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heliads · 2 years ago

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can i request for minho (again lol) where reader is touch repulssd (she hates physical touch) but someone comments on it and she tries to change, she cuddles minho more and holds his hand even tho it makes her uncomfortable, minho realises and angst(if you can figure out where to put it) and fluff with happy ending

if possible , set in the glade please and can reader be british again thank youu!! x

reader is always british. all of them are british. tmr british au

masterlist

It is impossibly difficult to date Minho. That is not to say that it’s hard to love the boy, far from it; loving Minho is the easiest thing you’ve ever done, faster than falling asleep and comes more naturally than breathing. The Creators could wipe your memory and send you up in the Box a thousand new days, and you’d choose Minho every single time. That’s what love is to you, it’s that feeling of safety, of belonging with somebody like you do to no other place.

No, loving Minho has never been the problem. It’s what came after those startled realizations that perhaps your feelings for each other weren’t totally one sided that is causing you grief. Being in a relationship with Minho should feel good, the natural next step in the way the two of you feel about each other. It’s a shame, then, that it doesn’t.

This could all stem back to insecurity, plain and simple. Minho has always been excessively popular even outside of the fact that he’s a Runner. The other Gladers all but hang off of him for news of the Maze or his easy jokes that could lighten even the most desolate of moods.

Minho is crucial to the Glade, but in all honesty, you’re not sure that you are. You work hard at your job, of course, and have your own set of friends that would rather risk their lives than see you hurt, but it’s not the same and it never will be.

On the other hand, there’s the touch thing. Ever since you opened your eyes for the first time in your shattered memory and found yourself rattling upwards in the grim metal contraption known deadly as the Box, you knew that you didn’t like the thought of human touch.

It just makes you uncomfortable, that’s all. You don’t know if there was some terrible trauma buried deep within the memories you no longer have that would explain all of this, but regardless of the reason, the outcome is clear. You don’t like it when someone lays their hands on you, even if it’s so much as a high five from your closest friends. Even when it’s your boyfriend just trying to show his love for you.

Recently, you’ve been trying to do better. You thought you were hiding the whole thing sufficiently well until one of the Gladers commented on how you practically avoided Minho like the plague. It wasn’t true, of course, the two of you always find time to talk to each other and sit next to each other at every meal, but you suppose that everyone else expects you to be holding hands all the time and making out in every corner.

Usually, you wouldn’t let the comments of the other boys faze you, but you remember the look that flashed across Minho’s face when the other Glader called you out. For one brief, flickering moment, his constant confidence had dropped, leaving a boy that for once in his life was terrified, pure and simple. You could see straight through his eyes to discover that he was afraid more than anything that the other Glader was telling the truth and you were avoiding him. Maybe you didn’t even like him at all and were just pretending.

That’s not true, obviously, but the only person who knows that is you. This is only made worse because Minho doesn’t know about your repulsion to touch. You’ve spilled out your heart to him on many different occasions, but you’ve never been able to cross this particular barrier.

Maybe it’s because you know that the second you say something to Minho, he’ll change. Minho is perfect like that, he has always been perfect. You don’t think half the Glade knows how many sacrifices he’s made for them, how many days in the Maze with no answers he’s turned into seeming like the Runners are on the brink of finding the way out. He makes everyone laugh when he’s feeling desolate, he’d choose their success over them about a thousand times.

That’s why you know that if you were to tell Minho that you can’t stand the feeling of anyone touching you, he’d do everything he could to stop. The worst part of all is that Minho would feel every hand you weren’t holding, every time he wants to kiss you or hold you but can’t. It would hurt him, death by a thousand cuts, but he would never say a word to you, because what Minho is best at is pretending that he’s fine to make sure that everyone else is fine.

Still, you can’t pretend that trying to work around your touch phobia is really working at all. It makes you deathly uncomfortable every time, but it’s not like you have any options. The second you slip up and slide away from Minho, one of the Gladers always notices and calls you out on it. There’s nothing you can do except try and act otherwise, but that doesn’t work out all that well either.

Your best and only choice is to try and conjure up a strong enough poker face that nobody can see through it. This works better at times and worse at others, depending on who’s around you and who’s studying your face for some sign that you might be tempted to leave Minho for one of them. That’s another reason Minho is alarmed about your hesitancy to touch him, he’s fearful that it means you’d be more willing to touch someone else.

It’s not true, of course, but Minho doesn’t know that. You wish he didn’t have to doubt you at all, that he could look at you and see only faithfulness, but when you’re already lying to him about this, you’re certain that he can picture other lies wrapping around your tongue whenever you so much as say a single word.

Tonight will be a testament to how strong a shield your web of lies can produce. It’s a Greenie Day, which means that the arrival of the latest terrified boy will be followed by a night more glorious than any other. Bonfire Nights may only happen once a month, but everyone ensures that they have enough fun and make enough mistakes to last over until the next one.

The nice thing is that, once people get enough of Gally’s brew in them, they tend to stop noticing irrelevant details such as the fact that you’ve been cautiously leaning away from Minho’s outstretched arm as the night progresses. Their eyes are blinded by the sheer dumb luck of not being dead and having enough friends surrounding them that they feel powerful.

You consider the scene sprawling before you from your vantage point a little ways back from the central bonfire. You, Minho, and a few other friends have chosen to set up camp for tonight on the outskirts of the festivities so you can watch everything that’s happening and laugh at the other Gladers making fools of themselves.

Someone dragged a couple of logs here a few hours ago, and you’re all leaning against them now, seated on the ground with your legs stretched out in front of you. The night is dark, and inky blackness pools around all of you, lingering in the conspicuous absence of contact between you and Minho. You’re sure that you must be the only one to see it, yet it feels glaringly obvious all the same.

You swear you can sense everyone’s eyes slowly shifting to you. They must all see how far apart you are, right? You can practically hear their minds whirring as they come up with ways to comment on it. You can’t bear to trouble Minho with it on one of the only good nights of the month, so you force yourself to lean back to him.

Your head settles on his shoulder with the weight of two glaciers colliding, and although there may be no blood spilled at the moment you can still feel every inch of your skin begging for you to move back away. It’s like you’re being suspended by iron manacles, how desperately you want to get down, get away, get out of your own flesh before it’s too late to stop it crawling.

Minho’s arm shudders down around your shoulder a second later, locking you in place. Now there’s no way for you to get out. If you slowly tilt your head up, you can see a soft smile on your face. That more than anything cements the idea that this is what you should be doing. It’s making your boyfriend happy, isn’t it? This is what you should have forced yourself to do a long time ago.

Even as the supposedly simple movement brightens Minho’s day, you can feel it dragging down your own. Your skin prickles as Minho so much as draws a breath, and the weight of his arm even casually draped across your shoulders feels like Atlas’ worldly burden to bear. You don’t know how much longer you can keep this up, but you have to. Pulling away from Minho now would give up the whole charade of liking this.

You’re just bracing yourself to keep this up when Minho extends his hand to take yours. The unexpected additional contact makes you lose control for just a second, and you shiver involuntarily. It was a small enough movement that you don’t think any of the other Gladers surrounding you noticed, but Minho did, and that is enough to make him realize that something’s off with you.

He glances at you quickly, and before you can do anything about it, he looks at you, really looks at you. You can feel his stare pressing in at your ragged seams, taking in the silent suffering that you thought you could hide. Instantly, he’s pulling his arm away, disguising it as a casual cough, but he doesn’t put it back.

A second later, Minho announces that he’s going to get a refill of Gally’s special brew, despite the half empty glass at his feet, and asks you to walk with him. You know exactly where this is going, but you still follow him, the two of you deadly silent until Minho has led you a sufficient distance away from everyone else so as to not encourage any eavesdropping.

At last, he turns around, and instead of seeming angry or frustrated that you’re not acting as a supposedly traditional girlfriend should, Minho just looks hurt.

“Were you going to tell me that you were uncomfortable or should I have just guessed that myself?” He asks, voice quiet.

You sigh. “I was hoping you wouldn’t notice at all.”

Minho rubs a tired hand over his face. “Why’s that? I thought we trusted each other, Y/N. That includes you trusting that I wouldn’t do anything to upset you if I knew you were unhappy.”

You look away. “I trust you, Minho. More than anything. It’s just, well, I want you to be happy too. In those minutes before you realized I was uncomfortable and you had your arm around my shoulders, you looked so carefree. I know I’m the only girl here so you don’t have a lot of options with that sort of thing, but I just want you to feel like I’m worth it, you know?”

Your voice trails off, but the words seem to strike Minho like a blow anyway.

“You thought that you had to force yourself to like me touching you because that’s what I wanted?” He asks, almost incredulous. “Y/N, I want you. Nothing else. I like you for you, not just because I can hold your hand. I didn’t know before, but I know now, and I don’t want to do a single thing to make you uncomfortable.”

He seems to believe every word he says, and you allow yourself to smile cautiously. “Really?”

Minho smiles back at you. “Really. Besides,” he adds matter-of-factly, “if I’m desperate to hold someone’s hand I’ll track down Newt. I’m sure he’d be delighted with the whole idea.”

That makes you laugh, and Minho looks pleased that his joke had the intended effect.

“Honestly,” he says, drawing closer, “I’m fine with whatever, Y/N. I just want you.”

It’s a sweet sentiment, one that makes you smile even brighter than before. You were worried that Minho wouldn’t understand, but you know for sure that he does. What’s more, it doesn’t upset him in the slightest. All the two of you need is each other, and you’ll have that for the infinities to come.

maze runner tag list: @rogueanschel, @ellobruv, @retvenkos, @neewtmas, @thatfangirl42, @hiya-its-amber, @gods-fools-heroes, @hope92100, @23victoria

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immaturityofthomasastruc · 3 years ago

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IOTA Reviews: Wishmaker

Goddamn it...

It's bad enough Astruc tastelessly axed Lukanette, but now he just had to show up to give a sarcastic eulogy at the funeral.

Let's get into the fourteenth (chronologically the eighteenth) episode of Miraculous Ladybug's fourth season: Wishmaker

Right out of the gate, we get a “Chloe bad” joke with her insulting Marinette for being poor or whatever as she hands out flyers for an upcoming career fair. Chloe doesn't have much of a role in the episode, but she will be important towards the end, trust me. We also get a funny “Marinette stares lovingly at Adrien” joke while she sees him, so it's good the writers are at least trying to get their strange habits out of their systems now instead of later.

While reading over the flyer in his room, Adrien ponders a possible career as he doesn't want to keep being a model.

(The episode came out in English first, so I'm just going to be using quotes instead of screenshots of subbed scenes for this review)

Plagg: Don't you wanna continue to model?

Adrien: I don't think so, Plagg. I'm doing it now because my father asked me to. But now I realize I don't know what I'd want to do. I've never asked myself that question.

This is a really interesting dilemma for Adrien. Unlike other episodes that just have him feel sad for entirely superfluous reasons like Ladybug turning him down or generally moping about his mom, it feels like something you can really understand. He genuinely isn't sure what he wants to do with his life because he's had everything chosen for him before. I also like the use of the English dub saying Adrien modeled because his father asked him to, as if he couldn't actually say no. I also like how Adrien is still starting to lose faith in Ladybug for giving out Miraculous to everyone, which makes even more sense after his view of her was shaken in the previous episode chronologically, “Rocketear”. I also like how Plagg suggests ideas for a career for Adrien, like the two of them opening up a cheese shop together, which shows how Plagg cares for Adrien and wants what's best for him, ultimately highlighting how healthy their relationship is. He's almost like a big brother who gives advice to Adrien, even if it isn't the most sound advice at times.

On the other hand, Marinette already knows what she wants to do with her life, but the Kwamis start to argue over what she actually means by it by saying they know what she wants to do, a painfully accurate metaphor for the writers dictating Marinette's actions no matter how inconsistent they are.

Pollen: What's a career, dear Guardian?

Marinette: Oh. Well, it's... your job! Something really important that you do and gives meaning to your life!

Roaar: Oh! So, your job is being the Guardian of the Miraculous!

Mullo: Of course not! It's being a student!

Xuppu: Not at all! It's making presents for Adrien!

Marinette:Well...

Longg: She said “something important”, like when she crafted the big doll house to hide the Miracle Box!

Wayzz: Or when she designed the alarm for this room! What a masterpiece!

Marinette: Sure, I love crafting but—

Ziggy: You guys don't get it! What gives meaning to her life is to be in love with Adrien, or Luka, that's her job!

Fluff: Luka's the one with the guitar, right?

Kaalki: Her real career is being Ladybug and carve her name in history by her glorious deeds, of course!

Of course, their bickering somehow makes Marinette realize she isn't sure what she wants to do in the future after all.

We then cut to a reality show hosted by TV personality, Alec Cataldi. He's generally an asshole to the people on the shows he hosts and takes pleasure in humiliating or just being a dick to them, making you wonder how he still gets work with that attitude. Basically, he's the Alec Baldwin of the Miraculous Ladybug universe. The current show he's hosting is one where he roasts people for their jobs, making Andre a target by pointing how counterproductive his “business” is.

Alec: Here's a perfect example: Andre, the Ice Cream Maker, the ice cream man that is never around! Let me remind you how this goes: Andre doesn't have a shop, no one knows where he is, it takes forever to find him, and he gets to pick a flavor of your ice cream! You've gotta be kidding, Andre! Give me one reason why I should bother to chase after you when I could get my choice of ice cream in any corner supermarket!

Andre: Well, people don't just come for ice cream when they find me. They come to share their love and experience of magical moments! A supermarket cannot do what I do! I am a creator of magical moments!

Alec: “Creator of magical moments?” You've gotta be kidding!

I'm pretty sure that's what a lot of people thought of Andre when they first saw “Glaciator”. The idea behind Andre is that he chooses ice cream for you representing something about yourself, so he gives Alec a scoop of lime to represent his sour exterior and chocolate cinnamon to represent the dreams he still has within. Alec flinches a little at the ice cream, presumably because of how terrible of a combination that is, and decides to go to commercial to think.

Marinette talks to Andre about what he does, and he explains he used to be an office worker, with the only highlight of his days being making ice cream for himself after work. It eventually inspired him to quit his job and start making ice cream for everyone. It's a nice backstory, and I think a lot of people watching who are struggling to think about their future can relate to this like with the earlier scene with Adrien. It's also a nice touch for the flashbacks to reveal Andre has served ice cream to some of France's most famous couples.

(Jean Coutau and Jean Marais)

(Serge Gainsbourg and Jane Birkin)

(Marion Cotillard and Guillaume Canet)

Granted, I'm wondering how old Andre is to have even met some of these people given Jean Cocteau died in 1963, but seeing how Master Fu is 186, I'm guessing the Miraculous Ladybug universe just has really good healthcare. Either that, or the people in this universe take Jay Kordich's diet very seriously.

Andre gives some ice cream to Marinette, who is soon joined by her ex-boyfriend who she never loved according to the writers. Actually, judging from her face when Luka talks about the very first guitar he made, the writers made another 180 regarding Marinette's feelings for Luka.

Of course, because the show wants to remind the audience Alec still exists, he makes fun of Luka for taking two years to perfect the delicate craftsmanship it takes to sculpt any instrument when you can just download an app on your phone. Your inner boomer is showing, writers, even if you were born after the time period for that generation. Luka retorts with some vague philosophical line he's known for that's one of the reasons why people are so mixed on him as a character

Luka: Musical instruments fill the space and space fills the instruments. No phone in the world will ever be able to do that.

Despite it being incredibly confusing, it gets to Alec, causing him to run off in tears. Luka and Marinette continue to talk, but it turns out that's Adrien decided to sit down nearby because of course he did. Though, like the last scene, it's a pretty interesting one as the three discuss what they want to do with their lives. There's also a really nice visual of a blimp with an ad Adrien was in passing by while Adrien talks about his father dictating his life, a really nice symbol. Of course, the scene is somewhat ruined by Luka suddenly deciding to be an Adrienette shipper.

Luka: You two will eventually find what's already in front of you, but you can't hear it clearly. Just let the melody flow.

He's referring to their uncertainty of their futures, but earlier on, Luka wanted to help Marinette be honest with her feelings about Adrien, and even before that, Andre was saying that Marinette and Luka didn't have to be in love to enjoy his magic ice cream. It's here when I realized this episode is subtly trying to end any chances of Lukanette still happening with so many little details. Right when the two spend time together, that's when they decided to help Adrien who showed up for no reason, preventing them from potentially coming to terms with their feelings for each other or at the very least discuss how hard it is to be friends with their history. And things only get more frustrating towards the end, where you'd swear someone decided to smother Lukanette with a pillow in its sleep.

Back to Alec, he's roasting a wig salesman (does he even have permission to film any of these people?) for his job, but as soon as the salesman puts a wig on him, Alec immediately gives us his life story.

Alec: When I was a kid, I used to have long hair, but everyone made fun of me. That's why I shaved it all off. I've been making the wrong choices my whole life. My TV shows are nothing personal. I make fun of people when they make fun of me when I was a kid. (Starts to tear up) I should've been the person I always wanted to be, trying to change the world instead of mocking it! (Falls on his knees) I've wasted my life!

I didn't paraphrase this at all. This is seriously what happened. He goes from mocking everyone he meets, to slightly doubting himself after seeing an ice cream vendor and a young musician, and then he starts having an existential crisis about his tragic backstory. It's not a bad idea, but if there was some more buildup in previous episodes, I'd understand. But this goes from confusing to straight out insulting towards the end. I'll get to that later on.

Shadowmoth notices Alec's emotions and akumatizes him into Wishmaker through his microphone.

Wishmaker has a pretty cool design. The grey skin color coupled with the mostly black outfit really highlights Alec's broken heart, and he looks pretty sinister. His powers... leave a lot to be desired. Like the name states, Wishmaker has the power to make everyone's childhood dreams come true, like this one guy's dream is to be Santa Claus, so he transforms into Saint Nick without any hitch. Wouldn't it make more sense if Wishmaker twisted the dreams of his victims like a genie and made them miserable while they ironically lived out their fantasies by twisting around their words? Instead, all of his “victims” seem pretty happy, which doesn't really do much to make him a threat in my opinion.

So the aforementioned Santa starts dropping presents like bombs near Marinette, Adrien, and Luka, and they're separated by a giant robot. Marinette quickly transforms into Ladybug, and gets Luka to safety, though as soon as she leaves, Luka goes to check on where he told Marinette to stay for safety, and doesn't see her there. Instead, he sees his deadbeat father (transformed into a crocodile) drowning and goes to save him.

Ladybug meets up with Cat Noir (who transformed off-screen) and the two easily incapacitate the robot before engaging Wishmaker, avoiding his blasts. Apparently, they'll get their secret identities revealed if they get hit, so Ladybug goes to get Luka to help out as Viperion while Cat Noir holds off Wishmaker. Ladybug goes to get Luka, leading to the funniest joke in the episode.

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She gives Luka the Snake Miraculous and he transforms into Viperion, immediately activating his Second Chance. For newcomers, Second Chance allows the user to set a point in time when activating it and if something goes wrong, they can go back to that checkpoint in up to five minutes. Ladybug also summons her Lucky Charm, a stuffed dinosaur toy.

Back with Cat Noir, as he engages Wishmaker, the Akuma starts to tempt him with the idea of living out his childhood dream, because he genuinely doesn't remember his. As Shadowmoth orders Wishmaker to use his powers on Cat Noir, Ladybug and Viperion show up, but in the chaos of the fight, Ladybug gets hit by Wishmaker, revealing her childhood dream as the “Knitting Fairy”, and exposes her identity to Viperion, who uses Second Chance to undo the timeline.

In the new timeline, Cat Noir's vulnerability gets to him, so he willingly lets himself get his by Wishmaker, not only exposing his identity as Adrien, but tragically reveals his childhood dream, to be whatever his parents wanted him to be. I feel like this works a lot better than some of the other moments where Cat Noir defied orders or screwed around on the battlefield because it's clearly framed as a moment of weakness on his part, and it was naturally built up over the course of the episode. The reveal of Adrien's childhood dream is a real gut punch too, as it shows just how much Adrien's life has been controlled by his family.

In the third timeline, Viperon deflects Wishmaker's blast meant for Cat Noir and redirects it toward a man whose childhood dream was to become a giant stuffed dinosaur. The stuffed dinosaur in question goes to give Wishmaker a hug, restraining him long enough for Ladybug to steal for Cat Noir to cataclysm (It's a microphone, how hard is it to break???) before she de-evilizes the Akuma. Ladybug uses Miraculous Ladybug to force everyone to stop living out their childhood dreams, she gives Alec a Magical Charm, and Luka decides not to tell Ladybug he knows both her and Cat Noir's secret identities. Why did Ladybug expect Luka not to know her identity when the whole reason she recruited him was to make sure nobody else found out her identity?

Now, while it isn't outright said, it's hinted at that now that Luka knows Marinette is Ladybug and Adrien is Cat Noir, judging from his dejected look after finding out the latter, he may be giving up on all attempts at the idea of getting back together with Marinette, and may or may not start shipping the Love Square now, just like how Kagami decided to ship Adrienette in “Mr. Pigeon 72”. I'm not saying the idea of Luka knowing someone's identity is bad, but it feels like this only happened specifically to stop him from having feelings for Marinette because now he knows Adrien loves her alter ego, and vice versa. Maybe it'll be touched upon in a later episode, but this was just a dick move by the writers in terms of ending all chances of Lukanette like this in order to ensure the Love Square has absolutely no competition.

So the episode ends with Marinette and Adrien deciding to focus on their futures while Alec starts a new show where he helps people live out their childhood dreams, albeit dressed like Style Queen for some reason.

Eh, he still picked a pretty cool Akuma to dress up as in my opinion. A lot of people have viewed this ending as evidence Alec is a drag queen with how he dressed up, coupled with the fact that he said something that was very similar to famous drag queen RuPaul.

Alec: And now, we're gonna love one another, starting with everyone loving themselves! Because how are you gonna love other people if you don't love yourself?

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Though Astruc, being Astruc, once again decided to be vague when asked about the subject on Twitter, though at least the subtext is better than when he said he didn't make Juleka and Rose girlfriends because of censors while making it seem like a noble act.

Overall, this was a really good episode, though there were some underlying issues that really kept me from actually liking it. For the most part, it had some good drama with the main character, a rare scene where Marinette didn't stammer around Adrien, a creative (albeit flawed) Akuma with some good action, and an interesting idea with Luka knowing everything about the Love Square now.

There are just two big problems that really got to me about this episode. Let's get the obvious one out of the way, Luka. Honestly, he really didn't need to be in the episode. Sure, he gave some sound advice to Marinette and Adrien about their careers, but it felt kind of strange to see someone their age talking to them about their future when Andre, someone who actually had experience struggling to figure out what he wanted to do with his life, was pushed to the side. And like I said earlier, I think the only reason Luka found out about Marinette and Adrien's identities was to discourage him from thinking about getting back together with Marinette. After all, now that he realizes how “made for each other” they are, he can't stand in the way of the Love Square.

The problem is that in the context of the episode, we don't really see what made him see things that way. At least in “Mr. Pigeon 72”, Kagami consistently viewed Marinette's attempts to get her and Adrien back together as a subconscious desire to be with Adrien. It was dumb with how she decided to go to Team Adrienette at the end of the episode, but it was something. I'm glad the episode didn't force in too many Love Square shenanigans, but I think more should have been done to contextualize Luka's feelings towards the reveal. I get the writers wanted to make sure Lukanette had no chance of coming back, but this just feels rushed.

And then there's Alec's redemption arc. While it's not a bad idea in concept, the problem is that it flies in the fact of a recurring theme this season, that being redemption. Because, here's the funny thing: Alec blatantly said he became an asshole TV personality because of his history of bullying, and decided to retaliate as a result, but he eventually saw the error of his ways and turned over a new leaf. For long time readers of this blog, I apologize for bringing this up yet again, but what exactly makes this different from everything Astruc said about Chloe? You know, when he said that you make your formative choices when you're fourteen? Just like how Alec decided to become a reality TV host making fun of people after a troubling experience from when he was a kid?

Let's say that I agree with Astruc's views about Chloe. How is Alec different from what Astruc's said about Chloe for almost two years at this point? What makes Chloe, someone who was the victim of a troubled childhood who never got help, an irredeemable monster while Alec, someone who also had a troubled childhood and had even more time to get help while never getting any, capable of change? I thought he Alec made a formative choice when he was young and stuck with it, just like how Chloe started to fully develop at the age of fourteen. I mean, Astruc, you yourself said that Chloe's troubled childhood “was no excuse to treat people like shit”, according to you.

I'm just saying, dude, if Chloe can't be redeemed because of the stuff you yourself said, then that shouldn't apply to Alec either. When you really think about it, it's almost like Astruc either made up a bunch of excuses to not redeem Chloe, or he's a massive hypocrite for going back on his word. You can't really justify this kind of hypocrisy relating to Alec's redemption when you remember just how much of a hardass Astruc was when explaining why redemption was impossible for Chloe.

This coupled with the treatment of Luka really drags this episode from really good to blatantly insulting to certain viewers. Then again, these two choices just got to me personally. I feel like if those two things weren't there, things could have made this episode a lot better for me personally. I can see why a lot of people in the fandom still like this episode, but I'm honestly not a fan of it.

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1jet2unknown · 4 years ago

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Harringrove Feedback Fest – entry-drug fanfictions & favorite artists

I‘m so happy @gothyringwald is organizing this feedback fest as I think there are so so so many talented creators in the Harringrove Fandom and, with me still being kind of new to the party, I‘m sure I will be able to find so many more creators to connect with & obsess over.

Let me start off with some of the fanfictions that I had stumbled over last year and that actually got me into the fandom. Most of them are rather long, lot of them pretty angsty and all of them are mature/explicit. Warning: They‘re all amazing!

Under the Covers by ToAStranger [M | 59k]

Steve is (maybe) a little bit still in love with Nancy Wheeler and (maybe) trying to figure himself out-- between the night terrors and the babysitting and the general weirdness that is Hawkins, Indiana-- before he graduates.

Billy Hargrove fits in there somewhere (probably).

dried up, half full - by lymricks [E | 60k]

Implied/Referenced Child Abuse | the POV switches now! | Billy fights the monsters too!

Steve’s been coming out here searching for a monster in the woods. He’s finally found one.

“What do you want, Hargrove?”

Don't Tell Me There's No Hope At All/ Together We Stand, Divided We Fall by Straight_Outta_Hobbiton [M | 59k]

Billy's used to being afraid of his father, and he knows he's not the only one scared. But it's one thing to know your stepmother gets smacked around every once in a while and another thing completely to find her body on the bathroom floor.

He's a mess, Max is even more of a mess, and Joyce Byers is a queen among mothers, she really is.

Damned If I Do You by ThirdActLove [M | 55k]

The first time Billy’s dad called him a faggot, Billy didn’t really know what he meant.

Billy Hargrove Needs A Nap – by lilpeas [E | 74.3k]

It’s one thing to be a light sleeper in this shitty town that won’t shut up at night, but it’s another thing entirely to fall asleep on Steve Harrington’s shoulder during last period English.

Pain, Will You Return It? by Anonymous [E | 32.9k]

When Billy gets beaten to a literal pulp by his dad, the police get involved. Billy has to come to terms with what he has done to those around him.

He doesn't want to be like his dad.

Especially when he sees Steve Harrington. When he sees Steve, he wants to be good.

Three is Better (than One) by ToAStranger [E | 4k]

"This little bitch is tonight's toy," Billy says, walking over, hooking a finger through the loop at the front of Steve's collar and pulling until Steve's stumbling up onto his feet; he smacks a hand onto Steve's ass and laughs as Steve yelps and staggers forward a step. "Her pussy is already nice and ready for you."

meet with monsters by lymricks [E | 13.4k]

Implied/Referenced Child Abuse | Billy fights the monsters too! | Protective Parent Jim "Chief" Hopper

Harrington stops. Billy watches all the blood drain out of Harrington’s face and there wasn’t much color there to start with. Harrington lifts the bat again, tries to get to his feet, lands back on his ass. “Billy,” he says again, but it’s desperate now, not relieved. “Billy, behind you!”

Four times Hopper doesn't arrest Billy and one time he does.

what a wicked game you played (to make me feel this way) by brawls (brawlite), ToAStranger [E | 119k]

Billy knew Steve Harrington would ruin him. Steve knew Billy Hargrove was nothing but trouble.

They never expected it to end up like this.

I also feel the need to point out some of the incredibly talented artists the Harringrove fandom has:

@wrecked-fuse – whose fanart was actually the trigger for my harringrove obsession. The artstyle, the amazing colorations (&incredible lighting) and the broad range of expressions & sceneries just made me instantly fall in love!!

@zayacv – whose AU short comics are so intriguing and hot that I reread a lot of them several times by now! You are looking for some steaming hot NSFW with great angles and the most lickable thighs in the fandom? Then zayac is the artist for you!

@ihni – whose doodles are just so damn funny! I had some really shitty days over the past few months but the creativity and joy of ihni‘s harringrove doodles really kept me sane & positive!

@pastenaga - whose Harringrove comic „Bad News“ broke my heart in the most beautiful way – over and over again! Seriously… if you haven‘t read this comic yet and you enjoy some angst & family feel: This is what you‘re looking for!!

@juu-riin – who is not just creating amazingly funny doodles but also increadibly pretty artwork. It‘s really the full package you get with this amazing artist!

@opaldraws / trashycatarcade – who has such an amazing take on Billy & Steve‘s relationship. There is so many cute artworks that really show new & adorable angles of the boys. Just so much creativity!

@wastingtime-justart – whose sketchy artstyle is just so damn pretty and makes especially Billy looks just so sensual! I‘m just in love with the strong strokes, the amazing anatomy and the way especially Billy‘s mouth and hair always look so pretty!

@gravegroves – who draws one of the most sensual Billy‘s I‘ve ever encountered. He just looks so damn BEAUTIFUL in all the pieces…

@avalonlights - whose clean arstyle & coloration I absolutely love. Whenever I look at their art, I wish it was an actual cartoon that I could watch!

@swankystuckup1 – whose soft artstyle & coloration skills I absolutely adore! And their art is so lively, with a wide range of expressions and moods just perfectly put to paper. Seriously check them out!

@ichigata – whose paintery artstyle is mesmerizing and especially I love the way she draws Billy!

@darkmystwraith – who draws Billys locks perfectly! You like seeing our kings (& especially Billy) topless looking hot as hell? Then this artist is for you!

...

There would be so so many more to name… but this post is already long enough as it is. So I‘ll leave you with a big THANK YOU to all you amazing people in this wonderful fandom and am excited to check out everyone‘s else Feedback Fest entries to find even more amazing people.

#harringrove #harringrove event #harringrove feedback fest #fic rec #artist rec #fanfiction recommendation #fanart recommendation #how amazing are all of these people #amazing fanart #amazing fanfiction #stranger things #stranger things fandom #artist support #creator support

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frosteee · 3 years ago

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Re-reading Junji Ito's awesome adaption of Frankenstein got me thinking about the Creature again, particularly his request for a female monster from his creator.

When I first read the story, waaay back, I felt sympathy for the Creature wanting a partner like most people do, and angry at Victor for destroying the female creature and the Creature's hopes with it.

But re-reading the scene - from the original novel - I see it differently. While you can still understand the Creature's position (all alone in the world, feared and hated because of his appearance), his belief that having a partner would magically make him both happy and harmless is naïve, toxic and, ultimately, doomed for failure.

Naïve

I think this can be partly attributed to his creation/nature. He was shunned at birth and left to figure out his own origins and mull existential questions on his own - and the answers were terrible. He had no guide or protector - that was Victor's job, and he rejected that instantly - and so was constantly trying to fill the void, like a child would. The Creature is, for all his eloquence, still an immature child in a monster's body.

Equating marriage to happiness might also be attributed to his experience with the blind man's family, where the Creature truly gained a sense of self and concept of relationships in general. He sees the positive effects the introduction of Safie has on the blind man's family, especially Felix, who loves her:

"The presence of Safie diffused happiness among its inhabitants, and I also found a greater degree of plenty reigned there."

The Creature clearly connects this experience with his vision of life with a female partner. The blind man's family were poor, but content, because of Safie, so the Creature presumes - hopes - that the same will apply to him.

Toxic

There is an enormous amount of selfishness in this request. He is demanding another being exist to be just as miserable and alone as he is, simply so that it makes him a little less so.

The Creature is actually aware of this - he says (my bold for emphasis):

"It is true that we shall be monsters, cut off from all the world; but on that account we shall be more attached to one another. Our lives will not be happy, but they will be harmless, and free from the misery I now feel."

The Creature knows what kind of life will be in store for his female companion, but his priority is his own comfort and he simply does not care. He later states "O Creator, make me happy!", contradicting his earlier statement and suggesting that while his partner will be unhappy, he will be happy with their lot in life.

Doomed to fail

He is the misery that wants company. He constantly looks to external forces to ensure his own happiness - the blind man's family, Victor, the hypothetical female creature - but has no ability, or desire, to find his own form of happiness.

Edit: Also, a union based on shared misery is HELLISH.

At this point in this story, the Creature has suffered enormous damage to his mind as well as his body. He has killed (innocent) people in blind rage. Behaviour and thoughts like that can't just flip on a dime. He has severe issues with anger, abandonment and envy, and it has escalated to murder.

He is not at peace with his own existence, and a female version of himself (which is essentially what he wants) can't give that to him. It needs to come from within.

But again, the Creature is looking for betterment in external factors. He constantly describes himself as ugly and incapable of being more than a miserable murderer because of how he looks and how he is treated, becoming his own self-fulfilling prophecy in the process.

Having a partner just as ugly as him would not make him less so. In fact, it would only serve as a constant reminder of his own ugliness and isolation from the world. Ultimately, he would still have his insecurities and identity issues. The only difference would be that he would have someone to complain with!

Speaking of the female partner - as I said before, the Creature is aware of the kind of life she would be living, but does not consider this important enough to think twice about it. His comfort and 'happiness' trump hers. He doesn't think about what the female partner think about being created purely for his satisfaction, doomed to life of loneliness and secrecy. He doesn't consider that she might, justifiably, resent the Creature like he resents Victor Frankenstein. He doesn't consider that she, as a thinking being, would simply not like him, or not like him as much as he would want her to. He doesn't consider that he might not like her either. He doesn't consider that the violent negative emotions and trauma he suffered will have long-term effects and negatively impact his partner or humanity.

To him, the female creature is simply a means to an end. Victor destroying the creature in the novel does not take away the fact that the Creature was naïve to think that having a companion would make him truly happy, and unfair to play god just as his own creator had done. There are just so many factors and issues that the Creature either ignores or deludes himself about for the female partner to have done him or the world any good.

In Junji Ito's version - as with The Bride of Frankenstein - the female creature is completed and animated, but she rejects the Creature on sight - and it goes exactly as badly as you would expect. He blames Victor for deliberately making her that way, not caring how irrational this thought process is (the Creature was an unintelligent, animalistic thing when he was first animated). He refuses to acknowledge his own unrealistic expectations and desires, pushing all responsibility onto Victor (not saying Victor doesn't share blame as well, he does) and vows vengeance.

Ultimately, in any version, the Creature simply was not equipped with the right tools, had the right mindset, or in a position to have a partner like he wanted. It was wasn't ever going to end well, and that's the tragedy of it.

#Thoughts #analysis #literature #Victor Frankenstein #Frankenstein #Mary Shelley #Junji Ito #junji ito

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lady-of-lyon · 4 years ago

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So, I made one post a while back about how awesomely feminist the show Wild Kratts was, with how its two main female characters were women of color in engineering and deserving roles of power, female villains who weren’t motivated by spite or quest for youth, etc, but today I wanted to talk about something slightly different, that I’ve wanted to cover for a while now, because I also think it’s very good - and that’s how the show portrays masculinity, in a way that’s really positive!

First, we have our two main characters, Chris and Martin Kratt. Keep in mind these two are basically self-inserts - and there are plenty of creators, especially males, who have used self-insert characters in really scummy ways - all I have to say is Powerpuff Girls reboot and you know exactly what I’m talking about. Even if they weren’t literal self-inserts, male characters, superheroes especially, oftentimes serve the male power fantasy, being just the strong, stoic, all-powerful person so many boys are told they’re supposed to be. I could get into a whole discussion about how the male power fantasy is present even when males are not (ever look through a fashion magazine and wonder why there are so few men? Sure, part of it is that the industry thrives off exploiting women’s insecurities, and men aren’t as concerned for their appearance, but another part of it is so that the guy, looking through it, can feel like he has no competition for these women - there’s a reason so many comedians have jokes about fashion magazines being their sexual awakening as kids. It’s really scummy) but that’s not what this is about. So, the bros had every opportunity to do just that - make themselves these traditional heroes who aren’t actually really good role models, like batman or what have you. It’s certainly not uncommon for celebrity cartoons to do stuff like that. But Martin and Chris chose a different approach. They’re pretty strong standouts for positive masculinity. They’re openly affectionate - both with eachother as brothers, and with their friends. They cry, sometimes over little things - most of the time when big superheroes cry, it’s ‘cause they lost the girl they loved or their mentor or something like that, only in the big, most agonizing moments do they shed a tear. But here, Chris or Martin will cry just because they’ve had a bad day, or because they’re overwhelmed and overjoyed that someone named a mantis after them! In a lot of shows or movies when a guy cries over something little, it’s usually played for laughs, or to emasculate him, but here it’s casual without being unreasonable or overdone. The brothers cry just ad much, maybe even more (haven’t gone back and counted or anything) as the girls do. Not to mention, it’s a very nice depiction of a loving, healthy sibling relationship. As the youngest sibling myself, it’s refreshing to see a pair who don’t abuse eachother with noogies or cruel and snarky remarks. When they do fight, it’s never a screaming match, and also because they had a conflict of interest or disagreed over a fact, not because, say, one of them stole the other’s shirt or is neglecting the other’s feelings. Kids, being very impressionable, get exposed to a lot of abusive sibling relationships played as normal in media, and start thinking this is how siblings are and should act. For instance, my sister (who is now my best friend and has gotten over all these bad habits over time) when she was younger watched a lot of Kim Possible, a show that is great, but has a bad family dynamic with Kim and her little siblings. The “tweebs” as she calls them are always irresponsible, destructive, and making Kim annoyed to no end. My older brother was one of the most polite, reserved, kind little kids, but she still treated him like he was a brat and a nuisance, because that’s what shows like Kim Possible taught her little brothers were. Additionally, I was always treated like a spoiled crybaby who just wanted attention and got away with everything - I was not any of those things, ever, but that’s what shows teach you little sisters are. Sure, Wild Kratts has a smidge of that, with Chris seemingly being the stereotype of the know-it-all little sibling, but instead of being constantly looked town upon for being too “perfect” like with Hailey Long in American Dragon, Martin often praises his brother for his abilities. Sure, Martin gets annoyed when Chris tries to correct him on things, like in the episode Wolf Hawks, but everyone else does too, so it feels more like a take-down of mansplaining than a sibling spat.

I talked too in the feminist post about how refreshing it is that Chris and Martin more or less willingly put themselves under the authority of Koki and Aviva, two women of color. I don’t think it’s possible to say any one character is the “leader,” they all work as a evenly balanced team, but it’s safe to say that Koki and Aviva make the more responsible decisions. The bros try to get out of their calls a few times, but the show plays it more like they’re being irresponsible, and less like they’re renegade cool dudes who don’t take nothing from nobody, especially not two girls. They are pretty much always punished via karma for their reckless choices, most especially in To Touch a Hummingbird, where their arrogant attitudes blow up in their faces rather spectacularly. We also never see the narrative most present in sitcoms, where the male leads mess up and go out of their way to cover it up and ultimately gets away with it - after all, you have to root for them, right, because sure they messed up and had no consequences, but aren’t they just so lovable? No, here Martin and Chris always have to fix their wrongdoing, and it’s always deserved when they get comeuppance. Another aspect of the show I like is that, many times, when the bros get captured or are in peril, they are saved by the women - and most refreshing of all, there’s never a moment of “wink wink nudge nudge wow I can’t believe I had to be rescued by a GIRL” or even “wow you saved me you’re pretty good honey guess I shouldn’t have underestimated you, you go girl!” No, when the girls save them, it’s just - you know, relief? Because they were saved? It’s never a scenario played as an exception, or any more dire than when the bros need to rescue eachother. The bros are genuinely happy to have them as teammates. The show even did the standard “boys vs girls” episode in the form of When Fish Fly - but instead of being actually girls vs. boys, it’s engineers vs. adventurers. There’s nothing really gendered about it - the girls happen to be engineers, and the boys happen to be adventurers. And the episode doesn’t end with the boys being “wow gosh darn I shouldn’t have doubted you girls are better at everything,” it’s a mutual agreement that both parties have hard jobs. Basically, the bros are very naturally respectful of women. That plays more into their feminist narrative too, but either way, it’s refreshing.

Then, we have Jimmy! Jimmy, the lovable gamerboy pizza man. At first glance Jimmy seems like the stereotypical cowardly, pathetic, emasculated loser. He’s frightened of most things, as of yet has no power suit, and he BAKES for crying out loud! But none of these things are framed as terribly bad traits. Sure, we laugh when he screams and runs from an animal, but though it happens over and over, the crew doesn’t get sick of it. They don’t berate him or belittle him because he’s so gosh darn cowardly. There’s a great scene in Rattlesnake Crystal where Jimmy has to deliver something to the bros alone, in the middle of a spooky desert. He is terrified the whole time, sprinting off after he delivers the goods. When Martin and Chris run into him, they don’t laugh at him for being spooked, they just greet and then bid fair well to their friend. To them, this is just Jimmy, and there’s nothing wrong with it. Jimmy isn’t coddled, but he is reassured many times that he’s a valuable member of the team. I love that little message, that you’re just as important of a person even if you can’t do as much or have greater limits. When his friends do try to get him over his fears, it’s not because they have to, that the day will somehow be ruined by Jimmy’s incompetence p, but because they’re his friends, and want him to experience fun and wonderful things that he would otherwise miss out on. But what Jimmy CAN do is just as important! Jimmy is a gamer, which in a lot of shows, is portrayed as a lazy, useless, mindless hobby. But here, because he plays video games, it makes him essential for piloting the ship and teleporting important items. There’s always the joke that video games improves your hand/eye coordination, but recent studies have shown it has much better effects. It can make you much better at keeping track of multiple moving objects and processing technical but variable information- two traits which, fittingly enough, are really really important for air traffic controllers and airplane pilots! He also demonstrates a lot more courage behind the wheel of the Tortuga, which makes sense - in an impersonal setting, he would have more sense of calm and control and courage, because it’s so similar to a video game world. It’s not all too different with how I feel more emboldened to pick fights with people on the internet, but get crazy anxious if a real person so much as looks at me. So Jimmy’s love of video games isn’t because he’s irresponsible, it has real benefits. A quick last point - Jimmy also eats a lot, but they thankfully don’t make him fat or greedy or anything like that. He never takes food from people, he actually bakes, and shares it with others! Having the baker be a boy is a lovely touch.

I might do another post about the toxic masculinity of the two villains, (or four villains, I guess, if I wanna discuss the minions) but I’ve got other work to do, and this post is long enough already, so I’ll get around to it later. I’ll sum it up with this - Wild Kratts is a show that teaches boys it’s not only ok to be kind, but essential. The brothers protect defenseless animals, advocate for things “icky” and “weird,” like bugs or snakes or worms - not because they’re boys, and boys like icky things, but because they genuinely see the beauty in all life, and are encouraging us to slow down and do the same. The Wild Kratts are heroes who save the world not by being the strongest or smartest or coolest, but by looking after those who are exploited and vulnerable, who are essential to the world, even if they can’t always do everything. In Wild Kratts the only weaknesses a man can have isn’t what he can’t do, but what he does do that he shouldn’t have. Sure, it’s a cute show about two funny guys who have cool powers, but it’s also a show about accountability, compassion, respect and trust. The show says “boys will be boys” in all the right ways - Martin is a lovable goof with a heart of gold, but he still has to get his act together when he messes up, and he’s still creative and smart and openly sensitive. Chris is a bit of a know-it-all show-off, but he can also mess up as much as his brother, and is still bold, brave, adventurous, and can put his money where his mouth is. Jimmy is a cowardly, napping, eating machine video-gamer, but he’s still a valued member of the team, has incredible skills and talents, and will always help his friends, even if he is really, really scared. It is so important to have role models like these, in a world dominated by unhealthy machismo. The Wild Kratts are heroes who save the world - both animated, and real.

All they need now is a canon queer character, and I’ll stan them forever! My money’s on Aviva!!

#wild kratts #chris kratt #martin kratt #long post #hottake #feminism #meninism #positive masculinity #toxic masculinity #jimmy z #wk jimmy #kratt brothers

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nealcassatiel · 4 years ago

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Supernatural and Russia and the mess of Television Legal Contracts

One of the most important aspects of a television series’ life cycle is its distribution. It is in the stage of distribution when the production companies/studio recoup the largest amount of costs.

By looking at who distributes the show, as well as which companies stand to gain the most from distribution profits, we can gain greater understanding of the various complex agreements and finances at play.

Viewing Statistics in the USA, Russia, and other International Territories

Let’s take a look at where Supernatural is distributed, and it’s popularity in the countries in which it airs.

After the US, in the past 30 days, Supernatural’s next biggest market is in Russia. The next is in Brazil.

This got long - more under the cut (I’ll be talking about cuts shortly)

In Russia, Supernatural has been in the top 0.2% watched shows in Russia (link)��. This is also the case in Brazil.

In 2019, a modest survey was done on urban and rural Russians asking them what foreign television they watch. Supernatural was the 6th most mentioned foreign television show (link).

In 2017, Supernatural was three times more popular in Russia than it was in the US (link - this article has just a whole other host of information about it being popular amongst urban and rural US residents, as well as popular amongst both Republics and Democrats, however i haven’t looked further into that data so not going to discuss it much here)

So selling Supernatural to Russia and airing it in Russia is going to bring in a lot of revenue for The C*W and the production companies. That is a lucrative distribution territory and of a huge amount of importance to the network. Russia will air both new episodes, and reruns. Of course, if Supernatural made a queer love story a central premise, then execs are going to get scared that not only will the finale may not be aired in one of their biggest, if not their biggest market: Russia, but that the broadcasters who distribute the show in Russia might also pull the rest of the show and stop broadcasting reruns too. That’s a shit tonne fo distribution profits gone for The C*W, and who knows, maybe their relationship with Russian broadcasters who air their other shows will be on the rocks. After all, trying to sell gay tv to Russians right now is, sadly, never going to happen. This is not an indictment on the Russian viewers, but me saying that the show won’t be sellable to Russian broadcasters if it is too queer.

A huge huge majority of US Supernatural fans are progressive and wanted the more queer focused and found family ending. But the C*W and Warner believes that there are still enough US fans who don’t want something that progressive to be shown. They also know that one of their biggest markets is Russia, and Dean being shown to be bi will not go down well there. I’m just speculating, but The C*W may have looked at those chunks of audience who give them money and decide that they only care about those profits.

The frustrating thing however, is that no matter the power of Russian Supernatural audiences, looking at the other progressive countries and the popularity of Supernatural there - these numbers as a collective outshine those of Russia. So maybe Russia isn’t that important. Or maybe all The C*W needed to think was ‘we don’t want to stop profits from our biggest international viewership’ and so they never even went further and thought about the collective viewership of the audiences from progressive countries. As I said at the start, distribution is where the companies who invested into making a show recoup the most costs. All the money that comes from distribution is incredibly important.

DISTRIBUTION AND CO-PRODUCTION AGREEMENTS

The writers, the crew, the actors, don’t really get the distribution profits. They may get small cuts of things or bonuses here and there, but they’re all essentially employed by the production company. It is the production company and studio who has sunken money into making the show who will get a cut of the distribution profits. So the production companies and co-production companies, the creator (maybe still if they had a good agent when they first sold the pitch), the network are all going to be the ones to care about how much a finale will matter to profits from showing reruns in less progressive countries. Dabb is an employee - he personally will be paid a fixed sum which is given to him by the production company. He does not care if SPN can’t be aired in Russia - that has no personal affect on him. He was paid to showrun the series and he’ll get nothing more even if it becomes the most watched anti-gay homophobic celebrated show in Moscow. He has no financial reason to cater to anyone. He’s just an employee.

But if information like this, the knowledge that for multiple years TPTB have wanted Supernatural to cater to a non-progressive international and national audience for the sake of distribution profits, then the show should have never have taken the narrative to a place whose ending could not be green-lit.

If for the sake of these pofits and other secondary rights, for the sake of appeasing rural/southern USA viewers, and trying to keep an audience for Walker, The C*W derailed the final two episodes, then I still don’t fully understand why the ending was heading towards destiel when all of this distribution finance information has been known for many many years.

It makes sense why such a terrible finale would happen, but it doesn’t make sense why up until episode 18, the entire narrative of the show was leading somewhere completely different? Why were the writers of SPN heading straight towards one thing, if they knew they always knew that they’d have to have a completely different ending?

The Right of Final Cut / Final Cut Privilege

The answer may lie in the fact that The C*W wasn’t really paying that much attention to SPN, they couldn’t really see all the subtext, but suddenly the subtext all was going to become text and they were all twiddling their thumbs and looking for something to do during COVID when the industry shut down, so they suddenly got way more involved.

Let’s quickly clear up who The C*W is and how they relate to SPN as a company. Supernatural lists The C*W as one of it’s distributers, but lists Warner Bros Television as a production company. When SPN started it was made by The WB (which is now The C*W). It’s all under Warner Media anyway, but we can basically say that Warner Bros Television (listed as a co-producer of SPN) is the sam as The C*W who is listed as a distributer of SPN. They’re essentially the same so The C*W is both producing and distributing SPN, as well as owning the format rights to the show - sorry that’s all complicated anyway The C*W are the big dogs who own Supernatural and have done from the beginning back when they were called The WB)

Essentially, The C*W have a co-production and distribution agreement for SPN. The power they have from that first agreement when they bought the show off Kripke is almost certainly still MASSIVE today. They are not only the ultimate distributers, but the ultimate producers with all the agreements and all the rights.

Anyway, back to that first agreement: This was Kripke’s first big deal, and he almost certainly gave Warner Bros/The C*W a whole host of creative control in exchange for them sinking a shit tonne of money into making the show. Which makes me wonder if The C*W has something in entertainment law called “the right of final cut/final cut privilege”. If a studio or distributer has sunken a heck tonne of costs into making the series and are the ones who most need to recoup the distribution costs, then in their contract they may try to give themselves the ‘final cut privilege’ - essentially, this is the final edit. There’s the Director’s Cut, but then after that there is the Final Cut. The Final Cut is what is broadcast. Nowadays, most series and films don’t allow the directors to have final cut privilege anyway - it’s fairly rare from my understanding (one of my hats is a television legal contracts assistant, and all of these contracts still confuse me even though it’s an element of my job - I’m not trained in this outside of work so i apologise if this isn’t clear). The studio or distributer doesn’t even need to clear their final cut with the writer/director/producer. They can just do it. Cut it up and broadcast it, because they’re allowed to in their contract.

So with the finale episode being so short, a mess of montages, Carry on My Wayward Son versions back to back, a narrative mess, the pacing completely off, some scenes way too short and others way too long - this really could insinuate that the stupid clause of ‘the right of final cut’ was utilised by The C*W and without the need to get the permission or allowance of Dabb or even the other production companies, they edited everything they didn’t like out of the finale, citing their contract and the fact that they’re the ones who need to recoup distribution costs, and they don’t want to piss off large swathes of their national and international audience.

In Conclusion

So positives? Well, now that SPN is done and dusted, if there is a spin-off then this shouldn't affect distribution deals in Russia or Brazil. If whoever buys the format rights for Supernatural, allows The C*W to still sell the old series distribution rights, then market the new season of SPN not as a new season but a spin-off, then this will give them more freedom to not cater to the conservative international and national audiences SPN was beholden to due to distribution profits. What I’m saying is - a spin-off could free itself from catering to anyone who isn’t progressive. The old audiences can carry on showing reruns of SPN and completely ignore the new ‘fake’ gay spin-off. They can say that it’s a different production company, a different network - and therefore not the legitimate show. Great. Free SPN.

A new format agreement could also mean that the new producers could ensure that not the distributer, but the director, or the new trusted production company themselves gets the Right of Final Cut. If another agreement is made, please please please take that right away from The C*W/Warner.

The difficulty in getting the SPN rights would be caused by the mess of a Format Agreement to even get those rights... Supernatural is co-produced by Kripke Enterprises, Warner Bros. Television, Supernatural Films, and Wonderland Sound and Vision. I’m assuming Kripke Enterprises and Supernatural Films may be under Warner Media (as Warner Bros and The C*W itself is). If Jensen wanted to produce the new spin-off then his new production company is under WB/Warner Media too... so. Disentangling meddling and shitty Warner Media execs from a spin-off would be difficult because they own everyone.

All in all, it’s easy to see now with that mess of a finale that this was caused with whoever has “The Right Of Final Cut/Final Cut Privilege’. And I HIGHLY doubt Singer or Dabb or any mere employee on the show has it. It’s more and more obvious to me that this power lies in the hands of The C*W/Warner and they didn’t even try to loop Dabb or the main cast in when making the final edits. I’m sure the C*W started to get involved at episode 19 and in the development stage of episode 20, but i’m certain they had a hand in the disastrous final cut.

I hope we’re able to pry our beloved show out of the hands of those who don’t care about its narratives, but have more power than anyone to change the show’s narratives. Thanks for coming with me on this essay/me working out this complicated mess. It’s 00:50 and I'm super tired so I hope all this makes sense. Television contracts confuse me and I work with them so i dunno how clear any of this is.

Anyway - I hope it was totally boring.

#spn #supernatural #spn statistics #spn analysis #fuck the cw #fuck the finale #viewer statistics #i dont know if i find contracts interesting or dull #i haven't worked with contracts since covid happened #so i may be kinda rusty on my knowledge #but hope this was of interest nevertheless and sorry for any legal errors #supernatural finale #spn finale #tv industry #industry stuff #final cut privilege

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multimetaverse · 4 years ago

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HSMTMTS 2x05 Review

The Quinceañero was a truly historic ep featuring the first time two boys have ever kissed on a Disney show. Let’s dig in!

We got the second same-sex kiss in Disney history tonight, Big Shot had the first last Friday, and the first kiss between two boys in Disney history. It’s a huge step forward. That’s not to say that Disney is going to start approving more same-sex kisses or lgbtq relationships or characters but the door is now open and at least some other shows and movies will be able to eventually follow in HSMTMTS steps.

Really nice cover of The Climb, Joe has such a great voice. It was cute that young Seb had watched young Carlos’ dance vid and felt inspired. Frankie and Joe being an irl couple certainly helps give Seblos a good rapport but it also helps that creator and showrunner Tim Federle is an openly gay man himself. I think if a straight man was showrunner we probably wouldn’t get such dedication to Seblos as a couple.

It was a really funny ep too: Carlos saying his love language is riddles, Ricky asking Nini who they talk to when doing their confessionals, Carlos saying Miss Jenn was a master of smoke and mirrors, Benjamin Mazzara and Mike Bowen interacting. My personal favourite gags were when Big Red said he always wanted a nickname and Kourtney immediately did an office stare and when Nini said Picasso was a terrible person.

Gina still going through it. Kourtney is right that it doesn’t really make sense that Gina is now going to all this trouble for Carlos but to be honest the writing and pacing has been disjointed so far this season so a lot of things aren’t flowing as well as they need to. Is what Gina regrets convincing Ricky to go back on stage as that helped get Rini back together? That’s petty but fair and also true to teenage emotions (though she shouldn’t beat herself up too much, Rini were clearly on the path to getting back together by that point anyway).

Jesus Christ, Ricky needs to read the room. Last ep he correctly realized that Gina wouldn’t want to hear about his Nini issues and tried to stop Big Red from mentioning them but now he’s just doing it himself? Obviously they’re trying to drill in the fact that for now Rina is one sided but it’s a little much. Also really doesn’t make sense that Ricky wouldn’t go to Kourtney or Big Red for this kind of advice.

Sofia Wylie was killing it this ep, both her and Joe are showstoppers. A Dancer’s Heart was great and she did a good job of acting on the verge of tears almost the entire ep

At least EJ actually thought to ask Gina how she’s feeling though and she clearly appreciated it after she got over her shock. It does seem that reports of Portwell’s demise were greatly exaggerated, with the music and the longing stares they’re setting up for at least EJ to have a crush on Gina. Hell even Mazzara picked up on it at the end. I had noted last week that it seemed like Gina’s story line in S2 was being thrown out of balance by the writers dropping a planned Portwell plot and sure enough this week we actually begin to see Gina’s story arc not being entirely her pining over Ricky.

EJ also benefits by being given something to do instead of just standing around in the back. I’m glad he took Mazzara up on the AV club offer and they have a nice mentor-mentee relationship going on. It’s also a nice little parallel with 1x05 when Gina told off EJ and had a moment with Ricky and now in 2x05 Gina tells off Ricky and has a moment with EJ.

Matt seemingly dismissed Portwell as a friendship rather than even hinting at something between them. I guess he could have been told to keep it under wraps as much as possible but odd that they wouldn’t hype it a bit; it’s not like this came completely out of left field, people were wondering if Portwell might happen because of the moment they had in 1x10 and the facetime call they had before S2. Sofia has already said that Gina will have love interests this season and EJ being one, even if it’s brief, would make whole lot of sense since there’s really no one else for except Jack who only shows up much later and doesn’t seem to be in more than an ep or two.

Rini was sweet tonight. Yes Ricky is being clingy which stems in large part from his mom’s abandonment and in fairness Ricky and Nini have probably been used to spending much of their time with each other since they were kids. Loved that ‘I think you kinda you know’’ call back tonight. Looks like Nini will be cast as the Rose which should be interesting.

Miss Jenn is pulling Mike Bowen, Ben Mazzara, and Zach Roy. Good for her! Jike shippers certainly feasted tonight as Mike crashed a teen bday party just to see Miss Jenn and we got confirmation that everyone’s fave Disney Dilf was born in the 70s and must be no older than 51.

Well gotta love Lily’s commitment to bringing down East High and drinking scalding hot black coffee. She really seems like she just stepped off the set of Glee

Really hope we see those puppies and man was that wolf adorable

Not both HSMTMTS and Love Victor both making Okay Boomer jokes (it worked when Pilar said it to Felix but not when Ricky said it to his dad)

Big Red exposing Kourtney and Howie was good and it looks like their plot kicks into high gear next ep

Bet Tim thought he was real clever for that shot of Mazzara, Mike, and Miss Jenn in a triangle

A well shot ep except for one weird and abrupt cut from Mazzara saying Caswell to Seblos outside the barn

Looking Ahead:

EJ stopping Gina from leaving would certainly further their relationship and would parallel him being the one to bring her back in S1. I still don’t get why they didn’t just use the Valentine’s chocolates as a plot device to further this plot; just have EJ secretly send them as he was also lonely and you can still have Gina think they were from Ricky.

From what I’ve seen online this Portwell hint has been controversial. It’s true that there’s an age gap between the characters of 2ish years and a much bigger one between the actors but I don’t think that will stop Tim as he already had EJ date Nini. I’ve also seen comments that it would be a bad idea since EJ is leaving at the end of S2 once he graduates but he’s not actually leaving, they’ll keep him around in some fashion until the current juniors graduate.

So far it seems like Rini is the Rucas of hsmtmts, Rina is the Lucaya, and Portwell is the Joshaya.

Kowie starts progressing a bit next ep and we may possible see Antoine next week or the week after according to Larry.

Presumably Ricky’s clinginess starts causing trouble between him and Nini.

Still so funny that North High just up and decided to do Beauty and the Beast just to bring down East High.

Until next week wildcats

#HSMTMTS #Seblos #Rini #Portwell #seb matthew smith #Carlos Rodriguez #Gina Porter #EJ Caswell #Ricky Bowen #HSMTMTS Reviews

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heniareth · 3 years ago

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Here's that ask I promised :D Some more questions for the OC ask meme <3

What is your character's biggest realtionship flaw? Has that flaw ever destroyed relationships for them before?

Companion they are closest to and why?

Thoughts on the Dalish?

What biases does your character have? (This can be in favor or against)

How does your OC react in stressful situations?

What do they like to ridicule and/or what do they find stupid?

Does your OC have recurring themes in their dreams?

What is your OCs proudest moment?

Did you create the OC to be like yourself, did they end up being like yourself, or are they very different from you?

(These are a lot again, it is so hard to hold back xD So take your time and no pressure as always :) Just excited to get to know more about your Astala <3)

Thank you for the ask!! I had this sitting for forever, life has kept me busy, but I'm so excited to give this a go XD And to delve into some aspects of Astala that I haven't given much thought yet, so that's exciting.

What is your character's biggest realtionship flaw? Has that flaw ever destroyed relationships for them before?

Astala's biggest flaw when it comes to relationships is her inability to let go of people. On a positive note, this trait manifests as a very strong loyalty. On the negative side, it will lead her to cry after relationships that have ended and pour over them to try and find out what went wrong. It can also put her or other people she cares about in danger; especially in her position as the de facto leader of the companions, this could quickly lead to the loss of a whole unit (aka the three companions you can take with you on missions + the Warden). Luckily, she has Morrigan and Alistair (and Sten and Zevran) who can and will point out when a course of action is likely to put them in more danger than they already are.

Companion they are closest to and why?

Ooof, this is a tough one. Ironically, the romanceable four. Alistair is practically second-in-command, even though I imagine he’d protest at the title. They work closely together and are therefore quite close. Astala admires and respects Morrigan, even when her opinions and advice goes against most things Astala believes in. She’s the kind of friend you know would hide a body for you. Leliana is a friend in the more “common” sense. She and Astala both have a thing for nice clothing, their morals are similarly aligned, and they just get along in general. And then of course there’s Zevran, who’s Astala’s love interest. Funnily enough, they both started off annoying the hell out of each other over various petty reasons, and it takes them some time to really see each other for who they are. And from that point on there’s no turning back and they fall hard.

Thoughts on the Dalish?

The Dalish are an interesting subject. Astala hadn't met any previous to the Blight (although her cousin Shianni imagined her dad, who she never knew, to be a strong Dalish warrior). So to see them live these relatively normal lives when she encountered Zathrian's clan was... odd. But on the other hand, their lives were everything but normal because they spoke elvish, worshipped the Creators, had halla and could go wherever they wanted. So the first thing Astala did when she got there was ask a metric ton of questions about everything. On the other hand, the way some of the Dalish talk about the city elves makes her sad. They have a point , the city elves would probably treat one of the Dalish similarly, and she understands the distrust in anything that so much as smells of humans; but she still finds the divide tragic. She also thinks the Dalish are a bit too proud for their own good; but then again, how else are you going to defend yourself against a world that threw an Exalted March against your forebears' homeland?

What biases does your character have? (This can be in favor or against)

Astala is generally biased in favour of elves, and in favour of whoever she percieves to be the underdog in a given situation. This can lead her to get duped (it hasn’t yet in my current playthrough, but it probably will at some point).

How does your OC react in stressful situations?

When in stressful situations, Astala generally tries to remain in control of it. To do so, she relies heavily on whatever companions she has at the moment and the resources available, both in the environment and on her person. She tends to try and talk things out, but also to make rash judgements, which uuuuuh can backfire (she's quick to draw her blades, for instance, and that does not exactly help to deescalate situations). She also has a tendency to just seize control. She also will give orders and will expect others to follow them. The companions look to her as a leader, so that works out fine. In Redcliffe, however, she did find that the militia men would listen to the mayor, and not to her. That was frustrating for both parties.

What do they like to ridicule and/or what do they find stupid?

Human nobles. Just the whole package. From their fondness of dogs and their dainty dances (which her father, who was a bann's servant, would describe to her and her cousins) to their pointy-ended shoes and their petty grievances (because when you have enough money to boss other people around, all your grievances are petty, right?). A surefire way to keep the younger kids entertained was to pretend to be a noble, let them play servants, and have them wreak havoc upon you as they got orders wrong on purpose and "stole" the "noble's" belongings. Afyer the Blight, that fondness to ridicule sadly wanes away and leaves mostly frustration in its wake.

Does your OC have recurring themes in their dreams?

Astala is a terribly heavy sleeper. If she dreams, she doesn't remember it come morning. She can therefore sadly not report any recurrent themes in her dreams as of now.

What is your OCs proudest moment?

Apart from the power trip in the Fade (she walked out smiling and continued to smile until Uldred turned into a pride demon), it was probably when she got her first job. She was 14 at the time and overheard some boys talking about how a merchant was expecting a big shipment and looking for new help. Up until then, she had been trying to get a job as a servant like her father, to no avail. On a whim she followed the boys, and lined up with the other hopeful candidates in front of the merchant's warehouses for a try-out (a selection process entailing an unpaid day of work). She proved herself to be strong enough to lift and carry crates, small and nimble enough to climb to where others couldn't reach, and above all she got extremely lucky. She was called back, first for one month, then for a trimester, then for one year and for another. And while Cyrion would have liked his daughter to have an easier and less dangerous job, he was proud right alongside her when she brought the first coins she had earned home.

Did you create the OC to be like yourself, did they end up being like yourself, or are they very different from you?

I created Astala's first version (which I mentioned in this post) based on a character that was very much an ideal; strong, kind, and above all, brave and adventurous. That first heroic version then got put through all the trials and tribulations of the story, and I was very much going with my gut instinct and not with a predetermined idea of the character when I tokk her decisions. So basically, this first versions had a good chunk of my morals and priorities. After the Deep Roads, that first version started getting depth; she reacted very strongly to having to shoulder the responsability of chosing a new king for Orzammar, for Ferelden, and defeating the Archdemon. From that point on, I started exploring why that reaction might have been so strong. Astala as she is now is the product of that exploration (during which she acquired some fears and pain points she shares with me. Examples are the fear of messing up, the sometimes blind loyalty or the need to shoulder all the responsability). Bottom line: she definitely has parts that are mine, some of which she acquired over time, but she's her own person. She's not me.

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That was a lot of fun!! Thank you so much for the ask and sorry for the delay >.< But I'm very happy I finally came around to it, I always love answering these

#astala tabris #dao #dragon age #warden tabris #dragon age origins #dragon age: origins #da:o #da: o #da: origins #the warden #the hero of ferelden

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astrognossienne · 3 years ago

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tragic beauty: lupe vélez - an analysis

“I had to play with boys, girls found me too rough.” - Lupe Vélez

This is an analysis I’ve wanted to cover for a while for quite a few reasons. Primarily because, in a few ways, I see myself in her and, as such, feel the need to defend her and assert her true legacy: as a pioneer. Which brings me to the main reason I wanted to do this: to correct the scurrilous rumours about her premature death cooked up by a hating ass imbecilic Aquarius whose infamous book doesn’t deserve to be named. So if you want to hear the truth about this lady, read on.

Known as the “Mexican Spitfire”, Latin bombshell Lupe Vélez was (an to an extent, still is) a much-maligned and terribly misunderstood woman. A true Cancer, she was a force of nature and unconsciously antagonized others and made them uncomfortable because of her authenticity to herself and her emotional nature. Born during a storm, she had a naturally stormy personality. She could be hilarious and charismatic one moment, and depressive and vicious the next. Instead of anyone trying to understand her, they just stuck her with the “spicy fiery Latina” stereotype, not knowing or caring what was behind it. The harshness of her life before stardom may explain some of her fearsome, yet fun, personality; she grew up with violent trauma – watching her father kill and almost be killed during the Mexican Revolution. She also is believed to have had undiagnosed bipolar disorder, which would explain her extreme moodiness and outbursts.

One of the first Latina actresses to make an impact in Hollywood, she was subjected to the racist, sexist Hollywood tropes that forever typecasted her—she was called “senorita cyclone,” and the “hot tamale”. The Hollywood press willfully misunderstood Vélez’s sex positivity and consistently portrayed her as a woman who took great pleasure in her body, and indeed, the tempestuous Vélez had numerous affairs, including a particularly torrid one with a young Gary Cooper, and a tumultuous marriage to “Tarzan” star Johnny Weissmuller. But in 1944, at age 36, she found herself pregnant with the child of a little known-actor name Harald Ramond, who would not marry her and this reality made her come undone, and like my other baby Carole Landis, she succumbed to an drug overdose. Her promiscuity, right or wrong, became part of the way her stardom was packaged and promoted. Also, the press naturally compared her to (and pitted her against) Hollywood’s only other female Mexican star—the “high-class” and elegant Dolores Del Rio. The press couldn’t even find sympathy for her even in death and a false story was printed that she drowned in the toilet after vomiting up a spicy Mexican dinner. Her death is parodied and mocked to this day. Again, she’s a true Cancer in the sense that the same imperfections that everyone else has, she is seen as less than human for having them. I hope to help right that wrong by honoring Vélez for being the trailblazer that she is. At any rate, Vélez would seem to be a prototype for contemporary female stars, from Madonna to Rihanna, who have proclaimed their pleasure in their body and their sexual liberation — a pro-sex activist before her time, doomed to suffer the rejection of a more puritanical age.

Lupe Vélez, according to astrotheme, was a Cancer sun and Leo moon. She was born María Guadalupe Villalobos Vélez in San Luis Potosí, Mexico, to young upper-middle class parents. Her father, Jacobo Villalobos Reyes, was a colonel in the military, and her mother, Josefina Vélez, was an opera singer. They also had another son, John and daughter, Annette. The Villalobos family were considered prominent in San Luis Potosí and most of the male family members were college educated. The family was also financially comfortable and lived in a large home with servants. As a young girl Lupe showed an interest in performing, but her father was outraged at his daughter’s “low-class” dreams, and forbade his daughter from being in show business. All that changed during the war. Her family was in a state of upheaval—the Mexican Revolution was happening, her father had been presumed dead in the war and all their money was gone. While most of her family members were too proud to get jobs, a teenage Vélez did just that, supporting the family by working as a saleswoman in a department store. She then finagled an audition with a local theater. However, her father was indded alive and well and soon returned home from the war. Because at that time becoming an artist and coming from a well-to-do family was seen as embarrassing, her father refused to let her use his last name in theater, so she used her mother’s surname.

She proceeded to seek out venues where she could dance the then-popular “shimmy.” In 1925 she was cast in the big stage revues Mexican Rataplan and !No lo tapes! and became a big audience favourite. Her name got around to American stage star Richard Bennett (father of American film stars Constance and Joan Bennett), who was looking for a Mexican cantina singer for his new play. Lupe traveled to Hollywood but was rejected for the part for being too young. While in Hollywood, Lupe met film and stage comedienne Fanny Brice, who took a liking to Lupe because of her sparkling personality. She put in a good word for Lupe to impresario Florenz Ziegfeld (creator of the Ziegfeld’s Follies), who could use Lupe in one of his Broadway musicals. However, MGM producer Harry Rapf heard of Lupe as well, and offered her a screen test. When producer Hal Roach saw the test, he immediately signed her to a contract. Vélez soon made her major film debut in Douglas Fairbanks’ action-romance The Gaucho in 1927. The film was a huge hit and Vélez was an overnight sensation.

Along with her professional life gaining steam, so did her love life. Vélez sought out some of Hollywood’s hottest men, which wasn’t hard for a hot and sexy number like Lupe; men flocked to her like bees to honey. She was romantically linked with Gary Cooper, Charlie Chaplin, Clark Gable, cowboy Tom Mix, “Tarzan” actor Johnny Weissmuller, Errol Flynn, John Gilbert, Henry Wilcoxon, singer Russ Columbo, Randolph Scott, author Erich Maria Remarque (who wrote All Quiet On The Western Front and later married Paulette Goddard), Clayton “Lone Ranger” Moore, director Victor Fleming (director of Gone With The Wind), and boxers Jack Johnson and Jack Dempsey.

One of her first conquests was cowboy star Tom Mix. She also had an with newcomer Clark Gable, who cut off their romance because he was afraid Lupe would run all over town discussing their sexual secrets, which she did. Soon she had a torrid affair with comic genius Charlie Chaplin in 1928. Lupe revitalized Chaplin’s libido after he had gone through a torturous divorce from his wife. Whatever time she had for the many men in her life, that same appreciation didn’t extend to other women and she would frequently battle with the other females with whom she had to work with and would often threaten them; when she was starring in director D.W. Griffith’s Lady of the Pavements, she had to co-star with an actress named Jedda Goudall, whom she hated, and the two had a ferocious cat-fight on the set. When she made her final appearance on Broadway in the Cole Porter musical “You Never Know”, Vélez and fellow cast member Libby Holman feuded viciously. The feud came to a head during a performance where Vélez punched Holman in between curtain calls and gave her a black eye, which pretty much ended the run of the show. Vélez was territorial about the men in her life, she was vicious toward any woman who might be competition for her man or an acting role. She mocked Marlene Dietrich, Greta Garbo, Katharine Hepburn and Shirley Temple, and her arch nemesis Dolores Del Dio by doing imitations of them.

When she was cast in the film The Wolf Song in 1929, she met Gary Cooper and immediately started what would be her first widely publicized romance. Theirs was a one-sidedly volatile relationship; he would often appear in public with scratches and bruises. One time, she attacked him with a knife during a fight. He needed stitches. By the end of their time as a couple, Copper had lost 45 pounds and was physically exhausted. He was ordered by the studio to take a vacation. As he boarded a train, Vélez shot at Cooper but missed. Lupe soon moved on to other men; she had a thing for fighters. In addition to having a brief fling with boxer Jack Dempsey, she conducted a flagrant, but secret, affair with the black boxer Jack Johnson. In those days, blacks and whites almost never conducted sexual affairs out in the open. She met Olympic swimming champion Johnny Weissmuller at the hotel where she was staying that was owned by film star Marion Davies. One problem: Weissmuller was already married. But no matter, he dumped his wife for Lupe and married her October 8, 1933 in Las Vegas. Theirs was not a happy, serene marriage, and they constantly battled, with Lupe filing for divorce several times in 1934 and changing her mind each time. Weissmuller’s patience was so strained he dumped a plate of salad on her head at Ciro’s nightclub. Finally, in 1938 she filed a petition that was finalized in 1939.

After having many hit pictures with MGM, they unceremoniously dropped her. The excuse was that the studios were no longer going to make Spanish versions of their films and there was no longer a need for Latin actresses. Vélez returned to Mexico in 1938 to star in her first Spanish-language film. Arriving in Mexico City, she was greeted by 10,000 fans. The film La Zandunga, was a critical and financial success and Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles. She soon went to RKO Studios and starred in the B-movie The Girl From Mexico. Despite its lowly status, the picture became a tremendous hit with audiences. RKO rushed her into another film, this time called Mexican Spitfire, playing an emotionally volatile singer named Carmelita. The 1940 film became another smash for Lupe. The Spitfire series of eight slapstick comedy films rejuvenated Lupe’s sagging career. In late 1941, she had an affair with writer Erich Maria Remarque whose wife, actress Luise Rainer later wrote that Remarque told her “with the greatest of glee” that he found Vélez’s volatility hot.

At this same time Lupe took on another lover in the form of a French 27-year-old bit actor named Harald Ramond. He was a strong and controlling man who knew how to tame Lupe. After she discovered that she was three months pregnant, she announced her engagement to Ramond without his knowledge or consent. When he learned of her pregnancy, he refused to marry her. Deeply hurt and stunned, she felt backed into a corner; she knew her career would be ruined in Hollywood if word got out she was pregnant and unmarried. It just wasn’t done in those days. And despite her wildness, Lupe was a devout Catholic, so abortion was out of the question. She could see only one way out: suicide. On December 18, 1944, at the age of 36, Vélez swallowed 70 Seconal pills, she lay down on her pink satin pillow on her over-sized Hollywood bed and arranged herself like a movie star, with her hands folded across her chest and went into an eternal sleep. Dramatic to the end, Lupe went out of this world in glamorous style. She left a suicide note addressed to Harald, which read:

“To Harald, May God forgive you and forgive me too, but I prefer to take my life away and our baby’s before I bring him with shame or killing him. How could you, Harald, fake such a great love for me and our baby when all the time you didn’t want us? I see no other way out for me so goodbye and good luck to you, Love Lupe.”

THAT is the truth. But the bottom line is: how she lived her life as well as the circumstances around her death are all irrelevant at the end of the day. What matters is the loss of a great multi-talented, pioneering Mexican star and a legacy unrealized and stunted by a world that wasn’t ready for her.

Next, I’ll talk about the most famous of her paramours, the yin to her yang, a perfect example of the special chemistry that Taureans and Cancers share, the strong, silent hero of the silver screen: Taurus Gary Cooper.

Stats

birthdate: July 18, 1908

major planets:

Sun: Cancer

Moon: Leo

Rising: Gemini

Mercury: Cancer

Venus: Leo

Mars: Pisces

Midheaven: Pisces

Jupiter: Virgo

Saturn: Aries

Uranus: Capricorn

Neptune: Cancer

Pluto: Gemini

Overall personality snapshot: She may have seemed at times to be a shy, vulnerable, romantic individual who only wanted to please, but underneath she had a voracious appetite for adoration and respect, and would not stop until she got it. Without a doubt, she had a very warm feeling for others, and domestic security with plenty of happy togetherness is high on her list of priorities. When it came to cooperation with others, however, she had her limits because she was profoundly individualistic and, albeit in a charming manner, she insisted on doing things her way. Ultimately the most important thing for her was believing in herself and being true to her standards and aspirations. Most of all, she needed to fulfill her creative potential, which was like an intimate companion with whom she shared her life. You nurture it, protect it, and then you show it off, and whatever walk of life you are in, you tend to be a fine performer.

This gave her a lot of self-respect and a touch of vanity as well, and her emotional sensitivity combined with her underlying imperiousness tended to impress others and made them take her seriously. She was a devoted member of her flock, and she zealously and jealously protected and promoted whomever she was devoted to. When it came to developing her own talents, however, she seemed to know that she had to pull away in order to grow into her greatest self. Others may have thought she was a bit of a show-off but that was not the case: she simply had a deep sense of the importance of her own creative talents, and she felt only half alive if she did not honour them. Although she was pretty sensitive to criticism or rebuffs, she was just as committed to honesty and personal integrity; and despite her vanity, she eventually learned to laugh at herself.

She had a very good memory and found it easy to learn subjects that interested her. She was very kind and thoughtful towards others. Her imagination was very keen, but if it got carried away, she may have experienced irrational fears. Even though she may have tried to maintain a scientific and objective outlook, her mind was actually dominated by her emotions. When it came to careers, she may have felt initially vague or confused about what she really wanted to do. She was eventually forced to give up her career of choice by events out of her control (as was evidenced by the tides turning from the “Mexican spitfire” female ideal due to the changing of the times). There was probably some element of self-sacrifice involved somewhere in her choice of career (the element of sacrifice being that she had to sacrifice her child, and ultimately her life, in relation to her reputation as an unwed mother as well as her unborn child’s reputation as an illegitimate child). She had good technical and scientific ability due to her, at times almost fanatical, attention to detail. She was also fastidious when it came to matters of health, diet and appearance. She was not afraid of work and was very resourceful and capable. She also worked well in a team. She became very annoyed if somebody else questioned the way that she operated. Her energy levels were somewhat inhibited, her self-confidence reduced, and her ambitions restricted through fear of failure. Times of strength and weakness alternated within her. Even though her decision-making ability could be ineffectual through over-caution, she often seemed to be placed in situations where a quick decision was needed. When she succeeded, it was mainly through her own efforts. She also showed a tendency towards wanting to start at the top, wanting to avoid the hard work that gets you there.

She belonged to a generation with a rational and logical attitude to life. There was a conflict between tradition and convention, and the experimental and unconventional. As an individual, she had to learn to strike a balance between the erratic and the conventional. As a member of this generation, she had the ability to come up with original ideas which could be of practical value. She was part of a very artistically talented and creative generation that wanted to escape from the demands of the world around them into a world of excitement and glamour. She was part of an emotionally sensitive generation that was extremely conscious of the domestic environment and the atmosphere surrounding her home place and home country. In fact, she could be quite nostalgic about her homeland, religion and traditions, often seeing them in a romantic light. She felt a degree of escapism from everyday reality, and was very sensitive to the moods of those around her. Bow embodied all of these Cancer Neptunian ideals. As a Gemini Plutonian, she was mentally restless and willing to examine and change old doctrines, ideas and ways of thinking. As a member of this generation, she showed an enormous amount of mental vitality, originality and perception. Traditional customs and taboos were examined and rejected for newer and more original ways of doing things. As opportunities with education expanded, she questioned more and learned more. As a member of this generation, having more than one occupation at a time would not have been unusual to her.

Love/sex life: It wasn’t easy to be passionate and emotionally explosive and also hold on to her dignity, but this was what she wanted to accomplish. She tried to conceal the pulsating softness of her sexual nature behind a façade of control and bluster. She thought that her display of strength and jolly self-confidence would hide her vulnerability and her susceptibility to virtually any sexual diversion. Of course, no one was really buying this cover up. They saw the luscious edges of her erotic hunger peeking through her disguise. That’s why they were all so anxious to be around her. The biggest problem in her sex life was how to deal with change. She loved it and she hated it. She loved following the lead of her feelings and surrendering herself to the moment. Too much consistency, even loving consistency, was apt to leave her bored and dissatisfied. But she also saw change as a threat to her sense of control and to the emotional security that she valued so highly. Because of this duality in her thinking, her reaction to changes in her sex life was abrupt, contradictory, and (horror of horrors) a little undignified.

minor asteroids and points:

North Node: Gemini

Lilith: Libra

Vertex: Scorpio

Fortune: Gemini

East Point: Gemini

Her North Node in Gemini dictated that she needed to prevent her idealism from influencing her thoughts to such a high degree. She needed to consciously develop a more clear-minded and analytical approach involving her thought processes. Her Lilith in Libra was definitely working overtime here. Relationships somehow caused her to err, and her partner choices caused much suffering. She expressed herself through others. As a lover, she was aggressive, yet co-dependent. As a mistress, she was not above trying to cause a divorce, which she did with Johnny Weissmuller and she ultimately became fatally despondent when she found herself pregnant with a bit actor's baby. She used her good looks as a weapon to help her get ahead in the movie industry. Also, Lilith in Libra strangely enough, manifested itself as a sort of lighter female Capricorn archetype, and she pulled herself up by the bootstraps in a rather glamorous way, going to work after her father left the family unit. As such, she exhibited graceful gumption right until the very end. Her Vertex in Scorpio, 5th house dictated that she had a desire or continual need for feeling irresistible and irreplaceable on all levels of intimacy, whether spiritual, intellectual, emotional, or physical. From the fires of hell to the heights of heaven, the further and deeper the range of interaction she could experience with another the more fulfilling. She had a childlike orientation, in all of its manifestations, toward relationships on an internal level. That implicit trust, or perhaps naivete, that was instilled in our childhood persisted far into maturity. The concomitant explosions and occasional tantrums when these constructs are violated also accompany this position. She had a need for fun, creativity, and excitement in a committed relationship, no matter how many years it has endured. She often had deep fears, typical of children, of abandonment, as well as a need for universal acceptance, no matter how she acted, which she needed her partner to respect and nurture, rather than rebuke, especially in adulthood. Her Part of Fortune in Gemini and Part of Spirit in Sagittarius dictated that her destiny lay in travel, education and communication. She was able to overcome enemies by her words and by her writing. Happiness and fulfillment came from being able to express herself fully. Her soul’s purpose lay in seeking truth, justice and fairness. She felt spiritual connections and saw the spark of the divine when she studied, broadened her mind through new philosophies, or looked for inspiration outside the home. East Point in Gemini dictated that she was often insatiably curious and loved to collect little bits of (what seemed to be useless) information and trivia. Her interests were quite varied, and she may have been somewhat scattered. Sometimes her curiosity could appear cold and callous as her level of objectivity was potentially high. There was usually an openness to learning in any situation.

elemental dominance:

water

fire

She had high sensitivity and elevation through feelings. Her heart and her emotions were her driving forces, and she couldn’t do anything on earth if she didn’t feel a strong effective charge. She needed to love in order to understand, and to feel in order to take action, which caused a certain vulnerability which she should (and often did) fight against. She was dynamic and passionate, with strong leadership ability. She generated enormous warmth and vibrancy. She was exciting to be around, because she was genuinely enthusiastic and usually friendly. However, she could either be harnessed into helpful energy or flame up and cause destruction. Ultimately, she chose the latter. Confident and opinionated, she was fond of declarative statements such as “I will do this” or “It’s this way.” When out of control—usually because she was bored, or hadn’t been acknowledged—she was bossy, demanding, and even tyrannical. But at her best, her confidence and vision inspired others to conquer new territory in the world, in society, and in themselves.

modality dominance:

mutable

She wasn’t particularly interested in spearheading new ventures or dealing with the day-to-day challenges of organization and management. She excelled at performing tasks and producing outcomes. She was flexible and liked to finish things. Was also likely undependable, lacking in initiative, and disorganized. Had an itchy restlessness and an unwillingness to buckle down to the task at hand. Probably had a chronic inability to commit—to a job, a relationship, or even to a set of values.

house dominants:

2nd

3rd

1st

The material side of life including money and finances, income and expenditure, and worldly goods was emphasized in her life. Also the areas of innate resources, such as her self-worth, feelings and emotions were paramount in her life. What she considered her personal security and what she desired was also paramount. Short journeys, traveling within her own country were themes throughout her life; her immediate environment, and relationships with her siblings, neighbours and friends were of importance. The way her mental processes operated, as well as the manner and style in which she communicated was emphasized in her life. As such, much was revealed about her schooling and childhood and adolescence. Her personality, disposition and temperament is highlighted in her life. The manner in which she expressed herself and the way she approached other people is also highlighted. The way she approached new situations and circumstances contributed to show how she set about her life’s goals. The general state of her health is also shown, as well as her early childhood experiences defining the rest of her life.

planet dominants:

Neptune

Mercury

Sun

She was of a contemplative nature, particularly receptive to ambiances, places, and people. She gladly cultivated the art of letting go, and allowed the natural unfolding of events to construct her world. She followed her inspirations, for better or for worse. She was intellectual, mentally quick, and had excellent verbal acuity. She dealt in terms of logic and reasoning. It was likely that she was left-brained. She was restless, craved movement, newness, and the bright hope of undiscovered terrains. She had vitality and creativity, as well as a strong ego and was authoritarian and powerful. She likely had strong leadership qualities, she definitely knew who she was, and she had tremendous will. She met challenges and believed in expanding her life.

sign dominants:

Cancer

Gemini

Leo

At first meeting, she seemed enigmatic, elusive. She needed roots, a place or even a state of mind that she could call her own. She needed a safe harbor, a refuge in which to retreat for solitude. She was generally gentle and kind, unless she was hurt. Then she could become vindictive and sharp-spoken. She was affectionate, passionate, and even possessive at times. She was intuitive and was perhaps even psychic. Experience flowed through her emotionally. She was often moody and always changeable; her interests and social circles shifted constantly. She was emotion distilled into its purest form. She ventured out to see what else was there and seized upon new ideas that expanded her community. Her innate curiosity kept her on the move. She used her rational, intellectual mind to explore and understand her personal world. She needed to answer the single burning question in her mind: why? This applied to most facets of her life, from the personal to the impersonal. This need to know sent her off to foreign countries, where her need to explore other cultures and traditions ranked high. She was changeable and often moody. This meant that she was often at odds with herself—the mind demanding one thing, the heart demanding the opposite. To someone else, this internal conflict often manifested as two very different people. She loved being the center of attention and often surrounded herself with admirers. She had an innate dramatic sense, and life was definitely her stage. Her flamboyance and personal magnetism extended to every facet of her life. She wanted to succeed and make an impact in every situation. She was, at her best, optimistic, honorable, loyal, and ambitious.