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droctaviolovecraft · 4 months ago

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TW: Body horror, extreme violence/gore, torture, force-feeding, car accident, mutation, cancer, grotesque birth, psychological horror, clown phobia, child harm, kidnapping, sexual assault, incest, death and mortality, insects, cannibalism, rotten food, body deformation, forced pregnancy, alcoholism and drugs, dark comedy, bestiality, vaginal violation, human stretching, excrement ingestion, disgusting artistic imagery, disabled people, bullying, Michael Jackson.

"How many babies does it take to paint a house red?"

Identification: "The Extraordinary Mottman Show"

Responsible Researcher: Dr. Öctavio Kalev and Dr. Moon

Abomination #: ANM-450

Classification: Darlig 🔴 | Uncontained ❌️

nomaly Type: Televised, multi-anomalous, program, sentient

Damage Type: Reality-altering, mental, public, dimensional, manipulative

Confinement: ANM-450 broadcasts are to be intercepted and scrambled by all available MOTHRA Institute technology as soon as detected. If ANM-450 is picked up on any channel within the Institution's surveillance grid, Technology Active Task Force ("Red Herrings") is to immediately disrupt all television signals within a 50 km radius of the broadcast origin. Civilians exposed to ANM-450 are to be amnesticized (Class A for children, Class B for adults). All surviving children who have viewed the full program must be quarantined for at least 82 hours and subjected to psychological evaluations. If ANM-450 is detected outside MOTHRA Institute reach, local broadcast authorities must be contacted and instructed to shut down all outgoing signals.

Affected individuals (designated ANM-450-A) are to be contained in the Surveillance Site-450-043. ANM-450-A instances are not to be allowed to view any television programs or reflectors of any kind. Research teams are to focus on disrupting ANM-450 appearance on both cable and digital platforms.

The MOTHRA Institute keeps tabs on all television channels in the world, all of which are watched and monitored in the site already mentioned. Several individuals have been assigned to this duty, and work is carried out 24/7. Individuals who are tired are given time off, while another individual is assigned to do their job.

Description: ANM-450 refers to a recurring anomalous television program titled “The Extraordinary Mottman Show” that appears between 03:00 and 04:00 AM local time on children's networks and cartoon channels. The program, hosted by an entity calling itself "Mr. Mottman", interrupts normal programming and appears in regions where it would normally be out of the transmission range. ANM-450 exclusively targets children, often bypassing parental controls, and exploiting children who are left unsupervised.

Host Description - "Mr. Mottman" (ANM-450-1):

Mr. Mottman, designated ANM-450-1, is a humanoid figure approximately 6'2" tall (8'4") tall, wearing a pink button-down shirt and carrying two pens in his breast pocket. Despite his colorful and charming clothing, ANM-450-1 has an extremely disturbing appearance. His face is a grotesque amalgamation of several identical faces superimposed on one another, all of them bald. Each face displays exaggerated features: wide, toothy grins, tightly closed eyes, and deep laugh lines, giving the impression of uncontrollable but inaudible laughter. The faces contort in unison as Mr. Mottman moves.

When ANM-450-1 speaks, all of its faces move simultaneously, and its voice echoes with an unnatural distortion. Each episode of the show begins with ANM-450-1 emerging from a static screen, directly addressing the viewer with the following introduction:

> “I am Mr. Mottman, and today you will be our entertainment!"

This phrase precedes the start of the show, and despite the entity's "entertainer" persona, the atmosphere is overwhelmingly disturbing and malicious.

Other Entities:

In addition to ANM-450-1, the program regularly features three recurring characters/assistants:

1. The Mime (ANM-450-2): A young, pale-skinned teenage girl dressed as a mime. ANM-450-2 wears exclusively black and white clothing, including a black beret, black gloves, and makeup that includes a white base with black designs. The character communicates only through gestures and exaggerated facial expressions, never speaking. ANM-450-2 is unsettlingly silent and often performs actions that mirror the viewer's fears or insecurities.

2. Mr. Long Legs (ANM-450-3): ANM-450-3 is a disproportionate humanoid standing at 3.75 meters tall due to its elongated legs. It has albino skin and is dressed in brightly colored rainbow bell-bottom pants, held up by red suspenders. Despite its comically large frame, ANM-450-3 displays unnatural agility and participates in surreal, often disturbing skits where it uses its long legs to trap or immobilize individuals.

3. Uncle Brutus (ANM-450-4): ANM-450-4 is an obese, dirty clown figure standing 1.88 meters tall and weighing an estimated 240 kg. The subject is bald, missing front teeth, and wears a sailor-style shirt with blue stripes, coupled with mismatched colored pants or a ballerina skirt. ANM-450-4 is frequently seen consuming alcohol or smoking, and its humor is characterized by profanity and vulgar jokes. ANM-450-4’s actions often result in severe psychological distress for viewers.

Each episode of The Mottman Show follows a similar structure, starting with ANM-450-1 introducing the program and its contestants (typically children) with his characteristic phrase, the children are usually dressed in casual sailor or prisoner clothes, unaware of the danger.

The program presents "games" or "activities" involving ANM-450-1 and the other entities. These games start innocently but escalate into horrifying and dangerous situations, with children forced into perilous situations or subjected to mind-altering experiences. One known game involved ANM-450-2, the mime, mimicking the movements of a child. When the child attempted to stop moving, ANM-450-2 continued to perform increasingly violent gestures that corresponded with harm inflicted on the child. ANM-450-3, Mr. Long Legs, is often seen trapping children in complex mazes or webs made from its own extended limbs. ANM-450-4, Uncle Brutus, engages in verbal abuse and frightening intimidation, often encouraging children to perform harmful actions in exchange for escape.

If the children survive the episode, they are returned to their normal lives, but their behavior changes drastically. Many develop an obsession with watching late-night television, waiting for ANM-450 to reappear. These affected individuals (ANM-450-A) report hearing Mr. Mottman’s laughter in their dreams and during moments of silence.

Children who view The Mottman Show experience a range of psychological effects, including increased anxiety, insomnia, and an extreme fear of clowns or mimes. Prolonged exposure often results in catatonia, with victims entering a state of constant laughter similar to ANM-450-1’s facial expressions. ANM-450-A instances frequently display obsessive behavior, attempting to recreate scenes from the show, often leading to severe accidents or injury.

Adults exposed to the broadcast also report disturbing symptoms, though to a lesser degree. However, their memories of the show often become fragmented, making detailed reports difficult. In rare cases, adults may also become ANM-450-A instances.

Addendum 450-1:

Incident 450-Alpha:

On ██/██/20██, ANM-450 hijacked over 120 broadcast stations across North America, resulting in a surge of ANM-450-A instances. This event led to the deaths of ███ children and ██ adults due to post-exposure suicides and psychological breakdowns. The TATF managed to terminate the broadcast after approximately 45 minutes, but ANM-450 spread continues to escalate, with new regional outbreaks reported globally.

Addendum 450-2:

Research is ongoing into a means to fully disrupt ANM-450 ability to appear on multiple broadcast channels simultaneously, as current containment methods have proven insufficient.

Note: ANM-450 represents a clear and present danger to young, unsupervised children and must be neutralized with the highest priority.

Below follow 8 episodes recovered by the MOTHRA Institution from the Mottman Show

[[collapsible show="+ Episode 1: The Great Traffic Jam" hide="- Close"]]

On May 8th, 2023, a episode aired during ANM-450 episode, titled “The Great Traffic Jam”. The game featured three human contestants who were introduced on stage, each dressed as exaggerated, cartoonish versions of drivers. ANM-450-3 ("Mr. Long Legs") assumed the role of the game’s host, narrating a chilling scenario involving fatal car accidents. ANM-450-4 ("Uncle Brutus") provided twisted commentary, laughing uncontrollably and making morbid jokes throughout the entire event.

The stage morphed into a miniaturized version of a busy city intersection, with the help of Mr. Mottman’s anomalous abilities. Each contestant was given a remote-controlled car, each adorned with a photograph of their own face. The objective of the game was simple: to survive the longest without their car being destroyed. As the minigame progressed, the cars violently collided with one another, with each impact translating into brutal injuries reflected on the photographs. The damage to the images grew increasingly grotesque, showing deep cuts, missing limbs, and other horrific injuries, while the actual contestants remained eerily unaware of the impending danger.

As the game neared its climax, the cars smashed into each other in a chaotic frenzy, with one contestant's vehicle catching fire and another crumpling like paper under an invisible weight. The contestant whose car remained operational the longest was crowned the winner by Mr. Mottman, though their victory was far from celebratory. The other two contestants' cars emitted thick smoke and sparks, and in an instant, their physical bodies warped grotesquely, mimicking the mangled and deformed state of their cars.

ANM-450-1 returned to center stage, congratulating the surviving contestant with his signature phrase, “You’re the entertainment today!�� The other contestants lay motionless as their twisted forms smoked and crackled like burned-out machines. Mr. Mottman and the entities laughed hysterically, the sound echoing through the broadcast until it abruptly cut to static. Regular programming resumed, but not before leaving an oppressive silence in the wake of the episode's unsettling conclusion.

Post-incident psychological evaluations of viewers revealed an increased prevalence of trauma related to vehicular accidents, with many viewers reporting intense anxiety when driving or witnessing car crashes. Those who watched the segment without supervision displayed deep psychological scars, including recurring nightmares of being trapped in a never-ending crash.

[[/collapsible]]

[[collapsible show="+ Episode 2: Life’s Unfortunate Surprises" hide="- Close"]]

On June 20th, 2023, ANM-450 aired a episode titled "Life’s Unfortunate Surprises." The segment began with ANM-450-2 ("Mime Girl") presenting a basket filled with small, wrapped boxes labeled as "gifts" from Mr. Mottman. Three new contestants, all young children, were introduced, seemingly unaware of the show’s sinister nature. The contestants were encouraged to choose a box from the basket and open it in front of the camera.

The first child selected a box, which revealed a small model of a human cell. As soon as the child touched the model, it began to mutate, rapidly dividing and turning cancerous due to ANM-450-1 anomalous influence. The child’s body mirrored the process, his skin visibly decaying and growths appearing. Despite the child's clear distress, Mr. Mottman, in his usual jovial tone, referred to this as “the beauty of biology.” The child ultimately succumbed to the effects, his body deteriorating in real-time, becoming pale, weak and leaving only a warped husk as the camera panned away.

The second contestant opened a box containing a tiny, crying baby. As the baby’s cries grew louder, Mr. Mottman made an offhand joke about “life’s little surprises,” laughing as the baby rapidly aged into a deformed, monstrous version of itself. The contestant was instructed to cradle the infant, but as she held it, the baby morphed further, growing larger, with its cries becoming deafening. The child started to contort itself, giving birth to a grotesque, doll-like creature covered in blood and mucus, leaving her helpless as the creature continued to drag itself out by force, damaging the inner walls until it fully comes out.

The third contestant hesitantly opened their box, which released a swarm of black moths. The insects immediately swarmed around the contestant’s hand, devouring flesh and bone within moments, while the contestant screamed in agony. As the moths continued their feast, Mr. Mottman remarked, “What a transformative experience!” The child, now writhing in pain, could only watch as their hands was also completely consumed, leaving nothing but bone stumps.

[[/collapsible]]

[[collapsible show="+ Episode 3:: The Feeding Frenzy" hide="- Close"]]

On July 9th, ANM-450 aired an episode titled “The Feeding Frenzy.” This game involved a single child contestant, who was forcibly restrained on a table by ANM-450-2 and ANM-450-3. The child, terrified and confused, struggled against the restraints, but to no avail. Mr. Mottman gleefully announced the start of the game, explaining that the contestant would partake in “a feast fit for kings.”

ANM-450-4 took center stage, chuckling and swearing as he began force-feeding the child a variety of food items. At first, the food seemed harmless—large quantities of candy, cake, and soft drinks—but the grotesque nature of the segment quickly escalated. Uncle Brutus began feeding the child rancid meat, rotting vegetables, and, eventually, live insects, all while making crude jokes about the child's worsening condition.

Despite the child's gagging and pleas for mercy, the force-feeding continued. The child's stomach began to distend abnormally, swelling to an alarming size as the entities laughed hysterically. As the game progressed, Brutus increased the pace, forcibly shoving more food down the child's throat until his body could take no more. The child's stomach ruptured in a graphic and disgusting display, spilling its contents across the table. Blood, entrails, and feces gushed out, and the entities continued to laugh as the child went limp.

The broadcast abruptly cut to static as the child’s body collapsed, leaving Institute personnel in shock. Moments later, the show returned, transitioning into its usual, cheerful closing sequence. Mr. Mottman appeared as if nothing unusual had happened, although completely dirty with blood and vomit, bidding farewell to the audience: “We had some technical problems with the show! It looks like our last participant literally EXPLODED!" The child, now missing, was never referenced again in the episode.

[[/collapsible]]

[[collapsible show="+ Episode 4: Band of Misfits" hide="- Close"]]

During the episode aired on July 15th, 2023, Mr. Mottman unveiled a new minigame titled "Band of Misfits," featuring disabled contestants forced into a grueling musical performance. The segment began with the introduction of four participants:

1. A man born without legs, who was coerced into attempting breakdancing moves while strapped to a custom chair.

2. A musician with severely deformed fingers, tasked with playing a guitar until his digits bled and became raw.

3. A deaf woman, compelled to play drums despite her inability to hear the rhythm or tempo.

4. A poorly developed vocal cords individual, pressured into singing complex melodies with perfect pitch and tone.

Throughout the performance, the contestants faced relentless abuse and torment from the entities. The first one was subjected to electric shocks whenever he failed to complete a breakdancing move, causing his body to convulse violently.

The second was whipped by Uncle Brutus whenever his bleeding fingers faltered or missed a note, prompting him to play through the pain and agony.

The deaf drummer, was repeatedly struck across the face by Mr. Long Legs for not maintaining the correct rhythm, leaving her bruised and disoriented. Despite her handicap, she managed to persevere, relying on muscle memory to keep a semblance of a beat.

The mute singer, was goaded by Mr. Mottman, who cruelly mocked his inability to communicate verbally. Through a series of gestures and expressions, somehow managed to convey the correct lyrics and melodies, earning the entities' approval and applause.

The "Band of Misfits" performance ended with all contestants collapsed and broken, their bodies and spirits shattered by the relentless cruelty inflicted upon them.

[[/collapsible]]

[[collapsible show="+ Episode 5: "The Family Tree Grows Twisted" hide="- Close"]]

ANM-450 aired a episode titled "The Family Tree Grows Twisted,". Two contestants, a pair of siblings, were introduced and informed that they had been selected for a special “family challenge.”

Under the coercive influence of Mr. Mottman and the other ANM-450 entities, the siblings were manipulated into participating in an unnatural act of incestuous conception. The siblings, both visibly horrified, seemed unable to resist the power of ANM-450-1 anomalous control. The conception process was accelerated through Mottman's influence, with the pregnancy reaching full term within minutes. Mime Girl, was now acting as a midwife during this gruesome event.

The newborn emerged as a grotesquely deformed human, sporting fused limbs, an elongated and crooked encephalitic head, and a gnarled body structure. The writhing and crying mutant baby was presented to the audience by Mr. Mottman, who gleefully referred to him as the contestants' "new custody cousin." The twins were forced to cradle the mutant child in their arms, tears streaming down their faces as the entities celebrated the couple's "success."

[[/collapsible]]

[[collapsible show="+ Episode 6: "Dog Don't Talk" hide="- Close"]]

One of the latest episodes of ANM-450, titled "Dog Don't Talk," aired on [REDACTED], 2023, and showcased a new level of sadistic cruelty. The segment began with the introduction of a man identified as [REDACTED], who was subjected to a brutal and dehumanizing ordeal at the hands of the entities.

Under Uncle Brutus' watchful eye, the man's tongue was brutally pinched and his veins were cut, leaving his mouth with a gaping, bloody wound, while his teeth were also removed. His wrists were then shattered with a sledgehammer, leaving him unable to defend himself. To further immobilize him, Brutus used a bone saw to saw off the corners of his mouth, ensuring that he could only close his mouth minimally.

A metal wire was then inserted into his mouth, stretching it wide open, allowing him to only whisper and grunt. He was then presented with a bowl of dog kibble, which he was forced to consume or face the consequences. Uncle Brutus, ever eager to inflict more pain, stood ready with a loaded shotgun, threatening to execute the individual if he refused to comply.

Despite his horrific state, the participant managed to choke down the dog food, his muffled whimpers and groans the only sounds emanating from his mouth. The entities reveled in his suffering, taunting him with cruel remarks and mocking his inability to speak or resist.

[[/collapsible]]

[[collapsible show="+ Episode 7: "Bag of Shit" hide="- Close"]]

This episode, tittled "Bag of Shit," broadcasted on [REDACTED], 2024. This one began with the introduction of a man identified here only as "J.P", who was subjected to a series of gruesome and degrading procedures at the hands of the show presenters.

The subject challenge commenced with his castration, followed by the brutal amputation of both arms and legs, leaving him as a helpless, mutilated shell. To further dehumanize him, a diaper was attached to his torso, collecting his feces products.

In a display of cruel manipulation, a female participant, identified as [REDACTED] was forced to carry "J.P" around like on her back, like a sack of garbage for several days, exposing him to public ridicule and humiliation. During this time, "J.P" diaper filled with excrements, his body slowly decomposing under the relentless torment.

As the entities' twisted entertainment reached its climax, the women was compelled to force-feed the subject with the contents of his own soiled diaper. The man struggled to breathe as he choked on the repulsive mixture, his life slipping away amidst the presenters' sadistic laughter.

[[/collapsible]]

[[collapsible show="+ Episode 8: "Mr. Hands" hide="- Close"]]

In the [REMOVED], [REMOVED], the last episode of ANM-450, the entities pushed the boundaries of human endurance to an unthinkable extreme. Mr. Mottman introduced a new 'contestant,' a woman identified as [REMOVED], and announced that she would participate in a unique challenge.

Under the entities' compulsion, [REMOVED] was led to a large, stallion-like horse, its massive member engorged to an unnatural size. With no apparent anesthesia, the horse was forced to penetrate [REMOVED]'s vaginal canal, causing her immense pain and distress. As the horse began to thrust, [REMOVED]'s screams echoed through the barn.

The act continued, causing severe damage to [REMOVED]'s internal organs, particularly her colon, which ruptured under the immense pressure. Blood began to gush from her interiors, mouth, eyes and nose as the horse's member pierced deeper into her abdominal cavity. Despite her agony, [REMOVED] remained conscious, her groans growing weaker as she slowly lost consciousness from blood loss and extreme pain.

As the horse ovulated, [REMOVED CONTENT] ravaged insides, further exacerbating the bleeding. Her body went limp, and she collapsed to the ground, her life finished. This incident represents the darkest and most depraved act yet witnessed under ANM-450-1 influence, pushing the boundaries of human suffering to an unfathomable limit. The MOTHRA Institute consider whether continued observation of the episodes or no. Containment protocols and ethics reviews must be prioritized immediately.

[[/collapsible]]

Note: ANM-450 was first discovered in 199█, when several cases of missing children were reported in different countries. The investigation by the MOTHRA Institute, led by Dr. Öctavio Kalev, revealed that all of the children had watched the Mottman Show before they disappeared. In addition to all of this, the hosts of the show also committed other atrocities, being able to teleport to the child's home, seeking to kidnap them and then use them in the show.

Usually, when they are unable to do this, or for other reasons, they invade the house, torture or murder all the family members and the child. It is suggested that all instances also use the children as a food source, as was already observed in one of the scenes of the program, where all the participants are consuming a child who was missing.

#scp #scp foundation #mothra institution #writing #art #horror #original scp #the longest tw list i ever did

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bitch-butter · 1 year ago

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I joked that I was going to make a Lifetime movies rec list a while ago and Truly being bored at work has given birth to worse ideas, so this is one for my fellow cinephiles lol

My Highest Recommended Lifetime Movies in the Order in which they Changed my Life

Small Sacrifices (1989)

I'm honestly unclear whether this was intended originally to be a Lifetime movie because they showed it on a few different networks, but this was the first one that I ever remembered seeing and it Rocked my world. It's a true story about a woman named Diane Downs who attempted to murder her children and my mother and her friends lived for this film in a way that like is actually bonechilling. But I was spellbound by Farrah Fawcett in this movie, I thought she was the greatest actress I'd ever seen, and the story was really dark and scary and felt disgustingly salacious. So everything I'd come to like about Lifetime movies lol.

No One Would Tell (1996)

All my mom loved in the world was to wake up hungover on a Sunday and turn Lifetime on and proceed to fall asleep again while my tiny child peepers beheld Truly heinous shit. This one is one that I continue to make people watch because I can't be alone with the memories, but basically Candace Cameron is in a horribly abusive relationship with her boyfriend, Fred Savage, and he ends up murdering her and it is Incredibly sad and traumatic. There's a historic scene where she's taking a shower and her entire body is just littered with bruises and I will Never forget it!!!!!!!!! Very, very dark. But....iconic.

Odd Girl Out (2005)

This was the point in time where Uncle Television was very much concerned with telling young girls about bullying (for a different and just as good interp of this theme see ABC Family's Cyberbully starring Emily Osmont). But this one was the first and best to me, I related to it very much as an ostracized teen. It stars Alexa Vega, and she's a teen that has her whole popular friend group turn against her and she gets bullied bad lol It gets dark but only for like 20 minutes and then her redemption arc is nice. I loved this movie to death until I discovered Thirteen (2003), which is Way darker and had girls kissing in it for a few seconds.

Fab Five: The Texas Cheerleader Scandal (2008)

This movie was my identity. This movie was my child. Every time it was on TV I stopped whatever I was doing and watched it. I have no idea why, because I have been told people mainly find this one boring, but I think it's mostly due to the fact that I really do love movies where teenagers behave badly with impunity. This was a Ripped From the Headlines Lifetime movie about a roving band of cheerleaders that terrorize everyone in their wake at a Texas high school and basically get away with it because one of their mom's is the principal. I think it is a lol and a half, it's actually pretty competent, and there's like Good performances in it from actual actors. Highest rec possible.

Liz & Dick (2012)

Lindsay Lohan gets so unfairly maligned for her performance in this, it's sick. My most cherished memories of my last year of High School are watching this movie late at night and reading all of Lindsay's blind items and every article that was being written about her failed comeback. Again, I think she's actually okay in this, but for a lot of people it was insulting to cast Lindsay Lohan as Elizabeth Taylor and to those people I say haters get thee behind me. It's fun, it's campy, it's not too long, everybody watch it and relax for a while.

Flowers in the Attic (2014)

DARK DARK DARK but also STUPID STUPID STUPID. Seriously this movie has no business being as funny as it is given the subject matter. Basically a bunch of kids are uprooted by the death of their father and their mother forces them to live in the attic of her wealthy parents home under false pretenses, and incest ensues. Which, again, sounds really upsetting but is actually pretty funny a lot of the time lol. Their evil god-fearing grandma is played by Ellen Burstyn and she's So over the top, and their mom is my queen Heather Graham who is actually pretty chilling. The other movies in the saga are Also pretty dark, stupid, and fun, but this one was a legit phenomenon. Me and my college roommate would host viewings of it in our dorm room, it's really fun to watch in a crowd of people that don't get darked out by poorly handled incest.

Harry and Meghan: A Royal Romance (2018)

This is part one of a trilogy, but it's probably the best one even though the third is pretty fun. Honestly, you guys, this one is just Nice. Truly dgaf about the irl Harry and Meghan but this movie is actually a very fun love story, and it's sweet and has a few legitimately compelling twists and turns, and ultimately has a really satisfying ending. The actors playing Meghan and Harry are stellar, it's funny, it's cute, another highly recced film.

Who Killed Jonbenet? (2016)

An unhinged Eion Bailey performance for the ages with added child murder. Sarah and I are Definitely recording an episode about this one in the future, but truly it's almost too bleak to be chic and gets saved at the last minute by how inadvertently goofy it is. Eion's character develops a psycho-sexual (to me) fixation on an older detective who comes in and basically upends his investigation, and everything about it gives "but daddy please" and I love it and hate it at the same time.

Death of a Cheerleader (1994/2019)

Both versions of this movie are elite, the original is truly iconic and the remake is actually deluxe and makes some changes that I think make it an actually interesting movie. In Lifetime fashion it is Based On a True Story (fun fact: in my younger years I listened to My Favorite Murder and this story gets mentioned in one of their first episodes and they offhandedly mention that the murder weapon was like 8 inches long and That is a fact that has stuck with me in the middle of the night). I'd say watch them both, because the OG has a Tori Spelling performance that cannot be missed and is just a basic mean girls comeuppance story, but the redux is a lot more thoughtful and actually reflects some humanity on all characters which (if you haven't noticed) Lifetime isn't always great at lol.

Too Young to Be a Dad (2002)

UGH. Me and my girlfriend Just watched this and honestly that's a shame because I wish I'd had this movie my entire life. Paul Dano is a teenager that loses his virginity and impregnates his friend in one fell swoop and he has to Step Up and become a Man as like a fifteen year old, which sounds crazy and is but is legitimately a captivating movie. And Paul Dano is sooo fucking good in, it's not even a joke, watch it for his performance alone. I laughed, I cried, a perfect film (even though they never address abortion as a viable option lol Lifetime can only go so far ig).

This was Purely just for me but if you read this and watch these movies please lmk what you thought ~

#maybe the lifetime movie club will sponsor the podcast how chic would that be #honestly All these men should be in more lifetime movies #i don't like hallmark movies they're sexless and care too much about the lord #people fuck on Lifetime ok #they smoke and drink and push each other off roofs and frame each other for insider trading #i mean...Television for Women lol

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adultswim2021 · 11 months ago

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The Venture Bros. #49: "Pinstripes & Poltergeists" | December 14, 2009 - 12:00AM | S04E08

The mid-season finale! The season four split of Venture Bros has been covered somewhat, but basically the boys burnt themselves out behind the scenes and needed a break, so they asked Adult Swim if they could cut season four into two halves, while also upping the episode order from 13 episodes to 16 episodes. The network went for it, and it took them nearly a whole ‘nother year to deliver the back half. So, this ends up sorta being a mini-finale.

This is another one of those episodes that’s more effective if you’re devoted to the story of Venture Bros. Meaning: it’s a little light on laughs. There are jokes in here, and they’re all fine, but there probably won’t be a big long list of all the times I laughed at this one or anything like that. It’s goal is mostly to get Brock back into the fold and to set up story elements that are going to come into play for the second half of season four. There’s nothing wrong with that, but I prefer when the show makes me laugh. But I don’t not care about the story, either.

In this one: The Monarch gets swindled by Monstroso (mentioned in a previous episode and now here in front of our eyes) into signing a bad deal thinking that he’s merely going to help the Monarch defeat Dr. Venture. Turns out he’s signed away his rights to arch Dr. Venture to Monstroso.

Monstroso’s methods are lawyerly by nature, attempting to financially ruin Dr. Venture by making him use a certain amount of square footage of his compound towards some public good. When scoping out an abandoned factory on his property he discovers that Brock and SPHINX, the super-secret organization dedicated to stopping villainy that falls outside the purview of the OSI by being non-costumed and non-Guild-of-Calamitous-Intent-affiliated, have been using the space secretly. In other words: Brock has been with the Ventures this entire time. Aww.

Also of note: 21 is shown speaking to 24’s ghost. We’d seen him chatting with 24’s skull throughout this season. He also confronts Brock, a callback to the scene in Tag-Sale, You’re It (apparently repeating the same dialogue) where 21 tries to take Brock on with a non-working light-saber. Brock’s dismissive “boo.” to get 21 to run away is now met with a punch to Brock’s face. Brock doesn’t kill 21, but his newfound respect for giving him a decent fight leads him to team up with him to go beat up Monstroso. The episode ends with Brock casually eating a bowl of cereal in the Venture’s kitchen and Hank, in a delayed reaction, being stunned to find him there.

SPHINX were previously portrayed as bad guys, but it’s explained that when they were conquered, it was decided to just take all their Egypt-themed crap and use it to start what’s essentially a new group. This explanation seems squarely aimed at the fans of the show who just wish it were an unironic action cartoon. But it's alright! I like it fine, okay! I'm not pissed off at all! At this, I mean.

EPHEMERA CORNER

The Family Guy Chicken Star Wars Double Feature (December 20, 2009)

Sometimes I’ll make note of something to cover for Ephemera Corner; like some kind of specially scheduling thing Adult Swim does that in theory is worth mentioning. But then it comes time to talk about it and it’s like damn, I do not care about this at all. Consider how now in 2024, it seems like they run marathons of certain shows all the time, just because that’s a proven-to-work model for cable television nowadays. So, I might get choosier with these EPHEMERA CORNER programming things.

But for those of you who care: Take note, Star Wars heads! Your favorite Seths went head to head and did a Star War double feature rivaling the Ewok TV Movies. The sci-fi epic about one man turning to the darkside and deciding to deprive his children of committing incest with each other by moving them to different planets will knock your socks off, because that’s what this is: It’s just the movie Star Wars but with cartoon guys in it. I don’t even think they changed the words or anything. Have fun imagining how it must’ve played with 2009-era commercial breaks.

#adult swim #adultswim2021 #the venture bros.

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lifblogs · 3 years ago

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Arguing for Better Trauma Representation in Media

A/N: All right, y'all, here's my english essay I told you I'd share! WARNINGS for mentions of rape and incest.

TV shows will benefit from portraying trauma according to the modern feminist trauma theory. Some might ask, “Why is proper trauma representation important?” For one, viewers can feel alienated from the texts, and there are even instances of actors feeling alienated from the texts (Chan, p. 1). Furthermore, incorrect representation causes further stigma towards those with trauma and mental illness (Johnson, and Miller, p. 225). Implementing the feminist trauma theory into storytelling will benefit viewers (and therefore writers and networks) and change the stigmatization around those with trauma and mental illness. The dominant trauma theory that is used in literature was theoriorized by Cathy Caruth in the 1980s. This idea of trauma is that it is a one and done event. She has even described it as “unspeakable or unreprepresentable, which means that trauma should be represented in experimental and indirect forms…” (Travers, p. 180). Usually this delegates the story to the metaphysical or the supernatural instead of actually presenting the trauma as is, which is a “...long-standing and problematic tradition in American culture” (Travers, p. 182).. Dominant trauma theory is also phallocentric (tends to focus on the impact of trauma on males), alienating female and minority viewers. The theory that I think TV will benefit from is the feminist trauma theory, which sees trauma as an on-going experience and something that can be represented and spoken of. Women and minority groups tend to be better represented by this theory, but it also includes better representation for men. There is a problem with trauma storytelling in media, and following feminist trauma theory will help with this because writing trauma in a way that makes people feel seen will garner positive attention from audiences, audiences already interact with media content in a way that suggests displeasure, and there has been success with feminist trauma theory in the show Jessica Jones.

It has been a long-running tradition in stories to use trauma as plot devices, so there is benefit to continuing this in a manner that makes people feel seen in order to garner positive attention from audiences. The metaphysical and supernatural are largely used to explore trauma in shows, especially when it comes to sexual asault. Many see trauma as an unspeakable event, and referring to the dominant trauma theory represented in media presented by Cathy Caruth as spoken of above, this is largely how trauma is seen in television. The show Supernatural uses dominant trauma theory to tell its story. In fact, its quite common trope of demonic possession is used as a rape metaphor. To possess a character in the show, demons do not need consent and can enter a character’s body at any point if not protected by a sigil (which, technically, the sigil is a metaphysical way of reclaiming bodily autonomy). Angels within the show do need consent, but that consent does not have to be an enthusiastic yes and it cannot be taken back. The character can be coerced into it, manipulated, and pushed in many ways. Even tricked! The character Sam Winchester has been possessed many times. In season two episode fourteen “Born Under a Bad Sign” Sam Wincester is possessed for the first time, by a demon named Meg. Meg not only uses his body in ways he never would (excessive drinking, smoking), but also uses it to try and assault another character. After Sam is no longer possessed, his brother, Dean, likens it to sexual activity by saying, “Dude, you like full-on had a girl inside you for, like, a whole week” (“Born Under a Bad Sign” 00:41:43 - 00:41:46). Later in the show Sam is possessed by Lucifer, which he was coerced into, and in season nine episode one “I Think I’m Gonna Like It Here” Dean tricks Sam into being possessed by an angel. This is easily likened to rape as Sam had lack of bodily autononmy and choices, and later on it’s even discovered that part of the angel was left inside of Sam: “Wait, you’re saying there’s angelic grace inside of me?” (“First Born” 00:08:40 - 00:08:41). In season nine episode twelve “Sharp Teeth” Sam tells Dean about his situation and Dean, after giving a little laugh, responds to Sam’s confusion by saying, “Nothing. I’m gone for two weeks, and you’re like an episode of Teen Mom” (“Sharp Teeth” 00:04:54 - 00:04:58). Sam’s even had his body switched with someone else, and someone then had sex using his body, and he’s magically been given STIs. To follow Dean’s story, the angel Michael wanted to possess him, and in season five episode one “Sympathy for the Devil” he learns this, and learns of Michael needing his consent. He’s told it’s a “great honor” by the angel Zachariah, to which Dean responds, “Oh, yeah. Yeah, life as an angel condom. That’s real fun” (“Sympathy for the Devil” 00:28:25 - 00:28:30). And in season five episode seven “The Curious Case of Dean Winchester” Dean claims “...and there’s an archangel there wanting me to drop the soap” (“The Curious Case of Dean Winchester” 00:14:22 - 00:14:25). These are just a few examples of the many ways that the metaphysical is used to explore sexual trauma in Supernatural.

Rape, one form of trauma, has a long history of being present in storytelling. The definition of rape, according to the Meriam-Webster dictionary is “...sexual intercourse carried out forcibly or under threat of injury against a person’s will…” (“Rape”). To broaden this definition we can look at what enthusiastic consent is. Enthusiastic consent is a knowledgeable yes that is given of one’s own will without any outside factors forcing the decision upon them. In fiction, a metaphysical loss of ability to consent, can also lead to rape. However, most writers don’t seem to notice this, seeing as Grant Ward is raped in season one episode fifteen of Agents of S.H.I.E.L.D., “Yes Men.” While this was a rape scene to those who understand the definition of rape, the writers did not seem to notice it themselves. Grant Ward had had his consent overruled by the powers of an Asgardian named Lorelei, and she then has sex with him. This is never discussed in a way that shows Ward’s lack of consent, he even apologizes for “his actions,” which were not of his own doing, there seems to be no other emotional effect, and it is never mentioned again. This is quite a popular mishandled trope in storytelling. In season nine episode three of Supernatural, “I’m No Angel,” the angel Castiel has sex with a woman, and it later turns out that she had lied about who and what she was, and had just used him. She later kills him. This is never discussed as rape, even though Castiel could not give knowledgeable consent, and Castiel is even praised by Dean for losing his virginity. Another example of this that I was surprised to come across was in the movie Ghostbusters: Afterlife. In this movie, the character Callie Spengler is possessed by a demon and has sex with another character who is also possessed by a demon. The movie looks at this purely as sex, and one of the teens in the movie even congratulates her. She was not in control of her body or her decisions and sexual acts were done upon her, making it rape. That scene took a light-hearted movie and made it distasteful and hard to watch.

Then, there are rape scenes that the writers are fully aware of, such as in Game of Thrones. One of the reasons I’m bringing this show up is because it was incredibly popular before its downfall of season eight. For years, we were seeing rape pretty regularly in popular media. Many unnamed women are raped, but so are key characters such as Daenerys Targaryen, Cersei Lannister, and Sansa Stark. Sansa has an odd reaction to her rape, showing that writers do not understand proper trauma theory or put in a lot of care when writing these kinds of things. In season eight episode four “The Last of the Starks” she claims that her rape made her stronger (“The Last of the Starks”). That is hardly what rape does, and I remember being online and seeing the large outcry from fans about how her rape was handled. There was outcry over the season four rape of Cersei Lannister at the hands of her brother Jaime as well. Many feminists took to discussing it, and came to the conclusion that “The stories we tell about rape, who gets to speak, and which acts can be named are thus of central importance in understanding rape culture” (Ferreday, p. 3). Stories of rape, if handled with care, can be used to bolster the voices of survivors.

Now, of course, there’s more than just rape as violent actions in media. In pop culture TV we see lots of action: fighting, beating, torture, shooting, and much more. Popular culture including violence generates trauma stories or the potential for trauma stories. We see this in horror cinema, and the literary fantastic (like Game of Thrones). Despite this, shows tend to erase all wounds and scars by the next episode, leaving trauma in a metaphysical state that might not be explored. “Cuts, bruises, and breaks are usually healed and forgotten by the next episode, while magical deaths are soon reversed” (Chan, p. 1). Trauma is also ignored in lieu of a grander storyline. Oftentimes Sam Winchester’s trauma was not brought up unless it added to furthering the plot, or to even be made fun of (trauma is not the butt of a joke). The plot is oftentimes favored over character study. Due to all this, popular media has created negative stigmas surrounding mental health and trauma. Trauma is often used as a gateway to psychopathy and antagonism. Traumatized female villains tend to be represented as sympathetic and simply victims of what happened to them. Their trauma is seen as what made them snap. (Johnson, and Miller, p. 212). On the other hand, traumatized male villains are often seen as horribly irredeemable (Johnson, and Miller, p. 219). According to Ferreday, the writer of “Game of Thrones, Rape Culture and Feminist Fandom,”

Continued exposure to erroneous and stereotypical depictions can negatively influence public perceptions about mental illness, those suffering from mental illness, and mental health treatment. Indeed, a growing body of evidence suggests that exposure to such negative representations predicts negative attitudes toward mental illness and those who suffer from it (Ferreday, p. 225)

With PTSD listed as a mental illness, trauma depictions clearly influence the public perception, and these erroneous ways of writing trauma have an impact on the viewers. Creating a better perception is all about taking care in the ways of how trauma is written. If these stories with trauma are to continue, there would be great benefit to them being written respectfully.

Now, one might ask, “How do you know audiences are upset?” Well, audiences interact, and have been interacting, with media content in a way that suggests displeasure with the current mode of storytelling TV shows follow. They don’t just do this through tweets, or blog posts, or angry rants wherever they can put them (I’ve even seen them in the comments of Instagram posts). They do it through fanfiction. Fanfiction is a non-canonical story derived from a canonical story, and is written by a fan. These stories could be as long as two million words, or as short as one hundred words. Popular fanfiction explores trauma that shows often ignore. With Supernatural “...many fan writers give Sam and Dean bodies of consequences, bodies that bear the scars of the past and that also exercise proactive agency…” (Chan, p. 2). Chan herself has explored many fan writings, and in her journal article it can be seen that fans find there is much to be desired. There are fanfictions that explore potential trauma, traumas that were forgotten by the show, and even how it is an on-going event which characters are affected by. Personally, I have seen dropped trauma plotlines in TV shows and have written deeper about them in the realm of fanfiction. I have seen others do this as well, particularly with Supernatural. I have read fan written essays about Sam’s trauma and the ways the show ignores it. With my writing, I was able to connect with a great number of fans–a few thousand, in fact–and share our wish for better trauma depiction in media. This interaction with media is happening as I type this, and it will continue happening. Fanfiction is a way for certain audience members to explore and express their displeasure with trauma story-telling in TV.

Feminist trauma theory provides a respectful model for telling these stories that do have value, and there has been success with this model. I’ve mostly discussed the ways in which stories are written with the dominant trauma theory, or ways in which they are handled poorly. So what would feminist trauma theory in media look like? To answer that question we have to take a look at the show Jessica Jones. Season one of Jessica Jones follows the character Jessica Jones and her goal to take down her abuser, Kilgrave. Previous to season one Jessica was Kilgrave’s sex slave for a year; his powers allowed him to control her with his voice. We are shown this past story through flashbacks, and other PTSD symptoms that Jessica has. Instead of sensationalizing rape scenes or using them for shock value as is often seen in Game of Thrones, Jessica Jones shows the after-effects, the PTSD, which is part of feminist trauma theory where trauma is an on-going event. The great difference between Supernatural and Jessica Jones when it comes to handling rape and trauma is that one is a one-and-done affair explored in the metaphysical realm, often used for plot and focuses on the suffering of men while the other focuses on trauma as something that happened and continues in a woman’s life through flashbacks and other unpleasant symptoms and behaviors. To discuss the differences, we need to think once again of Supernatural’s use of demonic possession as a rape allegory. There is almost never “real” rape in the show except for when it comes to Sam Winchester. However, Sam Winchester’s physical rape between seasons five and six by the Devil is left so vague that some fans–despite what actors have said–still argue that Sam Winchester was not raped by Lucifer at all. He’s also been raped by his girlfriend Ruby in season four, except that is left vague as well. And, poor Sam, is raped again in season twelve. Adding this to the numerous counts of possession, and other supernatural events of lack of bodily autonomy (one of the main themes of Supernatural, one could argue), it seems like the writers can’t even find a proper focus for it, either in the physical or metaphysical realm. Jessica Jones makes it incredibly clear that Jessica was raped by Kilgrave, and lets the viewers know that that is exactly what season one is dealing with. Jessica doesn’t just have flashbacks, or have Kilgrave taunting and mocking her. We see her drinking, having nightmares, avoiding sleep, and partaking in reckless and risky behavior. After what happened, she doesn’t have much care for herself. An interesting thing about Jessica Jones, is that “...the series unusually employs the supernatural to debunk traditional perceptions of rape by representing the perpetrator as literally tainted rather than the victim” (Travers, p. 189). Supernatural does the opposite of this. Sam has been called an “abomination” and Sam and Dean are often described as dirty or tainted for what they’ve been through. Jessica Jones subverts this by putting the blame on the perpetrator. Jessica Jones’ use of flashbacks as a mode of storytelling follow feminist trauma theory, and with what is happening in her current life in the season, they tie together to make an interesting story. Is this important? Well, critics think so. “Rosenberg’s series has received critical acclaim, with critics commending Jessica Jones’ engagement with difficult topics including rape, domestic violence, and the resulting trauma effects of those experiences…” (Travers, p. 178). The show went on to run for two more seasons, with season one still being its most powerful. Clearly, there has been success with TV writing following the feminist trauma theory, which means there can be success in the future.

With all this violence and potential for trauma story-telling in the media, many see it as “torture porn,” a term coined by critic David Edelstein in 2006 with his review of the Saw franchise, and Hostel (Hallam, pp. 229-230). “The term torture porn was meant by Edelstein to be derisive, as he finds these films ‘viciously nihilistic’” (Hallam, p. 230). In this case, the name speaks for itself. Some see these trauma depictions as glorification of violence, as violence being used to grossly entertain, of there being too much of this in media. Essentially, torture porn can be described as the graphic depiction of violence in the horror genre or in trauma story-telling. One view, according to Lindsay Hallam is,

...horror cinema revolves around the experiences of fear, terror and trauma, these experiences are aroused for the purposes of pleasure and entertainment. This genre does not exist in order to heal past wounds, it exists in order to create them, and to then parade these wounds in extreme close-up (Hallam, p. 228).

So, it can be said that torture porn has often been used to shock audiences. That’s no lie. Just look at how popular and prosperous horror movies are! “Graphic violence is used in order to heighten the engagement with reality and with the experience of trauma” (Hallam, p. 234). This is true. Action and violence are used to draw audiences and get them excited. However, there is value in the stories that we tell, and value in trauma story-telling. According to Hallam there is also a “...long held notion that horror can have a cathartic effect” (Hallam, p. 234), and “...young audience members are using torture porn as a form of relase, of acting out” (Hallam pp. 234-235). To look at it in this lens of release and catharsis and acting out, we must take the Levianasian approach: “Nothing is nobler than exposing man’s misery” (Lewis, pp. 83-84). What this means is that the stories that are told are of great importance. It is important to share trauma within stories. Trauma story-telling (if not phallocentric) often includes representation of minorities, and it is important for minority groups to see themselves represented in media. However, there are problems with the popular depiction of trauma as discussed above: there is a dominance of white men and greater focus on their stories in media, and women’s trauma is often used to further the story of a man. Though within trauma depictions we can find representation of minorities, and audiences are a large mix of different types of people. Each and every person approaches a show differently due to their backgrounds, and they are looking for their stories. Trauma story-telling can give them that. These stories are vitally important. Trauma story-telling–particularly stories involving rape–is also a way for women to break their silence about rape, or to bring more awareness to the topic. These stories have their value, and they have found their place in television; calling them “torture porn” is simple disrespect.

A lesser argument that might be more popular in the showrunning business is that there isn’t marketability in the feminist trauma theory. Emphasizing beauty draws in more viewers and makes the show more marketable. Fans are naturally drawn in by the pleasing aesthetic of beautiful people. Networks tend to emphasize beauty in their cast, which leaves no room for physical marks of trauma on the bodies that feminst trauma theory would call for. “The show [Supernatural] resolves the tension between marketability and story-telling by making scars disappear and wounds invisible” (Chan, p. 2). This simply ignores and erases given trauma. Jessica Jones was able to emphasize trauma throughout season one, and it remained a marketable show, going on to run for two more seasons. Fanfiction also suggests that audiences would be just fine if physical marks of trauma remained, and if trauma was seen as an ongoing event. There is more marketability in shows following the feminist trauma theory than one may realize.

In conclusion, shows should take more time and care to share characters’ stories of trauma. Trauma has long been used as a plot device in storytelling and is still being used. That says something significant about humanity and the stories we wish to tell. Audiences wish for a change in the stories they are provided, their interactions with media showing they want better representation of trauma. Why not give that to them? Feminist trauma theory provides an excellent model for respectfully telling stories about trauma–the stories that audiences wish for. And, despite the use of the term “torture porn” there is value to the stories that we tell, and the stories that we tell about trauma. There is marketability there as well, with Jessica Jones proving so. Future shows and writers will benefit from following feminist trauma theory in their writing.

Works Cited

“Born Under a Bad Sign.” Supernatural. Written by Cathryn Humphris, season 2, episode 14, The CW, 2007.

Chan, Suzette. “Supernatural Bodies: Writing Subjugation and Resistance Onto Sam and Dean Winchester.” Transformative Works and Cultures, no. 4, Organization for Transformative Works. 2010. https://journal.transformativeworks.org/index.php/twc/article/download/179/160?inline=1

“First Born.” Supernatural. Written by Robbie Thompson, season 9, episode 11, The CW, 2014.

Ferreday, Debra. “Game of Thrones, Rape Culture and Feminist Fandom.” Australian Feminist Studies, Vol. 30, Issue 83, Routledge. March 2015. https://eds-p-ebscohost-com.ezproxy.snhu.edu/eds/detail/detail?vid=3&sid=3d898748-4e81-4eb8-9e41-67e59b839df3%40redis&bdata=JnNpdGU9ZWRzLWxpdmUmc2NvcGU9c2l0ZQ%3d%3d#AN=102319737&db=sih

Hallam, Lindsay. “Genre Cinema as Trauma Cinema: Post 9/11 Trauma and the Rise of 'Torture Porn' in Recent Horror Films.” In Trama, Media, Art: New Perspectives, ed. Mick Broderick and Antonio Traverso, 228-236. Newcastle upon Tyne, UK: Cambridge Scholars Publishing. 2010. https://eds-p-ebscohost-com.ezproxy.snhu.edu/eds/detail/detail?vid=3&sid=4004a8ad-dc19-46c2-8d6c-7880805d75b9%40redis&bdata=JnNpdGU9ZWRzLWxpdmUmc2NvcGU9c2l0ZQ%3d%3d#AN=539916&db=nlebk

“I’m No Angel.” Supernatural. Written by Brad Buckner, and Eugenie Ross-Leming, season 9, episode 3, The CW, 2013.

“I Think I’m Gonna Like It Here.” Supernatural. Written by Jeremy Carver, season 9, episode 1, The Cw, 2013.

Lewis, R. The Velvet Light Trap, pp. 83-84. 2007.

Quintero, Jessie M, Miller, Bonnie. “When Women ‘Snap’: The Use of Mental Illness to Contextualize Women’s Acts of Violence in Contemporary Popular Media.” Women’s Studies in Communication, Vol 39, No 2., Communication Department, University of Massachusetts Boston. 2016. https://eds-p-ebscohost-com.ezproxy.snhu.edu/eds/pdfviewer/pdfviewer?vid=4&sid=e123fb90-8ba6-4a07-821f-e362f6688429%40redis

“Rape.” Merriam-Webster. https://www.merriam-webster.com/dictionary/rape

“Sharp Teeth.” Supernatural. Written by Adam Glass, season 9, episode 12, The CW, 2014.

“Sympathy for the Devil.” Supernatural. Written by Eric Kripke, season 5, episode 1, The CW, 2009.

“The Curious Case of Dean Winchester.” Supernatural. Written by Sera Gamble, and Jenny Klein, season 5, episode 7, The CW, 2009.

“The Last of the Starks.” Game of Thrones. Written by David Benioff, and D.B. Weiss, season 8, episode 4, HBO, 2019.

Travers, Sean. “‘Just Jessica Jones’: Challenging Trauma Representation and New Trauma Metaphors in Melissa Rosenberg’s Jessica Jones.” Popular Culture Studies Journal, Volume 9, Issue 2, Popular Culture Association. 2021. https://mpcaaca.org/wp-content/uploads/2021/10/R1-Travers-Jessica-Jones-1.pdf

“Yes Men.” Agents of S.H.I.E.L.D. Written by Shalisha Francis, season 1, episode 15, ABC, 2014.

#trauma representation #media #essay #rape mention #incest mention #spn #got #jessica jones #aos #ghostbusters: afterlife

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jellyfishjuliet · 2 years ago

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listen, i didnt like cordelia one bit growing up and was glad when she was gone, but now it’s just…. sad. the hatefulness in the writing of character is much harder to ignore when ur thirty versus when ur in middle school. yeah she was a bitch, and crass, and miss problematique, but she wasn’t evil and she DID grow up. took her forever and a day, but she DID grow into a hero and a champion, and after her arc, we never really got a new female hero. fred was sacrificed for wesley’s manpain and illyria’s rise, and none of the women after her held a candle to her growth and development. it’s sad bc she ended her life being accused of being an incestuous freak who groomed her best friend/beloved’s kid, and NOT the hero she actually was. her decision to take on the visions really DID ruin her in the end, even tho she did it for the greater good. it wasn’t about cangel, or her inability to move on from angel, or even her role in angel investigations…. cordelia grew up to become the hero she thought she could never be, and died for it. sure she ascended and got to say her piece in s5, but besides that….. ol girl really died without any justice to her name. and why? bc joss hates women, especially pregnant ones? i know we all harp the networks and capitalism for what killed off the buffyverse on tv, but we have got to start admitting joss was a self-saboteur. there were a million and one ways to write charisma off due to the pregnancy and bring her back later without firing her, but instead….. it’s just sad is what it is. angel couldn’t hold itself up as a show bc the man running it would rather clown a pregnant lady on public television than gracefully exit her out and continue telling a thoughtful story. what was thoughtful about framing the female hero of the show as a possible groomer/incest-lover/monster? teen!connor was a cunt, but he WAS groomed. abused. it’s hateful what joss wrote bc there’s pettiness and then there’s “i’d sacrifice the quality of my own show if it meant humiliating people i dislike.” literally nobody hated the buffyverse more than this man, i swear.

#i am just so disheartened #angel #angel the series #ats #real talk #buffyverse

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ddagent · 4 years ago

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Superstar

SUPERSTAR: Actor/Celebrity AU Part of the “30 Promptathon”.

When Brienne arrived at the production offices of Oathkeeper that morning, it was as if a group of White Walkers had been spotted on the horizon. Staffers were fielding call after call; production assistants were sprinting through the corridors. Brienne’s tea nearly went flying as one of the runners, a young lad named Podrick, nearly barrelled into her.

“S–sorry, Ms Tarth. It’s–it’s mayhem today.”

“So I can see, Pod. What’s happened?”

His eyes went wide. “You haven’t heard? Tarly’s been sacked. They’re bringing in a replacement.”

With that bombshell, the young lad returned to his quest. As her heart sunk into her stomach, Brienne made her way through the labyrinth of offices towards her own cubicle. Her wall-mate, Hyle Hunt, was griping over the sudden change in showrunner. But, then, he had been good friends with Randyll Tarly. He and the other male writers went out every Friday night while Brienne was often left picking up continuity issues in their scripts or fielding complaints from the higher-ups that Tarly didn’t want to deal with.

Brienne was not upset to see the back of him. She was, however, concerned to see the front of the new showrunner.

“TARTH. WRITER’S ROOM, FIVE MINUTES.”

Putting down her tea and last season’s scripts, Brienne merely nodded at Connington. Four minutes later, she was joining the rest of the writers – all-male, all wankers – in the writer’s room. Today they had meant to begin planning season three of Oathkeeper, which had gained some traction over the summer. Now – now who knew what they would be doing.

Brienne took a seat at the farthest end of the conference table while Hyle, Ed, Ben, and Ron Connington filtered through. Hyle was the first to speak. “So, do we know who they’re bringing in yet?”

Connington scoffed. “Probably a woman. The network probably want us to appear ‘diverse’.”

“We’ve got Tarth for that.”

“Tarth doesn’t count.”

Brienne refused to rise to their bait. She had, in the early days. She’d gone to Tarly’s office after work and pled her case more evenings than she could count. But he hadn’t listened. Had, in fact, insinuated that if she continued to complain she would be out on her ear. And Brienne needed this job. More so, she wanted this job. She loathed to think what Lady Alys, based off the great Ser Brienne of Tarth (a very distant relation) would become when left to these troglodytes.

They were still making guesses as to who their new showrunner would be, each more offensive than the last. Brienne caught the tail-end of Hyle’s suggestion: “I bet he’s some snot-nosed kid whose daddy got him the job.”

“Actually, my father would prefer I worked in the King’s Landing Stock Exchange than in television.” A smooth, silk voice cut through the chatter. Brienne lifted her head to see the most beautiful man she had ever seen. “Jaime Lannister. Ser Jaime Lannister, actually.”

The writer’s room went quiet in the presence of their new showrunner. Gods, Jaime Lannister was a legend in cinema. He had produced some of the greatest historical epics, earning himself three Dayne awards and a knighthood for honours in filmmaking. He also had a reputation for being difficult to work with. If he liked you, you would have a career spanning decades. If you crossed him, the closest career in film you’d get is taking tickets at the local multiplex.

Her shoulders sagged. At least she enjoyed the smell of popcorn.

Lannister took a seat at the head of the conference table and leaned back, assessing his new writers. “As I’m sure you’ve heard, Randyll Tarly is no longer with the show.”

“He was a great showrunner,” Connington offered.

“He was a dick who had multiple allegations made against him and had a history of covering up complaints from female staffers. He will not be missed.” Lannister smiled at them; his teeth bared. “You should all be happy to know that I’m a great fan of the show. Well, the source material. I have all the books; read them cover to cover.”

Ben shrank in his chair. “We’re–we’re trying to tell our own version.”

Lannister nodded. “That I can see. The actress playing Queen Cerelle. Has she read the books?”

“Well, we—”

He raised a well-manicured hand, cutting Ben off at the knees. “Get her copies of the books. I want her to have read them cover to cover before we begin shooting. Who is in charge of writing Lady Alys’ storyline?”

All heads swivelled towards the end of the table. Brienne sighed; she had honestly expected it to be longer before they all threw her under the bus. “That would be me, Mister Lannister. Brienne Tarth.”

Jaime Lannister stared; swallowing hard. “The scene between her and Ser Jason where she saves his life from the Northerners. That was you?”

Before she could respond, Connington intervened. “We’re looking to bring Ser Jason back to his sister early on in season three. The audience like the incest storyline.”

“No, they really don’t.” Lannister sunk his hands through his thick head of hair. “I was afraid of this. These books are...sacred. The story of the Blue Knight and Goldenhand the Just isn’t just a legend, it’s an integral part of Westerosi history. And it’s been left in the hands of four ‘dudebros’ and a woman with a degree in Ancient History and a Masters in Creative Writing.” He huffed out a breath. “You’re all fired.”

The table erupted, then. Shouts and insults flew through the air although Jaime Lannister remained unbothered by them all. None of them had noticed the man in the doorway until he began escorting the writers out. Connington tried to put up a fight but his face was inevitably smushed against the fibreglass door. Rising to her feet, Brienne decided to leave with at least some shred of dignity.

She made it three steps before Lannister addressed her. “Ms Tarth, I’d like the proposed storylines for season three on my desk in two hours.”

“But I thought—”

He met her gaze for the first time. If Brienne was a different kind of woman, she’d have sworn his breath caught. “—you’re free to go if you wish, Ms Tarth. But I hope you don’t. I hope you stay here. Stay with me.”

If Brienne was a different kind of writer, maybe she’d have followed her colleagues out the door. But she wasn’t. She stayed.

#braime #jaime x brienne #ship: braime #mine: paragraph prompts #Anonymous

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brazilian-telenovelas · 3 years ago

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Blog Post #1

Every country has their specific unique cultural elements and aspects that make up their culture. Television is a specific cultural phenomenon that is popular for many different people as it shows what your country is like, as well as showing what specific shows your country likes to watch, whether that be romance shows, sporting events that are broadcasted, comedy skits, or dramatic shows, like telenovelas. Telenovelas are very popular in the country of Brazil; they are a country that thrives on drama shows. Telenovelas are similar to American soap operas, “similar to a soap opera in plot development but having a broader audience and airing during prime time rather than daytime” (Telenovela). Telenovelas have a permanent cast which is another reason as to why so many people get attached to them, not to mention their incredibly melodramatic storyline, which also helps keep viewers entertained. These programs originally started out as something called radionovelas, which were the radio versions of these original dramatic stories, however they were shortened into 15-minute segments, instead of the long, one-hour pieces that are typical on television nowadays. These radionovelas begun broadcasting in Latin America around the 1930’s. However, another interesting fact is that these shows were traditionally created for typically middle-aged viewers, they were also created to specifically be early programs that were shown on television during the daytime, unlike the nighttime like they are shown now. What allowed them to switch to nighttime was the increase of, “they had begun to include overblown plots, overt sexual content (usually including nudity), and subjects chosen for controversy and scandal, such as deception, incest, murder, and adultery” (Telenovela).

A popular Brazilian telenovela that was released around the 1970’s was the telenovela called “Escrava Isaura”, which stands for the slave Isaura. This show is focused on the main story of an enslaved girl, who works on a popular Brazilian coffee plant. As well as following, “The difficulties faced by a gentle-hearted young white slave targeted by the obsession of her lord in the Brazilian colonial period” (Isaura: Slave Girl). It aired many different cast members from, Rubens de Falco, Gilberto Martinho, Lùceila Santos, and Markus Kónka. Lùceila Santos actually won an award for Best Foreign Actress in this telenovela at the Golden Eagle Awards, that take place in China. The show first aired on October 11th or 1976, and one of its downfalls was that since it was broadcasted in Brazil, it was broadcasted in the Portuguese language. This made it harder for people of other countries in Latin America to watch it, because most of the other nearby countries only spoke Spanish. The production company that it was broadcasted on was the company called Rede Globo De Televisão. In English it is referred to as TV Globo, which is a popular free to air television network, it began airing shows on April 26th in the year 1965. It was then shown in many other countries besides Brazil, like Argentina, France, Poland, West Germany, and the Soviet Union. Overall, Brazil has produced many popular telenovelas over the past decade that have become immensely popular not only among people of Brazil, but also people of nearby countries.

Works Cited

“Isaura: Slave Girl.” IMDb, IMDb.com, https://www.imdb.com/title/tt0142036/releaseinfo?ref_=ttfc_ql_2.

“Telenovela.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/art/telenovela.

#Brazil telenovelas

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orionsangel86 · 4 years ago

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Not ppl putting all the blame on Singer when it comes to win*est, when Dabb himself wrote in his scripts: Sam and Dean eyefu*k." Also, while I do think they maybe kept him from letting Cas return, they sure didn't hire a ghostwriter to write the lines "It's only ever been about you and me, Sam" and "I love you so much, my baby brother." Also, Dabb made sure to let Sam bring up Cas with Dean downright brushing him off. BTW, did everyone forget how Dabb and Bobo praised the end of Game of Thrones?

1. How do you know that those points weren’t notes from execs, or lines added by others? When so many people who work in television have now confirmed that scripts go through huge changes after they have left the writers hands.

2. Sam and Dean eyefucking - this is a long known joke among spn writers. They all add it. They add it for Dean and Cas as well. It is just their joking way to confirm that they are staring intently at each other. It’s not an incest thing.

3. “It’s only ever been about you and me” sounds like something that could have been added at any point whilst people were trying to force this brother only narrative that doesn’t align with the story. This is out of character for Dabb if you have EVER watched another episode of his.

4. “I love you so much, my baby brother.” What exactly is wrong with this line? I know that we have all got fucking PTSD from nasty ass wincest shippers dirtying up this show with their disgusting ship, but it really bothers me when otherwise normal moments between siblings are immediately seen as being incestuous. I’ve told my brother I love him before, probably in a very similar way - admittedly it was over the phone and he was threatening to jump off a bridge at the time and it was a very intense situation, but jesus, there is NOTHING incestuous about telling a sibling you love them at a moment of intense emotion and heartbreak. I hate that we do this. I hate that they have MADE us feel this way about these two brothers who clearly love each other very much and that is NOT INCESTUOUS. God.

5. Dean brushing Cas off was again, out of character, but given the implications we have of there being MULTIPLE versions of the script due to constant network meddling and BOB FUCKING SINGER directing the episode, I’m gonna give Dabb a minor pass here.

I don’t completely let him off the hook, I have never said that, but I don’t hold him completely responsible for a butchered awful out of character script as I think he was caught between a rock and a hard place and in the end that script was so far removed from his original version the guy probably just gave up.

Look, here is what I think. That butchered fucked up travesty of script was a collaborative disaster. It was the result of Dabb, Singer, and the CW execs all picking at it and pulling at it until they had some frankenstein nightmare that they probably knew wasn’t great even whilst filming it. They are ALL responsible for it. I have always believed Dabb was trying to give us some form of Destiel, even in an abiguous way, and I stand by that. I believe he lost a battle that he was never going to be able to win with both Singer and the execs on the opposite side to him. They wanted the bronly ending. So thats what Dabb had to deliver.

#spn conspiracy theories #i am not sure why there is so much dabb hate anyway #like the guy was never perfect but his episodes were usually solid #this finale is out of character for him #it screams of network meddling #and okay i have a grudge against singer #so maybe im biased there #but i do believe that catankerous old git is anti destiel #whatever #if you dont like my opinions scroll on past #fandom wank #wincest for ts #asks #anon #Anonymous

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found--family · 4 years ago

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incest ≠ Good Queer Rep.

look. i don't ship w*ncest - it makes my soul cringe and my stomach turn in a bad way as it tries to escape up my esophagus - but before Castiel entered the scene in season 4, Supernatural was three seasons laser-focused on two brothers, two guys who grew up on the road with an abusive father, raised on traumatic experiences and sharing close quarters, in constant danger and near-constant emotional distress, it was bi-coded!perpetually-single!Dean and Sam who recently lost his girlfriend in a traumatic way, no other main characters and an emphasis on how important they are to each other because they literally don't have anyone else.. look, on a surface level /i get it/. if they were NOT brothers i too would ship them: interesting characters and an interesting plot? yes, of course i want the queer version. every show is made better by having queer characters, and why—? because we're normal people who deserve equal treatment within the narrative.

the fact that incest isn't taboo when it comes to queer ships seems crazy, but it's really not because WE ARE SO STARVED FOR POSITIVE AND DIVERSE QUEER REP ON TELEVISION. i mean i don't want another teen dramedy focused on high school students and the problems of coming out/being out in this modern inclusive age (they're important societal and cultural stories but WE DESERVE MORE). i want to see badass male monster hunters saving the day, saving the world, and in amongst it all there's a kiss between two leading men, a moment of intimacy between two leading men (explicit and otherwise). incest is ick-worthy but people gravitate to the crumbs they're given and construct a feast from those crumbs because it's all they have.

it's a damn shame Castiel wasn't in the show from s1, or that there wasn't another main or side male character for folks to ship with Dean. but thems were the times. it wasn't going to happen, not with a show like Supernatural whose narrative focus was NOT on being queer when queer main characters were limited to shows like Queer As Folk and The L Word and soap operas. but still, the audience of this gritty drama with its monsters and magic and demons and identity issues and fighting the good fight against all odds WANTED a queer romance, they WANTED queer characters front and centre. so, an intense brotherly bond gets twisted into something romantic and sexual—and again i don't ship them and i actively avoid bibro content because for me it's not just taboo it's SQUICK—that being said..

..i can't help but be more disgusted rn with the way TPTB denied us a healthy queer romance in a Dean/Cas endgame and yet played up some seriously unnerving slash vibes with two brothers during the series finale. aside from the disrespectful #BuryYourGays way they treated Cas AND Dean, there's the disgustingly negative queer rep of giving male/male incest vibes more screentime and end-narrative clout than a 12 season long male/male love story which gets shunned in some insanely misdirected attempt to celebrate the show's legacy (which they thought was season 1 episode 1?? when it was actually 15 seasons of complex meta storytelling!!) and avoid making Destiel - one of the most popular queer ships in television history - canon.

each member of Team Free Will deserved better endings than they got but while TPTB were so desperate to avoid alienating their conservative viewership (ie. avoiding endgame Destiel) they managed to bring the biggest incestuous queer ship on television front-and-centre as their "fond farewell" to the show, and i just—

that ending was the kind of thing you'd expect in a parody - i rage i laugh i cry i vent - it's insane. though it does go with the theme of 2020.

tl;dr

TPTB could've given us The Best Ending for Positive Queer Rep with a Dean/Cas romantic endgame following a full rich season of lead-up on top of 11 previous seasons of brilliantly layered storytelling, but instead they intentionally botched it and cemented their reputation as fools on the wrong side of television history. i will take solace in 15 seasons (-1 episode) of narrative (+ countless fanfics) but it's not enough. Supernatural may have started airing in an era of No Queer Representation (outside of certain targeted dramas) but it ended in an era of celebrating and encouraging Explicit Queer Representation across all genres so TPTB has no rock to hide under, no justifiable excuse. they could've elevated SPN's legacy to something even more beautiful and inspirational - ie. actually stayed true to their 'Dare To Defy' campaign - but instead they bungled SPN's legacy by trying to run back the clock and tripping over themselves in the process.

networks need to diversify and strengthen their representation of Queer Characters and Queer Romance, and the fact that people ship non-canonical incestuous queer romances should be a Call of Desperation heard in board rooms throughout the industry. if nothing else the Supernatural finale has shown every other network what NOT to do - and that goes for making queer ships canon as well as creating more diversified queer content from the start.

#wincest #queer characters #lgbtqia #dean is bi #representation matters #incest ships are not good queer rep #thoughts #destiel #spn deserved better #how does SPN even have a conservative viewership?? it's not that kind of show. someone explain because that does not track.#also: dont come @me trying to defend an incestuous ship as /beautiful/ and /not about queer rep/ because i just ate.#and yes i know Cas isn't technically male but if his vessel were female the matter of his Angelic gender would've never been acknowledged #fuck TPTB

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theeverythingisart · 4 years ago

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BABAE KA

For so many years, women were identified as an inferior than men— harassed, abused, and oppressed because they are WOMEN. Years after years, we fight for the women empowerment, gender equality, and fight against the abuse and violence. The fight has finally paid off women are allowed to vote, work, and pursue careers that are seen to be ‘too masculine’ for women. Yet, after all the said and done, we still experience misogyny and inequalities. Our female heroes did not fight for us only to be discriminated and to be told to just sit down and just clean and cook.

Growing up, I always hear the line “kababae mong tao…” whenever I say and do something that is not expected for a woman to do. You see, I grew up with my grandmother and I am always with my male cousins. I rarely watch Barbie movies and Princess series— I like them though. I tend to watch WWE and mimic the wrestlers’ introduction every time they will come on television. My mother would also tell me that I wear too much baggy clothes.

Most Filipinos are raised to believe that being shy, delicate, reserved, and demure are the qualities a woman should impose. I even read some statements on social media that if you don’t possess these qualities, you are not entitled to be called as a ‘dalagang Filipina’. This kind of sexist comments can shape and alter how women will see themselves. It can affect self-confidence and limit our capacities on the things that we can do and we can achieve. But there is no right way or right measurements that we should follow to be a woman.

On the other hand, rape culture and victim blaming are, I suppose, a thing here in the Philippines. They throw rocks at women for being abused because they did not conform the behaviors deemed appropriate for women, instead of blaming the abusers for their actions. For this reason, most rape and incest incidences were kept within the victim. We were raised that being raped is partly our fault. It’s either ‘YOU ARE ASKING’ for it and ‘YOU LET IT HAPPEN’. I was catcalled for I-don’t-now-how-many-times while wearing my school uniform. We can wear the most decent clothes and yet we were still harassed. Filipinos refuse to believe that tolerating such mindset can water the ideas of discrimination.

It isn’t always just in the streets where I feel uncomfortable of myself. It happens when someone would joke about my weight— “Uy, kumakain ka ba?”, “Kailangan mo yata ng feeding”, “Mukha kang kawayan de tsina at plywood”. I can’t even blame them since the society taught us that keeping a nice and slender body will put you in a good place in the future. It’s either you will marry handsome guy and you will easily get on the job you want.

We were confined to these orders: To be controlled, be quiet, and just follow.

Our society is undeniably patriarchal and our country being religious adds up to the beliefs that discriminates women. The bible also says that women should become a subject to their husbands, which I don’t mean to make it sound bad but the treatment should be equal. Also, on the advertisements of beer where women are present to give emphasis on the man’s masculinity. The things we see everywhere shows the on-going misogyny not just in our country but in the world.

Yet, social media became a good platform for us to voice out our opinions and ideas, to reach out, and inform people what’s happening to us and empowerment we want to gain.

Wanting women empowerment doesn’t necessarily mean that we want to outcast the rights of the men hold. It is about being a voice to those who can’t speak, and it is for being a foot to those who can’t stand and walk away. It’s time for us to stop the discriminations within ourselves, family, friends, and social network.

Honestly, I also question he things I have done for women and I’m still on the process on making progress— things what I can do and help. I just hope that justice will be served to those who are in need and everyone will contribute on protecting each other.

Green, the color of life, renewal, nature, and energy, is associated with meanings of growth and harmony, It also stands for new growth and rebirth, common in the spring season when all of the plants are coming back to life with fresh growth and life after the cold winter months.

In connection to the passage above, this issue is thought of as hopeless since we are living in a patriarchal society. But I can see growth and we can redeem this by empower each other.

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ksmutclub · 4 years ago

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Let’s take a step...

Good Evening Everyone. Admin Tomi here.

I think we’ve reached the need for a full stop.

There’s going to be a lot here - please hang with me. I ask that you read this thoroughly, because I would like to have this be the cease fire for the current situation.

Firstly,

We are deeply sorry for any hurt, pain, trigger, or traumatic essence that has arisen in the midst of viewing the Monster Smash prompt list.

These prompts are based on popular horror movies and books. Things that we easily associate with Horror via authors like James Patterson and Stephen King [which a good chunk of these prompts come from]. So to us, and a majority of the voters/members, who wanted it to return? There was no issue.

The club rules *specifically* state that we do not allow the following

WHAT WE DON’T REBLOG

Sexualization of minors,

Incest,

Eating disorders,

Self harm,

Glorification of mental illnesses,

Animal abuse,

Any controversial topics,

Political topics,

Masterlists,

WIPs posts,

Domestic violence,

Abusive relationships,

Pedophilia,

Necrophilia,

Homophobic topics,

Racist topics.

Rape.

That has been the long standing no-no’s of this club since its inception. We didn’t understand why the anons, and few members that came forward, would think that we would:

A - allow any story that breaks the rules to pass through. B - that any of the writers/creators/esteemed members of this club would dip down to those levels to create material that does exactly what we ask not to be done.

We’re all adults, and trust that everyone knows right from wrong, and understands the ramifications of such issues.

We in no way intended to cause trauma, downplay anyone’s trauma, or ‘insult’ anyone with mental health issues.

But.

We cannot stop creators from writing things that may include dark topics.

We believe in the portent of trigger warnings required on each story. Because what could be a trigger for you? Could be a cathartic release for someone writing from a similar experience, or someone with an interest in said experiences.

We trust and believe in you all to believe in self-care. Meaning that if someone happens to post a yandere story with a trigger warning for blood? That you would move to the next story. We believe that every reader and creator are the masters of their Tumblr experience and will act in accordance with the safety of their well-being and mental health in consideration.

With that all being said? The h***ler prompt was missed/misstep. Again, we profusely apologize for that one making the list. There is no excuse, I will attempt to offer none. The K Smut Club Admins will do better to be more mindful/careful/watchful of such things in the future.

Now, a point was made during the back and forth of the evening. That one message cleared most of the confusion. A trigger warning on the prompt list. Which in hindsight, may or may not have made a difference. But, it would at least show that we DID hear you about the certain prompts [esp. the h**ler one, cause that should've never gone up. So we thank that member for catching it].

So going forward, since this has been a lesson, we will make sure to trigger warning as best we can for the next Monster Smash event. As a reminder, the prompts are purely voluntary to serve as an example of what you could possibly write. None of these were mandatory, or necessary to participate in the event.

Again, with any event the idea of your story and where it goes is always up to you, the creator.

To the matter of the prompt examples list?

We can all agree to disagree. Everyone perceives things differently. Again, we trust you all to be mindful of the rules and not write anything that would be considered illegal. For example:

A brother and sister find an old door in their basement that wasn’t there before.

Hansel and Gretel; or Brother and Sister monster hunters, sister gets kidnapped by demon that’s been lusting over Brother. Or in secret relationship with brother - sister is kidnapped with ultimatum to come on over to the bad side or they’ll make the sister disappear. So, no incest.

The abused animals of a zoo are unleashed and wreak havoc on a small town.

Based on James Patterson’s Book ‘Zoo’[and there was a miniseries]. Animals of the world suddenly developed a genetic abnormality that caused them to rise up and try to take the planet back. Believe it or not? There was romance/sex involved in the people trying to save the animals, the world, and themselves. One of the scientists fell for a reporter as they worked together for a cure. The story written could have the two people getting together and that amount of care they have for solving the menace - solves it. So, no abused animals.

Deceased soldiers return to their Civil War-era homes.

Based on multiple episodes of the Twilight Zone or the Outer Limits. People that may have died with strong regrets and the people who miss them terribly are given an opportunity to come back for one day. Fully alive, flesh and blood, breathing living - to spend one day with each other to help them move on. Also the movie Warm Bodies where a zombie regains his humanity, and undoes the curse of the undead by falling in love, of all things. The ‘zombie’ fully regains his humanity, living breathing, and bleeding - there’s even a kiss. So, no necrophilia.

A monster is terrified by the scary child who lives above his bed.

Based on Monsters Inc. and I’ve seen some Monster Inc Kpop fic smut out there, so it’s absolutely possible to have a single parent cleaning a kids room and shenanigans ensue, or not, and just be a super crack horror fic.

A family dog runs away from home. He returns a year later to the delight of his family. But there’s something different about him. Something demonic.

Based on Pet Sematary, Stephen King classic. Synopsis could be that parents lost a family pet, trying for a child, pet returns, horror ensues.

A child sleep-walks into their parent’s room and whispers, “I’m sorry. The devil told me to.”

Based on Case 39. A movie where the kid was a literally a demon posing as a child, and manipulated everyone around her and caused a bunch of deaths/mishaps.

I’ve made these few scant examples to prove there was no ill, illegal, or sick intent with the prompts posted. Each of them can be connected to a movie, book, or television series that many are familiar with.

Even though the rules state smut is required, where the smut happens within prompt depends on the story. But, wherever it should so appear would be required, of course, to act within the bounds of the clubs rules.

Because we trust you, the creators, to abide by them.

In closing,

Everybody has had different experiences in their lives. We are not going to pit pain against pain. No one’s pain is greater. Pain is pain and we all have suffered it, or will at some point. We must do what we need to in order to protect ourselves from things that hurt or trigger us.

I believe every network feels this sentiment and uses the trigger warning requirement in order to protect their readers from consuming content which would hurt them, while allowing the creator the opportunity to explore and create in the medium they see fit.

We are all humans trying to navigate a difficult time. We all have our ways to deal with these traumatic and painful happenings in our lives. We either talk about it with our peers who have the same experience, write to forge a path forward to some sort of healing in our own way- or we simply remove that reminder from our sphere of existence.

We will do the best in our capacity, in this network to create a space for both the reader and the creator to do what is best for them, while following all legal statutes set forth by Tumblr and the laws of the US where it is based.

If there are any club members that have issues with any of the prompts - we ask that you please DM the admin staff off anon, so that we can get an accurate count of the individuals that take offense.

There will be no bashing, no repercussions, or public shaming.

We want to make sure that the people in our network have a say in what happens within the club events. Just because we can see the story in the prompts, doesn’t mean everyone can. We would be happy to discuss the prompt or prompts in question, with examples or sources to assuage any fears that you have.

For those who were hurt, disturbed, disappointed, or felt the negativity wrought by this?

We again, humbly apologize that you have. We hope that we can move forward with the event and the growth of the club with your blessings and participation.

Sincerely, The Admin Team

P.S. - Death threats, threats of any kind are not ok. We’re all adults here. If you disagree then your blog is the space to do it. Stay out of folks DMs with that bullshit because you disagree - that goes for anybody that has spoken out disagreeing with the club and anyone outside toward the members within the club. We have differing opinions they should be respected. No one should be victimized any further than already experienced.

#announcements #monster smash 2020 #ksmutclub

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malicious-fisheeves · 4 years ago

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Anyway here’s the dumb fandom shit manifesto but here’s the whole thing under the read more

https://docs.google.com/document/d/1WKjpOTU7D-JkiXD1gqYNJcjzGI691WXWRj4CJ3mI5UU/edit?usp=sharing

Honestly this is for myself personally, everyone has their own barometer, but I hate all of you and will hit you with my tonka truck

It’s incredibly telling that most of the people who proudly call themselves “anti antis” and “problematic” don’t see this as a serious issue. They’re more concerned with their right to jack off than having--not even compassion, just basic decency, for children / abuse survivors in fan spaces. Harassment campaigns against minors who are rightfully uncomfortable with how ‘big’ artists and other fan content creators interact with them are incredibly common, and it’s incredibly ironic to hear these same people bemoaning how their right to free speech is being taken away, or how “antis should care more about real people” -- people against pedophilia and incest shipping do care about real people of course. For example, real children who are hurt in real life when people create grooming content for real pedophiles, or abuse survivors trying to navigate their own road to recovery who are barraged with content that makes them relive their trauma (especially in the case of vocal survivors, who are often specifically harassed with content meant to trigger them). It’s also laughable that these people are always talking about how they “properly tag” their works so that it can be avoided, all the while continuing to follow creators who specifically outline their discomfort with these “anti antis” and say they don’t want to be followed by or interact with them. These people have no regard for other people’s boundaries. There’s also the hilarious (/s) instances of these people proclaiming their therapists think that them making child porn is just fine. Most often, these incidents are either blatant lies from “fandom therapists” (who quickly accumulate clout and then ~mysteriously~ disappear to side blogs once they’ve stroked enough people’s wounded egos.) While there are some forms of treatments that do involve creating art or writing about your own personal experience so you can work through the complicated emotions that come from being a victim of abuse, these are supposed to be in tightly monitored situations, not posted to widely used social media and fan works sites where that material can be used by groomers. Your 50 yr old therapist, Kelly, doesn’t know what AO3 is, and even if she did, who’s to say she’s right in the first place? Adjacent to this argument is one from legality, which already sets off a million red flags for anyone who’s discussed real-life instances of abuse where it was ‘alright’ because a predator waited until their victim was of age. Legal? Yes, maybe, but morally justifiable? No. Of course, this itself will ring their incessant whinging about how “fiction =/= morality.” Yes, of course, the things we create do not necessarily reflect our own morals on principle alone. However, writing dark subject matters requires a clarity of purpose--if you’ve ever been on the side that representation is important, because it influences how we think about certain groups of people or subject matter (like war), then you understand this principle already. There are certain ways of portraying these things that have a real impact on how a reader interprets them. Yes, violent video games don’t make people violent, but they can make war seem much more palatable, or make the enemy less human. The torture porn in many horror films in the 70s/80s wouldn’t have made men more violent towards women, but it did contribute to larger misogynistic ideas about women(this doesn’t even touch upon the sub genre of trans horror, which of course does have real effects on how trans people, mainly trans women, are viewed, and contributes to violence against them).

This argument that “fiction =/= reality” really misses the forest for the trees when it comes to these discussions, quite frankly, because it’s rarely about “you read incest porn, you are therefore going to commit incest” and moreso about the wider impacts that the masses of fan works aggregated onto websites as opposed to you, personally, being ~*problematic*~. Quite frankly, I would probably be less vocal and less ~mean~ about it if people I knew, and myself included, weren’t put on the end of harassment campaigns, made fake callouts for, or lied to by people I thought I was at least on good terms with. When fans perpetuate racist stereotypes--making black and latine characters hypersexual aggressive or borderline (or, yknow, just actual) rapists to their petite white ‘romantic’ interests, or making asian characters submissive waifs and abuse victims--it has a real effect on how people of color interact with fan works. If you want to talk about being ~pushed out of the fandom~ maybe shut up forever. One thing I did want to note upon is that it’s already quite ridiculous to claim that “fiction doesn’t effect reality”, one, for the claims above (you simply cannot claim that representation is important and then dismiss fans of color saying your slavery non con fic is racist) when it’s very obvious that these “anti anti” spaces attract predators on the reg. This is most plain on twitter, where a cursory scroll through popular “anti” dunking blogs are filled with self proclaimed pedophiles (some claiming to be “no contact” which is basically useless if you speak to victims of CSA). Because those blogs make them feel good. You’re not actually hurting anyone, what you’re doing is fine. Children can consent. Beyond that, it also gives them a network to meet other pedophiles and distribute their child porn, and a way to meet children, especially for blogs that post mainly about children’s television shows. Children want to feel mature and respected, and blogs like these give them this avenue, because to many children sex is a taboo, mature topic. They can’t talk to their parents, because they’re afraid of getting in trouble for talking about sex, and that’s what predators prey upon. It’s the perfect grooming environment. Regardless of whether or not you think that reading child porn, or rape fics, will make you, personally, a rapist, these places have created an environment where children are put in danger. This isn’t a hypothetical--multiple predators have been outed from “anti anti” discords, where they return with regularity.

TLDR fuck all yall

#its all just talking about incest/abuse/pedophilia in fandom it is. once again #mainly just for myself but also Im Right #i could say so much more but i dont care to

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cbrownjc · 6 years ago

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GRRM and Romance

So, this isn’t something I have seen so much being said on tumblr, but I have seen it said other places, most specifically when it comes to Jon and Daenerys’ relationship, and it’s this: “George R. R. Martin doesn’t do romance!”

And when I see it said, I always do a “what?” double take. Because it’s clear people who say or think this don’t know of GRRMs writing credits outside of ASOIAF/GOT. More specifically, one credit in particular: the television show Beauty and the Beast which aired on CBS from 1987-1990. He was not only one of the main writers for the show, (penning 14 episodes out of the total 46 of the show’s run, the third most of any of the writers for the show), but was also one of the supervising producers of the show as well. And at the time, and even after it short run was over, it was considered to be one of the most romantic shows ever produced for television.

I was around 9 or 10 when the show first came on back in the 80s, and was so not into dramatic romance shows. So I never watched it when it was in its original run. It was actually about a year after it ended when I first started watching it (having just entered my early teens). And to this day, almost 30 years later, that show still has not only left an impression on me, but is also still one of the most romantic shows I think has ever been done for television, just as was said about it when it first aired.

The show wasn’t just a romance, it was a High Fantasy Romance. Unlike the reboot on the CW a few years back that had a pretty handsome-looking guy who would “beast” out or whatever, the Vincent of the original looked as he did in the above image from the beginning of the show until the end of it. His physical appearance never changed. And along with his otherworldly looks, he and Catherine shared what could only be described as a mystical connection between them. They could only describe it between them as a “bond” but the gist of it was, they could feel each others emotions. They could feel what the other was feeling at almost every moment. Which, on one level, help to add some “action” into the show, since Catherine was a lawyer and so would get into life-threatening situations with some of her cases. Vincent could feel when she was in trouble and rushed to save her, usually killing the people that were trying to hurt her, giving in to the more “animalistic” side of his nature (though the network kept wanted to reign that fact back).

However, the point of their bond was more than just for that. It was to enhance the idea of the theme of the show, the theme of the beauty and the beast tale in general, of being able to see the true beauty inside someone. On the surface, Vincent and Catherine both appeared to be ugly. Whereas Vincent just had the physical ugliness, Catherine actually started out the story as a typical spoiled rich girl “yuppy” type, who’s dad would pay for anything she wanted. She’s mistaken for somebody else one night, brutally beaten and left for dead in Central Park, where Vincent finds her and saves her life.

It is here that their bond begins to form. Vincent, who was always guarded and would hide away from people because of his looks, (except from his “family,” a society of people who lived under NYC as well like he did, and were all viewed as outcasts for various reasons), allows himself to begin to feel worthy of being loved. And Catherine, changed not only by her experience but the kindness of Vincent’s heart, starts working at the DA’s office instead of her dad’s law firm, to help people in any way she can.

The show only ran three years because of lots of behind the scenes drama. The main one being, Linda Hamilton wasn’t fully committed to doing a tv show just in general. (Filming tv is much different than filming movies). As George himself says in this interview from the Hollywood Reporter, she wanted to go back to doing movies, plus have children. (She and director James Cameron were a couple at the time, and they did have a kid together. Her relationship with him would go on to have a lot of drama in and of itself too). So, when the time came when she could leave the show, she left. Meaning, given the premise of the show, Catherine’s character was killed off. The bond between her and Vincent got broken so he couldn’t save her when she got into a situation beyond her control with one of the most powerful men in the city.

However, the reason the bond got broken was revealed to be because the bond got transferred into the child she and Vincent conceived a few weeks back, when Vincent was going through a “violent madness” - basically losing his humanity to his more “animalistic” side. The bond between them is what was able to save him from the madness and, though you never see them make love (which you never did at any point during the show even before this, mostly because the network didn’t seem to want to show such a thing), they did, and conceived a child that night.

The whole theme of this part of the story became based around the Dylan Thomas poem And Death Shall Have No Dominion. A poem I still know most of by heart because of this show.

Though they go mad they shall be sane, Though they sink through the sea they shall rise again; Though lovers be lost love shall not; And death shall have no dominion.

The final episodes of the show closed out the story, with Vincent able to find Catherine before she died (the man who kidnapped her kept her alive when he discovered she was pregnant, then injected her with an overdose of morphine after she gave birth to her and Vincent’s son). They quoted those above lines from that Dylan Thomas poem to each other as she died in his arms. Vincent was able to find the child later and save him too, with the help of a new “beauty” in Diana Bennett. And while I personally did like her character, the whole premise of the show was the uniqueness of Vincent and Catherine’s bond. There was just no way you could take that and begin to try and transfer it to a new character being placed in the “beauty” role. As George R. R. Martin himself said about it:

Basically I look back on it now and think we were in a no-win situation. I think we did some very fine work in the third season, but the core of the show was the romance. It was Vincent and Catherine. We brought in a new Beauty in the person of Jo Anderson, who was a wonderful actress in the part of Diana Bennett. She was great to work with. But you can’t do two seasons of telling the world, “This is a love story for the ages, this is Romeo and Juliet,” and then suddenly third seasons say, “Juliet? Forget Juliet. It’s Romeo and Harriet. Here’s a different love story for the ages!” So that didn’t work. When the love story stopped, our core audience left. If Linda had not left the show we could have gone for five years at least.

So basically once Vincent found his son, the show was over.

And it was his experience with writing for the show, and the limits that came with writing directly for tv that he experienced while doing so, that made him leave tv writing behind and go off and begin writing A Song of Ice and Fire. Because with a book, you don’t have to worry about production budgets for creating a world (like the underground NYC world of the show), or actors wanting to leave because they don’t want to do tv anymore, which basically kills your whole show’s premise; or the network not wanting more darkly violent acts for the “beast” to commit when trying to protect his “beauty” . . . along with never being able to show them having sex, and only confirming that they ever did when a child finally comes into the story but only because said actress now wants to leave the show, and is pregnant at the time in real life anyway.

A Song of Ice and Fire, and by extension the tv show adapted from it Game of Thrones, isn’t a High Fantasy Romance story. A love story isn’t the main driving narrative of the story. However, the idea that GRRM wouldn’t put a romance in the story, and one that is highly romantic in its nature, seems like a very bad take when it comes to his backstory as a writer. If anything, the love stories and relationships he does write about are ones that are just as unconventional as Vincent and Catherine’s was. They don’t follow the normal tropes of relationships or love stories you usually find in romance stories, even in the genre of high fantasy. GRRM himself said that his favorite part to write in Fire and Blood was the story of King Jaehaerys I Targaryen and Queen Alysanne, which he himself has also called a “great romance.”

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Yet, it was straight up an incestous relationship between a brother and a sister and, in universe, they created and had people preach what more or less was a doctrine of exceptionalism in order to justify the relationship. Yet, their reign was one of the most peaceful periods in Westeros history, lasting over 50 years. And yet, their reign also help to set the stage for the Dance of the Dragons civil war just over two decades later. So even the relationship he called a “great romance” has his patented “shades of gray” to it.

Jon and Daenerys are already unconventional when it comes to romance stories in general, not just high fantasy love stories; and the incest part of it not even being the main thing with regard to that IMO. Their fates are clearly entwined, yet they never meet until what is essentially the final act of the story. Just basic and standard writing tropes would have had Jon and Daenerys meeting in act one of the story, forming a connection. And then, though circumstance, being split apart by the end of the first act, so that they would spend the majority of act two trying to get back to each other. Or with that at least being one of their goals, to reunite, along with whatever other goals they needed to accomplish in act two of the story. However, in ASOIAF/GOT, Jon and Daenerys go on their Joseph Campbell-esque Heroes Journeys separately, completely unaware of the other’s very existence until the third and final act of the story begins. That’s just not how it’s usually done, and you usually only see third-act romantic hookups in long-running tv shows after you get multiple cast change-overs. But again, this is why GRRM left writing for tv, so he could do unconventional things like this with his story.

So this idea that some people have that George R. R. Martin doesn’t do romance is ridiculous. Not only does he do it, he clearly likes very much to do them in highly romantic ways, ways that make them great romances in his view. He just doesn’t do or write conventional romances. His great romance couples are never written in a conventional mode, or have standard conventional romantic tropes about them. And there is always a shade of gray to them. And Jon and Daenerys are no exception to all of that.

#Jonerys #Game of Thrones #jon snow #Daenerys Targaryen #George R. R. Martin #A Song of Ice and Fire #Beauty and the Beast #Vincent and Catherine #jon x dany #jon x daenerys #Fire amd Blood #video #grrm

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