#the most important character in this movie

[randum-famdoms]

Something I have seen people complain about is when the story “stops” for a character to mentally think about their feelings regarding something.

I think that’s bullshit.

Like, okay. Think about it. How fast is your train of thought? Faster than your reading speed, right? Do your thoughts all happen in neat little sentences, or as more of a nebulous and/or choppy half-formed thing that *you* understand, but would sound like nonsense on a page?

Also, the character probably isn’t actually taking as long to think these things as you are reading it. “Character A feels xyz about this” isn’t taking ten seconds to actually happen, feelings coexist with action!

Now, there is a time and place for introspection. It is my personal philosophy to have the amount of introspection reflect the pacing of a scene. Fast battle scenes will be far more action-heavy and introspection-light compared to, say, a calm breakfast.

I think it balances the annoyance over pages of introspection completely breaking the flow of an intense section of the story (at least, from the perspective of the reader), while still maintaining some of that wonderful interiority (which is actually a new word for me, and I adore it).

I’m the first to admit that I am far from an experienced or professional author. I don’t have a professional editor, and my only education is via Highschool and middle school classes (and while I was always in the advanced classes, a few even college level, they were still restricted by being part of the American education system). I definitely can think of times where my grasp on the interiority slipped. Especially when it comes to describing things that wouldn’t necessarily be noticed by the pov character, simply because I as the author do know about it and think it’s funny or important.

I’d imagine a good rule of thumb regarding this would be to treat it like dialogue. People always say to read your dialogue out loud to notice any problems. Well, just act out the scene as though you are the pov character. Not necessarily irl, but in your head. (And maybe even irl if you can manage it, it can’t hurt!) What way are you facing? Would you be able to see that annoying dog? Would you focus on the person you are talking to’s face, or their hands? Is this activity one that you would space out during, or does it require laser focus?

Basically, all the things you would not think about if you imagine the scene like a movie as you are writing.

Picturing the scene as a movie can be helpful, particularly for things like imagery. But it does have its shortcomings, as op said.

It can work thematically for some stories, but when it comes to most writing that is not third person omniscient, it’s definitely something that can cause the reader to feel… distant, I guess. Less immersed.

It’s also something that, sadly, many writers will have to teach themselves and seek out to learn, because, as OP said, it’s becoming harder to find in modern works. This is doubly so do people who mainly read non-published works. I will sing the praises of fanfiction until the day that I die, and maybe even after, but the fact of the matter is that 99% of fanfiction authors are self taught. They may not know how to incorporate interiority. They may not even have ever read a work that had it.

I know a lot of people say that you should read the “classics”, and you may be thinking that could help here, but I for one am a fierce defender of not putting up requirements to be considered a writer, and that includes required reading. Yes it can help you learn skills, but so can more modern works. I learned a lot from reading Percy Jackson, and other lesser known books, and none of them are considered classics on par with The Great Gatsby or Shakespeare.

Instead, I propose this: if you want to get a better grasp on writing with interiority, try actually consciously focusing on your day to day life for a little while every day. Focus on your train of thought, on the things you focus on, on the things you see.

If you want to read something, great! Ask for recommendations, go to your local library and flip through books until you find one you think you will both enjoy and which has a good grasp of the concept.

First and foremost, however, in any writing, is to remember how we as humans actually live and interact with the world, and you’ve got a primary source of research at all times: yourself. Exclusively using other texts as sources will only ever end in a very broken game of telephone.

A lot of fiction these days reads as if—as I saw Peter Raleigh put it the other day, and as I’ve discussed it before—the author is trying to describe a video playing in their mind. Often there is little or no interiority. Scenes play out in “real time” without summary. First-person POV stories describe things the character can’t see, but a distant camera could. There’s an overemphasis on characters’ outfits and facial expressions, including my personal pet peeve: the “reaction shot round-up” in which we get a description of every character’s reaction to something as if a camera was cutting between sitcom actors.

When I talk with other creative writing professors, we all seem to agree that interiority is disappearing. Even in first-person POV stories, younger writers often skip describing their character’s hopes, dreams, fears, thoughts, memories, or reactions. This trend is hardly limited to young writers though. I was speaking to an editor yesterday who agreed interiority has largely vanished from commercial fiction, and I think you increasingly notice its absence even in works shelved as “literary fiction.” When interiority does appear on the page, it is often brief and redundant with the dialogue and action. All of this is a great shame. Interiority is perhaps the prime example of an advantage prose as a medium holds over other artforms.

fascinated by this article, "Turning Off the TV in Your Mind," about the influences of visual narratives on writing prose narratives. i def notice the two things i excerpted above in fanfic, which i guess makes even more sense as most of the fic i read is for tv and film. i will also be thinking about its discussion of time in prose - i think that's something i often struggle with and i will try to be more conscious of the differences between screen and page next time i'm writing.

[olderthannetfic]

Hi OTNF and everyone,

I am finding that it's harder and harder and harder to get into anything - book, show, movie... most things seem, you know, to just not be doing it for me, be it fanfic or original stuff.

In part, I think, it's a general restlessness and that it's become harder to give anything enough time to get into the stories, the characters, the settings, the narrative voices... I guess you can call it attention deficit on my part, just a need for stories to deliver those sweet, sweet hits quickly, but they're not.

I'm not currently ficcing but I did for years (might again in the future, who knows), and it's made reading, specifically, harder. It's like I've become more aware of what goes on behind the scene, I guess? I feel like I can see the writer giving up on a sentence, skipping a scene because fuck this, trying hard to not repeat a word although it's the only one that fits, etc.

Or maybe it's just the *everything* around us in the world that is weighing on me too much? I could say it's adult life, but then again I have more free time than most (and boy do I need hours of doing nothing to survive the other hours), and no family/partner (all that would put even more pressure on me): what is wrong, to make everything so UGHHH?

I feel like I'm stuck in a rut with a brain moaning feed me, feeeed me, and whatever I try to give it, it spits everything out. (Yes, I've tried hobbies, and nothing sticks there either. I've never really found rewards or satisfaction there, so...)

Decades ago as a kid, I was a voracious reader, although studying literature took the pleasure of it away from me. It took time and discovering fanfic that brought me back to reading, but at the time the internet was starting to be a thing, too, and it can't have helped the attention thing. AFAIK I'm not ADHD but then again, I couldn't get a proper diagnosis (the therapists I saw were either dismissive or just about The Talking, which was pointless for me).

I just wonder how it all disappeared, you know? Sometimes I find something that catches my attention for a while - a book (but I read quite quickly when motivated), a fandom... but it's been a while now, and it's just so frustrating! When is it going to come back? Will it ever? *gulp*

I know that books were escapism when I was a child, and then fandom was escapism, but at the moment I find myself grabbing at air and my empty hands are mocking me. Give me my escapism baaaaack!

So, uh. Anyone here with me?

--

Yes.

I felt like that during part of lockdown. Anhedonia is common in those kinds of circumstances.

Getting your mojo back is certainly possible, but you may need to go see a professional about depression and have some chemical assistance (yes, even if you don't feel sad per se), or you may need to change your lifestyle to one that doesn't have the thing causing you to need eleventy billion hours of downtime.

Aside from serious interventions like that, you can consider a social media detox. Remove every source of doomscrolling and time wasting of that type. When the attention span is zero and nothing brings joy, the tiny and useless hits from finishing a game of solitaire or seeing one more instagram post become very attractive. This is a trap. It will suck what little energy and joy you have and make your muscles flabby for the work of getting into an in-depth book/hobby/experience.

I know the feeling of being able to see how the sausage is made, but... well... first, being in a better mental state will make that matter less, and second, reading prose that is more competent will make that less of an issue. A lot of mainstream tradpub genre fiction is not, in my opinion, very well written these days. Obviously, people are still enjoying it, and that's fine, but if you're noticing writers fumbling around, it might be time to check out some literary fiction or some other category known more for prose quality than anything else.

It's also important to have some structure and some things to look forward to. Even if you feel tired, overwhelmed, and busy, sometimes, the answer is to do more... But it must be things that are distinct and significant and that get you off of the couch, like going to one museum every weekend.

I saw some advice once about this kind of thing that phrased it as "One big adventure; one small adventure."

Every week, you should have those two things to look forward to that matter. Check out a new coffee shop. That could be the small one. Go to an event: a gallery opening, a concert, whatever.

Physical exercise and doing some things that aren't as verbal and conscious thought-involving is important too. Painting is a better hobby for zoning out than writing is. Taking long walks in nature is good for most people.

--

The kind of intense, obsessive love I had for reading as a child and that I sometimes have for fandom requires a lot of attention and some time. It's escapist, but that masks how much work it actually was. It didn't feel like work only because we were in training.

If you've filled your brain and your day up with a thousand petty annoyances or minor and useless attempts to feel something, you won't have the capacity for those deeper things.

Because you are already at a point that's equivalent to a bad sprained ankle, trying to get back to running right now won't work. You have to stay off of the ankle for a bit, then build your strength and stamina back up.

[airybcby]

Hello! I just read your “but my luck couldn't get any worse” and I’m obsessed with the crossover idea!

I would like to suggest Nagi with 🍓🍫

And if you cant get to it that’s totally okay ! I will be reading all the other ones anyways 🩵🥰

hi hi!!

a nagi seishiro chocolate covered strawberry :)

જ⁀♡⊹｡° hang up, give up

♡ a/n — for my more than a married couple event !

♡ content — nagi seishiro x gn! reader, gn! reader, i leaned very heavy into nagi being lazy, pls know ik there's more to his character but this made the story flow better, unrequited love, reo mentioned a lot, reo has slight feelings for reader, reader kinda likes reo, mentions of nagi being unhelpful

♡ synopsis — nagi seishiro wasn't known for being the most productive person, but even your feelings for him can't stop you from wondering what life would be like if you were paired with someone else

You didn’t expect much when your name showed up next to Nagi Seishiro’s on the list of marriage simulation pairs.

If anything, it felt like a cruel joke.

Nagi wasn’t someone who made an effort in relationships—platonic or otherwise. You’d known that for years. And yet, despite everything, you’d fallen for him. Slowly. Hopelessly.

He’d always been so unattainable, a puzzle you could never solve.

So when the simulation started, you tried to convince yourself it didn’t mean anything. It was just a program. A grade.

But being in close quarters with him every day made it harder to pretend.

Nagi wasn’t exactly the ideal partner.

He spent most of his time sprawled on the couch, scrolling through his phone or playing video games.

“You don’t have to do anything for this to work,” he said once, when you suggested setting up a schedule for chores. “We can just...exist. Isn’t that easier?”

You bit your tongue, unwilling to start an argument.

It was so typically Nagi—avoiding effort at all costs. And yet, you couldn’t stop the small flicker of hope in your chest.

Maybe this was your chance to finally break through his walls.

One afternoon, Reo stopped by to check in.

He’d been your friend for as long as you could remember, always lingering on the periphery of your relationship with Nagi.

“Still alive?” he teased, leaning against the doorframe with a smirk.

“Barely,” you muttered, glancing over your shoulder at Nagi, who was curled up on the couch, half-asleep.

Reo laughed, his gaze softening as he looked at you. “You deserve a medal for putting up with him, you know that?”

You forced a smile, unsure how to respond.

Because lately, you’d started noticing the way Reo looked at you—the way he always seemed to be there when you needed someone.

And it terrified you.

The turning point came during one of the simulation’s mandatory couple tasks: a mock date night.

You’d spent the entire afternoon trying to get Nagi to engage, but he’d shrugged off every suggestion you made.

“Can’t we just skip it?” he mumbled, burying his face in a pillow.

“No, we can’t,” you snapped, frustration boiling over. “This is important, Nagi. Can’t you at least try?”

He sighed, sitting up slowly. “Fine. Whatever you want.”

But his indifference stung more than you cared to admit.

Reo was the one who noticed your mood the next day.

“You okay?” he asked, catching you in the hallway after class.

“Yeah,” you said quickly, avoiding his gaze. “Just tired.”

But Reo didn’t buy it.

“Hey,” he said softly, stepping closer. “You don’t have to stress out about him. If you ever help to get him to start doing things, I’m here.”

For a moment, you felt a pang of something warm and unfamiliar—comfort, maybe.

And it scared you. Because no matter how kind Reo was, your heart still belonged to Nagi.

As the weeks went on, your feelings for Nagi only grew more complicated.

There were moments when he seemed almost...present. Like when he helped you carry groceries up to the apartment without being asked, or when he casually draped a blanket over your shoulders during a movie night.

But those moments were fleeting, drowned out by his usual apathy.

And through it all, Reo remained a constant presence in your life, always there to pick up the pieces when Nagi let you down.

On the final night of the simulation, you found yourself alone with Nagi in the living room, the silence stretching between you like an unspoken truth.

“You’ve been quiet lately,” he said, his voice soft.

You hesitated, unsure of how to respond.

“I’m just...tired,” you admitted finally. “This whole thing—it’s been a lot.”

Nagi frowned, his expression unreadable. “I didn’t mean to make it harder for you.”

For a moment, you thought he might say more. That he might finally acknowledge the connection you’d been chasing all this time.

But instead, he stood up, yawning. “I’m going to bed. Night.”

And just like that, the moment was gone.

When the simulation ended, you packed up your things and said goodbye to Nagi without looking back.

Reo was waiting for you outside, his expression a mix of concern and something else you couldn’t quite place.

“You could have asked for help with him. I know he's kinda hard to deal with. ” he said again, his voice steady.

And for the first time, you considered the possibility that maybe, just maybe, Reo could be what you needed.

But as you walked away, your heart still ached for Nagi—for the boy who would never love you the way you wanted him to.

And you weren’t sure if you’d ever be able to let him go.

i wrote this very late in the night and idk if i like it

i hope you liked it!

likes, comments, and reblogs are appreciated!

[b-skarsgard]

https://parade.com/movies/bill-skarsgard-nosferatu-interview-exclusive

Skarsgård's vampiric transformation does make him virtually unrecognizable. Combining full-body prosthetics and elaborate costumes, the actor built the character with Eggers over a 10-year period, even working with an operatic vocal coach on a completely new voice. If you're able to spot Skarsgård in the film, hats off to you.

Of course crafting a new version of Dracula/Orlok was certainly a momentous task. Skarsgård's been told there were already over "170 different adaptations" of the character prior to his own. He's humbly giving much of the credit for his own transformation to Eggers' screenplay, though.

full article at the link and under the cut

"I read Robert's Nosferatu script almost 10 years ago, and it hasn't changed all that much in those 10 years," he says. "So the version of Dracula was already different on the page."

Step one in the transformation was the voice. "I was really enamored by Orlok's language," Skarsgård says of Eggers' script. "He's technically speaking German in the movie, but it's English. I think he's learned German just from reading all of these texts and old books. It's this awkwardly constructed English that came out of that."

Orlok's voice was especially important in this film as the character spends much of the film hiding in the shadows to keep his true form hidden from Thomas Hutter (Nicholas Hoult). "The movie monster tends to not have much dialogue, but in this case he has a lot," Skarsgård reflects. "So the voice became my way of expressing the character."

The deep gravely voice in the film was the product of acclaimed Icelandic opera singer Ásgerður Júníusdóttir. "We explored the voice together, but also the technicality of using your entire body when you speak and placing the voice as low as you can in your body," Skarsgård says. "It's a new world for me, and I love voice work. I was just absorbing all of these tools that I'm going to use as my career progresses."

Layered on top of the vocal work were Linda Muir's costumes, what Skarsgård describes as "historically accurate costumes that a 16th-century Hungarian nobleman would have worn. They're the clothes he would have worn when he was a man."

While Focus Features is keeping Orlok's appearance under wraps for as long as possible, you can see the massive fur coat Skarsgård donned in the shadowy poster.

"I knew the shadow was going to be an ally for Orlok, especially in the scenes with Thomas, where he's hiding his appearance," he says. "So he lives in the shadow, and he uses his big fur cape and the hat to not give away what he is. The shadow became a friend."

Perhaps the most impressive element of Skarsgård's transformation, however, was David White's prosthetic makeup, which took hours to apply each day, was difficult to act through and painful to wear. When I ask if he was able to cheat on days he was in the shadows, Skarsgård says no with one exception: "Every single shadow in this movie is also me puppeteering behind camera. That was the only time where I didn't need to have the full regalia on.

"The full prosthetics would take six hours to apply. "It's just uncomfortable," Skarsgård says of having to sit in the chair that long. "And any sense of privacy goes out the window. You become very close with the team that's applying this makeup. They're really getting up in there with a brush in your ass crack. They become your little safe space."

And the six-hour application process was just the beginning of what could be long, physical days on set. The film's final moments involve a sex scene between Orlok and Lily-Rose Depp's Ellen Hutter, which Skarsgård performed in head-to-toe prosthetics.

"I don't know her perspective on, 'I'm going to kiss this monster,'" Skarsgård says about his (fully clothed? skinned? suited?) sex scene, "But for me, when we shot, I was Orlok, and I really, really, really wanted to devour her."

If performing a sex scene in a hot latex bodysuit sounds miserable, that's because it was. "The actual final moment of Orlok was incredibly physically exhausting because there was a lot of technical camera work," Skarsgård says. "What's in the movie, I had to do that 30 times." If you've seen the film, you'll know how truly arduous that experience must have been.

The most difficult day on set for Skarsgård, however, involved a sequence filmed on a boat during Orlok's transfer from his castle in Transylvania to the German harbor he plans to terrorize next. In one scene that involved "pretty tricky advanced camera work," a seaman descends into the hull of the ship to "rid the boat of this demon." As the camera follows the sailor, Skarsgård's Orlok is initially seen behind the man in the shadows.

"Then I have to exit frame, run around and enter my position for when the jump scare pans down to the rats and then pans up and I'm standing there," Skarsgård remembers. "So it's very physical, but I was covered head to toe, except for my eyeballs and the soles of my feet. Even my palms and my hands are covered. That was a 12-hour day."

With that many prosthetics on, there's nowhere for all that sweat to go. "It doesn't breathe, and I don't think it's healthy," Skarsgård confides. "Your body's probably absorbing all those f--king toxins and glue and sh--, plastic and latex and whatever."

During the 12 hours running around the hull of a ship, Skarsgård remembers thinking, "I don't know what's happening, but my body is not doing well."

"You know the skin is your biggest organ right," he says. "So it needs to breathe. I got flashbacks from that urban legend about the woman in Goldfinger being covered in gold and actually dying. I'm like, 'Okay, this is how I go.'"

Obviously, Skarsgård did not die of heat exhaustion in a latex Dracula suit like that one cameraman in the 2022 film Babylon.

"At that point I told them—because it was a long day and I was waiting around—'We need to open it up so my body can breathe,' and then they found the pockets where I could open up and my body started to breathe."

Skarsgård compares the agony of the shoot with what he thinks childbirth would feel like. "They're not on the same level, of course. I've seen childbirth, but it's as close as I can get to giving birth as a man, as these f--king monsters I'm portraying," he says.

When I ask him if there were any other iconic monsters on his bucket list, he says he's done for now. "To play Orlok in Robert Eggers' Nosferatu is the holy grail," he says. "It's kind of the peak and, in a way, the nail in the coffin."

[whyfakepockets]

They kept anthropomorphizing him more and more as the series went on. This tends to happen a lot with creatures in animation. It is honestly what happened with Sisu in Raya and the last Dragon I’m pretty sure. The initial concepts of the character /creature are created with a lot of distinct features that make the characters stand out. Then as the production continues, many more hands,(artists, modellers, riggers, texture artists, animators, etc.), all touch on and tweak the design and how the character moves. Some things get improved, some things get eroded away.

Not to mention the art direction and goals for what they wanted the dragons to look like changed from the first movie to the third. The first ones all feel more natural like you could see which dragons were related to each other and they blended in to where they lived. Most of the cast had dappled greens, yellows, and browns. They also had some display adaptations like the deadly nadder’s quill/spikes being a bright yellow against its blue scales, forming several ring display patterns to warn other animals that its tail is dangerous.

Those types of details were not as important to them as the series went on. I think they wanted to make each dragon distinct from the rest and instead favoured certain design trends or gave a dragon one really big distinct feature. Think the antlers on the Crimson Goregutter or how all the design features of the Deathgripper look like they are from either a scorpion or a whip spider. I don’t think they were spending as much time trying to blend these features together in a more natural sort of way. I don’t think that was there goal any more. Plus they probably didn’t have as much time to workshop the designs as they did the first movie.

speaking of how to train your dragon and creature design, the shift from the really naturalistic art direction and character animation for the first movie's toothless- the face getting flatter, the eyes bigger and closer together, getting rid of the little realistic details like the dust collecting between the scales, the pink splotching where the scales end at the nostrils, the muted markings, the animation making a shift from largely realistic animal behavior to much more anthropomorphic- is such a huge downgrade to me, made worse because it's subtle in such a way that you will sound insane if you mention it

(huge L for the "the audience's capacity to find a creature cute and empathetic and expressive is directly proportional to how much it looks like a human baby" principle of character design because the first one is so so much cuter)

[hotvintagepoll]

Don Knotts (The Incredible Mr. Limpet, The Ghost and Mr Chicken, The Reluctant Astronaut)—Just look at him. He’s just a lil scrungly guy. Also he started entertaining as a ventriloquist, and there’s nothing scrunglier than a ventriloquist. In all seriousness, Don Knotts’ career is singularly unique. His speaking voice was iconic, and he used it to his advantage and played it up – see also the included YouTube link to his small role in No Time for Sergeants [link]. He not only played second fiddle comedic character roles, but also played leading comedic character roles. He didn’t need a sidekick for his movies but he could *be* the sidekick if needed. That’s key to Scrungly Little Guy™ behavior, in my opinion. Knotts undoubtedly influenced many comedians and sitcom characters in both his lifelong film and TV career – and I do mean lifelong, as his final role was in 2006, the year he passed away! In the 70s, he became a frequently used actor in live action Disney comedy films for kids like The Apple Dumpling Gang and appeared in many children’s programs. Knotts was said to be one of the nicest guys in Hollywood, which is important for Scrungly Little Guy™ lore.

Margaret Hamilton (The Wizard of Oz)—oh you KNOW she scrungled. and she has one of the top ten most beautiful noses of all time, in my objectively correct opinion. and look how her face lights up when she smiles in the wicked witch screen test!

This is round 3 of the contest. All other polls in this bracket can be found here. If you’re confused on what a scrungle is, or any of the rules of the contest, click here.

[additional submitted propaganda + scrungly videos under the cut]

Margaret Hamilton:

Terrifying legions of children as the Wicked Witch of the West, sure, but I would argue that Margaret Hamilton was also Peak Scrungle as Miss Gulch. She also had a long career as a character actress, showing up with her distinctive profile to add a little zip to any film she was in!

was typecast in homely, shrill, and creepy character roles because she wasn't hollywood-attractive but was always so fun to watch

I feel like she's gotta be a shoo-in for scrungliness, but just in case people have lost their minds I'm submitting her. From Wikipedia, here is an intriguing meditation on the difference between scrungly actors and their scrungly roles: "When Hamilton reprised her role as the Wicked Witch in a 1976 episode of Sesame Street, 'the show's producers were flooded with letters from parents saying it was too frightening for children.' She appeared as herself in three episodes of Mister Rogers' Neighborhood, between 1975 and 1976, because Fred Rogers wanted his viewers to recognize the Wicked Witch was just a character and not something to be afraid of."

Don Knotts:

TBH, I was first introduced to Don knotts in things like three's company, the og Scooby-Doo cartoons, and later on that Disney chicken little movie. He's probably most remembered from his time on the Andy griffith show. But just look at him! Don't you just wanna put him situations?

When you say scrungly his face is just what immediately pops into my head

Don Knotts plays in most if not all of his filmography someone who is kinda dull-witted, afraid of his own shadow, or kind of cowardly. He is the scrungliest of scrungly people!  

[kittyit]

one of the very offputting and indigestible things about a lot of modern media is the pivot to the quality being the same experience as reading fanfiction. I've only read a little fanfiction in my life, and of course, there are always stand outs in fan works. But I feel everyone can know what I mean when I say it's like reading fanfiction. And I feel like it's a spectrum. For example, right now I'm rereading Hench, and I would say there is a distinctly fanfiction flavor to the work, in that I can tell the author has read a lot of fanfiction, I can clearly guess at some of their favorite tags and tropes, the taste of fanfiction is in my mouth. However, the work itself is compelling enough, the characters flushed out an interesting enough, and the story inviting enough that I am able to bear it with grace. This is like the middle of the spectrum. The far end of the spectrum is when reading a book is exactly like reading a fanfiction (term for this? If the other is flavor...) It's all trope. it's cheap and unearned. It's shallow. It's enjoyable mostly to people who read a lot of fanfiction because it does exactly the same thing. Fanfiction flavored is sometimes tolerable to me, but I resent it, especially when the tropes are paraphilias and fetishes in disguise, but not only then. It's distasteful. And more and more new books and TV series and movies are further and further on the spectrum of how much like fanfiction they feel, how clearly they are made by creators who grew up in fandom, "living and breathing fandom". And because fanfiction-adjacent creations are stripped down to the most appealing and easily accessible plot points and paths, characters & emotions for a fandom-steeped or fandom-ready (innocent) audience, they sell well, they test well with test audiences, they make money. I just routinely see the idea that fandom is basically a free space, it's not hurting anyone everyone's having fun, why do we need to be critical of this? And it's like well it's profoundly transforming the entertainment industry, which profoundly transforms what media people grow up on which is certainly something worth thinking about. And media literacy is a term that's now reached internet driven semantic satiation and become a meme. Instead of something that is important to moving through the world and a practice you can develop your entire life. And I hate how defensive everyone gets about this. I have no power to take away your fandom. I just want think critically and deeply about this like any other social phenomenon.

[phaeton-flier]

I think if you look over his oeuvre the truth is that he never had a touch. The Big Short was lightning in the bottle, the exception in a series of bad movies.

You can see, in Vice, him trying to do the same wacky cutaway antics that were all over The Big Short. Except he doesn't seem to grasp why they worked: they were effective summaries of complex information. He seems to think the Margot Robbie in the bubble bath scene worked because it was sexy or funny or odd, when in fact it worked chiefly because it was a good explanation, and memorable because of the joke about Margot Robbie being more interesting than dry finance definitions.

So Vice has a bunch of dumb scenes where they switch into characters quoting Shakespeare, or doing fake end credits, and other dumb bullshit that isn't anywhere as important as "Hey this guy approved torture and here's how he did it". They actually spend less time on that than on him being kind of a funny drunk who got a DUI once.

And the problem is, Adam McKay has a fundamentally irritating political view, one where most of the problems with the world are about people in general being idiots more interested in the next Fast and Furious movie than in Real Problems. This is how he made an entire fucking movie about a metaphor for global warming which had zero mention of fossil fuel companies. It was a film more obsessed with doing heavy-handed, smug bits about how dumb Trump and Musk and Federighi are than about doing even a sophomore level analysis of where climate denial comes from.

I think The Big Short worked because it was a well-defined story based on a book written by someone else. This gave as little space as possible for Adam McKay to put his dipshit politics in there.

[alexanderwales]

I'm not too much of a comics guy, but I was watching the Green Lantern movie, and they said something that really piqued my interest: the Guardians of the Universe chose Will because it was the strongest of the emotions.

As someone who isn't a huge Green Lantern nerd, I found this super interesting, because I guess I had always assumed that they'd chosen Will because it fit them ideologically. But apparently if Love had been the most powerful of the emotions, or easier to harness, or whatever, then that's what they would have gone with instead. If they got the most utility from sadness, they would have an army of soldiers whose powers were fueled by depression. (Possibly this happens in )

This sort of disconnect is just inherently funny to me, I guess. There's a tendency to tie powers extremely tightly to a person, to have those be external manifestations of their inner self, so you can have them physically express interior emotions. And then on the other end, you have people who are just completely disconnected from their power, there's nothing that it has to say about who they are as a person, it doesn't mesh with their personality, there's no narrative communication at all.

This isn't true for the Green Lanterns themselves, who are selected specifically for their strong willpower, but if you came to me and said "willpower is the most important thing for this character" I think I would probably end up assuming some ideologies that do not match what I know of the extant Earth-based Green Lanterns.

[vilevenom]

This has become a series of non-chronological one-shots of Shadow living with Stone, lol Also, this was vaguely inspired by this adorable comic here, because Shadow deserves an emotional support animal.

Heart Still Made of Gold

Fandom: Sonic the Hedgehog (movie universe)

Pairing/Characters: Agent Stone & Shadow

Summary: Shadow hated rainy days. Or, Stone's apartment is rapidly becoming a home for wayward souls.

It was the sort of day that Shadow had come to loath since being woken up from his fifty year slumber. The sky was overcast in shades of drab gray, while rain didn't so much as fall, rather it wafted through the air on the wind, making it nearly impossible to avoid, no matter how much rain gear you wore. The only saving grace, in the dark hedgehog's opinion, was that it was far enough into April that the truly bitter, biting cold that accompanied the rain in late winter wasn't also present to make the day even more miserable. All in all, it made him all the more grateful to be sat indoors, reading in the corner of the Mean Bean, rather than scouring around in such weather for food and shelter.

"Shadow! Can you take the trash out from the cafe? I've got a line of customers, and could really use your help," Stone called from the front counter with a wave. At least half a dozen people were milling about the cafe, obviously in various states of waiting for their order, illustrating Stone's inability to step away from what he was doing to empty the very obviously overflowing garbage can on the cafe floor.

Shadow let out an exasperated sigh, but carefully tucked his borrowed book mark into the novel he'd been reading, while sliding down from his spot on the overstuffed wingback chair he'd claimed that morning when they'd come down to the cafe to start the day. It was Shadow's favorite spot in the Mean Bean, with how it was angled towards the front window, rather than the main cafe floor, and allowed him at least some semblance of privacy away from prying eyes with the way the wings blocked most of his face, despite his shorter stature. It was also in such a position in the shop that it was easy for him to slip to and from the back of the cafe without having to maneuver through the mingling customers that stood around sipping at their overpriced lattes. He debated leaving his book on the chair to save his spot, but ultimately decided it would be best to hide it in the back, instead. Stone was beginning to look haggard as he worked the till and the machines, so Shadow figured he should probably help his host by cleaning and restocking what he could, so the ex-agent would have less to do later.

Unlike his blue counter-part, who would most likely zip through the cafe haphazardly to get as much work done as quickly as possible, Shadow opted to tend to the cafe at a regular pace, enjoying the meditative relaxation being useful and helpful often brought. He started with replacing the garbage bag in the cafe, as he'd been asked, setting it near the back door to take out later. Once that was done, he moved on to the other garbage bags behind the counter and back room, then after a quick wash of his hands (Stone had explained to him in great detail the importance of washing one's hands before working behind the counter, and cross contamination), he moved on to refilling coffee beans, syrups and the ice machine. He then took up the bussing tub and headed into the cafe, pointedly ignoring the soft coos and quiet comments several of the customers failed to stifle behind hands as he cleared the tables of dirty dishes and trash. He and Stone had both been somewhat surprised by the amount of customers that had begun to come to the Mean Bean because of the 'cute mascot', given Shadow's very public destruction of part of Tokyo, but it seemed that certain people really didn't care. However, since even the most enthusiastic of Shadows fans hand yet to try and touch or approach him, and Stone got more business, the hedgehog decided he could suffer the quiet murmurs that followed him around.

Once the dishwasher was loaded up and running, Shadow turned to the garbage with a sigh, already dreading having to go outside. Luckily, though, with the chores he'd done around the cafe, and the afternoon rush all but over, he would be able to go upstairs to the apartment once he was done and get comfortable on the couch with the blanket Stone had gifted him, where it was dry and warm.

"Let's get this over with," he grumbled to himself, gathering up the bags and shoving his way out into the damp, chilly alleyway with a grunt.

He'd nearly missed the sound as he let the lid of the dumpster drop once the trash was inside, but his keen ears were better than most, allowing him to pick up on the pathetic sounding mewl that emanated from under the dumpster. His ear swiveled in curiosity as he tilted his head, standing stalk still as he strained to catch the sound again, taking a short step back as it happened again. With a light frown, Shadow knelt down, tipping sideways until he could see under the dumpster (his quills regretfully dipping into a puddle) where a tiny black kitten sat, drenched to the bone. It stared back at Shadow with huge yellow eyes, letting out another sad little meow as a water drop fell onto its head from the bottom of the dumpster.

"Hello, little one," Shadow breathed, not entirely certain how he should approach getting the kitten out from its hiding place. It was too far back for him to reach, but he couldn't just leave it there. It was cold, and it was wet, and the back alley was no place to live. He happened to know that for a fact.

He chewed on the inside of his cheek, heedless of how the rain was soaking his quills straight through as he wracked his mind for what he could use to lure the kitten out. After a beat he pushed himself up and trotted back inside, only to reappear not a moment later, slices of ham pilfered from the cafe's back kitchen in hand.

"I bet you're hungry," Shadow murmured, tucking himself as close to the dumpster as possible, his arm outstretched beneath it with his offering, "C'mon. I promise it's good."

Tentatively the kitten sniffed at the air, its ears perking forward at the smell of food nearby. It mewed quietly, slowly uncurling from where it had been huddled against the cold, before it began to inch towards Shadow.

"That's it," Shadow whispered, fearing scaring it away if he spoke too loudly, watching in rapt attention as the kitten crawled towards him at a snails pace. "Well done," he hummed with a soft chuckle, a small smile gracing his muzzle as the kitten made it to him hand and began to gobble up the bits of ham after a few hesitant sniffs. Once the meat was gone, the kitten gave a tiny, inquisitive trill, before it began to meander towards where Shadow was laid on the ground. The dark hedgehog dared not move as the kitten butted its little head against his arm, while it gave off the faintest of purrs, its affection obviously easily bought with food. But Shadow really couldn't care less, as the tiny thing crawled over his arm and wandered up to his face, giving his muzzle an affectionate lick.

With slow and careful movements, Shadow shifted until he could cup his hands around the kitten, gathering it to his chest as he sat up. Water dripped from his quills, his own fur soaked through, but he hoped that even the small shelter of his hands would help warm the kitten in comparison to the cold underside of the dumpster. He let his thumb brush over the kitten's head, his smile growing minutely as its purrs grew louder. "The world forgot about you, too, didn't it?" he muttered, licking rain water from his lips, "Don't worry. I won't."

"Shadow? Shadow! Where did you go?" Stone's voice came from the propped open door to the back room of the Mean Bean, his head poking through the opening a moment later. "There you are! Why are you sitting out here in the rain? And without your rain coat?"

Shadow didn't grace Stone with a verbal answer, instead rising to his feet and opening his hands just enough for the ex-agent to see what he held against his chest.

"Oh," Stone stared at the two for a moment, leaning against the door frame with a slight frown on his lips. For a brief moment Shadow was worried that Stone was going to tell him to put the kitten back where he'd found it, only to perk up at the exasperated sigh Stone let out, instead. Shadow was beginning to recognize that sound as one the ex-agent made whenever he was about to give in to whatever strange or ridiculous situation he found himself in. "Make sure to add kitten food and a litter box to the grocery list," he hummed, before stepping away from the door, "Now, come inside before you catch a cold."

"You'll let it stay?" Shadow asked, his tail giving a little wag as he stepped through the door.

"You two match. How could I say no?"

At that, Shadow glanced down with a confused frown, only to finally notice the kitten wasn't entirely black. A tuft of pure white fur puffed out from his chest, easily mimicking Shadow's own chest fur. He grinned, even as a towel was tossed over his head.

[communistkenobi]

brain damage mission impossible posting

okay there are 72 fics listed as Ethan/Julia on ao3 despite her being his canonical wife. Which like on a baseline level I understand because she’s not a character. she’s a symbol meant to represent Ethan’s desire for domestic quietude, something that is perpetually out of reach because he’s the mission impossible guy who saves the world. every time he tries to be a normal person some evil entity threatens to destroy his life by kidnapping his wife/parents/etc. But the idea of a hot/cold relationship with Julia, or them as perpetual lovers without any promise of marriage and family or even exclusivity, is never entertained in these movies, which I think cements Julia as firmly not a character. She’s not even really that important to Ethan when viewed in this context, because there’s no shades of grey allowed - he’s either a full time spy or he’s a retired husband. He won’t even take “scraps” in the form of casual sex or infrequent clandestine loving hook-ups, even in contexts where that wouldn’t put her in any danger. the only two horizons of possibility for him are marriage or volceldom. the films make the case that you can’t really have any work-life balance, but the “life” part of that equation is just full-package white heterosexuality. And they don’t even make it seem that appealing honestly, like in the third movie when Ethan tries to retire he’s clearly not comfortable and on edge all the time and abandons it at the drop of a hat (almost killing Julia in the process). But every time she appears in these films after they break up he is deeply distraught about it - like god does Tom Cruise sell the “we can never be together” look of abject longing he does whenever their characters collide. He sells the intense emotional stakes despite the lack of normative sexual desire to go with it.

Because what’s also crazy is that Ethan as a character doesn’t really express any sexuality in general - most of it is extremely restrained, confined to caressing a woman’s face or accidental physical closeness (like landing on top each other during a fall, etc). It’s always hinted at but never really develops into anything, and even in later films where it’s clearly shown that he and Ilsa have something going on, they barely touch. Like most of it is communicated through emotional glances and long pauses of them staring at each other. Clearly the misogynistic spectre of “men and women can’t be friends without eventually fucking/dating” is present in this, but the conclusion of that heteronormative configuration is never paid off with sex. And this is despite women’s bodies being shown off constantly in these films, like there are a lot of unjustifiable and disgusting shots of women’s asses and legs especially, but they are pure “eye candy” for the audience, they are rarely if ever framed as being attractive from the perspective of Ethan, the principle POV character of every film and the character that audiences are clearly supposed to connect with.

And in those moments where women’s bodies are on display but Ethan is not paying attention, there is a clear separation between the director’s and Tom Cruise’s vision of these films. Like he is entirely in control of them at this point given he is the driving force behind them, all of these films are sold on Cruise doing some insane stunt like holding his breath for six minutes or climbing the exterior of the tallest building in the world or him doing 109 HALO jumps to get the best footage for a mid-air struggle over Paris. He does shit no other actor does, he sells it by making it ‘real.’ The films also narratively revolve around him - he is, to use direct quotes, “the living manifestation of destiny,” “the embodiment of chaos itself” and so on. He is the emotional and narrative centre of gravity. Ethan’s emotional states, his desires, his tribulations and internal conflicts, they are all that matter in these films. Basically no one else is a character. And he doesn’t fuck in any of these movies! He's a hot-shot spy but he isn’t a ladies man. Women fall over themselves for him but he’s not interested in them. The only exception is Ilsa, but that is clearly the result of her saving his life multiple times and their emotional trust in one another. Like these films have action movie levels of misogyny, sexual objectification and narrative discarding of women and all of that, but our main hero doesn’t really “partake” in any spoils of triumph or whatever gross horseshit is usually in these things. So to me this indicates a general lack of desire on the part of Cruise to “indulge” in any of these tropes, something he has the money and power to force on screen if he wants it to happen (which is what happens in many movies! Including these ones, only you just see a woman’s ass disconnected from any character’s sexual intention - the sexual intention is purely presumed on behalf of the audience).

I think this is aesthetic evidence that Tom Cruise is gay. But I still don’t really care about any of the guy characters either because they also aren’t characters, so Benji/Ethan is entirely uncompelling to me in a way that Ethan/Julia isn’t, not because cookie-cutter heterosexuality is “more interesting” but because there is something weirdly restrained and emotionally repressed about it that feels strangely uncomfortable with its own cookie-cutterness. so personally if you want to do Benji/Ethan in an interesting way I think you need to contend with the bizarreness of Ethan/Julia, OR, you deal with the narrative tension of Ethan/Julia itself by focusing on it. I am obviously biased in that I am extremely partial to a good “lovers doomed to be forever apart” thing (and these movies are NOT good examples of this), but their relationship is purely emotional and purely based on repression of a desire for intimacy as opposed to sex, which feels weirdly out of place in an otherwise titanically normative action film series. AND ITS MAKING ME CRAZYYYYYY!!!!!!!

[fryandleelasbigfling]

so i kind of agree with this post but i also kind of don't. while fry is written with a lot more self-awareness and his romance with leela is one of the best in adult animation, i think it's important to highlight that fry very much had moments of being written as possessive and creepy, and it's worth acknowledging those moments both as part of criticizing the show and praising it for fry's character development past that state.

fry didn't really always respect leela's choice of whom to date? even before he was really into her, he shunned her for sleeping with zapp (with the punchline being that he doesn't think she feels bad enough), though thankfully he got over it and didn't hold it over her head like bender did lol. i give him credit when it came to alcazar as he was genuinely concerned for leela with no mention of wanting to date her, but he was quite obnoxious when it came to adlai, not only openly being jealous that leela doesn't like fry when he was into her before she got a second eye, but basically projecting his own feelings about being a proud outsider onto leela despite her having the right to process her feelings about her disability in a different way than he does. (a fascinating and underappreciated perspective on disability and part of why i love this episode!)

he does seem to respect her when she goes with chaz but the narrative kind of frames it as "poor fry, being ignored despite being such a good guy and being a friend to a woman who isn't banging him." though they at least have a few perspective shift scenes showing leela as a victim of chaz's shitty behavior. but the Vibes are off, it's still giving off the "incel vs chad" trope. and then there's the first movie where fry explicitly wants to sabotage leela's relationship out of pure jealousy but that is a point of his character development and it really does stick.

honestly i think leela is just as, if not more mature when it comes to fry's dating habits, partly because she isn't as strongly attracted to him (and is in denial even when she is), but even when she is clearly jealous (i.e. when fry is fake-dating both amy and her), she can be passive aggressive but accepts whatever romantic impulse he wishes to follow, and even with bender egging her on she was quite cordial about colleen, at least until fry tried to use her as a rebound and frankly she's justified in being angry there. the most aggressively jealous she ever got towards anyone fry dated was herself when fry made the robot clone lol.

i do think fry's open-mindedness is a really good trait of his but it's worth acknowledging what it took to get there. i think fry attached emotionally to leela very early on once he realized how lonely she was, but i think he thus put the responsibility onto himself to "protect" her and thus became very nosy and sometimes obnoxious in his distrust for the men she dates and her refusal to open up about her feelings. i think it's very telling that bender's big score creates a leela analogue for fry to care for who is literally a baby animal, because the story really is about fry accepting leela has autonomy and boundaries of her own and it's not up to him to "save" her from her loneliness.

however, i will give the show credit that the joke is usually on fry whenever he's pushy, and not leela's fault for not "recognizing" his good heart or whatever. originally he was just supposed to crush on her and it was played for laughs because she was so out of her league. but he developed naturally so it just happened to work and i think that's why it resonates with people more than stories where the character is written from the start to get with a girl out of his league.

I grew up watching Futurama and always thought Fry was a great example of a main character, but never realised why until rewatching it recently with my buddy.

For his setting, situations, and characters he interacts with, he's such a perfect fit. He's a loser, he knows he's got nothing to prove, but that doesn't stop him from being a kind person to a fault. From a technical standpoint, the fact that he's an idiot also makes him a great vehicle for the audience to understand the future, but that much is obvious.

I also want to point out specifically how he treats Leela. He takes any opportunity he can to express his affections for her, but he respects her boundaries and her choices to date other people, as jealous as it makes him, he's emotionally intelligent enough to respect her as a person and a friend. For a show from the late 90s-early 2000s, a loser, loner man character not being a creep and trying to force his advances upon a woman who doesn't want it, for him to learn lessons and be proven correct in respecting her and being happy for her happiness and simply finding fulfilment in being a loyal friend, that is EXCEPTIONAL for the time. Other shows at the time would have villainised her for not responding to his affections "for all the time he waited and effort he put in", but her refrain from dating him is shown as realistic and understandable for her, as sexist as Leela's dating practices can be written as sometimes in my opinion.

In fact, there is a character that is shown to not respect Leela's boundaries and is shown to be a fucking creep for it, Zapp Brannigan. While his sexual harassment of Leela is shown mostly for comedy, she's not the butt of the joke. Zapp is essentially the antithesis to Fry, he frequently inflates his own achievements and ego, doesn't view Leela as a person, and fucking hates Mutants. I didn't even mention Fry's unconditional love for her, in spite of realising she's of a "lower race", he uses her to learn more of where she comes from, and becomes a friend of the Mutants. Fuck, I could write all day of Fry's selflessness and willingness to open his mind to new ideas, not only for Leela, but for all of his friends.

Lastly, the dumb sweet guy archetype that Fry has easily makes him a timeless main character. The fact that he has nothing to prove means he has everything to gain, and each achievement he gains feels like a deeply personal and well deserved one, as it often means a new lesson learnes for him, or for him to use his selflessness and stupidity to its fullest.

[linusbenjamin]

Wanda Maximoff Avengers: Infinity War (2018) — dir. Anthony & Joe Russo

[hildegardladyofbones]

One of the best things about Disco Elysium by far is that it does not fear ugly women. The world is full of ugly men, but ugly women are so hard to come by.

[xxplastic-cubexx]

chat if i may speak

[midniteowlet]

I love your mind. So. So. Much.

Virginia Woolf loathed the oppression of women during her lifetime. While some parts of society have changed to afford women more opportunities, I don’t doubt that if she were alive today, she’d be sitting at her desk writing about the many inequities and injustices of modern society. This is why we leave our world for fiction, or as Woolf says to Vita in the movie Vita and Virginia, “I wrote them down, scored them into my heart, and in Orlando I set you free.” Fiction is freedom from our purgatory. It’s why we consume it. We’re desperate for a happy world. The problem is that Mafin’s story is meant to portray the real world and those discussions are as important as happily ever afters.

In the real world, “happiness” exists but can never be found in society as a whole. Even the most mundane of issues conspire against us. We must sacrifice or compromise. For example, I would love to spend an eternity with you in my arms, but we must eat eventually and if we are to eat then we must work. Similarly, Marta and Fina must give their other relationships time and effort, familial or friendly, lest they wither. Life isn’t happily ever after with one person. It’s intermittent moments of happiness when we reconnect with people we love while fulfilling obligations.

I think Marta and Fina’s relationship parallels the real world. Bad things happen to them because that is what life is. I have bad days. You do too. We ache for each other. We celebrate each other. The point of a relationship is to spend a lifetime trying to set “Orlando” free. To set each other free. To be the enduring light of a trillion stars in the vast darkness of space for someone else. Love isn’t only happy moments. It’s watching someone fall to pieces when their father dies. It’s being irate when they’re a victim of SA. It’s contradictions of character that surprise you and make you smile. It’s a hug when you most need to be held. We store our happiness in each other for safekeeping and return when the world allows it.

Ergo, Marta and Fina are already living their version of happily ever after because this is what happily ever after is like in a world filled with intolerance. I think, if we asked them, they would say that these brief moments of happiness are enough because that is exactly how I feel about you. I take any and every moment with you and treasure it. I give thanks to the cosmos because the world is so much easier to live in knowing you’re in it. I think we expect too much from fiction by asking it to solve the world’s problems when it’s goal is to get viewers to empathize with the struggle for balance we all feel. I think it’s wonderful that this show proves that two women can continue to be each other’s rock when bad things happen - which is much more than most period films seem to think women are capable of.

And this is one of the countless reasons I love chatting about Mafin with @midniteowlet: she's my very own toma a Tierra and grounds me, so I can approach things more rationally.

Upon concluding our debate of the current turn of events on the show, Mafin on the whole and their narrative? I've come to look at things as follows. The show very much reflects society as it is: a sad state of affairs where good people hurt and unsavory characters often prevail. The fact that we want everything good and wholesome to triumph at every turn? Idealistic, not realistic. Not to mention lofty expectations actually prevent one from truly appreciating the show, with all its ups and downs and winding roads. And personally, I'd like to keep enjoying it, without getting dragged down the utopian rabbit-hole.

For the most part, the representation we get is actually well crafted: Mafin feels organic, tried and true, and the chemistry between them is undeniable and thrilling. More so? Their story doesn't feel forced and thus, can be promoted to any viewership without it coming across as preachy and condescending, or having an agenda. If anything, Mafin is by far the best developed, healthiest relationship on the show. I, for one, much prefer the portrayal of good communication, heartfelt romance and overcoming obstacles together than a deluge of r-rated scenes. And honestly? We are being offered a damn good story here, even as it fails to satisfy everyone's hopes and demands (which in all honesty, it never could - at the end of the day, someone will always be disappointed)

I'm also reminded of Marta B. mentioning in a recent interview that the show is not aimed exclusively at the sapphic community. As such, it will not depict or cater to its particular needs. It's part of a larger ensemble and needs to appeal to a broad audience. And, when all is said and done, it actually manages to accomplish more with this kind of storytelling: one that's simpler, one that doesn't try to be pedantic. Ergo, they will not linger and preach to the audience. What they will do instead is allow the characters, their circumstances and actions, to speak for themselves. And they will trust they're doing a good enough job to let people draw their own conclusions. So far, I think they've achieved that: there’s heterosexual people watching the novela who love Mafin and think they’re the best couple on the show, there’s elderly people learning to be more open-minded, everyone loves Damian's character development, everyone hates Santiago and acknowledges he is a despicable lowlife etc. The show is moving the pieces along the board quite deftly and it makes for an interesting, if not always gratifying, game.

As for today's episode? There's no doubt that Marta and Fina only have eyes for each other. They're an established couple who will face anything thrown their way as they always have, as one. No mustachioed men will ever change that. Marta and Fina's narrative will never be whether they desperately adore each other. That they do couldn’t be more obvious. Their story? Ever has it been, and will continue to be, about their fight to attain freedom: freedom to live their love in a society that forbids it.

Therefore, I've reached the point where I'm not worried at all about either Santiago or Pelayo. Based on Pelayo's reaction upon learning Marta is a lesbian? I doubt he'll help Santiago in his attempt to sink Marta's ships. To me he comes across as a calculated businessman, but not a heartless one. He stands to profit more from a partnership with the de la Reina family than throwing Marta to the wolves. He also didn't bat an eye at Santiago's reveal, wasn't surprised or outraged. Which, I'll go out on a limb and say, is telling. He's either gay himself or simply plans on advancing his business / political career by securing a partner that won't demand his attention or affection. The first scenario ensures he remains socially upstanding while the second allows him to live as he pleases. To a man like Pelayo? It's a jackpot either way. Hopefully, the benefits outweigh the costs for Marta as well, should the plot move in that direction. And given all the signs? It's already halfway there.

That being said. It remains to be seen what happens to Santiago. I assume, and hope, his little ploy at denouncing Marta to the Civil Guard will cost him, dearly or otherwise. His own thirst for vengeance pushed him to make the wrong move which is, in my opinion, seeking out Pelayo. And while there's plenty of outraged cries that Marta & Fina don't need another man to save them? Let's not forget it's 1958. The likelihood of neither of them attracting a suitor, fake or otherwise unwelcome, is as doubtful as improbable. The fact they managed to successfully evade them so far? Quite the feat.

As for what awaits? Marta won't go to jail, I think, since that card has already been played. Or who knows? We might be surprised. The fear they need to instill in her requires new heights, in order for Marta to reluctantly accept another cage. Mind you, she's still trapped: as much freedom as she currently wields, Marta remains a woman whose very social status entraps her, singling her out as prime real estate. She's the proverbial golden goose, especially as dictated by the mores of society back then. Marta and Fina's shared dream of freedom remains, for now, a dream. One they've almost had at their fingertips, which makes their current circumstances all the more painful. I will say: it stings that Fina won't be the first to read Marta's journal. Undoubtedly, at some point, she will. After all, that journal is a mirror of Marta's very heart. It lays out her deepest fears, her innermost longings. It chronicles the fiercest battles Marta has had to wage with herself, her losses and triumphs, her meditations and hymns, the anguish and the deliverance of her love for Fina. To have it fall into the wrong hands? A violation of the utmost personal, a desecration of what is deemed sacred and untouchable. The diary symbolizes Marta having a safe space to call her own, one where she was allowed to embrace her true self, one that initiated her journey to freedom, her quest to rid herself of her shackles. Santiago has no honorable bone in his body and his hatred towards women, and Marta in particular, drives him to invade and vandalize her privacy, this blessed sanctuary she got to call her own. Let's see if Pelayo rises to the occasion and proves himself as a noble character. You can never have too many allies. Do I still take issue with how certain things are handled, with the inconsistencies and shoddy character work? Definitely. But I’m also able to simply sit back and enjoy. Let's see where all this goeth, shall we? Hello pain, let's go again.