#lucille ❀ they made a monster out of me ( aesthetics )

[echomusings]

tag dump 1/?

[rachelbethhines]

Vintage Shows to Watch While You Wait for the Next Episode of WandaVision - The 50s

So the first three episodes of Wandavision have dropped onto Disney Plus and like me you’re probably already obsessing over it. Also like me you’re probably jonesing for another fix while waiting for more as the episodes only come out once a week. 

But never fear, we literally have decades of cheesy comedy sitcoms to sift through to keep us entertained during quarantine. Along with the occasional action and/or horror stuff  if you’re so inclined. So if you’re trying to decide where to start I’ll be making short lists for each decade that coincides with each episode. 

1. I Love Lucy (1951- 1957)

The granddaddy of all American television sitcoms staring the first lady of comedy herself, Lucille Ball. While not the first sitcom to air, tv had been kicking around since the late 40s, this show did pave the way for many technical innovations for the new medium both on and behind the scenes. As such Elisabeth Olsen cited Miss Ball’s work as one of her inspirations for her role as Wanda in the series, as do many a woman entering into the comedic field. 

Also the show is just flat out funny. One of those rare 50s sitcoms that manages to overcome some of it’s more dated aspects through shear force of personality and peak comedic screwball antics. The only downside is you have to have Hulu to watch it as the copywrite is tightly controlled even to this day.  

2. Amos ‘n Andy (1951-1953)

The 1950s television landscape was overwhelemingly white. It’s no secret that POC had a hard time finding work in the field of entertainment let alone be the stars of the show. Amos ‘n Andy, a spin off of the earlier same titled radio show, was one of, if not the first black led shows on television and so deserves a mention just for that alone. 

Now I will not act as if this show is perfect or ahead of it’s time. The series was controversial even during its day for is depictions of racial stereotypes. Eventually the series was canceled because of protests from the NAACP despite being very popular in the ratings. However I’m a full believer that history should be observed and talked about in order to progress further so check out an episode or two on youtube and decide for yourself if it’s worth remembering or not. 

3. The Adventures of Superman (1952 - 1958)

Ok, not a sitcom, but as we all know, Wandavision isn’t just a sitcom it’s also a superhero show and this is one of the first tv series in this genre. It and the Fleischer Superman cartoons from the previous decade helped to make the juggernaut industry that we know today. 

Plus Superman did an official crossover with I Love Lucy, seriously. 

4. The Adventures of Ozzie and Harriet (1952 - 1966)

Hardly anyone talks about it today, but Ozzie and Harriet is the longest running sitcom to date. It's Always Sunny in Philadelphia being the only other show threating to up seat it come next year. However the two sitcoms couldn’t be any more different. 

The series stared the real life Nelson family who had got their start in radio as comedians and singers who then crossed over into tv. While the show was completely scripted it tried to hew as close to real life as possible, kicking off American’s obsession with platonic voyeurism. Much in the way Wandavision has the meta storyline of being watch in their own home. 

5. Father Knows Best (1954 - 1960)

Another radio to television entry here, however the series drastically changed the main character during the transition. During the 40s radio sitcoms were very biting and sarcastic, often either going the complete surreal screwball route or were satires of the day. This fell out of favor as tv became more dominated by commercials and advertisers feared offending their potential costumers. So things were greatly toned down as the decade progressed. 

Therefore when Father Knows Best hit the small screen gone was the rude and domineering dad and in his place we got the very model tv father; affable, gentle, loving, devoted, and very congenial. All traits we love to see in Vision some six decades later.      

6. The Honeymooners (1955 - 1956)

I physically can not make a recommendation list of 50s sitcoms and not mention The Hoonymooners. I just can’t. It’s one of the greatest sitcoms ever made and hugely influential. So much so that The Flintstones ripped off the series whole sale to the point that Jackie Gleason threatened to sue Hanna-Barbera. However there’s little such influence in Wandvision. 

See what made The Honeymooners stand out at the time and what gave it such longevity is the fact that the main characters were poor. They lived in a cramped and over crowded sparsely furnitured one bedroom apartment in Brooklyn. They owed bills, they dressed plainly, they worked long hours at low paying jobs, and they were often dirty from said work. 

Much like how Wandavision will pull back the curtain a little to see the reality hiding underneath their suburban utopia, so too did The Honeymooners defy the the ‘perfect American dream’ that was soled on tv during the 50s to show us the trauma of poverty and the only thing that you can do when you find yourself trapped within that reality, laugh. 

7. Leave it to Beaver (1957 - 1963)

You can not get any more quintessentially 50s than Leave it to Beaver. The series has become synonymous with the decade and it’s take on the ideal American family life to the point where it’s become a punchline of numerus jokes criticizing the values and attitudes of the era. 

Does it really deserve such mockery? Who knows. I think one needs to watch it for themselves to decide. However it slots right into the aesthetic that the first episode of Wandavision is trying to recreate and it must have been popular for a reason, right? 

8. The Many Loves of Dobie Gillis (1959 - 1963)

We featured wholesome family sitcoms and screwball comedies with married folks but we haven’t covered any surrealist humor yet, and Wandavision is seeped into that sort of stuff. That’s because there really isn’t a lot of fantasy in most 50s sitcoms. So while the trappings for episode one of Wandavision is very 50s the effects and premise is more 1960s. 

That’s where Dobie Gillis comes into play. Like Wandavision, The Many Loves of Dobie Gillis is based off a comic book, or comic strip rather. However that comic was very down to earth and tame compared to the tv show. More fondly remembered as the inspiration for Scooby Doo a decade later, Dobie Gillis quickly transformed from a typical coming of age show about teenagers to a surreal, sarcastic, tongue in cheek comedy, complete with get rich quick schemes, spys, bongos, and a giant chicken. 

9. Bonanza (1959 - 1973) 

Yeah, I know all of y’all are judging me right now. “A western in a sitcom/sic-fi list? What are you thinking?” Well one really can’t talk about 50s television and not mention westerns of some sort. They permeated all mediums and dominated the cultural air waves. And Bonanza is far more than just a western.

Bonanza is literally every thing. It’s every genre at once; western, historical drama, sitcom, action adventure, satire, crime drama, soap opera ,and yes even the occasional foray into science fiction, albeit with a more Jules Vern take than a typical spaceman theming. 

If Wandavision is a melding pot of seemingly disconnected genres then it’s because Bonanza paved the way with it’s similar breakage of formula. 

10 The Twilight Zone (1959 to 1964)

Yeah, you probably knew this was coming. When not being a homage to sitcoms Wandavision is a downright horror movie, but not one with gore and mindless monsters. Rather the show evokes old school surrealist horror, like that employed in the famous (or infamous) Twilight Zone. 

What you probably didn’t know is that we have the I Love Lucy show to thank for it. See Lucille Ball and her then husband Desi Arnaz had created their own production company in order to make I Love Lucy. This production company,  Desilu Productions, is responsible for picking up Rod Sterling’s pilot and producing The Twilight Zone. 

Runner Ups

Good shows that have little to do with Wandavision but are good anyways.

What’s My Line (1950 - 1967)

Just a really fun game show. Stars of the day would sometimes appear on it including many of the sitcom comedians listed above

Have Gun - Will Travel (1957 - 1963) 

One of the very few pure westerns that I can tolerate. The lead actually cares about people and justice and will stand up to bigots.  

Dennis the Menace (1959 - 1963)

While I have fond memories of the 90s film, I thought it was a tad redundant to put on the list when there’s already Leave it to Beaver. 

So there’s the 50s list. On Wednesday I’ll post a list for the 60s and cover some of the more obvious stuff Wandavision was paying homage to. 

[imaginariumpod]

A Tapestry of Lace and Silk : the visual aesthetic and costume design of Crimson Peak (2015)

 In the dark corners of an ancient mansion, you hear the rustle of a long dress on the floor, there behind a closed door, lies some ghosts and secrets that should never be unearthed. 

A woman walks in the silence. 

Crimson Peak (2015) is a movie directed by Guillermo Del Toro, and is one of the most obvious mainstream examples of the gothic romance in cinema in the recent years. With a story full of ghosts, a secret, a haunted house and of visuals directly inspired by the mid-century gothic romance book covers. This movie is visually highly stylized and immersive in a way I think a lot of filmmakers and studios tend to shy away from. 

While Guillermo Del Toro’s movies tend to always be very stylized and visually cohesive, Crimson Peak is truly the one, in my opinion, where the production design was at its most compelling and beautiful. To me, it’s obvious how much care and attention has been given to even the slightest of details, to create the perfect visual identity for this film. I have read once that the gothic was very decorative, as a genre. From the dark mansions, and the flowing nightgowns to the flickering lights of the candles and the creaking floors. The ~aesthetic~ is something that is very important to a gothic romance story. It’s all in the atmosphere, as well as some important elements of the story in itself, that make a gothic romance. Gothic Romance is a genre that you have to lean into, and Guillermo Del Toro perfectly understood it when it came to Crimson Peak.

Before we go more into it, i just want to warn you all that there’s probably going to be spoilers in this article. I will try my best to avoid being overly blatant about what happens in the story in itself, because that is not my focus. My focus during this article will be on the production design of the movie, the way this movie looks and has been designed, especially when it comes to the costumes and the outfits the characters wear throughout the movie. I mostly want to go deep into the visual aesthetic of this film, from the decors and visual themes to the dresses and outfits that were created for this story. I want to talk about the visual aspect of the movie and how it translates within the genre of gothic and the medium of filmmaking.

Guillermo Del Toro : the cineast 

Guilerrmo del Toro is a mexican director mostly known for having a very distinct style of dark fantastical movies often featuring monsters, myths, the folklore and fairytales. His movies alternate between being made in spanish or english. His stories and movies often explore the dark side of the fantastical, of fairy tales and stories told after the dark.  and yet. they have a hopeful side to them . 

While a lot of his movies were successful, I do think it’s El Laberinto del fauno (2006) (Pan’s Labyrinth) that really established him as a thriving filmmaker, despite how niche a lot of his movies and stories are.   Which, by the way, as a quick aside, Pan’s Labyrinth is a very formative movie to me, I watched the year it came out, when I was 11 years old, my dad brought the DVD home, thinking it was a movie for children. And well. It was not. I ended up being TERRIFIED and yet mesmerized and this was my first contact with Guillermo Del Toro as a filmmaker but it certainly wouldn’t be the last. His movies are crystallized in my memory, and they awakened in me a love of this more gothic and fairy-tale inspired horror. He's definitely a movie director that brings his unique touch to whichever work he’s doing. 

The Gothic is a very prominent part of Del Toro’s work, which he calls Gothick (and is indeed a word that represents the genre that got started by Horace Walpole’s book The Castle of Otranto in 1764) and he describes the relationship he has with this genre as “a way to discover beauty in the monstrous”  The protagonists of Del Toro movies often embrace the darkness that exists around them and within themselves. For Del Toro, the gothic is the “only genre that teaches [us] to understand otherness.” You can see it in the narrative of so many of his movies, which culminates in The Shape of The Water, where the monster ends up being the victim of society, and the real monster is the character of Michael Shannon, who represents the pressure of society,  the norms and accepted and what can happen if you deviate from what is accepted. 

The narratives of Del Toro’s movies reject authorianism in any shape or form, whether the societal authorianism or the narrative ones, and this makes for a way of storytelling that often turns around all expected tropes.His movies are, at their core, anti-fascist and, in my very humble opinion, very relevant during our current political climate on an global level. I really do not feel like I am the right person to dive deep into this subject in a small article on the visual aesthetic of one of Del Toro’s movies, but I want to recommend the thesis The Dark Fantastic of Guillermo Del Toro : Myth, Fascism, and theopolitical Imagination in Cronos, The Devil’s Backbone, and Pan’s Labyrinth by Morgaan Sinclair. That thesis is widely informative and interesting to read and will probably dive deeper in those themes that are always somewhat present in every Del Toro movie. 

He loves using “typical” genre stories and making them his own. From folk tales, fairy tales, vampire stories, legends, he uses these narrative motifs as a template for his stories, but he always subverts them in one way or another, exploring the darkness within. And this is what he also did with Crimson Peak, but now with the gothic romance genre as his template. Gothic Romance is one of those genres that is very formulaic in some ways, it has very common tropes and themes that are often used.   For example, the way he explores the gothic house and its entire symbolism in his early movie The Devil’s Backbone (2001).

[These old-Gothic notions insinuate themselves in the Gothick terrain of del Toro’s films. The ­Devil’s Backbone, a ghost story set in a remote orphanage during the Spanish Civil War, seems at first glance to be a classic Gothick romance, which, as del Toro reminds us in his commentary, focuses on the house, the domicile, as an emblem and warped container of the human self.  This symbolically charged structure, he says, always conceals a “dark secret,” linked to a treasure and deep passions, “that is buried in the past and affects the people living in it.” At the center of the darkness stands “a very pure ­hero—a new set of eyes to explore the secret and through the purity of his heart unravel the mystery.”]

When it comes to his films, Del Toro tends to often use archetypes as a way to effectively communicate certain concepts, but more often than not, he will turn these archetypes upside down.  Del Toro tends to also use a lot of symbols in his movies, weaving a tapestry of overarching themes and meaning. He gives depth to his stories by a use of various artistic and literary references, historical references. building a story that contains layers upon layers. This depth also translates to the visual aspect of his movies, as Del Toro movies tend to be carefully and precisely crafted. The aesthetic is, as one might say, on point. From the somber and fantastical creativity of Pan’s Labyrinth to the epic and vibrants colors of Pacific Rim. Crimson Peak is, to me, one of the most visually beautiful and compelling movies of Del Toro, and this is what we’re going to get into a bit later. 

A ghost story: 

This story starts at the end. This is a narrative device Del Toro also used with Pan’s Labyrinth, the movie starts with the final scene, and we know that something terrible is going to happen, and it just keeps the tension and stakes high during the entirety of the movie, as we keep wondering when things will take a turn for the worse. 

We can see Edith Cushing (Mia Wasikowska ) wearing her white nightgown, in a scene of fog and piercing white. Her blond hair is flowing down on her shoulders, her face is pale, and her hands.

Her hands are drenched in blood. 

The first sentence of the movie is then spoken : “Ghosts are real. This much I know.” This immediately sets the tone for the rest of the movie. 

And then. It goes back to the beginning, when she was just a young child, at the moment her mother died, when the ghost of her mother, veiled in black lace,  came to warn her, to beware of Crimson Peak… 

Edith Cushing is a young woman living with her father and who dreams of becoming a writer. She keeps trying to publish her story, not a ghost story, but moreso a story with a ghost in it. “The ghost is a metaphor” she says. A metaphor for the past and for regrets and violence that still permeates a place. She then meets Thomas Sharpe (Tom Hiddleston), an english baronet without fortune, and his sister Lucille (Jessica Chastain). After the sudden (and suspicious) death of her father, she marries Thomas and follows him and his sister back to England, in their strange mansion that stands isolated in the midst of english hills, atop a source of red clay. The Sharpes are an aristocratic family with no fortune and a decrepit mansion where strange things happen, where ghosts roam. 

There’s also a social commentary here on the changing social norms and social classes. While the Sharpes are an aristocratic family, owning land and a title, they are not rich. Their clothes are good quality, made from good materials and hand crafted, but they are also old and not of the current fashion. They are in a very strange place socially, being higher up on the social class and yet, being broke and trying to figure out how to get money to take care of their crumbling estate.

Ghosts are real, we need to remember, and are a reminder of what has been forgotten and what has died. The past is still  lingering on in the present, and violence of the past will not go unpunished. The ghosts of Crimson Peak are terrifying. I do not want to say much about them, because it would reveal too much about the plot and the story, but I want to talk about them in terms of visual design. The ghosts of Crimson Peak are terrifying, they are skeleton-like, and red. Vibrant red. They are nothing like I have ever seen before in terms of ghosts, and this is yet another way Crimson Peak sets itself apart from other movies. 

Lucille says something at the end of the movie, and I will not say anything about the plot, so fear not for spoilers, she says “but the horror… the horror was for love” and I do think it says so much about the movie and about the genre. Gothic romance is not really a love story, but it’s not strictly a horror story either. It’s a blend of love and horror. And sometimes… the horror, the horror will be for the sake of love. 

The building of a haunted house

Production design, when it comes to movies, relates to everything that has to do with the visual identity of the movie. The look and the stylistic choices that are made to make the movie look the way it does. From the costumes, to the sets, to the decor, and all the small details, production design is one of the most important parts of  constructing a movie. It’s those elements that make out how the movie will  look and what it will communicate to its audience.

The production designer works on all the aspects that pertains to the visuals of the movies, along with the director of photography. They manage everything from the costume, the sets and the decor. And they work closely with the director to craft the visual identity of the movie. Guillermo Del Toro always draws from a very vast range of thematic and visual inspirations when it comes to his movies : from gothic architecture, symbolist art, the surrealists, but also more popular inspirations such as comic books and even video games. So many of these elements are brought and matched to visually create a layered look to the film.  

The visual storytelling, the ambiance, the atmosphere, all of these elements are a huge part of what makes Crimson Peak truly interesting. The visuals of the movies were not an afterthought to the script, but were an integral part of how the movie was constructed. Under the directives of Guilermo Del Toro, Thomas E. Sanders [Dracula (1992) ; Braveheart (1995)] constructed an intricate and vibrant appearance for Crimson Peak, which I think is one of the most memorable components of the film.

This movie takes the canons of gothic horror and gothic romance and embraces them, whether it is narratively speaking or visually speaking. I always love a story that leans heavily into its genre and its tropes and convention, only to make use of them in a different and new way. I can mention The Man From U.N.C.L.E. (2015) as another movie who embraces its genre, here the corny 1960s inspired spy movie, and just GOES WITH IT. I do so much appreciate when any type of storyteller and artist fully work within the genre and then try to expand the boundaries of that specific genre, all the while trying to create a work that is definitely recognizable as a certain genre. 

As I said, the visuals are obviously very much inspired by the canons of gothic romance, whether it's the illustrations that were in the book of the 19th century, as well as all the historical inspirations from the late 19th century in which the movie is set. There’s also the obvious references to the book covers of the gothic paperbacks of the mid 20th century, with their jewel tones, and their heroines escaping a dark and looming manor behind them. Or sometimes, she is exploring the dark winding corridors, with only the help of a few candles lighting her way.

There’s this dichotomy that sometimes occurs when it comes to movies, of style over substance or vice versa. Which to me is a moot and useless point, because style is a form of storytelling as well. The way you construct the visuals of the movies, the decors and the costumes, and the way the film is shot, all of this is a way of telling a story and is as essential to a good movie. Even a movie that doesn’t put the emphasis on “style” also makes a visual choice. Not focusing on the visual elements such as the costumes, or the decor, is also a stylistic choice in itself. Even if the choice is to make the movie devoid of any outlandish visual assets. Taking these decisions are what ultimately make the movie be the way it is visually. A film is a visual form of storytelling, 

When it comes to the sets, the movie is set mostly in two diametrically opposed houses, the airy and light house of the Cushings in Buffalo, homey and comfortable, and the cold gothic estate of the Sharpes : Allerdale Hall. Where the house in Bufallo was full of light and a warm color palette, Allerdale Hall is the opposite. That house is the typical gothic mansion, and one of the most important elements of any good gothic romance. Imposing, dark, with twisting corridors and actually decaying above them. Visually, it’s also distinctive with the colder colors that are used when filming there. It’s the ideal setting for the gothic romance story to happen. Sanders says that the only reference that he was given by Del Toro for the design of this house was the painting House by the Railroad (1925) by Edward Hopper. This painting was the beginning of a very long and arduous process as Sanders tried to create this perfect haunted house.

The house of the Sharpes, is atop a source of red clay, hence its name. It’s decrepit, falling apart, cold. “colder inside than out” says Edith when she first enters it. The house is slowly but surely sinking in the red clay that once used to be the source of the Sharpes’ fortune. Visually, it looks as if the house was bleeding, as if the house was alive. As Sanders says during an interview with Slate : 

“We felt that the clay is the blood of the earth, and it’s also the blood of the house, and that the house was a living thing that embodied the family over all those years.”

Within the genre of gothic horror and gothic romance, the house plays a very peculiar part. Whether it is haunted or not, the house is very much often an important character of the gothic story, on the same level as the heroine or the antagonist or the ghost. The spaces of Allerdale Hale are tight and menacing, the house is full of dangerous sharp angles. This is not a warm house. Del Toro said that he repeated the wooden pattern on the columns three or four times, so that it looks slightly out of focus, like something is wrong, but you cannot pinpoint what it is, exactly. 

Allerdale Hall is thus the perfect setting for this gothic romance to unfold, through the sharp and twisting corridors, with the gaping hole in the ceiling through which the snow falls and covers the red crimson blood of the house. 

A nightgown to explore strange corridors at night:

The main costume designer for this film was Costume Designer Kate Hawley, assisted by Cori Burchell. Even though they hadn’t worked specifically on period movies and historical movies or more fantastical movies prior to their job on Crimson Peak, I cannot help but think that they did a marvelous job when it came to the costume design for this particular movie. Hawley had previously worked on Pacific Rim with Del Toro, so she was familiar with the way he worked and envisioned things. Together, they truly created a wardrobe that was absolutely wonderful for the movie of Crimson Peak. Highly stylized. Imbued with the fashion and artistic trends of the era, without being exactly Literal to the clothing of the time. She used costume design as a vehicle to communicate ideas and moods that were intrinsical to the characters of the story. 

Hawley worked closely with  Del Toro to create the costumes that would be perfect to convey the personality of the characters and would help build the depth of the movie. In her interview with digital magazine JEZEBEL, she says that she definitely considers Crimson Peak to feel like an opera, a piece of music in which there’s two distinct acts, and so the costuming had to also follow those two distinct acts and those two distinct worlds that the characters inhabit. From the color scheme and mood, to the details of the historical period. But most importantly, especially for a Guillermo Del Toro movie, it was vital for Hawley to look at it thematically first. Del Toro movies are always chock full of references to art, folklore and literature, and there is no surprise that the costume design should follow the same direction.

The costumes are an important narrative device as well, the clothing a character wears reflects their personality as well as their narrative journey. It can inform on the status of the character, their place in society, it’s an effective tool of storytelling. A good costume designer will use the wardrobe of each character to say something about the character in themselves but also create a cohesive visual look for the ensemble. From the colors to the chosen fashion style and to the accessories, fashion is a silent mode of communication that we all inherently understand, even if not on a conscious level. The wardrobe of each different character is thought and designed, to fit the character but the movie as a whole. 

As our queen and icon, legendary costume designer and winner of eight separate academy awards for costume design, Edith Head says : “Fashion is not the primary thing, the primary effort in motion pictures is to tell a story”. And clothing do tell a story, whether or not you think they do. This is comes back to what I was saying earlier, that sometimes, people tend to not put any sort of importance on the clothing, considering it shallow and superficial, but I would argue that it’s a very subtle way of storytelling that says more about the character in a single outfit than a whole scene of exposition ever could. 

Edith’s clothes are all very modern and current to the era the movie is set in (ie. 1901) The silhouette of all the clothes she wears are very much within the fashionable silhouette of the era, with the gigantic sleeves, and the cinched waist and slightly flare-y skirt. All of the dresses she wears throughout the movie have the leg-of-mutton sleeves that were so fashionable during the late 1890s and early 1900s.  The color palette of Edith’s clothes is very much within a very soft and warm-toned palette, with a lot of soft yellows, ivories, creams, mustards and golds. this very much visually set her apart from the Sharpes. Hawley says she imagined Edith as a canary in a coal mine, her vibrant yellows and gold outfits in the dark and somber walls of Allerdale Hall. Hawley and Del Toro also used a pre-raphaelite portrait of Helen of Troy by Dante Gabriel Rossetti (1863) as a visual basis to work on Edith’s aesthetic. 

She’s a down to earth woman who is ready to make efforts and her dresses reflect this aspect of her personality, they are comfortable and practical, while still having that air of whimsy to them. From the gigantic buttons on her honey colored dress or the beautifully eccentric belt in the shape of hands. Kate Hawley, the movie’s costume designer, says that this belt is just an upscaled version of the small mourning jewelry in which a lock of hair of a loved one who passed away can be found in. “I took these little earrings, these little ivory hands, and we scaled them up so it was almost like a mother's hands clasped around her waist”. (I so desperately want a belt like that btw, it is creepy but i still want it, if any of you happen to find one, please do contact me, thank you so very much.) She matches her hat and gloves with her ensemble, and generally, Edith, is just very visually cohesive and coherent within her own style. 

During a very romantically and sensually charged scene, she wears a beautiful evening gown in ivory satin and ornamented with pearls. She enters the room dressed in this lovely dress and a long satin cape of the same color and a pleated collar, her hair delicately swept up.  This is Edith’s very own dramatic moment, where she gets to dance with her romantic lead and wears an outfit that is a bit fancier than her usual fare. This dress is still within the very soft and pale color palette that represents Edith. This particular dress is visibly inspired by a painting of  the italian artist Giovanni Boldini : The Black Sash (1905), which furthers the fact that this movie’s visual aesthetic is deeper than what first meets the eye. From the delicate color and stark black ribbon down her back. 

Edith, though, is our ingenue heroine of the gothic romance. One of the main archetypes in the gothic romance is the innocent heroine, a young woman thrown into a situation that’s claustrophobic, scary and dangerous. In every gothic romance, there comes a moment where the heroine leaves her bed in her nightgown, it’s a very striking visual that is the mark of the way we visualize gothic romance. She holds a candle, wearing only the lightest of clothing, and goes to explore the darkness within the walls she inhabits. Her nightgown ends up being the most significant outfit of the whole movie, it truly marks her as a gothic romance heroine, while she roams the corridors at night.

 «I’ve never done so many nighties and nightgowns! It’s all about running around in night dresses through long corridors. That also blended to the fabric. When Guillermo said to me, “It’s about a house that breathes,” that’s why we chose the lightest fabric, just a little thing to try and help the storytelling with the idea of the house.»

 Edith’s nightgown is striking, the movement of the heavily pleated garment fills the whole screen whenever she moves, it gives her a certain elegance and follows the cohesive silhouette and color palette that was established for her thus far, with its gigantic sleeves and the soft warm and earthy colors of the dressing gown she wears over her nightgown, as she goes down the dark stairs of Allerdale Hall. 

Where Edith is the innocent ingenue, Lucille is the woman hardened by life and misfortunes. She is all sharp angles and contrasts, where Edith is soft and kind, with a seamless color palette. Lucille’s outfits are stuck twenty years in the past and this is very much a narrative device and tool that’s used through the usage of dress and costume design. By showing her in these lavish but old-fashioned dresses. it serves both the purpose of showing how rich and noble the family of the Sharpes is but also, it effectively communicates how they do not have the means to actually follow the current fashionable trends. It shows that Lucille is not one to want to have something of lower quality or cheaper than she thinks her standing deserves. Lucille is a woman that is stuck in the past and is not truly living in the current times.  I think that even though these details often necessitate a basic knowledge of the dress silhouettes of the late 19th century and early 20th century, this tactic still visually works because it sets Lucille apart from the rest of the world. It expresses visually how she and her brother are distanced from the world outside.

Her dresses and outfits are dramatic and striking, with the sharp silhouette of the 1880s, with the bustles. The colors of her dresses are always in deep tones, like reds, blues or black. The colors are very rich and vivid. The first dress that we see Lucille wearing is the beautiful red dress during the scene where she plays piano. A silhouette typical of the 1880s with the bustles and the very extravagant detailing. That one dress is a striking red, with a skirt that has a long train. The one very important design detailing is the back of the dress, replicating a spine of sorts in the middle of her back. Those sharp angles forebode a sense of danger that is conveyed strictly through the construction of the dress, and the arrangement of the textiles, the various shades of red fabric intertwined to create this gorgeous pattern that goes down the skirt. Her hair is swept upward and decorated with fine red jewels, and the pale complexion of Jessica Chastain only make the whole ensemble more striking. 

Compared to the two other components of the main trio, Thomas Sharpe’s outfits seem much more muted and sober. His clothes, same as his sister’s, are also too old to be fashionable, but made of high quality materials. The color palettes of his clothes are very dark and deep, with touches of deep blues and greens. When you transpose him into Allerdale Hall, he fits seamlessly within the decor, meanwhile he seemed out of space and out of time in the sunny and modern decor of Buffalo. 

A desire for accuracy : 

Historical accuracy is always a point of contention when it comes to movies set in a particular historical setting, in this case in the early years of the 1900s. And before we go any further, is historical accuracy even That important when it comes to an effective costume design ? I honestly think historically accurate costumes are very important when it comes to setting your movie. The visual immersion and world building when your story is set in a specific time and place, like for example, in this movie, set in Buffalo, United-States, and England, during the year of 1901, depends on these important elements, such as the costume design and the decor. Especially when a movie is not tending toward the fantastical. For this reason, I really do think that having period accurate costuming, design and makeup is incredibly important when it comes to immersion and creating a visually cohesive world.

Nonetheless, to me, this part of the costume design is less important than what the costume design says about the story and the characters. As I said earlier, costume design is a very subtle but powerful narrative and visual tool to use in filmmaking. And for this reason, I personally think it’s more important for a costume to be efficient when it comes to storytelling than to try to achieve perfect accuracy. Simply put, a costume designer is not someone whose aim is to recreate historical garments perfectly (if this is your jam, I follow a bunch of creators on youtube who actually do that, using historical sewing techniques as well). Their aim is to use the clothing for a storytelling purpose.

There is this thread by fashion historian and curator Hilary Davidson on the subject of ahistorical costume design and this is what she has to say about Crimson Peak:  

“Kate Hawley's designs for Crimson Peak (2015) are immersed in artistic trends of the fin-de-siecle, making costumes that embody the period's aesthetic spirit without being completely literal” 

When it comes to Crimson Peak, are the costumes historically accurate. For the case of Crimson Peak, the answer is yes and no, at the same time. More than creating historically accurate costumes, Hawley wanted to create an atmosphere, with dreamy costumes that would serve a narrative purpose, and use historical sources as a guideline and inspiration Liberties will often need to be taken to complement the story and to serve the purpose of storytelling  nonetheless, I do think that the more researched and accurate the costuming is, the more complex and interesting it can be . and I do think it ended up being SO SO INTERESTING. 

Costume design is more than simply making historically accurate costumes, a costume designer needs to know fashion history and fashion trends, but ultimately, their job is not to recreate exact replicas of the clothing of a certain historical period. What a good costume designer has to do, is to create a wardrobe that fits the story that is being told, and fits within the general universe it's set in and gives you information on the character. What Hawley did was to respect the silhouette of the period, from the foundation garments to the outer garments, and then, when it came to the actual costumes, she could play around with the details to convey a certain mood and narrative. The underpinnings always do define the general structure and shape of a garment, and it’s one of the most important elements when someone wants to construct a historically accurate costume. Even if, like Hawley, liberties are then taken when it comes to the actual clothing, the “spirit” of the clothes is respected. From the corsets and to the petticoats and all the subsequent layers, it was important for Hawley to have all of these elements in a historical accurate way, because it would change the posture and the demeanors of the actors. It shapes the way they stand and the way they move through the different spaces. 

Visually, Crimson Peak is a masterpiece of a gothic romance. From the sweeping nightgowns to the imposing and sharp gothic mansions, and the scary ghosts behind the door, Del Toro and his team have created a movie that takes everything that is wonderful about gothic romance to the highest theatrical level, and I, for one, always enjoy this visual and cinematic experience. 

[loptyrs-moved]

Can you talk more abt ur fandoms ocs? I like your writing a lot and would like to know more abt em

Oh my goodness I’m 🥺🥺🥺🥺 you’re SO sweet thank you!

Well, I have quite a few and some have their own deeper lore stories that go with them. If you guys want more information on them, I can do separate posts on all of them. But Here they are! I’m so excited to share my babies with you!

More is under the cut. The Picrew I used is here.

Ikemen Revolution

Black Army Side

Corrin Fukui

Age: Appears to be in mid-early twenties

Hair: Brick white

Eyes: Blood Red

Height: 4′11

Any other Qualities:

Draconic features -- She’s literally a dragon but not by nature

Curved Opalescent Horns

Shimmery opalescent tail

Wings that also shimmer in the light

retractable?

Pointed ears

Easily frightened by loud noises and sudden movements

stunted growth

Hoards blankets and comfort items

writes in a journal every day 

its one luka got for her and she refuses to write in anything else. she pours her heart out on the pages, and all her memories

she had a brother! but he passed away because of the magic tower :(

turns into a gIANT DRAGON 

ICE ICE BREATH BABY

Was found by Luka while on a patrol near the forbidden forest, lost and afraid, so she was taken in

Had amnesia at first

She actually is an experiment of Amon and she managed to escape

Excellent at sewing and gardening

Sufficient with baking

She’s for Luka! The way they fell for each other was a slow, gradual trust, and mutual understanding. She saw him as a man, as he was, and nothing else.

Sometimes is called Corri

gentle hearted and innocent

but not as innocent as you’d think 

she’s a dragon, and she’s a greedy little one

Ophelia Dae

Age: 24

Hair: Crimson red

Eyes: Jade green

Height: 5′8

Any other Qualities:

A skilled swordsman, and one of the Chosen Thirteen

9 of Spades baybeee

While she is more accustomed to short swords and sabers, Phelia is a magic user! But she isn’t really in agreement with Ray with his stance on magic

BOMBASTIC AS HELL

BISEXUAL

“Is he bothering you Queen?”

Trans

Was friends with Ray and Fenrir while in school, and was just as much of a hellraiser as them

she was there when the day things went dark happened and was almost taken but that day is a blur for her

phelia REFUSES to talk about it

she still has nightmares

raised by a single mother

TRIVIA! She was an old fire emblem oc i had and she was the daughter of Arvis -- so if you squint when she uses magic you’ll see Valflame

joined the army probably because Fenrir was too, and she was inspired by him 

she joined for her own reasons but he made it easier for her to do it too

his passion was what made her fall for him in the first place

has a personal vendetta against the magic tower for what they did to her and her friends

AND CORRIN JEEZ

will sacrifice herself if necessary to the cause

PROBABLY HAS ALMOST DIED BECAUSE OF IT

Bruh girl

Amira Nasiri

Age: 22

Hair: Chocolate brown

Eyes: Turquoise blue

Height: 5′3

Any other qualities:

My version of Alice! Difference is that she’s Persian

That’s it

She’s just as spunky as Alice 

however she responds with being called Alice a little different

she’s adamant about being called Amira

At some point she just accepts Seth does it to distance himself

also an avid baker like alice

pISTACIOS

BAKLAVA

Amira is just Alice except she’s just my take on her. 

She has the same vibrant spirit as Alice

and I personally consider Seth the canon route for REASONS

just ask me why fjgdfgjksd

Red Army Side

Azul Flores

Age: 25

Hair: Raven black

Eyes: Wisteria purple

Height: 5′0

Any Other Qualities:

An old friend of the Queen of Hearts

like she met him when she was 8 years old

fought his bullies when they would give him a hard time when he was a kid

they dated for a WHILE

did NOT work out

HARD CHILDHOOD

Ambitious, hard working young woman who was married into a high standing family on the Red side. Her mother was a teacher and gained the attention of one of the Chosen Thirteen on that side, and got married

Azul is NOT the officer’s daughter. She’s his step daughter

Has had extensive studies on the History of Cradle and of the Red Territory.

Wants to be a Cradle Historian

Works for the Red Army as a personal assistant to the queen

UNINTENTIONAL

THEY ACTUALLY CANT STAND EACH OTHER

Unless....

Look their story is very dramatic and it hurts me every day so please stay tuned with them. 

CUT THROAT BITCH

YOUR DEVIL

DEMON

Heckles Jonah like its her job — she knows him better than anyone elsd, if anyone knows his bs, its her

Bad resting bitch face

Actually really shy, and quiet when in different surroundings

A sweetheart and will cut a bitch for you once she knows u

She is perhaps one of the most transparent, honest, genuine person. there is no bullshit with her. she will tell you her honest thoughts with you

Cerise Nam

Age: 19

Hair: Berry Pink

Eyes: Petal Pink

Height: 5′2

Any other qualities:

Her mom came to Cradle from a far off place, and set up a food and pastry shop in the Central Quarter. Met her dad. Been there since

They live in Black Territory

She works for her parents and works with the pastries/desserts

loves making desserts from where her parents are from

She knows the Queen of Hearts VERY well since she makes the best mille feuille

Got a job from him actually, and works for the Red Army Headquarters kitchen

Loves to cook and bake!

a little naïve, but she’s a realist

youngest of FIVE kids!!

Morning girl

She may be petite but she can HEAFT heavy bags of flour/rice/dry goods

Met Zero by accident, and crashed into him while in town

love at first sight for her. how can you fault her?

she thinks he’s dreamy... and sweet...

does she flirt with him a little? Cerise can’t help it...

She and Zero have more of a hidden relationship because she fears her parents won’t approve

family stuff -- and she understands

RED ARMY OFFICER?? BLACK TERRITORY GIRL

look im cheesy

dont worry it works out

zero has to consider himself and his own personal stuff too so its a little difficult 

Non Army Suitor(s)

Lucile Lidell

Age: 20

Hair: Straw blonde

Eyes: Aqua blue

Height: 5'1

Any other qualities:

She and her twin, Noelle, are the actual descendants of the original Alice

Inherited unusual hairpins that were from cradle

More of the 'modern woman stuck in the wrong time' kind of gal

Rebellious

Noelle and Luci: partners in crime

Short skirts galore

Does not give a singular shit of what MEN think of her

Wants to be taken seriously

Sometimes acts like an airhead in order to get attention. She's actually pretty somber as a person and prefers to be in the background as her sister takes the stage

loves her sister more than anyone else in the world

When she and Noelle fall into Cradle, they kind of hightail it and live in the woods with Harr and Loki

Sticks with Harr since he's literally the least threatening man ever

First man to feel safe around

"Excuse me he said NO pickles!"

Will cut a bitch for him, or use magic -- luci will hurt someone if they even think a bout looking at him wrong

Loves to make clothes

'I mended the holes in your cloak for you...' 'Bye Harr, be safe and have a good day.'

'Welcome home, I missed you.'

Puts up a tough girl front but she's just a big softie just like him

Doesn't realize she has a crush on him until shit starts to hit the fan

Actually very vanilla tbh but wants to spoil her bf

Ikemen Sengoku

Ito Tsunade

Age: 26

Hair: Straw Blonde

Eyes: Molten Gold

Height: 5′5

Any Other Qualities:

Graduate student at the same university as Sasuke 

got stuck in the storm with him and Mai, and was tossed into the sengoku era

but she got separated from Mai

Met Shingen first much to her luck because uh.... lets say Tsunade is aint the sharpest tool in the shed

HEAD EMPTY

ZERO THOUGHTS

AIRHEAD

her aesthetic when she gets there?

TITS OUT

BIG HONKERS BIG TATA

HOT

her head might be empty but her tits are fat and they will protect you

Music nerd — loves traditional Japanese instruments, especially the difficult ones

Specializes in girl metal in modern day

eventually proves herself and plays some sick chords for the takeda/uesegi forces

she has entertained them for now

puts sake away like a monster

when she meets sasuke, she finds comfort in the fact he’s also lost with her, so she clings

asks him how to protect herself from shingen bc he’s horny lolol

genuinely thinks sasuke is hilarious

also does NOT realize she’s in love with him until the gravest of grave happens

her name was UNINTENTIONAL

Aibana Hinata

Age: Presents in his early-mid twenties

Hair: Black Midnight

Eyes: Haunting gold and vermillion

Height: 5'3

Any other qualities: 

The concubine of Nobunaga

Please know I made him a long while before the other guy was dropped so I’m just gonna offer this little gay boy

Nobunaga bought him from a brothel after being so intrigued by him. Hina entertained him so well that he was set for life

A RIGHT SNARKY BASTARD

HE KNOWS HE’S PRETTY AND CAN GET AWAY WITH MURDER

Likes to challenge Nobunaga in battles of wits

board games

debate as pillow talk

swordplay if the lords will entertain him enough

Bisexual as hell

Gender? Don’t know her

He uses all pronouns

True pronoun: princess

ONLY EXISTS IN A UNIVERSE WHERE THERE IS MAI

Nobunaga/Mai/Hinata........

Unless.......

Smart, and educated

former geisha

he can read! and write!

LOVE FUCKING WITH HIDEYOSHI

if there is mai, he would bond with her like no one else

he would be her best friend

her confidant

genuinely adores her

even if she is pursuing nobunaga, he doesn’t resent her ... he just wishes that she would find room in her heart for him too

puts up a tough exterior

a softie.....

[jflashandclash]

Tales From Mount Othrys

This story comes soon after the Roman ambush on Alabaster’s laboratory. After the Pax brothers and Alabaster defend the lab until reinforcements show up, the question hangs in the air: who revealed the location of Alabaster’s lab? The Spy Master is assigned to find out or, at least, find a scapegoat.

 Mercedes: Interrogation Letdown

           If you asked Mercedes, she would say that she didn’t drink coffee. Her hijab always smelled of the robust aroma, one that wafted memories of her mother, of her mother’s lips as they pressed Mercedes’s forehead in a morning goodbye. Another day of work. Another disposable cup of coffee. Another hour to torment her brothers as Mercedes corralled them ready for school.

         There were few personal items in her Camp Othrys cabin, but two of her most valuable were a rug (for when she went to “tend to the Hecate garden” in the chapel) and a small French press.

         Few were awake early enough to witness her trek from Fajr prayer to the Spy Wing. There, she dumped some coffee beans and hot water into the glass container. After capping it, she would lean over the golden lid to inhale the fumes. Normally, the French press, accompanying mug, and coffee were all cleaned and away before anyone came in.

         Today, she set her coffee mug in the center of the interrogation table. Steam curled up between her and Pax. She tapped her pen against her Othrys notebook. She hoped her irritation was prominent enough to cover up her worry. Pax didn’t need to know she was worried about him. It would get into his head, inflate it, and he’d become the next astronaut to circumnavigate the world and her anger.

         This silence was one of her and Pax’s many games: invite him into the spy wing, give him no clear instructions, then ignore him for thirty minutes. At the end of his twitching, squirming, and sprawling across the table, she would ask him which three suspicious activities she had done. She would ask for the exact timestamp for each.

There weren’t always three. Sometimes there were none. Sometimes there were eleven. She wanted him to question her authority, and she wanted him to use his brain, something many people found abhorrent, she knew. At least Pax could be bribed into it.

         Today was not one of those exercises. However, she didn’t correct his assumption that it was. She enjoyed his rapt attention and silence.

         At the top of the page, as she did in every page of this notebook, she scrawled, “To me, death is nothing but happiness, and living under tyrants nothing but living in a hell” and “The end justifies the means.”

         Pax, as suspected, broke first. “Are you going to drink that?”

         “No,” she said, “It’s there for the aesthetic.”

As per usual, Pax couldn’t tell if she was serious or sarcastic. That’s exactly where she liked him. His face scrunched up in his I’m Over-Thinking expression. Mercedes loved it. Pax’s unending chatter put her at ease. Ever since he went to Tartarus, his liar’s tells had become obvious. If she waited long enough, he’d rat himself out.

That’s why she left Pax’s interview for the end. He was uncomplicated and comforting after the morning’s slog.

Underneath her paper’s quotes, she wrote, Suspects.

“Did you decide it wise to tell someone about Alabaster’s super secret layer before its defenses were activated?” With others, she couldn’t be so direct. With Pax? If he thought he was at fault, he would crumble to guilt.

Instead of falling apart, he fell onto the table. The coffee mug jerked, the brown liquid sloshing against the white, ceramic sides. She forced herself not to grab for it, to maintain her composure as cool and collected.

“Oh! Mercedes! Do I have to answer more questions about this?” He peaked at her through his fingers, his amber and black eyes glistening. “Axel and I didn’t know the location until we got there! We were just told we’d be Alabaster’s pack mules for the day and we’d do less of a half-assed job that the empousas would.”

From the information she’d collected, this was correct. Mostly. Alabaster verified it: he hadn’t told the Pax brothers anything until moving day.

However, Axel, after several rounds of questioning and clearing his throat, admitted that Alabaster had given him a rough approximation about the plans and location. This either meant Alabaster was willing to lie for one of his “meat shields” or that he had forgotten that detail. Alabaster had come to their interview with a stack of papers meticulously chronicling each time he’d mentioned the lab project over the last three months. If he had forgotten, Mercedes was a Zeus fangirl.

Mercedes had checked his records and found that Alabaster had altered them. He probably thought she wouldn’t notice, but….

But Mercedes knew Alabaster. She knew all of them. It was her job. She knew that Alabaster rubbed the upper left corner of pages when he was thinking. Several pages from his records had unmarred corners. The penmanship was sloppier on those pages. (He forgot to dot an “i;” an atrocity in Alabster’s book of How to be a Hard Ass.) The margins were five millimeters wider than the other pages, something he would balk as being a behemoth waste of space. He likely rewrote those pages, omitting that he told Axel anything. And he thought he adjustments were small enough that she’d overlook them.

From Pax’s reaction, neither Axel nor Alabaster had told him.

“Pax Two, you’re—”

“I know, I know.” He sighed, slumping back into his chair. “I’m excreting salacious facial sweat onto your interrogation table.”

She forced her lips not to twitch. “Sebaceous,” she corrected and immediately regretted it. It brought her joy to envision adult Pax on a CSI crime scene, taking fingerprint samples and discussing how “salacious” or “lustful” the evidence was to the appall of all of his coworkers, all left to theorize about his sex life.

Mercedes was always pleasantly surprised by how carefully Pax listened to her and remembered what she said, even if he did mispronounce a word way out of their grade’s reading level.

“How did you detect the Romans?” she asked. Part of her wanted to be proud of him: he was her trainee, after all and he thwarted the Romans with his snooping.

“One of them shot Sphinx.” The playfulness was gone. He stared at the coffee mug’s rising steam.

Mercedes set the pencil down. Her instincts said to touch his hand or give him a hug.

Impartial, she reminded herself, tracing quotes in her notebook. I’m supposed to remain impartial. Not to think about Lou Ellen crying when she went to the lab, where Sphinx used to live. Not to notice Pax shamefully avoid his best friend’s gaze, horrified Lou Ellen might blame him for not saving Sphinx.

I’m as impartial as a campaign poster.

Mercedes often caught herself daydreaming about ending this war without any deaths. This was the problem with being a spymaster: you had friends on both sides of the war. Little divided you other than a sense of loyalty or cultish idealism. When most Romans defected from Camp Jupiter, they left everything and everyone. But, Mercedes was the spymaster. She needed contacts. She could never truly leave either camp.

No one had won this fight, though New Rome definitely lost. Alabaster no longer had his lab, half-a-decade’s worth of priceless magical artifacts, and one of his spell books. The full death toll wasn’t in on the Roman side, but they had lost a lot of people. Mercedes still needed to verify the death of their prisoner. Rumor said that he had consumed a suicide pill during Jack and Flynn’s “questioning.” Lucille and Mercedes normally did the interrogation. They kept the interrogation humane. Jack and Flynn didn’t.

Mercedes shivered. She didn’t like Flynn and Jack doing interrogations. She didn’t like that Jack’s mind was waning alongside Luke’s.

On top of that, rumors swept the Roman legion of a new monster, this creature that had awaited the legionnaires in the Mist of the Witch’s Layer. No doubt, this was a rumor started to preserve some soldier’s honor, to make the Pax brothers and Alabaster seem an insurmountable foe instead of three panicked kids. From the way Pax retold the story now, he had no idea about the impression they had made.

Pax was retelling the events—enumerating the soldiers, recalling their location, their armament, their words—when he choked. “I couldn’t kill her, Mercedes. Is that bad?” He puffed up his cheeks and popped them. His eyes were glassy. He had been talking about a soldier that he’d caught in a noose. “Good thing to know I’ll always go for the high five. I’ll never leave you hanging there.” The last words broke with a hiccupped sob.

Impartial. You’re impartial.

Mercedes gripped the handle of the mug. The warmth was fading from the ceramic. She lifted it. What was left of the heat and the scent of tangy undertones—she exhaled, shuddering. How would she get through this talk without hugging Pax?

He shouldn’t have been at this fight. He ought to have been failing out of middle school. Really, he ought to be playing with a pegasus at Camp Half-Blood. She tried not to consider how their relationship would differ if he was.

She set the mug back on the center of the table. “No. A propensity for murder isn’t a skill I value and… and the availability of a compassionate heart is a rare delicacy on this ship, despite what Luke and Kronos preach.”

Pax’s watery eyes went wide. He sniffled. His gaze shot around the room before resting back on her. “You don’t like Luke very much, do you?”

Mercedes scowled. “That is a dangerous accusation, Pax Two. I feel for him the same way I feel for my father.”

Irresponsible. Power-mad.

Luke had made her exchange her fear of one monster for another.

She did not always see eye-to-eye with Axel; she’d been to one of his cage matches and was unfond of the sensationalized violence he so easily exhumed. However, she’d never been more relieved than the day he stood between Annabeth—a bound and gagged, thirteen-year-old girl—and her would-be molester. That changed her mind about Luke forever.

This was not a conversation to have aboard the ship.

“I made you something,” the words exploded from Pax. It startled Mercedes and reminded her of the time that Pax smuggled thirty containers of pudding from the cafeteria in Matthias’ spandex boxers. The seams ripped, much like Pax had sputtered these words: clumsy and a little too excited to escape.

Trust Pax to easily dodge a conversation and to make you think about someone’s underpants.

He withdrew something from his jacket pocket. A bulge had inhabited that it since he’d returned from Tartarus, though she’d assumed it was some kind of safety blanket. Knowing Pax, it could have been a preserved piece of skin that hadn’t properly reattached to Lou Ellen’s hand.

When he unfolded the brown silk, Mercedes stopped breathing. While scrunched up and crinkled, the embroidery was still beautiful: all pink and gold thread. It swirled in an elegant floral pattern along the square’s edges. He made this?

“And—I—I made you a magnet pin to hold it together so you don’t need to be worried about piercing the material…”

When he fumbled in his pocket again, Mercedes could feel her lip trembling. Before he looked up, she shut her jaw and dabbed her cheeks with the back of her hand. By the time he had set the items on the table, she managed her expression into a neutral one. She added Practice Facial Expressions to her list of spy exercises for his training. Vitally important if he ever had the karma of training a mini-him later down the road.

“I made a different one and ruined it when I practiced pinning it. Can you show me how to put one on right? The fabric slides and goes everywhere so I can’t test it properly. You won’t tell us when your birthday is, and I’ve been wanting to make you one for awhile, and this is one of the many things I wanted to do to make it up to you...”

His voice trailed off. Although he tried to keep his eyes sheepishly on the table, they kept flicking up to check her reaction. His information cataloguing demeanor was so obvious: wide-eyed excitement, the hint of a smile curling his lip, a slight lean forward.

Mercedes couldn’t keep her hand from shaking when she reached for the fabric and magnets. He would notice the weakness; she had taught him to notice.

Both sides of the magnets were decorated, one a subtle brown that matched the hijab and another with bold gold and pink paint to match the embroidery, presumably to either blend or use as an accessory. Both were coated in a smooth gloss, likely for comfort. From what she could see, there was no trick or prank attached. Just a small, thinner section, where he must have fiddled with the fabric when talking to her.

This was one of the nicest things someone had done for her since she got to Camp Othrys.

His words echoed in her head. I wanted to make it up to you. To make up for lying and going to Tartarus.

         “This is an acceptable start, Pax Two,” she said, “This does not mean you’ve dissuaded my wrath. Continue to grovel and do not expect any items in return.” If he thought she was mad, he was less likely to do something so stupid again. Mercedes almost swore. Technically, Pax was younger than her, even if by less than a year. She ought to give him something, even if it was a few pennies, for Eid al-Fitr. He better not look at that as an apology acceptance.

         Pax’s conniving smile broke into a goofy grin. “Gifts are not gifts if you’re expecting something in return.” He sounded like he was quoting a childhood mantra, adding in a little jingle.

         “Then they’re transaction pieces,” she agreed absently. Mercedes folded the fabric and attached the magnet to assure she didn’t lose it. She shoved the gift out of sight, under the table. If she looked at it for too long, he’d catch her smiling. She was furious that some part of her wanted to be somewhere private, so she could examine the embroidery in detail.

         She began again, “The investigation—”

         Pax whined and sank right back onto the table.

         Mercedes waited until he quieted his whining. “Did you notice anything suspicious? Oh competent assistant of mine? Or were you too busy examining Alabaster’s assets.” She flipped her notebook to a previous page, one with two columns of names that were subdivided into tables. “This is my list of people who found out or were told. Who would you find most suspicious? Who do you think can’t keep a secret and to whom would they relieve the secret’s burden?”

         She read it aloud from a second copy before he could point out that he couldn’t read:

 Involved in the planning process: Alabaster, Matthias, Lou Ellen, Hecate, Prometheus.

Involved in construction: Matthias, Alabaster, a rotation of blind-folded minions under Matthias (see back)

Knew the location: Alabaster, Matthias

Found out the location: Flynn, Jack, Luke/Kronos, Phil, Pax One, Pax Two, Mercedes, Morpheus

Two days of constant interviews had taken its toll. Tension clenched her jaw, something she didn’t notice until Paxton forced her to relax. Had she had water since before Wudu? Her mouth felt dry.

         Paxton began to babble, “Matthias is a great secret keeper. I still don’t know how he shaved an underwear pattern into Phil’s—”

“Pax Two.” She meant to stop him from going off on a tangent. He took it as an accusation.

“Who, me? I’m a huge security flaw.” He gave her a sly smile. “I tell you everything.”

“That’s amply evident.” Since his return from Tartarus, he felt the need to tell her each time his color switched from green to transparent.

Pax tapped the lower part of the paper. “You forgot the centaurs. They didn’t know until we got there, but they did find out.”

Mercedes applauded this observation with silence. This would indicate that she had not forgotten the centaurs, but wanted to know if he would. This type of testing was so customary to Pax that he continued unhindered.

“Oh! And that sun god—the old one? Hecate’s friend that can see everything under the sun, like Greek Santa. How come he gets the privilege of being Greek Santa but the sky god doesn’t? If I were Zeus, I would want some those powers re-sorted

         “Helios,” Mercedes said. She had forgotten him. Rumors of his power (near-forgotten at the likes of Camp Half-Blood and Camp Jupiter) were rampant in the Othrys ranks. Helios sometimes claimed his powers didn’t work because he didn’t have the sun chariot, but she would need to be sure. Mercedes sat very still. Would she need to interview another titan? One she did not want to see?

         “You forgot about him.” Pax sounded cheery.

         Slowly, Mercedes nodded. “I had. This is why it’s good to keep parasites around. Sometimes they keep things in their digestive systems longer than the host. Or, maybe, sometimes hosts need partners more than parasites.”

         Elevating Pax’s position—that was a conversation for another day.

         Mercedes felt sick. She wanted to accuse a friend of espionage as much as she wanted to volunteer them for an interactive presentation on degloving. No one had given her much to work with, but most didn’t fit the bill.

Matthias had gone in rambling circles during his interrogation. The main thing saving him? He was too clever and resourceful. Had he wanted to capture the three boys in a building that he had designed, there would have been an attack of chloroform-coated underwear automatons.

Prometheus, likewise, would not have been so sloppy. He, as he admitted, would have gassed the boys or poisoned them.

Alabaster and Lou Ellen suspected Lamia. Apparently it would be easy for such a powerful witch to locate the magical objects transported there. Mercedes had Lamia on a different suspect list.

Luke, in his ever-increasing paranoia, thought it was Alabaster who set himself up. A charming disposition to cover up Luke’s insecurities, but Mercedes knew that Alabaster had no use for subterfuge. His family made up a third of the army. If he wanted, he could have the Princess Andromeda make port in San Pedro Bay with a Welcome Legions of Rome! sign.

That left an option Pax should have pointed out but never would.

Axel.

He was close to all the right people: Luke (formerly. Mercedes blamed their falling out on a lack of shared interest. Axel didn’t have the propensity for pedophilia and domestic abuse that Luke had), Alabaster, Jack and Flynn, and, of course, Pax. By being close to Pax, he was close to Mercedes and all of Mercedes’ documents. He was one of the only souls aboard the ship not pledged to Kronos—incapable since he was full-blooded Maya.

There was no point in interviewing Flynn. Flynn could tell Mercedes that she was innocent; with her charmspeak, Mercedes would believe her. Any argument against Flynn would have to be cautiously researched, compiled, and brought to Lucille, Prometheus, and Luke in full secrecy.

For that matter, Lucille could be a good option, but there seemed no reason: she was happily courting Ethel and had taken Charlie on as her own daughter. She didn’t feel right… Although, Mercedes guessed Silena Beauregard wouldn’t feel right as a spy for Camp Half-Blood, and Silena had been cheating on Beckendorf and getting campers killed for at least two years now. Having children of Aphrodite around was always dicey. Thank god the Roman editions weren’t as powerful.

Although it was unwise to be too close to anyone with Mercedes’ job, she wouldn’t want to accuse Lucille without hard evidence. Lucille made sure no one bothered Mercedes about her hijab, just as Mercedes assured that no one bothered Lucille about her relationships with women.

Mercedes watched Pax’s gaze flicker over the symbols on the paper, pretending to read them.

She didn’t think Pax would accuse his half-brother or his surrogate mother, even if those were the most logical conclusions.

Pax set the paper down. His rounded cheeks puffed into a frown. Insecurity wrinkled the edges of his eyes as they gazed intently into hers.

Mercedes took in a deep breath. Would he?

“Mercedes,” he said, sounding grave, “I’m thinking about having my first kiss—well, my real first kiss.”

“Ya Allah, save us from the sins and hellfire,” Mercedes mumbled, exhaling. The tension eased out of her muscles as she restrained a laugh.

“I’m thinking about Alabaster, though Lou Ellen says he might not be ready yet. But, that’s like saying she shouldn’t try to make a move on my brother during our victory dance party, and she should totally make a move on my brother.”

As he spoke, Mercedes collected the list of suspicious names, tucked it into her flip notebook, and closed it. She rose, took her cup of cold coffee, and dumped it down a sink along one wall. As the brown liquid splattered against the white porcelain, she sent a mental prayer of safety for her mother, brothers, and friends back at home.

No one seemed to realize she eavesdropped on her comrades as much as she spied on her enemies. If there was one thing she knew, Alabaster was not ready for intimacy, with anyone, let alone with Pax. And Axel would certainly have a heart attack warding off Lou Ellen, who, she knew for a fact, Axel thought was too young for him.

“I want it to be perfect. Jack agrees and he’s been brainstorming with me. He said he doesn’t remember his first kiss and that makes him really sad and Flynn won’t tell me about hers. But, it has to have great atmosphere—music! And maybe outdoors—maybe with a garden—but what if something goes wrong? I’ve been practicing on my hand—You know, to make sure I’m not the worst while keeping the purity of the first kiss—and I’ve been asking for advice all around, from Lucille and Prometheus won’t tell me anything, he just laughs in his ‘I’m a titan who can predict the future’ kind of way. And what if it isn’t perfect?! Like, I want it to make Alabaster happy and make me happy and be a good story for future Pax generations like Jack wishes he had a good story for me!” Pax rose to his feet to follow her around the room.

From the frantic cadence of his tone, she knew, with relief, they were done for the day. The part of Pax’s brain capable of none-meandering thoughts had a clear timer and that alarm had gone off.

She walked back to the table, gathering her notebook and new hijab. The fabric felt so soft when she tucked both against her chest. “Too many expectations lead to inevitable disappointment. What if you’re a bad kisser?”

“What if I’m a bad kisser?” Pax’s eyes widened. He puffed up his cheeks and popped them.

“Planning isn’t in your nature. What if nothing goes according to plan?” She ushered her stunned friend towards the exit of the Spy Barracks.

Pax stumbled alongside her, eyes clearly visualizing the worst case scenario. “You’re right! What if nothing goes according to plan?!”

“What if you make a big fuss over something that won’t matter and you worry yourself needlessly?”

“What if I—hey!” Pax’s features scrunched up into a pout. He folded his arms.

Mercedes sighed. Like Alabaster, she didn’t have time for experience in this field and couldn’t offer much advice. As someone who ran spy operations, and someone with a cute, unpredictable parasite pouting in front of her, she knew things tended to fall apart in correlation with how hard you tried to keep them together. “You can’t control if something goes wrong, Ajax, and you can’t control how Alabaster will react. If things go wrong, then you’ll find someone else later, whose lip sensitivity is closer to that of your palm.” She pointed to his right hand, the one she assumed he’d been practicing on.  

“But what if—”

Pax went quiet.

Mercedes had, much to her own surprise and skipped heartbeat, leaned forward. His nose was cold when it pressed against hers; his lips, warm. There was a faint hint of something citrusy, like he had drunk orange juice for breakfast. Fortunately, no reek of bacon.  

Several jittery questions flashed through her brain: What constitutes as a “real” kiss? Was I supposed to close my eyes? It’s awkward if I keep them open, right? How long am I supposed to do this for?

The insecurity shook her nerves—it shouldn’t have. This was Pax. And they were just friends. Just two friends who spent 90% of their time together.

His eyes had gone wide with shock. His gasp sucked air from her before he gently exhaled.

Four seconds was plenty, plenty enough to make her face feel hot. Mercedes saw movement out of her peripheral—either he was about to push her away or pull her close. She didn’t wait to find out. She withdrew, absently fussing with her notebook and hijab like she’d finished another closing procedure. Both items had almost slipped from her grasp.

Pax looked lost. His mouth moved a few times, before remembering how to form words, “Why did you do that?” The question was quiet and uncertain. Not angry.  From his hesitant tension, she got the feeling there was more he wanted to ask, but was scared.

Mercedes quirked her lips into a smirk. “Because, no one will believe you when you tell the story later.”

His mouth moved a few times more times; Mercedes resisted the urge to remind him that they were no longer kissing.

In the most delayed startle she’d seen, he jumped. “But—wha—it—Mercedes!” he cried in protest. Mercedes ushered him outside the spy barrack’s door while he was still floundering for words. “I—but—” He huffed. “I wanted to share my first kiss with someone who hadn’t had theirs!”

Mercedes paused in the doorway, widening her grin. “You just did.” And, she shut the door on his face, locking it. Mercedes pressed against the wall, flipped out her dulled mirror, and tilted it to watch him through the window.

Pax paced back and forth across the entranceway, paused, raised a hand to open the door again, threw his hands up, and dropped them. After six seconds of standing there, he touched his lips and blushed. The blush remained as he walked, unsteadily, away from the Spy Barracks.

He’d be pouty with her for another week. To keep any ideas out of his head, she’d have to pretend she didn’t know why. She unfolded the hijab to admire the embroidery. This must have taken Pax weeks to make. She pressed the silk against her face, enjoying the smooth coolness. The slickness would be a pain—she’d have to wear an undercap to keep it in place.

She thought about how hard her mother would slap her if she ever found out Mercedes had kissed a boy. At home, she would have been forbidden to see Pax or, at least, be forbidden to spend time with him without a chaperon—no, it would be fully forbidden. Pax was raised Catholic. There was no potential for—

The elation in her chest crushed when she glanced down at her notebook. This was a botched job. There was no time for any daydreaming or—had she been flirting? Luke expected a report from her by the end of the day, and she needed to give him a name in that report. If she didn’t—

Mercedes tried not to think about the hunger in Luke when he stared at Annabeth, the way he’d smacked Phil across the room, the times she’d stumbled into Jack healing his own battered face with a hushed, “Don’t tell Flynn or the boys. They won’t understand that Luke has bad days the same way that I get confused.” The way Kronos’ darkness seemed to spread through the underlings like a contagion, through how Jack and Flynn had future plans to torture-heal-torture any new captives (for Jack, as some displaced revenge against Thalia for failing his friend; for Flynn, for fun) and the increased violence and spectacle of Axel’s now labyrinthine cage fights.

And here she was, holding a gift against her face like she could have a Catholic Maya boy as a sweetheart even if she were at home. People died and were seriously injured because of her lack of oversight—how dare she. What else had she clouded from her vision?

Pax is a good suspect. He has access to all your files. But, he had no reason to alert Axel and Alabaster to the ambush. Breath choked in Mercedes’ throat. And she couldn’t do that—she couldn’t do that to Pax or herself.

She knew this—suspecting friends—came with the job. But, that had been a distant thought when she—terrified and desperate for some good to come out of the inevitable slaughter of her Cohort—realized she would make the perfect spy for Camp Othrys. Before she knew the ease of Lucille’s smile, how special Pax could make her feel, how horrifying Flynn was.

Pain spread along her forearm. She dug her nails in. Underneath were the lines of her Roman tattoo, of Mercury’s symbol and her bars of service. The marks didn’t vanish when she pledged her soul to Kronos, when she forsook any chance of joining her real family after death. Was there a chance Allah would understand? To what extent could you step into the dark to stop tyrants and false idols before you were consumed?

When she inhaled sharply, she could almost taste the scent of her centurion’s perfume, a smell as comforting as her mother’s brewing coffee. She thought about that home—Rome. About her real home in Spain. About her real name, the one she had to abandon, and the one she took upon joining the legion, now reserved for her contacts in New Rome. She could never keep a name. If she did, and something went wrong, if she couldn’t do her job right, legionnaires or titans might find her real family and kill them.

Like not finding a satisfying suspect for this report.

Life seemed complicated when she lived in Granada, helping to raise her brothers while her mother worked. It seemed more complicated when she had to abandon them to keep the monsters away. Tiny Mercedes could have never predicted life would get worse.

Allah does not burden a soul beyond what it can bear.

But, she didn’t feel that right now. She’d been so careful not to feel anything. And then Pax gave her this stupid hijab and she was dumb enough to kiss him.

Her breath felt tight; legs, weak. She had to lean against the wall for support. How many homes can you have before none of them are a “home?” How many identities can you wear before all of them lose meaning? How many times could you pledge a soul before it shatters?

         There were no answers to these questions, and Mercedes still had to pick from one of her friends to throw to Luke as a scapegoat and sacrifice.

Mercedes slid to the floor, pressed her face completely into the hijab and sobbed.

 Authors note:

Thank you for reading! I’m sorry for the hiatus--I aim to get back to a bimonthly schedule.  Every time I edited this piece, it just didn’t feel right/good enough. I hope you enjoyed anyway! I also hope all of you are well and being gentle with yourselves! Stay tuned for one of my first (sorta?) fluff pieces, Alabaster’s Delicate Dance of Chance (hopefully during the month of October >>’‘)

[system-of-a-feather]

how did you begin to accept your alters? how did they identify and name themselves?

I would like to preface this with the notation that I am not the “original” but I did go through the process of finding out I had alters, accepting them, and coming to terms with them as someone who is the Host. With that notation in place, I will refer to this in two perspectives from my experience: how I came to identify myself as an alter and how I came to find the others.

Firstly, as a non-original alter myself, I was originally split off about ten years ago to help cope with how often we were moving and to make it so that we could quickly make social circles and befriend people despite having to change schools a good few times. For the first three or so years I wasn’t too solid of an identity in the sense I was entirely separate and I carried a lot of the traits of the character I am a fictive of, but I didn’t actively identify myself much until I became more active as myself outside of just school (which was about three years later). About three years later we actually got active online where I pretty much took dominion over and it was my place and the place I developed fully from the base fictionally-shaped personality and identity I was based with and shaped more into myself. 

My name started simply on a gut instinct and - in hindsight - probably either TA or Aya suggesting it as my username with Riku as its base. Because of that Riku became my online name people called me. For the next following like... six or so years I was just TA’s “online personality” or “better online self” or “actually functioning self” as she didn’t know of DID or alters, and I thought I was just “normal online vs offline personality changes”. Anyways, as I got more contact with my alters a few years ago (before I knew what alters were) I realized not only did I associate myself with the name Riku rather than any other name, but everyone internally called me Riku so when it came around to coming to terms that I have DID, I realized that everyone internally knew me as Riku because well... thats what I was ripped from XD And with the fact that I heavily identified with that name since as long as I can remember myself and everyone called me it, I decided my name was Riku and would stay Riku. As host, IRL I go by the body name and my fiance refers to me/us by that unless he is specifically trying to get my attention per my own request as I need to make sure I don’t forget to respond to the body name as host.

As someone who is host, it is honestly a huge long story to be honest. Despite knowing - in a way - that I was an alter (as I was ‘TA’s online personality’) I really struggled to accept that I had DID as it just is a hard and weird concept when you first come to think about it. Since going around the whole story would be covering years of content, I will go alter by alter to explain how they came about, first interactions, change over time in accepting them, and how they got their name.

Aderis was the first one I actively knew of. She appeared at first in a manner that really scared me of her as the first few times I was conscious and noticed her was when she was being sadistic and a bit of a punisher to problematic people in our lives. For a decent chunk I kinda thought of her as a monster I found within myself that I had no control over. Overtime though we actually communicated a bit more and a bit better and she shifted more from a monster to a monster-esque protector and through more time shes now just like our system’s mother bear XD It took a lot of communication and acts of not-sadism and more internal care to change that as well as a lot of like.. “no she exists you aren’t faking” from friends and therapists. Her name was just kind of already there and she personally introduced herself to me. From the sounds of it she always identified with that name. ((She originally let me call her by ‘Riku’ **as in Riku but not** until she told me that it was a pain and too similar to my name and told me to call her by Aderis instead))

TA is the one I TECHNICALLY knew of first as I split off from her. I really don’t know much about her currently other than she was a depressed alter that I knew I was meant to give a break to. This ended up with me permanently taking over host and since then she’s gone into dormancy. Her name is Traumatized (Body Name) as she is one of the originals.

Lucille is the next one I knew and technically also the first not-TA alter I knew about but, unlike Aderis, I just thought of him as that “smart guy part of my brain that I talked to occasionally.” I don’t really remember how we came to terms with eachother though so sorry about that. As for his name, he either came with it or picked it himself from the root stem of “Luce” meaning Light and partially since he resembled one of the OCs we made ages ago named “Elucid Fernum”. He existed prior than that character as he split off around the same time as me, but I think he did adopt the appearance of him.

Iris I became aware of at some point due to loud internal arguments between her and Aderis over how I should behave. Like Aderis, she was really clear about her existence and until RECENTLY, I’ve known her as “White ‘Riku’” as in the opposite of Aderis (who was ‘Riku’) for some time and only recently did the name Iris actually get told to me by an alter I can’t remember. I don’t communicate much with her so I can’t tell, but I feel like the name stems from her general aesthetic and that she named herself?

Aya is a little I didn’t really know of until two years ago but she has been around as our first host and one of the originals that stopped being host the same year Lucille and I split off. I only knew of her existence when we got comfortable with our fiance and at first I was really annoyed and a bit embarrassed about it but with his extreme acceptance of her and all of this, I just kind of came to really accept her presence? Aya I do remember how she came to be as we used to call her “Happy (Body Name)” or “HA” as she seemed to be direct opposite of TA (and they are likely the original dissociative split). However, due to the fact we realized that HA was an inaccurate misleading name for her that boxed her emotions in, I decided I would find her a new name. There were a few I was suggesting but nothing any of us could settle on and I was telling my fiance about the ideas and he made a joke and tried out Aya and she just like... clung to the name so she choose that name XD

Protector Riku is one I only a few months ago found out to be separate so thats a TBA story to tell. With that being said, it seems he (assuming gender off of what my gut says - probably a he or a they) split off only slightly from me as we share all memory with one another but opinions and views of experiences and life are different as well as how our emotions run. He coined himself as Protector Riku and he coins myself as Host Riku as we see each other more as “separate modes of Riku as a whole” rather than as full individuals from each other even though we are independent alters. I have been offering and TRYING to get in contact with him to see if he wants an actual separate name that is similar to Riku (Raiko, Ruki, Raiku, Roku, etc) to give him a shorter easier name that is his, or if he would like to shorten it to PR, or if he would just like to be known as P. Riku or Protector Riku long term. All of that is TBA though XD

In the end, a lot of coming to accept them was getting to know them better and trying to talk to them as it really came to make me realize these are actual individuals that are sharing my body with me to be honest. Coming to terms with that later half is a lot easier said than done, but just trying to get to know everyone and understanding they are trying to do the same really helped with it all.

-Riku (Host)

[spotlightsaga]

Kevin Cage of @spotlightsaga reviews… American Gods (S01E02) The Secret of Spoon Airdate: May 7, 2017 @americangods Ratings: 0.710 Million :: 0.30 18-49 Demo Share Score: 8.75/10

*********SPOILERS BELOW*********

There was quite the uproar over the polarizing reception of Bryan Fuller, Michael Green & David Slade’s premiere episode of the small screen adaptation of the novel ‘American Gods’. For me, it felt like the trio was oversetting the stage and throwing psychedelic-tinged visuals and buckets of blood, introducing character after character without giving it much substance. But 'The Secret Of Spoons’ is packed with both psychedelic goodness, heavy world building backstories, and is literally teeming with substance. I calls 'em like I sees 'em. Ya heard me?

They say if you want your audience to stay put, you not only have to stay consistent, but you have to grab them by the balls (that lines going to haunt me when I run for president in 2020). 'American Gods’ doesn’t just grab you by the balls in 'The Secret of Spoons’, it literally grabs the whole human undercarriage, with one or two fingers in the ass and all. Oh, is that too graphic for you? Then your watching the wrong show. The pulpy storytelling remains and Orlando Jones gives us a fired up, very much WOKE Mr Nancy who sticks out like a kaleidoscope colored tarantula on a slave ship coming to America. 'Oh you don’t know your black yet?’ Nancy barks at the men of color shackled to the ship going through a thosand emotions at once. Shame inspires major events, but fear does too… And from fear, Anger is born, and its fear and anger with a sliding scale of everything in between that drives would be slave turned sacrificial rebel to burn 'that motherfucker down’. While 'Anansi’ or Mr Nancy tells the slaves a somewhat accurate depiction of 'Coming To America’, the details are not all there and he tricks them into sacrificing themselves for him. God mode, baby.

This was a fantastic introduction to the African God Anansi AKA Mr Nancy, a mythical god well preserved by our Caribbean brothers and sisters, particularly the notoriously culture copied Jamaican 🇯🇲 people and the culture-rich, female strong country of Trinidad & Tobago 🇹🇹. He’s slick, talks the talk, walks the walk, and preaches quite the pulp to the masses. His intentions are are both transparently clear and opaque as unclear can be. He is knowledgeable and speaks truths from his solar plexus… That is when he’s not a colorful spider. Do spiders have solar plexus? Maybe, possibly this one. The wreckage of the boat washes ashore and Anansi crawls off a plank in spider form. At first the scene felt disjointed, excellently executed, but still disjointed… After the episode ends we see there is a theme tied throughout its duration. Immigration and color, technicolor, and the things that separate us as Americans are the very things that bond us together, like it or not.

'The Secret of Spoon’ slows down the pacing and let’s us take in these characters, their movements, their quirks, the nuances of their very being… This is exactly the type of pace and character work that I love, especially if you are going for a psychedelic aesthetic and perspective. THIS is my forté… So those who *attempted* to clock me last week, I told you to be patient. I WILL NEVER praise a series, even a favorite, when praise is not well earned or righteously deserved… But when it is, I will bow gently. I suspect this wasn’t an easy story to start, especially with the drop in number of episodes… But now that the characters with less density and foundation, such as the fractal eye candy Technical Boy have been introduced we are getting to the actual 'meat and potatoes’ of The Old Gods.

We see there is core narrative of a battle between The Old and New Gods brewing, bubbling to the surface… But there is still much mystery behind certain Gods and Goddesses’ intentions. Bliquis, for one, remains a huge question mark, continuously enveloping both women and men into her vagina which leads them to a place of psychedelic and sexual ecstasy, as we see her original date full on hard with his legs spread open taking a ride into a starlit constellation that resembles a vagina. She’s taking in a lot of 'victims’ and apparently using the internet, which is ruled by Technical Boy… Could New be using Old in a strange strategical power move? Ever taken 5-MeO-DiPT? It’s an intense sexually charged, erotic psychedelic tryptamine that induces a journey much like what we see here. It’s actually a favorite of mine (in the correct dosage, which is vital with the drug otherwise known as 'Foxy’ or it’s less intense, lighter body load sister Chem 'Moxy’). I bring this is up because the scene where her date is floating in the spacey landscape is exactly where the chemical takes you. If these Mythical God’s were real, they would work through chemistry, and since I fancy myself a modern shaman, these connections are made to best my understanding… And maybe those who have a deep understanding with spiritual journeys through varieties and psychedelic chemicals.

As Shadow shops for a few items Mr Wednesday gives him to prepare for their long long road trip in his trusty car, Betty (one of which doesn’t like highways and enjoys slow rides and taking in the beauty), he’s ambushed into the television isle by Media, a New God, who manifests on an myriad of TV’s in the form of Lucille Ball. Gillian Anderson has always been great, but I can’t recall her playing such an out of the box, spot-on, character actress before. She looks, talks, sits, and presents herself like a toned down, real life Lucille Ball… Not the 'I Love Lucy’, 'cameras on’ Lucille Ball, but the woman herself dressed and prepped to film. It’s quite astonishing and I can’t wait to see who she pops up as next. Media spits rhetoric and principles that are far too close to that of Technical Boy, the man who just attacked Shadow and left him a bloody mess. She promises to never hurt him and says that men like him end up in suicide… And that she’s trying to prevent that. If you ask me, none of these bitches are to be trusted. With great power (old or new), comes great manipulation.

Shadow & Mr Wednesday continue their trip to Chicago where they meet The Slavic Zorya Sisters, 2/3 of which we see with our very eyes. Cloris Leachman gives us everything as Zorya Vechernyaya, the wise fortune telling leader of the family. Her quiet, reserved sister Zorya Utrennyaya is played by one of my favorite faces on television, FX Baskets’ Martha Kelly. She’s perfectly cast, but I’m partial to her and her work anyway. I will always love everything she does… Capturing a naive vulnerability that she allows people to use for their advantages. The third sister sleeps through the entire episode, only to call out from her bedroom to see if everything is alright.

Their brother, Czenobog, needs no introduction. He’s been represented in media many times before including the evil monster in 'Fantasia’. Wednesday needs both him and his hammer… Not his brother who represents light. Czenobog is played by the legendary Peter Stormare who chain smokes and speaks his Eastern European dialect in a menacing deadpan manner. He talks about his brother representing light and him representing dark, their lifelong fight, and ultimately both of them turning the same color of grey, making their fight irrelevant… Making color irrelevant; A nice nod, tie in, and juxtaposition to the opening scene where we see the many different ways and struggles that Americans eventuality made it to this country… Some shackled to boats, some shackled to dirty streets, but all shackled to a struggle that has defined us as individuals many generations down the line. Czenobog is a dangerous man, a man who does not give any fucks, and wages Shadow’s life on a game of Checkers that Shadow ultimately loses. How that will play out? We’ll have to find out next week, but this episode left me ravenous for more. If I had access to all the episodes, I wouldn’t have stopped. Clearly 'American Gods’ just had trouble setting its original stage, because now, just in its second episode, its firing on all cylinders… A sign that bodes well for the remaining 6 episodes of the series that now has my full attention and enthusiasm.

[journeyintowriting]

Dude In Distress? Gender Swaps in Modern Big Action Film

While watching ‘Kong: Skull Island’ I noticed something odd. Then I thought back to ‘The Force Awakens‘...

I’m a fan of action films. I’m also a rabid feminist. Feminism meaning that I support equality across the board for all sexes, not eliminating the male role. Of course this meant deeply searching for that female role where she’s usually 1) the love interest, 2) will die, 3) is motivation for the male protagonist to leap into action, 4) if she’s an independent woman she will become dependent on him at some point. Or, she’s eye candy. Marian from Raiders of the Lost Ark and Leia from Star Wars were my biggest role models while growing up. Marian could stand toe-to-toe with the bad guys, fight, drink, swear, remind Indy who was really the boss, and manage to knock the top Nazi off of his high horse. However, she gets captured several times spurring Indy to come to the rescue. Leia’s quick tongue and no-nonsense quickly puts her in charge of the situation while being a gun-wielding princess. My type of gal! While slaying ruthless gang leaders in controversial gold bikinis and coming to her boyfriend’s rescue (only to get caught), she also falls prey to the female action role. She has to be rescued a few times, falls for the scruffy nerf herder who isn’t the ideal boyfriend, and in many of the key fights she is not there. Awesome ladies, but still being forced to follow the action lady role. Even female leads in action films like Laura Croft and Resident: Evil, while not usually having a male to lean on, does fall into the other cringe-worthy role of Eye Candy. Tight and little clothing showing off every curve in outfits that don’t even begin to be practical for a fight with camera shots purely for aesthetic reasons. While there might be an exception with Kill Bill and Crouching Tiger, Hidden Dragon, women in action films seemed to be destined for two roles: Damsel in Distress or Eye Candy. Or often both. Then to add insult to injury, the women playing these roles get asked the most boring and useless questions.

Then I watched Skull Island.

This wasn’t the first film to catch my attention. The first was Crimson Peak. While not action, Gothic is a genre with clear role rules. So while the beginning of the film clearly had each character following their role, that very much changed by the end. In fact, swapped. The two male leads had taken on traditional female roles while the two female leads taking on traditional male roles. A few key phrases from Lucille and Thomas signaled that something was different. Then with the men spurring the women on to do heroic deeds (including a key death which, after thinking about it, made me laugh so hard my friends were wondering what was wrong with me) and the women having one of the most epic fights ever; I instantly fell in love with this movie. I even used it on a paper in my Gothic Lit class to show the definition of character roles that my professor loved.

The Force Awakens was the next film to catch my eye, and this time with Rey and Finn. I love Rey. I love Rey do pieces. I have a poster of her on my wall. I connected with her instantly, which was a strange feeling because I don’t normally connect with the female roles. She is the protagonist, and is treated as such. She swats the guy’s hand away, rescues herself on many occasions, can defend herself, allows herself to be emotional when she wants to and then USES THAT EMOTION TO HER STRENGTH, and she is right in the thick of the fight coming to Finn’s rescue. Finn, while also a key protagonist as he follows his own hero’s journey, relies on Rey’s skills and support. He, interestingly enough, becomes the rare Dude in Distress. Where is he during the climatic fight at the end? Knocked out. Put in a glass container like Snow White. While I’m all for Finn/Poe to happen, I was surprised by the writers who let this story happen. It was a pleasant surprise that shouldn’t be a surprise.

Before I go on, a quick definition. MY definition of an Eye Candy role is as following: a character with the sole reason of being there is for an audience’s sex appeal. Ways to spot: few lines with usually lower vocab and sentence length, strategic body placement, even more strategic clothes displacement/tightness/placement, slow motion shot of them moving in a physical way, up close shots of body parts usually in slow motion, CAN EASILY BE TAKEN OUT OF THE STORY AND THE STORY STILL STANDS. They don’t have to be all of these points and there can be more. But the main one to remember is their reason for being on screen is to get an audience to come watch the film for usually physical reasons.

An honorable mention goes to Ghostbusters. The new one. Yes, the one with the girls. Hate all you want, I love that movie. It’s fun! It’s women in action! It’s positive female relationships! It’s Chris Hemsworth doing his thing! We have FOUR badass ladies being the intelligent, funny women that they are. THEY’RE NORMAL. SO RARE. And, we have an even rarer Dude in Distress/Eye Candy role. They even make fun of that in the film! He’s there for the ladies to rescue (after becoming possessed and therefore helpless) and there are more than enough jokes about him being attractive. Side note: I personally think Chris had been really paying attention to a close cast member of a different franchise during the time Kevin is possessed. From the actions, the speech, and even the smirk; it reminded me of another character.

Now, for Skull Island. Here is how it was promoted: Conrad as this badass action hero, Weaver as the sympathetic “strong” female character, Packard as the obvious antagonist, Marlow as the comic relief, and Kong as the uncertain but probably an antagonist character. Plus a lot of minor characters that were all over the place. It was your typical action monster film and by the way it was promoted I expected everyone to follow their roles. What I should have done was pay closer attention to the interviews. Because while Conrad was being pushed as the main protagonist and the star and yadda yadda yadda, he is NOT the main protagonist. In fact, he’s not even a protagonist.

Weaver and Kong are the main protagonists.

Packard is still the antagonist and Marlow is the comic relief, but while watching the film and then going back and giving interviews a closer listen I realized Conrad is NOT the main character in this movie. In fact, he could easily be removed and the story would still work.

Conrad is 100% Eye Candy. We just don’t see it right away because it’s a male in that position.

Here’s my reasoning: Reviews don’t talk about Tom’s acting, they talk about his physical attributes. My favorite one is about the disappearing sleeves. Traditionally, this is something that they would be throwing at Brie (Weaver), but they talk about her acting instead. In fact, everyone’s acting is talked about EXCEPT Tom’s. His is about how good he looks in a tight shirt. Conrad is supposed to be this amazing SAS tracker. Except, he doesn’t do any tracking in this movie. Most of the time things fall into his lap or he stumbles across it. There are a few survival things he helps out with, but usually with someone like Marlow or even Weaver suggesting it. In fact, you can easily take Conrad out and give those findings to Weaver or the kid to find and still have the story work. I quite honestly thought that Kong was going to carry on the blonde affair tradition by grabbing Conrad and have Weaver rescue him. That’s what I would have done, to be honest. Mostly for my own amusement. I noticed this in the promotions and interviews. The director kept mentioning that Tom kept coming up with ideas for Conrad that the director listen to to humor him. While this isn’t an uncommon thing for Tom to do (many directors have mentioned him doing this), it was the way Tom was describing this character that caught my attention. In interviews for Hank or Pine or Thomas or Loki or even Adam, Tom has been given plenty of material to help build a character and then adding ten times as much of his own research. With Conrad, he kept talking about developing the character (meaning most of the research and character building was done by him so there wasn’t much to begin with), how he presented this to the director, and a lot of talk about physical training. Odd, for someone who is drawn toward complex characters. Not that he didn’t have fun filming this. Just, odd. The end fight. Weaver was in the thick of the action while Conrad just stands there and watches. Weaver and Kong works together, like any main protagonists do. Conrad runs up to her after everything is over. Strategic leaning, strategic hair ruffling in the wind, strategic posing with protective face, strategic slow motion katana action, strategic close ups of upper body/eyes/face in profile/heavy breathing/strategic working on an engine. I mean, come on. Weaver is NOT ONCE put in this position. She is clothed appropriately for the climate/environment and the camera never focuses on anything for aesthetic purposes. That voice over in the end credit scene. Dude. We know where you got that from. We’re never going to forget that 2012 Comic Con. It worked though. In the showdown between the human protagonist/antagonist, it’s Weaver doing most of the standing up to Packard. He backs down from her. Conrad just stands there with a rifle he hardly uses with a worried look on his face and is also behind her.

These are just the examples I have off of the top of my head. But it was the first thing I said to my friend after the movie and she quickly agreed with me. Also, it’s another point to mention the fact that guys who are more outspoken about seeing action flicks commented on how many women were in the audience.

Just saying.

It will be interesting to see if this becomes a trend. As people push to have more women, ethnic groups, and sexual orientations represented in film, we might see more Dudes in Distress and let others do the rescuing.