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gotta-get-back-to-hatchetfield · 1 year ago

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Help! I loved Nerdy Prudes Must Die and am curious about Nightmare Time but don't really have time to commit to watching it all... (a handy guide)

For those of you who don't know Nightmare Time was a series of Hatchetfield one shots that starkid wrote and recorded during lockdown, all of which are of course available for free on YouTube. They go a lot deeper into the lore than the 3 Hatchetfield musicals, including explaining and explore the characters we know and love in more detail, sometimes including shocking revelations.

They also introduce new characters to the Hatchetfield universe, including Stephanie Lauter, Grace Chasity and Pete Spankoffski, who we first met in a Nightmare Time episode.

As they were filmed in lockdown the recording quality is somewhat variable, but Season 2 has a much higher production value than Season 1, and in Season 1 Episode 1 in particular they were very clearly trying to find their feet with it. That being said the actual scripts and content of the episodes is solid throughout.

I've decided to put together this handy guide of which Nightmare Time episodes people might want to check out if they want to learn more about certain things we saw in NPMD.

1) Nibbly - Honey Queen (season 2 episode 1)

If you're curious to learn more about the Lords in Black each of them (bar Wiggly) have an episode of Nightmare Time devoted to them.

For Nibbly, Wiggly's hungriest and pinkest brother that episode is 'Honey Queen' in Season 2 Episode 1.

It explores a very entertaining rivalry between Linda Monroe (from Black Friday) and Zoey (the annoying barista from Beanie's in TGWDLM) that naturally turns very very dark. We also get to meet Linda's husband Gerald who she spends most of Black Friday on the phone to.

As a heads up Nibbly doesn't appear until, shall we say, the end of the episode (with Hatchetfield there's always a twist) and he's not in the super sexy form from NPMD but it's a very strong episode and does give a bit of background to Nibbly's deal.

2) Tinky - Time Bastard (season 1 episode 2 part 2)

If you're curious to learn more about this yellow motherfucker played by Curt then you're in luck because he's in my personal favourite episode and one with a lot of interesting lore surrounding it.

If you're curious about what he means when in NPMD he says 'I could add another Spankoffski to my set', Time Bastard is focused around Pete's brother Ted (from TGWDLM) and the dodgy dealings of CCRP.

It's an extremely clever episode, with lots of really fun twists. It's unfortunately season 1 so has slightly lower production quality, but in terms of raw scripting is just outstanding and has some really interesting reveals about people in the Hatchetfield universe who may not be who we think they are...

Also worth noting that this is in the same episode (Youtube video) as a different Nightmare Time episode 'Forever and Always'. Most episodes work like this where you have two different stories per episode, they absolutely can be watched independently but usually have some sort of thematic link (in this case it's the things we do for love and how they will inevitably be thwarted by CCRP being sketch).

3) Blinky - Watcher World (season 1 episode 1 part 2)

And if you're curious about the one who's always watching you, he's actually the first Lord in Black we meet through Nightmare Time, in the very first episode when Bill and Alice Woodward (TGWDLM) go on an ill fated trip to a spooky theme park.

Again this is from the first episode so production quality is low but it's a really solid episode and a very interesting look into these characters.

While this is our first meeting of a lord in black in Nightmare Time, I don't believe he's actually referred to as such, and the concept of the Lords in Blacks being introduced as Wiggly's brothers comes in at point 5 on this list.

4) Pokey - Yellow Jacket (season 2 episode 4)

You've already met Pokey through TGWDLM (yep that was his blue shit that destroyed the world!), but you won't truly realise how fucking scary he is until you meet his incarnation 'Otho' in Yellow Jacket.

A solid episode exploring Lex, Hannah and Ethan in a lot more detail, and in a world and lives where (at least at the start of the episode) things seem to be a lot more stable for them than in Black Friday.

And yeh as I've already mentioned Pokey is fucking s c a r y in it. Also you remember James Tolbert's character, Charles that gets a little cameo in Hatchetown? Well he's the main human antagonist of this episode!

We also learn a lot of lore about 'the gift', the thing that makes Hannah able to do magic.

5) The concept of the Lords in Black generally - The Witch in the Web (season 2 episode 3 part 2)

If you're curious about why everyone's been posting pictures of those evil teddy bears and now even more confused that you've met them all as fucked up high school students, the Witch in the Web is the episode where we're first introduced to the 'they don't care bears' as a set.

This is a really cool episode, again about Lex and Hannah, but it also exploring Uncle Wiley (from Black Friday) in a lot more detail.

We also first meet two characters called Duke and Miss Holloway who together form the ship Holloduke that if you were following any of Starkid tumblr during lockdown you will definitely have heard of. They're really cool!

Here we also meet Webby, Hannah's imaginary friend in Black Friday, who turns out to be the lord in black's sister: a queen in white. And she's dope.

6) Pete Spankoffski, Stephanie Lauter and Grace Chasity - Abstinence Camp (season 2 episode 2 part 2)

We first meet the now beloved characters of Pete and Steph and the slightly less beloved character of Grace in an evangelical abstinence only camp. The episode centers entirely around these characters and plays excellently with tropes of the horror genre.

It also has the best song in all of Nightmare Time and it's up to you to decide if I'm talking about 'oh my god it's the axe-man' or 'virginity rocks' (it's both, the answer is both).

That's pretty much it in terms of Nightmare Time episodes that cover things from NPMD, but in case you're curious here's a quick run down of what the rest are about:

The Hatchetfield Ape Man - season 1 episode 1 part 1. Hidgens makes Ted pretend to be a Tarzan style half monkey, half man thing to con Angela Giarratanna out of her inheretence.

Watcher World - season 1 episode 1 part 2. See bullet 3 above. Alice and Bill Woodward go to a theme park and shit hits the fan.

Forever and Always - season 2 episode 2 part 1. Paul and Emma get married. Things are not as they seem (there are robots). One of my personal favourites.

Time Bastard - season 2 episode 2 part 2. See bullet 2 above. Ted fucks with time travel and things end very badly for him. Best episode imo.

Jane's a Car - season 2 episode 3 part 1. Turns out the soul of Tom Houston's ex-wife Jane, who died in a car crash, transferred into the car. This somewhat complicates his budding relationship with Becky Barnes.

The Witch in the Web - season 2 episode 3 part 2. See bullet 5 above. Hannah Foster's having nightmares and somehow a witch and Uncle Wiley are involved. Luckily a good witch (Miss Holloway) is there to try and help.

Honey Queen - season 2 episode 1. See bullet 1 above. Linda Monroe and Zoey Chambers compete to win the Hatchetfield honey queen beauty pageant and things spiral wildly out of control. My personal favourite episode from season 2.

Perky's Buds - season 2 episode 2 part 1. Emma's finally achieved her dream of owning her own pot farm. Just her, her non-binary farm hand Ziggs and some very evil birds.

Abstinence Camp - season 2 episode 2 part 2. See bullet 6 above. Pete, Steph and Grace go to a retreat in the very creepy woods to learn one way or another about the perils of pre-marital sex.

Daddy - season 2 episode 3 part 1. Remember Sherman Young (Jamie's weird creepy guy from Black Friday)? Turns out there's something very weird going on with his mum. We also learn a lot about Frank Pricely (owner of toyzone from Black Friday) in this episode, who turns out to be a very interesting character.

Killer Track - season 2 episode 3 part 2. Miss Holloway must take extreme action to save a young girl and then the whole world against an evil song that kills anyone who listens to it. We learn a lot more about Holloway as a character and she is soooo cool. Another favourite episode of mine.

Yellow Jacket - season 2 episode 4. See bullet point 4. Hannah seeing her sister struggling to provide for them financially decides to find a way of using her power to earn some spare cash.

Hey Melissa - episode aired only on a livestream, type it into youtube and it'll come up. If you've ever found yourself asking 'what if Mariah's secretary character from the start of TGWDLM was really into dom pup play and Paul Matthews was her little pup bitch and she was also a horrific out of control serial killer?' then a) are you Matt Lang because if not I'm concerned? and b) by god this is the episode for you!. I personally really enjoy it I think it's super funny, but obviously heavy trigger warnings for abuse and sexual content warnings (there's a reason they didn't put this in the real series). Fucking excellent tho.

#starkid #npmd #nerdy prudes must die #the lords in black #tgwdlm #nightmare time #black friday #nmt

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dr-spencer-reids-queen · 6 months ago

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Shine Bright Like A Winner

Pairing: Spencer Reid x Female!Reader

Word Count: ~900

Warnings: implied smut

Summary: You have your eyes set on a very expensive necklace at an auction. So does someone else. When you lose, he pays you a special visit and confesses something you've been wishing for a while now.

Square Filled: stranger for @acrosstheuniversebingo (deleted bingo)

Author’s Note: any and all comments are appreciated <3

Your favorite part about being rich is going to auctions and bidding for expensive things. Yes, that sounds arrogant and snobby but you have an entire wing at your house dedicated to rare and valuable items you’ve won across the world. It’s a sort of collection that you’ve been obsessed with growing. It’s the same as someone having a snow globe collection or a keychain collection. Instead of small trinkets, you’re dedicated to collecting one-of-a-kind items.

A few of your favorite pieces are a balloon animal made of steel and mirrors designed by Jeff Koons, a 1962 Ferrari 250 GTO Berlinetta, and a portrait of Marilyn Monroe done by Andy Warhol. You love traveling and seeing different cultures and owning parts of that culture for yourself.

They are nice conversation pieces.

This auction, however, has only one thing you’re interested in. Queen Marie Antoinette’s Pearl. It would make a nice addition to your valuable jewlery collection with the occasional night out with your friends. You're currently in Italy for their annual auction that’s exclusive for only the extreme wealthy. You’re sitting in your seat fanning yourself with a personal fan as you wait. People are still coming in when you notice a tall man wearing a sleek black suit.

Your eyes narrow slightly once you recognize him. Dr. Spencer Reid. He’s rich, a doctor, and so delicious looking. He’s not a doctor of medicine but that’s neither here nor there. You have fantasies of calling him doctor in the bedroom. His brown eyes lock with yours and a smirk brands his beautiful face. He sits down on the other end of the audience but in perfect view. It doesn't matter if there are other people sitting in between you. He’s tall enough for you to see him above everyone else’s heads.

The auctioneer stands on stage and begins the service. There are some good items up for grabs but nothing that catches your eyes. The auctioneer moves from the paintings, statues, and other trinkets to the jewelry section. Spencer notices you sit up a bit straighter telling him you’re interested in what’s to come. The auctioneer passes by beautiful jewels until he gets to the one you have your eye on.

“Next on our list is a very valuable, very rare necklace. Once worn and owned by none other than Queen Maria Antionette. The bidding starts at ten million dollars. Do we have any takers?”

“Ten million,” you say and raise your bidding stick.

“Ten million! Do I hear eleven?”

“Thirty million,” Spencer says and raises his stick.

You narrow your eyes at Spencer who hasn’t stopped looking at you since he saw you were interested in this.

“Fifty,” you argue.

“Sixty.”

“Eighty.”

“One hundred million.”

Are you willing to spend one hundred million on something like this? You certainly have the money but is it worth it?

“One hundred and ten million,” you say before you can stop yourself.

“One hundred and fifty million,” Spencer says immediately after.

You can’t do that. Sure, you could keep going higher since you’re a billionaire but you didn’t become a billionaire by spending your money all willy nilly. You lean back in your chair and cross one leg over the other without saying anything.

“One hundred and fifty million going once,” the announcer says. “Going twice… Sold! To the gentleman in the sleek black suit!”

You’d be more upset over the loss but you’ll negotiate a price later with him. That necklace is going home with you, you know that much.

The rest of the auction goes by without a problem but your eyes didn’t leave Spencer. He kept his back turned to you the entire time but he knew your eyes were on him. Afterward, you headed back to your hotel since you’re flying back to the States the next day. Before you could get undressed for bed, someone knocks on your door. You’re still wearing your elegant dress but without shoes so the bottom of the dress drags on the ground whenever you walk.

You look through the peephole and see none other than Spencer standing on the other side. You open the door and look up at him since he’s much taller than you especially without the shoes.

“Hey, stranger. Are you here to rub it in my face that you won?”

“Turn around.”

Spencer steps inside your room forcing you to step back from him. He closes the door and you turn to face the hall mirror. He takes something out of his suit jacket pocket. You don’t see what it is until he wraps it around your neck. The necklace. Queen Marie Antionette’s Pearl. It shines brightly against your skin like it was always meant to be there.

“The necklace,” you whisper and look at him through the mirror.

“Only someone like you can pull off wearing something like this.”

“I’m not going to argue with you about that,” you smirk.

Spencer moves your hair to the side and presses soft kisses up and down your neck. He kisses up to your ear and sucks your earlobe into his mouth. You resist letting out a moan.

“You want to know what I’d really like to do now?” he whispers.

“What?”

He looks up and locks eyes with you through the mirror.

“Fuck you while you wear only this necklace.”

“What’s stopping you?” you grin.

Spencer turns you and picks you up bridal style. Suddenly, you’re not so mad at him for winning. Right now, you feel like the winner.

Follow my library blog @aqueenslibrary where I reblog all my stories, so you can put notifications on there without the extra stuff :)

#spencer reid #spencer reid x reader #spencer reid fic #spencer reid fanfiction #spencer reid fanfic #spencer reid fluff #spencer reid angst #criminal minds #criminal minds fic #criminal minds fanfiction #criminal minds fanfic #criminal minds fluff

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maxwell-grant · 7 days ago

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The Penguin: Episode 8 "Great or Little Thing" Series Finale Breakdown

So first and foremost I need to give a shout-out to everyone who's been following this with me and helped me week after week process and articulate this show, this brilliant Penguin Braintrust without which I would be incredibly lost on how to even begin breaking this thing down this way: @davidmann95, @wil4x, @book--wyrm and my friend Lucas who is not on Tumblr.

And so we're here at last, in the end of the show. This took forever. I need a goddamn break. This isn't enough and will never be enough but it'll have to do. So let's get to the episode that has had the world joining hands in the unanimous urge to see the absolute shit kicked out of Oswald, and has made the character at last earn this:

(Episode 1) (Episode 2) (Episode 3) (Episode 4) (Episode 5) (Episode 6) (Episode 7)

So who would have guessed that cartoon dirtbag Rex Calabrese was still gonna turn out to be less of a cartoon dirtbag than Oz the moment we stop seeing him through Oz's eyes. Still a terrible person by every metric, but terrible in the same way a lot of Sopranos characters are terrible: this is, at the end of the day, a job, and you can talk to them, you can sit at a table to get down to business with them, and you probably know people in your life like them, and maybe you can even count of them to get real and even help you when the chips are down, even if it doesn't mitigate everything else that they are or do. At the very end, he was neither the benevolent god-king that Oz saw him as, nor was he the absurd dirtbag gangster we had him pegged as - there was never anything exceptional about Rex Calabrese, he's just a real criminal. Maybe the realest in the show.

I said in the last post that Francis burned with hate at everyone in the world except the person who most ruined her life and haha WOW was I wrong, because it turns she's known the entire goddamn time, and quite possibly no one has ever hated him more than Francis.

Most people in the show who hate Oz do so because he's a destructive bastard who craps on their lives directly, or because he's a lying sneaky fuck who does nothing while their lives are ruined, and Francis has had to deal with both longer than anyone else. I can't possibly count every single way this wildly recontextualizes every single interaction, every moment, everything that Francis has shown us and done since the first episode, because I'd have to recap EVERY scene and line of dialogue she has and we still have so much else to get through.

Why was Francis was so effectively able to withhold affection and hold his feet to the fire and give him that bottomless pit of yearning in his stomach that's driven him to move mountains in pursuit of it? Because Francis wouldn't have loved him even if he gave her the entire world at age 12. She never had any affection or love left for him. Oz was always chasing nothing.

And all along it was Rex who shaped the entire course of Oswald's life, as well as prefiguring his dynamic with Victor, with a single conversation. Oswald spend his childhood wanting for Rex Calabrese to notice and like him and be his friend, and he has no idea how much Rex actually affected his life.

That fateful night at Monroe's was never the feel-good story about his Ma summoning the willpower to live by dancing away the grief, and it was never even just the night of the eternal promise that Oz thinks back to, it was a fucking trap to kill Oz. Nothing he has in his life is real, nothing he says is true, he has never not lived in complete total delusion.

The sheer disgust in Deirdre O'Connell's face at the "I do too". How much of her personality we completely understand was born from this absolute resentment she's nursed for decades towards Oz.

And this rotten little turd comes at her with a perfect speech that hits her every insecurity and bitterness and spite and situation and convinces her to give him another chance. The nature versus nurture thing again - Oswald was shaped by hardship, by decades of hard work and neglect, by the total absence of his mother's love while in turn being forced to live in stunted childhood dedicating himself to always taking care of her, and maybe what we're seeing here is heavily distorted by Francis's POV - or maybe he was always a little monster, because this guy talking to her is The Penguin, the same guy doing the same things in the same way, either way it doesn't matter. Again, born fucking ready.

So now we see our three major supporting characters - Sofia, Victor and Francis - all of them have shown that they had a chance to walk away from Oz, to not let him ruin their lives further. All of them could have left Oswald behind, and all of them should have left Oswald behind, but they had to come back and justify the choice to do so, they had to get satisfaction, it couldn't have been for nothing. Victor had his car and a girlfriend in a bus waiting for him, Sofia had a jet to take her to Italy, and Francis had Rex Calabrese ready and waiting to put him down without a word. All of them had a chance to get out of the show and never look back, but like Oz, they had to rectify and overcorrect for an insult.

Sofia can't walk away from Gotham without punishing Oz for turning her in, for killing Alberto and further lying to her, she can't accept that this man, this embodiment of Carmine's legacy and hold over her, is still out there unpunished getting away with what he's done. Victor can't walk away from Gotham knowing that his parents did everything right and still died for nothing, that every hurtful thing Oz said was right, he can't let "They don't give out awards for dying in the projects" be the last word in his and their lives. And Francis can't walk away from Oz, who killed her two sons and keeps lying about it, who ruined her life and now keeps promising he will take care of her and acting like everything will be fine, she can't let this pass even if she can't kill him either, and so she'll make him give her the world and die trying.

The tragedy of what happened is what hurt/broke them - the added insult of what Oz said or did is what they just can't live with. It can't be for nothing.

Goddamnit it, it was really just too telegraphed for it to not happen the way it did.

I fucking knew it the moment the episode started and we got the grungy boss orchestral take on the funny Penguin chords that we were in for some calamitous shit.

We see at first that, in spite of seemingly failing, Vic has graduated to the point he can give his own speeches, gain his own allies, run his own cons - he's not just Oz's proxy, but will manage to convince the others to become such as well, and he's coming at this from a place of complete sincere belief in everything that Oz says, all of the man of the people rhetoric he will so thoroughly pervert and then sell to the people actually responsible for everything he told Victor he was fighting against.

Zeke walks up to him nearly crying about how Sofia blew it all up and Vic instantly asks back where's Oz - not because he doesn't care about Crown Point, but he's already processed it and has already learned with Oz how to just barrel forward regardless, now it's time to get to work. Victor who so readily throws himself into rescuing Oz again and again. Victor who's lost everything - he doesn't have his family, he doesn't have Graciela, he doesn't have the other mobs backing him up, and right now he doesn't even have Crown Point anymore, all he has is Oz.

The man in red who reads the Law Gave him three weeks of life, Three little weeks in which to heal His soul of his soul's strife, And cleanse from every blot of blood The hand that held the knife - The Ballad of Reading Gaol

Sofia dressed in two thematically appropriate outfits - the red scarf echoing both the first outfit we see her in, back to covering her neck but in control of her own collar, and the outfit we see her the farthest back in time with at the start of Episode 4, and with her final crimson fur coat outfit accompanying her final greatest triumph and ultimate defeat in the show. Not only that, but in this episode she also gets to perform characteristically appropriate stylized torture - holding a family intervention and therapy session with mafioso torture tactics to try and wrench the truth out of her victimizer, enacting calculated sadistic yet righteous justice via psychological breakdown, and ultimately allowing the woman he victimized and wronged to take her killshot at him.

See, it's not just that Sofia Gigante is a Batman Villain, or that she's well passed the threshold of supervillain. Cristin Milioti doesn't play Sofia like she's a new character, which she basically is, and she isn't just playing a tortured gangster lady protagonist dipping into camp villain territory, which she also is - she plays Sofia Gigante like she's been a Batman Rogues headliner for decades now stepping into the spotlight once again, like she's the dark modern revamp of someone Adam West would have thought and she's just always been around showing up in stuff along with The Penguin, like she's only not fighting or teaming up with Two-Face in this because he's not here yet. It is crucially important that Sofia passes every standard of Batman Villain imaginable with flying colors, in part because it helps to reinforce that The Penguin is a monster all his own.

Even here, with as much power as she's ever possibly held over him, reduced him to a whimpering begging mess to be killed off in a second, she is so shocked at the sheer brazen selfishness and delusion and level of bullshit on display, that even now he won't break character and think about his actions and admit to what he's done not even to save his own mother from mutilation, that she just loses the script entirely. Her entire show of power collapses and she physically recoils from sheer disgust at just how low Oswald is, at just how much he lacks the ability to even suffer for what he's done. Realizing that there is simply not enough of a soul in this filthy beast to even torture, and that however much she hates Oswald for ruining her life, someone had a prior claim all along.

Eve - Sofia - Francis in the end united in, however much they may dislike each other, however different their circumstances may be, there is nothing they could possibly do to each other that would be worse than what Oswald has done to all of them, joined in silent agreement that their rage ultimately belongs in a bullet fired at Oz's head and that they deserve their kill shot at this man.

"I had enough to give, Oswald".

This really is gonna be the high point of Francis's life from this point on.

Aw man, I liked Sofia's scruffy dirtbag detective, I wanted him to stick around as one of the reocurring characters like the movie cops

Oh Victor, sweet kind Victor, you couldn't possibly ask for anything worse in the entire world.

Oz feebly already beginning to lie and spin his new version of the events, that Sofia stabbed him and fucked up with Ma, and here comes Victor with the reversal of their dynamic, seeing this guy who's been brought low by the oppressive force looming over his life that he must defeat (because all that Victor knows about Sofia at this point is that she used to be Oz's boss and is now out to kill them, that she is scary as hell, and regardless of whether or not she was the Hangman, she just bombed his fucking neighborhood) and reaching out to him with a speech about solidarity and dignity and self-worth and picking yourself up by your fucking bootstraps to save the day. And Oz responds by coaching him on how to be a better bullshitter. Because to Oz, he knows the playbook by heart, but Victor meant it all.

Victor rebuilds Oz from basically nothing by providing him with the validation that he so desperately always craved and never got, saying all the things he always wanted to hear, poised so they can finish this together, poised to give him not only the army he asked for, but a full-blown revolution, and he never once asks for anything in return. Just, goddamnit this isn't hurting any less.

"She, sh-she'll never look at me again, all right?....unless I get this done. Got a promise to keep." Maybe the one and only time his mask ever fully cracks. For a second. He rebuilds it right back up and gets to work, but it cracked. He knows what he's doing, up until the moment he doesn't. It's that simple.

A lot of what drives Oz is acceptance, and a lot of what drives him is his desire to be accepted in worlds that have been declared, by how they run themselves and by the people that inhabit these worlds, as worlds that he was never going to be included in. And one of those worlds is the hierarchy and the hoi polloi of the political realm and the power within the political realm because he understands that all politics are corrupt essentially, and the damage that he could do then in being part of a political infrastructure of Gotham interests him. I thought it would be nice if, in that time jump, he had been invited to maybe a gala or two, you know what I mean? It'd be awkward. He'd be slurping out of the fucking teacup, there'd be stains on the table, he wouldn't really fit in, but he’d fucking love being there. - Colin Farrell

Mirroring the scene in Episode 01 where he adjusts himself next to the car, scuffing himself up to look like the sleazy funnyman the Falcones keep around for kicks, now he's dressing up as much as he can and asking Victor for input, because he truly values what the kid thinks and, goddamnit.

"C'mahn, I don't bite", pfft yeah, not in this movie universe anyway. And to the same guy you did the nose-gushing-blood bit to, even.

Minutes inside of City Hall and he already parks his ass right on Bella Real's seat - not as any kind of intentional slight against her, it's just naturally where he goes to, even before the scene ends and we see his new plans start to come to fruition.

Guy who takes offense at Viti calling Sofia a psycho and then goes up to Councilman Hady talking about the unhinged loony bin broad who went "full psycho" that he's handing to him on a platter, pointedly calling her Falcone.

At first I thought it was funny that Sal Maroni was getting blamed here for Bliss and the underground lab, but then I remembered that he was actually the one who introduced Drops to Gotham and the whole epidemic that became, so if anything it is an extremely easy part of the story to sell, even without his body being down there and all.

"You're gonna have some trouble, Oz" - pointedly smiling and calling him Oz instead of Oswald as he had up to this point, because by that point he's already a crony and already willing to work with this guy handing him all these miracles.

"You wanna be welcome? You gotta look, clean" Yes Father Pal, I Shall Become A Capitalist Caricature

You can see in the walk around, in his look at Bella Real and the mayor's office high up above and the steps, how little Ozzie's gears turn once again and rebuild his life after losing the streets and everything that happened with Ma - This is the next nest, this is the next throne, this is next schmuck I gotta cozy up to, this is the next boss looking down on me that I gotta destroy, there's the reward waiting for me if I do. This is the one that matters, I did everything in the shit and now I'm gonna get me sum goddamn respeck, Feh Ma of course.

And before all of this we see Sofia's next move, showing the ways in which she is good at this, the ways in which she truly is something outside of the worldview of what these gangsters are used to, and why she is going to lose. "Because I can". She is good at commanding a room and promising rewards beyond the wildest dreams of these street crimelords because she can offer everything they want and lose nothing she cares about for it, she will hand them everything and dip because she can, and she is going to lose because she can lose. Because she still thinks there is an end in sight for her, she thinks she will get to walk away from this universe and go meet a happy ending at a cafe in Florence.

It's not just that Sofia was born into privilege and never really lived in Gotham and could just hop onto a plane out of here anytime, it's also that she has room in her life for introspection, self-awareness, consideration towards others, and all those things that come easier when you're "born full", and not when you're the starving hustler for whom leaving the city was never an option even if he had all the money in the world, the hungry animal who wants this, wants everything, harder than anyone has ever wanted anything. The guy who has no room for anything else in his brain other than a perpetual bullshit generator set to a 24/7 chorus of "I GOTTA WIIIIIIN"

Another element to her that I really love is, she's good at this. She knows she's good at this, she was supposed to take over the family. She may not know the ins and outs of the game as it currently stands, but she is good at this. Some of it is, I think that's the only world she knows, and some of it is there's something in there, that's always been there, and she believes it is rightfully hers. There's an element of, "I need to have made it worth it for something", and if that means power, then okay. - Cristin Milioti

There’s a level for both of them that they enjoy each other’s suffering, and that sort of leads to Sofia’s downfall. If she didn’t need to see Oz suffer she might have been free. And she really gets in her own way in that regard and largely because Oz is this crutch that she just cannot let go of. - Lauren LeFranc

And here we get to the end of season 1 of HBO's The Sofia Show, the bittersweet in hindsight but extremely cathartic torching of the set as a last hard-earned spiritual victory by our hard-done-by lady protagonist. All of her family is dead, the city is out for her blood, she gathered all the remaining criminals for One Last Job with everything on the line, and she is having a very fun time with her montage destroying her home and family name beyond recovery. She is going to finish her character arc, get to finally kill her former comedy sidekick turned mortal nemesis, and hop on a plane to The White Lotus resort straight away into greener (if only marginally less fucked up) genre territory away from this ugly nightmare city. Alas, this is not The Sofia Show, and it's time for her theme suite to catch up to her once again and tell us of how very badly this is all going to go for her.

And she can't even be that shocked, when the high of burning it all down goes away, when she sees that old Ozzie Cobb wriggled his way out of this jam regardless and is now coming at her with a speech, she can't even react to it. Deep down she knows how the rest of the night is going to go. She may not have expected Arkham outright, but she was braced for a loathsome fate.

It rules so much they give him a big fat fight the power speech with a bloody revolution montage, and we can only sit there aghast with Sofia at the sheer audacity of him to act like this, like a man of the people, thinking he truly has the right to be talking like this and to her of all people.

And now we see how Oz won the gang war, and the next domino to fall on the downfall of Gotham City, and the first effect of his own rise to power: like The Riddler, he has toppled the order of things and he has turned people into extensions of himself, Victor being the first and the one who gave him this revolution, of all the little mini Penguins out there devouring the social structure of Gotham crime forever. You kill the boss, you become the boss now. Everyone can bleed and everyone can be killed and everyone must be killed in the quest to the top, no handrails or codes, they wouldn't invite him and so he crashed. After he unified the criminal underdogs, Victor rallied the underdogs beneath the underdogs, and now the streets are a jungle where there will never be an end to the wars over who gets to be atop the food chain, because they are all fighting to see who gets to be the next Penguin.

For decades people have written Oswald Cobblepot as a creep and a sleaze and an incel who hurts/kills women for rejecting him, or who is chronically insecure about them and I can very confidently say nobody ever did anything half as horrible and half as truthful and half as meaningful as LeFranc did here. We see the other reason why it was so imperative to her that Oswald not be a misogynist, and it has nothing to do with just making him more likeable or sympathetic or honorable. We get in this episode the pay off to the thoughtline: okay, he's actually a gangster who respects women, he does not act like every other prestige drama gangster who ever lived, we are going to center women in this show and he will treat them with respect - now let's watch how he HORRIBLY screws them over in the name of this respectful gentleman persona he lives by, let's watch how he betrays them in the ways that matter most, how he even makes them wish they were dead without personally ever lifting a finger to harm them, let's do some grown-up feminist commentary in Batman for a change and highlight the ways in which men profit from belittling and oppressing and destroying women even when they're pointedly not misogynistic and even self-professed genuine allies to them.

And so it is that the only Falcone mobster who isn't misogynistic towards Sofia is the one who screws her the most horribly. He will murder every man he comes across, he will murder every man he could have been and every man who is even marginally better than him in any way, he will push all of his brothers out of the nest and not tolerate any other big shot in town bigger than him and not even the only man, the only person, in town who loves him will be spared. But he is a gentleman, so he leaves the women alive (well, except for Nadia Maroni, but she was a rival big shot and worse, his boss for a day or two, so she obviously had to go eventually).

I thought about his greatest fear, and it made a lot of sense to me that his greatest fear would be that love is transactional. That if he does not achieve a level of power and give Francis certain types of things that he’s promised her she might not love him. And that informs every relationship he has on the show It was always important to me, and this was always part of my initial pitch, that if Oz was to achieve a level of power—and that is something that was not up for discussion, that was my job that I was tasked with for the season—that he has to lose something emotionally. It can’t come without a cost. - Lauren LeFranc

"the crooked politics that have allowed wealthy elites like Sofia Falcone to wreak havoc". Oz has weaponized the status quo against her so throughly that she is going away under the exact same image that she did it the first time, as a privileged serial killer and Falcone. She doesn't even get to have her new name anymore, and the rest of Gotham does not see her as the new and strange and horrific new threat that she embodied in Oz's life - she is going away as just another upper-class monster like her dad.

The triumph that Oswald has fought his entire life for, the Big One that he's scraped and fought and hoped his entire life would happen and he'd get to show his Ma at the end, the thing that he's going to throw a party for at this moment, is just a politician on tv saying things that Oswald claims he told him to say.

All of our 3 major supporting characters will thus reach the high point of their lives, on the moment before it is ripped away and they are destroyed forever. Francis gets to finally spit all of her hatred back to Oz and take her revenge on him, and her babies appear before her alive and unharmed. Sofia gets to burn down her father and his legacy once and for all, and is on her way to kill her nemesis and finally be free of it all. Victor succeeds in helping Oz win, they have revolutionized the gangs and defeated the big bad Falcone and he's done right by his new family what he couldn't do with his old one.

And of course, Oswald finally wins - he is the last man standing, he's defeated his greatest enemy, he is the big shot of Gotham and his victory is, so he claims, right there on the tv for his Ma to see, he can finally get what he's always wanted now - and then he doesn't, and then his soul crumbles, before he finishes the job by murdering his heart.

Oz didn’t need to do that, like it wasn’t actually necessary. In that moment, Victor did not betray him. He did nothing wrong. In fact, the thing that he did “wrong” in Oz’s eyes is that he loves him and that he cares about him and Oz actually cares about Victor. I think by the end Oz sees that as a really big problem because he loves his mother so deeply and Sofia took advantage of that love, and then it became sort of a weakness in his eyes. Victor saw him at his most vulnerable and for Oz to achieve the power that he thinks he needs, he can’t have that level of humanity. He can’t have that heart with him anymore. So he stifles his own heart. He kills it. - Lauren LeFranc

When he said to Vic in the sewer, “They'll tell stories about us one day, kid,” he meant it. At that stage, he actually saw that he could rise and Vic could come with him. It's only when the vulnerability and the shock of his mother being taken from him, and the place of vulnerability and danger that puts him in, that he realizes there's no more love, there's no more affection, there's no one else I'm going to have in my life that can lead me to such vulnerability as my mother has led me to or as this kid could potentially lead me to. - Colin Farrell

He's not relishing being horrible. When he realizes, "Oh God, Victor makes me vulnerable. I can't have that shit anymore." The way that Lauren wrote it, and the way Colin played, there's such sadness under the horror. You're like, oh my God, how fucked up do you have to be that the one person who you feel you have any connection with now, you have to snuff out because it makes you weak. What happened to you? - Matt Reeves

"You think she forgives me?" Once again, the mask cracks. Only around Victor. Only because of Victor. And he can't have that again.

And thus we get to the final parallel between our 3 side characters - that in the end, all they did was serve Oz's own rise to power, and hand him the world in exchange for their lives. All they were to him were additional steps in the ladder that began with his brothers. Francis gave him his life, his drive, his motivation and eternal justification, the insatiable pit in his gut driving him to do this forever. Sofia got him his promotion to Falcone lackey, and then she got him another promotion by handing him the tools with which he could become an underground boss and rally them, and then she got him another promotion by handing him the keys to his political career on a silver platter. And Victor saved his life, more than once. He helped him, provided the justification he has craved for a lifetime, rebuilt him, gave him his revolution, gave him the streets, and showed him the last thing he needed to kill to make it to the top.

Wow man let me tell my good friend, The Family Butcherer, who butchers every family he gets his hands on whether a crime family or a literal one, how much I think of him as family.

"They don't give out awards for dying in the projects"

Just like with Squid, Vic's emotional intelligence dooms him. He sees this man whom is like family to him brought to his lowest point, crushed beyond measure, in what he assumes was just a phenomenally terrible stroke of fate and not something he had any blame whatsoever for, and reaches out to pat him in the back, emotionally reassure him that it wasn't all for nothing, that his family would surely be proud of him, and that there's things to look forward to.

Vic threw away his chance to walk away into the sunset with Graciela and he just had to come back to save Oz (AND Sofia, the one who'd bomb his neighborhood) from the Maronis, the least of all possible evils in his life and his city and who never even noticed him. Victor only narrowly missed out in 2 situations that Oz would have absolutely left him to die in, so there just had to be a third where he'd die in the absolute worst way possible. Not with Sofia's gunshot to the head, not bombed to rubble along with his neighborhood, no, Mr. Carmine 2 had to make it as painful and intimate as possible.

Vic the only Number Two in town who couldn't kill his boss and in fact never even considered doing so, and so he dies - there is just no room for him anymore, not in Oz's life, nor in the new Gotham that the two built together.

LEFRANC: "You see Oz become this next level monster, I remember the take too. Jennifer and I look at each other, Colin transforms his face in this really remarkable way, that I don't think any of us fully anticipated could be achieved in that way." - The Penguin Podcast Episode 8

I knew that the general sentiment was that, by the end, they kind of wanted to, in a way, kill the Oz that we met in the film. I felt that there was a sense of creative responsibility that leaned towards, “We cannot have this man as a likable character,” which is hard I think they wanted that in the earth by the end of the eight hours. They wanted that RIP. That's gone. I hated that scene. I really did. I was fucking so pissed off. It felt in performing it as — guess what? — you would like it to feel in viewing it. It felt gross, it felt cruel, it felt absolutely insane, and it felt like Oz was reaching a point of no return. - Colin Farrell

So the day after I watched this episode, my friend Lucas messaged me in the afternoon sending me audio messages, "Son of a bitch! Son of a bitch! He stole his identity, he didn't even die with his fucking name! They'll never find him! Fuck, goddamnit!" "ELE MORREU COMO INDIGENTE, PORRA" and, yeah. Yeah. That gets to the heart of it.

If Vic was just a guy taking his money, if Vic was purely transactional, if he was just another Link, he'd have made it. Oz wouldn't have given a shit about him, Oz would have died on the sidewalk when the Maronis hit at minimum. All this piece of shit wants is love, and when he gets it, when it's finally non-transactional, from the ONLY person in the entire show who loved him, he has to kill it, he doesn't know how to deal with it, he has to smother his heart.

He has to become Carmine Falcone 2, strangling the poor and vulnerable of Gotham while pinning all of his crimes on Sofia.

Vic just wanted his family back, man. He just wanted a family again, to at least show his family that they didn't die for nothing. The thing that Oz spits in his face as he dies. It wasn't for nothin.

This show has so many dozen little variations of Penguin getting his heart broken and retaliating cruelly, but this one hurts the most partially because it has no basis whatsoever on any pre-existing insult or cruelty, there was nothing that warranted this, and you still get why Oz felt that he had to do it. The lowest, weakest moment of his life, and he can never permit anything like it ever again.

Victor was his heart, and The Penguin remembered that his heart only exists to be broken.

Victor punctures the illusion, and he cannot have that. Everything about The Penguin hinges on that singular fact of his life: he cannot and will not break character. He cannot break character, otherwise he dies, otherwise Gotham City will eat him alive, otherwise he has done it all for nothing. That is the ultimate threat Sofia posed to him, and why his ultimate victory comes only from creating a perfect delusion and spinning everything that happened in service of it. Because all those things said at Monroe's? They weren't true - his Ma, y'know, it was just her disease acting up, that psycho did something to her, she wasn't thinkin straight, and it was really Sofia that stabbed him and did all that fucked up shit, and his Ma is really happy that she got the penthouse in the end and that he didn't put her down, look, she's crying tears of joy even, I gotta keep doing everything for her.

Everything and everyone in his life, he can spin in service of the delusion, they can all play dress-up with him forever, except Victor. Victor may not have the slightest clue as to what Oz actually did, but he's seen too much, he knows he has vulnerabilities, he knows the thing that Oz needs to bury far, far more than all the horrible things he's done. Killing Victor is maybe the one thing that he absolutely cannot in the slightest spin a decent delusion out of, that he did it for him or did it for noble reasons or anything other than out of disgusting self-serving weakness.

But who's Victor? Some kid who died in the projects and didn't even have a name? Someone with nobody left to mourn him, not even a street to get back to, nothing but a guy who's already forgot him?

That Victor Aguilar? Never heard of him

“I will never think my mother doesn't love me. She was having a bad day when she stuck that bottle in me. She was under a lot of pressure. She nearly lost her finger. She stuck a bottle in my belly. It was a bad day. She didn't get a good night's sleep the night before.” It's that kind of thing. He'll make up fucking whatever. He's already lying when he goes, and he's stitching up his belly, and Vic says, “What happened?” And he says, “Sofia, she stuck me with a bottle.” He's already beginning to bury the truth. - Colin Farrell

He needed your love, and then you didn't give it to him, and you didn't obey, and you didn't do those things that he needed, and then you mentally aren't there for him in the way that he needs, but he's got to physically keep you around because he's too weak to not do that. He can't give you the gift that he promised you in Episode Six, he's too weak of a man to do that. And so he needs to hold onto you, but under his terms. - Lauren LeFranc

There's a thing that happened on that last day that made my blood run cold, which was I felt Oz not love me anymore. I felt his coldness, and I think that Francis felt it too, and she always had so much of his attention and so much of his love. I don't even think she realized how much she had until he withdrew it. And when he withdrew it, it was utter and… slightly terrified. I was just lying in that bed, I just felt the love leave the room. It's a real thing, and it's gone, yeah, and I think Francis feels it, too. - Deirdre O'Connell

He's this man who is clawing his way to the top, and I knew he wanted power, but what what does that mean for him? That's where I started to conceive of like, he wants his mother's love, and he wants people's affection. He wants to be revered. That was like the main thrust for me of what defines power for Oz, and then by the end you realize that, when he doesn't get those things, he doesn't get his mother's acceptance, he still gets it. He makes sure he gets it. - Lauren LeFranc

So bowled over and miserable I was that I didn't even notice until later that he was wearing a version of the classic Bronze Age/Triumphant get-up.

If the pattern of his life is unjustifiably cruel retribution for slights and insults, perceived or not, by the end Francis had done it to him as well. That she never loved him and in fact always hated him more than anything and anyone else is the biggest insult of all, and so he punishes her the most cruelly, knowingly or not.

"You are who you are, and you couldn't change if you tried."

He will never stop telling Rex Calabrese stories, he will never stop bringing up his brothers and mom as a sympathy ploy, and even if he will never truly love her again, he will never stop ruining the world in her name, he will never stop, he will never stop, he will never stop.

You had to sit through 8 hours chipping away at all of his fun and charm and wacko comedy antics and motivations and all the scruples and principles that he turns out to have less and less of, until he butchers them all in the very end along with the heart of the show. Penguin burning through all of his lovable quirks and charm, everything that we loved about him in the movie, until he comes through as a black-hearted bastard of unlimited malice who will never stop growing and getting worse and putting more lives in danger. Not only as much of a lowlife backstabber as we initially assumed him to be in the movie, but far worse than what we could have imagined.

I said as much that the first episode marks the transition from The Batman to The Penguin with the titlecard, and this brings it back around. The show dies with Victor, we get Sofia's post-credits Nick Fury Tease with Selina's letter and with Selina's theme playing and a final grace note of hope for Sofia, and thus the only character in the show to end with anything resembling positive, and then we get the first scene of The Batman Part 2. showing us the horrible thing in this world that Batman will have to defeat for us.

RIP Bella Real, we all know this asshole is gonna become mayor, and he's not waiting for the next election.

Credit to @book--wyrm for pointing out one more horrible fucking thing, that at the final dance, his hands are covered in scratches, much like the hands of Carmine Falcone when he comforted Sofia.

“One of the very early things that Lauren pitched was that ending with Eve where she looks like Francis,” said Reeves. “He can’t get what he needed from his mother because she’s no longer in that state because of the dark events and what he’s done, so he recreates it in this other way with Eve, and it’s very disturbing,” said Reeves. “That was something we thought was a great idea and was so emblematic of this guy’s internal state. It’s like, even as he now seems to have gotten that first major step toward being the kingpin, you know that some part of him will never be filled. - Matt Reeves

When I read that, I was like, “Oh my god, we're going full Bates Motel here.” But again, it speaks to what has become a pathological inability to accept the world that he has played such a heavy hand in creating. As far as he's concerned, he's just doing what he needs to do to live the life of a good son. And look, his mother can't talk anymore, so he needs a surrogate. I mean, it would be kept out of the sexual realm — it wasn't about that. It was about the intimacy and the tenderness and the pride that Oz always so deeply needed to feel his mother had for him, and pride in him, that he never really got from her. The one time when he finally can say to her, can go to her bedside and say, “It's done. Everything you said that I was capable of, everything you said that I should aspire to, it's done. I am now the boss. I took it from everyone else.” And he gets nothing back. His mother's already gone. That's just too horrific for him, so he needs a surrogate. He would say to Eve, “Look, I'm grieving. I'm finding it hard to deal with the fact that my mother's alive, but she's not here. She's gone, but she's fully present at the same time, physically, but she's nowhere there. She doesn't recognize me. I don't recognize the woman she's become. Do me a favor. We used to dance together and talk at the end of the night. Would you put on her dress and just let me pretend?” But it was twisted. It was twisted, but I dug it. He needs it from his mom so much. And again, his imagination is so potent that he just cast her as that figure, that most prominent and most powerful figurehead in his life, which has always been his mother. She's got to stay alive. He's got to hear that he did well from her. He's got to hear that she's proud. Look, by the end, he's bananas, as they say in the film. Good cop, batshit cop. At the end, he's batshit. - Colin Farrell

Remember when this show had fun Dolly Parton end credits, remember when this almost looked like it was gonna be fun and light-hearted compared to the movie and The Riddler: Year One

So turns out all along they actually had something real twisted planned with the name Karlo, and the Clayface concept that evokes. Asking his prostitute girlfriend to shapeshift into his crying comatose mom in the room upstairs so he can finally get the dance with her atop the world that he craved his entire life and have her tell him how proud she is that he ruined everything forever.

It is not a good ending, but it is his happy ending. He achieved everything he wanted in the smallest possible amount and at the highest cost imaginable, and thus he burns more than ever to take more and more in the name of a satisfaction he will never, ever have. He ended his arch-nemesis, and he didn't have to kill her, that's not what a gentleman does. He got the streets, and he's poised to take political power, and there is nobody left to care about, nobody except the only person who's ever mattered. He can still keep taking care of Ma as a justification for all the shit he will do now and forever, but he doesn't actually have to take care of her anymore, he doesn't even have to love her or grovel her for validation anymore: He has a Ma who will tell him everything he wants to hear, forever.

Of course, he may not have his three dance partners anymore - his Ma is in a vegetative state, Sofia has been locked away once again, and that kid, what was his name again, ain't around. But then, he will simply move on to new ones: He didn't actually lose his first dance partner, his Ma is fine, look at her telling him how proud she is of him and everything he's done and how unstoppable he is now. And he has a new partner in City Hall who is all too eager to play along to everything he says and does, who will receive and spit back his rhetoric just as Vic did to the streets of Gotham. And if he's defeated his nemesis and dance partner, well, not for long. There's a new one waiting for him. He never wins without losing. He will never again live without his next dance partner there to hound and foil him at every turn. There will always be something in the way.

It was exciting to me, the idea that we’re going to meet Oz as a mobster, and to play him as just a man. There’s nothing fantastical about him. There’s so many people like Oz in our world who hold a lot of power, who also connect with people because they speak, on some level, the truth. They can be charming and engaging, but also really terrifying and calculated, and not necessarily doing what they say that they will do or caring for people in the way that they say that they will. It felt so timely and so important to really engage with a guy like Oz and not turn away from him, but actually turn towards him so we can start to unpack, in our own society, what makes a man like Oz so appealing, and what makes him equally appalling. - Lauren LeFranc

I think Oz has always been someone who believes that everything he’s saying in the moment is true, and he creates worlds and illusions for himself to merit his actions. He does it sometimes very briefly in impulsive moments, and then sometimes more methodically, and in the end the fact that he didn’t get from his mother what he’s always desired isn’t good enough for him. So he has to create this strange fantasy live in this delusion of his own making, and pay Eve to dress as his mother and force her to tell him he she’s proud of him. So mentally, emotionally, Oz is embracing his own delusion. I think, for the audience, I hope they more deeply understand him psychologically and realize that there is a deeply broken man inside. He is violent and problematic and and very emotional. And that’s really the man that will carry into the next film. - Lauren LeFranc

And it has to end in a total reversal of the movie ending - The Batman ends with showing there is a light in the darkness, that this tortured broken man can fix his mistakes and lead us into something better. The Penguin ends by grabbing your face and desperately yelling at you SOMEBODY FUCKING SAVE US, HE WILL ONLY GET WORSE. The Batman ends with telling us Batman can save us all, and The Penguin ends with telling us Penguin will kill every last one of us in real life if he hasn't already, if nobody stops him.

And so I'll leave these last partings words to the Penguin Braintrust as we close off this series - see you all in therapy and in theaters when The Batman: Part 2 drives us all completely insane once more.

@wil4x

I don't think this Penguin is someone Batman can tolerate, I don't think Bruce can ever save Gotham's soul with a force of corruption as big as Penguin taking root in the seats of power. No amount of informant work can justify letting a monster like Penguin stay "King of Gotham". I think there's an argument to be made that Oz is a bigger threat to Batman's overall long-term mission than guys like Joker or Riddler. Those are huge immediate threats, but Penguin does a lot more long-term damage to the very soul of Gotham and its people. As long as The Penguin is on top, there's no hope, Gotham will never not be the most corrupt and nightmarish place on earth with him in charge

@book--wyrm

He will truly climb anything no loss so great it can't be flipped into an asseet A nuke Francis armed out of pain and grief and desperation and despair And poor vic Only wanting to do good And instead he saves gotham’s own typhoid mary of misery

@davidmann95

so the thing is Oz kills hope for Gotham forever in this

he's replacing the mayor who stands for hope at the end of The Batman with a corrupt comics rando built on a lie so he can install himself as the power behind the power forever Batman can't be alluded to in the slightest until the very end because it can't be until there's no lingering 'aw, I don't want my boy to get Batman'ed' it can't be until we understand truly and completely why this man proves the necessity of someone out there to stop him

The other stabs at this with Oswald, from what I’ve seen, are trying to make him low-down and dirty and vile enough to be a ‘proper’ Batman villain. But this already made him low-down and dirty and vile. And made us love him for it. This isn’t about ‘fixing him’, this is about taking him all the way to the top He’d accept no less

This is about making him operatically nightmarish enough to be a guy Batman is going to fight forever

Lucas

VENGEANCE, GET OUT RIGHT FUCKING NOW.

#dc comics #the penguin #the penguin hbo #hbo max #max #oswald cobb #oswald cobblepot #sofia falcone #sofia gigante #victor aguilar #francis cobb #colin farrell #cristin milioti #rhenzy feliz #deirdre o'connell #matt reeves #lauren lefranc

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sunflowerkiwis · 1 year ago

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heyy wife i was wondering if you could do a smau of charles leclerc x southern reader. like gorgeous, blonde, uf or fsu student, sports broadcasting major, sorority girl, but she has like a claire monroe or sadie crowell type of vibe. she's a freshman and she takes him to a game, frat parties, and waffle house (waffle house is very important). they get a lot of hate, because the pairing is so unexpected and the age gap. but then he like posts her to lyrics from southern girls by tim mcgraw

Southern Girl

charles leclerc x reader requested - i hope this is what you wanted love feedback is appreaciated + requests are open! enjoy xx

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charles_leclerc

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user61 they're so cute😭

charles_leclerc mon amour❤

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user01 she's too young for him

user87 right? it's so weird user93 literally go away. it's their relationship not yours. stfu.

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yourusername omg you're such a drama queen user77 i'm sorry but thE WAY HE LOOKS AT HER???? user55 my mans is whipped

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#f1 grid x reader #f1 x reader #charles leclerc #charles leclerc fanfic #charles leclerc x you #charles leclerc x reader #charles leclerc x female reader #charles leclerc x yn #charles leclerc smau #f1 smau #f1 fanfic #formula 1 smau #formula 1 fanfic #formula 1 #thanks anon!

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hotvintagepoll · 8 months ago

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Propaganda

Madhubala (Mughal-e-Azam, Barsaat Ki Raat, Mr. & Mrs. '55)—The Venus of India; heart-throb of all who saw her; responsible for the sexual awakening of every single desi lesbian I know (including me!) And my god, she is breathtakingly beautiful. Look at the subtle grace with which she moves, and that smile - the kind of radiant smile that can make you laugh with sheer delight, or cry because of its hidden pain. Those wild curls! That Cupid's bow! The way she tilts back her head and smiles at you with mischief dancing in her eyes! She has a way of looking at the camera that makes you feel she's sharing a private joke just with you; it's something about that quizzical twist of the lips and eyebrows. As an actress, she is inimitable; she seems to effortlessly inhabit roles ranging from a heart-broken courtesan to a laughter-loving socialite. Fun fact : she's had quite the fan following in Greece! Stelios Kazantidis even wrote a song as a tribute to her.

Olivia de Havilland (Adventures of Robin Hood, Gone With the Wind, The Heiress)— The woman who took on the Studio System at the height of their power and Won! A double Oscar winner! Is magnetic and beautiful in everything she's in and gave us all the juicy scandal with her sibling rivalry with Joan Fontaine! Before the Oscar Slap was the Oscar sister snub! Also everything she wears in Robin Hood she makes beautiful even a purple green and orange monstrosity how does she do it! Anyway this scene is one of my old Hollywood favourites

This is round 3 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.]

Madhubala:

An icon of Bollywood, who was well known for her beauty and has continued to inspire performances and songs into the 21st century. She was at times described as "the number one beauty of the Indian screen" and "the biggest star in the world".

SHE IS EVERYTHING AHHH. JUST LOOK AT HER SMILE-

She's been nicknamed the Marilyn Monroe of India and was one of the highest paid actresses in the Hindi film industry (the term Bollywood did not exist yet) during the 1950s. Also an extremely talented dancer and singer

SHE'S JUST SO STUNNING, like seeing her eyes IMMEDIATELY CAPTIVATES YOU, THE DANCING, THE BEAUTY!!!!!!!!! She worked in Bollywood for over 20 years and passed away at a sad early age of 36, BUT THE IMPACT SHE HAD WAS UNMATCHED!!!!!

That sassy sideways glance she does always has me WEAK AT THE KNEES. And when she's making silly faces at the camera to mimic someone ahhhh my gay little heart <3

Olivia de Havilland:

She is just perfection. She has a smile that is looks like it is barely holding back, and yet so reserved as well.

Broke the contract system and won freedoms for actors (the de Havilland Law is still in effect I believe). 2 time Oscar winner. Beautiful and smart

She legally challenged the movie studios' unfair contracts and won, setting a precedent for other actors to be treated more fairly. This was at great cost to her financially and essentially getting her blacklisted for years but the resulting judicial opinion is still known as the De Havilland Law and has won her a great deal of praise and admiration.

Her performance in The Heiress is one of my all-time favorites, she’s so good at making melodrama feel real and grounded without sacrificing any of the passion/drama.

Serenely beautiful, she struck a balance between crowd-pleasing fluff and prestigious drama. Famously at odds with her equally successful sister Joan Fontaine, she was too much of a lady to ever say anything public. Successfully sued Ryan Murphy for portraying her as a saucy gossip in Feud.

the period costume + eye patch combo in That Lady is just an absolute serve

She has the most adorable and cherubic face and voice

#olivia de havilland #madhubala #hotvintagepoll #fuck that old woman #ladies 3

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brucewaynehater101 · 6 months ago

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They are so big and so cute! And if Huggin and Munnin are well above the average size of ravens they could be nearly the size of Tim's torso. Certainly bigger than his head. Plus they are so, so smart. Some of the smartest birds in the world. Imagine Tim getting in kidnapped as a civilian and Huggin simply grabs the key for him while Munnin acts as a look out. Tim escapes without ever being seen.

Tim also has special "bird doors" in his Nest so the whole place is filled with his many birds. Sure not all of them live there because he set up dozens of safe places around the city that are basically just Reall Big Pigeon Roosts with bird feeders in them that all types of birds are allowed in. Also the bird doors are much to small for any human to fit through, much like dog and cat doors are, and they do have actual sliding metal doors on them that are opened and unlocked by proximity of the little cameras he put on some of his birds. Roughly 4 owls, 8 pigeons, 3 Bluejays, 2 hawks, 17 crows, 9 grackles, and 20 ravens have access to his Nest. Are those a lot of keys just flying around the city? Yes. But no one knows the birds are his, Tim is constantly trying to make smaller and smaller cameras for them so that they will never be spotted, and who the fuck is gunna point to a random bird and go "that bitch has the key to Red Robin's house." And be believed by anyone who would help them catch a fucking pigeon that's just minding their own buisness?business??

The only beings who notice the cameras are other birds and the strange sparkly spot on his birds chest? It only gives his birds more Rizz. There was a study about how Zebra Finches actually preferred to mate with those who had on red tracking tags over other colors so what if this is similar? This would also mean that every spring Tim has an exponentially larger amount of birds.

Also the funniest way for the family to find out. It's one of the very rare sunny days in summer where it's Actually Hot in Gothem so the family decides it's the perfect day to use the pool in the back yard of Wayne Manor. Everyone is having an amazing time and eventually Tim gets tired so he sits down on one of the reclining pool chairs for a rest and snack, which is his chocolate free trail mix. He has a large bowl of it and ends up falling asleep with it in his lap. Just as the siblings are giggling and deciding what prank to play, a crow lands next to Tim and sqwacks a few times. Tim mumbles in his sleep but doesn't move so the bird hops up onto Tim's chair and starts to eat out of his bowl. Since it doesn't get shooed away, soon others are joining it. The family watches in amazement as Tim gets *covered* in birds that are casually eating from his bowl. There's even a pair of hawks that are perched above his head. When the bowl is empty, one of the crows bites Tim on the nose, startling him awake and he glares at the feathery fiend and very gently taps it on the beak as he scolds, "Monroe, I told you to stop biting my nose. Wait- you guys ate all my trail mix!" He has forgotten that his siblings are there because it's usually the birds or siblings, never both.

Oh, and when they eventually ask why he hid the birds, Tim simply says, "last time anyone found out, Janet called an exterminator."

I love this so much. Him building little nests all over the city for them is adorable and great. It would be cool if he started that before his Robin years as he was out and about in Gotham. He just built small little safe places for the birds, and it rapidly expanded as Tim got more experience, more resources, and more birds to look after.

Your logic with the keys is fantastic! When the batfam finds out, I bet birds pop by Tim's place while whatever family member is just chilling. Like maybe they are watching a movie and said bat gets distracted by the coming and goings of various birds (the birds probably also mess a bit with Tim or his space as fond pestering before leaving again). Maybe a few are just staring at the family member without blinking or taking a nap.

I wonder if Damian would start to make excuses to go over to Tim's Nest as much as possible. He states he needs to "ensure Timothy is maintaining adequate nesting conditions for the various species of birds" or that he will "test the Nest's security" by dropping by unannounced and breaking in.

Perhaps some of the birds watch over his various family members for Tim? Especially Duke because nobody else works the day shift with him, and birds are more common during the day (and thus less suspicious).

#dc comics #tim drake #dc universe #thank you for the ask!!!!#dc au #damian wayne

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gnomeantics · 1 year ago

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for those unable to attend the livestream i present:

NOTES FROM THE HATCHETFIELD HALLOWEEN PARTY 14th October 2023, 01:00 BST (my time!) / 13th October 2023, 17:00 PDT (their time!)

Note: These notes are at times a little nonsensical and useless and just quotes. This is because it lasted from 01:00-04:00 for me meaning I was incredibly tired. Please bear with <3

Section 1: Nerdy Prudes Must Die talkback

Started with chiptune of Feast or Famine and then chiptune of Jane’s A Car

Steph’s dad may be dead but at least she has a boyfriend <3

Joey was eating beef and potato stew for most of the first segment

When Jeff was asked for the inspiration for The Summoning: “[…] I don’t know. That just popped in my head. It could be true.” (His answer was Wizard of Oz.)

Section 2: Hatchet Town Trivia Challenge

I tried to keep track of “chat vs cast” points but lost count and failed rather miserably

Nora’s last name is Beanie. Nora Beanie

Jeff is “an avid lover of baby-water” (water pure enough for babies to drink) and “widely known as Doctor Spreadsheets” (my notes just say “baseball game”)

Every time the world destroys, Ted dies twice: once as Ted, once as homeless guy

Lex helped deliver Hannah by teleporting her out of the womb through the Black and White

Greenpeace Girl’s name is Harmony Jones!

Wilbur Cross murdered Duke Senior (Duke Keane’s dad) this may be explored in future.

Section 3: Workin’ Boys

All of my “notes” here are just gushing about the characters. I have written nothing useful enough to be put here

Section 4: Workin’ Boys talkback

Chad was not included in WB because it was deemed that nobody could live up to the legend. This spawned the “Darren 4 Chad” movement in chat

The Workin’ Boys album will be out around next week if all goes to plan. It is 5 tracks and would include Mariah’s version of the Show Stoppin’ Number monologue as well as at least some of her singing it (as seen in the show; hoping for a full version!!)

Mariah’s character in the audience was called Woman.

Lauren’s character in the audience was Courtney, Thrash’s girlfriend from Killer Track

Paul Gabriel’s character was Paul Gabriel

Linda Monroe auditioned for Workin’ Girls and was the only one who didn’t get a part (Ruth was chosen over her). This is why she was happy to see it crash and burn

The programmes made for Workin’ Girls had very detailed bios, which hopefully when in full quality will be readable when paused. This may set up the potential for the Workin’ Girls actresses to be in future HF projects where this can be explored

Jaime will hopefully be in the next Starkid musical!!!!

The Black Book was originally supposed to debut in Workin’ Boys, in its original form in 2020

The 2020 version was planned as a feature-length film but eventually it was decided that it was confusing and remodelled.

The Summoning was supposed to be in Workin’ Boys – the producer would have tricked Hidgens into making the girls perform a ritual; it was realised that this didn’t make much sense so the song was transferred to NPMD

Section 5: The Future Of Hatchetfield

Hatchetfield was supposed to be finished by 2020

Starkid is not going to be exclusively Hatchetfield in the future; their next full-length musical will not be Hatchetfield

NMT3 is hopefully going to happen provided there is enough interest! It was supposed to happen in the same year as NMT2 but they take a long time to write (much longer than a full musical) so that couldn’t happen

NMT3 would conclude Lex and Hannah’s story after Yellow Jacket

It would be produced more face to face like a TV show – Nick said “less Zoom call-y”

It would include stories withheld from NMT1 and NMT2

It would entirely depend on how much interest, particularly views on NMT2.

It would be Halloween themed.

“More things akin to Workin’ Boys would be nice” - Nick

The episodes would be:

Bottle Imps

“Bill Woodward has been chosen to test CCRP’s latest and greatest product: Bottle Imps. These reality-bending buddies will bring their owner the one thing they desire most. When his new imp, Lovely, leads him to his soulmate, Bill decides to use his magical companion to play matchmaker. But to help Charlotte find the man of her dreams, Bill will have to bend the Imp’s rules. Rules he’s been warned, must never be broken…”

Frankenruth

“Desperate to see a naked body, Ruth Fleming and Richie Lipschitz volunteer at the morgue of St. Damian’s Hospital. Their terrible plan becomes exponentially more terrible, when they become unwitting subjects in the experiments of the body-snatching madman, Doctor Lazlo, who claims to have conquered death itself. If Hatchetfield thought Ruth was bad before, then they will cower before the unspeakable horror of… Frankenruth!”

Becky Barnes Climbed A Tree

“Becky Barnes is on top of the world! Not in a literal sense, of course. She’s deathly afraid of heights. After years of struggle, Becky’s life is finally everything she dreamed it would be. She’s engaged to her High School sweetheart, Tom Houston, and the two have a surprise baby on the way! But as the couple prepared for the arrival of Baby Marie, a shadow from Becky’s past returns to haunt them.”

Devil’s Night

“Tim Houston has a crush. Unfortunately, it’s on his older, mature, and totally cool babysitter, Grace Chasity, who he fears will never see him as anything but a snot-nosed little kid. But when a devilish maniac with murderous designs on Grace attacks Hatchetfield the night before Halloween, Tim must protect his beloved, or join the killer’s growing body count. It’s another slashing adventure on the night HE came home… Devil’s Night.”

Miss Holloween

“It’s Halloween in Hatchetfield once again, and Miss Holloway is celebrating the same way she’s done for decades, staving off the horrors that go bump in the night. But when Duke gives her an invitation to his wedding, the dejected Miss Holloway begins to chafe under the terms of a contract forged many years ago. She strikes a new bargain, but unfortunately her creditors are known for their tricks, not treats. Just as Miss Holloway gives up her powers in exchange for a mortal life, a monstrous new threat rears its ugly head. As All Hallows Eve descends, and all Hell breaks loose, Miss Holloway must save the town or die trying… for real this time.”

Orbweaver

“Lex Foster had a life once. A home. A boyfriend. Now there is only the road, and her sister, and the fear of the men who are hunting them. As Hannah Foster watches Lex sink deeper into despair, she is certain of only three things: Webby is gone. She cannot help them. They are alone. Elsewhere, an old soldier awakens from a catatonic state. Returned from some unimaginable Hell with a mission. He knows that somewhere two magical girls require immediate evac… then maybe some coffee.”

As NPMD was conceived of first, it was supposed to be a Nerdy Prudes series: Nerdy Prudes Must Die, Horny Campers Must Die… (this was turned into NMT2’s Abstinence Camp)

The next Hatchetfield full-length musical would probably be about Miss Holloway if there was enough interest.

There is the possibility of a full movie set in Hatchetfield if there is enough interest. (Workin’ Boys was like a trial for how Hatchetfield works in film)

It would be called Cast Party Massacre

“The Hatchetfield Community Players. You will never find a cattier troupe of two-faced thespians. But when the blood begins to flow at their latest show’s cast party, they must consider: is there a secret murderer in their midst? And more importantly, who amongst them is a good enough actor to pull off such a performance? Can they set aside their petty squabbles and tangled romances, or is it curtains for this ensemble? Who will survive… the Cast Party Massacre!”

It would possibly feature the girls from Workin’ Boys.

The licencing rights to TGWDLM will be available soon!

#that took fucking AGES to type out #it's almost 5am now i'm going to bed #thhat was SUCH a good livestream though!!!#starkid #npmd spoilers #<- vaguely? a little? best be safe #hall of fame #yapping

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whiskeylover75 · 18 days ago

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19 great quotes from Marilyn Monroe to anyone.

Marilyn told Einstein, with charming frankness: "You and I could have a child: I would date my beauty and your intelligence."

To which the father of relativity and the atomic bomb replied: "Maybe it comes out with my beauty and with your intelligence."

It was not yet known (the tests were done later), that Marilyn Monroe's IQ was 165, five points above the "greatest genius of all time".

Marilyn Monroe (Norma Jeane Baker, 1926-1962) was a great reader. She had a library in her house with about a thousand books. She spent many hours reading works of literature, poetry, theater, philosophy, because her spirit, in addition to her great desire to live, had insatiable curiosity and hunger for knowledge.

Some of the wonderful quotes from this great woman are:

1. One of the best things that ever happened to me is that I am a woman. That's the way all women should feel.

2. People started saying she was a lesbian. I smiled. There's no wrong sex if there's love in it.

3. Dogs dont bite. Only human beings.

4. Doesn't feel like spring. I feel like a red hot autumn.

5. Laugh when you're sad. Crying is too easy.

6. I want to grow old without facelift. I want to have the courage to be true to the face I've made.

7. Nobody said I was pretty when I was a kid. All kids should be told they're handsome, even if they're not.

8. A sex symbol becomes a thing. I hate to be a thing.

9. Being a sex symbol is a heavy burden to carry, especially when one is tired, hurt and bewildered.

10. It's better to be alone than unhappy with someone.

11. Imperfection is beauty, madness is genius. It's better to be ridiculous than boring.

12. Disappointments open your eyes and close your heart.

13. I'm a small girl in a big world trying to find someone to love.

14. Sex is part of nature. And I'm having a wonderful time with nature.

15. I've never left anyone I believed in.

16. I have never cheated anyone. Sometimes I let men deceive themselves.

17. If I had followed all the rules, I would have never gotten anywhere.

18. It's easier to love a man than to live with him.

19. Keep your head up, chin up, keep smiling, because life’s a beautiful thing and there’s so much to smile about..

#marilyn monroe #norma jean baker #norma jeane mortenson #vintage #40's #50's #pinup #celebrity #old hollywood #glamour #vintage glamour #vintage hollywood #timelessbeauty #photography #style #fashion

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campgender · 8 months ago

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Black fem leadership & resistance in butch/fem house parties of the 1950s

image description: five screenshots of text from Boots of Leather, Slippers of Gold: The History of a Lesbian Community by Elizabeth Lapovsky Kennedy & Madeline D. Davis.

excerpt 1 (images 1 & 2):

Because of their size, house parties were quite visible, inviting harassment from hostile straights and from the police. Giving parties, therefore, required leadership skills for handling the community’s relations with the outside world. Managing outsiders was as important as preparing food, drink, and music. In an interview with Arlette, who had given many parties, we comment that women must have done a lot of cooking and she immediately adds, “And answering the door,” giving this task a place of equal prominence. The hostess had to either take care of the door herself or delegate the task to make sure no intruders came in.

“Usually there’s somebody on the door that monitored the door, ‘cause you would find people… trying to crash. They can’t come in.… There are people and guys that find out, ‘Oh, we hear music, must be a party.’ Some people would stand out and try to wait for somebody to come in and make like they’re with them. And then, if you know your crowd, ‘Who are you comin’ to see? Sorry, it’s a private party.’ They turn around and leave. … A new face that popped up, we’d ask them ‘Who told you to come here?’ ‘Cause sometimes people gave out the address.” (Arlette)

excerpt 2 (images 3-5):

Police harassment of house parties was frequent and had to be handled with dignity. Arlette’s most successful tactic was to invite police to the party.

“When I started with house parties I had trouble with the police, and I told them, ‘Well hell, you want a chicken dinner or you want something to drink? Because it’s just a private party.’ And they tried to hassle me, and then after a while they left me alone. I had house parties for seven years and never had any trouble. … I guess its because where I lived—there was a dead-end street, it wasn’t too much action, there was places for them to park. And [police] didn’t run up in there too much, wasn’t that many houses on the [block] anyway. And I really didn’t have too much problem.”

Behind her boldness was a conviction that gays and lesbians had the right to socialize together and that she had the right to have a party for them. She did not feel apologetic about herself or her friends.

“I had one girl left a party that I had on William Street and called the police because she was mad at a girl, and had the police come there. Scared everybody, but I felt as though I don’t care if they are the police, they have no right telling me I can’t have a party. They either tell me to lower the music, it’s too loud or whatever. Everybody panics. I said, ‘What are you panicking for? There’s no law says you can’t have a party in your flat.’ In fact I found out that you can absolutely have two parties a month in your flat if you choose, so you don’t have to be hassled by police.”

Her tactics were successful and some officers came to like the parties and made themselves at home.

“I’ll tell you what happened to me and Vic one time. We went to Mabel Jensen’s place on Monroe. And we had caught a cab from the West Side. Now Vic dressed manly. The police spotted us and followed us all the way to the house. When we get to the house they found out that Vic really wasn’t a white fellow, I don’t know what they thought me and this white fellow was going to do, and ended up those same two cops came to the party every week. They would meet me there, ‘Hi, how you doin?’ I had a fire one time when I was having a house party and the detective came and drank and we couldn’t get him out of there. And I was afraid to charge him anything, so he drank free, but when he left he threw fifteen dollars on the bar. I just left it there. I said, ‘No, you don’t have to do that.’ He says, i want to.’ And the thing that tickled me was, he left the house with another guy. Later, his partner came looking for him. ‘I have no idea where he was.’ But I knew he had left with another gay fella.”

end image description.

#fem #femme #Black femme #butch/femme #stud/femme #Black history #queer history #boots of leather slippers of gold #mac’s bookshelf #image described #police harassment

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truthofherdreams · 8 months ago

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children of the apocalypse (3)

also on ao3

Clarke spends the next couple of days tending to Wells and Jasper and dealing with minor cuts and scratches the other teenagers get around camp. Bellamy’s ban on weapons seems to be working somehow, for everyone is a little more peaceful with each other as routine settles in. Teams are created for hunting, building of tents and a wall, and other chores around the dropship. It’s not perfect, and fights break out more often than not, but it is definitely an improvement on the chaos of their first moments on Earth.

She’s cleaning Jasper’s wound – now relocated to the ground floor with the rest of them so he and Monty can chat away while Monty works on their comm system – when Finn enters the dropship. He makes his way toward Wells, and the two of them lean over the table to look at something.

Clarke frowns.

“I think that’s enough, Clarke,” Jasper tells her.

She looks down at his wound, realises she’s been rubbing it a bit too forcefully – the redness of his skin less about the fever now, and definitely about her lack of bedside manners. She mumbles an apology before she grabs another piece of cloth that she wraps around his torso.

She pats his arm without really looking, before she stands up and moves toward the other two boys.

“Whatcha talking about?” she asks cheerily, startling them both.

They offer her twin looks of surprise, too focused on their discussion to notice her coming. That’s when Clarke sees what they were discussing, the old map she had used on their very first day to find her way to Mount Weather. Only now a bunch more scribbles are added to the paper. She frowns.

“Nothing much…” Finn starts, leaning back with his hands in his pockets.

Wells is not that slick. “Looking for a better place to settle.”

Clarke blinks at him. “What do you mean?”

He points to the map, the big dot that represents the dropship, the slithering lines that make up the newly formed rivers, the most dangerous parts of the forest. She knew Finn had made a habit of sneaking out of camp already, but now it makes sense – they were updating the map, one landmark at a time.

“Our location isn’t exactly the best in the long run,” Wells explains. “If we want to build a proper settlement, the ground here is too uneven. We’re too far from fresh water too, which would be bad for agriculture, according to Monty. And we want some clearing, so we can establish a proper… town, I guess? Village?”

Clarke looks down at the map again, frowning slightly. She hadn’t thought that far, but of course Wells did. And it does make sense. They’re only sticking to the dropship because it’s easier than moving a whole bunch of rowdy teenagers to a new place and starting from scratch.

Wells takes her silence as an invitation to continue, “We think closer to the river, to the south, would be better. The ground is more even there, so better for the foundations of buildings.”

“Monroe’s dad works in Factory Station,” Finn chimes in. “She says she can help with basic architectural foundations.”

Wells points at him in agreement, and adds, “If we can get even basic cabins, that will help us with weather conditions. Climate is okay for now, but once winter comes, who knows what to expect. No to mention storage, cooking, or even just protection from those acid fogs.”

They both look at her expectantly, as if waiting for her approval. But Clarke is dumbfounded, blinking between Wells and the map in front of her. While she was trying her hardest to keep them all alive, they planned an entire exodus, buildings, and even fields? Together?

Is she that oblivious of the world around her?

“Who’s to say the Grounders won’t shoot us on sight if we move?” comes from behind her.

Clarke is startled by Bellamy’s proximity, only a few inches behind her as he looks at the map over her shoulder. She didn’t even hear him coming and yet here he is, so close she can smell the smoke of the fire and the sap of trees on him. He stands with hands on his hips, leather jacket discarded for once. The gun pokes out from under his shirt, a not-so-friendly reminder.

“They shot Jasper the moment he crossed some kind of border, yeah?” he asks. When Finn simply nods, he adds, “So how do you know this isn’t their territory too?”

“Well, hm,” is all Finn replies.

Clarke hates that Bellamy has a point, if only because he doesn’t need to be smug about yet another thing. But he does have a point – the Grounders are nothing more than shadows and tales in the dark at this point, and who’s to say they will not attack again if the opportunity comes? Maybe they just got lucky with their landing spot, some No Man’s Land they now get to claim as their own.

“Bellamy’s right,” she admits. Wells immediately shoots her a look of what can only be described as betrayal. “We’re safe here for now. Moving could be more dangerous than it’s worth it.”

“Maybe we can send Charlotte as our scout,” Finn replies, voice dripping in sarcasm. He raises his hands in defence when the three of them immediately glare at him and voice their discontent. “Joking, guys… Even though I’m sure she’d enjoy the change of pace.”

Three days she’s been locked upstairs, three days of Bellamy feeding her breakfast and dinner and not allowing anyone else to see her. Three days that must feel like an eternity up there, and yet Clarke cannot find even half an ounce of sympathy for her. Back on the Ark, she would have been floated on sight, minor or not.

“We stay here and that’s final,” Bellamy states.

Even if Wells or Finn wanted to argue, it would be a lost cause. Those delinquents outside only answer to Bellamy, and even barely. They would never follow them to a different location without his approval, even if it made sense.

Still, never put it past Wells to try and win an argument, and he’s halfway through a reply when a whooping sound gets their attention. All four of them turn toward Monty’s corner of the dropship to find him doing a mini dance, before he stops and stares back at them.

“Oh please do keep fighting. I only just managed to repair the comms, if any of you are interested.”

Clarke shares a quick glance with Wells before the two of them hurry to Monty’s side, Bellamy and Finn following close. Monty shows them the different cables connecting various pieces of the dropship’s tech and Clarke’s old wristband.

“Once we connect this cable to the cuff, we should be able to communicate with them. Morse code, one way only.”

“Better than nothing,” Clarke replies, with a pat on his shoulder.

He’s been working relentlessly on this for the past few days, only taking breaks for food and short cat naps. The bags under his eyes are so dark they turn purple in the low lights of the dropship. He deserves at least a whole week of sleep for the effort he’s put into this.

He shows Jasper how to connect one cable to the wristband, so he can do them the honours.

It doesn’t exactly go as planned.

Bellamy disappears back outside without a word.

…

The first real fight breaks out at dusk, about four days later than Clarke expected. It starts as a low rumble of voices, and turns into cheers and screams and chants within seconds. Clarke shares a glance with Wells, the two of them moving as one to make their way outside.

Unsurprisingly, Murphy is in the middle of the fight, with a dark-skinned boy twice as large. The other boy is very obviously smoking Murphy, punch after punch hitting his jaw and the side of his face, as the other teenagers cheer them on and yell words of encouragement.

“Someone needs to stop them,” Clarke tells Wells.

And she has no doubt Wells would do exactly that, were it not for the stitches on his neck Octavia had to fix twice already. He would put himself between them, take a few hits of his own maybe, but he would stop them. Only he can’t.

Bellamy is nowhere to be seen. Of course.

Another guy from Murphy’s gang grabs the dark-skinned boy from behind, holding his arms to his side and giving Murphy the perfect opportunity to punch back without taking a hit. He goes for the nose with a loud crunch of bones against bones, then for the ribs, and a kick to the side. The other boy grunts in pain, struggling to escape and fight back.

Wells grabs Monroe and pulls her toward them. “What’s happening?”

She looks a little wild-eyed, her tight braid coming undone, her clothes a mess. Her eyes travel between Wells and the fight, like she really wants to explain but also doesn’t want to miss the fight. She winces when the boy finally escapes and punches Murphy right back in the cheek.

“Murphy’s been bullying everyone at camp,” Monroe explains, then stops to cheer on the boy – Connor, apparently – before she glances back at Wells. “Ration water for no reason, force people to work, just straight up dickhead. Was only a matter of time before someone lashes back.” She cheers for Connor to kick Murphy in the dick. “Murphy took a piss on Connor after Connor asked for water so, ya know…”

“Yeah, this needs to stop.”

By the time Clarke actually manages to push her way through the crowd and toward the two boys, the fight has gone much, much worse. Three other teenagers are holding Murphy, pinning him so he can’t move, as Connor punches him relentlessly.

One girl yells “Float him!” and it immediately becomes a chant, louder and louder and louder, drowning out everything else. They push and pull and kick Murphy out of camp, Clarke following as she yells helplessly for them to stop, to listen, to not, please don’t, what are you doing, stop, stop.

Bellamy shoves past her, in time to stop a boy from slipping a nose around Murphy’s neck.

“What the fuck are you all doing?” he screams, and it’s enough to stop them all in their tracks, enough for all of them to fall silent and turn toward him. Enough for Connor to let go of Murphy, who spits blood and saliva on the ground.

“Right on time,” Murphy grins.

“Shut the fuck up.” Bellamy glares at the other boys, the only thing he needs to do for them to step away from Murphy, who slumps against the nearest tree. Bellamy ignores him as he turns toward the crowd. “If we kill him, we’re no better than the Ark. Is that what you want? To become your oppressors?”

The same teenagers who, only moments ago, were screaming for murder and blood, now all grumble in agreement with Bellamy. Eyes cast down, neck in shoulders, as if being scolded by a father figure. Clarke looks at each and everyone of them, the way they avoid his eyes and stand still, listening to his every word.

Only Connor is brave, or perhaps foolish, enough to reply. “So what do you propose we do? He’s been bullying half the camp for days now!”

Bellamy glares at him, for a second too long, before his eyes find herself in the crowd. Incertitude flashes through his eyes before he smooths his features again, but Clarke knows. She understands the silent cry for help. She steps forward.

“We banish him,” she states, loud enough to be heard by all. “If he refuses to be part of our society, then he’s gone. Simple as that.”

Murphy stands up, one hand on the trunk of the tree, and wipes the blood off his mouth. “And who put her in charge?”

Bellamy pushes him back, hard, and Murphy falls back against the tree. “I did,” he says, with the kind of confidence that only Bellamy can muster. He turns back toward the others. “Anyone has a problem with Clarke, they have a problem with me.”

Clarke blinks at him, unable to find words to express the way she feels at the moment. Wells is at her side, fingers against her elbow, but she can’t find it in her to look at him when she’s so puzzled by Bellamy in front of her. Not after what he said, not after he looked at her for – was it guidance? She can’t even tell. It doesn’t make sense. Nothing makes sense. Bellamy doesn’t make sense.

She watches, troubled by her own thoughts, as Murphy is given a knife and a warning, as he’s pushed away from camp, as teenagers scatter back to their duties with hushed whispers and hurried steps. She watches, as Bellamy ensures Murphy is gone, before he turns back and walks toward her and Wells.

“What was that?” Wells asks for both of them.

Bellamy ignores him, only has eyes for Clarke. “My sister trusts you. Believes in you. Don’t make me regret it.”

Clarke frowns, before she swallows back a few chosen words for him. Instead, she says, “People will start asking about Charlotte. They’ll think it’s not fair.”

“Let me worry about Charlotte,” Bellamy replies. “And help me keep everyone else alive.”

“Since when are you a team player?”

He smiles – his first real smile, not the usual smirk and scoff – at her, looking at her through his long lashes. A lopsided smile that Clarke pretends is perfectly normal and not – yeah, perfectly normal. “Don’t pretend like you don’t want to be in charge, princess.”

And then he’s gone, strutting his way back to camp without even a glance back at her. Clarke watches him go, watches him disappear behind the fence, before she looks back at Wells. She doesn’t know if she wants to be relieved or concerned that he looks as lost as she feels right now.

“I think he likes you,” Wells says flatly.

Clarke shoves his good shoulder away. “Shut up. Not Bellamy Blake.”

But Wells gives her that look, the one that says he definitely knows better and she’s being clueless, and Clarke huffs, annoyed. Her best friend knows better than to poke at it. Instead, he says, “Maybe you can convince him to move…”

“Not now. Not when we don’t know what’s out there.” She pauses, and sighs. “Anything else, though, I’ll need your help with.”

Wells grabs her hand, squeezes her fingers. “Always.”

#the 100 #bellarke #bellarke fanfiction #bellarke ff #bellarkefic #fanfic #otp: princess

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