#not just actors but writers and directors and producers and so on

[mariacallous]

“She’s really giving throwback oblivious mean girl, it’s kind of amazing.” “Omg her saying she got her husband involved, she is SO that woman.” I would love to tell you that these comments, written this summer about Blake Lively, the lead actor in domestic violence drama It Ends With Us, were posted on Reddit by some anonymous misogynistic troll.

Lively had made what looked like tone-deaf promotional appearances to push her haircare and drinks line alongside the film. It was revealed that she had had a scene rewritten by her husband, actor/director Ryan Reynolds, and that she took control over the final cut, which also featured a song by her best friend, Taylor Swift. Everything from Lively’s conduct to her predilection for florals seemed like fair game, spawning a vast amount of negative discourse and tanking her reputation. But the comments above were texts written by me, made in my most active group chat.

On Saturday, Lively filed a complaint with the California civil rights department against Justin Baldoni, both the film’s director and her male co-lead, producer Jamey Heath, production company Wayfarer Studios and its public relations/crisis management retinue, alleging that they actively sought to harm her reputation to pre-empt any possibility of her going public with an HR complaint she made during the film’s making.

Alleging the violation of physical boundaries, sexual and inappropriate comments and the absence of intimacy coordination, the court filing is an astonishing read. It claims that Heath showed Lively unsolicited footage of his wife giving birth as they filmed a scene where her character does so; that Baldoni’s “best friend” was drafted in to play the obstetrician-gynaecologist in that scene, in which Lively was “nearly nude” in front of dozens of crew; that Baldoni talked to her about non-consensual sexual encounters; that he wept in her trailer over reactions to paparazzi photos from shooting that called her old and unattractive, prompting her to remind him that in those scenes her character had just been abused by her husband, and that she should look authentically distressed, not “hot”.

In January, prior to resuming filming after the Writers Guild of America strike, a meeting was held in which Lively sought to have 30 new set protections implemented. Wayfarer said: “Although our perspective differs in many aspects, ensuring a safe environment for all is paramount, irrespective of differing views. Regarding your outlined requests, we find most of them not only reasonable but also essential for the benefit of all parties involved.” One of those protections was that Lively should not be subject to retaliatory action for speaking out. Instead, her complaint seeks to illustrate that the parties behind the film allegedly engaged PR and crisis management – including a company that has represented Johnny Depp and is partly funded by music mogul Scooter Braun, who bought the masters to Swift’s first six albums – to destroy Lively’s reputation via media and social media manipulation.

“You know we can bury anyone,” crisis management expert Melissa Nathan wrote to PR executive Jennifer Abel, one of thousands of messages subpoenaed by Lively. (Bryan Freedman, a lawyer for Baldoni, called the accusations “categorically false”, saying a crisis manager was brought in due to “multiple demands and threats” allegedly made by Lively.)

In a subsequent message, Nathan told Abel that Baldoni didn’t realise how lucky he was given the allegations they had heard about his on-set conduct: “the whispering in the ear the sexual connotations like Jesus fucking Christ”.

While the film’s stars were told to keep their promotional activities positive and uplifting – “grab your friends, wear your florals and head out to see it,” Lively said in a promotional video – Baldoni, who most of the cast had unfollowed on social media, as fans had noticed, positioned himself as a feminist ally engaged with domestic violence issues. In response to the social media response “really ramping up” in terms of criticism of Lively, Nathan texted Abel: “It’s actually sad because it just shows you have people really want to hate on women.” A “scenario planning” document by Nathan’s firm, TAG PR, said it could “explore planting stories about the weaponisation of feminism and how people in [Lively’s] circle like Taylor Swift have been accused of utilising these tactics to ‘bully’ into getting what they want.” Baldoni told Heath that he “didn’t love” the document because it didn’t leave him feeling sufficiently protected.

“The weaponisation of the ‘weaponisation of feminism’.” That is how a friend in our group chat put it as we pored over the New York Times report that broke the news of Lively’s allegations and the subsequent release of her entire complaint; as we looked back, horrified, on what we had said about her in recent months (entirely in private, I hasten to add). We realised the degree to which a group of supposedly media-literate journalists were potentially manipulated by a confected misogynistic narrative; how persistent and pernicious internalised misogyny can be when another woman doesn’t meet your standards.

Of course, feminism can be weaponised and leveraged for personal gain. The flourishing of pop-cultural feminism a decade ago paved the way for “girlboss” and lean-in “feminism”, which didn’t fight for much more than a woman’s right to act and earn as rapaciously as men; it’s now considered a joke, with even girlboss creator, Sophia Amoruso, distancing herself from it in … interviews to promote her new venture capital firm. These are nuanced conversations about not allowing a fight for equality, respect and safety to be seized for self-gain. But the idea of the Hollywood and PR machines perverting that concept to discredit a woman apparently intent on ensuring the safety of herself and others – on the chaotic set of a film about ending cycles of domestic abuse – is a level of 4D chess that is terrifying in its imperceptibility, effectiveness and potential prevalence.

There is a chilling disconnect in the way the crisis and publicity parties rejoice in their apparent PR victory – “So much mixed messaging It’s actually really funny if you think about it,” Nathan texted Abel – and the covert warfare they allegedly used to manipulate the tabloid media into parroting their narrative. “This went so well I am fucking dying … We have the four majors standing down on HR complaint,” Nathan told Abel. When MailOnline published a piece in August asking “Is Blake Lively set to be CANCELLED?” Abel texted Nathan: “You really outdid yourself with this piece.” These methods are deadly, acutely attuned to how to form and nurture media and social media sentiment against a woman. As Taylor Lorenz writes in her newsletter User Mag, it takes its cues directly from the Gamergate playbook.

How many women has this happened to? How many smear campaigns have seduced our most base and ungenerous instincts into swallowing their line? How many male directors and actors successfully positioned themselves as feminist allies post-#MeToo for cynical reasons? Beyond celebrity narratives, how has this affected how we perceive the women in our own lives? Culturally, we seem to have progressed – rather,regressed – from ostracising figures who act badly to grasping for politically legible ways to take against anyone whose greatest crime might be “seeming a bit annoying”. Is someone “not a girl’s girl”, as you often hear online, or do they just have different values to you? Does their behaviour just feel confrontational and uncomfortable to you because it might reflect your own insecurities?

Lively’s complaint has left my head spinning. What can you really trust? How do we question accepted narratives without descending into tin-hatted conspiracy theory? Why do so many people hate women this much? How much internalised misogyny roils under my own skin every day? I’d like to reach for a cute ending, to say that through assiduous, informed questioning and acute media literacy, cases like Lively’s might, you know, end with us. But the truth is I don’t think we stand a chance.

[circular-time]

On the one hand... fun fanfiction moment... on the other... are modern fans gonna assume this is classic Who, instead of a retcon?

I'm not entirely comfortable when modern Who directly alters the footage of classic Who episodes in a way that changes the meaning.

I don't mind new canon that doesn't quite fit what went before. Who didn't pay attention to continuity back in the day, so contradictions are nothing new. It's mythology. Myths vary by bard.

But going back and erasing/denying/rewriting important details actual classic Who episodes, like "Han didn't shoot first," except it's not the original writers, producers, directors or actors making fundamental changes that alter classic Who canon?

Not so keen on that. So much of classic Who was lost. I dislike replacing bits of what's survived.

And for those of us old fans, it feels a bit like we're being written out of Who history, too, when the episodes and Doctors we grew up watching are changed.

I dunno. This doesn't bug me as much as the First Doctor's mischaracterization in Twice Upon a Time, because fans have long played with the idea the War Chief might have been the Master. It's a great "what if?" But he was intended to be a character in his own right, so one could just as easily "what if" him into the Rani.

you see, i'm not the cold-hearted villain you suppose me to be. [DELGADO'S THEME PLAYS]

[shannonsketches]

Every time I talk to a DB fan who doesn't know or doesn't agree that the whole franchise is an adventure comedy first and an action series second I feel insane but then I find an old Toriyama interview,

You made some comedic scenes where you have minor villains Pilaf & co. appear; how did you come up with a balance between laughs and fierce battles? Do you pay attention to the difference between comedy and battle in making a work “entertaining”?

I believe that, when you combine comedy and serious battles, both of them might come alive even more. As for me personally, though, I much prefer drawing dumb jokes to battle scenes.

as a bonus, every time I'm like 'idk I didn't really like most of the DBZ movies prior to Yo Son Goku and Friends Return and BotG,' and get the 'whAAaaT they're so gOOD' (from my brother, tbh askdjs) but they all seemed really Action-Drama and About the Fight Scenes and I'm like 'meh kinda boring tbh' I get to gaze upon,

In the latest movie, Toriyama-san, you participated in the production from the scriptwriting stage for the first time. What is the reason for that? Was there anything you noticed in coming face-to-face with the work after so long?

I was told about a project for Dragon Ball in its first animated film in a long while, and I read the story outline; while the beings “Beerus, God of Destruction” and “Super Saiyan God” (which goes above Super Saiyan) were interesting, the themes were heavy, and I felt that the world was a bit different from Dragon Ball. Rather than telling them about this or that problematic spot, I thought it would be faster if I just wrote it out concretely, and while I had intended just to give them a model―”for example”―my hand wouldn’t stop, and ultimately, I ended up writing almost everything, including the dialogue. I am reflecting on the fact that I did something terribly rude to the scriptwriter.

Akira "It was bad so I fixed it, oops" Toriyama, Absolute Legend

[ssaseaprince]

You cannot convince me that a big part of the reason Hannibal is so well done and emotional isn't because of Mads specifically and how deeply he understands his character. He not only understands Hannibal as a character, but he also understands him as a person.

[tomfrogisblue]

I'm having real trouble finishing the last few episodes of O Segredo Na Floresta

Coz I'll open the vod to where I was up to and like every five minutes, Cellbit will drop some context to a character that recontexualises its entire arc, and I'll get depressed and close the stream again

[giveamadeuschohisownmovie]

Deadpool and Wolverine might actually be the best love letter to Marvel that I’ve seen.

On a meta level, the movie feels like it was written in response to people dismissing the Marvel properties that aren’t the MCU. The MCU is the “Sacred Timeline” while everyone else gets thrown into the trash aka the Void. Wade even tried to become an Avenger because he feels that his life doesn’t matter. Then, Wade gets a chance to join the MCU. Of course, he’s thrilled, but is then told that the rest of his universe is getting destroyed since they lost its “anchor” (aka it lost its relevance). So, Wade decides to fight for his universe.

On a surface level, you can read this movie as a criticism of the MCU in that it’s treating the only stories worth a damn as the ones coming from that universe. But I don’t think that’s the case. I mean, first off, this was made by Marvel Studios. Feige and Co had to sign off on this and a great deal of the plot stems from the Loki show. Second, the movie felt more like it was trying to say that ALL Marvel stories matter. It’s not really criticizing the MCU, it’s criticizing how audiences view the Marvel movies/shows that aren’t the MCU. The “why should I care about this movie if it doesn’t lead to the next Avengers movie” attitude.

That’s why I say this was the best love letter to Marvel I’ve seen. It’s a celebration of the company’s works, both MCU and non-MCU. You can see that from the Easter eggs, the cameos, the nods to the fandom, and the emphasis on forgotten characters getting a chance at redemption. Even the jabs at the company and fanbase feel like they come from a place of love.

But what really sold me on this movie being a love letter to Marvel was the ending. Instead of a tease to a potential De4dpool movie, it was a montage of the development of the Fox Marvel movies (I can’t say X-Men since clips of the Fantastic Four were there). On one side, it’s a touching send-off to the Fox X-Men franchise. On the other side, it felt like a reminder of why people love Marvel to begin with. It’s these people - actors, writers, directors, producers - coming together to make these entertaining stories for us, to bring the comics to life on the big screen. It’s like Ryan Reynolds was telling us to take a step back from all the conspiracy theorizing, nitpicking, and fanbase drama for a couple of hours, that we should just enjoy this Marvel movie as it is.

And it worked. It was genuinely just a fun, awesome movie to watch. If we’re using the MCU-as-a-TV-show-analogy that people love using, Deadpool and Wolverine is the 100th episode that is made dedicated to the fans and celebrating the show as a whole. It’s a fanservice movie done right, one that goes beyond just references and cameos.

[guardianspirits13]

And look. Netflix has cancelled a lot of beloved and well-received shows over the years. This is far from their first shameless cancellation.

But this one really feels like a tragedy in a way the rest really haven’t, for me.

If you have not seen it, this show has some of the tightest writing I have ever seen. It explores so many ideas and character arcs in the span of eight episodes, and there is not a dull moment to speak of. Every line feels intentionally crafted for the character it is assigned to, and the actors never fail to follow through.

Speaking of the actors, almost the entire main cast are in their breakout roles but you would never know it because they are phenomenal. Need I remind you that everyone’s favorite homosexual from hell (sorry, Cas) is played by George Rextrew, and is his first onscreen role beyond acting school. It’s easy to forget that considering how seamlessly he melts into such a nuanced and uniquely expressive character.

Steve Yockey, the director/writer/producer who made this show happen deserves accolades for his brilliant creative direction and an adaptation that took an under-the-radar comic property and made it into the show stopping narrative of cycles of violence and abuse and learning how to grow from your past and be loved as you are. In EIGHT EPISODES.

The cinematography is also stunning and combined with the sharp editing decisions make it just as visually impactful as it is narratively.

I have not enjoyed a show as thoroughly as this once perhaps since season one of Daredevil like, a hundred years ago. I’ve watched other shows, I’ve liked other shows, but none without a healthy dose of criticism. I struggle to find something bad to say about this show because it is just that good.

Now I’m not going to go into the fact that this show was unapologetically queer and that Netflix has a history of cancelling any show that features a gay character that isn’t either comic relief or has two lines. However, it is hard not to notice that the less divisive a show is, the more market appeal that it has, and Netflix definitely cares more about a majority audience of passive users with autopay subscriptions than they do a dedicated fanbase excited to have something to call their own.

To quote Bo Burnham, “Art is dead.”

[obxanon]

Addressing the OBX drama and the speculations:

Was JJ’s Death planned?

No, Rudy asked to leave the show. It wasn’t something the writers planned. He didn’t want to renew, the writers were rightfully upset and then decided to kill JJ off.

Did the writers/producers create an uncomfortable set?

No, they didn’t. This post is not true. The brothers were never inappropriate.

Was Madison a bully on set?

I’ve seen a post going around of someone saying Madison was a bully, controlling the set, and bluntly treating Rudy and crew members like crap. That is NOT true. 

Was Rudy’s decision sudden?

Yes and No. No as in he let the Pates know ahead of time he didn’t want to continue (some time during the strike, so they had time to change what was already written). Yes, as in they were shocked by it.

Was there on set drama between Rudy and the Pates?

Yes, there was many disagreements/personal problems during s4. Yes, Elaine was involved and so was Lilah Pate. They are civil now.

Why did every ship but Jiara get a still?

The jiara still does exist but idk why it was not released. My source doesn’t know either and I don’t want to spread something not true. Rudy and Madison took pictures just like everybody else did.

Why did the cast chemistry seem off in part 2?

They shot episodes 1-5 first, THEN 10, then 6-9. The cast didn’t know rudy asked to leave until they received the script for episode 10. You can tell there was a drastic change between JJ and Kiara in part 2 because after the cast found out, Madison was upset with Rudy and his decision, so she didn’t put in as much effort into the scenes with him. She was upset because she knew that would mean the near end of obx and her character… in a way.

Was there alternate endings?

Yes, but that was only because they wanted to see if rudy would change his mind. There was even scenes where a funeral was shot (obviously they didn’t air it so I’m assuming they’re saving it for s5). From March-June of 2024, they spent the entire time doing reshoots of some scenes. That is why some things don’t make sense.

Did Rudy and Madison talk on set?

Yes, but not closely or anything. They’re not friends, they just did the scenes they had to do and that was it. All those people saying they’re hiding their friendship from the cameras or whatever… that is not true sorry. The pates can’t force them to act like best friends as long as they were doing their scenes.

Why did Jiara have “less” than everybody else?

It’s true that Jiara scenes were toned down. Part of it was Rudy asking for it. Madison didn’t care as much. Another part was just Rudy and Madison not doing more than what the script asked.

Was Elaine uncomfortable with Jiara scenes?

Yes, and she has been since s2. It got worse during s3 and obviously s4. That was part of the conflict.

What is the Rudy and Madison Drama?

Obviously what happened between them is private. It wasn’t the fans. The fans were more so the catalyst to something that had been brewing. 

It is true that the girlfriends are involved and that they weren’t happy. Madison hurt Rudy, but not by being a bully. It was emotionally. The feeling was then returned on his end and it just got worse from there. It didn’t help when the girlfriends and fans were involved. It is true that it’s not a coincidence this happened when they both got involved with relationships. Most of you have speculated correctly, that is all I will say. I think you know by now what I’m trying to say.

Also when I say fans, I don’t mean the “shipping.” They never cared about that. What I do mean is that all this drama happened when Jiara fans were at their peak. Them wanting to see those characters together put Rudy and Madison in a problematic situation because they knew they couldn’t avoid each other on screen. Instead they just did so off screen.

Should the Writers/ Directors/ Producers stepped in?

Yes, but what I need you guys to understand is that these writers were basically father figures to those actors. They watched them grow their careers, supported them, made them who they are now. It’s hard when you spent so much time with each other and became a genuine family. Even their conflict with Elaine was hard because Jonas knew her family, his wife treated her like a daughter, and lilah treated her like a sister. They had every right to be bitter because from their POV, it’s basically like “hey I trusted you to bring my project to life and now I’m being forced to go in a direction I never wanted to go in.”

What’s going on behind the scenes right now?

A mess. They knew it would be bad but infact it is worse and they know that.

Am I reliable?

Honestly I don’t care if you believe me or not. You didn’t before and I got attacked (literal death threats in my inbox). I’m just a messenger. I’ve given you info before and clearly I didn’t lie about it. It’s up to you to decide.

[lovelyyandereaddictionpoint]

Yandere Husband Vil x Director reader Headcannons

Thinking about a future with the former Pomefiore dorm leader

Now an established actor and producer celebrity

You’ve gone through the ranks on the production side now your own celebrated director/writer

Known as the thriving power couple that you are

You go home together

You work together 

There isn’t a time you truly spend apart 

You honestly couldn’t be happier

And so can Vil 

That is…until you take your privileged position too far for his liking

“Darling our wine night was on the calendar for months, why is there this disgusting sticker over the date?”

“Oh that’s the charity ball.”

“What?”

“Yeah, I’m going to use that time to start taking votes about the film meant to fund the children’s hospital.”

“I see.”

Don’t get him wrong 

He’s an amazing actor, a skilled potion-brewer, and even better husband

But he’s done too much work to settle for the small-free time your success has brought you two

He wouldn’t go so far as defaming you

But if he happened to hire an old friend to find some dirt on the charity organizer you’d been working with 

It’s just such a shame that they were busted for tax fraud 

And instead of the months you would’ve devoted to organizing and then filming

you can spend your down time cuddled up with him

“Oh Vil I trusted her…”

“I know precious, here let’s drown our sorrows in our exfoliating masks.”

“Yeah.”

He’s done so much poisoned so many to have access to you more than any of your pesky friends can brag about

So he’s willing to do whatever necessary for the thing that’s most fleeting

Your time

[moonbeam-darling]

Netflix canceling Shadow and Bone season 3 and not doing a Six of Crows spin-off has got to be one of their dumbest decisions in the past 4 years. It is one of their most popular tv shows and was ranked 1st for weeks after season 1 and 2 dropped around the world. At this point, Netflix is just asking to lose everything because they have continuously canceled the most popular TV shows and try to replace them with really shitty ones.

But, I am so grateful to Leigh Bardugo, all the directors, producers, writers, costume designers, set crew, and literally every single person involved for bringing it all to life and putting their entire beings into making it as perfect as it is.

And of course I will always forever love every single actor for making all my favorite characters walk right off the pages and bring tears to my eyes.

[hana-no-seiiki]

it is in my belief that Damian gets sucked into stories so quickly and easily that sometimes it’s hard for him to actually tell the difference between reality and fiction

like we’ve seen the way he comments on pride & prejudice, and the way he reads manga. can you blame him? he didn’t really get that much exposure to things that didn’t serve whatever agenda his parents had.

now imagine this, yandere! damian wayne with actor or pop idol s/o.

i’ve already written about the latter so for now we’ll be focusing on the former.

actor! reader who naturally has romantic scenes with other actors.

you were usually the childhood friend, the second lead, or a sibling of the main character. as such you never really kissed on screen.

it just so happens that after you got together with damian that you had one

and probably one mildly explicit segg scene or two

damian just freaks

like first of all why didn’t you tell him!?!

and second of all?!? how dare you cheat on him on screen??! in front of the eyes of millions (mostly cause he insisted on sponsoring the advertisement of your movies) ?!?

you keep telling him that it was all fake. even having him talk with your intimacy director and what not. hell your co-star is dating someone else!

but damian just can’t handle seeing you that way with someone else, real or not

he’s relentless. you end up getting railed til sunrise, while your co-star’s career just disintegrates. literally erased from the internet and everywhere else. he does the same for the directors, producers, writers and whatnot as well.

and last but not least, he fires all of your agents before making sure the new ones always report to him for all your roles.

you take note to notify him if ever next time, otherwise you’re sure he won’t hesitate to take down your career as well.

[sideprince]

YOU GET IT. This book is really about Harry's relationship to Snape and foreshadowing that Snape's betrayal isn't all it seems to be. The Slughorn party scene makes me angry actually because Snape’s only purpose in it is to be the straight man in a comedy bit. He serves no narrative purpose (even the message he conveys has no purpose - it’s not like Dumbledore was cancelling an appointment, he’s just saying “we had no plans to meet and continue to not have any. k bye” but doing it through Snape for... some fucking reason ¯\_(ツ)_/¯). In the film ABOUT HIM where he’s only in four scenes one of them renders Snape’s presence narratively functionless. He's in that scene so the audience can get a laugh when McClaggen pukes on his shoes (and the timing of that whole bit is painfully clumsy and slow, because the films don't respect the audience's intelligence and assume them to be clumsy and slow too).

And you know what, I know I didn’t include the Sectumsempra scene and I’ll tell you why: because what’s the point? Snape shows up and says nothing. He heals Draco. He doesn’t hold Harry accountable???????? He doesn’t guess how Harry knew this uncharacteristically dark spell that isn't taught in class or punish Harry or even ask him “hey so about this student who’s bleeding to death in this bathroom where the only other person was you?” Snape's purpose in that scene is to fix Harry's mistake. Which is the complete antithesis of how he relates to Harry.

I’m frothing at the mouth at how Steve Kloves went out of his way to strip this scene of any substance for no discernible reason other than to handicap his own plot and character development??? Severus FUCKING Snape, who spends every book antagonizing and punishing Harry, just lets him go and fixes his near-fatal fuck-up without a word????? And Harry “slashed up a fellow student” Potter just walks away and is like, “that was messier than the time I fully murdered a teacher in my first year but anyway, guess I better do as Ginny says and go with her to hide this book, maybe we can hook up after,” and that’s just… fine. Which tracks with the rest of Kloves' sloppy writing, since he doesn't show Harry getting attached to the book, let alone the Prince, he just carries it around and reads it sometimes. And even when he does that we don't see him get immersed in it, he's still fully aware of what's going on around him and actively participating in conversations while perusing it. If you watch this film (or any of them) and think about every scene in the context of "what if I hadn't read the book and didn't have the understanding it gave me for what's happening or the emotional attachment to the characters" then you'll see how Kloves took a vibrant, colorful landscape and turned it into a hand-drawn cardboard cutout.

The purpose the Sectumsempra scene serves in the book is manifold and complex:

Harry's trust in the Prince is shaken and he sees an ugly side to this unknown person he's anthropomorphized into a kind of friend.

This is paralleled with Snape appearing at that exact moment, because foreshadowing.

Harry, who at the end of the previous book wanted and failed to use an Unforgiveable on Bellatrix Lestrange, experiences what it is to enact violence on someone for the first time and is deeply shaken by it.

Snape DISCOVERS THAT HARRY HAS HIS OLD POTIONS BOOK.

Snape, who suggested expulsion in Harry's second year for being seen flying a car across the country and into the Whomping Willow, punishes him for attempted manslaughter with nightly detentions. I need a whole other post to unpack this one (and while this may not work for the film, the solution isn't to scrap Harry being punished altogether - that goes against Snape's character and eliminates possibilities for tension, exposition, and plot development, not to mention character development).

Harry chooses to hide the book in the Room of Requirement and hand Snape Ron's book instead. This is a crucial moment for Harry's character development: he hides the book with the goal of retrieving it later, because despite the Prince's violent betrayal, he doesn't reject him and is still attached to him [insert meta about the potential parallels to Lily's friendship with Snape, what she saw in him, and why they remained friends for some time even when Snape became more immersed in the Dark Arts]. In fact, Harry wants to go back and get it, and his main reason for not doing so is fear of discovery by Snape, not a rejection of the Prince. This is a hugely important moment once you realize that Snape is the Prince, because it makes Harry's relationship to him - and his view of Snape's betrayal when he kills Dumbledore - much more complex and interesting and cathartic. It also shows that Snape has redeemable qualities, if Harry was able to become so attached to his younger self (the one who was an aspiring DE, before he defected and risked his life to save a friend, at that).

Snape's realization that Harry has his old Potions book is what leads to the moment after Dumbledore's death where Snape reveals his identity as the Prince. If he didn't know Harry had his old book and had learnt from it, why would he do this?

The purpose of the Sectumsempra scene in the film, though? Imprisonable offence after imprisonable offence. Writer's jail for Kloves:

Harry and Malfoy have it out, even though that tension hasn't really been built up (there was the Hogwarts Express scene and then not much after. Fun fact: when Draco gets caught gatecrashing Slughorn's party, it's done without having set up in any way that he's overlooked by Slughorn and insecure about losing his social standing due to his dad's imprisonment. There's zero attention given to his lack of inclusion in the Slug Club, so the fact he's using gatecrashing as an excuse to cover for sneaking off to the RoR is impossible for the viewer to understand, because the fact that he'd need to gatecrash at all is also unexplained, unless they had context from the books).

Snape saves Malfoy, but since neither character has had much screen time or relevance to the plot, it's just a striking visual to see Malfoy splayed on the water logged floor with Snape's robes swirling around them but not much more. Again, without the context from the books, this moment lacks substance.

There are no repercussions for Harry. He and his friends acknowledge that the book is dangerous, but Harry isn't punished, doesn't try to make amends, and basically acts like the self-involved special little boy Snape makes him out to be and who the books show him to be the opposite of. He doesn't seem all that conflicted or horrified and doesn't even hide the book on his own, his friends push him to get rid of it, and he goes to do it because it's a way to hang out with Ginny - who hides it on his behalf, which signals very different things about Harry's character than Book!Harry's choices do. The purpose of hiding the book in the film isn't so Harry can try and get it back later because he's still attached to the Prince, it's so he can be alone with Ginny and they can kiss, which Ginny instigates because Steve Kloves does nothing better than write passive protagonists who don't have to lift an emotional finger (see: Harry going along with being told to hide book instead of choosing to do so himself), and female characters who do all the heavy (and weirdly subservient? I'm looking at you Ginny feeding Harry and tying his shoes at the Burrow) lifting.

Nothing about this scene gives us even a remote hint that Snape is the Prince. When, at the end of the film, Snape reveals that he's the Half-Blood Prince, there is no context for it in the film or reasonable cause for him to know that Harry knows who the Half-Blood Prince even is. It's like if Ron walked up to someone on the street when he was 40 and said "yes, I am Roonil Wazlib." This revelation hasn't been set up, all its foreshadowing has been deliberately avoided, so it doesn't land with the impact it has in the books and definitely doesn't have the same effect if you haven't read the book first.

In short, in the film about Snape, and Harry's unwitting relationship with him, the scene where the biggest clue is given about the Prince's identity and one of the most crucial interactions between Harry and Snape happens, Snape is a sidebar, not a feature. So I don't count it as a Snape scene. He doesn't even have any dialogue aside from vulnera sanentur. Poor Alan Rickman was doing his best to do right by Snape's character with his acting even though the script gave him literally nothing. I hope every bowl of soup Steve Kloves eats for the rest of his life is cold and unsalted. Unless it's gazpacho. Then I hope it's scalding hot and burns his tongue.

Canon: Harry overhears Malfoy intimidating Borgin and figures out that he's been branded with the Dark Mark

Steve Kloves: Harry sees Malfoy meet a bunch of Death Eaters in Borgin and Burkes and figures out it was a ceremony to give Malfoy a Dark Mark

No but what I love about the movie version of events is that it implies that any Death Eater can brand anyone with the Dark Mark or, even better, that Voldemort was there in Borgin and Burkes and no one saw or heard him and he just popped into a shop in Knockturn Alley, tatooted a kid, and peaced out. I know I talk a lot about how Rowling (boo, hiss) was thoughtless with her world building, but she has nothing on Steve Kloves. I'm pretty sure he wrote those scripts with a crayon stuck between his toes.

[flowerandblood]

Play with my heart (2/3)

[ modern actors • Aemond x Strong • female ]

[ warnings: masturbation, kissing, sexual tension, eavesdropping, discomfort associated with the loss of an eye, remorse, doubts, anxiety, unprofessional behavior ]

[ description: He gets the main role in a series about a great family and dragons, which could change his career. He is set to play the uncle and love interest of his childhood friend. When he meets the actress who plays her role, he begins to lose track of what is an acting and what is his real feelings. Sexual tension, grumpy, withdrawn, thirsty Aemond. ]

Author’s note: Yeah. I talked about it and I did it. You don't even know how much fun I had doing this. Of course, my characters play in a series whose script is an exact copy of my story The Fall from the Heavens. In this universe, Aemond (playing the One-Eyed Prince) and Rhaenys (playing the Princess) are of course not related – the other characters are also just actors. This three-part series is my gift to all fans of the original series, thank you so much for your support. "Rhaenys" in this story is her artistic pseudonym which she use instead of her real name.

* English is not my first language. Please, do not repost. Enjoy! *

Next chapters: Masterlist

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After filming the scene, they rose from the bed as if nothing had happened. The director complimented her acting, saying that she was able to wonderfully portray both the innocence and temptation her character evoked. She smiled at him as he unscrewed the water bottle and took a sip from it, walking towards him.

"They say the beginnings are the hardest." She said softly, looking around, waiting for the director to review again what they had managed to record and decide if anything needed to be repeated.

"Mmm." He hummed, taking another sip of water, feeling uncomfortable now that he was standing in front of her without a script, not knowing what to say.

They stood side by side in awkward silence for a while, looking at their director – he finally said that he liked everything and they would now shoot the scene where the Prince wakes her up in the middle of the night, dragging her out of her chamber after returning from Storm's End.

When he returned to his hotel room he collapsed on his bed, tired but also content. He felt ashamed that he had forgotten the line and at the same time he was grateful that his partner on set had helped him and been supportive, warm and understanding.

He didn't know how he felt about getting aroused during the scene of them kissing – he wondered where the limit of method acting was and whether he had gotten that much into his character or whether it was something else.

He decided he wouldn't think about it, and as long as they played their parts well, nothing else mattered.

The next day there was a big breakfast together in the hotel restaurant. At the table sat the director and his deputies, the writers, producers, actors, stylists and the many other people who contributed to this gigantic production.

She smiled at him from afar and waved at him, sitting at the table in her hair tied up in a braid, on her body only a T-shirt with the Pokemon logo and yellow tracksuit shorts.

He swallowed quietly, putting his hands in his trouser pockets, and sat down next to her, greeting her and everyone else along the way, unsure of how to act. Aegon sitting on the other side of the table extended his hand to him and he shook it.

"– how are you two doing? – you already have some passionate scenes behind you, right? – he's hot, isn't he? –" He asked her partner with amusement, who laughed out loud, trying to turn his question into a joke.

"– everyone here is beautiful and talented – I'm in heaven –" She said softly, deftly avoiding answering. Aegon laughed at her words and stretched in his chair, yawning loudly, losing interest in the subject.

He reached for the cheese toast, watching out of the corner of his eye as her hands placed the pancakes on her plate, which she covered next with pouring chocolate. She lifted her gaze to him and smiled at him warmly as their gazes met – he turned his face away, feeling like a mute, his heart stuck in his throat.

Why was he acting like an idiot in front of her?

It seemed to him that she took his silence as a signal that he simply wanted to eat his breakfast in peace, so she spoke animatedly to the woman to her right, Alys Rivers, who was to play the Witch of Harrenhal.

Aegon was talking to him across the table, mentioning something about their shared scene with him and Helaena. He nodded, sipping his toast with a gulp of coffee, absorbed in his thoughts, for some reason returning to their kiss.

He'd kissed many women in his career before, but this time it was something different.

He thought she was an excellent young actress.

In the following scenes they played he saw her in a gown for the first time. He thought she looked like some immortal elf in it, beautiful and light, a warm, gentle smile directed towards him on her face.

Her gown consisted of two colours – her long, floor-length sleeves were red, and the material hugging her breasts, hips and waist was light blue. Her shoulders were bare; other than that, she wore no other jewellery, her long hair falling softly down her back, accentuating her long neck.

He swallowed hard, feeling a twinge in his gut for some reason, and turned his face away, sitting down with her at the table where, together with Aegon and Helaena, they played out the scene in which the King informed them that they would be marrying for a second time, this time before the Septon.

They spent the rest of the day in the courtyard, filming shots of them meeting years later, and their conversation after they married, when the Princess came out to speak to him.

He felt a pleasant tingling in his lower abdomen at the thought of kissing her again: to his surprise, cupping her chin and placing a tender, soft kiss on her mouth came to him with ease. Her moist, fleshy lips didn't close against his caress, on the contrary, they parted invitingly, her hand tightening on his wrist.

Encouraged, though it wasn't in the script, he took a step forward and deepened the kiss, lazily brushing her soft mouth with his, her eyes closed, a quiet, sweet sigh left her mouth.

When he pulled away, he met her gaze, warm and misty, her cheeks flushed. He stroked her jaw with his thumb and she surprised him by rising on her toes, kissing the tip of his nose.

He felt his heart pound hard at the thought that this was not in the script.

However, he checked it quickly afterwards as he prepared for the next scene and saw that the director had added it as a suggestion.

He was furious with himself for feeling disappointed.

What was he thinking?

He didn't think it would be a problem for him, but he actually felt discomfort when it was time for them to play the scene where the Prince pulls off his eye patch in front of his beloved.

A new prosthetic eye was created especially for him which looked like a sapphire to represent his character well.

He was to wear it that day instead of his usual artificial left eye.

The sapphire eye was cleaned and prepared for him by the doctor who supervised, staying with him in private in the dressing room, that all was well. The very moment he closed his eyelid and opened it he felt that it was not.

Although its surface was smooth, something was wrong about its shape, rubbing his eye socket, once in a while pressing on a nerve under his skin from which shivers ran through him.

"It will take at least a few days to polish and change it."

He thought with a pursed lips that they didn't have that much time.

The shooting schedule was set to the hour.

He figured he would just get into his character's suffering more than he should.

As he walked onto the set he was met by her warm, comforting smile. He closed his eyes, clamping his fingers on the base of his nose, trying to listen in peace to what their director had to say to them.

"It's a scene of their tenderness, their closeness, at last devoid of subconscious brutality. In that one moment they reclaim each other." He said, and they nodded their heads.

In the original, this was accompanied by a sex scene, but the screenwriters decided that affectionate, passionate kissing would suffice here.

The thought that he would be able to do this to her made his heart pound like crazy, but he couldn't enjoy it: he clenched his eyes again and again, feeling discomfort.

Feeling pain.

For some reason, he thought he deserved it for his inability to be professional, for what they were doing was out of his control.

Rhaenys sat down on the desk and he stepped in front of her, between her thighs, her dark blue dress with exposed shoulders and sleeves reaching the ground perfectly accentuated her graceful figure.

She smiled, placing her hands on his shoulders, his fingers involuntarily running over her waist.

"Action!"

He took a step towards her, cupping her face in his hands, trying to focus only on her gentle gaze, only on her warm breath, only on how soft her skin was, instead of the fact that pain was filling his skull.

"Rhaenys." He whispered tenderly, pleadingly – the discomfort he felt made his words resound as if he was in pain – in pain because of the fact that they were separate.

She blinked, surprised and somehow touched, clearly appreciating his acting, which was only a matter of coincidence. She lifted her hand to his eye patch and he grabbed her wrist violently, her breath stuck in her throat.

"No." He said coldly and closed his eyes, feeling the pain as if a bolt of electricity surged through the left side of his face.

"You're my husband. That's enough." She whispered, wanting to soften her words by taking his face in her hands, making him involuntarily moan in pain. She let go of him, terrified.

"Are you okay?" She asked leaning over him and he nodded his head.

"What's going on?" The director asked them. "We're going to have to repeat the whole scene."

Fuck.

"Are you in pain? Please tell me." She whispered pleadingly and he shook his head.

"No. No, I….FUCK!" He hissed, leaning over, clasping his hand over the left side of his face, feeling such excruciating ache that he felt like ripping off his skin and tearing out all the nerves that were there.

"Call a doctor, he is in pain!" She called out, startling him by pulling the eye patch off his face. He heard her sigh in horror and cover her mouth with her hand, his stomach clenched in discomfort at the thought.

That she saw it.

That she felt disgusted.

"My God, his eye is all swollen up, what have you done to him? Can you take it out? Come." She said, taking his hand, and he walked out of the room with her like a small child, bumping into the doctor on the way.

"I warned him" He said.

"I can stay and help. If you don't mind." She said sitting down next to him on the couch in his dressing room.

He wanted to reply for her to leave, but he only groaned, unable to stand it, and as soon as the doctor had disinfected his hand he removed the sapphire prosthesis from his eye socket.

He did not know why he burst out crying.

He hid his face in his hands, feeling humiliated, thinking that the reason he had been taken for the role was because they hoped they wouldn't have to spend money on expensive CGI, but in fact he had wasted their entire day of filming.

He swallowed hard when he felt her arms embrace his head and let her lean over as she hugged him to her breasts, her pleasant scent, her warm hands stroking his jaw and back.

"Leave us alone for a moment." He heard her voice. The man nodded and said he would fetch an ointment that should soothe the abrasions.

"It would be best if you didn't wear your artificial eye today and let your eye socket rest." The man said.

"Get the FUCK out!" He growled, closing his eyes, thinking it was wonderful news, going around the set with an empty eye.

He thought it was the worst day of his life.

He swallowed hard as her forehead pressed against the top of his head, her gentle hands stroking his face, shoulders and back giving him a feeling of comfort and security.

It was so hard for him, and she was by his side.

"I admire you for holding out for so long. They should have checked that the prosthesis fit earlier, not on the day of filming. It's the production's fault and the director knows that. I'm sure he appreciates your commitment and will reorganise the work." She whispered calmly, as if she wanted to comfort him, and indeed, her words made him feel relieved.

"I'm sorry." He mumbled.

"Don't apologise."

"Can I lay my head on your lap?" He asked in a trembling voice, wondering if his request was disrespectful.

He just wanted to close his eyes for a moment and relax.

"Yes. Yes, of course, come here." She said, turning so that he could lie down.

He turned his head so that she couldn't see his left eye socket and rested his cheek on her thighs, placing his hand on her knee. He closed his eyes and sighed quietly when he felt one of her hands on his shoulder and the other on his cheek, her thumb gently stroking his skin.

There was complete silence between them.

"I got really attached to you, you know? I hope we still keep in touch after the shooting." She whispered making him swallow hard, cold sweat trickling down his neck as he felt his manhood react to her words with an aggressive throbbing.

"Yes." He muttered. "Yes, me too."

He spent the evening in the hotel bar, meant for guests only, feeling reasonably safe there, wanting to ease his mind a little, wearing a thin bandage over his left eye that allowed air to pass through.

He resented himself for being unprofessional, for having his real feelings mixed up with what he was supposed to be playing as a Prince character.

For the first time, he doubted whether he should really be an actor.

His grandfather surprised him by walking up to him from behind, patting him on the back.

"Don't worry about the issue with the artificial eye: it was their fault and the director came to me to apologise for the prosthesis not being tested earlier. You both do a wonderful job on set. The chemistry between you two is palpable and it shows on camera." He said, sitting down next to him at the bar table.

He pressed his lips together at his words, wondering if he should confide in him.

"I don't know myself. I'm confused." He confessed, embarrassed. His grandfather looked at him in surprise as soon as he ordered a double whisky for himself.

"Confused? Because of that girl? It's normal. She's kind and pretty. If you're feeling desire, that's good. Turn it into your acting." He said lightly, however, making him feel not relief but discomfort in his stomach. He stared dully into his glass for a moment, feeling the aggressive pounding of his heart.

"… I'm not sure if what's going on inside my head is good." He said in a trembling voice. His grandfather hummed under his breath, taking a sip from the glass the man had placed in front of him.

"As usual, you think too much. Even if… well, something happens between you two, one or two nights, it's nothing terrible. On set it happens all the time. The tension is high and you have to find an outlet for it somewhere." He said.

He got up from his seat and just left, feeling that he had made him sick.

He didn't agree with him, and he didn't think that using her to get off sexually was a normal thing to do.

She was young, younger than him, still filled with enthusiasm and naivety.

He didn't want to be one of those men who would take advantage of that, seduce her and then leave her humiliated as soon as the shooting was over, saying it was just a fun.

He had casual sex with actresses, but never with those he worked with directly. Nothing came of it because their paths quickly diverged and he didn't have the desire or strength for a long-distance relationship.

He didn't care.

He took a shower, brushed his teeth, changed into a T-shirt and sweatpants and went to bed, trying not to think about the fact that tomorrow they were to play a scene in which he exposes her breasts.

Not all love scenes were left in the script, however, this one was one of them, because it was significant moment – their first real intimacy and reunion after years.

They knew there was enormous pressure on them. He could see it in her face the next day – also dressed in a night gown she was looking down at her fingers, stressed, not a trace of her smile and confidence from the auditions.

He approached her, for some reason feeling that he should comfort her, lift her spirits, let her know that they didn't have to rush.

"– do you want to talk about how we're going to do this? –" He asked quietly and she nodded, unable to even look him in the eye.

"– yes –" She mumbled.

"– so –" He began, feeling for some reason that his heart started pounding like crazy, his hands clenched into fists. "– I'd start with kisses first – on the lips, on the neck, on the shoulders – they're rubbing against each other in this scene because they're feeling arousal, so it would be a good idea to try and mimic similar…movements – then I'll slide your nightgown off your shoulders – we can agree that you will guide my hand yourself when you think you're ready for me to touch you there –" He said quickly, forcing himself to be calm and composed, feeling a cold sweat run down his back.

Why was he so terrified?

He saw that she swallowed hard and nodded, looking up at him and lowering her gaze quickly, red with embarrassment.

"– yes – yes, that's a good idea –" She said and looked at him, her gaze warm, comforting.

Kind.

"– how's your eye? –"

He lowered his gaze, looking down at his boots, embarrassed.

"It's better now. Thank you. For everything. I don't want you to be scared today. Tell me if you feel something is wrong. Okay?" He hummed, and she nodded quickly, giving him a grateful smile.

"– thank you – I will –"

He swallowed heavily when the director told them to take their places. He sat down in a chair and she walked over to him, looking at him questioningly. He nodded, extending his hand to her to help her up, and she sat awkwardly on his thighs. He gently placed his hand on her hip, forcing her to slide closer to his chest, just as scripted.

They both swallowed hard as his manhood pulsed between her thighs under the material of his breeches, touching the material of her flesh-coloured panties, but neither of them said anything.

"– we will take it slow – okay? –" He encouraged her, gently cupping her cheek in his hand, bringing her face close to his. She nodded and smiled warmly at him, as if he had said exactly what she needed to hear.

"– okay –" She said.

Their director nodded at them.

"Let's try to get a feel for it first. This scene is about building tension slowly. If you feel discomfort, speak up, we'll try to do something about it. Ready?" He asked, and they nodded their heads like little children.

"Action!"

Apart from the sizzle of the fire in the fireplace to their right, surrounding their faces with warm light, there was complete silence around them.

He waited a moment before he pulled her face closer to him and his lips tentatively brushed hers in a slow, shy, moist kiss. He felt her body involuntarily move closer to him, her arms closing his neck in an tender embrace.

He felt her soft breasts through the material of his tunic, his hands traveled down her waist to her hip which he began to stroke in a soft, lazy, affectionate motion. She sighed softly into his mouth making his half-hard erection hit the space between her thighs again.

They froze in mid-motion and he was already about to apologise to her, telling her to stop, when this time it was she who leaned in. His voice went dead in his throat as her lips pressed against his, her body rubbing uncertainly against what was beneath her.

Fuck.

He thought as his hips tentatively came out to meet her, pressing what was in his breeches between her thighs, making it swell and pulsate, that this was not a good idea.

He knew she could feel it and that turned him on even more.

Her breath had become heavy and accelerated, their kisses messier, stickier, warmer, his fingers involuntarily dug into the skin of her hips hidden beneath the thin material.

"– uncle –" She mewled into his mouth in a way from which his erection became completely hard, his hand clamped down on her neck, forcing her to stay still as he slid his tongue deep into her throat.

She moaned, startled, gripping his shoulders, rolling her hips back and forth as if in a trance, teasing him deliberately, squeezing his length between his lower abdomen and her body again and again, the tip of her slick tongue licking his.

"– it tickles – here –" She mumbled helplessly, pressing her forehead against his, looking down, between her thighs, watching his bulge twitching in his breeches, which, however, only they could see.

He should have said his line, but instead, completely stunned by her behaviour and smell, he grabbed the material of her nightgown and slid it off her shoulders, snuggling his face between her sweet breasts.

She opened her mouth wide, shocked and moaned, hugging his head to her heart, making his cock throb hard. She took his hand in hers and guided it up, to her breast – he gasped, shocked how good it felt, squeezing tentatively her plump softness with his fingers, placing sticky, wet kisses on her sternum, her hands buried in his hair pressed him tighter against her bare, hot skin.

It seemed to him that she was as shocked by this sensation as he was, for she began to moan quietly – her nipple became hard under his thumb as he began to rub and tease it, his free hand clamped down on her buttock, again and again rubbing his painfully swollen erection against her.

He was turned on.

"Cut! What chemistry, I'm at a loss for words!" The director called out, and he let her go immediately.

She jumped back and got off his lap, inhaling heavily as if she was out of breath, putting the material of her nightgown quickly over her shoulders and breasts, the stylist said something to her and she just nodded, looking at him with big eyes.

He crossed his legs quickly and grunted, covering his mouth with his hand, looking towards the fire, pretending to listen to one of the assistants saying that now that they were all in emotion they would try to film their conversation years later.

Although they tried, neither of them could concentrate and they forgot their lines over and over again.

"What's going on with you two? Do you need a break?" The director asked them, and they replied at the same time that they did.

It frightened him to see her leave immediately, the thought that she might nevertheless have felt uncomfortable, that he had done something that crossed the line for her, but she was afraid to tell him.

He got up and followed her, heading for the rooms where they were changing and getting their make-up done, standing in front of the door with her name on it.

He froze when he heard a strange sound that seemed to him to be a moan of pain. He opened his mouth, wanting to ask if she was all right, if he could come inside, but then she made a different sound, a more familiar one that made his erection throb hard in his breeches.

He heard her quiet panting mixed with sweet, innocent mewls of pleasure, from which he himself began to breathe through his mouth, shocked.

He leaned his forehead against the door, wanting to hear it better, with the corner of his eye looking to see if anyone was around, but they were all on the set. He thought he was just a pervert when his hand travelled deep under the material of his trousers, clamping down on his long, swollen cock, twitching painfully with desire in his hand.

He imagined what she looked like now, digging her delicate fingers into her fleshy walls, leaking with moisture, pulsing because of him, because of what he had done to her, because of his kisses and touch.

He drew in a loud breath and pressed his lips together, giving himself a firmer squeeze at the base, imagining that he had grasped her thighs in his hands and spread them in front of his face, sinking his mouth into her wonderful, delicate folds, licking and caressing her little cunt.

He sped up, hearing the quiet sounds in her room become more vulnerable and helpless, and after a moment she moaned a little louder with some kind of relief.

He opened his mouth wide when he felt his warm semen spurt out onto his fingers at the thought that she had just come because of him.

He cursed under his breath as he looked at his hand and headed quickly to the bathroom, afraid that anyone would see him.

As he washed his hands in the sink he looked at his reflection, at his white wig and eye patch, and decided that he was beginning to lose control, that he no longer knew which feelings were his and which were his character's.

He was terrified and had no one to tell about it.

He only saw her at dinner that evening, and although she sat next to him, she didn't look at him. He pressed his lips together at the thought that she was as ashamed as he was, only she had no idea that he knew what she had done and that he had done exactly the same thing himself.

He was crushed by a sense of guilt that he didn't know what to do with.

He decided to finally speak to her, feeling his heart in his throat, playing with his fingers.

"Did I overdo it? Today during our scene." He asked in a trembling voice, trying to sound indifferent and cool. She looked at him surprised, putting her glass of juice down on the table.

"– I – no, I'm sorry I left so suddenly – it's just that all of this – all of this has overwhelmed me –" She muttered, looking down at her hands lying on her lap.

He looked at her in silence, feeling a squeeze in his throat at the thought that he understood her, that perhaps they felt the same way.

"– if you don't mind – I'd like to rehearse scenes with you before we play them – I'd like to talk to you about them – I have too much chaos in my head and no one to share it with –" She said, looking up at him finally, her brow furrowed in fear that he would not take her suggestion well.

He, however, felt some wonderful kind of relief.

"– yes – yes, that's a great idea –"

They spent the next few days acting out scenes, talking to each other for hours in the evenings in the hotel restaurant or her room about how they wanted to portray particular dialogues.

"– then when they're arguing I think to approach it more along the lines that: he just wants forgiveness and she's tired of him always expecting her to forgive him, even though he himself has held a grudge against her for so many years – something like: what should I do now? – divorce you? –" She asked sternly, getting into character for a moment, wanting to show him what she meant.

He hummed at her words and nodded, intrigued.

"– yes – yes, I think it's a good track – he's broken, exposed, afraid of the visions of that witch – he tries to push it away, but because of the way he represses it, everything he's afraid of comes back to him in nightmares –" He said, half lying half sitting on her bed with a copy of the script in his hand, the other gesturing as if he were a lecturer.

She nodded quickly at his words, sitting down next to him on the sheets, excited.

"– yes, exactly – he locks too much inside himself, and everything he fears then manifests itself in his dreams – his thoughts overwhelming him more and more and filled his mind like water that finally bursts his skull –"

"– a drop drills a rock –" He murmured and she snapped her fingers.

"– exactly –" She said, swinging her legs.

Unintentionally, his gaze traveled over her figure – her light-coloured sweatshirt with Jigglypuff from Pokemons seemed very fluffy to him, white tracksuit shorts and pretty white floral socks on her legs.

"– are you still watching this? –" He grinned with amusement. She cocked her head, smiling broadly.

"– what? –"

"– Pokemons –"

She giggled, embarrassed; the sound, innocent and sweet, made him feel a tightening in his throat and a pleasant tingling in his lower abdomen.

"– yes, but only the first few seasons – you know – the classics –" She said, closing her eyes proudly, as if she were speaking some work of Shakespeare.

"– mmm – I watched this when I was a kid –" He confessed, and she shifted towards him, delighted, surprising him completely.

"– I have a laptop – do you want to watch the first episodes together and order a pizza? –"

Though the suggestion seemed absurd to him, he agreed, and it wasn't long before he was watching, lying next to her on her bed, with a big carton of pizza lying on their bellies, as Ash tried to tame Pikachu.

"– God, how long it's been since I've watched this –" He muttered, feeling some kind of melancholy. He heard her melodious, joyful laughter.

"– I know this episode by heart –" She said between one greedy bite of pizza and another, clearly pleased and happy.

For some reason, despite his rather solitary nature, he felt comfortable around her. Her behavior made him feel like he wasn't being judged or watched – he knew he could say at any time that he was going back to his room to rest, and she wouldn't hold it against him.

He caught himself thinking that he really liked her.

What made him involuntarily distance himself from closer acquaintanceships with actresses was that it often seemed to him that they played offstage as well – they stepped into the role of innocent, sweet, dreamy romantics or passionate unapproachable women, but in fact he had no idea if he knew them at all.

With her, however, it was different – her sudden, unexpected reactions, the glint in her eye, her smile and unthinking remarks were real.

For some reason, her character, her presence had a soothing effect on him.

He was ashamed to admit that he liked her a little too much.

He kept repeating to himself that just one more episode and he would go, but another and another flew by. Her warm, soft body was wonderfully close, their arms were pressed against each other, their heads lying side by side on the pillow, as they looked at the laptop lying between their legs.

For some reason he felt like a little child again who was about to spend the night with his mate.

He looked at her out of the corner of his eye and noticed that her eyes were closed, her lips parted slightly, her head tilted to one side in deep sleep.

Something captured him in this sight – the thought that she felt comfortable and good enough with him that she had fallen asleep.

He rose slowly, taking the large pizza box from their thighs, setting it down on the floor and rose, trying to be quiet. She twisted around and hummed something as he covered her with the duvet and turned off the lamp, feeling somehow proud of himself for treating her the way she deserved it.

It was as if he had a friend.

[companion-showdown]

Anniversary Tournament

Last year for Doctor Who's anniversary I ran a tournament between Doctor Who stories, and I wanted to so something different again this year. A tournament between real people important to the history of Doctor Who, actors, writers, producers, directors, composers, production designers. Technically it'll be a tournament for the most infuential person to Doctor Who and its development over the years, but really I want it to be a celebration of all of these people, and not just the winner.

To that end, the nomination form, you can also submit nominations normally, ie sending me an ask or replying to this post, however I won't be accepting propaganda through those methods.

I'm thinking I'll close nominations on the 18th of November, that might change but probably not by much

Current Nominations:

if green then at least one person has submitted propaganda for them

Actors

Arthur Darvil

Billie Piper

Carole Ann Ford

Christopher Eccleston

Colin Baker

David Graham and Peter Hawkins

David Tennant

Frazer Hines

Freema Agyeman

India Fisher

Jacqueline Hill

Jodie Whittaker

John Simm

Jon Pertwee

Lisa Bowerman

Liz Sladen

Matt Smith

Ncuti Gatwa

Nicholas Courtney

Pat Gorman

Patrick Troughton

Paul McGann

Peter Capaldi

Peter Davison

Rodger Delgado

Sean Carlsen

Sophie Aldred

Stuart Fell

Sylvester McCoy

Tom Baker

William Hartnell

William Russell

Composer

Delia Derbyshire

Dudley Simpson

Murray Gold

Paddy Kingsland

Peter Howell

Rob Harvey

Ron Grainer

Segun Akinola

The BBC Radiophonic Workshop

Designers

June Hudson

Peter Brachacki

Raymond Cusic

Directors

Christopher Barry

Graeme Harper

Paddy Russell

Rachel Talalay

Richard Martin

Waris Hussein

Fandom

Marnal Gate

TARDIS wiki creator

The Audience

Craig Ferguson

Producers

Barry Letts

Graham Williams

John Nathan Turner

Philip Hinchcliffe

Verity Lambert

Julie Gardner

Writers (including script editors and showrunners)

Alan Moore

Anthony Coburn

Chris Chibnall

David Whittaker

Donald Wilson

Douglas Adams

Eric Saward

Gerry Davis

Grant Morrison

John Lucarotti

Johnathan Blum

Justine Richards

Kate Orman

Kit Pedler

Lance Parkin

Lawrence Miles

Marc Platt

Paul Cornell

Robert Holmes

Robert Shearman

Rona Munro

Russell T Davies

Steven Moffatt

Terrance Dicks

Terry Nation

Other/impossible to categorise

all the thousands of people who've worked behind the scenes

Michael Grade (BBC higherup who hated doctor who so so much)

Peter Cregeen (actually cancelled Doctor Who)

Sydney Newman

Nicholas Briggs

Gary Russell

John F Kennedy

Sue from Catering

The real historical figures who've appeared in the show

Shakespeare

[t00thpasteface]

all of your post are making me want to watch M.A.S.H.... and I do really like stuff involving the korean/vietnam war.... do i do it?

it really is great if you already have experience with other art/fiction created during and after the vietnam war. Apocalypse Now comes to mind, but that really undersells how much of a total fluke MASH was for its time. i mean, it started airing while the vietnam war was STILL HAPPENING, and they HAD to keep it about korea just so they could get on the air, AND this was less than five years after the Hays code ended. it was the 70s, but it was also the 70s, you know?

you NEED to go into this show acknowledging that it was produced in a very very particular window of time; as much as we tend to think of pop media as existing in this anachronistic homogeneity wherein which things remain static for decades, that is not the case, and MASH is very very clearly a product of its time, as everything unavoidably is. general consensus is that the show really "grew the beard" around season 4/5 (the last 2 episodes of s4 are some of my favorite episodes of the whole show) but it's never perfect, and you shouldn't expect it to be. and this too has a metanarrative merit to it. we are all capable of evil (or just saying things in poor taste) even when our intentions are good, etc...

on the other hand, sometimes that's an incredibly impressive thing. watching MASH with a solid lens of its contemporary audience and culture will reveal all sorts of little shocks and rebellions that would seem tame or even regressive to a later audience such as us. if you have a cool parent or older friend/relative to watch this with who was alive at the time of the vietnam war and remembers seeing the dead bodies on the news every night, watch this with them. alternatively, check out commentary online by people in that age range, as well as writer/actor/director commentary if that's your bag (sometimes alan alda was all 3). enjoying antiwar fiction like MASH with that cultural context is like using one of those little decoder lenses on a cereal box or whatever. i said to another asker: "by 70s tv censorship standards, this show was basically on-screen gay sex and flag burning."

it's fucking uncanny when something in MASH strikes you and you can see how little has broadly changed in global politics since. and yes that's a tragedy. but i think there's a corollary to it:

[its-kapi-wara]

I was "today-years old" when discovered that Les Misérables was adapted into a Brazilian soap opera in 1967. Not only that, but it was also the FIRST soap opera to premiere on that television channel - the channel having been inaugurated on May 13, 1967, the same day that the 1st chapter premiered.

To my surprise, the cast of the soap opera had actors who are quite prestigious in Brazil today, I'm serious about this, the actress who played Fantine must have more than fifty credits to her name - and that's just in other soap operas - she has also participated in films, plays and even voice acting (she voiced Betty Rumble in The Simpsons, from 1963 to 1966)

The sad part is that it's very unlikely that I'll be able to find much information about this adaptation. I mean, it was the 60s, televisions were new, and basically luxury items...

So...is someone going to do a remake at some point, or am I going to have to become writer, director, and producer and do the whole thing myself?

Not-so-funny historical fact: At the time this soap opera was on air (May 13, 1967 – August 25, 1967), Brazil was going through a period of military dictatorship, which would only end in 1985. It was a very difficult period in the country's history, in addition to the persecution of those who opposed it, there was also a lot of censorship in films, music and other types of media.

It was during this period that some Student Movements emerged. As the name suggests, they're composed mainly of college students. They protested, held marches, distributed pamphlets and fought against the situation in which the country found itself. Many were persecuted, tortured and killed (as were the families of some of them)