#sam is somebody who is rather involved with the plot

[importantdestinydefendor]

Currently also rereading ArSen here and there, and my mind is going bonkers with scene ideas for the AU. (I'm currently at the end of volume 9 again) .

I completely forgot how I gave Azar and Team Arslan little to no interaction in the beginning. Up until Peshawar were she scares the Lucitanians a little with her appearance. Only Narsus and Alfarīd have seen and interacted with her before that, but she was in disguise!

Also, I didn't give this to her in her design, but she wears a similar mask to Farangis in the beginning. She has a lot of enemies, and she hides her face as her appearance is rather unknown. He'll, not everybody knows her gender even and think it's a man (because ya know, no gender equality). And she doesn't reveal her face to Team Arslan until Shindura after the Adikalania. And I can't wait to write that scene! It is one of my favourites so far!!

So yeah, my imagination go brrrrrr.

[mst3kproject]

The Equinox

'Aleczilla51297′ appears to have made a tumblr purely for the purpose of telling me I need to review Equinox and Godzilla vs Hedorah.  I decided to do Equinox first because I’ve already seen Godzilla vs Hedorah, which is one of the preachier Godzilla movies but does have that hilarious bit where the big guy flies by using his atomic breath as a rocket.  If Equinox turns out to be a #fuck this movie entry, then Godzilla can act as a sort of a palate-cleanser.  And so, without further ado:

Something blows up, a woman called Susan dies, and a dude gets run down by a driverless car.  My Dad would feel vindicated – he finds the whole idea of self-driving cars untrustworthy.  The victim, whose name is David Fielding, ends up in a mental hospital, where he tells his story to a psychiatrist.  Seems that Dave, his pal Jim, Jim’s girlfriend Vicky, and Vicky’s friend Susan, headed up into the mountains for a picnic with their old teacher Dr. Waterman. These people are all idiots.

The four young people arrive to find Waterman’s cabin destroyed and a creepy old man living in a cave nearby, who gives them a locked book. Because the characters don’t know they’re in a bad movie, they don’t realize that the book is clearly the fucking Necronomicon, and decide to crack it open and read it while they eat their KFC. To nobody’s surprise, they’re soon being chased around the countryside by dumb stop-motion monsters.  At the end everybody’s dead but Dave, who’s in the mental hospital waiting for the fulfillment of a prophecy that said he would die a year and a day after the original events, but that’s not a spoiler because it was the opening scene.

Let’s go over the shit that happens when these four clowns arrive at Dr. Waterman’s.  The cabin’s destroyed and the park ranger who discusses it with them says his name is Asmodeus.  Does that sound like a signal you should get the hell out of there?  No?  Okay, how about when they find a castle they can’t remember being there before?  Still no?  Well then, on their way to the castle (which later vanishes behind a wall of invisibility, probably because they couldn’t afford interior sets), they come across a cave with Green Goblin laughter echoing out of it, and weird velociraptor footprints all around.  Would you leave, or would you light up some torches and go check it out?  What about when you find a partially-mummified corpse in the cave?

The whole first ten minutes of the flashback that comprises most of the narrative is a litany of things I’m pretty sure anybody would flee from in real life.  I don’t believe much in the supernatural but if I saw all that I would be sure that multiple crimes had been committed and that I wanted no part of it.  The characters of Equinox, however, insist on investigating themselves, and continue to make stupid, stupid decisions for the entire run time.  Yes, let’s all go in a group to check and make sure the monster is dead.  Let’s hang around and bury the bodies ourselves instead of getting back to civilization for a police report and a good stiff drink.  Let’s collect the picnic stuff before we leave because that basket cost at least $15 at Wal-Mart.  It’s the kind of movie where you start to get annoyed that the characters aren’t dying fast enough.  When we finally get back to the opening shot I mainly felt relief that the movie was almost over.

The MST3K movie Equinox most reminds me of is The Day Time Ended: there are people in the middle of nowhere and, for some reason, a bunch of random stop-motiony things happen that never actually add up to a story.  Stuff comes and goes without serving any purpose other than to be creepy.  Who was Crazy Cave Guy?  I at first assumed he was the missing Dr. Waterman but Waterman turns up later and immediately dies, so what’s going on with this other guy?  What’s about the cave mummy… who was that?  Was the man who showed up to snatch the book actually Dr. Waterman or just a demon in his form?  Why is there a random graveyard in the middle of the woods?  Why does the psychiatrist have a creepy monster mask on his wall?  What’s up with Asmodeus apparently trying to rape Susan without even unbuttoning his pants, and later possessing her so that she does the same thing to Vicky?

Dialogue specifies that Dr. Waterman was a geologist, which seems an odd choice for somebody to be translating ancient documents.  I mean, there’s no reason why a geologist can’t have a side interest in ancient manuscripts, but when a movie takes the trouble to tell you something like that there’s usually a reason why.  Geology is never important to the plot, even tangentially.

It must be said that Equinox makes slightly more sense than The Day Time Ended, in that we’re actually given a reason why these events are happening.  Dr. Waterman had acquired and translated the Necronomicon and could not control the demons he summoned (I am convinced that Sam Raimi saw Equinox when he was around twelve and thought, shit, I could make a better movie than this!).  A huge tentacle creature destroyed his cabin, and then there’s the sabre-toothed ogre, the giant green caveman, and of course, the devil himself.  These creatures have a motivation: they are determined to get the book back, whether through force or persuasion.  The events could still happen in any order, but it all has a common core, rather than being just a collection of Concepts.

In capable hands this story could be made to work (see previous parentheses), but sadly none of the hands involved in making Equinox were remotely capable.  The acting is abysmal, mostly just people standing around awkwardly reciting their lines. All the dialogue was then dubbed over in post-production, which makes it even more stiff and awkward.  There’s a bit where a guy reads a letter as if he has to sound out each word.  The direction and music are bland.  Even the costumes are awful.  You’d think it would be hard to fuck up costumes in a movie set in the present, but it looks like everyone just turned up to set in their street clothes and they went with that.  Good costuming can tell us a lot about characters but the outfits here say nothing. Also, both Vicky and Susan are blondes in blue shirts, and once Susan’s hair falls out of its bun they’re basically indistinguishable.

The characters have no discernable personalities.  How they react to things changes from scene to scene, with nobody’s motives clear.  The only thing that remains constant is Jim wanting to leave while Dave always wants to stay and take care of something or other.  Stuff happens that could result in character development but none of it is ever followed up.  The most notable example is when Dave feels terrible guilt over having apparently killed Dr. Waterman, but this is forgotten a few minutes later and we never even find out if the dead man were really Dr. Waterman.

The effects are uniformly bad, but not usually enough so to be entertaining in themselves.  The castle is an obvious matte painting and the stuff on the other side of the portal, whether it’s Hell or the Dark Dimension or I don’t even know, is just the same spot in the woods with an orange filter over it.  There’s a stupid spinning thing used to represent Asmodeus exercising assorted dark powers.  The devil and the sabre-toothed ogre are both stiff and shitty stop-motion puppets.  The animation is surprisingly competent for a movie with the budget of Jr. High drama club, but they’re still not good.  The one exception is the giant green caveman, which looks dumb but is quite convincing as occupying space and interacting with the characters.

One might expect that this movie would be about the temptation of evil.  The monsters in it are summoned using a book of dark knowledge, and in trying to get the book back Asmodeus offers Jim anything he wants – money, prestige, women, you name it.  Problem is, there’s never any sign that the main characters are in fact tempted.  The crazy guy in the cave wants nothing from the book except to get rid of it.  He passes it on to Dave and Jim with evident glee.  Dr. Waterman’s interest in it, according to his notes, was purely scientific.  He summoned demons just to see if he could do it, but he doesn’t appear to have gained anything thereby except the knowledge that it works.  The main characters never even attempt to use the book, even to get themselves out of this mess, they just run around trying to keep it out of the hands of the monsters.  I’d say it’s like if every character in The Lord of the Rings was book-Faramir, but only a colossal nerd would use an example like that.

Honestly, I think this movie was about the wrong characters.  Dr. Waterman’s process of discovering the book and learning to use it, only to realize he’s unleashed things he cannot control, would probably have been a much more interesting story.  The characters from this film could have shown up at the end to fish the book out of the mess, with the implication that they will be its next victims.  This would have been a much better way to explore the ideas of temptation, making a Faust-like character out of Waterman as he is tempted not by riches or fame, but by knowledge and power.

Equinox is not quite #fuck this movie bad.  In order to earn that tag, a film has to be unwatchably dull and/or morally repugnant. I didn’t have any trouble sitting through Equinox but I also didn’t really enjoy the experience.  As movies about demonic forces go, it’s pretty bland and nothing much really seems to happen.  I guess that means I have to forgive Aleczilla51297 for sending it to me, but I’m still looking really forward to a Godzilla film or two.

[samanthaxreed]

                                               SOLO THREAD

Locale: Sam’s apartment / Oceanside Cemetery

Mentioned: @fireinhislungs, @gracetaylorwilliams, @jessexmarino​, @naomixjones​

Dinner with her father went off with only a few conversational lulls, far less awkward than anticipated and yet not completely fluid. Like two people rowing a canoe at different speeds, both attempting to turn it in the same direction without being fully in sync. It would come with time Sam supposed and as she began cleaning dishes, bright hues caught sight of her father throwing a cursory examination of the window latches before shifting attention to the folded sweater on her couch. “Are you holding that for somebody?”

It took everything in her not to snort. “Real subtle... It doesn’t belong to some secret lover if that’s what you’re getting at.”

His chagrin at being caught was palpable enough to soften Sam’s raised brow, almost lingering on the edge of amused before he continued. “I worry about you living in this place alone, Samantha. No roommate, no boyfriend, or... girlfriend?” The blonde visibly winced then, hands resuming the task at hand to avoid discussing something so personal with a person she truly didn’t know well at all. Her father, still a near stranger. “Look, take it from me that too much alone time drives you a little nuts and it’s probably safer in numbers around here.”

The audacity to gently lecture as if his brand of advice mattered in the grand scheme when he never deemed it necessary until now. A measured swallow and breath came before she pivoted features to address him in a way that wouldn’t entirely nuke their still rather tepid relationship. The pair lingered a hair away from disaster and the only indication she managed to give was a firm warning. “Dad, I know what you’re trying to say, but I can take care of myself. I’m doing just fine and you’re forgetting that I literally lived here at one point.” With him and her mother, ironically enough. Apparently Oceanside had been worth settling in during her formative years, but once she could choose for herself it no longer suited the narrative.

“You always did have your mother’s stubbornness.” That, at least, managed to ring true and she might have been able to ignore that comment with a scoff or quick humor picked up from his side, but her father always prodded the right button. “I’m trying to keep you safe, okay?” Definitely a hothead like her abrasive mother because the knife she’d been wiping down tightened within Sam’s slender grasp. Hell of a time to start giving a shit, but she digressed. “Because Oceanside isn’t how you remember it and ignoring that fact’s gonna get you hurt if you don’t pay attention... I understand if it brings you comfort being here, but it’s not the same.”

The sharp utensil she had been cleaning finally clattered against metal as it hit the base of her sink, dropped in frustration because it wasn’t his business. None of it. He surrendered that right when the ink dried on her custody papers; parental claim relinquished unequivocally. “I’m not blind. I can fucking see that it’s worse and I’m not walking around the city with rose colored glasses.” Quite the opposite, suffocating every blossom of nostalgia before it could spring out of the dirt... Or ash, depending upon how one looked at it. “The whole me getting poisoned thing shot that down right out of the gate, but I’m not just–– I’m not giving up on this and lots of people I care about live here.” She swallowed against the vulnerability, choking it down like a bad tequila shot. “Which means there’s something worth sticking around for, so if you’re trying to talk me out of it then go ahead and call up Fletcher. Let him tell you how well that worked out the last time somebody tried.” 

“Take it easy,” he cautioned with infuriating ease against her rising temper. “I’m only trying to look out for your best interest. If something happened to you, I wouldn’t forgive myself.” The chuckle she gave in response lacked both humor and warmth, practically bewildered at his entire savior complex... And bitter, so unfathomably jaded at this ill conceived timing. Too little, too late. “Yeah, well, you’ve been asleep on the job for twenty-eight years so it’s convenient that you woke up to do it now.”

That must have cut deep because her father maneuvered out of the kitchen doorway, hands raised defensively as if she were still holding the knife. It sort of felt like that, but her tongue became the barb instead. Stabbing repeatedly when he hardly deserved it, angered more at unseen and unresolved forces. “I know I wasn’t always as involved as I could have been, but I did raise you––”

“You didn’t raise me, you avoided me because it was easier to spend time at the casino than come home to the life you picked out. And before you start accusing me of favoritism, Mom didn’t do shit either. You want to talk about romanticizing the past? Take a look in the fucking mirror.” Fists clenched against her side were blanched white at the knuckles, three decades of resentment spilling out in verbal blows that Sam knew she couldn’t take back. Nor did she want to, not tonight. “The Williams raised me. And when they were gone, I raised myself and I did a damn good job at it.” 

Some part of her would regret this moment later when his features came to mind, the shame and clear heartbreak written across them undeniable. “I didn’t realize that’s how you felt.” They had backed up fully into her living room, or perhaps she simply cornered her father with truthful criticisms when he’d only wanted to help. So much for repairing their relationship. “Yeah, well... I ruined your lives so I guess it’s only fitting that you ruined mine.” Arms crossed protectively over her middle, both avoiding one another’s gaze out of mutual hurt and then she heard the door unlock. 

“I wish you hadn’t come back here, Samantha.” 

While sounding bad on the surface, she knew full well it was meant as a last olive branch and proof that he loved her despite the vitriol, but Sam’s throat had tightened too far to respond. He slipped out into the evening air and despite how she wished to move, or scream, or burst into a thousand shards to match her internal schism, both feet remained firmly planted for several minutes. 

Then she darted across to her purse, snatching it up along with the sweater draped along the back of her sofa. No phone, she didn’t need to talk anymore. At least no one listed in there.

–––––

One bottle of some cheap rosé from the grocery store later and she was back on the road, navigating some vaguely familiar route down the coast. GPS wound up becoming necessary at some point much to her embarrassment, but twelve years away wasn’t nothing and darkness made fools of everyone. Her car pulled into the cemetery parking lot and for a minute she simply sat with the engine idled, replaying pieces of their conversation in her mind. Not just with her father, but Fletcher, Grace, Jesse, Naomi... People who existed in her former life that now began slotting into this new, convoluted one. 

The gate’s lock was either open already or rusted by the sea air, but it hardly mattered because Sam entered without much barrier. Weaving through headstones, she discovered that the path to her destination sprouted from memory which was altered by nighttime shadows and the fickle mistress of time. After getting turned around once, she eventually made it and settled into a small plot of grass, unscrewing the lid of her bottle and toasting in mock cheers to her company.

                        In Loving Memory of Brooke Williams

The sight alone was enough to tighten something imperceptible within her chest, washed away by the peachy drink and a half-hearted joke. “Sorry for sitting on you, but that should be nothing new. Kick me off if you hate it.” Talking to a ghost as if the long deceased girl were able to hear felt stupid on about three hundred levels, but Sam hadn’t been granted the privilege of catching up for so long. And after arguing with her parent, she just needed her best friend and other half. 

“I think that maybe... everything in my life is temporary now,” she admitted to the silence. “And sometimes I can even convince myself that I’m okay with it. Never attaching myself to anybody or anything.” Mostly through her own design, sabotaging any concept of permanence before it, too, could be ripped away without warning. A self preservation measure concocted when she was far too young; no kid should delve so far into their own fear that they only knew how to run. “Except here. I feel like I keep circling back to this place and these people... And you. Always you.” For someone who only an hour previous claimed to raise herself, she truly did an immaculate job at creating an adult who wound up successful, capable, and so unbearably alone.

Maybe she should have called Fletcher instead, the thought interjected itself and became quickly dismissed. Hadn’t enough trouble been thrust upon his shoulders? And Grace’s? Stripped of their entire family in the course of a single night, tossed into a system which spat them back out, and molded to fit a world that clearly didn’t give a shit. The last thing either one needed was a reminder walking back through their door, but she had with such unfathomable selfishness. Perhaps guilt brewed in the pit of her stomach over how she treated her father tonight or that continuous fear of making the wrong move, but uncertainty brought the rim to parted lips once more.

“I’m not sure what I’m doing anymore, B.” It was easier to draw honesty from her bones out here, less like pulling water from a stone with only a bottle and the faint ocean breeze answering back. Rather than eerie or unsettling, the dim light provided a quiet comfort of remaining unseen in the midst of such raw admittance. “I don’t think I belong in this city like I used to, but I’m scared––” There was that thickness in the far reaches of her throat again. “I’m afraid that if I don’t belong in Oceanside then I don’t really belong anywhere. So what the hell do I do?”

She had belonged once, in a flickering memory of happiness that remained pure despite life’s valiant attempts to extinguish it. Friendship bracelets with her name misspelled on accident. Brooke telling Fletcher he could only join their pillow fort if he killed the spider inside. Grace’s laughter from beneath the hood of an old car as she threw a grease laden rag at Mr. Williams. They were supposed to grow old together, buy houses on the same street, live out impossibly normal lives. So beautifully mundane in their cookie cutter regularity. Even after the worst overtook them, she had been naïve enough to believe in some echo of that future; a broken shell, but enough to keep her head above water.

In that alternate time, Grace taught her to drive manual and took Sam to get her license, the pair bonding in a way that she only dreamed of as a child who idolized the eldest Williams beyond words. She would have thanked the brunette for being the only stable adult in her life and the only one worth counting on. In that alternate timeline, she got Fletcher trashed on his twenty-first birthday and sat on the bathroom floor with him all night in apology. She would have told him the truth at some point, even if he didn’t reciprocate. So many what if’s that were robbed before they even began and now she grasped at smoke, unable to hold it between desperate fingers. Why couldn’t she just let things go like a well adjusted person? Why did she leave claw marks etched into every memory?

More wine, but this time it tasted distinctly of saltwater as the wind brushed over damp cheeks.

[imalifegen89]

A Legacy Left Behind - Chapter - 7 - When the Past Unfurls - Part I

Rating: Mature

Category: M/M

Fandoms: Stargate Atlantis, Stargate SG-1, Hawaii Five-0 (2010)

Relationship: Steve McGarrett/John Sheppard

Characters: Steve McGarrett, John Sheppard, Danny "Danno" Williams, Evan Lorne, Bates (Stargate), Laura Cadman, Alicia Vega, Kono Kalakaua, Adam Noshimuri, PO Higgins (OC), Samantha "Sam" Carter, Jack O'Neill, John McGarrett, Dr. Lam, Catherine Rollins, Wo Fat, Original Goa'uld Character(s), Original Characters

Additional Tags: Action/Adventure, Action & Romance, Military, Hurt/Comfort, Alternate Universe - Canon Divergence, Violence, Character Bashing, Not Catherine Rollins Friendly, No DADT, Swearing

Summary :

"Sure John, I'll call," He promised as the SUV came to a stop in front of them. He and Danny both got in and seated themselves. He then gave a short wave to John who was still standing there by the exit watching them leave. Steve hoped what John had told him would be true, that his dad would be able to make it through. He was not ready to lose his only remaining parent. ‘God please, not again! Not so soon ...' His mind was repeating the mantra as Steve let out a weary sigh and closed his eyes."

Steve will find out about what happened to his father, who was involved in it, why it happened and so much more than he ever bargained for...

Hello All, Here's the next part of the series, and it's a two-parter. There are some plot twists on the way and hope you all will enjoy it.

Aethir - Thank you so much for your hard work and for finding some time to help me with editing, commenting, and giving out very helpful tips and suggestions. Idea bouncing and snark is always so much fun with you!!!

Part 1 - Honolulu General

Honolulu General Hospital

Hawaii

The six-hour-long flight in the old and noisy Globemaster had left both SEALs travel-weary and sleep-deprived. Neither had talked much during the flight, trying to catch a few hours of shut-eye, but among the jarring engine noise, the comms chatter, the endless shuddering, and the training maneuvers, that had been impossible. At the end of the flight, they had thanked the crew and disembarked with relief, each carrying their single duffel.

They were both on leave and therefore in civilian clothes, and instead of the usual armory they carried around, they only had their handguns and with extra clips in their bags. Although they were only making a visit to the hospital, neither of them was willing to go completely unarmed.

A short taxi ride brought them to the hospital from Hickam closer to the midday visiting hours. They figured if needed, they could wait in the hospital until they could see John McGarrett.

……….

"Hello, My name’s Steve McGarrett, I got a call last night about my father. Somebody named Curtis called me," said Steve, presenting his credentials to the male nurse manning the reception area of the Outdoor-Patient-Department. The nurse - L. Rider, according to his name tag - gave Steve and his ID a once over and started accessing his system.

"Yes, Mr. McGarrett, your father's been moved from the ICU. He’s in room 308. You can take that elevator to the left," he informed.

“Thanks.”

Steve and Danny both took off towards the given directions.

The room Steve's father was in wasn't hard to find. It was located on the third floor and the room had the number and the name 'John McGarrett' on a plaque clearly displayed. It also had 'Dr. Leonard T. Lester - Cardiologist' listed as his primary care physician.

"I'm going to go look around and find some coffee. Do you need anything?" Danny asked. He was going to give his friend some time with his dad before going in.

"Yeah sure, I could use some coffee.”

……….

During the six long hours he’d had to think about what happened, Steve’s mind had been busy contemplating some horrible scenarios. He hadn’t realized that he had been subconsciously bracing himself for the worst. Nobody in his family had any history of heart attacks and he didn't know what to expect, what to do or how to prepare. Being the trained planner that he was, Steve found the lack of knowledge rather unsettling.

What the nurse at the reception told him, gave him hope though. He theorized that since his dad's already been moved from the ICU to a regular room, his condition shouldn't be that bad.

Steve took a moment to compose himself, watching Danny as he walked away. Then he took a deep breath and knocked on the door before entering room 308.

……….

He stood still by the door to take the scene in.

His dad was lying on the bed and a white and blue hospital gown was peeking out from underneath the white blanket. There was a monitor attached to his chest and Steve could see the leads disappear through the opening of his gown. The apparatus was quiet and its screen indicated a steady rhythm while John McGarrett slept. Steve noticed there was an IV connected to his dad's left hand as well. He scrunched up his nose when the strong odor of antiseptics hit him in the face, contrasting starkly with the smell of gun oil and Old Spice aftershave he usually associated with his dad.

McGarrett senior was sleeping peacefully and didn't seem to be in any pain. Steve was content to let his dad be, preferring to let him wake up on his own. As he stepped further into the room, he saw a chair by the bed and lowered himself to it slowly, mindful not to make a sound. Then he placed his duffel bag on the floor and settled in to wait.

Maybe it was his instincts of being an active duty police officer - John McGarrett surfaced from his slumber knowing that there was somebody in the room with him, within a few minutes of Steve’s entrance. The slight change in the rhythm of the heart monitor alerted Steve to the fact. Not wanting to startle him, Steve leaned forward and addressed his father softly.

"Hey dad," he reached to touch his hand, the one without the IV needle.

"Steve!" His dad's eyes went wide, realizing his son was sitting by the bed. "What are you doing here?" John knew Steve was deployed and he was the last person he expected to see in the hospital this early. He hadn’t even been in here for 24 hours.

"The hospital called me and told me you had a heart attack," Steve explained. He was relieved to see that his dad was speaking clearly and wasn't showing any signs of disorientation or pain. In fact, he looked quite normal. "How are you feeling?"

"I'm alright," John smiled at the raised eyebrow he received from his son at that. So he elaborated. "Just a little tightness in my chest area. But the doctor says it's normal after an attack. Other than that, I really am feeling fine. To be honest, I didn't even know what it was. I only knew I had a heart attack when Dr. Lester told me this morning," He was more curious as to how his son got here so quickly. "Where were you when they called you?"

"Colorado Springs." Steve smiled. He couldn't really get into details about his deployment or his whereabouts other than that, but he was glad that he was in the States to make this trip.

"Hah, and you’re here already. That was quick,"

"Yeah, I got lucky and caught a transport.”

Steve was more than happy to just sit there and exchange pleasantries all day long. But he needed to know what happened first. He got up to go and fetch a glass of water for his father from the bedside table. "Dad, what happened?"

His dad took it and drank some water before handing it back to Steve. Then he turned on his bed to fully settle on his back. Steve put the glass away and leaned towards his dad, giving him his full, undivided attention.

"It was the weirdest thing, kid," said the senior McGarrett, frowning as he cast his mind back to the chain of events that led to his sudden health failure. “I was in that small grocery shop by the filling station near home. I had just finished filling up the tank on the truck and was getting some stuff for the weekend. I remember walking towards the counter to pay and that’s it - for the life of me, I can't remember having any pain or calling for help or anything. I was standing there one moment and was waking up on this bed the next.” He paused to take a deep breath and then exhale slowly. “Then there’s this fellow - Dr. Lester - is telling me how lucky I was to come back from a severe myocardial infarction with no visible damage to my heart,” he made a face, remembering his earlier conversation with the overly cheerful doctor who described the incident in vivid medical detail.

“How’d you get here?”

“He said that the shop owner called for emergency services and sent me here. Apparently, I coded on the way, but they managed to get my heart started again without much fuss. And now, here I am.” John finished recounting the incident.

Steve rubbed a hand across his face, trying to take it all in.

“I wouldn’t obviously know what to expect, it’s not like I’ve had a heart attack before - but I'd have thought that at least you get some kind of a warning sign, you know? Like breathing difficulties, chest pain or something,” McGarrett senior continued after a moment. “Not this going about your normal day-to-day business, and then a complete blackout, followed by waking up in a damn hospital bed - it just doesn't feel normal,” his frown deepened.

Steve didn’t say anything for a long while. He just took his time to sit there and watch his dad who seemed to be doing pretty much okay after going through such an experience. He was immensely relieved and was happy to take his time to enjoy the feeling, letting go of the worry and stress that had built up since the moment he’d received the call.

A knock on the door interrupted the comfortable silence in the room and Danny Williams entered carrying two styrofoam cups of coffee.

“Ah there you are, Cap, how are you feeling?” He asked, handing over a coffee to Steve and coming closer to stand near the bed railing.

“I’m feeling alright, considering,” John smiled crookedly. “Where’s my coffee, Williams?”

“Hey, I don't think coffee is on the approved list for you,” Danny grinned. He was glad to see the man looked healthy enough for someone who had just had a serious health scare, fit to be up and making demands. “Besides, this hospital swill is so bad it might just give you a different problem or three,” he sipped his coffee and grimaced theatrically to prove the point. “So when are they letting you out?”

“Don't know yet, my doctor is supposed to drop by any time now. I don't think I need to stay here any longer at all.” John stated confidently. He was not accustomed to sitting around on a bed all day, especially when he wasn’t feeling different from any other day.

“Let’s let the doctor decide that, yeah dad? As you said, this is the first time something like this has happened to you and they just might need to keep you under observation for a bit - just saying,” Steve cautioned.

He knew his dad and he could see the stubborn man was already planning on going home, to start acting as if nothing happened. He might even insist on going to work unless the doctor gave him strict orders to rest and take it easy for a while.

“Which reminds me, do they know at the station that you are here?” Steve asked his dad before he could start protesting about staying put in the hospital. “I tried calling Kelly before I left, but it went to voicemail,”

“No, I’m on leave - only due back the day after tomorrow,” his dad replied somewhat petulantly.

The room door opened again, this time granting entry to a short, balding Hawaiian native. The name tag embroidered over the chest area of his white coat identified him as Dr. L.T. Lester. He smiled cheerfully at all of them and went to the nearest monitor connected to McGarrett senior.

“So how are you feeling today, John?” the doctor inquired while studying the monitor.

“I’m fine doc, when do I get to go home?” John got straight to the point.

The doctor continued taking readings and making notes with an amused smile on his face. Then he went to unclip the chart hanging on the bed railing and made a few notes on it. After that, instead of answering his reluctant patient, the doctor turned to Steve and Danny to introduce himself. At the end of exchanging pleasantries, he finally turned to address John.

“Well, Mr. McGarrett, I can see you’re doing quite well and your readings are good. But, as I explained to you earlier, what you went through is quite serious and you might have damage to your heart muscle.”

Then sensing the alarm from the visitors of his patient, the doctor hurried to explain. “It’s what happens during a heart attack. The blood flow into the heart gets interrupted and it goes into a sort of overdrive trying to restore the flow. This overactivity can cause damage. Your dad was quite lucky that people near him reacted quickly and sent him to the hospital on time.” The doctor smiled again.

“So, what’s next, doc?” Steve asked.

“We do need to assess the possibility of damage and the cause of the infraction. The most common reason is usually coronary artery disease, which means cholesterol clogging the arteries. There are some instances this could happen if you were experiencing a seizure with severe spasms and contractions. We’ll need to run some tests to determine the cause and then plan steps for the recovery,”

“And how long will all this take?” The McGarrett senior looked crestfallen, resigned to the fact that he wasn’t going to get out soon.

“I actually have you scheduled for some of the tests now. Some blood work, an EKG, and a scan. An attendant should be here shortly to take you for those,” Then the doctor turned to Steve and Danny. “The tests will take about an hour or so. If you need to step out and have a meal or something, now would be the time.”

An elderly female attendant entered the room quietly, pushing a wheelchair as the doctor finished, and started unhooking Steve's dad from his various monitors. Steve took the doctor's advice and took his leave with Danny, after letting his dad know that they’ll be back once the tests were done.

……….

“Well, I’ve gotta admit man, your dad’s right. That does sound weird.” Danny said after listening to Steve about what happened.

“Why?” Steve frowned.

“My uncle Mario had a heart attack a couple of years ago. The man was moving some heavy boxes around. He’d been sweating buckets and breathing through his mouth for about an hour when my aunt found him and made him take a break. Then he felt pain in his chest and aunt Rea took him to a doctor. The doctor took one look at him and sent him to an ER. He’s been suffering from a heart attack for hours by then,” Danny paused and tried to remember the exact details his mother told him about what happened to his uncle. “He is fine now. He had to have a bypass and has to stay away from all the greasy food and the alcohol, but he made it,” he said inspecting the sandwich he took from the vending machine. They were both seated in the hospital cafeteria with bottles of water and sandwiches.

It was crowded and almost all the tables were full with families huddling together having lunch - most probably waiting for news about their loved ones. It wasn’t that noisy, despite being crowded to capacity - and nowhere near cozy or inviting - as one would expect from a busy dining area. It felt as though the sense of expectation, the sense of happiness, and the overpowering sense of grief had all tangled up together to create a very subdued atmosphere. Even the smell of food mixed with the underlying odors of disinfectant contributed to the gloom that pervaded over the souls lost in their own private worlds.

“Wow, I’ve forgotten how crappy the hospital food is. This doesn't look like a roast beef sandwich man,” Danny sniffed at it. “Sure doesn’t smell like it either.” Then he shrugged and started eating. It didn’t taste much better either, but he was hungry after the long flight.

Steve didn’t say anything as he nibbled on his food. He wasn’t really hungry but knew he had to have something to keep his energy up. He was thinking about his dad’s recounting of the incident. He hadn’t said anything to his dad earlier, but the more he thought about it, the less it made sense. What Danny was telling him also made it clear how unusual the whole thing was. He made up his mind to pop into the shop his dad was in, later when they left the hospital. Maybe he could talk to the shopkeeper and even have a look at their security footage if they had any. He might even find something that could explain his dad suddenly suffering a heart attack. Maybe there was something that his dad had forgotten to mention.

He needed to get in touch with Sheppard as well, to let him know his dad’s condition. He knew that John would worry until he heard from him. Taking the last bite of his sandwich, he decided now would be the best time to make that call.

“Listen, I need to call Shep and let him know dad’s alright. I’m just gonna be over there by that balcony,” he told Danny as he stood up, fishing his phone out of his jacket pocket. Then he walked to the area he pointed, dialing Sheppard. “Be right back.”

………..

The sweet and subtle smell of her perfume reached Danny first, as he realized the lady who was wearing it was standing right in front of him. He looked up and saw the familiar, smiling face of Lieutenant Catherine Rollins looking down at him.

“Well, hello!” He grinned. “Fancy running into you here, of all places,” he gestured at the seat Steve had just vacated. “Take a seat,”

“Thanks,” Rollins smiled charmingly as she sat. “I’m just here visiting a friend of mine. She just had her second baby - a cute little baby boy,” her face took on the same expression all women wore when talking about babies. “I popped in here to get a drink and then I saw you,” she said. “I thought you guys were in Colorado? Is everything ok?” Her expression turned into one tinged with concern.

“Yeah, everything’s fine. I’m here with Steve, actually. We got a call about his dad, but he’s alright. We just saw him,” Danny explained without going into much detail. He noticed the Lieutenant perking up at the mention of McGarrett junior.

“He’s over there, on a call.” he pointed with his head.

Steve was leaning over the balcony with his elbows resting on the railing and busy talking to Sheppard. He didn’t see the new arrival as he had his back to them.

Danny saw the wattage of Cathrine’s smile go up as her eyes ran over the view the oblivious SEAL presented. He hid the grin and blinked at her innocently when she turned back to face him.

“So, will you guys be here for a few days then?” She inquired, her gaze snapping back to where Steve was, almost unintentionally.

Danny knew she was mostly interested in finding out whether Steve was going to be around for a while.

“Well, that depends.” He hedged. “We have to see his dad’s doctor and see how it goes,”

He didn’t want to give any definite answers or any other details without Steve’s say so. He opened his bottle and drank some water, wishing Steve would soon return. So that he could decide what to tell this infatuated Lieutenant who was back to staring at Steve’s ass with a dreamy look on her face. Then something started to nag at Danny about what she said earlier, but he couldn’t place it. He pushed it away to sort out later as he saw Steve finishing his call.

……….

“Yeah, so that’s what happened. He seems alright and man, that’s a relief. Depending on what his tests and scans show, it’ll be a day or two more. But I’ll message you when I find out,” Steve said to John, who was quite relieved at the fact that Steve’s dad was fine. He insisted that Steve take as much time as needed to make sure his dad got all the support he needed. He also made Steve promise to message him with updates and implored him to take care of himself before finally ending the call.

Steve put his phone back inside his jacket with a smile. He very much appreciated the time he was given to take care of his dad. Moreover, he was deeply touched by the way Sheppard sounded over the phone. He had been really worried and the relief that poured over from his lover through the call was almost a tangible thing. Steve made a mental note to send regular updates as promised. It wasn’t something he would have done for anyone else, but he knew Sheppard would stress otherwise. It felt nice to know that he had somebody who cared that much about him.

He felt the good feeling wilt away when he turned back to see the penetrating gaze of Catherine Rollins directed at him. He was pretty sure he caught her in the act of staring at his ass. She smiled brilliantly at him and waved. Steve was somewhat reluctant to wave back and tried his best to summon a smile for her. He was sure it looked more like a grimace instead.

Steve didn’t have anything against beautiful women. He was definitely not opposed to being the subject of desire of one, either. He had gone out with many pretty women and Catherine Rollins, with her long black hair, soulful brown eyes, and radiant smile was exactly his type. But he was very much invested in another hazel-eyed brunet and he didn’t see himself veering off anytime soon - if ever at all. Even if he wasn’t, Steve knew that he still wouldn’t be interested in this particular woman. He couldn’t put his finger on it, but there was something off about Lieutenant Rollins - something that rubbed him the wrong way - that made him want to be on his guard whenever she was nearby.

“Hi, Steve,” Rollins greeted cheerfully as he walked towards them.

Again, he was instantly put off by the overly friendly greeting. They had only known each other for about 48 hours, hadn’t they? He had to make a conscious effort to return the greeting without letting his true feelings show.

“Hello, Lieutenant,” He asked, more or less politely. “What brings you here?”

Danny cocked his head to the side and narrowed his eyes, picking up on Steve’s discomfort instantly.

Rollins either didn’t notice or didn’t let it bother her because she launched into the story of her friend and her cute little babies with great enthusiasm.

Steve kept the smile plastered on his face as she talked. Then he made a show of checking time and gestured to Danny. “Hey, listen, it’s nice bumping into you here. But Danny and I’ve gotta run. My dad should be done with his tests now,” he said to the woman as Danny got up from the chair to go with him. Steve didn’t want to give her any details about their visit here and hoped Danny hadn’t run his mouth either.

With that somewhat curt parting, he turned and walked out of the cafeteria, with Danny following closely behind.

“So, it isn’t just me, hah? She gives off weird vibes to you too?” Danny asked, turning his walk into a half jog to keep up with Steve’s longer strides. Steve was eager to put as much distance as possible between them and Rollins.

“Yeah, you didn’t tell her why we’re here, did you?” Steve asked while stabbing the buttons on the elevator.

“Nah, not really. Just told her that we’re here for your dad. That’s it.”

“Is she following us?” Steve was staring at the shiny surface of the elevator door.

The reflections on it were slightly distorted. But Danny could discern the shapely figure of Rollins in tight-fitting jeans and green sleeveless top, slowly making her way towards them.

“Forget this,” Steve spat, pressing a few more buttons for various floors on the keypad. Then he swiftly walked away to the nearest staircase and started climbing two steps at a time. He knew his behavior was a bit irrational; she was just a colleague after all, not another enemy combatant gaining on him. Nevertheless, he wanted to get away from her as soon as possible.

When they finally reached Steve’s dad’s room, the man was already there, enjoying his lunch. It didn’t look much better than what they had either. John McGarrett insisted that there was no need for them to hang around since he was just going to take his pills and take a long nap anyway. He could see the boys were tired and wanted them to go home and catch a few hours of sleep for themselves. Steve relented and promised his dad that they’d drop by later around dinner time. He made him promise to call them if he needed anything before that and then finally hugged him fiercely, before taking their leave.

[multifandomforthemostpart]

An Avengers Movie Script by Random Plot Generator

INT. THE AVENGERS TOWER - AFTERNOON

Patriotic Hero CAPTAIN STEVE ROGERS is arguing with secretive mechanic MR TONY STARK. STEVE tries to hug TONY but he shakes him off.

STEVE: Please Tony, don't leave me.

TONY: I'm sorry Steve, but I'm looking for somebody a bit more brave. Somebody who faces his fears head on, instead of running away.

STEVE: I am such a person!

TONY frowns.

TONY: I'm sorry, Steve. I just don't feel excited by this relationship anymore.

TONY leaves.

STEVE sits down, looking defeated.

Moments later, sad Probably a spy MISS NATASHA ROMANOFF barges in looking flustered.

STEVE:Goodness, Natasha! Is everything okay?

NATASHA: I'm afraid not.

STEVE: What is it? Don't keep me in suspense...

NATASHA: It's ... an alien ... I saw an evil alien make half of a bunch of civilians disappear!

STEVE: Defenseless civilians?

NATASHA: Yes, defenseless civilians!

STEVE: Bloomin' heck, Natasha! We've got to do something.

NATASHA: I agree, but I wouldn't know where to start.

STEVE: You can start by telling me where this happened.

NATASHA:I was...

NATASHA fans herself and begins to wheeze.

STEVE:Focus Natasha, focus! Where did it happen?

NATASHA:Sam’s flat! That's right - Sam’s flat!

STEVE springs up and begins to run.

EXT. A ROAD - CONTINUOUS

STEVE rushes along the street, followed by NATASHA. They take a short cut through some back gardens, jumping fences along the way.

INT. SAM’S FLAT - SHORTLY AFTER

THANOS a destructive alien terrorises two civilians.

STEVE, closely followed by NATASHA, rushes towards THANOS, but suddenly stops in his tracks.

NATASHA: What is is? What's the matter?

STEVE:That's not just any old alien, that's Grape (Purple) Thanos!

NATASHA: Who's Grape (Purple) Thanos?

STEVE: Who's Grape (Purple) Thanos? Who's Grape (Purple) Thanos? Only the most destructive alien in the universe!

NATASHA: Blinkin' knickers, Steve! We're going to need some help if we're going to stop the most destructive alien in the universe!

STEVE: You can say that again.

NATASHA: Blinkin' knickers, Steve! We're going to need some help if we're going to stop the most destructive alien in the universe!

STEVE: I'm going to need big zappers, lots of big zappers.

Grape (Purple) turns and sees Steve and Natasha. He grins an evil grin.

GRAPE (PURPLE): Steve Rogers, we meet again.

NATASHA: You've met?

STEVE: Yes. It was a long, long time ago...

EXT. A PARK - BACK IN TIME

A young STEVE is sitting in a park listening to some Jazz music, when suddenly a dark shadow casts over him. He looks up and sees GRAPE (PURPLE). He takes off his headphones.

GRAPE (PURPLE): Would you like some American candy?

STEVE's eyes light up, but then he studies GRAPE (PURPLE) more closely, and looks uneasy.

STEVE: I don't know, you look kind of destructive.

GRAPE (PURPLE): Me? No. I'm not destructive. I'm the least destructive alien in the world.

STEVE:Wait, you're a alien?

STEVE runs away, screaming.

INT. SAM’S FLAT - PRESENT DAY

GRAPE (PURPLE):You were a coward then, and you are a coward now.

NATASHA: (To STEVE) You ran away?

STEVE: (To NATASHA) I was a young child. What was I supposed to do?

STEVE turns to GRAPE (PURPLE).

STEVE:I may have run away from you then, but I won't run away this time!

STEVE runs away. He turns back and shouts.

STEVE:I mean, I am running away, but I'll be back - with big zappers.

GRAPE (PURPLE): I'm not scared of you.

STEVE: You should be.

INT. ASGARD - LATER THAT DAY

STEVE and NATASHA walk around searching for something.

STEVE: I feel sure I left my big zappers somewhere around here.

NATASHA: Are you sure? It does seem like an odd place to keep deadly big zappers.

STEVE: You know nothing Natasha Romanoff.

NATASHA: We've been searching for ages. I really don't think they're here.

Suddenly, GRAPE (PURPLE) appears, holding a pair of big zappers.

GRAPE (PURPLE): Looking for something?

NATASHA: Crikey, Steve, he's got your big zappers.

STEVE: Tell me something I don't already know!

NATASHA: The earth's circumference at the equator is about 40,075 km.

STEVE: I know that already!

NATASHA: I’m gay.

GRAPE (PURPLE): (appalled) Dude!

While GRAPE (PURPLE) is looking at NATASHA with disgust, STEVE lunges forward and grabs his deadly big zappers. He wields them, triumphantly.

STEVE: Prepare to die, you destructive singular pea!

GRAPE (PURPLE): No please! All I did was make half disappear a bunch of civilians!

TONY enters, unseen by any of the others.

STEVE: I cannot tolerate that kind of behaviour! Those civilians were defenceless! Well now they have a defender - and that's me! Steve Rogers defender of innocent civilians.

GRAPE (PURPLE):Don't hurt me! Please!

STEVE: Give me one good reason why I shouldn't use these big zappers on you right away!

GRAPE (PURPLE): Because Steve, I am your father.

STEVE looks stunned for a few moments, but then collects himself.

STEVE: No you're not!

GRAPE (PURPLE): Ah well, it had to be worth a try.

GRAPE (PURPLE) tries to grab the big zappers but STEVE dodges out of the way.

STEVE: Who's the daddy now? Huh? Huh?

Unexpectedly, GRAPE (PURPLE) slumps to the ground.

NATASHA: Did he just faint?

STEVE: I think so. Well that's disappointing. I was rather hoping for a more dramatic conclusion, involving my deadly big zappers.

STEVE crouches over GRAPE (PURPLE)'s body.

NATASHA:Be careful, Steve. It could be a trick.

STEVE: No, it's not a trick. It appears that... It would seem... Grape (Purple) Thanos is dead!

STEVE: What?

STEVE: Yes, it appears that I scared him to death.

NATASHA claps her hands.

NATASHA: So your big zappers did save the day, after all.

TONY steps forward.

TONY:Is it true? Did you kill the destructive alien?

STEVE: Tony how long have you been...?

TONY puts his arm around STEVE.

TONY:Long enough.

STEVE: Then you saw it for yourself. I killed Grape (Purple) Thanos.

TONY: Then the civilians are safe?

STEVE: It does seem that way!

A crowd of vulnerable civilians enter, looking relived.

TONY: You are their hero.

The civilians bow to STEVE.

STEVE: There is no need to bow to me. I seek no worship. The knowledge that Grape (Purple) Thanos will never make half of them disappear civilians ever again, is enough for me.

TONY: You are humble as well as brave!

One of the civilians passes STEVE a powerful Gauntlet

TONY: I think they want you to have it, as a symbol of their gratitude.

STEVE:I couldn't possibly.

Pause.

STEVE: Well, if you insist.

STEVE takes the Gauntlet.

STEVE: Thank you.

The civilians bow their heads once more, and leave.

STEVE turns to TONY.

STEVE: Does this mean you want me back?

TONY: Oh, Steve, of course I want you back!

STEVE: Well you can't have me.

TONY: WHAT?

STEVE: You had no faith in me. You had to see my scare a alien to death before you would believe in me. I don't want a lover like that.

TONY: But...

STEVE: Please leave. I want to spend time with the one person who stayed with me through thick and thin - my best friend, Natasha.

NATASHA grins.

TONY: But...

NATASHA: You heard the gentleman. Now be off with you. Skidaddle! Shoo!

TONY: Steve?

STEVE: I'm sorry Tony, but I think you should skidaddle.

TONY leaves.

NATASHA turns to STEVE.

NATASHA: Did you mean that? You know ... that I'm your best friend?

STEVE: Of course you are!

The two walk off arm in arm. Suddenly NATASHA stops.

NATASHA: When I said I’m gay, you know I was just trying to distract the alien don't you?

THE END

[incarnateirony]

Hi. So, since you seem to know what you're talking about, I wanted to ask if you could give like ... a short list tips ... of things to always be aware of/think about/question when analyzing something or getting into writing? Have a nice day.

well I had typed something but X’ed out like a dumbass without sending it because my RP group is crack and consumes my focus so lemme try this again.

A few things to track, but I’ll expand on:

Author intent

Cinematographer intent

Production intent

These are in no way mutually exclusive and are very collaborative. However, recognizing that they are not all the same can help you figure out who’s putting in what level.

Realistically, anyone involved in the visual part of the art – directing, camera operation, set design, lighting – could be considered about on par with authors in regards to the validity of their storytelling, as they generate elements to the screen that if this were a book, the author would be etching out themselves. On the other hand, it’s important to recognize the limitations of screenplay format. Pull up some screenplays – SPN, or anything – and recognize it’s almost comedically barren on details. And that’s not to undermine the amount of thought that goes into screenwriting, either.

Screenwriting is an art of packing as much of your intent as you can into as few words as possible, leaving it to the director that takes on your work. Certain directors have made statements (it’s escaping me who it was–Sgriccia?) about understanding how the writing room works and what they’re aspiring after. And that’s good. 

But even after you get a collaborative writers room working with a collaborative cinematography team, you also get editors that run full circle back to the showrunners and other office end team that polish, rearrange, pin together, and trim.

So we have multiple phases of a process that’s really difficult for most people to casually eye, and I get that.

Generally speaking, if you’re looking at seeing primary plot arc direction as the authors at the start of this process intend, you need to look at what’s in the script. And we don’t get access to all scripts, but on reviewing a plethora of scripts both SPN and non-SPN, you can at least have a fairly clean shot at what kinds of things likely are or aren’t.

The directors collaborate off of work started by the writers, so the writers are the cornerstone in direction, characterization, etc; these are the primary things that propel our story, the rest just fulfills it. Knowing where to divorce these things from each other can be a huge step.

That’s not to say you completely ignore visuals either. There’s a vast wash of art in the crafting of set, the framing of shots, the choices in lighting and so on.

One of the problems I find, however, is that people will just get hell bent on an idea that X color will always mean X thing in X situation. Taking a few days to research color theory in film is something I very loudly suggest as a start. There is, most definitely, color theory but it’s not so clear cut as like “the drapes were blue here and the chair three episodes again was blue and Dean sat in it while talking about Cas so clearly the drapes are his window to thinking about Cas” because that’s… That’s not… I promise you that’s not how creators think. I literally just promise you that.

Hue, Saturation, Brightness, scale of color, there’s all kinds of psychology attached to the use of these in film, or different color coding. It’s the same logic on why most trashy high volume fast food places make their logos red and yellow or red and orange, because that evokes a feral side that induces hunger (or, depending on HUE, SATURATION, BRIGHTNESS AND TONE, anything from fear to rage to passion). Basically, lighting and elements like this are your Big Mood. Big Mood matters. But a random prop happening to be a random color is very unlikely to have major significance unless it is a focal point object. Objects that are chosen as focal points often have meticulous consideration put into them.

Ambient set design is huge. It can be everything from light to shape of a room, to a consistent theme in the background. For example, if Sam and Dean are reading a lot about exorcisms, the books we see littered around and most disturbed are all about exorcisms or demons. Sometimes it’s less front-facing than that, like perpetually taunting the background with themes related even if they aren’t textually searching for this. Modernly, that’s hermetic books and emblems, for example. These are all very relevant to the overall story arch. But if you’re looking to find that one Red or Blue or Green book binder to compare to a lamp shade from several episodes ago, you’re probably gonna have a bad time and sort of wander off into an area that ends up completely unfulfilled later.

Just like the writers all have their own style – and they do, and recognizing these styles can help with a lot – the directors do too, and how they choose to work and frame sets with the lighting team are not identical. You wouldn’t try to directly conflate the art of Munch with Gauguin, I hope, and that’s something we have to recognize here. The writing is the subject and they are the painters. And there is a strong stylistic theme, wherein the later production ends like editors mostly tie it into a product that doesn’t look like a wild disaster, but each of their styles bleed through. 

Sgriccia’s directing is not Wright’s directing and never will be. They’re both great. They both visualize the elements and empower things being lifted from the script masterminded from the authors to render it to us, but where they choose to put That Orangish Lamp is going to be in the microcosm of their episode/painting/works, not the macrocosm of the season, as given by the writers, who still will drive our direction.

The directors know and deeply understand what the writers are after, but there’s a bit of a hazard in conflating everybody like they’re one singular artist, rather than dozens of collaborative artists manifesting this on different tiers. 

Directors can, to some extent, know the story arena in the future too and choose to frame shots in it with strong visual storytelling. Knowing keys to visual storytelling is also really important, rather than getting lost chasing the story behind a black pipe that set designers just put in there because the building needed a damn pipe. Because part of building a set is also making it coherent and a lot of elements simply exist. Understanding if the director is dynamically framing it to call attention to it, however, is something else. 

One of the boldest examples I can think in recent history was when I had random directing drabbles about 14.7 (x) I simply observed very pointed plot (re)construction that changed depending on angle in a conscious decision. Dean being “boxed in” was a statement I wouldn’t even understand the full ironic dickslap of for a while, but it was right there, in visual storytelling, in something I couldn’t ignore. Or another one about the difference of focal point objects, such as the keys to the comic legacy (x) which finalized my faith that John was, in fact, returning.

Or in text, the literal dialogue of Michael (and, before that, Lucifer), over daddy issues, that had me swearing Chuck literally was going to come back this season, non-negotiable, in echo to resolving John-Sam-Dean issues as well. 

The thing is, many of these do boil down to the script - focal point items (mix tapes, literal keys by the ghost, dialogue). And the directing drabbles picked out a specific set of frames that literally required purposeful (re)construction which caused a visual storytelling element.

Personally, I am very, very picky about what I meta over or point out. And that’s not popular around here. Somebody’s always gonna crow “how do you know better”, and any time they get that answer they get offended like “well now you’re just rubbing it in my face!” – in the end, anyone CAN analyze anything, the point is whether people are wrapping their brains up in an idea that’s sort of sending them off to never-neverland and won’t pay out.

Key focal point objects versus ambiance; text versus cinematography; they’re all important, but all don’t drive our forward motion with the same thrumming baseline as the writers churning out content beneath it all. The others bring it to life and yes, collaborate with them, but there needs to be a certain level of judgment applied before diving off chasing dogs in picture frames if you actually expect it to lead anywhere.

And again, I point out to scene ambiance, which can be great to discuss! But those need to be held as microcosms unto themselves or at least that director’s hand. It can be interesting to study little things painted in the layers. My Red, Yellow, and Blue studies for Optimism are an example of that. I do enjoy color theory, but I often restrain myself from engaging in it because people tend to get ahead of themselves and not apply the other… stuff. *gestures vaguely above*.

Honestly, read about things like color theory, dynamic cinematography methods and more for that front, and read through some scripts to recognize the levels before trying to study and pitch into them entirely. 

[lightsandlostbells]

Druck season 2, episode 5 reaction

Sorry this is late! You can blame it partly on the ~polar vortex~ and partly on fatigue. 

anyway, who’s ready to solve the great mystery of the ages, Whose Dick Is That

Episode 5

Clip 1 - Hotel Hardenberg

The doorbell is ringing. Mia wakes up in utter contentment, love that little shot of her foot stirring. The apartment seems to have been tidied up and Alexander’s bed on the floor put away.

Alexander has left her Post-Its as a parting gesture, there’s one on her phone with a heart. Charming move! He comments that she snores. Also charming from a certain perspective (that perspective is Mia is adorable). His other Post-Its in the apartment indicate that he’s made her rosehip tea and thank her for staying at Hotel Hardenberg, what a dork. 

Mia gets up to go but then strips the bed. A sign of her compulsive neatness and need for order, especially after that order has been broken by staying at Alexander’s? Or just her wanting to be a thoughtful house guest? Or her wanting to erase the evidence of her presence? All three?

On the way out the door, Mia runs into Björn, who describes himself as a friend of Alex. So, probably not his brother. He’d tell her if he were his brother, right? Saying “I’m Alex’s brother” seems more trustworthy for most people than “I’m Alex’s friend.” And he gave his real name, we know that Alex is referring to a Björn in his text messages with Sam, so Björn can’t have been worried about Alex telling Mia about him and Mia knowing who he is.

Björn says he’s here to get something. I sure bet Alex doesn’t know about that! Something shady is happening! He asks her name and Mia gives it to him. Ohhh, dear girl, you don’t know it but that was probably not a good move. (The biggest plot twist would be if Björn was some totally harmless guy that Alexander had wronged, so Björn was trying to avoid him at all costs and Alexander was trying to find him and apologize.) (I 100% do not believe that is the case but damn it would be a trip.)

The clip started with the doorbell ringing so that must have been Björn. Was he trying to see if Alex was home so he could sneak in while the place was empty? Because evidently Björn got into the building fine, and usually there’s better security in those places, and he’s the one who opens the apartment door, not Mia, so he must have had a key. My guess is that Björn is like the sister’s boyfriend/ex/friend who would have had access to the apartment before Alex moved in.

Alexander sent her a text that he’s in London, doing business/real estate stuff for a few days. #ishereallythatrich - Heh, but what are the odds he’s doing something else?

So I bet that’ll come back eventually, that Mia saw Björn entering the apartment, and she didn’t tell Alex right away. But damn, imagine if Mia hadn’t woken up with the doorbell and Björn walked in on her while she was sleeping. Or if she hadn’t left yet and caught him rummaging around through Alexander’s shit.

Clip 2 - Linn the apartment ghost

One week later due to the hiatus, Mia and Alex are texting. When he asks her how she’s doing, she starts to type out a friendly reply but then stops herself, but unfortunately Alex can see when she’s typing

He asks her to go out for a drink, she says she has to study. They have some “banter” and I know they are flirting but it just makes me tired that part of their dynamic is “I won’t go out with you” followed by “Are you sure?” It’s an issue that extends beyond Winterberg, Noorhelm, or any other version of this pairing - men are socialized not to take no for an answer from women, and it’s too prevalent in real life to really get over it in fiction. Like this texting could’ve been about anything else, more banter about them snoring (Mia says he also snores) or her playing the piano or his Post-Its or literally anything other that this no-yes-no dynamic. 

It’s exacerbated because it is a case of “Well, she doesn’t really mean no, she does actually like him.” Mia almost seems disappointed when Alex stops texting back. And again, one of my big problems with how Noorhelm and all its equivalents have been portrayed is that we don’t need more stories where a girl keeps saying no when it turns out she kind of means yes. You can’t separate this individual story from the larger cultural trend. 

LMAO, Linn announces her presence by loudly slurping on a drink behind Mia  She just wanted to see what’s up with Mia and has been standing there a while. This moment is played for laughs but I think it’s also meant to be a reminder that hey, Mia and Alex aren’t in their own little bubble, other people exist and are eventually going to find out that something’s happening with them. It’s almost like Mia has been caught. 

New shot during the end titles of Mia in a hoodie looking dramatic. So far we haven’t seen any of these little end scenes in action. Are these just for promo? I think it’s more likely that they’ll happen in a later episode, I just find it interesting that none of them have taken place yet.

Clip 3 - Dicks in the air

Photocopies of boobs and blurred out dick drift by like tumbleweeds with nipples as Mia heads into the school. A girl hands her a boob picture for some reason, as if Mia needed one for personal use.

When she steps into the school, there’s boobs and ass and dick and the middle finger everywhere. We can hear a literal buzz as people observe. Accompanied is graffiti that says Abi Chaker Clan 2019 - 12 Years Family! Lmao, is that a teacher frantically trying to gather up copies on the stairs? You try your hardest, sister.

Kiki steps up and observes, takes a picture of the display. Where have you been, Kiki? Last we saw you, you were breaking Carlos’ heart.

Kiki thinks she recognizes Alex’s penis in the pictures, and Mia is like “get that picture out of my face plz.” Kiki hands it to Mia as she walks away, and Mia can’t resist a glimpse of the dick, which is blurred out for us viewers, by the way. I’m just laughing at the thought of Kiki the dick detective solving this whodunnit. Remember on New Year’s where Mia was kinda “???” about Kiki’s future profession and ended up with influencer? I would say Kiki’s true calling is solving phallic-related crimes and picking dicks out of a lineup except, as we learn later in the episode, she ain’t that great at it after all.

Hanna shows up in an echo of Kiki’s entrance and is like, WTF, we’re in trouble. They see Alexander and Jonas hugging it out in the distance and are like, when did they become friends? So I’m guessing this graduation prank is taking the place of the Yakuza fight, and it’s Alex and Jonas who have the suspicious friendship rather than P-Chris and Isak. I APPROVE. The Yakuza thing has always been out of place IMO, tonally, and I didn’t like how the fight ended up leading to excuses against William smashing a bottle on a dude’s head. This prank is something that’s serious but not so serious that I’d consider it a red flag/dealbreaker against Alexander. It’s also a lot closer to Mia personally, and affects her and basically all the characters - the Yakuza thing felt weirdly disconnected from Noora and the girl squad, only something that involved them because they happened to witness that one fight and some of their friends/boyfriends were involved. 

It’s also a replacement for the Penetrators trashing the cabin, and I fully realize that this is hypocritical but I also prefer this somehow even though it’s functionally the same thing, destruction of property. Maybe because again, it’s more connected to the rest of the characters as a plot point.

There’s this rather extravagant shot of someone throwing a bunch of the copies over the banister and they float down around Mia, just a ton of boobs and butts and dick wafting like snowflakes, and it’s so ridiculous that I love it.

Clip 4 - Mia keeps some interesting things in her bag

Leonie’s leading a meeting, again. This time it looks like more of the graduating class, not just the committee. She explains that somebody, probably several people, broke into the school Saturday night and made copies of their …. She trails off and Carlos helpfully supplies the displayed body parts with anatomical precision.

Someone give Leonie’s actress an award for that brief look of disdain at Carlos after he says “You’re welcome” and before she turns away. 

Because someone sprayed the Abi Motto on the wall, the school thinks someone from our year did it. Carlos and Jonas call it bullshit, fake news. Just as an aside, I’ve seen the term “fake news” pop up as a joke in SO many films and TV shows recently, including that Kurt Russell sexy Santa movie, and like ... I certainly understand why and I’m not opposed to “ironic” usage, I’m also just aghast that we’re at a point where it’s mainstream, you know? 2019, man.

Anyway, one of the new and expensive copy machines broke from the prank and “copy orgy”. Sam whispers to Amira that they didn’t just make copies - so was there a literal orgy on the copy machine? Or just the weight of people’s asses broke the machine? 

Kiki says she thinks it was Alexander, and I thought it was extremely fishy for Kiki to be so quick to blame Alexander, and that maybe she was involved in the prank or even trying to frame him, but obviously that turned out to not be the case. So I think she just wanted him to be guilty so he could get in trouble. And she’s telling Mia, who she thinks will be an ally in blaming Alex.

So now they owe 4500 euros to the school. Either who did it owns up and settles it with their insurance, or the school takes it out of the Abi account. Leonie gives the culprits a chance to reveal themselves. Man, what if Leonie was involved? The perfect crime, the least likely suspect…

Alex smiles over at Mia but that expression fades, Sara waggles some xeroxed breasts at him and he smirks. So those are her boobs, right? She seems pretty proud.

No one confesses to the crime, so Leonie says they have to raise the money again, thanks for nothing. Lmao, Leonie is such a hall monitor type that she’s really growing on me.

There’s some tense music as Mia is exiting the room, and of course Alexander is waiting for her. She walks right by him, to the door. On second thought, she turns around, pretends to rummage in her bag (we see she still has the dick pic so I guess the possibility that it’s Alexander’s is enough for her to keep it around) and then pulls out what she was looking for - a middle finger. That’s so petty, I’m in love with her. She goes out the door and Alexander does not seem pleased.

I mean, to be fair to him, Mia did jump to conclusions right away. (Conclusions that happened to be right, although not about the dick pic.) And I think this was in a way about re-establishing the natural order of things, getting back to “Alexander’s a selfish asshole” territory rather than her liking him, in addition to the whole class being punished. To be fair to her, too ... it’s only recently that he’s shown some decency, and he has a history of doing crappy things. 

Alex was texting Mia on Saturday, though, right? About wanting to go out and get a drink with friends? So maybe that will be used to exonerate him, he was busy with other people. (EDIT from the future: Lol, nah, his “drink with friends” turned into the prank, I guess.)

Clip 5 - Team Michi

Mia has handed over the dick pic to Hans for his opinion, I guess? Hans seems to be a penis connoisseur so I understand the sentiment. And his opinion is that it was a “heavy petting orgy” at least. He asks Michi for his opinion. Good, Michi is there! I think it’s nice if Hans is getting a little romance of his own, although he better be treating Michi right and not taking him for granted.

Hans teases Mia about why she wants to know so badly about what happened at the school on Saturday night, and if she isn’t a bit jealous. She says curiosity isn’t the same as jealousy. Sure, but the two aren’t mutually exclusive.

Mia goes to ask Linn for her opinion (Linn is sleeping already) and Michi feeds Hans. They have a little couple moment. Aww. HANS, TREAT MICHI RIGHT. He’s cute and he makes food for you. 

I’m wondering if the whole Hans/Michi thing is going to be a parallel to Mia and Alex, where a relationship that didn’t seem feasible at first becomes something real, and maybe they’ll have some relationship difficulty when Mia and Alex do. Though in the beginning of the season Hans and Michi seemed to parallel Alex and Kiki quite clearly, or at least Mia was making that connection, so who knows.

Clip 6 - Always look before crossing

Mia is leaving for school in the morning, and who should be there but Alex with two drinks in his hands. Rosehip tea or cocoa if he’s feeling sentimental. 

We don’t hear what he’s saying because Mia has her earbuds in, so it’s just the faintest sound of his voice over the music. She ignores him and goes to unlock her bike, he keeps talking, she points to her earbuds to indicate that she’s not listening. We see him mouth “please” and she finally takes out her earbuds and accepts the drink. Which I would too, because I’m shameless and thirsty and I wouldn’t turn down a free warm beverage in the morning.

There’s a little editing blip because in the clip, the music doesn’t cut out right as she takes out the earbuds, it’s a moment or two later when she puts them in her pockets. They fixed it in the full episode, though, and it cuts out when she takes out the earbuds.

Alex clearly sees Mia taking the drink as a victory and smiles. They walk along side by side by a moment until Mia calls him out for being spoiled and doing whatever he wants and not owning up to it. He says they were drunk. Wait, so he DID do it???? And he says she’s blowing it way out of proportion?? I’m surprised because I thought we’d learn that Alex didn’t do it after all. It seemed too obvious, Kiki was so eager to blame him that it seemed like a misdirect. And I mean, I don’t think it’s right that he and the others are making the entire graduating class reap the consequences, but I don’t think the prank is an unforgivable thing he did in itself. 

They argue a little and she’s about to bike across the road when Alex grabs her and pulls her back just as a car goes by, honking. She’s like … this doesn’t change anything. Alex is like, well it kinda does. “I saved your life, Mia Winter!” Well, she was distracted by him in the first place, so consider it even? (I binge-watched Russian Doll on Netflix this weekend so I can’t help but think this moment could have taken a drastically different turn.)

Mia bikes away but is smiling, which is awfully chipper for someone who just had a brush with death. I would be in the fetal position the rest of the day.

Alex stares after her and walks in the other direction. Errr … away from the school? I assume he was going back to his car, parked closer to Mia’s place.

So that mystery was done solved pretty quickly and anti-climatically. Kinda disappointing because I think it’d be fun to drag it out just a teensy tiny bit more - the mystery element of Skam is something that’s really underrated, when you think about it, even though it’s a large part of what kept people watching in real time.

Clip 7 - Sam just drops a bomb

We get a closeup of Sam blowing a bubble with her gum and then popping it. Like how she’s about to burst that bubble about Mia and Alex? 

The girls are discussing the prank and that Alexander was in on it. Kiki is like, I knew it. Damn, she really wants him to go down. I don’t blame her, though.

When Amira asks how Mia knows, Sam says Alexander probably told her. WHOA HOLD THE PHONE. Druck is throwing curveballs everywhere this episode. I did not expect to see Sam reveal this information so quickly and casually; I thought she’d save it for a more dramatic moment later on, after Mia and Alex definitely were a thing. Sam says Mia is always talking to him, and Mia rushes to explain that it was all because of Kiki (lies) and she told him what she thought of him (well, that part is true) and that Leonie told her about Alexander (another lie - not looking good for Mia).

All the girls get a text at the same time. Sam says her battery sucks so we conveniently get Hanna reading the text out loud for us viewers. Alexander has arranged a benefit concert to make up for the damage so no one has to pay extra. BOY SAM WILL BE PERFORMING, and there will be a surprise musical act, too. I’m just glad to see the toilet man again. 

The girls are excited and Hanna’s like, TIME TO STOP STUDYING. I don’t think she needs much of an excuse, really.

Alex texts Mia to say if she doesn’t come tomorrow, he’ll cancel everything 😊 GODDAMMIT. I realize Alexander is supposed to be a dickhead, but do we really have to keep this manipulative crap? Can he not just be like … arrogant and jerkish without that element?

Kiki looks at Mia getting another text, and you can see the suspicion all over her face. Sam’s comment struck a match.

Clip 8 - Mia crosses that bridge, y’all

I love when we get a long-ass Friday clip, thanks, Druck!

Mia shows up to the benefit concert by herself, and Toilet Sam is rapping onstage. Hello again! She runs into Kiki and says she’ll join the group in a minute. Does she need to talk to Alexander first?

We see Mia putting on that bright red lipstick in the mirror. I am sure she’s doing it just because she likes the color and not because there are any Alexander-related motivations that she would never admit.

Mia notices Alex skulking across the club and staring at her like some kind of Edward Cullen wannabe. It’s only episode 5, I guess they still have time to pull off a sudden vampire twist. (And I mean ... Alexander did just pull Mia out of the path of a car ... a Twilight parallel if I ever saw one.)

Of course Alex sends her a text telling her she looks gorgeous. It looks like he wants her to drink with him; however, Sarah comes up to him and gives him a hug and kisses him on the cheek and talks to him. He doesn’t look very enthused, but Mia smirks and shakes her head at him. That Alexander, up to his old tricks! Between that and the copy orgy I’m sure she’s thinking Alexander and Sarah have a thing.

People dance and drink to Toilet Sam’s performance. We see Jonas getting really wasted, and Matteo seems kinda done with it, so it’s Hanna who pulls drunk Jonas off the dance floor, and he tries to kiss her. MY HEART. But she pushes him back and asks what’s up with him. He says, you’re what’s up with me. THE ANGST. I said this last season, but Anselm Bresgott is a great actor. He’s able to convey a lot of vulnerability with his eyes. 

When this happened I thought that maybe instead of drunk Eva/Vilde makeouts we would get sad intoxicated Jonas trying to kiss Matteo in this clip, and I was all for THE ANGST that would bring. Either that or Jonas was gonna make out with Toilet Sam. 

(He did not make out with either of them - yet - but it’s OK because there turned out to be enough of THE ANGST as it was.)

Alexander comes onstage and Toilet Sam gives him a shout-out for organizing, and that they beat their goal (by almost half, awesome). They’re giving the rest of the money to plant trees on campus, to make up for all the dead ones they spent showcasing students’ genitalia. How noble!

Sarah is the surprise performance of the night! So her contact with Alexander was not necessarily about them hooking up, but perhaps her thanking him for giving her the opportunity? Sarah sings idontwannabeyouanymore by Billie Eilish. 

After some more eye contact with Alexander, Mia leaves the room and goes upstairs. But Alexander stands in her path and won’t let her go to the bathroom. Come on, dude. You’ve been doing some things right but this episode you’re doing all these little entitled things.

He’s like, Mia, what do you want. He fixed everything? Everyone’s happy, so what’s her problem? LMAO again at this entitled attitude. She owes him nothing! The thing is - even if she really really likes him and wants to kiss him and be with him - she still owes him nothing! She’s allowed not to act on her feelings because she feels it’s a bad idea! Get out of here with this attitude that Mia is doing him wrong because she likes him but won’t give in and be with him.

He lets down his hood and rakes his hand through his hair in a strangely vampire-ish way, and says there’s something between them. He likes her a lot, but he’s tired of these games. Dude, you’re the one starting many of these games now. Yeah, Mia is definitely responsible for much of what happened earlier in the season, and she could certainly be better about not contacting him, but he’s also the one showing up at her place with a drink and telling her he’ll call everything off if she doesn’t show up to the benefit. He gives her the lines about if she doesn’t like him, say it to his face and he’ll leave her alone forever. Just as he says that, Kiki comes out of the bathroom, and there’s some heavy eye contact between her and Mia, and oh right, that’s what Mia doesn’t like him, that’s why Mia can’t be with him.

Heh, he put down his hoodie to confess to her, because he was being open about his feelings, and then when she’s rejected him, he puts it back up. He’s ~putting up his wall again. 

Mia then goes into the bathroom and has a mini-breakdown, as the song switches from the cover to the original. She’s teary, she’s wiping off her lipstick. Props again to Milena because she’s really selling this season. She looks for some toilet paper, but there’s only the cardboard for the roll. So she goes in her purse for something and comes up with the Post-It Alex left her about Hotel Hardenberg. Ahhhh, now that’s a nice little detail. I’m one of those people who just ... does not clean out her purse until she buys a new purse, lmao, so I can imagine Mia shoved it in there and forgot about it, without being very sentimental about it at the time. But I like that it came back at this crucial moment.

Mia grabs her coat and runs out of the club after him. When she catches up to him, they’re on opposite sides of a bridge, so we know what’s gonna happen. Someone’s gotta cross, or they have to meet in the middle.

She says it’s cold, he offers her a beanie, she comes forward and shows her own beanie, they both put on beanies at the same time. It’s a big beanie fest. What’s important that Mia crossed the bridge and closed the gap. The symbolism is obvious, but ... well, it’s there.

She says that she likes him, but doesn’t want to like him. He’s an egocentric prick, but then he was clever and funny and nice that one Friday, but then he disappears for a week and pulls that stunt copying his dick and plastering it around the school. Alex is like, who said that was my dick? Mia is like, well whose dick was it? Alex nods over her shoulder and we see Jonas stumbling around drunk as fuck. LMAO. Mia had Jonas’ dick pic in her backpack. She was going around thinking she got a glimpse of Alexander’s junk, showing it off to her roommate, and it was Jonas’ all along! And Hanna didn’t notice it was Jonas’ dick??? 

I mean, now I get why Alexander and Jonas bonded so quickly. They’re dick twins, if Kiki can mistake one for the other. I’m sure there’s some situation where that would come in handy (no pun intended?) 

Are the two of you going to help out this completely drunk Jonas who’s by himself and who’s wandering into the street before he gets hit by a car or something...

Alex is like, do I look like someone who whips out his dick when he’s drunk? (I mean...) His penis needs to stay an enigma. Okay, goddammit, that’s funny. But Mia correctly points out that every other girl at school knows his penis, so it’s not an enigma.

When Alex is like, now what, Mia looks past him and says, “Fuck,” and when he turns back to her she’s kissing him. Damn, she’s so smooth. They dramatically kiss and he doinks his forehead against hers, it’s quite sweet. Then Alex goes off into the night, probably to find a few necks to drain. He rummages around in his coat for a moment, making quite a show, and of course it’s his middle finger he finds and flashes at Mia. Flipping each other off becoming their romantic couples’ gesture? I’m here for it. 

He also does a little skip hop as he goes. Mia looks after him, smiling. Oh, Mia. Follow your heart, but take your brain with you.

So that shot during the end credits, of her looking outside at something, is not her in the first kiss scene! When will any of these moments happen?

Social Media/General Comments

The week long hiatus was explained in-universe as an “insta detox” among the girls. Matteo did not let that stop him from posting his regularly scheduled memes, though. #fuckinstadetox

Hanna texts Matteo about why Jonas and Alex are acting all buddy-buddy, which we see in the clips, too. Matteo says he doesn’t know. I thought it was meant to be a red herring and that Alex was probably not directly involved in the prank, but Jonas probably was, and maybe Jonas decided to bro it up with Alex since he liked his motto. Except then Alex turned out to have participated in the prank. I guess their friendship escalated when Jonas had his dick out on the copy machine.

But I like seeing a William have friendly interactions with other characters. That was something I thought was kind of lacking with him in Skam, that we didn’t get a ton of insight into his other friendships. He didn’t seem to care much about Noora’s friends, and he was close with P-Chris obviously, but there wasn’t a ton of detail there as to why or what their relationship was like outside of girl drama. I understand that not every character has to be extroverted and buddy-buddy with others, but it makes me think a lot more of Alex as a person when we see him forming bonds with people who he does not want to bone.

Matteo then texted Jonas about the thing between him and Alex, and Jonas jokes that he couldn’t resist Alex’s face. Matteo is jealous! But totally not really jealous, you know, JOKING jealous. Totally. And when Jonas teases him about it, he says there’s no reason to be, Matteo is the only little bitch in his life. I legit want to pass out. And I think Matteo did too, because he sent back a heart emoji. Six minutes later. What happened in those six minutes? Was Matteo just sitting there staring at his phone, wondering how the hell to respond to that? Getting butterflies and heart palpitations in his skinny stoner body?

There are pictures of the benefit with the girl squad sans Mia ... after she left to run after Alex, maybe? ~Foreshadowing?

I’m Mia right now. I was so annoyed with little things Alexander did in this episode, and I’m still pissed at some of his past behavior, and yet I am charmed by him despite it all. It’s heavily due to the performance. I can’t believe Alexander was one of my least favorite Williams across the remakes based on the first season, and he’s skyrocketing here just by virtue of having a personality.

I also can’t believe I had doubts about Mia in the first season. She has my whole heart now, fuckups and all. 

Girl Sam and boy Sam were rapping together at benefit, according to IG. What if boy Sam replaced Kasper and made out with girl Sam in the finale, since it’s unlikely Manfred will fill that role (or at least I hope to God not)? I mean, if Kiki’s ultimately gonna be chill about Mia and Alexander, Hanna being chill about Sam and Sam wouldn’t be too much of a stretch.

In an alternate universe, this season turned into the German remake of American Vandal from here on out and we spent the next five episodes trying to figure out who covered the school in dicks.

I’m not German so please feel free to correct me/clarify stuff!

If you got this far, thank you for reading!

[foeseekerwriter]

Let’s Shred Voltron

Here’s a rather rambling, non-comprehensive breakdown of the ways VLD has royally screwed over its entire cast. Because I’m fed up and needed to get some of this off my chest so I could move on with other projects.

Allura is now a Workaholic Married to the Job. This girl is being made to do everything—be the team’s main diplomat and the leader of the Voltron Coalition (whose alleged size and scope makes the UN look like a children’s play group; this unto itself is a job for at least ten people), be the heart of Voltron by encouraging the rest of the team and giving them advice, pilot the Blue Lion (which entails plenty of dangerous and exhausting aerial and hand-to-hand combat), generate wormholes, be the “support brain” with her knowledge of alien tech/culture/races/etc.—the list could probably go on. This poor girl has been turned into the show’s workhorse, and not even realistically so either. She should be exhausted, worn out, maybe not broken—at least in her resolve—but completely drained by being pulled every which way all the time. But she’s the same enthusiastic, inspiring, almost peppy girl we met at the beginning, which implies that either Alteans have utterly incomprehensible reserves of energy or that the writers don’t care about writing her realistically, they just want her to do all their work for them.

This noble princess has also now been effectively dethroned, with the loss of the Castle and her crown—despite the fact that there are Alteans still out there who, now that Lotor is gone, will quite possibly be looking to her for leadership. This loss of any significant position of power or status aside from being the pilot of the Blue Lion was made abundantly clear when Allura, technically the ruler of the Altean diaspora and leader of the Voltron coalition, was put into a Galaxy Garrison cadet uniform. This was an insult to all the paladins, but most especially to Allura, as it indicates she is now subservient to a government military organization for a country and planet she isn’t even a resident or citizen of (a la the Avengers submitting to a government agency via the Accords in CA:CW). Allura has been stripped of any and all reasons for recognition except her status as a paladin. That (aside from her doing almost all the work to get everything done) is the only reason she still remains relevant.

She’s also been put into relationship roulette. I am thoroughly convinced that Monsanto was setting her up to be paired with Keith during the first two seasons (they spend a lot of time together, and aside from Keith and Shiro’s relationship theirs was developed by far the most out of anyone on the team during that time). Then, when the fans didn’t jump on board that ship and (at least when Allura was involved) tended to look more toward Lance or Shiro as possible romantic interests for her, they did their usual waffling routine and backed off, sticking a toe into the Shallura pool (the “hand touch” bit in S2 and the seesawing tension between Allura and Kuron) before doing their level best to get Shiro out of the story completely and sticking Allura with Lance instead. Now, I’m not against the trope where the guy has a crush on the girl and the girl at first doesn’t like him but eventually comes around (see Han Solo and Princess Leia for one of my favorite examples of this being done properly), but in this particular instance it feels more like the girl being turned into a plot device and stuck with whatever guy the writers decide doesn’t have enough payoff in the story otherwise. It’s fully possible that, written right, Lance and Allura could have ended up together quite plausibly. But the way it has actually been done—extremely arbitrarily with little development of their relationship or healthy growth of either character—it’s a travesty for both of these wonderful people.

Shiro has been taken from his position as The Leader and The Hero, which he filled far more effectively than Keith (see my Sorting Hat Chats analysis of the characters, as well as below) and been turned into fourth tree from the left (right alongside Coran, Krolia, and Romelle). He’s been given the consolation prize of piloting the ridiculous and totally stupid and unnecessary Atlas, but aside from that he—rather like Allura with her status as Blue Lion pilot—has no other relevance to the story.

Plus (and this is a major bone I have to pick with Monsanto) he was arbitrarily given a magic muscle disease that has never been mentioned or alluded to at any point before S7—and then Word of God revoked its existence in the show’s present time because “he’s technically a clone so he’s magically cured.” Aside from this appalling behind-the-scenes wand-waving being an absolute and total writing mortal sin, it makes absolutely no sense because Keith apparently knew about it and yet made no mention of it for six seasons, even when his friend, who apparently needed magical wristbands to keep him healthy, was in an alien prison for a year with no treatment. Shiro should be a total decrepit wreck in 1x01 after going that long without proper treatment. Yet he’s not only fine, he’s able to engage in hand-to-hand combat with five enemies less than two days after escaping (see the 1x01 fight in the cruiser hangar). This is deus ex machina at its absolute and total worst.

And… okay, I’m going to really rant for a bit. Buckle up, buttercups, it’s about to get messy.

So down to brass tacks: Shiro and Adam’s relationship. I don't care if you want to view it as romantic or platonic. Any way you slice it, portraying this relationship as loving, affectionate, and admirable in canon or fandom is an insult to anyone who has loved ones willingly going into danger or away from home for long periods of time—astronauts, military members, law enforcement, firefighters, pilots, sailors, students studying abroad, missionaries and social workers in foreign countries, heck, let's throw in a good chunk of scientists for good measure, as well as the canon characters Colleen and Katie Holt, the McClain and Garrett families, and Mr. Kogane. And that's just the first ones that come to my mind. There are many, many others.

Let’s take a look first at exactly what was involved in the infamous “don’t count on me being here” scene. Shiro has some weird disease that means his health is going to decline in a few more years (see the bone picking above). Despite protests from higher-ups (which, this being a military organization, an admiral saying that a lieutenant cannot/should not participate in a mission should have utterly slammed the door on even the possibility of Shiro going), Shiro has decided to go on the Kerberos mission. Back in 1x05 Sam Holt referred to being in space for “the next two months”. Because Pidge, normally a very accurate scientist, said “it takes months for our ships to get out here” in 1x01 when passing Kerberos, I’m going to give Sam the benefit of the doubt and assume the “two months” is referring to the trip to Kerberos only. So, two months there, two months back, probably no more than two weeks exploring (this is to a degree a token voyage, after all; presumably after its success more rigorous explorations would be conducted). So I’ll give it a generous total time of five months, at most. Five months. Foreign exchange students are gone from home longer than that. And, considering the amount of contact modern astronauts are able to have with people back on Earth, I highly doubt the Kerberos guys were radio silent during their trip. And despite his apparent muscle problem there are no health ramifications for Shiro going on the mission (as in, going won’t make his condition worse). So we’re looking at five months of long-distance relationship, essentially. This is way, way better than many people with loved ones in, say, the military get.

Now, "Don't count on me being here when you get back"—this is emotional manipulation, plain and simple, using threats to the relationship as leverage to get what the speaker wants out of the other person. It is almost identical to saying "if you do X I'll never speak to you again" or "if you do X I'll break up with you", a common verbal threat tactic in abusive relationships. I have a good friend who was in a relationship like this, and the ugliness of that breakup has ramifications even years later, both socially and in my friend's mental well-being. I also knew other people in (non-romantic) friendships with somebody who used similar types of phrases and manipulation to get them to do what she wanted. The strain ultimately tore apart the friend group. These sorts of phrases and tactics are red flags of the highest degree and indicate a relationship that is in no way, shape, or form healthy.

So. Adam doesn't want Shiro to leave for the five-month trip, ostensibly for Shiro's health. But we have no indication that the Kerberos Mission poses any sort of risk to Shiro's health, preexisting medical conditions included. Which means what's really at stake here is Adam just doesn't want Shiro to go and is using any possible reason or tactic, no matter how flimsy or manipulative, to push that goal. This is horribly self-centered and appears to be based entirely in a selfish desire to have Shiro around as much as possible for as long as possible without any consideration for Shiro's desires and dreams (it's made pretty clear that the Garrison, space exploration, and the Kerberos Mission have been Shiro’s dream and goal for years if not his whole life). To even consider this as anything less than selfish possessiveness is dangerous and downright insulting to Shiro, as well as to every single person who has loved ones gone for long periods of time and/or in dangerous circumstances.

Net result: no matter how you read Shiro and Adam's relationship, we should all be glad that Shiro GOT OUT.

(And relationship drama is possibly one of the oldest, cheapest methods for easy plot tension out there. It requires little to no effort on the part of the writer and can create lots of drama without anybody getting developed, just lots of “but you said you loved me!” type stuff ad nauseam. The families of the other paladins have gotten developed, or at the very least been given cameos; why not, instead of using a cheap relationship trick to give fourth-tree-from-the-left Shiro any sort of interest in S7 at all, give us some background info on him? All we know about him is that he worked for the Garrison. We know nothing about his parents, if he has any siblings… we could have gotten so much more, and yet the writers stuck us with this idiotic hogwash.)

Okay, mini-mega-rant over. Moving on…

Keith’s been strongarmed into a leadership role for which he is painfully not suited. To make this square-peg-in-round-hole setup work the writers have copy-pasted a good chunk of Shiro’s personality on top of the erstwhile lone wolf, turning Keith into a schizophrenic who oscillates wildly between inspiring noble leader and the shy, blunt, anger-prone guy we all came to love in the first two seasons. (That is not to say Keith is incapable of being a good leader; see aforementioned Sorting Hat Chats analysis. But this is not the way to get Keith to be a good leader.) To prevent this poor jerry-rigged human from being completely outshone, Shiro has, as I said before, been stripped of almost all personality and pushed as far back into the scenery as possible without disappearing entirely (and Monsanto has outright said they think he’s dumb and boring and wanted to get rid of him. But they were afraid of fan backlash when, for some weird reason, the fans actually liked him. So they didn’t kill him off and opted instead to be their usual spineless chicken selves and not pick a plotline, nominally keeping him around while making Shiro pretty much useless).

Lance is being made to operate as “Voltron’s right hand,” which runs counter to the lore established in S1 and 2 and, thanks to Keith’s writer-induced schizophrenia, means he’s actually leading Voltron by proxy because Keith has latched onto him as the strategist and moral compass (when Keith’s “Shiro personality” isn’t coming out). This has locked Lance into a particular role, when he actually operates best shifting to fit whatever role the situation calls for (again, see the Sorting Hat Chats analysis for more on this). The poor guy is really starting to come across as dragged over the coals and put on the rack; he’s take an awful beating at the hands of the writers and is worn down and damaged with no sign of relief. He seems to be getting Allura as a consolation prize, but as I said before this is a disservice to both of these characters and really just throws Lance’s suffering in his face.

Hunk and Pidge have largely been left by the wayside. Hunk was barely a step up from joining the line of trees in the first place, as the balmera arc was the only place he really shone (he’s had a few bits in episodes here and there, maybe—maybe—once a season, but more as a “look, we haven’t forgotten he exists!” thing than any sort of real character development). And Pidge, once she completed her “find my family” arc, faded into the background right along with Hunk. She tends to be a smidge more prominent than he does, if only because she’s the computer geek—and because she’s the team’s other girl, since Monsanto is all over that doggone “representation” bandwagon—but she’s largely served her purpose and now is simply the tech whiz plot device.

And… oh, good Lord. Don’t even get me started on the rest of the cast. Coran has never gotten a huge amount of development, but to be fair he’s always kind of been a goofy Alfred so it makes sense that we wouldn’t peel back his layers too much. He’s nominally interesting but largely there to help the other characters do their thing. But all the Holts have pretty much just been pawns in Pidge’s arc—we’ve seen so little of Matt Holt as to have no real idea of his personality at all (most of what we “know” is actually fandom-developed), and although Sam proved useful for the “return to Earth” bit he’s only gotten a little more development than his son. Krolia too was pretty much just a plot device for Keith’s arc and finding the Altean colony; since then she’s just disappeared into the scenery to become second tree from the left. Romelle has earned true MacGuffin status, as the literal only thing she has done for the story is reveal Lotor’s treachery (despite the fact that she, along with Krolia, is a powerpack of a character and could probably take down the empire single-handed if given the opportunity).

Plus the villains have been shortchanged along with everyone else. Part of the reason, I think, so many people loved Lotor as a bad guy was because he actually had a pretty good motive and a well-developed personality. He was a whole person. Zarkon kinda was, a bit, since he was obsessed with the Black Lion and that at least gave him some sort of drive. But Haggar? Who, by the way, we haven’t seen since S6? Sendak? Pshh, please. Why on earth would Monsanto bother to give the bad guys motivation and personality? That would distract from Keith’s leadership arc, and Allurance! And—and space wolf! And explosions! And look, Voltron has a new power, so don’t look at the man behind the curtain through the plot holes you could drag a planet through!

I am so done with all this nonsense. So I’m going to go fix everything with fanfiction. Bye.

P.S. “Monsanto” is my admittedly derogatory version of “Monsantos”, the contraction I’ve often seen used to refer to Lauren Montgomery and Joaquim Dos Santos, the executive producers and master-not-minds of VLD.

[eisforeidolon]

Episode: Exodus

What is there to say about this episode, really?  It could have been worse?  At least we got a brother hug out of it?  Oh, look, it’s that part of the season where all the places the arc plot failed get desperately glossed over with even more flimflam?   ¯\_(ツ)_/¯

Yeah, I did appreciate the hug and how Sam and Dean had to look away from each other's eyes after and move on to deal with the crap they were still in the middle of.  Of course Dean figures it's all good if Sam is alive, even if he comes with such fugly baggage.  So there was that good moment. Although it was right after Sam set a timer on his phone for twenty one hours.  Which was a rough estimate, not a definitive timeline.  Given by Lucifer.  You know, Lucifer.  Sigh.

The main problem this episode had was that it really desperately wanted to show a conflict for Jack between everyone else and Lucifer trying to win him over.  Even if you take out the part where earlier this season Jack said he didn't actually feel anything in favor of him now having flashbacks o' guilt?  Which has its own issues in terms of the writers going for innately good woobie Jack instead of anything with more nuance?  Everyone in this episode acted as if Lucifer had pulled some kind of angel mojo off-screen to keep them from speaking against him. 

Dean just keeps yelling for Lucifer to shut up – without actually giving Jack any reason for the hostility.  Sam basically avoids the whole situation, as does Gabriel.  Castiel stands RIGHT THERE like a goddamn piece of furniture while Lucifer spews out his same old tired oh-poor-misunderstood-me spiel.  They don't have to engage with the bullshit claims about Lucifer corrupting humanity he’s whining about, just say all the shit he personally did!  Creating demons from twisting human souls.  Torturing Sam for keeping him from his plans to destroy the world.  Lying - including to, notably, Jack's mother.  There is no real conflict here and you can't make a believable one happen by just having everyone go suspiciously mute for reasons, ffs!

Also, remember all that nonsense in season eleven about how Lucifer turning against God wasn't entirely his fault, it was because he had the Mark of Cain?  Remember how we had the Winchesters bizarrely advocate for his ass to make God apologize to him for being such a meaniehead?  Except, oh, whoops, when they have their big talk, Gabriel is back to saying that it actually was all Lucifer's fault again.  Without any mention of the Mark's influence from him or in any of Lucifer's pity party speeches.  LOL!canon.  

Then we have the usual crap with Mary, the woman who is desperate to bond with anyone … who isn't blood related to her.  The Winchesters were worried all season about saving Mary, desperate enough to risk tearing the fabric of the universe – for reasons!  Despite how many other characters they had much closer actual good relationships to they've let go.  Here, they finally find Mary - who blithely (and rather insensitivity, considering Sam just died) goes on about how she totally understands how they went to so much trouble! Buuuut, fuck off home boys I will always find somebody I care about more than you!  That whole big, cathartic hug and resolve to have a real relationship with each other?  Oh, look, the writers turned that clock right back just to give us more bullshit shallow soap drama of the Winchesters being super invested in a Mary who clearly does not actually give a single fuck about them and isn't shy about letting that show.  I mean, if I felt like the writers were doing this on purpose, intending for us to feel like Mary is just a deeply shitty person at her core, at least that would be something.  Instead they keep trying to insist there's a relationship here both ends care about but, oops, ~*somehow*~ abandonment drama keeps happening!  I honestly don't know why I'm supposed to find Mary any less contemptuous than Samuel Campbell.  Seriously, why?  I question whether she would literally adopt Lucifer before she would be considerate of Sam and Dean's feelings at this point.  I don't get why they, or I, should care about her given the givens.  AT ALL, let alone to the point of risking reality - or are we forgetting about that whole warning thing from Billie completely?  Which is not even to mention the way Mary basically laughs at Dean's concern Jack could go dark side.  Oh yeah, the woman who spent last season being duped by the BMOL and schtupping Ketch obviously has superior judgment about things like that!  Not to mention the irony of her saying of course Jack will be interested, Lucifer's his father, no harm can come of that!  Or are we not supposed to draw a parallel between how much Sam and Dean risked this season in the name of their likewise shit mother for no more substantial connection?  

At this point I honestly wonder, does Singer or somebody else on staff have an unholy fuckton of mommy issues?  First there was that whole horrible tumor of a plotline with Crowley and Rowena and now this nonsense.   Oh, but look, Mary's soooo cool, she's such a “badass” fighter and keeps punching Lucifer in the face, LOL!  That totally makes up for it!  In short - fuck you, SPN writers, for once again making alive!Mary less of an understandable three-dimensional character than she was when she was dead.  

After the reunionating, we waste some time with some random Apocaworld NPCs.  Remember how Michael was supposedly amassing his forces at a weak point between realities and was going to break through and attack the regular world at any time?  On top of the whole rift spell thing?  Time sensitive, nah, the good guys are going to sit here waffling back and forth for a while with some nobodies and a replacement goldfish Bobby about whether they should stay in their burned out world.  Who cares?  I don't.  It’s especially comical following as it does after the previous week’s OMG NO TIME!!! malarkey.  Also feel pretty awkward about the celebration at the end, these people are either strangers or strangers wearing the faces of dead friends that they've just randomly invited into their supposedly secure bunker of magical artifacts.  Acting like being all blasé about it is not kinda creepy is ... really very creepy.

In terms of the whole Charlie and Ketch on a mission side plot, I think the writers were desperately trying to create some kind of meaningful parallel between regular Cas and Indiana Jones cartoon villian reject AU!Cas.  With them both doing the angel interrogation thing and the line about being the same, or whatever?  Like, if they can just desperately imply AU!Cas is actually badass then therefore vicariously...  Even still, I actually minded this ridiculous IHAVEANACCENTSOI'MADIFFERENTCHARACTER!Cas less than the previous ones?  Putting aside the part where it’s complete nonsense that he’s the only familiar angel with the same damn vessel, somehow, for reasons?  I could actually see a clueless alternate universe Cas trying to figure out how to be intimidating to humans and ending up doing a bad adventure film Nazi impression. 

Bad accent shenanigans and faux depth attempts aside, I did enjoy the rescue scene.  Not!Charlie's reaction to being hugged by a giant stranger and Ketch's look and quip at Dean particularly. While I think they missed a bit of an opportunity to make a direct Satan at the wheel joke when they had Lucifer drive the bus, I found it amusing for that nonetheless.  I also actually did like the scene between Sam and Jack and Lucifer there as they’re leaving.  Putting aside the general thrust of the episode's story and exactly why Jack figured he'd be able to pop off and kill Michael in five minutes or so, it was pretty apt to have Lucifer talk to him about thinking you're doing the right thing and having the right thing go wrong.  Of course Lucifer knows all about that - back when he was actually scary, it was how he manipulated everyone.  It's almost out of place for how much sense it makes here for him to sway Jack with that reasoning.  I also actually liked that Rowena had managed to find a way to bolster the spell and keep it open just that much longer.

Not so much in favor of how, of course, Michael shows up at the very last second.  Or how Gabriel offers to sacrifice himself by fighting more powerful AU!Michael with … basically zero grace power.  It made no sense at all, made his resurrection to ruin his redemption arc just to give him a different one even more essentially pointless, and literally the only reason Jack didn't stay behind as the most powerful member of their party to guard their retreat was scripted contrivance.  More specifically, to have Sam ditch Lucifer so Lucifer will team up with Michael and maybe to Jack be all upset?  Which, again, if it happens can only happen because no one was actually willing to tell him exactly why everyone knows his father is a dick. BECAUSE REASONS!  So much eye-rolling, so little time.

I mean, it's not like Michael wasn't already planning to come through elsewhere anyway.  It's not like they didn't already try ditching Lucifer in Apocaworld once already and saw how permanent of a solution that WASN'T (including how it gave Michael an extra source of archangel grace).  It's not like Lucifer is capable of ever figuring out redemption involves real remorse and might actually turn good so there was some real dilemma for him here beyond having to team up with someone he hates.  I guess there were actually some people that were all pissed off at Sam on Lucifer's behalf but that's incredibly gullible and weird, tbh.  Like, there are people who actually bought all that crocodile tears sad face self pity bullshit? Just … wow.

Anyway, maybe this dumb idea of an ending will have some non-contrived point that comes up in the finale episode that I haven't got to yet, but I seriously doubt it.  

[fyrapartnersearch]

Hi there! My name is Noam. I’m 22, use they/them pronouns, and I’m looking for a partner for an RP in the Star Wars, Animorphs, Naruto, or Marvel fandoms.

 A little bit more about me: I’m a big science fiction fan, and I love world-building, banter, and platonic relationships between characters (though I’m certainly not anti-shipping by any means). I have a fairly time-consuming job, so my free time is limited, but I will be able to reply at least twice a week if we’re doing longer posts, or every other day for shorter ones. My post lengths can vary—sometimes it’s appropriate to write only a few sentences, sometimes multiple paragraphs. I RP via e-mail at noam.ersatz@gmail.com

 I’ll happily write relationships between characters of any and all genders, but in general, romance isn’t my biggest priority while writing. I’m not opposed to smut, but I’m also not sure how good I am at writing it! If it happens, it happens, but I don’t want it to be the main focus of the story, and I’m totally fine with having a fade-to-black or just no sex at all. I will not write smut with anyone under 18, nor will I write smut that involves an underage character.

 I’m trans & gay myself, so if you want to have an LGBT OC, or an LGBT interpretation of a canon character, I’m totally down for that. (Or more colloquially: everyone in Star Wars is trans, fucking fight me)

If you’re interested, you can e-mail me at noam.ersatz@gmail.com!

The Fun Stuff (i.e., what I actually write):

Note that I have plot ideas for all these fandoms, and we can also come up with something together! 

 I’m very OC-friendly, please introduce me to your characters! I also enjoy doubling, mostly because I like group dynamics rather than for shipping reasons, but it’s definitely not required. I’ll ship pretty much anything, with a few exceptions that I’ll note as they come up.  I seriously love any kind of AU—modern, high fantasy, Victorian, role-swap AUs, lay it on me.

 ***Star Wars: I’ve always been a Star Wars fan, and with the new movies coming out, I’ve gotten back into the fandom in a major way. I’m mostly looking for something set during the original trilogy/Rogue One or the sequel trilogy years, because those are what I have plot ideas for. If you’ve got an interesting idea for the prequel years, though, I’m game!

Playing: Finn, Poe Dameron, Rey, Leia Organa, Luke Skywalker, Bodhi Rook, Cassian Andor, Jyn Erso, Chirrut Imwe, Rose Tico, OCs.

Plots: 

-Two Stormtroopers plot to escape from the First Order together. One of them wants to join the Resistance, while the other wants to escape and start an ordinary life somewhere far away from the war, but they can’t bear to be separated.

 -[Vague TLJ spoilers] In the wake of the events of The Last Jedi, Rey and Finn are sent out to recruit allies for the Resistance—after all, a budding Jedi and an escaped Stormtrooper make for one hell of an advertisement. As their legend spreads, they’re contacted by someone who believes that they may know the truth about one (or both) of their families.

 -[Rogue One AU] The mission to Eadu never happens, and Galen Erso lives to see his weapon destroy Scarif. The crew of the Rogue One survive, but only because they’re captured by the Empire before the whole planet explodes. Bodhi Rook is immediately imprisoned in the Death Star’s brig, pending interrogation and what will undoubtedly be a very public execution. Jyn Erso is imprisoned on the Death Star as well, because the Empire believes that she may be used as leverage against her father. And Cassian Andor, unconscious and dressed in an Imperial Officer’s uniform, is assumed to be a loyal agent of the Empire and taken to the medical wing. The three friends must find each other and escape, before the secret of Cassian’s identity is uncovered or Bodhi breaks under torture—and before the Rebels destroy the Death Star, with them still on it.

(Note: we can absolutely change who and how many people survive, this is just the first idea I had.) 

-A member of the Resistance is contacted by a First Order officer looking to defect. The First Order officer is their sibling, who they haven’t seen since their own defection years ago. Their comrades had no idea that they were descended from a family of extremely wealthy and high-ranking First Order and Imperial officers, and their sibling had no idea that they were still alive.

**Animorphs: On the off-chance that anyone in this tiny fandom is active on this site, I’d love to do an Animorphs RP!

 Playing: Any of the six Animorphs, Tom Berenson, Aftran 942, Eva, OCs

Plots: 

 -Instead of becoming trapped as a nothlit, Aftran gains the morphing power instead, becoming the seventh Animorph. It goes better than David, but that’s still not saying much.

 -The Animorphs are contacted by the Yeerk Peace Movement, who want to work with the “Andalite bandits” to bring down the Empire once and for all. With the intelligence that the YPM have gathered, and their access to Yeerk bases and ships, the war for Earth could be over inside of a month. However, the YPM know of the Animorphs’ brutal reputation, and demand a show of trust to ensure that they’re not all slaughtered. If the Animorphs want to work alongside the Yeerks, one of them will have to become a Controller… 

-Instead of the canon Animorphs, our OCs find the morphing cube and a dying Elfangor instead! Listen, I never said that I was above wildly self-indulgent plots, that’s like the entire point of RPs.

*Marvel: I’m not as interested in Marvel these days, so this would have to be a really good plot. Mostly interested in X-Men (movies or comics). Mutant worldbuilding outside of the X-Men is always welcome.

Playing: Clint Barton, Sam Wilson, Matt Murdock, Scott Summers, Ororo Munroe, Bobby Drake, Kitty Pryde, Logan, Laura Kinney, Kurt Wagner, Erik Lehnsherr, OCs

Plots:  -[spoilers for Logan movie] Logan survives the border crossing, and makes it to the Canadian safe house with the kids, only to discover that it’s run by his old student, Kitty Pryde. The two friends reunite and settle in to a quiet life protecting the last mutant children—only to be immediately caught up in a mystery when one of them goes missing, along with a human child from a nearby town. The mutants are blamed for the missing child, and Kitty and Logan set out to find the kids before mob mentality can threaten their tiny community.

 -Somebody in New York City is killing mutants, and the NYPD’s only mutant homicide detectives are on the case.

*Naruto: Pretty much only looking for OCs, as I’m not that confident with any of the canon characters’ personalities. However, I still have a soft spot for the Naruto universe, so I’d love to do a roleplay set there!

-A genin team are saddled with an incredibly boring D-rank mission—delivering medicinal herbs to a small monastery in the mountains. Trouble arises when they discover that the monks are harboring a wounded enemy shinobi—and, being devout pacifists, they’re unwilling to surrender him.

 -Shinobi A is wounded in battle, presumed dead by their comrades, and left behind in a harsh environment (snowstorm, desert, whatever). As they struggle to find shelter, they come across Shinobi B, who has also been wounded and abandoned—and is from an enemy country. The two quickly realize that the only way for them to survive their injuries and their environments is to work together, at least temporarily.

[i-fan-misha-do-you]

Misadventures Pt. 1

Word Count: 2097     Warnings: none A/N: Hey y’all! This is part one for my ‘Misadventures’ series, there is literally no plot to this series, at all, so I’ll probably just update whenever something comes to mind. You can read them out of order and it will make sense. Just misadventures you have with the boys. Let me know who you want the reader to be paired with! ALSO! Comment yes if you want a sneak peek/teaser for my new series ft. Kit Walker from AHS, coming soon. Ok, Enjoy! (gifs not mine)

 “I hate these things,” you grumbled as you stepped out of the Impala, slamming the door behind you and walking over to where the boys were standing a few feet from the car. You stepped carefully, trying not to roll your ankle due to the gold heels you were wearing. The long, skin tight dress didn’t help either.  “I know what you mean.” Sam said, his voice giving away just how much he’d rather be sitting in some crappy motel doing research than standing outside a rich vampire’s house in a tux.  “Aww, come on. You guys are kill-a-joys,” Dean said, bouncing lightly on the balls of his feet. “This’ll be fun.”  You and Sam shared a look, both of you rolling your eyes. You knew that Dean was only excited about the prospect of free food and booze. Looking up at Sam, you smirked.   “Nice tie, Sam.”   “What are you- oh, gosh.” Sam looked down at his tie, embarrassment overtaking his features once he realized he’d done it very wrong, with the skinny part on the top. He fumbled for a moment, failing to fix it and only succeeding in tangling it more.  “Good catch, Y/n.” Dean laughed, moving to help his little brother. You shook your head and laughed, looking over at the boys, both dressed up in suits and looking fantastic.  “What are we waiting on?” You asked after Dean had finished fixing Sam up and moved away. He opened his mouth to respond, but was cut off by the sound of fluttering wings and Castiel appearing; his face merely inches from Deans.  “That,” Dean said, quickly stepping back and furrowing his brow, “and come on, Cas, we talked about this. Personal space.”  “My apologies, Dean.” Cas said, his deep voice echoing through the night air. “I did not mean to delay this important- “  “Yeah, yeah, whatever. You’re here now, so we can get this show on the road,” Dean said, gesturing to the large mansion lit up in front of your small group. “Y/n, you got the tickets?”  “Umm, yes,” you said, digging through your clutch before holding up the invitations you’d ‘borrowed’, “right here.”  “Awesome.” Dean said, reaching for one of the pieces of paper. You quickly pulled them away from him. Noticing his confused face, you explained.   “One of the invites is for ‘Mr. and Mr. James Sedki’. They’re married, other is for ‘Dr. and Mrs. Isaiah Hopkins’.”    Realization washed over both the boys faces. Castiel, as usual, did not understand the situation, so he kept quiet.   “Well, it’s only fair if I get to go with Y/n-“ Dean started, turning to Sam. However, the younger Winchester cut him off.    “No, Dean. I had to be gay last time, it’s your turn.” He said sternly, looking down at Dean.  Realizing that they could literally argue about this all night, you stepped in.   “Boys, how about we handle this like the mature, responsible grown-ups we are.” They both nodded in agreement. “Rock, paper, scissors.”  They both gave you the ‘really, Y/n?’ face, but did as you suggested, although they insisted that Cas play as well.  Ten minutes of rock, paper, scissors later, and somehow Castiel had won. He went inside with you as your husband, and both of the boys ended up having to be gay. Together.  Walking up to the big house, you fixed Cas up before instructing him on how to act. Quickly, you straightened his blue tie, turned down his collar and brushed out his suit, taking a moment to appreciate the fact that he’d ditched the trench coat. You smoothed out your long, mermaid style dress hurriedly and began walking.   “Give me your arm.” You said gently. The confused angel held his arm straight out in front of you. Giggling softly, you took his outstretched limb and guided it to his side, bending it slightly at the elbow and resting your hand in the crook of his arm.  “Good job, Cas. You don’t have to talk to anyone if you don’t want to, we’re here to do a job. But if you do, remember you’re a doctor.” You told him as you made your way up the steps and into the front doors. He nodded solemnly and continued to escort you inside. Once you were to the room where the party was being held, you and Castiel found a table that faced the doors, so you could see the boys when they entered.  About three minutes later, they walked in together, not touching one another at all and looking insanely uncomfortable. You told Cas to stay put, and hurried over to them as fast as you could in your long black dress.   “Hi, I’m Cecile Hopkins. Pleasure to meet you.” You said, holding out your hand to Dean and raising one eyebrow expectantly. He took your hand in his, shaking it and playing his part.  “James. James Sedki. This is my- “Deans face contorted for a moment as he refused to say the word.  Sam lightly hit him on the back, causing him to continue. “Husband. Derick.” He turned to Sam, smiling tightly. You quickly shook Sams hand before inviting them over to your table to have a drink with your ‘husband’. They accepted, and you all went back over to Cas.   “We got an estimate of how many are in here?” Sam asked, looking around and trying to differentiate the partygoers from the vamps.  “My guess? Maybe twenty.” Dean said, grabbing a drink from a passing waiter. Chuckling, you shook your head.   “Dean Winchester, so help me if you get drunk, I’m not dragging you out of here.” You threatened teasingly.  “I can hold my liquor, it’s Cas you need to worry about.”  Castiel, who hadn’t been very involved in the conversation up until this point, looked dead at Dean and furrowed his brow.   “I can handle any amount of alcohol you give me. I am an angel.”   “Yep, any amount except a whole store.” Sam joked, making himself, you, and Dean all laugh. Cas simply pursed his lips and stared in the opposite direction.  “Hey, Y/n?” You turned to look at Dean to see that his hand was outstretched. “May I have this horridly slow and untasteful dance?” You giggled at Deans way of saying it wasn’t rock music before nodding and taking his hand. He led you out to the middle of the dance floor and brought you around to face him. Placing his large hand on your waist, he guided yours up to his shoulder, keeping your left hand in his. Slowly, you began to sway, which soon turned into stepping and spinning. Dean was easy to dance with, making jokes and purposely twirling you into Sam when he began to dance with some girl.   You were laughing at a joke that Dean had just made when something distracted you from his beautiful green eyes. Looking over Deans shoulder, you saw a man that fit the description you had for the vamp you were after.   “I found him.” You whispered, and Dean immediately understood. Catching Sams attention, he gestured for him to go back to Cas, the two of you following him.   “Is that him?” Dean asked, nodding his head towards the man you had seen earlier.    “Yeah, that’s him.” You said, turning to Cas. “What do you think, angel?” Cas stared at him for a moment before nodding slowly. “Yes. That is a vampire. I believe it is him.”   “Alright, time to put the plan in action. Y/n, you ready?” Sam asked. You nodded.   “Yeah, I’m ready.”   “We’ll be right behind you, sweetheart.” Dean said, squeezing your hand reassuringly.    “You’re all good, right?” You asked, looking around at each of the boys. They all nodded.   “We got this, Y/n.” Sam said, smiling at you. Taking a deep breath, you nodded and turned around, walking towards the ladies room.  Before you could get halfway, your eyes rolled back into your head, and you fell dramatically to the ground, seemingly fainting. Several women around you screamed, and you heard people rushing towards you. You held as still as you could, hearing Deans voice call out.   “What’s going on?” He asked, pushing through the crowds. “Hey, I know her. That’s Cecile Hopkins. Somebody find her husband, he’s a doctor.”  You felt Dean kneel beside you, picking up your torso and cradling you in his arms.  You could still hear people panicking, but after a moment Castiel’s deep, gruff voice was penetrating the sound of the chaos.  “Where’s my wife?” He asked. You were almost shocked enough to open your eyes; Cas’ voice made him sound genuinely worried about you.   He knelt beside you and Dean, taking you from him and checking you over. This would have surprised you as well, but you supposed Cas had been alive long enough to know how to check someone’s vitals.  “I need somewhere she can rest.” Cas called out, and soon a voice spoke up that there was a lounge upstairs and two doors down.  Castiel scooped you up in his arms and, using what you assumed was his grace, easily carried you up the stairs.  If there was one thing you were appreciating right now, it was how close you were to the blue-eyed angel. You could feel the muscles beneath his shirt, the heat coming off his body. The strange yet captivating scent that only he had.  All too soon you were in the room, and Cas had to put you down on the couch. Dean had followed behind him, and you knew that Sam was close by. The plan had been to cause a disturbance that would prompt the host, a particularly bothersome vampire, to come see what was happening so you and the boys could gank him and his small nest.  Fortunately, your plan worked. Not five minutes later you heard the door open, a low, male voice calling out.  “I heard one of my guests fainted, I came to make sure everything was alright?” You forced yourself not to open your eyes. You couldn’t explain how much you wanted this guy dead; even his voice was making your skin crawl.   “My wife will be fine. You, not so much.” As soon as Castiel finished speaking, you could see a blinding light, even through closed eyes.  Blinking several times, you looked down to see the vampire lying dead on the floor. Sam came crashing in with his machete drawn, almost breaking down the door.   “Easy, tiger.” Dean said, placing a hand on Sams arm.   “I missed it.” He said in disbelief, glaring lightly at Dean.  The older Winchester raised his hands in surrender. “Hey, blame the angel.”   “Blame whoever you want,” you spoke, causing all three of them to look at you, “there’s still a whole nest in this house. You’ll get your turn.” Pulling your dress up to your thighs, you removed multiple knives from your holsters before dropping your dress back to the floor and standing up.   “What?” You asked as you looked around, giving the boys confused looks. They were all staring at you, eyes wide and mouths open.   “That’s a lot of knives to hide in one dress.” Sam commented, swallowing hard. You rolled your eyes.   “That’s not even all of them.” Pushing past the boys, you left the room and turned down the hall. You could hear three distinctive footfalls behind you, so you continued, clearing rooms as you found them.

---------

By midnight you were all sweaty and exhausted, not to mention covered in blood. After you’d gotten rid of the vamp bodies, you’d driven out to a field in the middle of nowhere and parked the car.   Now you were all leaned up against or sitting next to the Impala, drinking the beer that Dean had packed in the trunk.   “Well, that went smoothly.” You commented as you attempted to wipe the blood off Sam’s face. Trying to make you feel better, he leaned down so you could reach him.    “Hilarious,” you muttered sarcastically, your and Sam’s actions making all of the boys laugh.  “You’re right, Y/n. That was a pretty good hunt.” Dean said, taking another swig of his drink. Cas nodded in agreement, opening his third bottle of alcohol.  Looking around, you smiled and let out a satisfied sigh. Here you all were, dressed up nice and covered in blood, yet you couldn’t be more content, because you were doing something that mattered. And you were doing it with people you cared about.  “Alright, sweetheart,” Dean slung his arm around your neck, “let’s head home.”

----------

[templarhalo]

Transformers the Last Knight: Now this is how you do a Transformers movie!

Alright this movie is not perfect. Few movies are. Transfans and causal movie goers alike have pretty diverse opinions and the bar has been set pretty low after ROTF. Critics simply hate it.

So first, I’m going to say SPOILER’S. If you have not seen the movie yet, you may want to revist my review after you’ve seen it in theaters or illegally downloaded off the internet.

The plot like, all Transformers movies is straightforward and action driven. If you came to see a The Usual Suspects style twist, you will be disappointed.

The plot involves Cade Yeager, who has been aiding numerous Transformers who have been coming to Earth. The TRF (Transformers Response Force), under the command of returning character Colonol William Lennox and some asshole named De Santos have been hunting him. The plot delves deep into the secret history of transformers, a brief look into their origins, and a rather epic version of a classic legend. The seeds are also sown for future movies.

The Good.

Humans are no longer categorized into running around screaming, military badasses, or obvious fanservive for heterosexual men. All the human characters play some role critical to the plot. Be it Cade wielding a sword formed from a Knights of Iacon talisman and being the titular Last Knight, to Vivian being descended from Merlin and being the only one capable of stoping Quintessa’s plan.

Izabella, yes I know she’s gotten some flack for her being an appeal to feminists and the fight like a girl trailer, but she does a good job in the film.

Her relationship with the transformers is very sweet. Her friendship with Cade is pure gold. Also the baby dinobots cuddling with her was so cute.

She also yells at Megaton and throws explosives at the TRF’s Gekko ripoffs.

Vivian was quite a strong female character. Unlike our previous female characters, who are were all eye candy, Vivian plays a central role to the plot and steals the role of protagonist from Cade. Her banter with Cade is excellent and her romance with him feels much more natural and believable than Sam’s romance with Mikela or Carly.

Sir Anthony Hopkins stole the show. His balance of eccentric old man, charm, and charisma make him an interesting foil to Cade. He’s also not the only one with a cybertronian gun. His cane is one. And it makes the classic G1 transformation sound!

The Headmaster butler Cogman also stole the show. Doesn’t hurt his voice actor played somebody on Dowton Abbey. Also, “Move bitch get of the way.”

Baby Dinobots.

Merlin, King Arthur and Knights of the Round Table and the Knights of Iacon.

Megatron having a new form similar to his G1

Quintessa.

The bad Sir Anthony Hopkins died. The scene with Optimus becoming Nemesis Prime felt very rushed. One scene he's chained up next he's standing up. Than he's chained up again. We have Onslaught but not Combaticons Over all I give this a 9 out of a 10. The Last Knight somewhat redeemed the franchise, but is still a flawed film. Unlike the last three, this film actually feels like a Transformers movie. It made me feel like a kid again Than, again my first Transformers tv show was Transformers Energon. The scenes with

[firstpuffin]

“It’s just a movie”: Does quality of writing matter?

-Note= minor Avengers: Infinity War spoilers.

As an aspiring creative writer who really cares about writing something fun, internally consistent and plausible, the one phrase that irritates me the most is “It’s just a movie” or some equivalent. It’s dismissive of the efforts of everyone involved, and of fiction in general and it is being said by people who spend money to consume this, for lack of a better word, service. Don’t people want quality in their product?

   I’ll try not to be too serious, or rant and whatnot, but this is a concerning subject matter for me. After all, who wants to spend money on something sub-par?

   I have a friend who watches some of the same stuff as I do and he once responded to my criticisms of a character with “well she’s hot”. I was watching one of the Hobbit movies, doesn’t matter which as I found them all terribly boring, with my mother and when I pointed out some flaws that really grated on me, she responded with “it’s just a movie”. I’m pretty sure I was lost for words and it kinda hurt; given all of her support for my own writing, what does she actually think of my chosen path?

  An uncomfortable amount of television that I watch is honestly quite poor and I justify continuing this by saying that I’m learning from the mistakes being made but when I see a fellow aspiring author who loves a series that is pretty terrible, I become concerned. Let’s take The Flash as an example: in the television series that follows the titular super-powered runner, major plot points are also often major contrivances. The events of the second season only happen because the main character goes back on a promise and lashes out at the villain who was about to leave forever, and earns his eternal hatred. This screws things up, killing one of the teammates (which conveniently leaves his wife free to pursue a new love interest for the next series) and allowing for a new villain.

  But okay, he was new to the hero scene and it was an emotional situation so I’ll let that slide. But then he does something equally stupid at the end of the next series. You see The Flash has had time to mature and has discovered both time-travel and its dangers, so naturally when he gets the girl that he has been chasing from the beginning, he proceeds to go back in time to do what he deliberately chose not to do at the end of the last series, potentially losing everything. But you know what? He had just lost his father who had finally been cleared of murder so I’ll, reluctantly, let this slide too. Even if it, conveniently, sets up the events of the next season.

  So we can’t blame The Flash for the events of series four because he nobly sacrifices himself in series 3. Instead, his friends decide to stumble all over his sacrifice and bring him back at the beginning of series 4. This is getting old. All I can say is that at least season 5 isn’t going to be his fault.

  It’s going to be his daughter’s. I guess bad decisions are genetic?

  So let’s change things up and talk about less forgivable contrivances. It is established repeatedly and early on that The Flash can move so fast that he can have an entire one-sided conversation with somebody who won’t have the faintest idea that it has happened due to the speed with which it happened. So how does anyone stand a chance fighting against someone so incredibly fast? Urm… ice guns? No. I mean yes, but that’s because the hero apparently just isn’t as fast for some reason, not because it’s a legitimate weakness. They don’t give a reason why.

  So once these absurd levels of speed have been established and he’s supposedly gotten multiple times faster since, he is framed for murder in series 4 when he finds a body in his apartment with one of his knives stabbing it and armed police at his door. We know that he could 100% clean up the body, have a bath and probably even read a newspaper on the toilet before the police enter his apartment and find nothing there. Does he? No. Because earlier in the episode he told his wife that he wouldn’t run away.

  Do you know what’s not running away? Cleaning up evidence of a false murder of someone who isn’t actually dead so that you are free to save lives and not rot in prison.

  So why is The Flash such a popular show? And it’s not just people like me who watch it because it’s bad, the show actually gets praise.

  This is my question: what actually matters in fiction? Should I write a screenplay for attractive actors and flashy fight scenes and just ignore character development, motivations and dialogue? Or should I continue writing in the hope that people will appreciate the effort I put into making a complex character involved in an internally consistent narrative?

  So I’ve given examples from a series that I feel is particularly bad, so where do I go from here? I could mention how when I was a child I loved the Sam Raimi Spider-Man movies purely because it was my favourite superhero, but I was a dumb kid who honestly got a lot smarter after I left school and had to learn things for myself and so that particular anecdote would go nowhere. I could find more examples, particularly from the Arrowverse that spawned The Flash, but what is the point?

I’m not very good at online research, I can’t google to save my life, and nobody thinks that the poor television that they watch is low quality because that reflects badly on them. This means that I am going to have to form my own counter arguments. One, people don’t realise that what they are watching is badly thought out and contradictory and if I am to be honest, why should they? I only do because I am looking for it. Two, they are more forgiving than I am of flaws which is… fair. I can be way too unforgiving. And three, most people aren’t nitpicky bastards like I am.

-Note= I’ve been working on this piece for a couple of weeks now, unsatisfied with my one-sided tirade, and as I often find, time has given me an answer. I googled “do plot holes matter”. A simple solution that took far far too long for me to think of. Still, this gave me some rather useful, and sometimes distressing, opinions on the subject of plot holes and thus quality of writing.

  So, what is a “plot hole”? One of the sources I found took this definition from Google:

“In fiction, a plot hole, plothole or plot error is a gap or inconsistency in a storyline that goes against the flow of logic established by the story’s plot, or constitutes a blatant omission of relevant information regarding the plot.”

To summarise, those moments where you go “that don’t make sense” are plot holes. As I have complained a lot already, I might as well continue for a bit longer. The very first source that I found, and the same one that gave the above definition, provided a list of times where a plot hole doesn’t matter and would you believe it, I disagree vehemently with the first one. The author says that a plot hole doesn’t matter if there wouldn’t be a story without it, which I can accept only in those action films where the action is what is important.

  They use The Matrix as an example: why have a matrix at all? It seems the machines don’t need people to be conscious or something. Unfortunately it has been far too long since I watched it for me to comment, but like an uncomfortable number of the points made in their article, their argument is basically “it’s not real so don’t think about it”. The trouble is that while some “plot holes” are merely people taking things too seriously, an inconsistency in the story itself is worth pointing out. A personal example of this came from when Infinity War came out and people asked “why is Thanos trying to destroy half of the universe when he can just make more resources?” and this could fit into “there wouldn’t be a movie without it”. But this is complete balderdash.

  Ignoring the fact that the makers were trying to stay true to the source material, I always have to ask “when did we see Thanos create anything?” We didn’t. Well, there were illusions, but even if those were physical, they were also temporary. We didn’t see him create and we didn’t hear anyone say that he could. And if those don’t appear in the movie, then we have to assume that he can’t. It doesn’t matter what the source material was (y’know, those comic books where Thanos wanted to date the anthropomorphised Death), but instead it is what the movie itself has established.

  A Quora user called Sam Morris posted an answer to this question which kinda hurt my pride as a writer, but it made sense. He pointed out how it depends on the medium: novels and such need to be consistent because the reader will be paying more attention to the story and events, while television intends to serve a different goal; he describes watching television being like zen meditation, where the watcher clears their mind while the television stimulates the more excitable parts of their brain. On top of this, a television writer has to be able to work with what the producers want and sometimes cannot account for the inevitable holes that appear. This might well explain my problems that I mentioned with The Flash, although I am loathe to admit it.

  Finally, a writer for screencraft.org tried to categorise five different types of plot holes. His first type can basically be summarised with what I said earlier: we can only know what we have been told, with a slice of “roll with it”. His second type covers holes that are inconsistent within the story so again, we only know what we are told, although a better way of saying it in this case could be: rules are made within a story, so anything that goes against those rules is a plot hole.

I could keep going and explain all of his five types, but that isn’t the point of this article. Instead, I will try to summarise everything I have found so far: quality of writing does matter, to different people. An unsatisfying answer, right? One source basically doesn’t care, while another obviously does and has categorised why. I think that it was Mr Morris who really got it right. As an aspiring novelist, I should definitely be concerned about quality because readers will be paying attention; they will notice and be brought out of the moment by a glaring mistake. But should I delve into screenwriting, I should be prepared to deal with temperamental producers and try to write with as few obvious flaws as possible.

  On a more personal note, I feel motivated to keep the quality of my own writing, whatever the medium, as high as my skill level allows. Of course I wanted to anyway, I have long intended to write for children and I feel that anything relating to children should be top quality; high expectation results in high results, and quality writing has been shown to have various benefits on children. Regardless of what you think of The Guardian newspaper, their article on this study provides links on how reading effects children, increasing empathy and is not alone in their findings. There has also been talk of there being other benefits, such as improved critical thinking and can help to deal with serious themes such as coming of age etc.

  So while I was always intending on aiming for quality, my findings from this brief search are reassuring. People do care about quality, and yet are willing to let some flaws slide under the right circumstances, although this does not mean that they do not care in general.

-Note= What with a review of the first two Predator movies in the works, I feel like this blog has been quite negative, so I’m going to try and put something positive out soon. Maybe an Alien review; I watched it for the first time recently and I loved it.

[renegaderoots]

BASIC INFORMATION

♚┋FULL NAME: Theodor De Vries ♚┋PRONUNCIATION: Theo-dor (German pronunciation) ♚┋NICKNAME(S): Teddy, Theo ♚┋TITLE: The Gargoyle  ♚┋OCCUPATION: shop owner / contract killer  ♚┋~AGE: 36 ♚┋DATE OF BIRTH: 15 August ♚┋GENDER: Cisgender ♚┋PRONOUNS: He/Him/his ♚┋ORIENTATION: Homoromantic Demisexual  ♚┋NATIONALITY: German  ♚┋RELIGION: the best to describe it would be...a religious atheist?  ♚┋SPECIES: Human ♚┋AFFILIATION: technically, his son. Realistically, the Morrison family. ♚┋GENERATION: third  ♚┋THREAT LEVEL: for somebody born to be a vicious killer willing to fight dirty, Espen’s threat level is low. He isn’t aggressive or malicious, nor does he take any pleasure in violence. 

PHYSICAL APPEARANCE

♚┋FACE CLAIM: André Hamann / Chris Hemsworth  ♚┋EYE COLOUR: Green ♚┋HAIR COLOUR: dark blonde  ♚┋DOMINANT HAND: ambidextrous  ♚┋HEIGHT: 184 centimeters or 6′0 ♚┋WEIGHT: 158 lbs ♚┋TATTOOS: Just...too many to possibly list. Think up every imaginable gothic cliché in existence and you’ll probably find it somewhere on his body - along with a cupcake on his left butt cheek because he’s an idiot.  ♚┋SCARS: predominantly burn scars. ♚┋PIERCINGS: snakebites  ♚┋GLASSES: in theory, yes, but the lazy bastard doesn’t even know how to put on two matching socks so, like, what do you expect here?

PSYCHOLOGY INFORMATION

♚┋JUNG TYPE: ISTP ♚┋SUBTYPE: Logical ♚┋ENNEATYPE: 7w8 ♚┋MORAL ALIGNMENT: Chaotic Neutral ♚┋TEMPERAMENT: Sanguine/Choleric ♚┋SCHEMA: VH, SI, NP ♚┋INTELLIGENCE TYPE: Visual-Spatial, Bodily-Kinesthetic, Logical-mathematical  ♚┋~IQ: 132 ♚┋NEUROTYPE:  Unsure as of yet.  ♚┋AT RISK? Well, I mean, solely based on environmental factors, there’d be ample reason to believe he may be at risk. 

BACKGROUND INFORMATION

♚┋HOMETOWN: Cologne, Germany ♚┋CURRENT: Dublin, Ireland ♚┋LANGUAGE(S): German (mother tongue), Dutch (native speaker level), Irish (lower-intermediate level) ♚┋SOCIAL CLASS: upper middle class ♚┋DEGREE: Master’s degree ♚┋SUBJECT(S): Forensic nursing  ♚┋PARENT #1: Gerrit De Vries, deceased ♚┋PARENT #2: Beatrice De Vries neé Hoffmann, deceased ♚┋SIBLING(S): Lena De Vries, deceased, Alexander De Vries, deceased ♚┋MAIN SHIP: Espen/Sam (bromance) ♚┋RELATIONSHIP STATUS: Single ♚┋CHILDREN: Oliver De Vries, alive, three years  ♚┋PET(S): none ♚┋ADOPTED? Yes. After his parents’ death, Espen was adopted by his paternal grandfather.  ♚┋RAP SHEET? Nothing yet. ♚┋PRISON TIME? Not yet. 

VICES / HABITS

♚┋SMOKES? like a chimney.  ♚┋DRINKS?  Yes. ♚┋DOES DRUGS?  Used to, yes. Stimulants (i.e. ecstasy) and hallucinogens like LSD ♚┋IS VIOLENT? Not at all, ironically enough. This is so hard to believe because Espen’s family consisted primarily of criminals, including former intelligence agents, one might be quick to falsely assume that their natures - violent, predominantly - are irrevocably ingrained in his being; but this couldn’t be further from the truth. If at all necessary, Espen will only react defensively, thus defending himself physically, when there’s no other way.  ♚┋HAS AN ADDICTION? Not anymore.  ♚┋IS SELF-DESTRUCTIVE? Yes. ♚┋HABITS: perpetually confused about what clothes are - likes to walk around his flat completely nude. Unsurprisingly, he also sleeps without any clothes on. Cannot sit on chairs like normal people. Hello bad blood circulation.  ♚┋HOBBIES: sewing, alternative fashion, taxidermy, reading (mostly Gothic literature because he’s extra like that), taking care of baby bats, vblogging, weaponry, medieval history, travelling around the world to visit castles, tarot card reading, make up (both theater and alternative), book reviews on youtube, gaming ♚┋TICS: grunting (especially when stressed or extremely anxious. It’s happened before that that’s all he does while he completely shuts down normal communication.)  ♚┋OBSESSION(S): none ♚┋COMPULSION(S): has to arrange food a certain way on his plate lest he won’t eat it 

MISCELLANEOUS INFORMATION

♚┋HOUSE: Gryffindor  ♚┋VICE: Wrath ♚┋VIRTUE: Temperance ♚┋ELEMENT: Fire ♚┋ANGEL: Uriel  ♚┋MYTHOLOGICAL CREATURE: Vampire ♚┋ANIMAL: black cat  ♚┋MUTATION: time manipulation  ♚┋WOULD SURVIVE POST-APOC? No. Sadly, he has morals. 

STATUS INFORMATION

♚┋DEVELOPMENT: Semi-developed ♚┋SHIPPING: Shiplocked. Not to a particular ship, mind you, but because of Espen’s background and personality, it would be ooc for him to commit to multiple ships (even if they’re regarded separately).  ♚┋VERSE: Multiverse ♚┋VERSE TYPE: crime, slice of life ♚┋CANON: crime ♚┋PLOTTING: open  ♚┋CREATION DATE: August 2017

CHARACTER SUMMARY

After five minutes, you’ll have no better descriptor for Espen other than fucking weird – and rightfully so. Everything from his demeanor down to his most perfunctory mannerisms, the man defies social conventions without even trying all that hard. Raised to patch up his mother’s career as a discharged intelligence agent, Espen grew up isolated from his peers, trained and groomed mostly and certainly not treated like a son. Eventually, their renegade ways caught up with them; the result being murder in the first degree. Following these events, he was adopted by his paternal grandfather and Theo became Espen. All tragedies aside, his golden heart and warm eyes give away his personality at first glance. There’s compassion in his actions that shouldn’t be feasible given that his body count is heavy. Now that there’s another life in the picture, namely his kid, Espen is determined to find the exeunt to his tragedy. Good morals and good character, unfortunately, don’t mean shit when you’re indebted to a crime cartel.

APPEARANCE DESCRIPTION

Physically, the guy is average and contrary to what one might believe, he doesn’t really stick out from the crowd save for his colorful sleeve tattoos. Standing 6’0 tall, Espen isn’t exactly a frightening, towering figure either. How he manages to stay fit with the serious sweet tooth that he has is a mystery, but his build is, without doubt, rather muscular. His accent is quite a minuscular detail yet, still, a faint German accent can be heard. What will certainly turn some heads, however, is his clothing. True to his decade-old fondness for the Goth subculture, you won’t ever see him wearing anything that isn’t various shades of black. When he can be bothered to dress up, Espen likes to wear a combination of Edwardian and Trad Goth attire, though the classic ’90 aesthetic of the vampire is also something he wears daily. Due to his appearance, his demeanor is key and he knows this. You can’t just be withdrawn or aloof looking like him, so he goes out of his way to be kind and courteous – especially towards elder people.  Since his wardrobe is black and then black, his light brown hair and green eyes are accentuated even moreso, his look always attentive. And when you’re close enough to him, you will smell a few drops of a vintage perfume for women, namely Guerlain Shalimar; a coveted assortment of vanilla, tonka beans and castoreum musk.  

PERSONALITY DESCRIPTION

Espen is the pinnacle of wasted brilliance and proof, as he says, that one’s IQ is relative if there’s not a grain of ambition in your body. That’s pretty much his lot in life; a double-edged sword, if you will, with which he has accidentally stabbed himself more than once. His intelligence is only outmatched by how much of a fucking sloth he is. He’s Snorlax personified, essentially, and if nobody actively pestered him to be productive, the guy would probably just suffocate in his own filth. As the common genius stereotype would suggest, Espen is emotionally inhibited and socially inept, unable to function in social settings. This, while somewhat true, isn’t entirely accurate either. Sure, his tact is less than ready to tango and he often comes across as remorselessly crude because he has only a rudimentary grasp on what is socially acceptable. Simultaneously, however, he is not content to just build a wall of silence around him. No, Espen tries his best to tune in to what others are partial towards, reacting accordingly. There’s also always a kernel of humor in his interactions, one that might imply he doesn’t take anything seriously. Because if he does, it matters. Be that as it may, a cold, malicious asshole he is not. He could be; would have enough reason to be – yet he is not if his numerous flaws can be reined in. Even his humoristic take on pessimism is charming. He’s the type of person who knows his odds, yet still does the thing to crack others up. In contrast to this, though, Espen isn’t idealistic – he knows the world is a shithole. Often a devil’s advocate and a complete shut-in when stress hits him, emotions still make him feel insecure and incompetent – every emotional response might be the wrong one, after all.

SKILLS / COMPETENCES

Espen doesn’t really care for languages, yet can communicate on native speaker level in three languages – English, Dutch, German. Where he really shines is his creativity and fashion sense. He loves giving baby bats fashion advice, quickly one to offer help when things are tough at home, too. Of course, he shouldn’t be underestimated either. Though not proud of this skillset, per se, he is nonetheless adept at social engineering, sociology, basic psychology, martial arts, vehicle and foot surveillance, marksmanship, and, naturally, hand-to-hand combat. As mentioned above, giving in to his benevolent and amiable side, Espen pursued a master’s degree in forensic nursing. Beyond that, he is also excellent at forgetting important dates, being late, being tired and eating everyone’s food. Oh, yes, and an obscure knowledge of medieval and Celtic history to boot, he’s really into medieval markets/costumes.

INTERPERSONAL MANNER

In a word, odd. Just plain fucking odd. Here he is not even able to survive without somebody constantly kicking his ass to get his shit together; here he is with barely an idea what decorum is and he still tries to be kind, even though it’s technically not in his nature to be any of that. Although Espen may come across as secretive, private and somewhat shy at first, any worries are forgotten as soon as mischief, fun, or sweets are involved. Now, ever since his family died, Espen has been somewhat clingy with the few people he has in his life, much like a cat demanding instant and constant attention. He doesn’t take well to being ignored, and won’t stop until he has your undivided attention. As for romance, Espen isn’t really made for that; not in the conventional sense. A very solitary creature by default, it is very hard for even him to tell whether what he feels are genuinely deep emotions or just what he feels compelled to feel. Either way, if you express interest, Espen will go to great lengths to ensure you feel nothing but wanted and validated.

INSPIRED BY: the guy on Lie to Me, Edmund (King Lear), Deadpool tbh 

[nofomoartworld]

Hyperallergic: Why Patti Smith Writes

Patti Smith (photo by Steven Sebring)

Patti Smith knows her new book, Devotion (Yale University Press, 2017), isn’t for everyone, but it’s a gift for those who get it. “I think the kind of people who will like this book — because I think a lot of people won’t like it or will dismiss it — are people who like to read and are curious to see how a piece of work comes together,” she tells me. By turns allegorical, metaphysical, fictional and factual, Devotion shows rather than tells what it means to give a life to writing. A master of poetic innovation, Smith takes her style to the next level in this slim volume, embedding a tragic short story between an autobiographical introduction and a shorter essayistic coda, which demonstrate how her direct experience traveling around Europe alchemized into a short story.

I first encountered Smith’s work when I was in my early twenties. Like so many people before me, it gave me permission to do what I wanted to do, reminded me that it had never been easy and testified to the power of love. Sometimes, in the ensuing years I would pick up a book of hers mid heartbreak or writer’s block, post coitus or cry, and flip to a random page. Smith’s words brought inspiration and guidance without fail.

With the release of Devotion, she formalizes the guidance many have sought from her. I had the chance to speak with her directly. Our conversation roved from spiritual practice to mentorship to musicality and back.

Katherine Cooper: How do you begin a book?

Patti Smith: Well with this little book, Devotion, the genesis was a talk I was invited to give at Yale about writing, and then the idea was that I was supposed to expand the talk into an essay about writing. How I set to work with Robert’s book was, again, not something that I chose. I had promised Robert, the day before he died, that I would write our story. I had been mostly unpublished (still am) so it was a bit daunting to start such a big nonfiction project. I wrote many, many chronological outlines trying to remember everything that I could. M Train was much more fun. The cowpoke in M Train is really Sam Shepherd and Sam and I talk about writing all of the time. I had this dream about him and then I just decided to see if I could sit day after day writin’ about nothing, no plot or anything, you know, just writin’, to see what happened.

KC: It’s interesting to hear you call Just Kids “Robert’s book”— you’ve said that you see the making of art as a gift. Devotion is dedicated to Betsy Lerner, but who is it for more broadly?

PS: I dedicated it to Betsy because she has been my editor since Just Kids. It took me so long to write that book that I was actually dropped by the first publisher, which was Doubleday, and Betsy continued on with me. She also eventually left Doubleday and she became my agent and continues to be my guide. But I suppose it’s to people who like to read or people who are writing.

KC: Eugenia, your central character in the story, is born with a natural gift for ice skating. It’s in vogue right now to think of creativity as innate to everyone—I wonder if you think that some people are just born with talent and some aren’t?

PS: A creative impulse doesn’t have to blossom as art. But absolutely some people are born with special gifts and they can be excruciating and cause a great amount of sacrifice. What it means is that you go through life sometimes with a half life because at least half of your life is devoted to practicing, working, developing your craft. Many people can learn things but I think there are others who, for whatever reason, have a calling— it’s in their blood, their ancestors had a specific affinity towards a certain thing, or [they’re] touched by God. It doesn’t make them more valuable than another person, but people do have gifts. And then there is the lack of gifts. I would love to speak language, for instance, but I can’t speak anything really except English — yet there is a cashier at the deli down the street who can speak fourteen languages and I keep telling him, “you should work for the UN!” He’s a polymath.

KC: Yeah I was gonna say he’s not only a cashier, he’s a polymath.

PS: He’s not a cashier, he just plays one on TV.

KC: This book is in many ways the first book you’ve written that’s not devoted to someone that you have been involved with — Robert Mapplethorpe is the central figure in Just Kids and your late husband Fred Sonic Smith is in M Train ….

PS: The story is called Devotion, but what [Eugenia] is devoted to is not a love interest. The love interest to me in this little book is writing. And for her, her love interest is skating. It’s one’s craft.

KC: I was paging through M Train again, after I read Devotion. I was struck by a line the Cowpoke says right at the beginning: “The writer is a conductor.” Devotion has a musicality to it. It’s almost like a fugue. I was curious what role musical form or music played in how you structured this book, if it did at all.

PS: In the beginning, I’m talking about this film, In The Crosswinds, about the Estonians. If you felt like it, you could go to the YouTube and see the trailer. You hear a voice, the voice of Erma. I don’t know the Estonian language but this girl had the most lyrical voice and it haunted me like a musical refrain. I’m sure that in the book I talk about it: “Luckily traffic is thin as we enter the Holland Tunnel. Relieved, I sink back into the voice of Erma. I imagine writing a story guided by the atmosphere of the particular resonance of a particular human voice — her voice — no plot in mind, just trailing her tone, timbres and composing phrases as if music and superimposing them, transparent layers, over hers.” I didn’t have music in my head per say but I had that musical quality of her voice as my inner voice for that story. That was just something I did that I figured no one would notice.

KC: Rhythmically it feels so distinct as opposed to the other two parts.

PS: Also, I wrote the whole story on a train, so I think that also comes into play.

KC: The title of the series “Why I Write” gives the illusion that you might be in for a straightforward answer but —

PS: Well, I think that the last line of the book answers it as well as it could be answered. My answer is the same as [Eugenia’s] answer: “We write because we cannot simply live.” I can’t even go to the bathroom without a book in my hand. I have to have a book with me, or a notebook, and I’ve been like that for most of my life. You know, being an artist is like being a double agent. You’re trying to move through life with full attention but you can’t because something happens that triggers an idea. I’ll be sitting at a concert listening to Beethoven and my mind makes up a story and then I feel compelled to write it instead of listening to Beethoven. It’s that dual thing. You wanna engage fully in life and give your loved ones your full attention but often you just can’t.

KC: Somebody once said to me, “When Patti speaks she incants; very few people have that ability.” How do you cultivate a practical relationship with the divine in your writing and performing?

PS: We always aspire to something higher. As a child, it seemed to me disappointing to be in a world where everything was already figured out and there was nothing more to want to achieve than making a living. My mother taught me about god before I went to Sunday school. That to me was very liberating, the idea that there was some higher force. I didn’t really have any expectations or idea of what god was, it was simply that there was something to aspire to, something that kept on going, that was infinite.

It might be as something as practical as you’re on stage and you flub something, so you just draw from some part of you for everyone to have a good laugh to transcend this rough moment and then it becomes a courageous act instead of just a piece of humiliation. Other times it’s something deeper. The way I practice communing with this other aspect, this intimate aspect, is forever changing, Sometimes it’s just talking to my mother. Sometimes it might be very abstract prayers that have no words and sometimes it might come through in a piece of work. I don’t have any specific belief system or expectations. I just believe.

KC: As I was reading this book I was thinking about the relationships of mentorship and inspiration that are peppered throughout it. You find yourself at this moment becoming an inspiration and an icon for young artists specifically — it seems like a lot of people are turning to you for answers. In my view, your work presents questions and mystery. I wonder — do you share some of your characters’ ambivalence about mentor status?

PS: Eugenia has two mentors — Maria and Alexander — but in the end the one she believes in the most is herself. She keeps showing them that she’s her own person. She has a vision that might be beyond their grasp.

It’s the mentor’s duty to let his acolyte go on without them and hopefully eclipse them. Sometimes people thank me because they say, I helped them get on the right track or something of that nature and I always tell them, “I’m glad that I was of service but you would have found it on your own.”

Sometimes [people] hold you in reverence or something and that’s a very nice thing but I think it’s really important to say “Thank you but may you eclipse my own efforts.” Or, “may you do something totally different. I have no desire to be a leader of a cult or anything. I’m a responsible person but I don’t wanna have the responsibility of all these people. I want them to be responsible for themselves and believe in themselves. I’ve been inspired by hundreds of people, thousands of books, songs and movies. Even in this little book it was Patrick Modiano and Simone Weil and the little Russian skater, all these different factions in the cauldron of my brain stirring it up and that’s what came out — this little story and this little book.

The post Why Patti Smith Writes appeared first on Hyperallergic.

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[thereviewingdead-blog]

Worst walking dead characters  (Main)

Worst walking dead characters of all time

10. Beth

Poor Beth. The oft-overlooked more youthful girl of Hershel Greene, Beth was on the show for near four seasons, yet you’d experience serious difficulties up with a modest bunch of times she emerged in any important way. The issue with Beth is that the show’s journalists never appeared to realize what to do with her. She possessed the frail, not-useful for-anything-helpful part for the greater part of her residency, to the point where it felt like she was kept around only to keep Baby Judith alive, as she was regularly indicated dealing with Rick’s newborn child girl. Things enhanced significantly for Beth in the last 50% of season 4 and particularly in season 5 with the clinic storyline, yet and still, at the end of the day it felt like short of what was expected, as she was killed off right when she was getting to be noticeably fascinating. Such a waste.

9. Child Judith

Better believe it approve, this current one’s somewhat of a cheat since it’s hard to gage Judith as a character given that she can’t talk yet. To be reasonable, Judith works as an image of mankind’s future, so there is legitimacy to her proceeded with presence on the show. Nonetheless, in case will highlight a baby kid in a show about the end times, you can’t generally expect that individuals will go gaga for something that blocks the other characters’ advance on a close steady premise. Judith is basically a plot gadget and an every now and again irritating one at that. The girl of Rick Grimes and sister of Carl is time after time utilized as an approach to falsely build strain – There’s a man debilitating to kill the infant! Look out, a zombie is shambling appropriate toward that transporter! – to the point where it’s turned out to be tedious. We don’t have anything against Judith as a man (she’s likely a really incredible child once you become more acquainted with her) yet she reduces the show much more than she includes and consequently, we need to rank her as one of The Walking Dead’s most exceedingly awful.

8. Tyreese

It feels wrong to need to incorporate Tyreese among such organization, yet the reality of the situation is that he never at any point verged on being the sledge employing renegade that comic perusers were anticipating that him should be. No doubt about it: marking Tyresse one of the most exceedingly bad characters on The Walking Dead is no thump against performer Chad Coleman, who did the best with what he needed to work with in his time on the show. No, the genuine issue with Tyreese is that the authors never truly made sense of what to do with him. His part in the funnies as Rick’s correct hand man was at that point involved by Daryl when Tyreese landed on the scene back in season 3 and starting now and into the foreseeable future, he never truly found a strong place in the troupe. Regardless of whether deliberate or not, Tyreese transformed into the metaphorical offspring of the gathering, not able to adapt to the repulsions around him and depending on pacifism – a splendid, at the end of the day unsuccessful endeavor to give Tyreese a reason on the show. His demise in season 5 was irrefutably shocking, however more so since we never got the chance to see Tyreese transform into the considerable character he ought to have been.

7. Ron

I wrangled about incorporating Sam in this section also, however with regards to the bound Anderson tribe, Sam’s more seasoned sibling Ron is quite recently the most noticeably bad. Presented in the last 50% of season 5, the Andersons are a useless family living in Alexandria who rapidly ended up plainly one of the show’s most noticeably awful gathering of characters. There’s no genuine need to really expound concerning why Pete was dreadful in light of the fact that he was all the more an exaggeration than a real character, yet his eldest child adhered around sufficiently long to wind up noticeably a steady wellspring of inconvenience for Walking Dead watchers, as well as different characters on the show. Ron turned from a potential companion for Carl Grimes to needing to murder him, however did as such unconvincingly (it appeared like Ron needed Carl dead more to steal Enid than the way that Rick slaughtered his dad, which was a flawed inventive decision). Notwithstanding Carl’s earnest attempts to thump some detect into this nitwit, Ron ended up being terrible to the end, shooting Carl in the eye while being eaten by walkers. At any rate we don’t need to endure this trick any longer.

6. Dale

A great deal of Walking Dead fans appear to have a weakness for Dale, however a lot of that conceivable stems from the way of his passing and how unnecessarily sad it was (much appreciated Carl). On the off chance that you really set aside some opportunity to glance back at Dale’s chance on the show, what rises is a hassling old man who always embedded himself into other people groups’ business. In spite of the fact that he was situated as the voice of reason in juxtaposition to the harder line generally taken by any semblance of Rick and Shane, Dale’s ethical posing was utilized by the scholars more as an approach to slow down time in the scandalously ordinary second season then to convey convincing show. It’s nothing unexpected truly that the show appeared to recover energy the minute Dale ended up to be walker chow.

5. Enid

Despite the fact that Carl still has his minutes, the last couple of seasons have made a praiseworthy showing with regards to of turning him from a bothering tyke who always annoyed watchers into a shockingly sure and balanced young person (with just a little measure of tension for good measure). Shockingly, it appears as though it’s inconceivable for The Walking Dead to continue without the dreary, angsty adolescent figure of speech, as prove by the absolutely unlikable Enid. Yes, seeing your folks being eaten by walkers is true blue justification for some level of sorrow and doubt of the world, however that doesn’t make Enid’s consistent grim demeanor and standoffish state of mind any simpler to persevere. As Glenn and essentially every other character who’s needed to endure her have over and again needed to advise her, everybody has lost somebody they think about and there’s no reason for floundering in self centeredness when survival is the very pinnacle of concern. It’s not really an unexpected that Enid as of now positions close to the highest point of watchers’ most loathed characters on the show and it’s difficult to see that changing unless she pulls a Carl and does an entire 180 in the state of mind office.

4. Father Gabriel

Presently in his second full season on the show, we’re still unable to distinguish what reason Father Gabriel serves. At an early stage, this apprehensive minister was in any event somewhat intriguing because of his indistinct fidelities and a dim backstory including the previous parishioners of his congregation, yet Father Gabriel rapidly destroyed his welcome. Gabriel hasn’t generally done anything of legitimacy or in particular, done anything that would make watchers really think about him as a character. The part of religion in a zombie end of the world is a charming subject if executed effectively, however The Walking Dead has neglected to profit by this generally as a result of Father Gabriel’s poor portrayal. Season 6 has gained ground in making Father Gabriel all the more balanced, as he’s at long last begun venturing up and adding to Rick’s gathering as opposed to depending on them to tidy up his wrecks, yet it would consider some important next-level advancements to give penance for the character’s past sins.

3. T-Dog

The way that T-Dog made due until season 3 is a stun that despite everything we haven’t exactly recouped from over 3 years sometime later and that is on the grounds that T-Dog was only a terrible character, adroitly and evidently. Clearly T-Dog is a horrible name for a character, however when you really begin to consider the way this is a person who told other end of the world survivors that his name was T-Dog and they were thoroughly cool with calling him that, it loans the early periods of The Walking Dead a demeanor of the crazy that simply wasn’t required. Beside his name, T-Dog never did much else to separate himself as somebody to pull for. Without a doubt, he appeared like a sufficiently pleasant person, yet would you be able to consider one characterizing character attribute for him that doesn’t include the shade of his skin? Most likely not and that is the reason T-Dog unquestionably should be called one The Walking Dead’s unequaled most exceedingly bad characters.

2. Andrea

Trust it or not, Andrea is one of the best characters in the funnies, which makes it all the all the more shocking that the Andrea we got on the TV arrangement was an aggregate failure. Andrea was as a matter of fact one of the better characters in the show’s initial keep running, with the loss of her sister and her hesitance to bear on living being convincing storylines. In any case, at some point through the span of season 2 and particularly in the third season, Andrea quit being a character to pull for and rather ended up noticeably one to effectively root against. Her inadequacy prompted individuals getting shot (we can in any case never pardon her for shooting Daryl) and her guileless trust of the Governor’s each word still stands as one of the show’s most exasperating plots. She settled on such a large number of absurd decisions in her time on the demonstrate that her demise toward the finish of the third season was for all intents and purposes ridiculous when it ought to have been grievous (gone ahead Andrea – you could have made due in that live with Milton). Because of her persistently inept de

1. Lori

Could whatever other character truly best Lori Grimes as The Walking Dead’s most noticeably bad character? No, no they proved unable. Not exclusively did this part to a great extent squander the gifts of Sarah Wayne Callies, who is by and large entirely amiable in different exhibitions, yet she was only a steady wellspring of disappointment for watchers and different characters alike. Lori basically had two modes: agonizing over Carl and treating Rick awfully. Presently, we’re not saying that both of those qualities consequently makes Lori an awful character, yet given how habitually The Walking Dead dunked into those wells , Lori certainly develops as the show’s most noticeably awful character. Keep in mind that time when she advised Rick to kill Shane and after that got frantic at him when he did? No doubt, that is Lori more or less: an inadequately drawn vixen whose sole vital attribute is being a terrible mother. Her demise was one of the show’s roughest, no doubt, however that had more to do with how it influenced Carl; nobody was pitiful to see Lori go.