be released from this never-ending cycle of abuse and pain.

We’re terrified of that razor-thin tightrope he walks, because we know that it could (and probably is) going to all go wrong. We’re scared of the prospect that some people are doomed, are beyond help, are beyond saving. As with the best tragic Shakespeare protagonists, we love Kendall, but we know deep down that he can never be free. That is the crushing reality of abuse as a metaphor for capitalism. It’s heartbreaking.

Logan chose Kendall as CEO not because he was his ‘favourite’, but because Kendall was the one he most wanted to control. CEO is the perfect means by which to keep him chained, controlled and enthralled to the empty dream, even from beyond the grave.

For Logan, and for capitalism as a whole, to love is to control.

#kendall roy #logan roy #c ptsd kendall roy #kendall x stewy #succession #succession meta #succession analysis #succession season 4 #season 4 #my post

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callmehere-iwillappear · 1 year ago

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npwd hours. have some fun facts

(this will definitely be added to/updated later)

Raph (Red) (he/she)

literally the only one who doesn't wear clothes (outside of his shorts/mask)

still does the Red Angel of Preventing Harm thing

splinter... wasn't doing great for a good while after the mutation happened (esp since on top of everything in canon he ALSO lost three of his kids)

when raph was around eight or so though he got very very sick and almost died. she tried to take care of herself because she assumed splinter wouldn't, but could only do so much. thankfully splinter found out before it was too late and was able to save her. it was a pretty good wakeup call and while he's still super depressed he's been much more present since then

Leo (Leon) (he/him)

growing up with hypno (and eventually warren) did nothing but increase his flair for the dramatic and love of magic

he was 100% hypno's assistant for shows a lot of the time. the turtle thing was passed off as a 'costume'

knows ALL the best magic tricks

warren came along when leo was around five or six

when hypno and warren got mutated they (obviously) couldn't keep their jobs so they took to doing crimes to get money. small crimes because they don't want to be a bad influence on leo but they also do need the money to put a roof over his head

they do try to hide the fact that they do crimes from leo. he absolutely knows but he lets them think he doesn't

they have thrown hands with raph on more than one occasion. raph did start going a bit easier on them after one of them mentioned at some point they had a kid at home. raph Does Not Know that said kid is leo

Donnie (Othello) (he/they)

lives in an apartment. No Space for a lab. he wants one SO BAD.

still tinkers a lot and fixes things around the house with what he can find

the o'neils have the best wifi in the state of new york

they did create shelldon! he's stuck in donnie's computer though - not enough resources to build a body

likes fashion and dresses up for fun sometimes but wears the hoodie most of the time bc it's familiar/safe

no battle shell really... they do have a fake shell but it's more for storage than anything else since they don't get in fights. like a backpack basically

no gauntlet thingy, no magic goggles - he does have noise cancelling headphones he keeps in his shellpack

they do have goggles for work (for eye protection) just not the 3d glasses lookin goggles they have in canon

Mikey (Mike) (he/she/they)

VERY in tune with his mystics (trained by draxum)

LOVES skateboarding. badgered draxum into having a skate ramp installed for them

doesn't hate humanity (and has even managed to soften draxum up a bit. not much but a bit) and actually thinks a lot of their stuff is super cool

mutating the humans was the compromise she and draxum came to rather than killing them. she doesn't see a problem with it bc 'it's better than killing all of them'

morals are a bit... looser than canon mikey's due to draxum's influence

take your kid to work day more like [draxum voice] someone will die. [mikey voice] of fun!

But Also: aww little guy - oh he's a bit fucked up actually

sneaks up to the surface sometimes to do graffiti. has ABSOLUTELY been seen more than once but thinks she's so sneaky

draxum wasn't the best at first (treated mikey like a warrior rather than a kid) but he got better. he's a good dad now

hugin and munin would both kill for her without question

mikey talks about their internet friends enough that draxum is eventually like. ok i will make an exception for three (3) humans because my child likes them

general

they got their colors bc lou jitsu tied scraps of fabric onto them to be able to tell them apart

#talk tag #npwd

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sinclarify · 3 months ago

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there's this guy in my english lit class and truly i do think he's just there to feel as if he's a part of something intellectual and Just for The Vibes of It All because his critical thinking skills are abhorrent and all he seems to know how to do is look at something at surface level and romanticise the fuck out of it. "oh i'm so jay gatsby" "i'm literally mark antony" "don't you guys think im so othello" (all real things he has said. the rest of us looked at him in horror) if you understood any of those texts you'd realise you do not want to be any of them 😭 ? he yaps and yaps and yaps but i don't think he understands anything and maybe this sounds a little mean but if you're in a lit class and you talk about how much you love literature and understanding characters Maybe make some more effort to. Actually Understand them? and how they operate within the context of their stories? he drives me insane

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olddustorange · 11 months ago

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Last year i went to a bunch of Shakespeare in the park things and there was this boy and we talked about othello and like the racial question of moorishness & he had a lot of specific esoteric Race Knowledge so i was like hmmm 😑 but it turned out that was bc he was North africanlikeme and afterward that night he walked me back to my place but then bc it was so closeby we just looped around and around for like 2 hrs talking abt his book ideas and his fiction website that he ran and he was soo smart and funny and good-natured and his family was like a mirror image of mine and later we went to the library and places and did stuff and got coffee and he asked me out and i was like no we’re different religions bc he’s a Copt and i wouldnt convert for him I didn’t think and i wouldn’t ask someone i just met to convert for me but I saw him around campus a lot and we said hi and my whole thing growing up and until him at 20 was that I NEVER had a crush on ANYONE and I had decided in middle school to force myself to have a crush on this random boy named Krishna and it just didn’t work. So i never got into romance or whatever & i didn’t think abt it. But I do think of Egyptian kid so much and he was so smart and excellent & he seriously fascinated me and activated my heart / soul even though that is cheesy. like i was smillliiiing and laughing so hard with him. And he singularly pretty much flipped me on wanting marriage and 4-6 kids not that we spoke about it or he mentioned it at all but i thought about it. So i didn’t end up doing SITP bc i felt awkward abt him but he did it and i heard he did very well but anyway the point is he texted me last night for our last semester about getting coffee but im literally in another city for an internship this semester and i was genuinely like grieved worn out bc i want to . And i was like DID I MAKE THE WRONG CHOICE. but it obviously can’t go anywhere because we’re different religions and God will make my soulmate my religion but in another real sense he really did feel like my actual soulmate I never spoke to anybody in that way before but TODAY i went to the place im going to be working and it was sooooo good and i loved it and i do Not think i made the wrong choice

#but if he converted and he won’t convert but if he converted i think i would do literally anything he wanted like anything for real #If he wanted to buy a shed from home depot and drag that out into a forest in West Virginia and live there off the grid i literally would #I’m not impressed by anybody’s character but i was so impressed with his character and bearing and jokes i don’t think MANY ppl r funny but #he was funny AND smart AND sharp AND gentle #like my no. 1 thing has always been that i need someone who will call me out SHARPLY &challenge me and he DID that and did it NICELY TOO

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thatdesklamp · 1 year ago

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WAIT OMG-

been reading intrinsic warmth for a WHILE and your writing is top tier!! i always wondered to myself every time i’d read a chapter why the writing just STICKS, yk? i’m a MAJOR book girlie, i read 24/7.

AND THEN IMAGINE MY SURPRISE WHEN I READ ONE OF YOUR TAGS THAT YOU PUT UP ON ONE OF YOUR POSTS WHERE YOU WERE ANSWERING A QUESTION FROM ANOTHER LOVELY READER AND I SEE THAT YOU TOOK AN ENGLISH A LEVEL?

first of all (not 100% sure on this) but i’m pretty sure only british ppl take gcses, a levels, etc. YOU’RE BRITISH?

i feel like i’ve met my other half rn over something so tiny but yeah. IT LITERALLY EXPLAINS WHY YOUR WRITING IS SO GOOD:

i could point out the NUMBER of times i’ve seen juxtaposition, symbolism, foreshadowing in your fic to someone if they’d asked me to point it out for them. at first i thought you might’ve done it unknowingly, and then i decided that nope, bc foreshadowing is such a BIG writing technique that it simply couldn’t have been by accident.

it’s one thing to know about a writing technique and another to actually be able to SUCCESSFULLY incorporate it into your writing. if it isn’t clear enough, i’m saying that you did it AMAZINGLY. you’ve got a natural talent and i’m envioussss (in a supporting way ofc 😭).

you should really look into making your own book, and i think you EXCEL at the supernatural aspect of plot in stories. your writing is so unique and different yet so warm, it reminds me of autumn (my favourite season).

idk how to end such a long message, ultimately i don’t have a reason for typing this up and shit. ik you have tons of people probably saying the same thing and it might just get repetitive for you, but i wouldn’t feel comfortable not being part of said bunch-of-ppl-probably-saying-the-same-thing.

oh! and take your SWEET TIME updating. it’s your story, your fic, your writing. the ONLY thing we readers can give you as a payback and thanks is time, patience, and understanding <3333

RAHHH BRITTANIA 💪💪💪💪

Agh. Yes—I’m British (English to be precise, sweet sweet caroline etc), hence the use of ‘u’s in words like ‘colour’ and ‘humour’, and also why everyone’s parents are their ‘father’ or ‘mother’ and not mum/dad. ‘Mom’ feels too American but ‘mum’ feels too rah engerland, yk? I’ve mentioned previously that I’m looking forward to writing fics where the characters are actually from England and where I’m actually allowed to write them the way I talk, mostly. Good lord am I excited.

And yes lol I took English for an A-Level. Bloody smashed it too, if I get to brag, mwahaha. Didn’t take it any further (I’ve also previously said that I’m a # woman in stem uni student, which is true), but I still write a killer essay imo. Give me 10 minutes to do a refresher on ‘Othello’ (it’s been a while okay) and I can talk for donkeys about his tragic fall and how much of a wanker he is. Which he is! I’m a Desdemona defender for life.

You say ‘natural talent’. PLS. No!! God no. Not at all. I wish—that would’ve made it a lot easier, but whatever I can do rn is down to bloody years of toiling away on my shitty little laptop, I promise. I’ve got another anon ask that asked about some writing tips so I’ll do the bulk of them there but my number 1 will always and forever be to practise. Whatever skill I have now has been earned over the many years. You don’t even want to see some of the stuff that will never grace my ao3 page (atla had me in a chokehold through covid and I have never been the same).

But you are genuinely so complimentary: this is so so lovely of you. Thank you?? It’s really weird being someone who writes and also someone who enjoys analysing literature; you’re right, half of the ‘techniques’ are intentional (the number of times I’ve flicked through some chapters’ drafts and thought, ‘fucks sake none of this makes sense, I need to add some decent foreshadowing or none of this will make sense in two chapters’), but also so much of my writing is just thinking, ‘hmm, this doesn’t really feel right. No no, I don’t like the vibe of this. I want this to feel more GRAAHHH and less lalalala. Lemme change this up a bit’. Whether that leads to the whole, short sentences->speeds up the pace of the reader when reading the section->increased tension, mimics actual fight encounter, etc etc (all the stuff you blag on about in eng lit), then maybe that counts as intentional? And maybe not.

Making my own book? That’s lovely of you to say but I also really don’t have any ideas for anything non-fanfic’y! Lol. I love a good bit of canon compliance, that’s my issue. That being said—hey, another eng a level reference—I’ve made multiple references here to being the world’s #1 ‘Atonement’ hater. Unfortunately, it also lives damn rent free in my head and I’ve got the bare bones of a WW2-era, perhaps epistolary, longform fic buzzing around. (Fandom: Marauders. I’m a disgrace but here we go). I’ve written nothing for it and maybe I never will, but that’s one of the only things I can see as being more standalone from original canon. Anyway: it’s the fanfic life for me. Ali Hazelwood’s life is but a distant dream.

But anyway! Thank you again for your lovely words. The next IW chapter will take a very long time, I have to be frank, so thank you for the reassurance that that’s not absolutely disgraceful lmao T_T Thanks again!! <3

#intrinsic warmth #I hope I have not accidentally hidden my englishness #the biggest event of this month isn’t Halloween or 1989tv — it’s the switch from bst to gmt babyy

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