#she’s just entering into the film world so who knows what she might achieve be honored with there

[kingofmyborrowedheart]

I feel like there are so many big awards/achievements Taylor will eventually be honored with in her career.

[hotvintagepoll]

Propaganda

Hermione Gingold (Gigi, Around the World in 80 Days, The Music Man)—A late addition to the Hollywood scene, but good lord what a mark she made. With a voice absolutely dripping with allure, she turned every film she was in into a romp her autobiography is racy and hilarious. I adore her.

Agnes Moorehead (Dark Passage, Mrs. Parkington)—i'm just submitting all the milfs at this point

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Hermione Gingold:

Agnes Moorehead:

“Daughter of a minister, she’s incredibly religious. Would arrive on the bewitched set with “the bible in one hand and the script in the other.” And once during an earthquake, she refused to run to safety and said, “God will protect me.” - Her father prohibited her from attending an acting school until she had a formal education so she got a degree in biology. She taught at english, speech and history a high school while also getting degrees in English and Public Speaking. Entered AADA at 25. - Her film debut was in Citizen Kane when she was about 40 - She had a lovely singing voice. - Despite her religiosity, her privateness and close relationships with female friends fueled rumors even during her lifetime that she liked women. In her rather emotional interview with Boze Hadleigh, she expressed her desire to not have her private life be reduced to a few paragraphs of sensationalism. It is not really possible to know with certainty. - She had a farm with cows and donkeys. Lastly, I am aware that Agnes was not considered a leading lady and I’d like to campaign for her inclusion as we have reason to believe that this might have been due to the prejudices of ageism, her unusual (but stunning) features and a number of other factors: 'To classify her roles so as to discover her closeted lesbianism, although productive in the exploratory sense, runs the risk of imposing another set of stereotypes upon Moorehead. Linking character actresses and lesbians confirms marginalization, and while Moorehead played marginal characters in most of her plays and films, she could have played the leads had she so been cast, and she did play supporting roles brilliantly. That New York and Hollywood directors cast her as the outsider may be as much a statement about ageism and sexism as about sexual identity. It is probable, however, that her sexual identity figured and figured prominently, and if as an overlay to the other issues, we are left to interrogate the entertainment industry that forced her into exaggeration because she could not express whom she really was. Endora and Moorehead, one and the same, finally achieved supporting star status, with all the ambiguous meanings implied by the ''Bewitched'' narrative; however, Moorehead might have achieved diva status within legitimate classical theatre had she sought unambiguous sexual leads. Because she did not, or could not, we can conclude, using the soft evidence of innuendo and intuition, that her sexual identity clearly affected the direction of her career.' From a paper called ‘The Witching of Agnes Moorehead’ by Lynne Greeley”

[cfaugust]

❛❛   eden teach .  ❜❜   ― ⚔️ ― entering the multiverse… 

verse : descendants (main) [default is arc 003, others by request only]

arc 001 : pre film on the isle. set before the events of the first descendants film. ⌜thieves and beggars⌟.

arc 002 : during films. set at any point during the film series and taking place strictly on the isle of the lost. ⌜hoist the colours⌟.

arc 003 : post descendants 3. set after the events of the series. after the new barrier spell is cast, eden moves her ship to an auradon port. while wary of what this new future may hold, she encourages her crew to make their own choices in their new home. she wants what’s best for all of them, and truly believes the opportunities in auradon may be the way to help them achieve their happy endings. ⌜the seas be ours⌟.

au 001 : villains win au. a decree is made to give four children of the isle a chance, and with it a wicked plan put in place. a wand successfully stolen from the museum. villains freed to take revenge on those who had wronged them. heroes take what they can and run, hiding out for fear of being locked away on the isle of the lost if caught. the children of auradon are spared a life of imprisonment, though are left little more than scraps unless they manage to win favor with the villains and the vks. it is a new dark age for auradon, and one that has no end in sight. ⌜never shall we die⌟.

au 002 : auradon raised au. adopted in infancy by elizabeth and will turner, eden is brought up outside of the barrier in auradon. she’s granted the title of princess of the pirates, as elizabeth is their king, and is a bit softer around the edges than she would’ve been if raised on the isle. which isn’t to say she’s not dangerous. after all, she still carries the blood of the most vicious breed of mermaid known to man, and no one raised by pirates is ever truly soft. ⌜on stranger tides⌟.

verse 002 : fandomless

arc 001 : raised by her mother after a messy divorce in her early childhood, eden has spent most of her life in the water. training religiously to be at the top of her class, she’s an olympic swimmer with more than a couple of medals to her name. ⌜moonlight serenade⌟.

verse 003 : pirates of the caribbean

arc 001 : eden was raised by her mother and the mermaids of whitecap bay, and never once thought to seek out her father. because honestly, fuck that bastard for abandoning her. that said, she does harbor a curiosity towards the world of man. a curiosity rivaled only by her distrust of humans. likely what has led to her strike first and as questions later. but hey, at least that ensures she’ll keep you alive long enough to get the answers. not a common trait amongst the devil fish of whitecap bay. perhaps one day she’ll make her way to land and finally fulfill her need for exploration, but she knows that’ll have to wait until she’s found just the right guide. ⌜power of the sea⌟.

verse 004 : supernatural

arc 001 : a survivalist at heart, eden is a vicious mermaid who will siren song you off a short pier without a second thought. she’s done a fantastic job of flying under the hunter radar so far, only resorting to using her abilities to kill when absolutely necessary. she has no intention of going down easy if ever confronted, so it might just be best to avoid this fish. ⌜hello beastie⌟.

verse : tba

arc/au : tba

verse : tba

arc/au : tba

verse : tba

arc/au : tba

verse : tba

arc/au : tba

[perpetual-stories]

Story Structures for your Next WIP

hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.

everything in life has structure and storytelling is no different, so let’s dive right in :)

First off let’s just review what a story structure is :

a story is the backbone of the story, the skeleton if you will. It hold the entire story together.

the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.

1. Freytag's Pyramid

this first story structure i will be talking about was named after 19th century German novelist and playwright.

it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.

Freytag's Pyramid structure consists of:

Introduction: the status quo has been established and an inciting incident occurs.

Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,

Climax: the protagonist can no longer go back, the point of no return if you will.

Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...

Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.

this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.

2. The Hero's Journey

the hero's journey is a very well known and popular form of storytelling.

it is very popular in modern stories such as Star Wars, and movies in the MCU.

although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:

The Ordinary World: The hero's everyday routine and life is established.

The Call of Adventure: the inciting incident.

Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.

Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.

Crossing the First Threshold: first steps out of the comfort zone are taken.

Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.

Approach to the Inmost Cave: hero approaches goal.

The Ordeal: the hero faces their biggest challenge.

Reward (Seizing the Sword): the hero manages to get ahold of what they were after.

The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.

Resurrection: a final challenge, testing them on everything they've learned.

Return with the Elixir: after succeeding they return to their old life.

the hero's journey can be applied to any genre of fiction.

3. Three Act Structure:

this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.

Act 1: Setup:

exposition: the status quo or the ordinary life is established.

inciting incident: an event sets the whole story into motion.

plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.

Act 2: Confrontation:

rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.

midpoint: an event that derails the protagonists mission.

plot point two: the hero is tested and fails, and begins to doubt themselves.

Act 3: Resolution:

pre-climax: the hero must chose between acting or failing.

climax: they fights against the antagonist or danger one last time, but will they succeed?

Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.

4. Dan Harmon's Story Circle

it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.

the benefit of Harmon's approach is that is focuses on the main character's arc.

it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.

the character is in their comfort zone: also known as the status quo or ordinary life.

they want something: this is a longing and it can be brought forth by an inciting incident.

the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.

adapt to it: of course there are challenges, there is struggle and begin to succeed.

they get what they want: often a false victory.

a heavy price is paid: a realization of what they wanted isn't what they needed.

back to the good old ways: they return to their familiar situation yet with a new truth.

having changed: was it for the better or worse?

i might actually make a operate post going more in depth about dan harmon's story circle.

5. Fichtean Curve:

the fichtean curve places the main character in a series of obstacles in order to achieve their goal.

this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.

The Rising Action

the story must start with an inciting indecent.

then a series of crisis arise.

there are often four crises.

2. The Climax:

3. Falling Action

this type of story telling structure goes very well with flash-back structured story as well as in theatre.

6. Save the Cat Beat Sheet:

this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.

Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)

Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.

Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?

Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.

Catalyst [12]. The inciting incident!

Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.

Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.

B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.

The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.

Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.

Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.

All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.

Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)

Break into Three [85]. Armed with this new information, our protagonist decides to try once more!

Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.

Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.

(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)

7. Seven Point Story Structure:

this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.

this structure is about dramatic changes from beginning to end

The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.

Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.

Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.

Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.

Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.

Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.

Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.

(all information regarding the seven point story structure was copy and pasted directly from reedsy!)

i decided to fit all of them in one post instead of making it a two part post.

i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!

if you find this useful feel free to reblog on instagram and tag me at perpetualstories

Follow my tumblr and instagram for more writing and grammar tips and more!

[everythingthemoontouches]

💙Hi there! , First of all i want to tell you that i love your blog! And i love how your posts are so accurate!💙 If its okay with you could you please do me a favor by describing how others see me,my appearance or more specifically the vibe I radiate to others! It would mean alot to me if you you do that💙I'm a cancer sun,leo rising,Lilith sextile asc, Pluto trine asc, Uranus opposition asc, Moon opposition asc, mars sextile venus, mars opposition neptune, asteroid lilith conjunct mc and jupiter in the 1st house!💙

Hola!

Thank you that's really kind of you 💛💕

You know that quote that says Cinderella never asked for a prince. All she wanted was a night out and a dress. You kind of exude a similar vibe but with respect to leadership positions. 'I never asked to be Queen/King, but the people have spoken' kind of an energy. You would be equally happy to be by yourself, learning about the subconscious mind, higher realms and other esoteric science.

For more on Jupiter in LEO I'd recommend watching Astrofinesse.

For jupiter in the first there's KRS.

🌻As a Leo rising you come across as someone outgoing, with a playful energy but you're also somehow someone people would expect to see in a position of authority. You're drawn to people who stimulate you intellectually and love to exchange ideas.

😬If you have an Aquarius saturn you could be having some challenges in your relationships since December 2020 as saturn transits your 7th house. I'd suggest practicing discernment in this area as well as signing contracts with people until it passes( early 2023) ..

😇12th house sun could take on other people's energy. I feel like you need some time away, by yourself, preferably at the beach / pool/ shower to declutter, clear your head and replenish your sense of Self. You could be highly intuitive. If this resonates, I'd urge you to look up empath drain and how to protect yourself from energy vampires.

Ruler of the ascendant in the 12th :

spirituality could be a huge part of your life. For some people this could show a father (figure) who was convicted or worked in a prison / asylum. They could also have a really remote job. Since the sun is also your own personal identity, you could profit off these themes. Working in a mental health facility, overseas, in esoteric crafts.

🌛With your moon in the 7th house, you probably attract a lot of older women, (queen of swords) nurturing energies . Your mom could have a major influence on any business partnerships that you enter.

In relationships you could have a here today gone tomorrow kind of a presence. This is because as the moon waxes and wanes so does your attraction / attachment to specific people?

♒Aquarius moon : it could be really hard for you to express your feelings. So Instead of asking for a hug there could be a tendency to say something like ' ew imagine asking for one?' you leave a place better than you found it. If you watch hindi movies, 3 Idiots could be a movie you really resonate with. ( I pretty much spent the day looking up the lead actor, who has major aquarius placements and his films have always been disruptive with a really nice social message that left people talking for years after they were released. I tell you this because he shares 2 of your big 3 - aquarius and cancer.)

Going off on this tangent you could be a well respected teacher / writer / entertainer. Jupiter in LEO could help with this.

I do feel like you need a certain amount of inventiveness in your relationships. The people you're with are people who introduce you to new hobbies / ideas / technologies. You need to feel like you guys learn something new or create something that matters together. This is enhanced by uranus in the 7th house. You could come across really cold because you always give people the naked honest truth when asked. You do this from a place of love. I'm reminded of the Queen of Swords card in the rider Waite tarot. Not everyone has the maturity to take it. Or maybe they've just had a bad day. It is what it is. Perhaps try to not be so incisive if this is something you struggle with.

In the same vein, if I asked you to write down how you were feeling how long would it take for you to identify the right emotion. How honest are you with yourself?

Moon and Uranus being in the same house could show that stagnation could really hurt your mental health / happiness / satisfaction levels.

With a saturn ruled moon I feel like I need to remind you to not be so hard on yourself. Like. The world won't crumble to dust if you allow yourself to take care of you once in a while.there's only so much you can do.

All those coffee mugs will catch up. There's no such thing as extra hours in the day. A lack of sleep manifests as early signs of aging. No hate for the elderly but arthritis is not a fun ailment to have. Do you wanna be 60 with 80 year old nervous system problems? I rest my case.

Uranus and moon aspect your ascendant so you could have a slightly plump look?

Jupiter in the first house people usually have prominent thighs. I had a friend with this placement and when we were growing up she used to complain of chafed thighs a lot?

Mars sextile venus you could be your own type? The way you act and the way you want your future partners to express love could be quite similar which is good for healthy relationships.

There could be a tendency to spend impulsively.

With Mars sextiling venus you could be someone who earns more the more active their lifestyle is? Like, you may need to be an agile learner to keep money flowing in .

Jupiter in LEO in a woman's chart usually shows they'd have a financially well off spouse so money may not be a huge concern. He could be a sailor or earn via exports/ navy. It's hard to say without knowing where your Saturn is.

The image you project to the world could be a lot more outgoing than how you actually feel. You're more private than people think.

With a fire rising, water sun and air moon you could either be a really balanced person or just have a number of clashing ideas on who to be, what to do and achieve.

Descendant : The people that hate on you could attack your need to stand out /try to dim your time in the spotlight. Think aquarius themes of standing out to improve community clashing with Leo's need to stand out solely because it helps their ego. Like your confidence could trigger the part if them that felt judged negatively for expressing their individuality.

Do you feel like you thrive in chaos? I'm guessing you're atleast in your late 20s if not older, so you might have gotten better at dealing with people acting unexpectedly. Your mom could have been unpredictable. Really intelligent, but forgets to eat ..

🥤🦀As a cancer sun, you could be the friend your friends come to for advice. There could be a tendency to be a little too selfless. I think your aqua moon really serves as a shield to those who try to take advantage of your caring nature. Have you considered a career in psychic medium ship? Or any spiritual art/ past life regression / you get the drift..

Is there a family craft or hobby that you could monetize? Jupiter in LEO could signify ancestral gains.

Lilith and Pluto aspects to ascendant can make you come across really sexy / a bit unapproachable because people feel like you have some kind of power that places you above them?

Due to this, people with Pluto / Lilith aspects can feel some kind of hurt around people clearing up the path around them if that makes sense.

Jupiter opposite moon : there could be a clash between you want to do VS what you feel you should be doing.

Jupiter in the first house : you could have been born rich? Or people just perceive you that way. They also see you as someone wordly wise and lucky in general. You could know a lot about a wide variety of things. Specially on topics related to appearance, personal development, image consciousness etc. Since the ruler of the first is in the 12th I feel like some of your wisdom comes from a divine source. Like you're tapping into some kind of a collective reservoir of knowledge. In starseed terminology we would refer to this as downloads.

Jupiter rules the 8th house and 5th house.

So love, romance, games, early education may have been a bit of a breeze for you.

Jupiter is usually a bit of a celibate spiritual person. So, while it may make you really wise with respect to things like the occult / tarot / other 8th house themes, I'm not sure how it would impact your sex life with a spouse. Sex could be either a deeply spiritual experience for you or take on more neptunian traits. Addiction / alcoholism / drug use the works. Jupiter expands the themes of the house it rules so a word of caution there.

Travelling could bring you luck. Or even love.

Did I hear Mars opposite Neptune?

This could be a literal battlefield. You could feel like you need to work for love.if Neptune is unconditional love and Mars is your drive, then you could literally match to get to taht elusive unconditional sense of belonging /love / acceptance. But what are you marching towards really? A mirage? With this aspect I'd really be on the guard against addiction of any kind. Neptune is enticing, alluring, mocking Mars for its need to conquer. It could lend a really nice swagger to your walk. A runway model could benefit from thus placement. At uts best this aspect imbues you with creativity, inspiration, otherworldly imagination and the energy required to turn your abstract ideas of art into something tangible.

Here's a source for more on this placement. Sometimes I find that the comments really help me make sense of my own placements

Toodles

Before I sign off, I just have to say this :please try to restrict asks to 2-3 placements. You can send in multiple asks if you'd like, but answering them all in one ask can get a bit cluttered and I'd hate to miss out on something 😊

Hope this helped 💕as always, I'd really appreciate your feedback on this take on how these placements affect you.

[zintranslations]

Kaleidoscope of Death, Ch. 120

Kaleidoscope of Death by Xi Zixu Link to Chinese / Novel Updates

Chapter 120: The Thirteenth Door

Right after the new year, it came about time for Gu Longming to enter his door.

Ruan Nanzhu selected a sixth door hint slip, and on it was a name familiar to all—Minotaur. A monster from ancient Greek mythology with a bull's head and a human's body that guarded a maze.

In the myth, it was a creature of an extremely violent temperament born of a human and a white bull. Shut away in the Labyrinth on the island of Crete, it ate seven pairs of boys and girls each year. Then it was killed by a bastard son of Athens, Theseus. Point was, there wasn't much intel to gain about the door from a hint like this. Only once they went in and encountered the actual situation could they connect it to the hint on the paper slip.

Lin Qiushi also showed this hint to Gu Longming ahead of time. After Gu Longming received it, he expressed his thorough gratitude for Lin Qiushi, and Lin Qiushi too was forthright with a vaccination—he said that in this door, he could not be responsible for Gu Longming's life, and Gu Longming ought to prepare himself accordingly.

Gu Longming agreed to every stipulation, and said he had already prepared himself for never coming out.

Their time of entry was roughly the tenth of the lunar new year, when celebrations were trailing off, leisurely vacations were coming to an end, and everybody grew busy again.

Lin Qiushi readied everything and began to wait for the door.

The tenth quickly came. It was a bright, sunny afternoon, and few people were in the mansion. There was only Lin Qiushi sitting in the living room eating Lu Yanxue's freshly cooked pumpkin seeds. Lu Yanxue's culinary skills were, as usual, the best; the pumpkin seeds she fried up were flavored with the five spices and fragrant as all hell. Lin Qiushi could pass an entire afternoon with just a handful of the stuff.

Ruan Nanzhu had already gotten changed and was waiting upstairs. Lin Qiushi saw that it was about time, and so hoisted his hefty backpack and headed upstairs to go look for him.

Due to their last door, Lin Qiushi intentionally stuffed his bag with a great number of food items. Daily necessities from outside could be brought inside, but weapons that were more against the spirit of the doors were not. Guns and other firearms, for example, could not be brought inside.

Once you'd entered the doors, of course, there might exist some special limitations, like in the sanitarium door when the NPC told them the rule where they could not eat food brought in from the outside. The reality was that these kinds of limitations were rare, but all Lin Qiushi wanted to achieve was the principle of Better Safe Than Sorry. At any rate, the condition from the tenth door where they had to open a chest if they wanted to eat had left quite the shadow on his psyche.

Lin Qiushi entered Ruan Nanzhu's bedroom and sat with him on the bed for a while. Then he felt the atmosphere around him change. It took only the time of a blink for Ruan Nanzhu, who had been sitting right beside him, to disappear without a trace. Lin Qiushi pushed open the bedroom door in front of him and saw that what had originally been the hallway was now a series of twelve black metal doors. What a familiar sight.

He walked to the sixth door and gave it a tug. The next moment, Lin Qiushi was sucked in by an immense force. The scenery around him was also altering dramatically, and by the time he opened his eyes again, he could feel a faint rocking beneath his feet.

Lin Qiushi took a closer look, and discovered that he'd appeared on a large old ship. It was just about sunset, and there were black clouds frighteningly low in the sky, as if they were going to smother the horizon at any moment. Inky seawater tossed before him, blown into violent waves by the winds.

Lin Qiushi smelled the gamy salt of the ocean, and because of the excessive waves, the ancient deck beneath his feet was ceaseless in its swaying. He saw that on the floorboards, there were seaweed-clung creatures clutching at the wood, making for an immensely uncomfortable sight.

Lin Qiushi took a few steps forward and saw in the ship cabin a dim-glowing light. He followed the corridor to the interior, and heard miserable wailing coming from inside.

"Uwaaaa, why am I here? What the hell did you all do to me?!" It had been a while since he last heard these cries of a newbie—Lin Qiushi was actually a bit surprised. He spotted the crying person immediately. It was a young woman, wiping at her tears with her hands. "You goddamn perverts, you guys must have kidnapped me. I'm going to call the cops and have you all arrested!!"

Most people were listening to her sob in silence. Newbies, after all, only ever reacted in so many ways: most cried; some tried to run; and some, of the truly psychologically frail sort, came in and pretty much had an immediate meltdown.

Lin Qiushi stood where he was. He noticed that around this girl were a few people who didn't look so good, who also seemed in various degrees of panic. They clearly weren't prepared to enter a door, and were likely newbies like the girl. But at least they weren't wailing endlessly like the young woman, and were still calm in comparison.

Lin Qiushi's gaze searched through the crowd and very quickly found its target—a woman seated in a corner and smiling at him.

The woman wore a long dress—the same outfit Ruan Nanzhu wore before they came in.

Lin Qiushi had the script in his head, and he took his time approaching the woman and holding out his hand: "Yu Linlin."

"Zhu Meng." The woman took his hand and smiled. "The red thread of destiny found us inside this door, let's cherish this meeting."

Lin Qiushi couldn't help but laugh.

"Indeed. Let's cherish this meeting."

Really, this little drama queen of his—putting on a show even when there was no stage to be had.

Just as the two were talking, a young man came tumbling in through the door. Though his face was unfamiliar, his clothes told Lin Qiushi his identity—it was Gu Longming, who'd agreed to meet with Lin Qiushi over the internet.

Gu Longming was entirely soaked. Once he came in he began to curse under his breath: "fuckers, throwing me on a lifeboat—why don't you just throw me into the ocean huh? Goddamn jealous of my beauty or what—"

Though he kept his voice down, Lin Qiushi's hearing was superb, and so could easily hear all the crap he was spewing. For a moment, Lin Qiushi himself didn't know whether to laugh or cry.

Of course, he didn't laugh. He only cleared his throat once and covered his mouth with his hand, swallowing down the urge to smile. Gu Longming's eyes lapped the gathered people and very quickly fell upon Lin Qiushi and Ruan Nanzhu. He came over with a bright grin, greeting the two as if they'd just met completely by coincidence.

As a matter of act, this little trick where they faked a chance encounter was only useful for the earlier doors. Once in the later doors, that old fox-spirit manifested in everyone, and not having a partner actually made you the odd one out.

As for whether or not somebody would identify them as part of the same crew, Lin Qiushi used to worry about that. Now though, not so much.

The cabin of the old ship wasn't big, nor was it bright. The only lighting equipment was a handful of tiny kerosene lamps overhead, flickering periodically with the sway of the ship.

The sky grew darker outside, and the number of people kept increasing. Finally, it stopped at the count of fourteen.

Everybody assessed their surroundings as they met up with their own teammates. The crowd seemed to be very quickly divided up into teams, with the handful of newbies left out. Without much choice, they had to make up their own team.

Just as the crowd grew noisy with discussion, a middle-aged man came in from the outside. His get-up looked a bit like a medieval pirate, and he carried a swaying kerosene lamp in his hand.

"Welcome to the Black Skerry," the man spoke. His voice sounded quite raspy, like the effects of long-term drinking or smoking had brought about irreversible damage to his throat. "I hope you all have a good time here."

After he finished saying this, he laughed like a maniac, and his high-pitched laughter, like fingernails scoring a chalkboard, sent goosebumps rising along the skin.

"In ten days, the Black Skerry will reach harbor," the man said. "Our voyage will end then, so please enjoy our wonderful time together."

Just as he finished speaking, somebody rushed out of the cabin. Lin Qiushi first thought that this person had gotten scared, but not long after, there came from outside the sound of violent vomiting—it seemed that some unlucky bastard was seasick.

"Where in the world are we?" The sobbing young girl had also been scared by the man before her, and she spoke: "are we filming a show? I'm really, really scared, can I please quit? I don't want to play anymore, I'm begging you…"

The man completely ignored her. He merely went on watching the crowd with a cool gaze.

The girl seemed to want to go up and take hold of him, but when she got to his side she suddenly stopped, face draining of all color. She then backed up a few steps, as if she'd seen something truly terrifying.

Lin Qiushi's eyesight wasn't as good as Ruan Nanzhu's, and due to the dim lights he didn't see a thing. It was Ruan Nanzhu who quietly explained the situation to him:

"That person's covered in some sort of black insect."

Gu Longming shivered.

"Is he dead or alive then?"

"I don't know," Ruan Nanzhu said. "Doesn't look too good either way."

Under typical circumstances, only the NPC who provided them with the key information was somewhat normal. If even that NPC wasn't normal, then there really weren't any normal people to speak of.

Lin Qiushi hadn't imagined that their door this time would be an ancient ship. And by the looks of things, the time limit was ten days.

"Come along, I'll take to to where you'll sleep," the man said. "It'll be dark soon…and it'll rain."

After this, he began that manic laugh again, and the group was even more disturbed.

The man brought them to the guest cabins and began divvying up the rooms.

Most of the rooms here were doubles, with a rare triple here and there. At first, Lin Qiushi was assigned a double, but Gu Longming brazenly went and found a man to switch room numbers with, strong-arming them into a triple.

"You'll bargain for even this sort of thing?" Lin Qiushi shot Gu Longming a look of admiration.

"Well I'm scared of dying, aren't I…" Gu Longming said. He didn't want to sleep alone, and though it wasn't quite right to be a third wheel, being a third wheel was much better than being dead.

Ruan Nanzhu’s smile was inscrutable.

"That's fair."

They'd planned to inspect the entire ship, but because the night was already so dark, moving about outside would be too dangerous. They would rest first, and wait until tomorrow to make plans.

And so the three got their key and went to their room, getting into bed after quickly washing up.

When Ruan Nanzhu went to change, Gu Longming took the opportunity to poke at Lin Qiushi, whispering, "yo, not cool man, how come you didn't tell me you had such a pretty girlfriend?"

Lin Qiushi answered a vague: "…mh."

"Oh she's stunning," Gu Longming said with a sigh. "If I had a girlfriend like that I'd want to stick around her every day too."

As he spoke, he looked to Lin Qiushi with an expression that was both envy and admiration.

Lin Qiushi watched him back and wondered how he would react if he knew Ruan Nanzhu was drag queen. Of course, it wasn't something he could tell Gu Longming now. Gu Longming was not yet part of Obsidian, and the fact that Ruan Nanzhu wore drag was Obsidian's biggest most vital secret…

After Ruan Nanzhu got changed, he came back inside.

"What are you two talking about?"

"Nothing," Lin Qiushi answered in brief. "He said you were pretty."

Ruan Nanzhu replied with a meaningful oh.

Gu Longming: "…" Why did a chill suddenly go down his back?

The beds on the ship all emanated a damp smell—very uncomfortable for the people lying on top. At this point, the waves and wind were getting bigger, and even the sleeping quarters were beginning to rock. Lin Qiushi remembered that ridiculously seasick, endlessly vomiting pal of theirs from earlier and thought that that guy was pretty much done for.

The sky outside gradually darkened in entirety, leaving only the bellowing winds and the sound of waves beating against each other. With his eyes shut, Lin Qiushi grew drowsy—but before he could fall asleep, he was woken by a sudden crack of thunder. It was like lightning had struck right above their heads. With the loud boom, all three of them awoke in an instant.

After that, it was the pattering pour of rain. The rushing rain and the howling wind—they seemed on the verge of destroying everything.

Their quarters rocked even harder. Lin Qiushi sat up in his bed.

Through the window, he looked to the black evening outside. He saw, however, two illuminated lights. It seemed like the only light sources on deck were kerosene lamps, but how did these lamps stay so bright in the middle of a thunderstorm…? Just as Lin Qiushi wondered this, he suddenly felt that there was something off about those two lights, and Ruan Nanzhu, sitting behind him, spoke up quietly:

"Don't look anymore."

Lin Qiushi, "hm?"

"Those aren't lights," Ruan Nanzhu said. "Those are eyes."

A pair of yellow, inhuman eyes. The owner of the eyes spied through the darkness with malicious intent, as if a beast looking for its prey.

Lin Qiushi instantly looked away, and asked, "what is that thing?"

"I don't know, I can't tell," Ruan Nanzhu said. "The shape is humanoid, but it doesn't seem to be human."

Lin Qiushi's brows lightly furrowed, but by the time he looked out the window once more, the eyes were gone.

Thunder rumbled on and on, and that stench of ocean salt grew thicker and more cloying.

Ruan Nanzhu climbed into Lin Qiushi's bed, and holding each other, the two very quickly returned to sleep. However, the only bachelor present Gu Longming didn't have such luck. Lying beside Lin Qiushi, he stared with plaintive eyes, thinking that in the following days, he'd be fed enough dog food to bloat.

The rainstorm lasted until dawn, and though the rain let up, the weather did not turn any sunnier. Black storm clouds still hovered over the ship, and when the alarm rang, Lin Qiushi actually thought it was not yet morning. He checked the time, however, and saw that it was 8AM. It was just still dark outside.

"Good morning," Ruan Nanzhu greeted Lin Qiushi.

"Good morning. It's so dark outside today."

"It's probably going to keep raining," Ruan Nanzhu said. He walked out onto deck with Lin Qiushi and watched the black waters roil underneath the ship.

Looking up, they couldn't see any land, only the endless swath of sea. Only the old ship beneath their feet felt like any sort of reality.

This sort of isolating environment was easily taxing on the psyche. Even for Lin Qiushi, the scene before them was discomforting.

"Come on, let's go get breakfast," Gu Longming called to the two.

"He's pretty thick-skinned," Ruan Nanzhu commented after hearing Gu Longming's call.

"Yeah," Lin Qiushi said. "His nerves are petty good."

Inside the doors, you didn't have to be too smart, but you definitely had to be brave enough. Before terrifying situations, fright could make a person abandon a large part of their cognitive abilities. The smartest person could lack a strong heart and still do worse inside the door than the obtuse, oblivious Cheng Qianli.

The three went to the dining area and found there an atmosphere that could very well be called lifeless.

Lin Qiushi didn't know why at first. After he saw the menu, however, he couldn't help but also feel a touch of depression.

All the ship offered was fish. And it wasn't even fresh fish—Gu Longming poked at a dead-eyed staring head with his chopsticks and said, "is this thing even edible?"

It was disgusting just to look at.

"It looks gross," Lin Qiushi said. "Try a bit?"

Gu Longming took a bit of meat from the gills and gave it a taste. His expression twisted.

"Fuck, did they deduct the food budget for this door or what? It's disgusting. It's like they’ve had it outside for three days. You try it?"

Lin Qiushi, "oh no, no thank you."

Gu Longming: "…"

The breakfast served in the dining room was, for the most part, stale fish. Aside from that there was only flavorless noddles and peas. The environment had already been vicious enough, but the food in front of them now was salt on top of the wound.

But Lin Qiushi and Ruan Nanzhu didn't care at all. After seeing the inedible breakfast they snuck back to their room and fetched from their bags the food they'd prepared.

Gu Longming watched as they pulled out a bottle of chili sauce, eyes bulging out.

"You guys even brought Lao Gan Ma? Did you come here to picnic?"

"Want some?" Lin Qiushi drizzled the Lao Gan Ma over some noodles they'd brought out of the dining hall.

"Yeah yeah yeah. More please." Gu Longming's expression was shameless.

With breakfast finally done, they got ready to search the ship.

There were a total of three decks in the ship, constructed a bit like the sailing vessels of the great nautical era of the Middle Ages. It was extremely old, was all, covered in the marks and traces of times past.

Beside that NPC, they didn't see any other crew members on deck; there was likely only the one NPC on the entire ship. Wait for the ship's return was the mission the NPC left for them this time, but Lin Qiushi had thorough reason to believe that if they couldn't find the door in ten day's time, this voyage of theirs would cycle back and repeat—and they'd experience the ten days all over again.

When Lin Qiushi climbed onto the second deck, he heard a sort of thumping sound, and was uncertain if Ruan Nanzhu and Gu Longming had heard it as well. So he asked, "did you guys hear that?"

"What?" Gu Longming didn't seem to have heard.

Ruan Nanzhu said, "I think I did, but not very clearly."

"I think it came from the corner…" Lin Qiushi followed the sound forward. "Let's go see."

But before they could get close, Lin Qiushi was hit with a thick, fishy stench. It was disgusting and nauseating to smell; fortunately Cheng Yixie wasn't here, or he might have passed out immediately upon smelling it.

The source of the sound and smell was the same room, and they were close enough now that both Gu Longming and Ruan Nanzhu could hear the thumping noise as well.

The three of them slowed their steps, and through the window, looked into the room.

It was a kitchen with knives and other tools hanging inside. The most eye-catching thing, however, was the dense masses of dead fish hung up on hooks all over the sides.

A person in an apron stood in the center of the room with their back towards them and head down. They were chopping something. After some observation, Gu Longming almost gagged, and said, "don't tell me he's making our breakfast—"

Ruan Nanzhu was very calm.

"It's possible."

Gu Longming did gag. He'd even had a bite of that fish that morning.

Lin Qiushi gave Gu Longming a sympathetic pat on the shoulder.

This person in the kitchen, however, was the second living NPC they'd found on the ship.

The three of them stood watching in the kitchen doorway for a while, and saw that besides chopping fish, this person didn't do much of anything else. And so they decided to go see elsewhere first.

Very soon, they discovered a more peculiar room. This room was locked, and curtains were drawn over the window. It was quiet inside, but they could still smell that thick waft of stale fish. Lin Qiushi initially thought the smell had clung to them from the kitchen, but after a careful sniff, found that it was coming from inside the room.

"Do we go in?" Gu Longming was pressed against the window trying to look in, but he could see nothing.

Ruan Nanzhu gave this some thought, before saying, "let's try," and getting out a hairpin to pick the lock.

Watching his adept motions, Gu Longming's eyes widened. Then Gu Longming glanced at Lin Qiushi.

"Is this…is this a basic skillset that y'all come with?"

Lin Qiushi grinned as he joked, "yeah. You have to learn to pick locks if you want to join us."

As he said this, there was a click. Ruan Nanzhu really got the lock open. But oddly enough, after he unlocked the door and gave it a push, he found that though the door lock was undone, there was another lock hanging on the inside. The chain on that lock held the door closed, and they could at most manage a crack—it couldn't be opened at all.

"Wait," Lin Qiushi suddenly said, stopping Ruan Nanzhu from going up and pushing the door. "Stop for a second. There's movement inside."

Ruan Nanzhu halted, and just as he stopped mid-step, a hand, sharp-nailed and covered in scales, reached out of the door. And through that crack in the door, a pair of yellow eyes looked out, peering at the world outside with malicious intent.

Translator’s Note:

The name of the ship could more simply be translated as “Black Reef,” but “Black Skerry” sounds more like a ship name? Let me know if you think otherwise (or know if it’s a specific reference to something).

Lao Gan Ma is a brand of **hot sauce (edited: 7/26), as you can probably tell from context. The original next never uses “hot sauce” though, and just call it Lao Gan Ma in both the prose and the dialogue.

[Ch. 119] | [Ch. 121]

[elonaackerman]

In a few hour's the spoiler leaks are going to be released for the final chapter of Attack on titan manga and the official translation on April 9th so before all that happens what are you're thoughts and predictions between the character's and the end of the storyline?

https://ww7.readsnk.com/chapter/shingeki-no-kyojin-spoilers-raw-chapter-139/.

Hello Kian ! I see several of your questions about the ending and I must say I was lost myself with everything happening. However, I think I elaborated a good theory now !

Theory number 1: Eren is alive

This is the theory I acknowledge the most. Many people say that Eren not dying would be too strange after he already survived so much times to his expected deaths, but I don’t think so. Isayama loves to take some clichés and to twist them:

Here is a brief list:

- The MC not dying in the first episodes

- The power of will and friendship (which is shown to be useless in the Trost arc)

- The guy protecting the girl (Mikasa is Eren’s bodyguard, not the contrary)

- The main trio sticking together until the end

- The MC being « special »/being the « chosen one » (Eren is an usurpator)

Something very used in films/books is to use the absence of body as a way to cancel the absolute truth of a death. By showing us a body, Isayama can fool us by transgressing this common rule of « body=dead ».

Also Eren’s death in chapter 138 was just serving Mikasa’s development arc climax. It didn’t solve any matter of their world.

You know I feel like Eren was very relaxed when he saw Mikasa approaching to kill him. He probably already knew what she was going to do and even closed his eyes when she did it (you can see it since on the last panel, Eren has his eyes closed). I feel like if Eren acted this way, it’s because he transferred his consciousness to his body (all this time his head was controlling the titan so he may have regenerated a head on his body). It would explain why this concept was introduced to us with Reiner in season 3 and then never used again.

Plus, Grisha said everything would go along to Eren’s plan, but if Eren didn’t succeed, the Rumbling is stopped and hell awaits eldians: they will be killed after what happened, considered too dangerous, more than they already were. And even if the titan power is removed, there will still be a large part of hate and of revenge in the Rumbling survivors’ hearts. I don’t believe the « Code Geass theory » which says that Eren did the rumbling so the world could see Eldians defending it, and stand united with Mahrs against him (in the role of the bad guy), especially since some Eldians sided with Eren and that he exposed them in Revelio or even in Paradise with his devoted Yeagerists. It’s not realistic at all and it doesn’t fit nor Eren’s character, nor SNK spirit.

Eren had defined goals: « exterminate them all », and that’s what he did, he doesn’t seem to want to stop the rumbling on this panel:

Isayama said he didn’t like characters who weren’t true to their goals, that let the story change their plans and motivations too easily. He wouldn’t give to his MC the traits of a writing he despise.

Another reason why I believe the guy is alive is because his POV was hidden all this time. What’s the point of not giving to us Eren’s perspective while his final battle, when it would have been more powerful, if you did not have a big secret/plot twist generator to hide ? I think Eren and Ymir, who smiles like a creep in 138, manipulated everyone: the way Armin came with all the titan shifters in 137 with the help of Ymir was already really suspicious. Kruger, for example, had no reason to stand against Eren.

Chapter 137 was Armin, 138 was Mikasa so we will surely get Eren perspective for 139. And it will be weird if we have it while the guy is dead. Of course we’ll see what happened in chapter 130 between Eren and Historia (I can’t wait for their POVs) and Historia’s baby. The final panel makes me even more sure that Eren is still alive otherwise who on earth would say « You are free » to a new born child ? Eren x Freedom is canon.

• The Attack Titan

We know the path is a place out of time. It’s in this place that titans are sculpted by Ymir, and that’s why I think it makes sense for Eren to be the first owner of that titan: the attack titan is the only one who ascends in the past instead of descending in the future. If physically it seems to be passed down following the classical timeline, all of it is actually playing in the paths. The Attack Titan was only possessed by rebels, directly influenced by Eren’s mindset. It disappeared at a time, and it was also a part of Ymir’s titan: it’s her rebellious part designed to « attack » the world 2000 years later. I think Isayama might add depth again to the title of the story in 139.

• Major deaths

I can’t help but think: why did Eren let Mikasa cut his head and even indicated his location with titan marks ? I think that it’s possible he wants his last friends to fly away from the battle, thinking they have won when they didn’t, so that he can restart the Rumbling without killing them. The survivors would be Levi, Mikasa, Armin and probably Annie. I think Reiner will die to let Gaby eat him, so that Falco and Gaby, representing the future, can be saved.

It makes sense for Reiner to sacrifice himself for his little cousin: he lived for the ones he loved even if he didn’t wish to live himself, and since Gaby represents the new generation, hope, and that she was the potential inheritor of the Armored Titan, I am convinced she is the one who will eat him.

After that the most probable thing is that Levi and Mikasa, who grew incredibly closer, will live together, same for Annie and Armin. Eren will achieve the Rumbling then go back to Historia and we will have that Akatsuki no Requiem ending.

However, a darker possibility is that everyone except Falco and Gaby might die. I am in denial 😄✌🏻

But, I ask myself how Eren will make titans disappear. I think he might have plotted something with Ymir, after all isn’t she free from King Fritz now ? Or maybe Falco will eradicate the worm (bird vs worm is kinda obvious). However I do not think the people transformed into titans will turn back to normal, it’s not Isayama’s style to « bring back » dead characters, it would make Jean’s and Connie’s deaths less tragic. I think that only shifters will loose their ability and the 13 years thing.

Theory 2: if Eren is dead

• Ymir’s manipulation

I don’t wanna believe it but what if all of this was Ymir’s plan ? If he IS dead, it’s Ymir who is the mastermind and manipulated him so that the parasite would die and that she could get out off the paths. « I took the world’s freedom to gain mine » what if it’s YMIR TALKING in 133 ? She could even had sent the dream to Mikasa in 138 so that she would know WHERE Eren was and kill him, all of this after Ymir took revenge on the world. Remember, the titan who protected Zeke came from earth, and Ymir entered in contact with « the source of all organic life », which means she could be the one behind the birds we keep seeing, including the one on Mikasa dream. She could be smiling because her plan WORKED.

Also remember in the paths where Eren was talking to the Alliance ? He was in his kid Eren form, like Ymir, we didn’t see his eyes, showing his slavery and a strange alike-look. Ymir was standing right next to him, in the exact same position, mirroring him as if he was a sort of reflection/puppet of hers. Everybody thought the contrary until now, that Ymir followed Eren. While she was here, Eren was saying that the only way to end all of this was to take his life: what if Ymir made him say that ?

It makes even more sense when Ymir helped Armin with summoning shifters and that they also had their mouths don’t moving.

• Eldian Society ?

The only way to resolve  everything if Eren is dead is to create an Eldian empire domination with the rest of the world being weak and wiped out. Everybody would live on Paradise and would be teached about the cycle of hate and the heroes who stopped the Rumbling as new Helos, giving us an explanation of that picture in the opening (it could also be Eren’s society as well meant to not repeat the same mistakes as well)

I hope you liked it ! Let’s not suffer too much during the waiting and organize cottagecore RM and EH weddings with the beach Aruannie one instead of crying 💁🏻‍♀️

[ladyeliot]

It will always be you

Prequel: Stay with me

Pairing: Tony Stark x Avenger Female Reader

Summary: The snap has happened, the return of Wakanda has not been as you all expected, but now you have to face reality, and you just can't stop thinking about him, about Tony.

Warnings: Angst, Fluff.

Word count: 4101

A/N: Post Infinity War. Some of the dialogue is taken from the film. Sorry for my spelling and grammatical mistakes, English is not my native language, I am learning.

Reader Powers: Psionic. You use psionic force to track any sentient being. You also create psychic shields to protect yourself. You can project psychic force bolts which have no physical effects but which can affect a victim's mind, causing them pain.

Life is a continuous struggle of choices that you have to make without stopping to think for a second. It is said that hope is the last thing to be lost, probably because the choice you made almost left you without it. You must also learn that happiness is the last thing to be found, probably because the choice you have made has made you unhappier than you will ever be. Your life has been full of choices, you might have regretted many of them, but you decided at the time to make them, so you never allowed yourself to regret your actions, until that day.

Three weeks after Thanos snapped, hope was completely lost. The new facility has been uncharacteristically silent, no one has been able to say more than two words in a row, and you had barely managed to say one since your return from Wakanda. Steve Rogers, Natasha Romanoff, James Rhodes, Bruce Banner and you, those were the surviving Avengers, the ones that life had given you a second chance, but it didn't really feel like one.

You were in your old room, old because two years ago one of your decisions had taken you away from that place, yes, you were against the Sokovia Accords, that had led you to take the side of the Captain and to fight against the side of Iron Man, who had been the person who had saved you from the madness that your powers had generated in your mind. But even if you had turned against him, you knew you owed him everything. Evidently this was something he didn't understand, which led to a wide rift that had never been bridged on either side, and which led to a breakdown in your relationship of closeness.

Every corner of that room had been kept exactly as you had left it that night when you fled with Wanda. Your drawings together with the charcoals scattered on the desk, the book 'In Search of Lost Time' by Marcel Proust on the bedside table and that bracelet that Tony had given you for your 26th birthday that you had left next to the open jewellery box on the bed. It was really painful to see all of this, knowing that those facilities would probably never be what they once were, that Wanda would not suddenly appear at your door, that you would never sit around the dinner table and that Tony would not occupy the armchair next to your bed to try to cheer you up after a mission that hadn't gone so well. You didn't know whether frustration was taking over the fear and sadness or whether you just didn't know how to control your feelings on that occasion.

The days were long, each of you working in silence trying to make sense of what had happened, looking for a solution that would never come to the problem. You shared the hours, but the solitude that enveloped you was too austere to realise that there was a person by your side. You didn't know Thanos' location, however, even if you did, especially if you did, it had become clear that you could not stand alone against his entire army.

"Would you like some?" asked Natasha offering you a plate with a veggie sandwich on it, which you took with an almost soundless 'thank you'.

Yes, actually that had been your first word in five days, since you said goodnight to Bruce last Sunday, food and sleep were not high on your priorities, especially when you spent the night using your telepathic detection trying to find some sign of life that would make you believe Tony was alive, but it was useless. Your psionic senses allowed you to track any sentient being, you were able to scan large areas, but your ability did not address the entire universe.

That night your spirits seemed to be running low to the ground, three weeks without having achieved anything that would allow you to have any lucidity in your plans was too long as the situation stood. You could hear in the background a soft murmur coming from a conversation between Natasha and Steve, but you weren't really paying attention to it, it was all in your thoughts. But at that instant, an inner burst made them evaporate. A signal came into your brain, a psionic emanation that alerted you to the presence of a spaceship entering the stratosphere, with a fixed direction, yours. You rose from your chair, standing upright, capturing the attention of the people around you. You closed your eyes, heightening all your senses, taking in all the information that was coming to you, at that moment you felt it. You opened your eyes and looked at them.

"He's here," were the only words you could utter before you rushed outside. Your companions soon followed your path, asking questions to explain what was happening, but your inner euphoria prevented you from saying a single word.

That ship appeared above you as you raced across the garden, night was falling relentlessly and you could only glimpse a halo of light that seemed to direct the ship as it landed delicately on the wide grassy esplanade. The five of you paused, taking in the scene, discovering how a side door opened to project a flight of stairs. When you saw his face for the first time your lungs deflated, letting out all the air they had accumulated over a long period of time. Your body went rigid and you didn't react until Steve ran past you and approached the ship to help him down.

He looked terrible, it was evident in every facial feature and in his body movements, you knew what you had been through, but you had no idea what Tony had been through since his disappearance in New York, although you could get a pretty good idea. Before your eyes were Steve and Tony in custody, reunited again, after all that had happened, none of it mattered, at least not to you, and perhaps you had a vain hope that it didn't matter to anyone else either. Even so you didn't know how to act when your eyes connected with his, for a slight moment you wanted to approach him, offer him a hug and tell him that you were relieved to discover that he was there, with you, after all, but you chose to stay where you were, next to Natasha.

It wasn't until you headed inside that the stiffness disappeared from your body. A whispered 'are you okay' from Steve made you react again and pay attention to Natasha's words that were projecting all the information gathered during those days.

"The governments are destroyed," she reported as she projected images showing the missing, like Wilson, Maximoff and Parker, among others, "the working parts are trying to do a census, and it looks like he did it. He did what he said he would do. Thanos wiped out 50% of all living things."

Silence echoed around you, you were sitting in an armchair, somewhat away from the other members, playing with your fingers, trying not to look up, until he spoke.

"Where is he now?" asked Tony. "Where?"

"We don't know," Steve informed him from beside you, sitting at a table. "He opened a portal and went through it. We looked for Thanos for three weeks, with deep space scanners," Steve looked at you, "and satellites, and we found nothing." He looked at Tony. "Tony, you fought him."

"What are you talking about?" asked Tony from his wheelchair. "I didn't fight him. No, he wiped my face with a planet while the wizard gave away the store. That's what happened, there's no fight..."

You took a breath and sighed, because you could contemplate what was about to happen right now, the nerves were there along with the negativity and failure of some of the superheroes on that planet and others, and you knew it could explode at any moment.

"Tony, I'm going to need you to focus..." Steve repeated again hoping that Tony would offer him some clue as to the whereabouts of Thanos.

"I needed you," interrupted Tony in a raised tone. "as in past tense.  That trumps what you need. It's too late, buddy. Sorry." He used a second of his silence to look at Steve and another second to look at you, who stood beside him. You took in most of the feelings hidden in his gaze, and none of them were positive or forgiving. "You know what I need? I need a shave," he tried to get out of the wheelchair, taking everything on the table in his stride. "I don't believe I ever remember telling you this..." he ripped out the IV that connected the drip to his left arm. "To the living and the dead, What we needed was a suit of armor around the world! Remember that? Whether it impacted our precious freedoms or not," he looked back at you and Steve repeatedly. "That's what we needed!”

The discussion continued, avoiding an upset Tony explaining everything he thought about the current and past situation, ignoring the suggestions Rhodes was giving him to calm down and take his seat again.

"[...] Bunch of tired old wheels!" he pointed at Steve. "I got nothin' for you, Cap! I've got no coordinates, no clues, no strategies, no options! Zero, zip, nada. No trust - liar."

Almost ipso facto he turned to you ripped off the reactor prostrate on his chest and handed it to Steve in his hand, leaving those present virtually speechless, if you still had any left.

"Here, take this. You'll find him, if you put that on. You hide-"

After those words you gazed again into his eyes full of resentment at the past, before his body could take it no more and he collapsed in the middle of the room.

In the hours that followed, you were the shadow of a ghost gazing at him from a distance from the door frame of one of the recovery rooms in the new complex. On the one hand fearing his reaction against you when he woke up, while on the other hand wanting to hear it because you knew that sooner or later it would come but you wanted it to come as soon as possible so that you could face it. Those words she had said to Steve were harsh, but they were really nothing to what you expected might happen. It seemed absurd at the time to have entertained the idea that it might have been forgotten.

"Bruce gave him a sedative," Rhodes said, looking up at you, who were leaning against the doorframe. "He'll be unconscious for the rest of the day. Do you want to sit down?"

"No...I'd better..." but Rhodes didn't allow you to finish your words, as he had risen from the armchair next to Tony and offered it to you. "Thank you."

The door to the room ajar to offer you some more privacy. As you turned your gaze towards him you realised the fragility his body conveyed in those moments, he had spent weeks wandering through space not knowing if he was going to get the chance to return home again and yet he had been able to stay alive and find himself there. You closed your eyes and settled back on the couch, you remembered the first time you did that with Tony, he had spent too much time without sleep after the events after the Chitauri invasion, he could barely sleep because of the nightmares and he begged you to stop them every night, so with your eyes closed you concentrated and invaded his mind with caution releasing the tension you found in it and giving him the peace he needed. When you opened your eyes again, her expression seemed to have changed, she seemed to have found some relief inside her, that fact made you smile. But a knock on the door woke you up.

"We need to talk," Steve's words sounded serious.

A new piece of information about Thanos' whereabouts came as a surprise, but for you the surprise came right after.

"Wait, is this some kind of punishment or something?" you said completely dumbfounded, just outside the room where Tony was, with what Steve was proposing. "Why me?"

"Because we need someone to stay with Tony," he said calmly crossing his arms.

"Is it because I'm the smallest of the whole team? Because I could really knock you all out right now with the blink of an eye," you said crossing your arms too.

"It's because Tony needs you," Steve lowered his tone, "and you need him."

There was nothing but truth in those words. You didn't know if Tony really needed you, but what you had assumed was that you'd needed him for a long time, and you'd put a lot of things before that need, creating your close relationship to go to shit, basically.

"I wouldn't forgive myself if something happened to you on this mission," Steve said frankly. "And he wouldn't forgive me either if I said that happened."

You lowered your face as you nodded, accepting his words and the job you had been given.

"Be very careful," you said before Steve disappeared from in front of you to take a path that you had no idea what could be in store for them.

From that moment on, the hours went by really slowly, you took your position in that armchair again, you needed to have a clear mind, you couldn't continue martyring yourself with all the events that had happened, so you started reading 'In Search of Lost Time', that book that had been forgotten on the bedside table since you left that place. News was nil, you barely got a sign of what might be happening and you knew it would probably be days before you got it. 

Night was falling on the compound again, Tony was barely making any sign of waking up, which also gave you time to consider how the situation would play out, and various possibilities for coping with it. Some of his belongings had been salvaged from the ship, and his helmet, or rather what was left of it, stared at you from the dresser in the room. Without having a reason in mind you approached him, causing a blue light to suddenly flash across his eyes, showing you his figure in the middle of the room.

"Is it on?" a figure of a seated, completely haggard Tony appeared before your eyes. "Hey, Ms. Y/L/N, Y/N," your brow furrowed, but you approached his reflection. "If you find this footage don't put it on social media, it'll be really tearful," his words brought a sad smile to your face. "I don't know if you'll watch these videos. I don't even know if you're still... Oh god, I hope so..." there was a silence from his words, but you could see him bring his hands to his face, something inside you cracked. "I guess it's easier to do this if you know the chances of seeing you again are practically nil," something inside you made your heart shrink. "I probably should have realised this a lot sooner," he fell silent, "yeah, but I was busy trying not to hate you too much, you know, when you decided to abandon me and choose the other side," exhaustion almost prevented him from keeping his eyes open. "Anyway, anyway that made me realise how important you had been to me," he let his gaze wander, "I tried to be there for you ever since I met you and... god, this is getting too depressing," he ran his hand over his face. "I just want you to know that I wish you were here, because you're the only person I'd like to share my last hours with," he nodded slightly, you knew what he was trying to say with those words, which made your eyes water. "Don't feel bad about this, I mean, if you stay prostrate for a couple of weeks... and then move on with immense guilt..." he hid his face in the palm of his hand and closed his eyes, you wiped away a tear that ran down your cheek keeping the bitter smile you had been wearing all along. "I want you to know... when I've fallen asleep, it will be like the nights we spent together. I'm fine. All right," he gestured towards you. "I'll dream of you. Because it will always be you."

Suddenly, as if nothing had happened, his image disappeared in front of your eyes, leaving you with hundreds of feelings invading your body and mind. You looked up and there he was, still there, sleeping pleasantly, barely knowing what had just happened. You hurriedly wiped away the last tear running down your cheek and sat back down, putting your feet up on the couch, unable to take your eyes off him. Perhaps those thoughts were drawn from his most desperate moments, believing that his life was about to come to an end, perhaps he was unwilling to show them to you now that he had resumed the course of his life, so even though it was not possible you tried to send them to a hidden place in your mind.

You had hardly slept in those three weeks, your mind hadn't rested for days and you didn't know why, but finding yourself curled up in that armchair next to Tony was giving you back the tranquillity your body hadn't known for too long. It was impossible to stop your eyelids from closing, on the contrary you were willing them to do so and for sleep to warmly invade your body, no matter how long you could stay asleep. That's how it happened, making the hours pass without you even noticing. 

Like a little gust of wind, something in your body made the light enter through your eyelashes. Slowly you opened your eyes, feeling in various parts of your body a tightness due to the position in which you had fallen asleep in that armchair. You discovered that a woollen blanket covered your limbs, but what kept you alert was the bed next to you was completely empty. Tony wasn't there. You jumped up, looking around, the bedroom door was ajar and Iron Man's helmet was missing.

"Tony?" you asked, raising your voice, stepping out into the hallway. "Tony! Where are you?"

You barely heard an answer, so you were thankful those powers were within you, you stopped in the middle of the corridor and closed your eyes, your receptors picked up a signal coming from downstairs, it was him. You found him leaning on the kitchen counter, his eyes closed as he tried to stand. You ran to him, grabbing his arm to hold him up.

"What do you think you're doing?" you said, leading him to the nearest armchair in the living room.

You discovered that he had shaved, taken a shower and was wearing one of his Tom Ford suits that were so recognisable to you. That meant he had been wandering around the house unsupervised for over an hour without waking you up. You knelt down next to him.

"Why didn't you wake me up?" you asked with a worried look on your face as you contemplated that he was extremely tired. "Bruce gave a set of instructions for you to follow, you can't just walk around..."

"It was your turn?" he cut you off with an angry tone. "Be my babysitter? How did you do it? Did you draw lots?" his countenance was serious, you could still see the puffiness in his eyes and his face fully dehydrated. "Whoever draws the shortest stick gets to look after poor Stark, all right, listen..."

"No! You listen to me," you cut him off, raising your tone above his, standing up and resting your hands on each armrest "Tony, we all lost. We all fought and lost, none of us made it," your face was three feet above his. "So now all we can do is try, in some completely illogical way, to move the situation forward. And if we can't, at least look to the future by doing our best to honour those we have lost."

Silence flooded over you.

"So please don't make the situation more complicated," you continued, lowering your tone, almost begging him. "If I've stayed with you it's because Steve has made me understand some things, because yes, it wasn't really my intention to stay with you from the start, but then I realised that if anyone had to stay with you it was me. I realised that if I had to risk my life again I didn't want to go on the mission, because that would mean never seeing you again.And I've also realised that I've needed you for a long time, that I'm finally by your side and I have no intention of separating from you. Whether you like it or not." Tony cut his gaze with yours by ducking it, but brought his right hand over yours.

That gesture provoked you to bring your other hand to his face, placing a gentle caress on his cheek.

"I know there are a lot of things we need to talk about, but one thing we do have is time," you explained as Tony intertwined his fingers with yours. "So please, don't do anything more stupid and don't disappear," maybe it was the atmosphere generated by the situation, but you risked saying the next words. "Because it will always be you."

Tony closed his eyes a little regretfully, a little embarrassedly, and brought his free hand to his face.

"I knew you saw that," he added calmly removing his hand from his face. "Well, at least I've saved myself from having to repeat it in person."

"I'm not sure I got it right," you said falsely. "You know, there was a lot of interference, and besides, I couldn't really understand what you were saying, so..."

"Sorry, there was only one pass for the film," he said wryly which caused you to smile widely as you rediscovered that the old Tony was still hidden in it. "We won't know when there will be a revival."

"Too bad, I really liked that movie," you sat down on the armrest without letting go of his hand and looking up at him.

"Really?" he asked for the first time modestly, and putting aside all the irony that surrounded the situation.

"Totally," you nodded, trying to express all the many feelings through your eyes.

Silence again kept you company, until Tony somewhat uncomfortably broke it.

"I suppose you know that by now I would have kissed you and created a fully effective plan to make love to you for hours until you begged me to stop in pleasure," he stated lamely, "although I think if you give me a couple of hours..."

"All right, Don Juan," you cut him off with a chuckle, "we'd better leave all that for later, and I'll take you back to bed now."

"I think it's a good start if you take me to bed," he continued with his insinuations.

You got up from the armrest and helped him put his arm around your shoulders, even though he repeatedly told you he could walk unaided. 

"Have we heard from the team?" he asked, slowly climbing the steps of the ladder.

"Soon," you said with a halo of hope. 

You definitely made it back to the room, having made it successfully through the journey. You helped him get rid of the shoes and shirt that his pride had forced him to wear, but which now made no sense when he was going back to bed.

"See, you're finally going to get what you wanted, I'm undressing you," you said jokingly causing a smile to appear on Tony's face as he lay back down. "You rest, I'll be here. I'll always be here."

Taglist Open (DM)

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[immortalled]

Get to Know the Mun!

REPOST DON’T REBLOG

———  BASICS! ♡

(PEN)NAME  :    spark

PRONOUNS  :    she / her

ZODIAC SIGN  :    gemini

TAKEN OR SINGLE  :    single 

———  THREE  FACTS! ♡

i once won a pig calling contest when i was like 5 or 6 years old. this is my one crowning achievement and (un?)fortunately somehow the thing people know me for in town. so, uhhh, call me if you need to find your pigs, i guess?

i saw a ufo once and in a separate event experienced something that some people might call “supernatural”. i’m certain there’s a logical explanation for both that don’t involve aliens or ghosts, but i’ve never seen or heard anything like them since.

i’m not sure i have any more interesting facts lmao so have a boring one: i’m terrible at whistling. i’m a one note wonder, and even then the stars have to be aligned just so hahaha

———  EXPERIENCE! ♡

mannnnn. i guess i’ve been roleplaying on various websites since i was maybe 9 or 10? it started on neopets, then expanded to 4kids forums, proboards, email, deviantart, and eventually here on tumblr. my first muse here was molly hooper from bbc sherlock, then i wrote the tenth doctor from doctor who for aaaages, several animated muses, a single edwardian era oc, a stupid number of vintage film/tv characters, a few characters from the mentalist, and now i seem to have entered my “robert sheehan era” in which i mostly write (yuh) robert sheehan characters pft. my condolences and endless gratitude to the mutuals who have followed me from blog to blog no matter what my heart decides to obsess over. y’all are the real mvps.

———  MUSE  PREFERENCE! ♡

i dunno if i have a muse type, but i do really love the misunderstood or tragic muses. i’m a sucker for angst, but i also just really love “rescuing” them. give me the pain, but also let me help them find their place in the world, y’know? and even if i can’t save them or give them a better life, writing them is still cathartic. the more damaged they are, the more solace i find in them. there’s just something about writing a traumatized character and seeing them through to the end that feels really empowering and encouraging regardless of whether or not that end is positive. i prefer it to be, but... yeah, it’s definitely the journey itself that i find the most comforting.

———  FLUFF / ANGST / SMUT! ♡    

FLUFF  :  i loooooove fluff. sometimes i can get a wee bit bored of it if it’s fluff without real emotional substance, or character development, but i do love it. sometimes you just want that tooth rotting sugary goodness.

ANGST  :  like i said, i love tragic characters, and angst is a very easy, good way to develop any muse. i think this is probably my favorite rp genre, provided that the characters involved get some small chance at comfort, too.

SMUT  :  i'll admit that i have grown to really love writing smut with the right partner lol. i don’t think i’m very good at it, and i’ll really only write it on discord, but for muses that are very sexual or who have a lot tied to sex or sexuality like nathan, it can be a good way to develop character. and that’s really what i’m after when i write smut; the emotion, or what could be learned about them or that relationship through sex. it’s pretty rare when i wanna write smut for the sake of writing smut... and usually only with partners i’ve been writing with for a very long time.

PLOT / MEMES  :   i suck at plotting. i don’t mind brainstorming, but i’m just as happy flying by the seat of my pants. throw stuff at me, man. memes are the way to go.

tagging  :  @caterva, @detectiveconnor, @idcnticxl, @conduitandconjurer, @mostincrediblechange, @lilxmcrtes​, @thehorsefrom​,  aaaand  anyone else who’d like to tagged  by  : @itsybitsyparker (thank you, my dear!!)

[oscopelabs]

Christopher Nolan: The Man Who Wasn’t There by Daniel Carlson

1.

So, we’ll start with the fact that all movies are make-believe. It’s a bunch of actors on a set, wearing costumes and standing with props picked out by hordes of people you’ll never see, under the guidance of a director, saying things that have been written down for them while doing their best to say these things so that it sounds like they’re just now thinking of them. We all know this—saying it feels incredibly stupid, like pointing out that water is wet—but it’s still worth noting. There is, for example, no such person as Luke Skywalker. Never has been, never will be. He was invented by a baby boomer from Modesto. He is not real.

And we know this, and that’s part of the fun. We know that Luke Skywalker isn’t real but is being portrayed by an actor (another boomer from the Bay Area, come to think of it), and that none of the things we’re seeing are real. But we give ourselves over to the collective fiction for the greater experience of becoming involved in a story. This is one of the most amazing things that we do as humans. We know—deep down, in our bones, without-a-doubt know—that the thing we’re watching is fiction, but we enter a state of suspended reality where we imagine the story to be real, and we allow ourselves to be moved by it. We’ve been doing this since we developed language. The people telling these stories know this and bring the same level of commitment and imagination and assurance that we do as viewers, too. The storyteller knows that the story isn’t real, but for lack of a better way to get a handle on it, it feels real. So, to continue with the example, we’re excited when Luke Skywalker blows up the Death Star because he helped the good guys win. For us viewers, in this state of mutually reinforced agreement, that “happened.” It’s not real, but it’s “real”—that is, it’s real within the established boundaries of the invented world that we’ve all agreed to sit and look at for a couple of hours. Every viewer knows this, and every filmmaker acts on it, too. Except:

Christopher Nolan does not do this.

2.

There’s no one single owner or maker of any movie, and anyone who tells you different has their hand in your pocket. But there’s an argument to be made that when somebody both writes and directs the movie, it’s a bit easier to locate a sense of personhood in the final product. (This is all really rough math, too, and should not be used in court.) Christopher Nolan has directed 11 films to date, and while his style can be found in all of them, his self is more present in the ones where he had a hand in the shaping of the story—and crucially, not just that, but in the construction of the fictional world. Take away the superhero trilogy, the remake of a Norwegian thriller, the adaptation of a novel, and the historical drama, and Nolan’s directed five films that can reasonably be attributed to his own creative universe: Following (1998), Memento (2000), Inception (2010), Interstellar (2014), and Tenet (2020). These movies all involve themes that Nolan seems to enjoy working with no matter the source material, including identity, memory, and how easily reality can be called into question when two people refuse to concede that they had very different experiences of the same event. Basically, he makes movies about how perception shapes existence. How he does this, though, is unlike pretty much everybody else.

Take Inception. After a decade spent going from hotshot new talent to household name (thanks to directing the two highest-grossing Batman movies ever made, as well as the first superhero movie to earn an Oscar for acting), he had the credit line to make something big and flashy that was also weird and personal. So we got an action movie that, when first announced in the Hollywood trades, was described as being set within “the architecture of the mind.” Although this at first seemed to be a phrase that only a publicist could love, it turned out to be the best way to describe the film. This is a film, after all, about a group of elite agents who use special technology to enter someone’s subconscious dream-state and then manipulate that person’s memories and emotions. The second half of the film sees team leader Dom Cobb (Leonardo DiCaprio) and the rest of the squad actually descend through multiple nested subconsciouses to achieve their goal, even as they’re chased every step of the way by representations of Mal (Marion Cotillard), Dom’s late wife, who committed suicide after spending too much time in another’s subconscious and lost the ability to discern whether she was really alive or still in the dream-world.

I say “representations” because that’s what they are: Mal is long dead, but Dom still feels enormous guilt over his complicity in her actions, and that guilt shows up looking like Mal, whose villainous actions (the representation’s actions, that is) are just more signs of Dom not being able to come to grips with his own past. It’s his own brain making these things up and attacking itself, and it chases his entire crew down three successive layers of dream worlds. You get caught up in the movie’s world as a viewer, and you go along because Nolan is pretty good at making exciting movies that feel like theme-park rides. You accept that Dom and everybody else refer to Mal as Mal and not, say, Dom. Dom even addresses her (“her”) when her projection shows up, speaking to her as if she’s a separate being with her own will and desires and not a puppet that he’s pretending not to know he’s controlling. It’s only later that you realize that the movie is in some ways just a big-budget rendition of what it would look like to really, really want to avoid therapy.

Which is what makes Nolan different from other filmmakers:

None of this is actually happening.

Again, yes, it’s happening in the sense that we see things on screen—explosions, chases, a fight scene in a rotating hallway that’s still some of the best practical-effects work in modern action movies—but within the universe of the film, none of what’s going on is taking place in the real world. It’s all unfolding in the subconsciouses of Dom’s teammates. In the movie’s real world, they’re all asleep on a luxury jet. They’re “doing” things that have an outcome on the plot, but Nolan sets more than half the movie inside dreams. It’s a movie about reality where we spend less time in reality than in fantasy. Half the movie is pretend.

For Nolan, filmmaking is about using a dazzling array of techniques to create a visual spectacle that distracts the viewer from the fact that the real and true story is happening somewhere else: in the fringes we can’t quite see, in the things we forget to remember, or even in the realm of pure speculation.

3.

Memento arrived like (and with) a gunshot. It seemed to come out of nowhere and leave people struggling to describe it, and they usually wound up saying something like “it goes backward, but also forward at the same time, except some parts are actually really backward, like in reverse, so it’s maybe a circle?” Written by Christopher Nolan from an idea originally shared with him by his brother, Jonathan (who eventually turned it into a very different short story titled “Memento Mori”), the film follows a man named Leonard (Guy Pearce) who has anterograde amnesia and can’t form new memories, so every few minutes he sort of just resets and has to figure out where he is, what he’s doing there, and so on. He’s on the hunt for the man who attacked him and his wife, leaving his wife dead and Leonard in his present condition, which you can imagine does not make the gathering and synthesis of clues easy.

What’s more, Nolan puts the viewer in Leonard’s shoes by breaking the film’s linear timeline into two halves—call them A and B—and then alternating between them, with the added disorientation coming from the fact that one of those timeline halves plays out backward, with each successive scene showing what happened before the one you previously saw. So, if you numbered all the scenes in each timeline in chronological order, they’d look something like this when arranged in the final film: Scene A1, Scene B22, Scene A2, Scene B21, Scene A3, Scene B20, etc. You get why it messed with people’s heads.

As a result, we spend most of the movie pretty confused, just like Leonard, whose suppositions about what might or might not take place next begin to substitute for our own understanding of the film. It’s not until the end that we find out the shoe already dropped, and that Leonard killed the original attacker some time ago and has since been led on a series of goose chases by his cop friend, Teddy (Joe Pantoliano), who’s planting fake clues to get Leonard to take out other criminals. In other words, we realize that the story we thought was happening was pretend, and the real story was happening all around us, in the margins, memories, and imaginations of the characters. The most honest moment in the movie is the scene where Leonard hires a sex worker to wait several minutes in the bathroom while he gets in bed, then make a noise with the door to wake him, at which point his amnesia has kicked in again and he briefly thinks that the noise is being made by his wife. He’s wrong, of course, but this is the only time in the movie that we actually know he’s wrong. It’s the only time we truly know what’s real and what isn’t.

Yet you can’t talk about Memento without talking about Following, Nolan’s first feature. Although the film’s production was so extremely low-budget you’d think they were lying—the cast and crew all had day jobs and could only film on the weekends, so the thing took a year to make—Nolan’s willingness to dwell completely in a make-believe world that the viewer never knows about is already evident. It’s about a bored young writer who starts following strangers through the city for kicks, only for one of those strangers to catch him in the act and confront him. The stranger introduces himself as Cobb—I kindly submit here that it is not a coincidence that this is also Leonardo DiCaprio’s character’s name in Inception, but you already knew that—and reveals himself to be a burglar, spooked by the tail but willing to take on an apprentice. Cobb trains the writer to be a burglar, only for the situation to ultimately wind up implicating the writer himself in a complex blackmail plot. You see, the writer didn’t latch onto Cobb in a crowd; Cobb lured him in. The whole movie has been Cobb’s story all along, with the writer as a patsy who doesn’t understand the truth until the final frame. None of what we saw mattered, and everything that actually happened happened off-screen just before or just after we came in on a given scene. It’s like realizing the movie you’re watching turned out to be just deleted scenes from something else. You can’t say Nolan didn’t show his hand from the start.

4.

That same general concept—that the movie we’re watching is actually the knock-on effect of a movie we’ll only glimpse, or maybe never even see—underpins Nolan’s latest movies, Interstellar and Tenet, too. Interstellar has some concepts that are iffy even for Nolan (it makes total sense for someone to do something for another out of love, but somewhat less sense that that love somehow reshapes the physical universe), but it’s still a big, bold approach to exploring how time and perception shape our actions. As the film follows its core group of astronauts while they search for potentially habitable new worlds, they encounter strange visions and experiences that turn out to be their handiwork from the future reflected back at them. Sure, it raises the paradoxical question of whether they had a first mission before this that failed, so now their future selves are intervening to make the second one (which feels like the first one to the astronauts the whole time) successful, and all sorts of other stuff that your sophomore-year roommate would like to talk with you about in great detail. But so much of what we see isn’t the stuff that happens, or that winds up being important. There’s the great scene where the astronauts land on a planet near a black hole, which is wreaking havoc on how time passes on the planet. A minor disaster delays their departure for the main ship still in orbit, but when the landing team returns, they find that more than 20 years have “passed” since they left, with the one remaining team member on the ship having spent more than two decades waiting for them to return. It’s a moment of genuine horror, and it underscores the fact that what we thought was the one true reality was just the perspective of a handful of characters we happened to follow for a few minutes. There were whole things happening that changed the plot and story and direction of everything that would follow, and we never saw them; we didn’t even know we’d missed them.

Tenet is, of course, the latest and most recursive exploration yet of Nolan’s obsession with showing us a story that turns out to be mostly fake. It is almost perversely hard to even begin to explain the film (Google “Tenet timeline infographic” and have fun). One way to think about it is to imagine if the two timeline halves from Memento somehow existed at the same time, with people moving both forward and backward through time while inhabiting the same location. Basically, some scientists figured out how to “invert” the basic entropy of objects, so that they exist backward: you hold out your hand and the ball on the ground leaps up into it, because you’ve dropped it in the future, so now you can pick it up, etc. … Look, it doesn’t get easier to understand.

The upshot is, though, that we spend the film following the Protagonist (that’s his name), a CIA agent played by John David Washington, as he’s tasked with tracking down the source of the inverted stuff to figure out what’s unfolding in the future and why it’s suddenly started to make itself known in the present. He gets marginally closer to understanding the truth by the end of the film, but because this is a Nolan film that is maybe more expressly about the nature of reality than anything he’s ever done, his journey doesn’t so much take him forward as it does in a large circle. Because, and stop me if you’ve heard this, the true story of Tenet is taking place outside the Protagonist’s actions and knowledge, alongside him but invisible, often steered by people who themselves are moving “backward” through time and thus have already met the Protagonist in the future and are old friends with him by the time he meets them in his youth. Even more brain-liquefying, some of these people have been working under the orders of the Protagonist himself—the future version, that is—because his past self has already achieved the victories that allowed him to send the future people backward through time to meet his younger self so they’d achieve the victories that allow him to etc., etc., etc.

With Tenet, Nolan didn’t just make a movie that challenged perception, like Memento, or that dwelt in fiction, like Inception. He made a movie that can only be understood (to whatever degree true understanding is possible) by rewatching the movie itself, over and over, as the multiple timelines and harrowingly complex bits of cause and effect come into some kind of focus. The whole movie itself isn’t happening, in a sense, but is just the ramifications of something else, the echoes of a shout whose origin we’re straining to pinpoint. It both is and isn’t.

5.

Christopher Nolan is a talented director of action-driven suspense thrillers. He’s canny at controlling the audience’s emotions, and he knows how to put on a dazzling show. Plus he’s fantastic at picking when to deploy non-computer-generated effects for maximum impact. But you could say that about a lot of other directors, too. What sets Nolan apart from the rest, and what makes him a director to keep watching and returning to, is the teasing way his movies wind up being just deceptive enough to fool you into thinking that you know what’s going on, then just harsh enough to disabuse you of that notion. Looking at what seems to drive him, I don’t think Tenet is his best movie-movie, but it’s his most-Nolan movie. It’s almost a culmination of his continuing efforts to tell stories where what you see and what actually happens are two different things. It’s not that he makes puzzles to solve. There is no solving these movies. Rather, it’s that he sculpts these delicate artifacts that only let you see two dimensions at a time, never all three, no matter how you twist your head. Craning back and forth, you can almost see the whole thing, but not quite. Some part of it will always have to exist in your memory. And that’s where Christopher Nolan likes to be.

[night-unfurls-its-splendour]

The Critique of Manners, Part II

~Or~

A Candid Review of ITV's Emma (1997)

Disclaimer: I do know that both this and the Miramax version were released in 1996, but to avoid confusion, I refer to this one as the “1997 Emma” in reference to the US release date.

The bones of this review were written some six years ago after my initial viewing. I’ve watched it three or four times since then, two very recently (Within the past year). I’d started to soften on it in the most recent watch. So many people love it so much I thought surely maybe I’m just crazy or even wrong; until I found this blog post from 2008 (a year before my favorite version was released) that hit on almost EVERY SINGLE thing that skeeved me out about this version when I first watched it.

Like my previous review of Emma. (2020), I’ll be covering the cast and overall handling of the script in comparison with what I know from reading the book. I will also be commenting on my thoughts about the costumes (Whether they are attractive or accurate, or both, or neither) which will be a bit more in depth than it was for the 2020 version, and this will set a pattern for the costumes section going forward.

Directed by Diarmuid Lawrence with screenwriting by Andrew Davies (Or should I say “Written by Andrew Davies with direction by Diarmuid Lawrence”?), this version was  a fan-favorite among Janeites for many years for … well, reasons I’ve never been entirely certain of. I’ve read the book twice through and referenced pertinent passages MANY times besides, and really I don’t see what they’re raving about.

Let’s dive in.

Cast & Characterization

I’d known about this adaptation for a while, but I held off on watching it, largely for one reason: my apprehension about Mark Strong playing Mr. Knightley.

     I was concerned because when I watched this I had already seen Mark Strong as Sir John Conroy in The Young Victoria and as Lord Blackwood in Sherlock Holmes, both very unpleasant characters. But there have been several occasions when I expressed displeasure with casting choices only to eat my words when I actually watched the movie. So I entered into watching this with an optimistic outlook, sure that Mark and Kate would surprise me with brilliant performances. And I would like to say that they did, but that would be an untruth.

My biggest fear about Mark Strong playing Mr. Knightley was that his rebuking of Emma was going to be a watered down version of ‘RAAAWWWRRR’ that I was familiar with, specifically because of The Young Victoria. It’s very hard for me to see Mark Strong point his finger in Emily Blunt’s face and shout at her, and then watch him do the same thing with Kate Beckinsale (only somewhat less aggressively) and expect to feel all warm and fuzzy about their romance. I expected that to be a tall order. And it was. Whenever he raises his voice, the right side of his face pulls up into a snarl. Now since it does this no matter what role he’s playing I’m guessing that’s just how his face is. It’s not his fault really and it’s almost certainly unintentional, but I’ve seen that snarl before and it does NOT belong on Mr. Knightley’s face.

   Don’t ever think I don’t LOVE Kate Beckinsale, and I don’t necessarily think that my problems with this interpretation of Emma are her fault; these things very rarely fall on the shoulders of the actual actors, but those of the screenwriters and directors who guide them. However – and I am aware that this might sound a bit harsh – I would say that at points, Kate Beckinsale’s performance in this movie (In my opinion) barely outstrips community theatre or even very good high school drama club level acting. It seems to me that there’s burden on her here to sound historical or period. This lends to this interpretation of Emma feeling at once both cold and childish (more on that later.)

Her best moments are when she runs into Jane as Jane is leaving Donwell and when she speaks with Robert Martin at the end of the film. I always like scenes where Emma tacitly apologizes to Mr. Martin, and her feeling when she invites him to Donwell is Kate’s finest moment in this movie.

I found Raymond Coulthard’s Frank Churchill insignificant at first, but on repeat viewings I really started to hate him. I don’t think Austen intended Frank’s caddishness (to use more modern vernacular I’d say he’s an utter “Douche”) to be quite this obvious on first glance. He’s a creep in this version and Raymond Coulthard is just not at all attractive to me, from his big nose to his little shark teeth.

Olivia Williams was a good, even great, Jane Fairfax, and in my opinion does a much better job of portraying Jane’s vexation than, say, Polly Walker did (more on that next time), while still quietly looking like she’d like to arm-bar Frank rather than take his vulgar teasing lying down.

She also has the distinction of being the only Jane Fairfax who’s singing REALLY blows Emma’s out of the water, and I like that all of the songs she sings are in languages other than English (primarily Italian I think?). This achieves the double whammy of showing how much more accomplished she is than Emma by emphasizing that not only does Jane sing and play better, but she knows languages too.

Samantha Morton is a superb actress whom I love and I was sort of appalled at how she looks in this movie. Is she dying of a wasting illness? She looks like a gust of wind will carry her away, although since she looked the same in the 1997 Jane Eyre (In which she played the title role under similarly appalling direction) perhaps that was just her look that year?

Dominic Rowan, as Mr. Elton, is… there’s a perfect word to describe it and I just can’t think of it right now. Like every other young man in this movie (other than Robert Martin) he’s got this feeling of skeeviness to me but it’s more than that. It’s a dweebie-ness as well. This is so dissatisfactory to me because Mr. Elton is supposed to have every appearance of charm and agreeableness, with his only obvious fault being his over-eagerness to ingratiate himself to Emma and some rather vulgar locker-room type talk about marrying for fortune. He’s just so… (I’ve hit upon it now after some discussion with my sister) dingy. He looks less like a “very handsome young man” who “knows the value of a good income” and more like the kind of guy that scrubs up okay, but still you can tell from the rumple of his clothes and the pizzaroni odor wafting from him that he lives in his mom’s basement.

The shining star for me in this production was Alistair Petrie as Robert Martin. I love him as an actor and especially after watching him in Cranford, I think he was an excellent choice for Harriet’s Mr. Martin.

Davies wrote the character to be a little more romantic (Actually buying Anne Radcliffe’s The Romance of the Forest, where originally Mr. Martin was supposed to forget to – something Emma uses as a mark against him to prove how he will age into an “gross vulgar old farmer” who is “obsessed with profit and loss”.)

I especially like an inserted scene where Mr. Martin, working in his field, sees a distressed Jane Fairfax from afar as she is walking home (I think from Donwell). I thought it drew an interesting parallel between two emotionally wronged characters that otherwise would have no interaction.

What’s with Mrs. Elton (Lucy Robinson)? I don’t think nearly enough people question this. I’ve seen it explained away as her being from Bristol and trying to make herself sound more hoity-toity to hide the fact that she’s New Money. I’m not positive on what a Bristol accent sounds like (For that is where Augusta Hawkins is from) but… this sounds like an American trying to sound posh. At some points she almost sounds Texan. It’s all very confusing, because the actress is British.  

Prunella Scales lists among her achievements being an outstanding actress and comedienne, as well as bringing into the world Samuel West, one of my all time favourite British screen crushes. She's probably best known for her work on Fawlty Towers, so its interesting to see her range as much less inscrutable Miss Bates. Her performance is by the book, but so much more engaging than Constance Chapman's 1972 offering, although i find her perhaps a shade too placid. She lacks a certain nervousness that I associate with the character (for more information, see my previous review.)

As for Bernard Hepton as Mr. Woodhouse, I can only say I. Didn’t. Like. Him. I have every consciousness of this being a personal bias. I have seen him play too many insufferable characters in too many things to like him as Emma’s lovable if tiresome father. This isn’t a knock on him or his performance; his reaction to Mrs. Elton is some great subtle visual comedy, this is just a me thing.

Another one of the better characterizations, though a relatively small role, is John Knightley. Played by Guy Henry, he is shown to be a good father, and an “Gentleman-like man”, with just the right blend of good humor and caustic comments.

Sets & Surroundings

I’d never paid MUCH attention to or questioned the houses and interiors used for estates in Austen adaptations until the 2020 version of Emma used such ridiculously lavish houses for relatively provincial gentry it forced me to sit up and pay attention. I think the houses used in this version are mostly suitable.

The part of Donwell Abbey’s exterior is played by Sudeley Castle in Gloucestershire. The Key words for Donwell from the text are “rambling and irregular” and while perhaps not as big as the Former Claremont House (Which, it is believed, was Austen’s inspiration for Donwell Abbey) it definitely is a suitable architectural style and situation and furthermore, having been purchased in the 19th century by a glove manufacturer and having been up to that point left in a little bit of a state of disrepair, fits the “neglect of prospect” Austen describes as well. Its interiors are a cobble-work of the Great Hall at Broughton Castle (Oxfordshire), various rooms at Stanway House (Gloucestershire), and the Strawberry beds at Thame Park (Oxfordshire)

(Top, left – Sudeley Castle; Bottom left – Trafalgar Park; Right – Dorney Court)

Trafalgar Park in Wiltshire and its interiors (a minty sage-green drawing-room fitting in perfectly with the mint-chocolate – primarily chocolate – color palette of the production) played the role of the Woodhouse’s home, Hartfield. A typical Georgian style house in red brick, I believe is consistent with Austen’s description of a “well built, modern house”.

Dorney Court in Buckinghamshire was used for Randalls, Mr. Weston’s recently purchased estate. It’s a Tudor style red brick house and it looks pretty on the mark from the front facade, but I think it’s still too big for a “small estate” with only two guest rooms (Although there’s no panic about the snow in this version – perhaps because it’s already snowing when they set out.)

My biggest problem is the lighting of this movie. I understand natural lighting and I LOVE it when you can even it out – but it is so dark in the evening scenes that it adds to the colorlessness of an already colorless production.

Fashion

Oh Jenny Beavan. You are a well-respected costume designer with good reason. However, I know that most of these costumes are rentals, but why is every-fucking-thing in this movie a shade of brown, beige or green?

As you can see, a rich tapestry of brown and beige. And this isn’t selective. this is (just about) every day-wear outfit in the movie (barring repeats and a few exceptions that I’ll give mention to below.)

Emma’s outerwear is brought to you by Hershey’s Chocolate. Also I’m not certain but I think  that her light brown redingote is the same one as Elinor’s in the 1995 Sense and Sensibility? If anyone can confirm, drop it in the comments.

Perhaps the evening wear will be more colorful?

Barely – Mrs. Weston in a brownish orange; Mrs. John Knightley in an orange-ish brown; Emma gets a dark blue? Or is that just the wintery glow from the window on a dark green velvet? Green (either so dark it’s almost black, or washed-out mint) appears to be the only color Emma is allowed to wear other than brown or ivory/white. Even her gown for the Crown Inn Ball (upper right) is an underwhelming and rather dingy ivory. The champagne number she wears for Christmas at Randalls is not only lack-lustre, but also sports what I’m now calling a “Bridgerton Bust” (where the Empire waist comes up too high, with the seam apparently resting across her bust rather than under it.)

The pink frock (seen properly only from the back) on Mrs. Weston is as close to real color as a main character gets in this production, and can be recognized as one of Jane Bennet’s dresses from the previous year’s Pride and Prejudice.

Even Jane Fairfax doesn’t get a break. Rather than putting her in Jane Fairfax Blue ™ (honestly, Jane Fairfax being costumed in blue is so consistent at this point Crayola should just name a crayon in her honor - this is gonna come back in future reviews) she gets a black-green evening number with no trim at all, and a succession of what the Ladies over at Frock Flicks like to call the “Dumpy Regency Little White Dress”, or drab gray-blues.

Some of the background dancers in the Crown Inn Ball scene get to wear pink! Why not put Harriet in a nice pink frock for this scene?! Why is this so difficult?!

Strawberry picking at Donwell is the only time main characters are consistently wearing identifiable colors that aren’t brown or green: Mrs. Weston in pink, Miss Bates in (oddly the most colorful dress of them all) a nice refreshing lavender blue; Jane gets grey/blue and Mrs. Elton, a pastel mint. Harriet is also given a little break in Mrs. Elton’s introduction scene in a (very) pastel blue frock, while Emma sports white (with a trademark green shawl.)

So how about the...

Similarly dull. I almost screamed for joy when I saw that Frank’s jacket was actually blue, and a vibrant blue at that. (The red is too close to brown, I’m sorry.)

So yes, in short the costumes, while perfectly technically accurate (I didn’t get a lot of caps of them but the trousers sufficiently tight, not that I care to look), are drab as a peahen.

As always I’ll outsource any dancing critique by linking Tea With Cassiane on YouTube, since I find her insights on the approach to dancing in Austen adaptations just fascinating and I would like to share such witty and informed reviews.

The Andrew Davies of it All…

*Strong Opinions Ahead*

There are so many reasons why this adaptation isn’t for me. First of all the very idea of making Emma, one of Austen’s most socially complex works (certainly her most vivid) into a sparse 107 minutes is baffling to me. Perhaps I can understand if it’s a Theatrical release but this is a TV production. Why not at least make it a two part special?

And besides the issue that, in order to make this fit the time frame, the story is severely truncated, there’s… the Andrew Davies of it all.

I have some issues with Andrew Davies’ screenwriting for this adaptation particularly. A LOT of issues. Where does one start? I think Knightley is a good place.

It’s not just the casting I don’t like here; but it does say something to me that they chose Mark Strong for this role. It’s a casting decision I discovered with disbelief when I first saw clips from this version in a Period Drama men compilation video on YouTube. I mentioned above that I know Mark Strong as unpleasant characters with man-handling habits. That’s the kind of role Mark Strong is associated with because that’s just what he does well. And I think this played into the casting here, because Davies’ interpretation of Knightley is a bit… fierce. He shouts SO MUCH in this movie and in scenes like the Harriet Smith debacle (where Mr. Knightley of the book even gets a bit angry with Emma) I can understand this, perhaps. But in the book Mr. Knightley takes many pauses to collect and calm himself, because his goal is not to quarrel with Emma but to argue a point. 97 Knightley takes no such pauses and spends the whole scene in what some might call an escalating rage.

Knightley’s cheerful arrival to Hartfield to tell Emma that Robert Martin intended to propose to Harriet is cut out so we start right off with his indignant exclamation of “She refused him?!” and it’s all go from there. To make matters worse, Emma’s own arguments are crippled by Davies’ editing. Many of her more (what might even latterly be considered “feminist”) arguments are cut out. In fact once Knightley gets going, he juggernauts his way through all of his rebukes and speeches from the book, but Emma hardly gets a word in edgewise after arguing that Robert Martin is not Harriet’s equal. What Austen wrote as a heated debate is turned by Davies into a one-sided tirade. (By don’t take my word for it, watch the clip.)

The final cherry on top is having Emma, after Knightley leaves the room with the last word firmly in his grasp, childishly pout “You are wrong Mr. Knightley, and you will see you are wrong and then you will be sorry.” I half expected her to cross her arms and stomp her foot. Worth noting is the fact that Davies adds an additional “It was badly done. Emma,” in this scene where there was none in the book. Rather overkill to my mind. Is this his catchphrase?

At Box Hill, Davies has Knightley begin his climactic rebuke of Emma’s insulting behavior by grabbing her arm and hauling her aside, and concludes by leading her, still holding her arm, to the carriage. Well at least he doesn’t shout at her in this scene; but again, all but one of Emma’s responses are cut out and she stands there, pouting until Mr. Knightley leaves and then she bursts into tears.

When Mr. Knightly proposes to Emma I was feeling good about this scene, until he dropped the “I held you when you were three weeks old” line, and I immediately felt uncomfortable. Maybe you DON’T want mention how you held her when she was a baby after you asked her to MARRY you. But perhaps worse is Emma’s response to the line: “Do you like me as well now as you did then?”

Bringing up holding Emma when she was three weeks old at the proposal (A line which was not in the book) is bad enough but there seems to be a peculiar repeated emphasis on Knightley recalling Emma as a baby. He dragged it up previously when he and Emma make up after the Harriet debacle, as he holds John and Isabella’s baby daughter (whose name, I would mention, is Emma.) In this instance too, the line is a Davies addition.

Let’s talk about Knightley’s strawberry line.

This is delivered in voice-over as a transition to the strawberry picking party at Donwell, and is portrayed as a formal invitation: “Mr. Knightley invites you to taste his strawberries, which are ripening fast.”

At first I was confident that I was reading too much into this (but I think at this point I can safely say that I’m not). I can’t help bursting out laughing every time I hear that line. It was a questionable way to word that if you ask me, especially considering that this is (once again) NOT the line in the book, and it was NOT a formal invitation. It was said to Mrs. Elton and intended to be a joke.  

“You had better explore Donwell then,” replied Mr. Knightly “That may be done without horses. Come and eat the strawberries; they’re ripening fast.”

   ‘ If Mr. Knightly did not begin seriously, he was obliged to proceed so...’

   And here I thought Janeites hated adaptations that cut out “Miss Austen’s biting wit.”

To top it all off, we have Frank Churchill (Who I have already pointed out is a bit of a creep in this adaptation and even more detestable than he already was as Austen wrote him) praising Jane: this would be fine, if he wasn’t drooling into Emma’s ear about the turn of Jane’s throat, (He actually utters this line)

and how fine his dead aunt’s jewels will look against her skin. May I just be the first to say “Ehewhegaugh”.

I juxtapose this with the book where Frank's lines are almost exactly as Davies renders them, except Jane Austen never wrote the "have you ever seen such a skin?" Line. The difference i have highlighted in bold:

"... She is a complete angel. Look at her. Is she not an angel in every gesture? Observe the turn of her throat. Observe her eyes as she looks up at my father. --- You will be glad to hear that my uncle intends to give her all my aunt's jewels. They are to be new set. I am resolved to have some in an ornament for the head. Will it not be beautiful in her dark hair?"

Because talking about how pretty your fiancee's hair is, is normal and marginally less creepy than talking about what a fine skin she has or how lovely your (i cannot stress this part enough) dead aunt's jewels will look against it. Davies' script also makes no mention of having them reset, which makes me think he’s talking about the actual necklaces and bracelets Mrs. Churchill would have worn.

But hey, maybe its just a me thing.

Harriet Smith’s story suffers, primarily, I can with some candor admit, due to the time constraints. After Mr. Elton is married, we never see Harriet in any distress. It’s almost as though she’s forgotten all about it! Emma never has to appeal to her to exert herself or to move on. Perhaps this is better than Doran Godwin’s Emma gaslighting Harriet and manipulating her by constantly chastising her for… well general heartbreak (but that’s a bugaboo for a different review.)

My last complaint of note is that ludicrous harvest feast at the end of the movie. The whole concept of this scene just does not seem at all Janely to me. I was under the impression that I was meant to be watching an Austen. Not some bullshit Thomas Hardy knock-off. This is another Davies touch and I hate it more on the principal that it is one of his numerous, obsessive tweaks made solely to point out the existence of the lower classes.

If Davies wanted to show Mr. Knightley’s being an attentive landlord and gentleman farmer then I don’t see why he couldn’t just show Knightley actually running his farm?

“Okay’, you might say, “but I think the highlighting of the servants is to show how good Knightley is by treating them like real people compared to everyone else”, and I hear you. And in the situations where that is the case, like him greeting the Woodhouse’s butler and asking after his family I think that’s totally fine and in character. But things like the servants moving the knee cushions every time someone moves down the line at strawberry picking, to me, is AS ridiculous as the “servants clipping the lawn on their hands and knees with tiny scissors” trope. Like we get it, people took the lower classes for granted, but I don’t think it’s a stretch to say that it would be easier and more realistic to have Mrs. Elton have to move her own knee cushion. I don’t think Knightley would instruct his servants, who he treats so well, to do that kind of thing, but you could write in Mrs. Elton’s expectation of it if you wanted. It seems like the kind of thing she would expect the landed gentry to do.

Screenwriter for some of the best loved Austen’s (including the sacrosanct 1995 P&P Mini-series and my favorite Sense & Sensibility), I thought of Davies for years as untouchable; until Sanditon happened and left everyone who knows anything about Jane Austen really wondering where this mess came from. I put it to you now that it was there in Davies all along.

Davies admitted, when talking about the drastic “Sexing Up” he did in Sanditon that he felt Austen’s works could have done with a bit more sex appeal. I can hardly disagree and additions like Darcy’s little swim in the pond and Edward Ferrars’ angsty wood-chopping are welcome and beloved. But it seems that what he really wanted all along was what he gave us in Sanditon; and finally, without actual source material to stand in his way, he had a chance let his dirty old man show and gave “Austen” the sexing up he thought it needed.

And it gets more troubling as you look back.

In my opening paragraph to this review I mentioned a 2008 blog post that not only agreed with me that there’s something very off about this screenplay, but gave me some possible insights as to why. It points out numerous things that I have always questioned in this version but have never seen anyone else criticize (though I am informed that more recently it has gained its’ share of critics). In fact the post itself actually points out that almost no one in the Austen Blog-sphere had (at that point) criticized this version’s faults in any meaningful way, but my favorite thing about it is that it points out what you find in Davies’ screenplay if you pay careful attention to it “Rather than sitting there and cataloguing what is “technically faithful and whatnot”.

Many Austen bloggers have kind of been playing Miss Taylor to Davies’ Emma for some two decades and change.

The most troubling thing of all is Davies own comments on Mr. Knightley (and other things, more inferred in his screen play). All of the aspects of this interpretation of Knightley that I mentioned earlier seem to stem from the fact that, as quoted in Sarah Caldwell’s book on his works, Davies thinks there’s “Something odd going on with Knightley.”

Davies clearly reads foul, or at least questionable, intentions in Mr. Knightley but I find it interesting that, rather than cutting out material he may have found troubling about Knightley in the book out of his screenplay, he doubled down by adding MORE troubling lines and situations (that were never in the book at all, and imagined solely by himself) in a romantic story with a happy ending.

Perhaps there’s not so much something odd going on with Knightley, Mr. Davies, but with you.

Final Thoughts

At this point I might ask what it is that everyone sees in this version that makes them think it’s so perfect, but that would be a bit pointless since all I’ve read since I discovered this version is people on elaborating on just that and I don’t care to hear much more.

“The lines are verbatim!” textually, perhaps, but it’s the ones that added that trouble me.

“The leads have so much chemistry!” I’m glad you think so, but I can’t find it.

“The costumes are damn near perfect!” And brown. So, so very brown.

As a 90's TV period drama, this version is pretty standard. It sticks to the book (except in those places where the screenwriter saw fit to dabble with some subtle but troubling suggestions about the characters.) And if it floats your boat, as always I'm glad it gives you what you want from the story.

I know I hold unpopular opinions on Jane Austen adaptations, and perhaps this is one of them, but every time I watch this version I feel the need to read the book as a cleanse. Perhaps Davies’s ferocious Knightley was simply a pendulum swing reaction to Douglas McGrath’s almost too laid back interpretation in the Miramax film from earlier in 1996, but even if that’s the case it’s just uncalled for and is my biggest turn off for this film.

Tone: 3

Ribbon Rating: Badly Done! (40 Ribbons)

Casting: 5

Acting: 6

Scripting: 4

Pacing: 2

Cinematography: 4

Setting: 3

Costumes: 5

Music: 2

Book Accuracy: 6

[seimeinotaka]

A waltz for two solo dancers (VilXFeMC)

For TwstOC Week Day 2. Relationships.

There is a lingering tension between Vil and Ann, like a waltz. A waltz for two solo dancers, each gliding at their own tune, so close yet so far. Wanting to get close, but not enough to touch each other. Yearning gazes being the only betrayal of those hidden thoughts.

Thanks to polyphenols@AO3 for beta-reading this!

-

Vil stood in front of Ann, fixing her tie and her hair, unaware or uncaring of the soft smile on her face. Her heart always beat this fast when she was with him, always aware of the way he made her feel.

She loved Vil deeply, ever since that day.

 “That’s why I want to give my all to be able to vote for myself proudly.”

Her heart was taken by those words, the deep conviction in his heart.

But she knew things couldn't go the way she wished, because she was a person who did not deserve anything.

It was why she was content with these faint touches, these ephemeral interactions that would go nowhere. At times, it almost felt like Vil was affectionate, an elusive softness that felt like a mirage. But, even if her heart trembled, she pushed her delusions to the back of her mind while simultaneously surrendering herself to the moment until her mind reminded her of her own reality, which marred the moment with a deep shame and grief.

"I cannot enjoy this, no matter how much I desire this. No, it was wishing for anything in the first place that caused me to lose everything."

A risky double thought.

-

"I don’t like the Potato, Rook," Vil said dryly.

The vice leader arched his eyebrows, with a matching knowing, taunting smile.

"Sure you don't, Roi du Poison. That's why you're mesmerized by the trickster."

"How could I be?" Vil scoffed with disdain, glaring at Rook, a sign to wipe that smirk off his face.  "She doesn't know her place and dares to talk back to me. She's untidy, she doesn't take care of her skin, have you seen how she's always yawning in art class?"

Rook nodded to everything he said. "Oui, she is exactly as you say. When you demand her to move, she asks you 'Why?', instead of 'Is this far enough?'. Instead of being mesmerized by your beauty, she waves you hello. You expect her to fear and respect you, admiring you from afar, but she invades your private space to tell you she doesn't like how you treat others. Didn't she tell you, 'I'm on a raid, don't interrupt me or I'll kill you' without batting an eye, when you were filming in the courtyard she was sitting in?"

"You are proving my point, Rook."

"Unyielding against your charms and uncaring at your status as the Queen. To call this a crush would be a mistake. No, your feelings run deeper than this, ahhhh~ the scorching and relentless feeling of love!"

If looks could kill, the hunter would have been buried thirteen times already, for saying something so ridiculous. Vil Schoenheit in love with her, of all people?

"The Trickster also seems interested in you."

The words aimed directly at his heart, why did he choose Rook as vice leader when he was not careful of his place? And why was everyone telling him things he didn't want to admit?

"Of course, isn't that obvious? I am Vil Schoenheit," he uttered, attempting to assert his dominance, to defend his wounded pride.

"You know that's not what I mean."

He turned his eyes away, she had seen through him, the ugliness he wanted to hide. She saw it and yet...

"Stop spouting nonsense, Rook. I'm in a foul mood. I will be in my room."

He entered his room and closed his doors, fist slamming on them. His heart ached, frowning deeply as how easily he could recall her face and her cheeky smile.

And how he desperately wanted her to look at him.

When she was nice to everyone...

How could he tell if she is looking at him...?

He slammed his fist against the door, once more hiding his blushing face on his sleeve, as he was only accompanied by the sound of his racing heart.

-

Her feelings were like an open box, the best way to hide something was to be upfront about everything. It was how she had managed to fool herself. Never had she tried anything to reach him, to try to get him to love her.

It was fine if her love was one-sided, as hurtful as it was.

She was okay with being just his ‘professional headache’, the girl who sometimes got scolded by him, the possible friend that sometimes hangs out with him. She enjoyed their talks, their accidental meetings, their bickering.

As long as that line was never crossed, she was fine.

There was a silly contradiction to that trail of thought. She was fully aware of her love, and always acted on it, whenever she greeted him or talked to him. Her reassurance came from the bottom of her heart. However, she had no intention of it being known, she wouldn’t go and confess to him or anyone. She was no idiot and she knew how to avoid the usual talks of romance and love between her friends. It helped that Ace and Deuce hardly talked about the matter, focusing on the day-to-day happenings, and less on whatever she was feeling.

So long she could see him, from an invisible wall she had erected to protect him, she would be fine with whatever they never were.

-

He was surprised to acknowledge she had similar traits to him, even if they looked like immediate opposites at first glance. She didn’t look much like it, but she favored hard work, that was his first surprise. All of her potato friends had been duped by Azul’s scheme, but she was the one who bailed them out. She had also a hidden passion as well, given her devotion to that game of hers she played, and the art she seemed fond of making. While she was young and inexperienced, given how she often lost track of time, it was precisely this trait that showed her ambition and determination. The fortitude to throw herself into a task she had to accomplish no matter what. It honestly annoyed him, she somehow thought it adequate to go to bed at unholy hours as long as she did what she wanted, her skin care be damned, but it somehow made her shine when he scolded her the next morning.

“Sorry, Vil-senpai, I was at a good part of my game and I couldn’t stop.”

With his cosmetics, he could somehow make up for a tired look on her skin, but at times, it was as if she was glowing instead. He wouldn’t have imagined she had pulled an all-nighter, even if she was supposed to be the potato and him, the beauty expert.

She did possess something he lacked. It was that kindness of hers, one not restricted to her friends. His world didn’t forgive the easily duped, the ones who did something for others, expecting nothing in return. The school they studied at held this principle deep in its roots, where being kind and soft would only leave you as prey to be used. He was far from the likes of Azul and Leona, but he wasn’t the kind to help others for no reason. To give out his secrets for free, it was a way to coddle laziness and neglect. In the industry, it was a sure way to get you killed. But it seemed this concept didn’t apply to her, as her webcomic was a way to help her study (one of the potatoes had come to read it often) and her Magicam was full of advice, the accumulated experience of a high-ranked player in her home world. Everything for free, nothing expected in return.

He himself had been on the receiving end, with her annoying encouragement and unwanted advice. With his own life being saved from overblotting, like she had saved the others. Riddle, Leona, Azul, Jamil. Some of them people who had attacked her or her friends. Yet she still helped them, she helped him, not asking for anything, not even a thank you. They had argued, he had been cold to her, but she still extended her hand to save him.

-

There was something Vil Schoenheit possessed that no one else had, a brilliance that lay deeper than his obvious beauty.

Ann knew he was beautiful, but it was the elegance he carried himself with, the strictness he had for himself and the diligence to reach his goals that made him who he was.

Vil never excused himself, taking responsibility for his faults, like his own admission of his failings for his Overblot and making amends for it. He never asked for help, he worked on his own. She had learned his father was a famous actor, and Vil, while loving him dearly, had never resorted to latching on his father’s fame as an easy way into the business industry.

Instead, he had worked hard, went to auditions and prepared himself. The few times she helped him carry props for his Film Appreciation Club, she had seen the worn out scripts, the hundreds of notes and stickers. He took care of everything with meticulous care, she might have found him rehearsing nonstop even on his busy schedule.

Vil worked out and prided himself on being perfect always, even though he was close to wearing himself thin, and it wasn’t out of simple vanity. He was complex, far from perfect, with his secret failings that didn’t make him less beautiful in her eyes. Someone who wanted to better himself, to reach perfection even if such a state was impossible from the start, how could she not love him for giving his all to a goal?

Even if he denied it, he was kind, secretly helping others being their best person they could be. As harsh and strict as he seemed, he looked out for everyone, not only those close to him or in his dorm. He wouldn’t even mind being painted as something he loathed, as long as that person got the drive to improve themselves. It was why for her, he was a true selfless hero, with shortcomings that he struggled with. And it was why she wanted him to achieve his dream, and had tried to help him in the only way she could, through words, written or spoken, and through art so that others might see him in a different light, the things Vil never mentioned about himself that were easily missed by others just looking at him at glance.

-

He wanted her to look at him. To praise him. To tell him he was the most beautiful.

"I don't care about your opinion. "

It was a bold lie, one to hide his own deepest feelings, the actual fear of her opinion of him. He was aware that he was in the eye of everyone, but...

He wanted to be in her eyes but feared hearing her thoughts. Because she saw right through his efforts. Through everything he did. Would she praise him?

He felt bare, exposed. And, he was unsure if he could handle her rejection. That was why he shut out her opinion fast, fearing the words he didn't want to hear.

Why wasn't she telling him he was beautiful, like everyone else? Why did she approach him easily? She didn't know her place, he kept repeating that to himself, but there was a lingering fear it was because he was nothing to her, hence why she acted so nonchalantly.

He wanted to be her very first thought in the morning and the last one at night, just as she invaded his dreams and haunted him everywhere with her presence or absence. But he couldn't easily go and tell her, "I saw you in my dreams again. We were together, you by my side, the place I yearn for you to be."

He sighed. There was no use getting upset over this.  But these words didn't reach his heart, its pace increasing as he thought of her again.

(He knew that it was because she didn't say those words, that she looked deeper, focusing on his sweat, blood and tears, that he looked for her everywhere now.)

"You've worked so hard to get where you're standing on and that's really amazing."

He was in deep.

"I think your beauty doesn't only lie in how you look, you are beautiful, but it's your determination and hard work that makes you shine."

He stopped breathing when she said that, heart aching so much because she wasn't aware that her words pierced his heart, permanently latching on it like the sword in his crown. Whenever he repeated them in his mind, like a broken record, he clenched his chest, losing all strength, a sweet tasting poison that bewitched his soul. It hurts him but, he couldn't stop himself from yearning it.

"Please, look at me."

"...Please love me..."

He whispered quietly in the darkness of his empty room.

There was an irony of the Pomefiore Queen falling victim to her sweet tender poison.

(Was it really poison? Her words were sweet and gentle, beautiful and without any ill intentions. But they killed him slowly, so they might as well be the most dangerous venom in the world. And he wouldn't stop wishing for it, taking them all until there was nothing left.)

-

"Vil-senpai, good morning!"

She would smile brightly at him and he would avoid her eyes, feigning indifference because he couldn't hold her gaze back. He preferred to nitpick, to tell her that her lips were dry, that she should pay attention to her appearance, harshly scolding her as his hands carefully arranged her tie.

"I won't be always fixing you. You should be always presentable, what am I going to do with you?"

He fussed over her, giving her even some lipstick he had, after applying it to her lips that surely her potato friends would comment on later.

What was he going to do? Wasn't it obvious? He'd look for her next and fuss again over her appearance, because that was as close as he could allow himself to be, safely hidden by the pretense of her untidy appearance.

-

"Tell me, Trickster Ann-kun," Rook's piercing voice shot through the silence like the arrow from his bow. "Do you have feelings for the beautiful Vil?"

He had suddenly approached her, as she had taken a night stroll in the surroundings of Ramshackle Dorm to clear her head, even though she knew the chaos would remain.

She closed her eyes, she knew that looking away or up front would show the answer, a fawn in front of the perceptive hunter. Vil had already confronted her, her eyes telling a different story than what she wanted to say. Rook would surely suspect, no, she had a feeling he was asking to confirm his suspicions.

"What do you mean?"

"Your eyes shine the most when you are next to him, even if you then look away moments after. You approach him often, during the free times he has or even when your paths cross, in between classes and your personal activities. There's a tension, a soft lingering warmth when you talk to him. I look at Vil the most, so naturally I would notice first anything that happens around him."

She looked up at the sky, her lips drawn in a thin line. There were no stars to reflect on her eyes.

"Would it bother you?"

"Non, naturally there are many who have feelings for him. In fact, I would be most bothered if people didn't realize his beauty."

"You did mention it before, you wanted us to see his beauty back during our VDC training."

"Oui, Vil has a beauty no one else possesses. It would be foolish to ignore it when close to it. But we are not talking about me, we are talking about you, Trickster Ann-kun."

"..."

"Befitting of your name, you try to fool your opponents and the people who surround you. But you should already know I am a hunter and it's my pride to say I do not let my prey get away.”

"I had a feeling you would say that, though whatever. Whatever I feel, it doesn't really matter."

She could feel his sharp eyes on her, carefully examining her every movement, conscious or unconscious. For a moment, she thought he was concerned, but she wouldn't engage in eye contact for her sake. She knew better than engaging in a fight she would lose.

"If I like him or not, it doesn't matter. Someone like him shouldn't be with someone like me."

"Do you think of yourself as inferior to him, Trickster Ann-kun? Vil is the kind of person who can appreciate beauty, no matter how unconventional."

"I don't really know where I fall in that category, and I don't think too much about it anyway," she said with a casual shrug, but it didn't shake off Rook's inquisitive gaze.

"You should be aware that you're already someone important to him. What happened in the VDC put you in another place in his eyes."

What would it be? Vil’s overblot and her desperate tries to save him? Their talk alone after they lost the VDC? She was sure Vil couldn’t know her punching Rook was largely due to her own anger at him for doing this to Vil.

But no matter the reason, it changed nothing.

"...It's because of that...Things are fine the way they are now. I'm fine with that. "

"Perhaps you are, but what about Vil?"

She unconsciously turned to him, his green eyes revealing a strong protectiveness and concern. She winced and looked away, though perhaps she had already shown too much.

"...He is better this way. I...I don't deserve him, that's all."

"Is this why you don't grasp for him? The yearning in your eyes, you cannot hide it from me, but you don't wish to claim him."

Ann couldn’t reply, and the look in the hunter’s eyes told him he knew more, her silence a confirmation for him. He pressed for no more answers, not that she would give them. Her love was doomed from the start and she was fine with that.

“But what about Vil?”

That was the only problem, though she prayed it never happened.

-

 The truth is, I want him to love me. I want him to hold me.

 But I can’t have him.

 I have to look at him from afar, no matter how much my heart aches for him.

This was a waltz for two solo dancers, each gliding at their own tune, so close yet so far. Wanting to get close, but not enough to touch each other. Yearning gazes being the only betrayal of those hidden thoughts.

-

His lips touched hers and a bolt of electricity passed through his body, heart aching so much, as his tight chest reminded him to breathe. Her lips were so soft and tender, and when he pulled back in shock at what he had done, her warmth lingering on his lips almost made him wish to continue. Locking mouths, their skin needing to be one, to be this close always, it was a feeling he had been blessed to have just experienced and cursed, because it would never be enough.

Especially when her eyes reflected a pain he would have never expected to see.

The one time he had let himself be overcome with emotion, his relentless feelings deciding something so bold, it had to be the time where he quietly poured them all in one action only to feel a quiet unmoving slap in the form of her gaze.

She didn't have to say anything, too shocked to move but the rejection in her eyes was more than clear, and her lingering lips on his skin added insult to the injury.

It was the pain he felt as he left the room that let him know how hard he had fallen for her, how much he yearned for her love and adoration, and it was crushing him.

-

"Potato."

"Huh..."

The next thing she realized was his perfume so close filling her nostrils, his soft lips on hers.

And she felt her world crumbling, the small bubble she had crafted for her delusions rupturing and bringing her to the terrible reality she had to confront.

Something took over her, a violent mix of terror and guilt, of her realizing the thing she had done and how far her silly nonsense had reached.

She wanted his love, she yearned for it deeply, but she couldn’t accept it.

Vil was in love with someone else, right? Not her, someone like Rook or someone else who deserved him.

But his lips were on hers, a delicate blessing she wasn’t worthy of receiving. Hence she could only stand in horror, unable to move or react, because what was she supposed to do?

He pulled back abruptly, his cheeks light pink and brilliant violet eyes avoiding hers. He shook his head before vanishing through the door.

She pressed her fingers on her lips, they were warm, so tempting to keep bringing back the ghost of his skin over hers, the thing she had wished deep down for so long.

But the hurt in his eyes kept haunting her, and she felt like dying.

-

Thank you for reading!

[alexandrasavior]

ALEXANDRA SAVIOR: loneliness as an impulse to create

At sixteen, she signed a contract with Columbia Records - a label that released albums, including Adele, Daft Punk, Arcade Fire or LCD Soundsystem. On her debut album, she surprised many in her collaboration with Alex Turner (Arctic Monkeys). “It's been almost ten years since I started my career and I feel some kind of loneliness. Feels like I'm at a standstill, like I'm constantly failing. After all, in this industry you live in a world of constant ups and downs,” Savior tells us.

We meet a year after the release of your second album, The Archer. Due to the pandemic, you could only promote it on streaming platforms, previously you also had to face the producer’s departure and the loss of a music label. How do you view these events in retrospect?

A lot has passed since its release, at least for me. This whole year has been so crazy that it seems as if it lasted nearly a decade. When it comes to touring, I always feel anxious during my live performances - so maybe it's a good thing that people haven't heard the album live (laughs). The recording process was completely different from my debut because I wrote all the songs before finding a producer. I recorded a few demo versions with the band, we played a few songs during the concerts in various arrangements and I immediately knew how I wanted them to sound. Not having a label turned out to be a blessing: there was no pressure, I had no one over me, and I also gained a lot of valuable time to finish the project the way I wanted. I entered the music industry at the age of sixteen - before The Archer I always had a person telling me what to do.

NME wrote that The Archer is "your vision of love stories inspired by B-movies from the 1960s." You get the impression that this is a "soundtrack album" full of autobiographical elements, suitable for inclusion in a movie. How many are you in the second album?

I had a vision of a few songs (ex: But You) planned straight away, I wanted them to sound like those stylistic songs from the 1960s and 1970s. Now I'm wondering in which exact film I would like to put my music... I think everyone would like to "appear" in David Lynch's film. A few days ago I watched Blue Velvet, that’s what I’d pick. It doesn't seem to make much sense, because The Archer is something unlike the director's vision, but I would like it to happen one day. Anyway, talking about my second album is like digging into the past. Now I'm working on a new album, we've even started recording it in the studio.

Can you reveal anything more?

I've been writing for a long time, but I haven't found the final shape of this album in my head yet. Moreover, I don't have a label again (laughs). It's completely different music compared to the previous album. It will be less cinematic, also more slow and gentle, because this whole year brought us to a stage of stagnation. To be honest, I don't even know when this album will be released - without a label I don't have any money to record. With a bit of luck, it might come out at the end of this year (laughs).

Recently, I am fascinated by folk artists who recorded between the 40s and 60s. They created great music, but due to the fact that the situation of women at that time was very difficult, they never managed to achieve success. Karen Dalton and Connie Converse are damn inspiring to me! They started out as young, aspiring girls, and in the end they would collapse anyway. Their music had to wait for its moment for someone to rediscover it after about fifty years. It was the same with Alice Neel, my favorite painter who became famous at the age of 70!

You also started young - by giving up your education at the university, you chose a new life path, which at the beginning was not assigned to you. You could have a "normal life" with the rest of your friends. The music industry has changed the way you have come, it has influenced your growing up.

It was all difficult. The biggest difference between me and my friends was that in the end I was left alone. I was discovering my identity and interests on my own; I didn't learn from professors, I didn't attend any classes. Now my friends are finishing their schools and starting in the same place I was eight years ago. Sometimes I feel like I would like to have the chance to go to university and live this "normal life". I'd like to learn more than just from myself, but the Columbia Records deal did a full 180 on my life. I know something about the world, but it is not university knowledge. I don't think young people should sign big contracts when they're sixteen. It's been almost ten years since I started my career and I feel some kind of loneliness that is also present in my music. The fact that I cannot support myself financially seems to be a failure in itself. But it is also the fault of expectations (both mine and those from outside). These elements make it feel like I'm down, like I'm constantly failing. After all, in this industry you live in a world of constant ups and downs. One month you release a new album, you have a lot of interviews, people are interested... and the next month nobody remembers you, and you have to move on. Then for three years, in constant uncertainty, you work on a new album and you have no idea how the public will receive it. All work can collapse in one second. You feel ruined in the end.

In your lyrics, you can notice a feeling of sadness combined with enjoying it. It's such a musical masochism. In Soft Currents you sing: "My fate is at the hands of my mistakes / and that’s alright." Have you changed your creative formula with the advent of the pandemic?

The last thing I would like to write songs about is the coronavirus and the pandemic. In my lyrics, I am talking about uncertainty, about living in the past, because the present is full of contradictions and anxieties. At the same time, I tried to send this past into oblivion, I also focused on my personal innocence and my self-centeredness. I even mention how Instagram makes me feel! (laugh). These are my experiences: no less, no more, but I don't want to be the person who writes about confinement within four walls; they all do it. I try to approach it from the perspective of my reflections on my life and myself. During the pandemic, I recognized many of my behaviors that turned out to be negative and self-destructive - and this thread will probably also be visible in my writing. I wrote The Archer from the perspective of a person who felt like a victim. Now with my third album, I have accepted the choices I have made and I understand my responsibility. I'm not weak anymore.

[aion-rsa]

Josie and The Pussycats is the Spinoff Riverdale Deserves

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This RIVERDALE review contains spoilers.

Riverdale Season 5 Episode 15

“Our story is about three young women bursting with talent.”

When last we saw Josie McCoy (Ashleigh Murray), she was in New York City trying to make her dreams come true on the ill-fated (and gone-too-soon) Riverdale spin-off Katy Keene. Often when characters are spun-off and their subsequent shows fail, they vanish into the pop culture ether — The Ropers from Three’s Company being the textbook case of this phenomenon. But not so for Josie. This latest episode debuts a new iteration of the character, one who has achieved her dreams but still finds herself wanting more. It is a decidedly more mature take on the previously underwritten character, and one that allows Murray’s considerable acting and musical abilities to shine.

In short, it is the Josie that fans have always wanted to see.

But what good is the character without the backing of her Pussycats? Drummer Melody Valentine (Asha Bromfield) and multi-instrumentalist Valerie Brown (Hayley Law) have been estranged from Josie since she blew off the Pussycats for a solo career when they were in high school. Seven years later and the wounds are still raw, even though Melody has since become a renowned author with movie rights optioned by Tyler Perry, and Valerie is a talented artist and actress.

When Josie returns to Riverdale to take stock following the sudden death of her father, she finds herself coming to terms with her past. More than that though, she has found her voice in every sense of the word. She dismisses Mr. Lodge, the show’s big bad in a hilarious kiss off that sums up many viewers’ opinions on the often irksome character. Better still, the episode allows her to get meta to discuss how Riverdale often sidelined the Josie character in her previous iteration on the series. “I didn’t have much to say in old times,” she plaintively declares, commenting on the problem that Riverdale had with diversity in its early seasons. She then accurately dismisses Archie, Betty, Veronica and Jughead not as old friends but as acquaintances. It’s a bold and surprising scene that takes responsibility for past sins that the series committed, further illustrating that it is aware that it can do better and has been attempting to do so.

After a steamy reunion with old flame Sweet Pea (Jordan Connor), Josie begins the work of reaching out to Valerie and Melody. It is here that the episode goes from great to an all-timer. The chemistry that Murray, Bromfield and Law possess is lightning in a bottle. As old injustices are aired and attempts to repair wounded hearts and egos are undertaken, these actresses embody the old friends they portray fully. But this backdoor pilot, fortunately, has zero interest in having its women of color tear each other down. The characters candidly discuss their shared past, and begin to repair the rift that will — if The Pussycats goes to series — lead them to becoming the global superstars they are destined to be.

Josie, Melody and Valerie are icons. They know it, and the world will soon follow.

Inspired by her renewed friendship with her once and future bandmates, Josie decides to do a concert with the Pussycats that will raise money to help reincorporate the town of Riverdale. It is a performance that highlights each of the women’s musical strengths, even if Josie does steal the spotlight for an emotional rendition of Nina Simone’s “Stars.” Despite being cut short when Toni goes into labor, the concert is enough of a success for The Pussycats to agree to go on the road together — playing in towns where Josie’s late father wanted his ashes scattered. The women consider themselves to be equals now, thus the “Josie and” is jettisoned from the band name. This still being Riverdale, a friend of Josie’s dad appears moments before she leaves town to tell her that her father may have been murdered in New Orleans, and that voodoo might be involved.

With this incredible/ridiculous plot development thrown at us, the full image of what The Pussycats will be as a series comes into view: A mixture of Fame and 13 Ghosts of Scooby-Doo that celebrates these characters and their comic/cartoon legacy in an unexpected way. (As an Archie comics historian even I was taken off guard by the last-minute introduction of the potential show’s mystery angle, and my mind reels at the possibilities).

Hopefully sooner rather than later a series order for The Pussycats will be announced. There is so much potential here to tell exciting, fun, music-packed stories featuring strong women of color that it feels like a surefire hit. “The Return of the Pussycats” is not only the best episode of Riverdale this season, but a perfect pilot episode. There desperately needs to be lots more long tails and ears for hats in our future, for these are the Pussycats we’ve been waiting for.

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Riverdale Rundown

While nothing has been officially announced as of yet, it feels ridiculous for The CW to not do a full series of The Pussycats, yes? This logo appearing at the end of the episode instead of the usual Riverdale bumper bodes well for things to come. Fingers crossed…

My guess is that this episode didn’t have Alexandra and Josie cross paths due to their Katy Keene past, which had the characters begin as enemies who were slowly forming a friendship before that series was cancelled. By not having them interact, the writers didn’t have to figure out where their relationship currently is — making this a narrative thread that The Pussycats could potentially pull on down the line.

The character of Alan M. briefly appears as Melody’s love interest, which indeed he is in the comics and fondly remembered 2001 movie.

Speaking of the Josie and the Pussycats movie, that film’s ever-growing cult continues to delight me. Thanks to multiverses, there’s no reason why that version of these characters and the ones of The Pussycats can’t co-exist in the same pop culture landscape.

Let’s give a special shoutout to Robin Givens, who not only reprises her role as Sierra McCoy here but also did a terrific job directing this installment.

Melody narrates this episode a la Jughead, except that her writing is bright and full of hope, a sharp and intentional contrast to her brooding counterpoint.

If you didn’t cheer when Josie and the Pussycats took the stage to their cartoon theme song, you are dead inside.

“Entertainment Tomorrow” enters the Riverdale fake product lexicon in this episode (which also includes the returning chestnut “Vanity Flair”).

Toni gives birth to a boy, Anthony.

Expect to see more about the franchising of Pop’s in upcoming restaurants, and Tabitha’s speech about the importance of the Chok’lit Shoppe being a black-owned restaurant in a time when Riverdale had no other such establishments was one of the most powerful scenes this series has ever done.

It’s worth noting that a franchise for real-life Archie restaurants did exist in the early 1970s. However the idea never really took off, and pictures of the three diners that were opened have never surfaced online.

What the hell was up with the Old Navy product placement in this episode, which felt like it was ripped from the Josie and the Pussycats movie, minus the irony.

Kevin’s dancing during the Little Shop of Horrors musical number was, unsurprisingly, everything.

Melody’s book being named Summer Storm is a sly reference to actress Asha Bromfield having a newly released novel called Hurricane Summer that was released in May.

Josie uses the alias Ms. Newmar to check into hotels. Julie Newmar famously portrayed Catwoman on the Batman TV series, which not only plays into Josie’s feline motif, but also is yet another of the show’s near-constant DC Comics references of late.

Mr. Lodge being called a “little bitch” was so unbelievably pleasing to watch. Josie is just SO OVER Riverdale’s bullshit.

In a nice character moment, Cheryl immediately leaps into action to help deliver ex-lover Toni’s baby.

Dr. Curdle Jr. being a Josie and the Pussycats superfan is comedic brilliance (as is the fact that nobody trusts him enough to have him anywhere near Toni’s delivery.

The post Josie and The Pussycats is the Spinoff Riverdale Deserves appeared first on Den of Geek.

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[jonghours]

ATEEZ Diary album and AR photocards analysis

Finally got my albums and got to see what all these asks I got about the diary were asking me about so I’m going to go through all the entries and try to make sense out of them! I’ll theorize about the AR photocard bonus stories at the end, since they all take place after the events of the Diary Film and the entries on the diaries.

A INTRO: The time passing by, our dreams 

This entry takes place after the Diary Film. It mostly describes the memories the members shared in their hideout.

“This is our onw space. Laughing, crying, arguing, dancing, and singing. A space where our dreams came together. Our hideout, our own world, separating us form the adult world”

I highlighted the word adult because the main point of this new series is how much ATEEZ want to hold onto their youth and dreams.

“Right now, it is a moment void of compromises and tameness. It is the moment before we opened that door”

That last line indicates this entry takes place after ATEEZ opened the door to a new world.

01 HONGJOONG: I don’t want to be forgotten as if I never existed

This entry gives us more insight about Hongjoong’s reason to join the group. As I wrote on my Diary Film analysis, all the members stories introduce the reasons that brought them together to pursue their dream: music. Back then Hongjoong’s was too subtle, but it becomes clearer here.

”Once I become a bright star that can be seen from everywhere, like those people on TV, will my family notice me? Even if it were by coincidence, I wish I could meet them at least once. If my family could come together like before... I miss the warmth of my living room”

It seems like Hongjoong’s family broke apart time before the events of the Diary take place. He’s definitley not an orphan, as he wishes to meet them once again. We don’t know why but Hongjoong’s family abandoned him and left it alone. It seems like Hongjoong’s motive to pursue music is to be an artist, and get noticed by his family in the hopes that they can get reunited once again.

“My family scattered around and here I am with my new family I made while living alone... [...] My family, the music I love, our dreams... We must keep them”

02 SEONGHWA: She, who was dancing to the beat

Seonghwa’s entry doens’t give us more insight into his story than what I already wrote about on the Diary Film analysis.

“She was moving as if nothing mattered anymore. Common sense, Rules, and this though world didn’t have power over her moves. Right this moment, my world broke around this snowy road”

Is it weird that I was interested in the snow? I know is probably just a minor detail, but I find it interesting that they added it since there was no snow in the Diary Film. I think it serves as way of putting everything in chronological order, since the weather is mentioned a lot on the diary entries.

“Ever since that day, I went to the same place at the same time. But, she never came back. I didn’t know her name or her address. Just like the “Be Free” bracelet she wore, she freed herself away [...] Since then, music never sounded the same again”

As I mentioned before, the Girl becomes a source of inspiration to Seonghwa, and he’s moved by what she represents. He wishes he could find her again and grasp that feeling, but the time never comes, because that’s what she ultimatley represents.

 03 YUNHO: Weather is clear

Unlike the others (except Yeosang) this is literally a diary entry. I believe Yunho is writing this diary to communicate with his brother. Obviously not literally, but is a way for him to put the things he wants to say to him in order.

"Hey brother, you look like you are in such a good mood today! The weather is so good as well. Even though I was running to see you, I didn’t feel the heat. [...] It has been a while since I took out your broken guitar. I wanted to get rid of it because it always reminded me of a broken side of you. [...] I just left it out of sight because it seemed like you abandoned your dream”

As it was confirmed during Air Con, it was indeed Yunho’s brother who had an accident, and to me this sounds like Yunho’s brother abandoned his dream before that happened. Yunho seems to have hidden that guitar from him when he abandoned his dream and didn’t want him to see it again, but after he had the accident, he put it out again.

“I have a friend like you in my team. His name is Hongjoong. He is the kind of person I would go to when things get tough [...] I avoid thinking about these painful memories and instead I am focusing on the dreams you couldn’t achieve. I will make them happen; the boys and I will make them happen.”

As I theorized before, Yunho’s brother’s dream was related to music. Yunho even mentions doing street performances together at Han River. At some point his bother gave up, so Yunho wants to make it happen for him. 

Also good news, Yunho’s bother isn’t dead!!

“When the time time comes, you must wake up from the long hibernation. I want to show you all of it! I’ll be back tomorrow. Good night!”

Yunho’s brother seems to be in a coma, so Yunho goes to visit him everyday. I think maybe the message Yunho receives is either related to the acccident, or might be bad news about his brother’s state. Both of those theories could trigger Yunho’s recalling of the accident. Still have no solid theory about Mingi.

 04 YEOSANG: Just like a midsummer night’s dream

Yeosang’s diary entry gives a lot of new details about his personality, and I think maybe a clue about his role in the bigger picture. Also is important to note that the FEVER: Part One track “Dear Diary: 2017.07.29″ belongs to Yeosnag’s diary. The lyrics fit his writing prompt, and ahead there is a part that also fits the lyrics.

But going back to Yeosang, he has a very perfectly planned life, and the only thing he finds personal pleasure in is fixing things.

“I was never too good with mechanincs. It all started when I dismantled the speaker. Everytime I felt stuffy, I would disassemble various appliances or instruments and then reassemble them back together.”

I highlighted the speaker part because it reminded me of Jongho’s Diary scene. Probably nothing but I found it interesting.

Yeosnag must have been looking for things to break apart in the area where the hideout was, and that’s how he met the members, and that’s how he found a new love for music.

“My parents had everything planned for me: doing the same routine at the exact time. The only time I could go out of this cycle was when I disassembled and reassembled things. Thanks to this weird habit I met the guys. That day in that shabby warehouse a group of guys I’d normally run away from, asked me if I knew how to work a drone. This whole encounter was a little strange! [...] The sound of music is what brought me to that place. From that day on, I went everyday”

Now here is where this diary entry connects to the “Dear Diary” intro. The words in bold are the ones that are part of “Dear Diary”. 

“For the first time, hearts pounding like it’s about to burst and this tingling feeling coming up from my fingertips started to take over me. Was there a moment when I wanted something this bad? One by one more kids started to say my name. The path that I slowly walked with one antoher person became a path to many. Slowly, the word ‘I’, became ‘ours’ (us)”

This makes it official that Yeosang is the owner of the diary being read in the album intro. Also, the person writing the english parts seems a little bit off with it at times, especially in the AR photocards. I think what it was meant to say at the end is “us”, not “our”, since they are the same word in Korean, so it might have slipped the translator.

Now, I believe this is very important. Because Yeosang was forced to give up on the boys because of his parents. 

“Dancing was such a mind-blowin activity. Even if I saw my parent’s worried faces flashing before my eyes, I just could stop. [...] However now I must leave the ‘our’ (us). If I back out everything will be back to normal, the scattered members and the stolen hideout. I’m sorry, guys” 

I wonder if this is why ATEEZ is trying to rescue the trapped Yeosang in Say My Name. Following the Inception concept theory, they might have entered Yeosang’s dream to try and rescue him, because as it was said before, Yeosang is a central piece to the story. Maybe it has something to do with his ability to build things?

05 SAN: I don’t know

Oh boy do I have some things to ask to San. This is by far the story that annoys me the most and is probably stupid but.... well you’ll see. His entry starts with him complaining about being unable to connect with people before having to leave them.

“[...] I’ve never had time to open up. Every time I got closer to someone, I had to move. It’s happening again today. But this time is a little different. Now I have friends to talk to about my feelings. As soon as I saw them, I knew right off the bat, they were like me”

“Oh, Seonghwa was a little different. He never tried to do anything the traditional way, he was always “HIS” way”

This is in capital letters, and I can’t help to think that the members who are mentioned by others give clues as to what “side” they are on later on in the story. The way he mentions Seonghwa like that but doens’t bring it up again, could fit in my theory that Seonghwa takes a bigger role in another part of the story.

“Can I just leave like that now that I have a place of my own... What should I say to Wooyoung? Thanks to him, thanks to my friends, I was able to perfect my dance moves”

Wooyoung is a very popular member in the story, as expected of the person that so far has been proved to be the most central member to the storyline.

And now..... let’s talk about that

“Bobo, what should I do? What? You want me to do it “MY” way?”

Now, who in the ever-living-hell is Bobo. It’s a given name, since he refers to them as “Bobo-yah”. And if you think it’s just a passing comment, sadly for me, it isn’t!!! just wait and look at his AR card later!!

 06 MINGI: the sound of his laughter

Here we have someone else talking about Wooyoung. Honestly I was surprised people asked me about Woosan as a ship being important because San mentioned him once (1) but Mingi’s story is entirely dedicated to Wooyoung and his laugh and people decided to ignore it for the sake of their own narrative but ANYWAYS

“Music was my haven, my escape, my one and only relief. When I feel like dying, I listen to music”

“Only a few friends names you remember through elementary, middle and high school. [...] No one talked to me, but that is mainly because I didn’t answer if they try talking to me. But Wooyoung was different. Not that I remember [...] Wooyoung would always come next to me during every break. Whether I answer or not. He would go on with his stories [...] and that music team he works with outside of school. He always tops it with a signature smile of his, which naturally made me laugh. Out of shyness, I started calling him “Woo-ong. Ah that laugh of his. He was the first friend I opened up to”

So we have someone else who owes a lot to Wooyoung. I wonder if this is why we see Mingi breaking the chains that restrain Wooyoung during WONDERLAND. This will come back later.

“[...] It was around that time too when I followed him to the hideout for the first time; the place where I could dream. They were friends who took me as I am. They accepted me as who I am, regardless of where I live who my parents were. But now I’m getting scared, can I really have a dream? Will it not be taken away from me?”

This is Mingi doubting if he’s allowed to have dreams since he’s not in a position where he can allow himself to have such lavish dreams. And so the fight with Jongho happened.

 07 WOOYOUNG: It’s different this time

 I love how Wooyoung’s diary entries are subtle flexes.

“Will I fail again? When I was practicing and dancing alone, I was pretty confident! My practice video on social media has reached over 100.000 views. Many people contacted me and even big entertainment agencies offered me to audition for them. But once I felt their look towards me, I just couldn’t move [...] I closed my eyes trying to escape, and then Seonghwa’s voice popped in my head. I felt their presence even though they were nowhere to be seen”

This is probably what we saw on the Diary Film, different setting but definitely what is supposed to represent on those flahbacks. Once again Seonghwa seems to stand out among the other members when it comes to his way of doing things.

"I had a habit of overchatting to overcome stage fright and I practiced laughing to hide my shyness. It was a defense mechanism of mine to focus”

I just found this cute because it means he was nervous about Mingi back then.

“The firs time I met Hongjoong, Seonghwa and Yunho were at the street performance [...] When I danced with them I wasn’t self-conscious. My legs are tense. The first step, the step that I was never able to do, the chain that was trying my body, was magically released"

The chain thing again! I mentioned in my Inception post how it’s tied to WONDERLAND, at least definitley by the concept of Inception in on itself.

 08. JONGHO: I had it all planned

Finally we find out why Jongho beat Mingi on the Diary Film! Here Jongho recalls how he felt after he was forced to give up on basketball, his first dream.

“I felt like I was drowning. No matter how hard I tried, I was still stuck in the exact same spot [...] everything inside me was lifeless, as good as being dead”

“That lifeless look, before Yunho grabbing my hand, looked so much like me. My hand is throbbing from the pain. Mingi clealry saw the fist coming his way but didn’t try to avoid it. His lifeless eyes are still haunting me. When Mingi said he would quit, that our dream was a luxury, and that the time we spent together meant nothing to him, I couldn’t stand but to punch him. Funny enough, it was a heart-brekaing moment for me but also the time I started dreaming again. At that time, I didn’t know how to reach out to a lost Mingi. Where are we, where should we go?”

So Mingi decided to give up on his dream because he felt giving up on it before it was stripped away from him by the tough reality of his situation, and so Jongho couldn’t stand it.

Z OUTRO: Into the New World

The title here proves how ahead the staff was with thin concept even before ATEEZ was created. If you remember, ATEEZ was going to be named “New World”, so this proves that this concept already existed even before the group was created. Now, just like the Diary Film, this is told from Hongjoong’s prespective again.

“Even though I lost my dream and my family again, there was nothing I could do. Everyone left and here I am, lost again”

He recalls how little by little, all the members drifted apart.

“On a summer day [...] we decided to go our separate ways”

Now I wonder if this, the day they went their separate ways, is the date on the diary, July 29, 2016. This could also be the date of the entry in Yeosnag’s diary, as well as the “Dear Diary” intro, which as we found out, is the day he decided to abandon them.

“All because our dream of being together have become like shackles that hold us down. The scorhcing sun melted away even our dream of youth and made it disappear [...] Even if, not often, the promises we made were pushed back day by day, and we forgot about each other. It was around that time when I began seeing him in my dreams”

“The man in the fedora [...] a somehow familiar, but tired eyes”

Now, this is supposed to be Hongjoong, even if he himself said he wasn’t aware it was supposed to be him.

“You lost your dream not because of the tough reality, but because you guys decided to. Get rid of the idea that the world you see is everything. There are many dimensions and many relaities in this world. The world I am in, the world you are in, are all real. I want to tell you everything, but I don’t have much time right now”

so HALAteez really seem to be on ATEEZ’s side. At least here, because during SMN, Hongjoong said their role was to stop Real ATEEZ. And now, the big reveal! Turns out the hourglass has a name, and it’s The Cromer.

 “The Cromer. The key to connecting the world. [...] Follow your heart. The map is there”

 That’s when HALAteez disappears, and we go back to the end of the Diary Film.

“I fell asleep in the hideout where no one was looking for me. [...] Wasn’t it a dream? While looking at the Cromer I inadvertently turned it around. The sand in the hourglass started to flow from bottom to top. The iron door then opened and I could hear the footsteps coming closer one by one. The guys then gathered around me with the smae puzzled face”

The highlighted parts are what the secret code in the ANSWER albums say.

Now, onto the AR photocards. As I said before, these take place in the future of the Diary Film events. (thank you so much to @honggers for helping me find them!!)

HONGJOONG

"Cromer... The treasure that made us dream again. The one who appeared in our dreams, and because of Cromer lying in front of my eyes when I woke up from my dream, I was able to protect the members. Though it was difficult and lonely at times, I was able to endure these days thanks to our members. Therefore, everything became all of mine and when the members began scattering away I had a heartache so painful I wanted to die. Though I might not know what lies ahead of me, the most important part of my life than this new world is our members who I cherish like family and continue to protect in our dream”

Okay so all the things highlighted in there make me think that this version of Hongjoong seems very intense. The members are all he has and this sounds like he would go as far as he could to keep them together. Could he go as far as to keep them in a dream against their will?

SEONGHWA

“Those who knew me would have never thought that I will be in this place. In fact, they can’t even imagine the existence of this place... I am.. No! We are here with fear and also, excitement. Each day was full of mystery. What will happen today? My knowledge about common sense, different logic and numbers faded away, just like the day I first saw her”

This is the first time “this place” is mentioned, which I’m pretty sure refers to either a diferent dimension or the illusion they have sunken themselves into.

YUNHO

"Brother how is everything? Can you see this place where I am at? I’m going to believe you are watching me. This place is unique yet fmailiar. In no doubt I can assure you that this place is not the same place you and I dreamt of. You can’t really hear the music here. In fact, I don’t see anyone here who feels happy about lsitening to music. So, we want to sing to the people here and of course with great choreography. Brother, I miss you.”

Now, Yunho is the first member that seems unhappy here. He misses his brother, he really wants to go back to him at some point. And also, this is not the dream Yunho had in mind, this is not the dream his brother had, which was his main reason to join the group. Maybe Yunho is having second thoughts.

YEOSANG

"Father, I’m walking on a path that I might never be able to return from again. I used to only walk on a clear and pretty path, where there’s not even a single peck of pebbles to be seen. But now, as I walk down an uneven path, my feet keep throbbing. Though my feet are killing me, my heart is in a state of tranquility. I feel like I’m free from your world. I am able to express this new freedom that I’ve never experienced before. Though I love you and mother, I wasn’t happy at all the in the world that you and mother were in. With my friends, I am now going to the place that I chose.”

Yeosnag seems very happy whenever they are, but the part in which he says “might never be able to return from again” might be a problem for other members.

SAN

“I laughed all the time because I never relaly got too close. Actually, I had to say farewell before I even got close. Then I met again. This is what the word “friend” meant to me. Therefore, the only friend that I can open up to was my friend Bobo, who was always there beside me. I’ve never been away so long with Bobo. I’m worried if Bobo is eating well or not... Hopefully, Bobo is worried about me as well. Hey Bobo, I am on a starnge journey with my first real friends. I’m not too sure how I am here or where I am but don’t worry too much. I will be back. I promise.”

Who the fuck is Bobo. Who the fuck is Bobo who thE FUCK!!

At first it didn’t seem that important but San’s whole AR photocard is dedicated to them!! And just like with Yunho, San is determined to come back for Bobo, so he too might have trouble with the “never coming back” part of the journey. I think Bobo might be a pet, or a doll, an imaginary friend (?) he did say “real friends” so...

MINGI

“I want this moment to last forever. The moment I had with my friends and being able to feel joy and happiness. I almost ruined it all. If I had not been here, I wouldn’t be able to get it back. No matter where this palce is, it doens’t matter what happens from now on.”

Another member who doens’t seem to want this to end, ever. I wouldn’t be surprised, since Mingi and Hongjoong get a lot of visual shots together. 

WOOYOUNG

"Today was the day I was supposed to sign the contract. It was actaully a good oportunity that people would envy. It was a chance to debut in a big company and a success story in front of my eyes.  But what’s the point of doing this, when I can’t go back. What if I can go back? Hmm... Let’s not think about it. Friends will mock me.”

Okay, first of all. Flex. 

Second, this is what Wooyoung meant by “taking the easy way out” on his prompt, he could have had it easy, but instead chose the memebers. Also... Wooyoung what are you thinking? Does he know about the Cromer? He said “friends will mock me” so does that mean he knew about a way of coming back before even Hongjoong was offered the Cromer? After all, Wooyoung is carrying the Cromer during ANSWER, and he seems to be attached to it. Once again, Wooyoung is a central piece of the story, but he’s teasing us once again.

JONGHO

"An empty court, basketball, teammates, everything during my teens. I saw myself when I gave up all this through the loneliness look in Mingi’s eyes. At that time, my eyes would have been the same. I wanted to talk to him. Don’t give up, and I’m sorry. I came here all of a sudden without even be able to talk to him. My heart aches more when Mingi showed his kindness towards me as if nothing happened”

So Jongho and Mingi are back to being friends. The girls aren’t fighting anymore. There is peace.

THE MAN WITH THE BLACK FEDORA

“What’s the point of keeping these dreams when we have to give up things that matter?” “Is this that worth even where I have to let go of myself?” Whatever the answer is, it is your own decision”

I believe these questions are being asked by either Hongjoong or the members. They have to give up not only their lives, but it seems that they have to give up a part of themselves. Could that be when their lyrics wonder about who or where they are, or if anyhting is real at all?

[s-creations]

Return the Flames - Chapter 1

All at Dead Bird Studios knew of Amos' (The Conductor's) ability. How the owl could suddenly erupt into flames if angered enough. When the studio first opened, Dominic (DJ Grooves) was told that Amos had his ability under control. Nothing to worry about. No possible loss of anything from an open flame.

A few years later however, and that control seems to have lessened to a dangerous degree.

It should have just been a simple, week long drive to fix the problem. It really should have been.

Dominic should have asked a lot more questions and should have been prepared for a twist ending.

_________________

Fandom: A Hat in Time Rating: General Audience Relationships/Pairings: The ConductorXDJ Grooves Warnings: Eventual depictions of violence, slow burn relationship, named characters, attempt of an accent, being hunted down, a race against time (sort of).

 It’s amazing how one outside source could influence an entire planet and change it’s view. Okay, maybe the ‘entire planet’ might be an exaggerated size. But, big key players were involved with the overall growth. So, it felt as if the world shifted when the time wielding child left to race among the stars once more.

 Mustache Girl, discovered to be named Mu when the dust settled, had seemingly disappeared. Her usual hideout had been cleared out. With no signs of her remaining there or found to be anywhere else on Mafia Island. There was a theory that Mu had hopped onto one of the many shipment boats and had left said island as soon as she could. If that was true, it would be nearly impossible to find her. No one could fully tell if this was a good or bad thing.

 The Mafia boss had officially retired when he couldn’t find a new body to use. Apparently the price      was    too high to pay for someone to give up their own. Losing that intimidating edge and just being gross, he announced his leave and traveled to the nearby mainland. There he found his new calling: being the store manager to a small fish market operation. Apparently, no one wanted to argue about prices against a goo of a human being that survived in a jar. Between the harsh words and rather disturbing appearance, people lost their argumentative spark quickly.

 The rest of the Mafia scrambled to figure out what to do with themselves. It took a lot of soul searching and late night conversations for a solution to be found. They reached the conclusion that they all worked better when they’re told what to do and decided to turn the island town into a high end luxury resort. Cooking Cat had taken the chief helm and taught a large team of Mafia members how to be proper cooks. It would be bad if a customer complained about food poisoning.

 Subcon Forest, while still downright terrifying and with Vanessa a heavy threat over the citizens, had seen the number of lost souls consumed by that place dropped. The Snatcher had apparently changed stance on determining which souls were meant to be taken. Namely those who were weighed down by a lot of sins. If asked, he would claim it was due to those being more filing when eaten. No one had the needed bravery to really question the twisted spirit’s reasoning. So, more living beings started leaving the woods. Confused, with their souls still in place, and all at the cost of a high-five.

 But the biggest change came from Dead Bird Studio. If one was interested in movies (which was a good majority of the planet) they knew of the rivalry that ran that place. Or      did     run that place. The Conductor and DJ Grooves announced, shortly after Hat Kid’s departure, that their feud was over. More or less. Everyone knew that years of animosity couldn’t be solved or swept under the rug, to be forgotten about overnight.

 So, it was an difficult uphill battle to learn what it meant to actually work together peacefully. Between Conductor’s anger and Grooves’ rather smug attitude, it was a hard progress. Both directors used a lot of late nights to find even ground. After a few months, they had reached a level of comradery that couldn’t really be qualified as ‘being friends’. Business partners was probably the best title.

 Which was still an achievement to marvel at, if Grooves was completely honest. But the worry of getting into a shouting match with Amos was now at the bottom of Dominic’s list.

 When the studio had been open for the first few months, they gained the title as the ‘studio with the hot headed director’. Dominic seeing first hand how deranged the other could become. The penguin could chalk it up to first time jitters. After all, opening up a business in the same building with someone you deemed as a rival was not the most calming experience. Add on top of that the tense world of film making and Grooves was surprised he didn’t eventually turn to biting off a few heads when things went wrong. But as Amos’ anger seemed to grow, Grooves began to worry that the director was going to have a heart attack from his numerous outbursts.

 What he was not expected was for the owl to suddenly have his ears erupt into      flames    . The only thing that pulled Dominic from his shocked state of mind when the sprinklers suddenly activated. All in attendance having to evacuate until the place was dried out.

 Unable to ask Amos directly (and already knowing the director wouldn’t have answered his questions anyway) Dominic had gone to the Express Owls for answers. He had been told that their director suddenly creating flames was something normal to see. Amos even had occasions where he would actually have smoke rising off of him. The penguin asked how this was even possible. As far as he knew, this was not a normal occurrence, and working with someone who could burst into flames at any time seemed a dangerous factor. Especially if it became a worry they’d lose the studio because of this. But Dominic was assured that Amos had his ability under control. That day was just a build up of bad moments that tore at the owl’s patient until it was just released.

 That didn’t mean Dominic didn’t start carrying around a small fire extinguisher whenever he had to be near Amos.

 Amos, on his part, was not a bird who opened up about anything. So, he never explained to anyone why he had this ability, with the Express Owls just accepting the idea their boss could handle himself. And, true to their word, Dominic didn’t see that many open flames coming from the angry owl. During their early years that was.

 Now, however, the worry had reached a new level of concern. Because Amos’ anger seemed to have suddenly grown. Even after the feud was put away. The control the other director had over the years seeming to have disappeared. Now the owl bursting into flames, full flames covering his body, when his mood was even. With another worry arising when he was around open flames and his anger made those grow dangerously. So much so, Dominic put his foot down on allowing open flame to be anywhere near the studio. Which annoyed Amos as now his movies lost a touch of authenticity. In turn causing the owl’s already short fuse to become shorter.

 It had become a dangerous, endless cycle. One that Dominic had to intervene before things got too out of hand. Something he was going to take care of today. Because he was afraid if he waited too long, they’d lose the studio they’d just started to work together in.

 Recording was done for the day and the studio practically empty as Dominic made his way to the Western-themed portion of the building. Asking a few lingering owls where their director was, he was directed towards Amos’ office. The partially closed door had light emitting from the cracks. Dominic gave his thanks before heading over. Raising his hand up to knock, the penguin paused hearing Amos’ daughter’s name.

 “Amelia...no, listen… Aye, ‘m aware. But you’re in no condition ta take me… I know, I know… No, flyin’ is too dangerous. Ya know know I hate those death machines and there’s no easy exit for me ta take in case of… In case I have an episode.”

  Dominic leaned against the wall, frowning. He probably shouldn’t be listening in.

 “There are no tracks that run there. Besides, the train will be in use. I can’t change that just ta better me. No- no, that’s not what I mean… People rely on the train… I don’t know who ta ask. I don’t know anyone who would want ta travel that far.”

 Amos laughed softly after a pause on his end. “Uh oh, someone sounds fussy… Aye, I'll keep ya up ta date as best I can… No, no, don’t ya fret about this. I’ll figure somethin’ out. Rest well Amelia, I’ll call tomorrow. ...Love ya too.”

 There was the clatter of something heavy hitting the table. Dominic could only assume it was the owl’s phone being dropped. Braving his chance, the penguin pushed the door open. He found Amos, bent over the writing table with a discarded cell phone next to him. The owl looked in complete shambles.

 Feathers were ruffled, randomly sticking out at odd ends. Some were even starting to turn gray. The familiar white button up had its sleeves rolled up over the elbows, the cross suspenders hanging limply from the black pants they were connected to. The similarly colored jacket was pooled at the Conductor’s feet.

 “If ya have somethin’ ta say, come in and get it out.”

 Amos’ growl broke Dominic’s stupor and the penguin closed the door behind him as he entered. “So-”

 “How much did ya hear.”

 “Enough that you know that you need to get somewhere with no reliable way to get there.” Dominic answered, pulling another chair towards the table.

 “Didn’t know ya were one for eavesdroppin’. Hopin’ ta find a usable script for yer movies?”

 “I’m going to ignore that last comment. I came to see if you were okay. Your ability is getting out of control and it’s becoming a concern. More than it’s been previously.”

 “‘M aware of that. That’s what I was tryin’ to fix.”

 “You need a ride to get there? To wherever this ‘fix’ is supposed to be.”

 “Great deductive skills.”

 Dominic let out a heavy sigh, tamping down the slowly rising anger within. “What I’m trying to say is that if you need a ride, I would like to offer my assistance.”

 Amos sat up at that, ears perked up. “...What?”

 “I will offer you a ride.”

 “Ya don’t even know where I’m goin’!”

 “It seems you’re desperate to get where you need to go. With your flares, it would be foolish for you to travel alone or in a confined place that you wouldn’t be able to leave when you needed.. So, let me help you.”

 “...Are we...alright enough with each other ta be stuck in a car? Together? For so long?”

 “How long is this journey?”

 “I need ta get ta Starlight Peak.”

 “I- That’s halfway across the planet!”

 “Ya can see why this is a bit of an issue fer me.”

 “Why do you need to get there?”

 The owl huffed, ruffling his feathers further. “I’ll explain, if ya promise you’ll take me, and ya don’t ask further questions.”

 “Those are pretty high demands.” Dominic crossed his arms.

 “This...is not somethin’ I want a lot of people to know about.”

 Dominic wasn’t ready for that answer. For as long as he’d known Amos, the owl has never been one to share any personal information. It took Dominic almost 8 years to learn he had a daughter and a few more months to know about his grandchildren. Which was really the only thing Dominic knew. Amos was short tempered but closed-lipped. Loud but private.

 So, seeing him here, quiet and withdrawn, ears folded and arms crossed…

 Dominic didn’t like it.

 “I will take you and I will not share with anyone what you’re about to tell me.”

 “And…”

 “And I will not ask further questions.”

 Taking that as an adequate answer, Amos sat up and faced Dominic properly. “I have this… ‘condition’ where I have this… I have fire burning in me.”

 “Ah...I wasn’t ready for that. Wait, like an actual fire?”

 “Aye, where did ya think my fire came from?”

 “To be honest, I’m not really sure. Now that I know however, it kind of makes sense.”

 “Well, that fire is burnin’ brighter everyday. More than what I can contain and control. There’s something at the peak that will help tamper that fire back down.”

 “Tamper the fire down? What does that-”

 “Ah, ya said ya wouldn’t ask questions!”

 “Alright! Alright…” Dominic raised his hands in defense as Amos glared him down. As the owl sat back down, Dominic felt himself relax. “It’ll take us at least a week to get there and back.”

 “Aye, ‘m aware.”

 “We’ll need to shut down the studio for that long.”

 “Ya worried about fallin’ behind on filming.”

 “You wish. I’m more worried about the paparazzi. If they get wind of this, they’ll have a field day wondering where we’re going.”

 Amos groaned, leaning back in his chair. “Peck, I forgot about that. Do ya think we could slip out without the peckin’ buzzards findin’ out?”

 “You’re joking, right? The first day we don’t open, they’ll be hunting us down. If not the day before we depart. Speaking of, when do we need to leave? I’m assuming the sooner the better.”

 “That would be ideal. But I do have a few things ta take care of before we do.”

 “How about the day after tomorrow?”

 Amos nodded to that suggestion. “Sounds like our best idea.”

 “Best get to packing then.”

 “Aye...and leave your peckin’ platform shoes here!”

 “You just don’t care for style.”

 “Do ya really want ta climb a mountain side in those shoes?”

 “...Fair point.”