#though if this really was the last part with David productions at least its a fitting part to have been the last | Explore Tumblr posts and blogs

ethanesimp · 3 years ago

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WHEN YOU’RE GONE // D.D.

Pairing: Mob Boss! Damiano David x Mob GN! Reader (it was originally written with a fem! reader so please let me know if you spot any slip ups on my part)

Summary: Soulmates are already a difficult concept to grasp and things don’t seem to get any easier when you like a person who already has a soulmate.

Word Count: 9.8k (it’s so long lakjd)

Warnings: Swearing, death and mentions of it, injuries, angst -lots of it-, it’s a mob fic so violence, smoking, Damiano being kind of an asshole? Me probably using swear words in italian wrong... Just read with caution pls

Masterlist // Taglist link in bio

A/N: If you’ve seen this before, it’s probably because this has been written and posted on my other blog @pparkersbitch as a Tom Holland fanfiction at the beginning of the year (which has now been deleted). It’s the same person and I’m not stealing anyone’s work :) I just like it and wanted to bring it back. I did add/modify some tiny details though. The idea is probably dumb, but I’m sharing anyways.

Taglist: @gretavanfleetlove @superchrystaldrug @reputationdamiano

“This isn’t how I wanted to start my morning,” Your best friend mumbled in a tired voice. You could barely hear him from where you were standing over the sounds the old -and surely broken- coffee machine kept making and the music playing from his phone.

“Well, sucks to be us, huh?” You chuckled and poured coffee on both of your cups as you did a small dance to try and shake the tiredness off your body. You handed Damiano his cup after preparing his coffee the way he liked it, a teaspoon of sugar with a splash of milk, and walked with him to the large office down the hall, “I don’t get why Ethan and Thomas can’t do this instead of us.”

The room was always cold and you seemed to forget about it most of the time since it still slipped your mind to wear a sweater or hoodie over your thin pajama shirt. You grabbed one of the blankets from the small black couch on the corner of the room and wrapped it around your body as best as you could with your free hand.

You sat down on the chair next to him to have a better look at all the papers and files he had spread out on the desk, “What exactly are we looking for?” You asked with furrowed eyebrows. All those documents were enough to keep you occupied for the whole day if you didn’t work fast enough.

“We are looking for any leads to the drug cartel or its leader. Really anything that can help us find them,” Damiano explained and took a sip of his coffee as he opened the first file.

You had been trying to track a drug cartel ever since they infiltrated your warehouse and stole some of your products. Damiano’s father had been at both of your necks ever since it happened as if it had been your fault instead of the incompetent guards that were supposed to be guarding the entrance at all times, “I’m sure these are people we’ve made deals with in the past, they wouldn’t have been able to break in otherwise. We’ve always been far too careful for this to be a mere coincidence.”

He removed the gold ring from his ring finger and left it on the jewelry bowl you had placed on his desk. You had known Damiano David and his family for years. For as long as you had known him, the band on his ring finger had been gold, and you hated it.

That stupid little gold band was a silent reminder that he had met his soulmate and there was nothing to be done about it. For months you had silently hoped and prayed for Damiano to be your soulmate, but any illusion or wish you had of it happening, had vanished the moment you saw the gold ring on his finger for the first time. You later discovered he avoided wearing it on his hand because it put his soulmate at risk of being found, but he still kept it close to him at all times by using it as a necklace.

You avoided wearing yours for an entirely different reason. The black ring and all the stares and words of pity that came with it were saddening and something you didn’t need. While gold was a reminder of love and good luck, black was a reminder that your soulmate was no longer alive and you were doomed to spend the rest of your life alone. You were sure the band had been black for most of your life, or at least that’s how you remembered it.

It was safe to say you were jealous of Damiano’s soulmate, Marlee. Not only was she one of the most beautiful women you had ever met, but she got to have perhaps the most amazing man by her side until her dying day, something you could never have in any way that wasn’t platonic.

You successfully ignored it most days, which wasn’t so hard to do since you had better things to think about most of the time, but nights were always the hardest. In your loud and chaotic life, there was a speck in time where everything quieted and calmed down. During those few hours was when you’d break down and grieve for the person whose name you didn’t even get to know. You’d cry for being stupid enough to fall for someone who wasn’t only your best friend, but who also had a girlfriend.

“Damiano, Y/N?” Marlee’s sweet voice interrupted your train of thoughts. You had been reading the files consciously enough to notice anything unusual, but you had paid no mind to anything else until she walked into the room. You smiled politely at her and waved.

She walked up to Damiano and he immediately closed all files with any sort of photo that might be too graphic for her to look at. Marlee cupped his face and pressed her lips to his for a few moments that felt like an eternity to you, watching everything from the side as a feeling of jealousy invaded your senses. You did nothing but look at the painting on the wall until they stopped locking lips, which took a bit longer than you would’ve liked.

“Did you two find anything?” Marlee asked once she pulled away from Damiano. He gave her a look you knew as ‘I cannot tell you anything about the mob to keep you safe’. She had been involved with the mob’s administration for most of her life, only after she met Damiano and her father united his mob with Damiano’s did she stop working.

You had been brought in as a replacement of sorts once Marlee stopped doing any mob business per Damiano’s request. His parents had saved yours from a legal accident, which left you in debt with his family, so you didn’t have much say on whether you’d join the mob or not.

Something you were grateful for was that Damiano always kept your hands clean. No matter what business it was, he made sure to keep you out of any sort of situation in which you’d have to hurt or get hurt by another member of the mob. Most people that worked for Damiano didn’t have the pleasure of knowing him as the lenient and caring individual he was around you.

You excused yourself after spending a few more minutes flipping through the files in search of something but ultimately found nothing. It was supposed to be your free day, or at least that was what Damiano had promised. Apart from that impromptu search for information at 5 am, he promised he’d have Ethan, Vic, or Thomas help with anything he needed.

That was why you took the liberty to lock yourself inside your room and put your phone on silent. You desperately wanted to catch up on all the hours of sleep you had lost in between those early morning duty calls and coffee runs. No matter how much you enjoyed spending time with Damiano, you still missed your normal sleep schedule.

When you woke up a few hours later, the house was completely silent. The usual chatter coming from the kitchen wasn’t there, neither was the noise of Vic repeatedly firing bullets at the targets in the garden to practice her aim like she did every morning or the soft sound of Thomas softly strumming his guitar as he tried to piece an unplanned melody together with the assistance of Ethan’s drumming.

It wasn’t a Sunday, which meant they weren’t away visiting their families. They were all supposed to be home. That last thought made you nervous and you couldn’t help but wonder if something had happened while you were asleep. Being in the mob, you knew a lot of unexpected things happened all the time and you had to be prepared for them all.

You walked to the door, determined to investigate what was wrong. Your hand was already firmly grasping the doorknob and you were about to undo the lock when someone knocked harshly on the door, startling you.

Without hesitation, you jumped back and reached for the gun stuffed in one of the drawers nearby, “Y/N? You awake?”

You let go of the drawer’s handle and your tense body relaxed at the sound of Victoria’s raspy voice, “Fuck, Vic, you scared me,” You spoke as you opened the door to be met with her panicked blue eyes. Your eyebrows furrowed at her worried expression, but before you could ask, she grabbed you by the arm softly and dragged you out of the room.

Once you were in the hallway, you finally heard everything with a lot more clarity. The faint sound of glass clinking before falling to the floor, Thomas’s exasperated shouts, and Damiano’s complaints. You looked at Victoria, expecting an explanation.

“I don’t know what happened,” She began, “One second he was alright, then at like 9 AM Ethan and I heard them fighting. She’s gone and Damiano’s locked in his room, won’t let anyone in. Thomas is trying to get him to talk while Ethan looks for the keys.”

You walked past Victoria and ran up the stairs. Damiano’s room was right above yours. Upon walking up to the third floor of the house, you saw Thomas repeatedly knocking on Damiano’s door. Once he heard footsteps and spotted you, it was like relief washed all over him at the sight of you.

“Do you mind trying?” He asked, “He’s been asking for you,” Thomas added with a sigh as he brushed his messy hair out of his forehead. You nodded and got closer to the door once he got out of the way.

With hesitation, you knocked on the door and patiently waited for a response, which arrived only after you knocked once again, “Vaffanculo, Thomas! Which part of your tiny fucking brain cannot understand that I want to be left alone?”

You flinched at his words and took a long breath as you gathered the confidence to speak up, “I-It’s Y/N, Dami,” You said, loud enough for him to hear you from where he was. You were expecting rejection; if Damiano didn’t want to talk to people who were as close to him as siblings, why would he talk to you? Sure, you were one of his best friends, but he’d known Thomas for longer than he—

Your thoughts were interrupted when Damiano opened the door and quickly dragged you in before slamming it shut once more. For the first few minutes, you stood in silence while Damiano faced the door. You couldn’t see his face or his eyes, so you had no idea what could be going through his mind, so you focused on your surroundings instead.

The room was a mess, but not more than it usually was. What alarmed you was the shattered glass on the floor as well as the drops of blood that stained the white floor. You looked back at your best friend and noticed that it was dripping from his hand.

“Damiano,” You called, “Amore, your hand,” He turned to look at you and that’s when you finally saw his red and swollen eyes as well his tear-stained cheeks. His gaze softened once his eyes fell on yours. He choked back a sob and turned away from you once again.

If his hand hadn’t been bleeding, you wouldn’t have hesitated on wrapping your arms around his neck and trying to comfort him. Instead, you ran to his bathroom to grab the first-aid kit. After years of being in the business, treating Damiano’s cuts and injuries wasn’t anything new to you, but you were oblivious as to why he was in such a state in the first place.

Being the person he was, Damiano had learned to conceal his emotions incredibly well to protect himself, even around the people he trusted the most. You had only seen him that shaken once when something had gone terribly wrong. The fact that Marlee was gone too only gave you a worse feeling. The fact that her clothes were all gone from the closet didn’t ease your worried mind either.

Damiano was sitting on the bed patiently waiting for you to return. Once you did, he avoided your gaze and said nothing as you examined his hand. The cuts were all superficial and would surely cure on their own in a few days, which was why you only focused on removing the tiny shards of glass that had stuck to his skin with a pair of tweezers.

Once that was done and you had cleaned the cuts, you wrapped a bandage around his hand once and secured it with a small piece of tape. You sat in silence for a while, you didn’t comment on the sobs that would escape his lips every once in a while or the tears that had started falling down his cheeks.

Instead, you waited until he was ready to say something, “I don’t even know how to tell you this,” Damiano mumbled. His eyes stayed glued to the floor. He seemed… embarrassed to look you in the eye.

“I was finally going to do it this morning, N/N,” He said as a sigh escaped past his lips and he took a small velvet box out of his pocket. He didn’t have to say what was inside the box because you knew exactly what it was. Damiano had been planning on proposing for months, but there was always something that managed to get in the way of completing his goal.

“She went to the bathroom and had left her phone on my bedside table. I was going to get the ring and Y/N… I-I swear to God I didn’t want to look but the messages kept coming, one after the other, the fucking phone wouldn’t stop making noise. Cazzo, she was the one feeding information to the drug cartel and Lord knows to who else,” He said those words in one breath and you had barely been able to catch them all. Damiano threw the box at the wall angrily and from the noise, you didn’t doubt there’d be an indent there.

“I asked her about it and you have no idea how much I wished she’d deny it, but she didn’t even try,” Damiano cried. Unexpectedly, Damiano turned his body around to face yours and wrapped his arms around your waist while he buried his face on your neck.

It took you by surprise, but you said nothing. Instead, you focused on rubbing circles on his back and whispering soothing words into his ear. Part of you knew there was something else going on, even if you didn’t ask. You hadn’t seen Damiano cry in a long time and even then you saw nothing more than just a few tears rolling down his cheeks. What happened with Marlee had truly driven him right to the edge and he couldn’t keep in everything he had been trying so hard to hide.

In the four months that followed, you didn’t see Marlee once. She never had the guts to return after Damiano found out about everything she had been doing behind his back. At first, he had been utterly destroyed by her absence, it pained you to see him shut everything and everyone out with the lame excuse that he had work to do. Every single time he did so, you’d quietly sit down and help him despite his complaints.

He got better though. Once enough time passed, he healed, but all that love he had once felt for her was now nothing more than pure hatred every single time her name was mentioned. You knew better than anyone that it wasn’t the healthiest thing to do, but it didn’t matter how many times you told him so because it never truly changed much.

As for the mob, things seemed to calm down once Damiano and Ethan were able to track down the leader of the drug cartel and get the stolen products back. Everything was too good and too quiet. While your four friends enjoyed all that peace, you couldn’t help but worry about something being wrong. It was a silly thing anyway, there was nothing that gave you even the slightest confirmation that your worry wasn’t just fueled by paranoia, not a single thing.

You should’ve been grateful instead. Your sleep schedule had gotten acceptably regular and there was no more working from 5 am to 10 pm every single day. You also had time to finally sit down and read the books that had been sitting on your untouched shelf ever since the start of the year, just like you were doing at that very moment while the boys were playing poker in the basement and Vic was on a date.

Damiano walked into your room eventually, still smelling like the cigarette he had just been smoking minutes back. He couldn’t help but scrunch up his nose as the smell of lemon incense burning hit his nostrils.

You looked up and giggled at his disgusted expression, “You cannot be disgusted when you were the one who walked into my room smelling like cigar and beer,” Damiano rolled his eyes and plopped down on the bed next to you.

“Incense is bad for you,” You shot Damiano a killer look and closed your book. He gave you a funny look back and then put his attention on your book, “What are you reading anyway?”

You hummed and showed him the cover. It had a beautiful yet simple design, which accurately represented the story hidden in between those pages, “Okay so, it’s the story of these people that all get invited to this island. They’re all summoned there for different reasons but it turns out they all have this common enemy. It’s terrifying because they get killed off one by one when a children’s lullaby plays. I truly cannot explain it enough to do justice to how intense this book is.”

“Oh and before that I got to read the most wonderful romance book! It was apparently the first book written where soulmates weren’t a thing and it was just a piece of art. Beautifully written, made me cry for hours too.”

Damiano smiled and you could almost see all the gears turning inside his brain, “Wouldn’t it be amazing?”

“What would?”

He shrugged and propped himself up on his elbows to get a better look at you, “A world without soulmates, where you’re not bound to someone since birth.”

You sighed and turned to look at him, “It’s our own fault… being bound, I mean. No angel from the heavens came down to tell us we have to love our soulmate as anything more than a close friend, you know? It can be purely platonic, we’re just stupid.”

“Were you ever able to fall in love with your soulmate or was it just platonic?” Damiano asked. You never talked much about soulmates with him. He still didn’t know your soulmate had been dead for as long as you could remember.

“I never got to know them,” You smiled sadly and showed him the black ring you had gotten used to wearing around your neck, carefully tucked under your shirt to stay unseen. His mouth fell open as he grabbed the ring and inspected it closely. It was the first time he had seen a black ring.

“I didn’t know… I’m sorry,” Damiano let the ring go. You shrugged and waved your hand to silently show it wasn’t too important, “I thought you guys were separated or something.”

You shook your head, “Mom says the ring turned black when I was six, but I don’t really remember so I just like to pretend I never had one in the first place… I don’t know.”

There was a question on the tip of your tongue, but you didn’t want to ask it, as intrigued as you were to know the answer. You hadn’t talked about her ever since she left and he’d most likely avoid the question because he truly wanted to keep her name out of his mouth. Nonetheless, he noticed your hesitance because you suddenly got too silent.

“You can ask, you know? I know I just touched on a sensitive topic, so…” You nodded. Both of you were lying on your backs, looking up at the ceiling which had some of those glow-in-the-dark stars and planets you had glued when you first moved in to feel less lonely.

You hummed softly as you tried to find the right words. You didn’t want to be too straightforward with your question in fear of upsetting your best friend even though he had asked you the same question minutes earlier, “Did-did you ever… you know, fall in love with her?”

Damiano thought about it in silence, you had probably caught him off-guard with your question, “No, not really. Not in the way I was expecting at least. You know truth be told, I was a bit disappointed. Don’t get me wrong, she had this angelic look to her, she was a stunning girl. I just- there was nothing we had in common other than being soulmates. For years I had seen my parents act like they shared one mind and just thought the same things. I always imagined it’d be like that for me too.

“My expectations couldn’t have been further from what it truly was like. Honestly, I’m not even sure which part of our relationship was true anymore. Now that I look back on it, I’ve realized most of the things she did or said were just to get information out of me.”

It was weird to hear him say all that. As a person who always got to look at the way Marlee and Damiano interacted with one another, you would’ve never expected Damiano to feel that way, “And,” He continued, “I was expecting it to be someone else.”

His last confession made you turn around to look at him. It was the first time he had admitted that, probably because of the beer he had been drinking while playing with his friends.

“I know it sounds terrible but… I met her and this other person on the same day, almost at the same time. I didn’t notice my ring had turned gold until much later. I had only been with them both and people I already knew. I thought it had been the other person until she told me her ring had changed too. Meanwhile, the other one said nothing. Now I realize it would’ve been impossible for them to be my soulmate.”

It might’ve been because he was telling you all those things and you felt safe to admit what you felt, or maybe because you were tired of bottling it up for so long. Either way, you spoke up, not caring if you’d regret it later, “It’s not as terrible as you might think.”

“Look, I’m not bound to anyone. The black ring gives me the freedom of loving someone else. I never met my soulmate so there’s no guilt in being with someone else. It’s supposed to be a perfect thing, Dami, only it isn’t. I know a lot of people who’re also blacksouled,” You hated using the word. It was usually how people would refer to those who didn’t have a soulmate anymore, “And I fell in love.”

“T-that’s great!” Damiano replied, “Why didn’t you tell me? I mean, not like you’re obliged to tell me anything just because we’re friends but I-”

You interrupted his rant, “I fell in love with someone whose soulmate’s still alive.”

“So what? You said it yourself. Are they together?” He asked. You told him they weren’t. If only he knew you were talking about him… He’d probably run away and never speak to you again, “Then fuck it. Fuck the rules and everything else society has to say.”

“It’s not that simple, Dami. I truly wish it was, but it isn’t,” You wanted nothing more than for the conversation to be over. If it went any further, you knew you’d spill every single thing. It had gotten far too hard to conceal your feelings when you were close to him. Now that you were talking about them, it’d be even harder.

You got up and walked to your bookshelf, where you started accommodating your books as an excuse to avoid being so close to him, to avoid his curious gaze. Even if they weren’t together anymore, you knew Damiano would reject you, that was far too obvious. Even if he felt the same, after what happened, it’d take Damiano a lot of effort to ever trust someone in such an intimate way, even if that someone was you, his best friend.

“Why? It is that simple. If they’re not together, what’s stopping you? You’ll never know what could happen if you don’t try,” You turned around to look at him, fists clenched by your sides, “Listen Y/N, I know you’re scared of relationships and everything they involve but you cannot let that sto—”

“Fine then, I’m in love with you! I can barely breathe when I’m around you because my love for you is so suffocatingly strong, and I can’t think straight either! You and your stupidly handsome face drive me insane. How’s that?” You admitted, interrupting his small speech midway, too irritated to process what you had just said. Once you did, your hand flew to your mouth and you shook your head. You wanted to say it wasn’t true, no, it was nothing more than a lie to get him to stop poking his nose into your love life. Except it wasn’t and, if you were being honest, no part of you wanted to hide it anymore.

Just like you expected, he said nothing. Damiano stayed silent for a few seconds before getting up and walking out without another word. He slammed the door on the way out so hard you wouldn’t be surprised if the door separated from its hinges.

For the weeks that followed, Damiano avoided you as much as possible. You were still his right-hand person and needed to be present at every meeting and would have to discuss any type of business with him. It used to be your favorite part of the day when you got to sit in the meeting room with Damiano and discuss plans to make the mob prosper, now it was nothing but uncomfortable because you’d do all the talking while he looked at you as if his biggest desire was to carve your heart out with his pocket knife.

While you understood that he was still mad at Marlee and wanted nothing to do with her, you didn’t understand why he was treating you that way when you had nothing to do with it and weren’t to blame for the stupid shit his ex had tried to pull. You thought he knew that you loved him far too much to ever do anything to jeopardize his safety. Yet again, he might’ve assumed the same thing about Marlee.

You walked out of yet another unsuccessful meeting with Damiano and slammed the door as hard as you could to let him know how much his childish behavior annoyed you. Ethan was standing close to the door and you could see the shadow of a smile that was threatening to break out and illuminate his face, “Don’t you dare,” He raised his hands in defense and bit his lip to try and hide the smile that would just annoy you further.

“You two are starting to act like two teenagers and it’s fucking pathetic,” Thomas chimed in from where he was sitting on one of the couches.

“Yeah? Tell that to your friend who is giving me the silent treatment like a fucking toddler! I just want- I need to have a serious conversation with him,” You admitted and sighed as you fell on the couch right next to Thomas, head in your hands to try and cover up the tears that were threatening to spill down your cheeks.

Both men stayed silent as they watched you, Even though you could feel their stares, you decided to focus on not crying instead. The truth was, the longer Damiano spent ignoring you, the more you regretted telling him what you had been bottling up for years, it had been a mistake there was no coming back from. Unless he decided to stop acting like a kindergartener, things would never go back to the way they were.

It was frustrating to think that your friendship would go to shit just because of your confession. Being rejected by him wouldn’t have been a big deal if he had actually stayed in your room and spoken like the adult he was.

“For the record, I think he’s acting like an idiot because he’s scared,” Sighed Victoria, who had just walked into the room with an ice pack placed over her hand, “I know it’s been a while but, give him time. He’ll come around or I’ll make him, I promise.”

You gave Victoria a tight-lipped smile and nodded. You hoped more than anything that it wouldn’t have to come to getting locked up in the same room as Damiano to get him to speak to you.

Except… as more days passed, you feared it would most likely have to be that way because he was still saying nothing to you. He had only spoken once and it had been to call you out for being doing everything wrong while looking through some important documents when you were, in fact, doing everything just like he had initially requested. Now, not only had he been giving you the cold shoulder, but he had started acting like a complete jerk around you too.

You tried to distract yourself by focusing on all the work you had pending, but it wasn’t working. Every single day, no matter what you were doing, your mind still wandered back to the brown-eyed man and his stupid face, his stupid hair, and stupid smile.

Even as you stood in the middle of the kitchen, your thoughts made it difficult to bake the cookies you had been craving all week. You had started to work on the second batch after the first one came out disgustingly salty because somewhere along the process you had mistaken the salt for the sugar.

You hated how bothered you were by the whole situation. It had affected you way more than you would’ve liked to admit. Truth be told, you had never felt sad about his rejection because it was something you had expected ever since that attraction for him first settled on your brain. It was the way he was treating you that got on your nerves.

That was mainly the reason why you were so thankful for being alone in the house at that very moment. Apart from a few security guards here and there, you were completely alone. You allowed yourself to relax for a split second and connected your phone to the speaker system in the kitchen. You started playing one of your favorite playlists before getting back to making cookies the right way this time.

You softly swayed your body along to the music as you dumped all the ingredients on the large bowl in front of you. As you poured the flour in the bowl and mixed it with your hands, you noticed Damiano standing by the door. For some unknown reason, he scared you so bad you accidentally tipped the bowl and made a mess of the counter.

A frustrated sigh escaped past your lips and you threw your head back, feeling defeated and irritated, “I’m sorry,” Damiano spoke up hesitantly, “I didn’t mean to scare you.”

You shook your head and wiped your hands on the apron you had tied around your waist, “It’s fine,” You turned around so your back was to him and started wiping the counter with a damp towel.

“You deserve so much better…” You heard him speak up over the music. His words caught you by surprise. You turned around to look at him but said nothing. You could tell he was nervous by the way his hands trembled by his sides and the way his jaw was firmly clenched.

After a few minutes of hesitation, Damiano started walking to where you were. He placed his hands on the counter by your sides, leaving you trapped in between the counter and his body. You looked into his dark eyes to maybe try and guess what was going through his mind.

You breathed in so deeply your chest hit his. You gulped at that and tried to control your trembling hands without looking away.

“What you said the other day, did you mean it?” Damiano asked, without hesitation this time around. Your eyes widened.

“I-I… What?”

“Just answer me Y/N, please,” Damiano pleaded. He looked so desperate to know the answer, which only made your blood boil. After weeks of silence, of glares and being a jerk, he dared to just show up and demand answers?

You shook your head and pointed your finger at his chest, “How dare you?” You took a step towards him, which made Damiano take a step back, “You have no right to show up like this and ask me to give you answers after how much of an asshole you’ve been.”

He seemed taken aback by your truthful words, but you didn’t care. If he wanted to know how much truth had been behind your words that night, he’d have to hear it all, “You know I’m your best friend and you also know I’d keep up with anything you do because that’s how much I care about you, but can you stop it? I know I was stupid for telling you because of what you just went through and I’m sorry, but please don’t keep giving me the cold shoulder. I just want to fix this.”

After a few minutes of silence, you shrugged and, like it was the simplest thing in the world, spoke up, “And yeah, I meant every word.”

Your expression softened as you waited for any sort of reaction from Damiano. You expected something similar to what had happened the day you first told him. No part of you expected him to cup your face with his warm, calloused palms to bring your face closer to him once again.

Neither did you expect to feel his soft lips pressed against yours, or the feeling of his soft hair as you brushed it back with your fingers and your eyes slowly closing as you basked on the joy and pleasure his soft touches caused.

Damiano was gentle as he held your face in between his hands, almost as if you were made of glass and he was afraid of breaking you into pieces if he didn’t hold you delicately enough. That kiss felt so intimate, like nothing you had ever felt before. Everything from the way he held you to his slow movements and touches was so much better than you could’ve ever imagined.

When he pulled away, he left you completely breathless, wordless. There was nothing you could possibly say after the way he had kissed you, so you waited for him to find the right words instead.

“I’m so sorry, Y/N,” Damiano mumbled. He still hadn’t let go of your face, “You truly deserve better. You are so beautiful, so perfect. I’m so sorry for being such an idiot and hurting you, ignoring you. I just- I know I cannot love you as you deserve. Believe me, I want nothing more than to have you close to me all the time, to kiss your lips until you grow sick of me, but I can’t,” His voice was starting to crack as he said those words to you and you knew it was because of how he saw your face fall.

“No, no, shut up and listen to me,” You pleaded and placed your hands on top of his. You gave them a soft squeeze and let your forehead rest against his, “I know it’s hard for you to trust after what happened with her and I know it’s not going to be easy, but believe me, I’m willing to try if you are, Damiano.”

“You were that other person,” He confessed and got closer to kiss you once more, with as much passion as the last time. You were too concentrated on the smell of his musky cologne and the faint taste of vanilla chapstick he had surely stolen from your room to respond to his comment.

His hands fell from your face and comfortably rested on your hips as his lips attacked yours. Damiano pushed you against the counter and kept savoring the moment as if it were the first and last time he’d kiss you like that. You hoped for your sake it wouldn’t be the last.

Damiano pulled away reluctantly and unexpectedly lifted you up so you’d sit on the counter. He stood in between your legs and intertwined his fingers with yours.

“Remember when I told you about the person I met the day I met Marlee?” You nodded, “That was you... Ever since I met you I’ve felt this inexplicable attraction towards you and it’s been driving me insane. I couldn’t believe it when you told me you loved me because I’ve done nothing to deserve it.”

“You’ve done so much to deserve it, so so much,” You mumbled and brought him close to you to kiss him for the third time. It was such an addicting feeling and both your heart and mind were screaming to feel it again.

That time around, Damiano didn’t hesitate to lift you up once more, he carried you to his room and locked the door.

—

It had been a few weeks since your conversation in the kitchen. Things returned back to normal after that night. Other than your relationship with Damiano, things were the same again. You had to go back to working at ungodly hours of the morning thanks to some suspicious activity Ethan had noticed. Apparently, one of the oldest members of Damiano’s mob had tried to establish a deal with an unknown subject but had been caught before he could accomplish it.

This put you both on edge because there was someone out there desperate to break into the mob and finish it for good. At first, you thought it wasn’t more serious than whatever had happened with Marlee, but Damiano’s father proved you wrong the moment he brought you, their most loyal employee, in for questioning.

It had been nothing too serious, at least not in comparison to what you had heard others say. In your case, it had been done mostly as a standardized protocol, to stop others from thinking there was some sort of preference or special treatment towards you just because you worked so close to Damiano. You knew almost everything Damiano did, so you were possibly the greatest source of information outside the David family and their small circle of friends.

“Amore?” Damiano asked softly as his hand caressed the exposed skin of your waist. You had been cuddling in bed for almost two hours with the excuse that you needed a break after all the hard work you’d done, “What’s going on in that head of yours?”

You turned around to be face to face with him and pressed a kiss to his freckled nose, “Not much. I was just remembering I need to get my ring resized again. I tried putting it on a few days ago and it didn’t fit anymore.

Damiano frowned at your words, “Your soulmate ring?”

“Mhm,” You responded simply and let your head rest on his chest. You enjoyed the feeling of warmth his body irradiated, it was soothing and the soft sound of his rhythmic heartbeat never failed to make you feel calmer.

“Soulmate rings don’t need to be resized, ever. Not that I know of, at least,” Now it was your turn to frown because, as far as you remembered, you had always gone to get your ring resized by a family friend who didn’t live too far away. No one had ever told you it wasn’t necessary.

You pulled away from his embrace and reached for the bedside table where you had been keeping the ring for the past few days. Once you turned back around, Damiano looked confused and almost scared, “Just, out of curiosity, tesoro. Have you ever taken off the ring and left it like far away for longer than a few hours?”

A giggle escaped past your lips at his silly question, “It’s just a piece of jewelry, Dami. Of course, I have, several times.”

You laughed nervously once you saw his horrified expression. Damiano was starting to scare you, but you knew better than to say something because you’d end up looking like a fool if he started laughing and told you it was all a joke. Except, it didn’t seem like one.

“Please get dressed and meet me in room five, okay? I might be going insane but I just need to make sure I’m not,” Before you could ask any questions, Damiano had already grabbed a pair of pants and a t-shirt and disappeared into the bathroom to get dressed.

You tried not to think much about his weird questions and got dressed quickly instead. You grabbed your cup of tea, which had already gone cold, and walked to meeting room five.

You opened the door and were surprised to see all your friends already sitting around the small table you’d use for informal meetings. Thomas and Victoria looked tired and Ethan’s long hair was tangled and messy. That gave you the impression that Damiano had most likely woken them all up for your impromptu meeting.

They all looked just as confused as you felt. There were a lot of questions you wanted to ask, but Ethan beat you to it, “Okay, now that we’re all here can you fucking explain why you had to wake me up? Please.”

“Have any of you three—,” Started Damiano, referring to Thomas, Victoria and Ethan, “—tried to take off your ring for a while but have started feeling sick and weird?”

Thomas and Victoria looked at each other, confused, but nodded. Ethan did after a few seconds of thinking about it, “Yeah, there was actually this one time I went on a date and I didn’t want the girl to see the ring had turned gold, so I left it at home. Thirty minutes later I was puking everywhere. I didn’t really understand why but someone at the Soulmate Centre explained rings are an extension of the soul and they need to be close to us at all times and there are actually records of people dying after losing their rings. Why?”

Damiano looked at you and raised his eyebrows to silently ask if he could share the information with the other three guys. Once you nodded, Damiano spoke up, “Y/N doesn’t need to have it close to them and they need to get it resized every once in a while.”

Ethan shrugged his shoulders, “That’s as far as my knowledge goes. I don’t know. I think the best thing you can do is go to the SC.”

You sighed but nodded. Ethan’s explanation had started to freak you out. What if there was something terribly wrong with you? What if you were born without a ring and your parents lied to you all your life?

—

After having a short conversation with Damiano in private, you decided to follow Ethan’s advice and go to the Soulmate Centre that was only a few minutes away from your house. He wanted to go with you or send someone to watch over you but had accepted your petition to go alone after you told him it was a private matter and you'd tell him all about it once you got back.

So there you were, on the reception of the SC, with your sweaty hands intertwined together as you tried to ignore all the dirty looks people were giving you. Everyone around knew exactly who you were and most weren't one bit pleased to see you there. While some didn't hesitate to look at you like they wanted to kill you, others were afraid to do so.

Those few minutes that passed until the lady at the desk called your name were some of the most uncomfortable of your life. Some part of you hated having the mobster title because that usually gave people the wrong idea and drove them to hate you even if you could proudly say you had done nothing illegal or violent in your whole life. You had to admit the mob wasn’t an ideal job to have morally wise, but you had found a family inside those four walls others doomed to be cursed.

You walked up to the lady. She had what you could interpret as a nervous smile as she stood behind the desk, patiently waiting for you to tell her what had brought you there in the first place. You were hesitant to communicate your issue because you were mortified of finding out a truth that should probably stay hidden.

You reached back and unclasped the chain the ring was looped through. You left it on the counter and smiled softly as you shyly spoke, “So uh, good morning, ma’am. I was hoping you could take a look at my ring, I’m slightly concerned there was something wrong with it.”

The lady nodded and removed the ring from the chain. She inspected it closely for a few minutes before nodding her head towards one of the rooms that said ‘only employees allowed’. She started walking towards it with a quick step and you saw no other choice but to follow right behind her.

She opened the door and quickly closed it with a lock once she verified you were inside, “Listen, the only reason I’m not turning you over to the authorities is because you don’t strike me as someone stupid enough to walk into an SC with a soulmate ring like this.”

Your jaw dropped in surprise at how direct she was being. For a second, you noticed her face fall before she realized it was best to keep a face that communicated seriousness instead of begging for your forgiveness or whatever people did when they pissed Damiano off.

“I don’t know who gave this to you or in which illegal market you bought this but if a higher authority sees you with this, not even Damiano David could save you from the consequences of sporting a fake ring,” She said. You honestly didn’t know how to respond because panic had started to drown out any coherent thought that tried to form on your mind.

You didn’t even try to disguise your panicked expression that time around. Instead, you focused on regulating your breathing and trying to keep all your emotions at bay before you lost control and began to hyperventilate. The other woman noticed your distress almost immediately and led you to sit down on one of the couches.

After you took a few deep breaths, you looked back at her, eager to ask thousands of questions, “How can you know they are fake?”

She sat down next to you and put the ring on your palm, “Look at the inside,” She demanded while pointing her finger to a spot on the inside edge of the ring, “They usually have something engraved inside, a code that only repeats itself twice. Whenever one loses their soulmate, this code vanishes. Your code is still there. I also used a detector to confirm my suspicions and it detected nothing.”

“And with… with that code, can you tell me if my soulmate’s still alive? Or who they are?” The older lady looked at you with pity in her green eyes and shook her head.

“Unless this is the original code engraved on the real ring, there’s not much I can do for you other than telling you how your soulmate is. I need so much more information to ever give you a name,” You nodded in understanding. All you needed to know was if they were alive, that’s all you wanted.

She took your nod as a sign of approval and disappeared into another room. While you waited, you couldn’t help but secretly hope they were dead. You wanted all those weeks of bliss you had spent with Damiano to last a lifetime. He knew everything about you, from the number of scars scattered around your body to what book you had read the most times. No soulmate could learn that about you until years after meeting each other. Besides, it wouldn’t feel right. The Gods had already been too cruel for not making him your soulmate, but now that he wasn’t with Marlee and you knew he loved you just as much as you loved him…

She walked out of the room and cleared her throat to catch your attention. You were thankful for her interruption because you were mere seconds away from bursting into tears of distress. She looked nervous to tell you what she had found out, but the way you looked at her made her spill the truth without any warning.

“Your soulmate is still somewhere out there, alive.”

—

Damiano clutched his side with his hands as every type of curse word spilled from his mouth, “Thomas! Dammit Thomas, where the fuck are you?” He screamed and pushed the ache in his throat and side to the back of his mind as he limped towards the table where his loaded gun was placed, ready to be grabbed and shot.

Things had been perfectly fine just ten minutes back. He had been drinking and playing pool with the boys in the basement. They were all laughing and messing around when Victoria heard the first gunshot. Thomas had been quick to dismiss it as one of the guards practicing his accuracy like they did every once in a while, so they went back to playing the game.

Then they heard it again and again and again. In that time it took the four men to walk up the stairs, people had already successfully broken into the house and they were shooting at anything that moved. The blood-red snake symbol all these people had on the masks that were covering their faces was one he had grown far too familiar with. These were the people Marlee had been conspiring with and they had managed to overthrow every single line of defense in between them and the front door.

Damiano had been in his room fetching a gun when a smoke bomb was thrown into the room. It had stopped him from seeing the person who shot him. Thankfully enough, their vision wasn’t much better either, because the bullet only grazed his side. It was still painful as hell and blood was pouring out of the wound, but it wasn’t going to be anything deadly.

He finally got ahold of his gun after minutes of feeling around the table to try and spot it with the low amount of vision he still had. Once Damiano had it in his hands, he raised the scarf he was wearing to cover the lower part of his face to try and lower the quantity of smoke he inhaled.

He walked out of his room and into the hallway, still holding the gun firmly ready to shoot it at the first person he saw with that red symbol. Damiano opened the door to every room on the third floor. He had to shoot at one or two people before walking down to the floor below. The first room he opened was yours. His eyes went wide as he remembered you were still supposed to be at the SC. Damiano cursed under his breath. He needed to warn you not to come back but to go to your parents’ instead. Damiano opened the tracking app first, a precaution he had been insistent on taking just to make sure you both knew the other was safe.

“Fucking hell,” Damiano mumbled as he saw that blue dot with your name above it was right on the same spot as his. You were back home.

Every thought of investigating each and every room to make sure there was no intruder flew out the window and instead he focused on trying to find you. Everything had turned chaotic on those few minutes he had been in your room, which was why it had gotten harder to get around without finding someone waiting on almost every corner for him to appear.

Damiano heard a piercing scream that made his blood go cold. You were in danger somewhere inside the large home and he desperately needed to get to you, to make sure you were safe from any danger. He knew his friends would be perfectly fine, they had their guns and several types of weaponry close-by, but he knew you didn’t. You always refused to take a gun or dagger with you whenever you went out and if they had caught you right when you had just gotten back… you’d most likely have nothing to defend yourself with.

There was no doubt in his mind that you were witty and incredibly smart, not to mention agile and great at coming up with plans on the spot, but he still needed to make sure you were alright.

He got down on the first floor and his eyes met with a pair of blue ones he knew far too well. He let his eyes trail down to her carmine-tinted shirt. Marlee smiled at him and trailed her thumb along her jawline. That’s when he noticed her hands were also red and she had also left a trail of bloody footsteps from his office to where she was standing. His office.

Damiano didn’t hesitate to point the gun at her leg and pull the trigger. He then aimed for her other leg and shot it. She fell to the floor as an agonizing scream fell from her parted lips. Damiano was satisfied now that her stupid smile had been wiped right off her face.

He quickly ran to the office and opened the door. What he saw inside made time stop. It made all those sounds go silent. It made him feel like there was no floor beneath him to stand on. You were lying on the floor, a dagger piercing your chest.

You looked panicked, sad, like you wanted to do nothing but scream and cry, which you had started doing the moment you saw Damiano walked into the room. He didn’t know if your reaction was out of relief or if there was something else that concerned you, apart from the obvious.

“Damiano,” You spoke up weakly, The sound of your raspy voice was like a slap back into reality. He didn’t waste a second to fall to his knees right by your side. Damiano cupped your face with his trembling hands and brushed your cheek with his thumb.

“Shh. I’m here amore, I’m here,” He responded voice barely above a whisper, “I just need to find something to press against this wound I— something…” He stood up, ready to look for a rag, bandages, anything to stop the blood from rushing out of your body so quickly, but you stopped him.

You wrapped your hand around his arm and with all the strength you had brought him back down, “No hey, stop,” You mumbled, “Unless she happened to study every major artery, vein or has awfully perfect aim, I’ll be dead in minutes.”

He shook his head and wiped the tears that were starting to fall with the back of his hand. He was not giving up. Damiano was not going to let you die, “Wait, no, no. I can do this,” Damiano took his sweater and scarf off. With the help of his scarf, he applied pressure to the wound, careful not to move or dig the dagger further with his movements.

You shook your head and Damiano couldn’t help but cry harder at the desperation and panic in your eyes, “Please, Dami. Stop it, there’s no use. I-I just want you to hold me, please.”

He wiped his runny nose with the back of his hand and nodded repeatedly as he careful cradled you in his arms and moved your head to rest on his lap, “Everything’s going to be okay,” Damiano mumbled and left a long kiss on your forehead, then another one on your cheek and a last one on your lips.

You cupped his face with one of your hands and wiped the tears with your thumb. There wasn’t much left to say, not like you’d be able to talk even if you tried. Instead, you offered him one last sincere smile with all the energy you had left.

He watched in horror as life slowly started to drain out of you as his ring simultaneously turned black. Damiano sat there for minutes after you were gone. He cried and let every frustration, confusion, and pain escape his body with a loud scream.

Damiano didn’t let go of your body until Victoria and Thomas had to forcefully pull him away and let someone else take care of you.

—

Ethan didn’t walk into the room until he made sure every single intruder had been killed, except for Marlee, because Damiano had asked to keep her alive. When he did walk in, all he saw was Damiano with a folder in his hand and multiple pieces of paper scattered around the desk in his room. He looked pale, mortified by everything he was reading. The long-haired man didn’t understand what had gotten his friend in such a state of shock until he walked closer and looked at what seemed to be a contract.

You were Damiano’s soulmate. All your lives you had been tricked into believing you weren’t meant for each other. Your parents had made you believe you had no soulmate and Damiano had been fooled into thinking Marlee was his. You had gotten right to the bottom of it all and the secret would’ve gone to the grave with you if you hadn’t left the papers lying on his desk and if he had left his ring on the pocket of his jeans like he usually would. But now it was far too late to do anything about it.

#damiano david x reader #damiano david x y/n #damiano david x you #damiano david fanfiction #maneskin x reader #maneskin fanfiction

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anhed-nia · 3 years ago

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BLOGTOBER 10/14/2021: HALLOWEEN KILLS

Are my standards automatically lowered when I'm watching a slasher movie?

Maybe.

But I mean, how else am I supposed to have any fun?

Last night after I got out of David Gordon Green's HALLOWEEN KILLS—the first sequel to the second reboot, or something?—I brashly announced to social media that I thought it was the most entertaining HALLOWEEN installment since SEASON OF THE WITCH. Then, when people started responding with relief to hear that KILLS is actually decent, I fought the urge to send caveats to each person clarifying my judgment. I mean, this isn't a revolution. Characters who know they're in trouble will still investigate a dark house with nothing but a cheese knife, split up when they should stick together, and confront an unstoppable juggernaut themselves rather than call the police. But at least in this movie, where the characters commit to a community-based response, the latter point is specifically justified.

Much as 1981's HALLOWEEN II carried on directly from the end of the 1978 HALLOWEEN, HALLOWEEN KILLS picks up from the end of the 2018 HALLOWEEN, with Michael Myers escaping from the elaborate trap that Laurie Strode (Jamie Lee Curtis, natch) spent 40 years setting for him. As we do in the first Halloween sequel, we find the battle damaged Ms. Strode in Haddonfield Memorial Hospital where, in this version, her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) anxiously await news of her condition. From here, though, instead of a long slow stalk'n'slash episode inside the hospital, the fed-up people of Haddonfield organize a little mob justice. Or maybe "organize" is putting it too strongly, but it's still fair to think, "Why didn't anybody try this before?"

Willingness to experiment is the main thing that keeps HALLOWEEN KILLS afloat, which can be hard to do within the confines of its genre. The slasher is perhaps the most proscriptive of all horror subgenres, with the methodical elimination of one character after another only elevated by the inventiveness of the murders. Despite the audience's cries of "DON'T GO IN THERE!" or "DON'T DROP THE KNIFE, WHAT ARE YOU DOING!" or "FOR GOD'S SAKE JUST LEAVE THE HOUSE AND CALL THE COPS!", you simply couldn't ask the average slasher cast to smarten up, or else the movie might be about ten minutes long. With a slasher movie, the suspension of disbelief is different from what it is in, say, an action movie, where one accepts the superhuman athletic prowess of e.g. Tom Cruise in completing an impossible mission, in exchange for the thrill of seeing it done. The viewer of a slasher movie has to accept that characters of at-least average intelligence will make themselves absurdly vulnerable, so that we can enjoy their (hopefully) creative conclusions. Recently, when I heard FX wizard Gabe Bartalos and director-cum-mime Tom McLoughlin discussing the production of FRIDAY THE 13TH PART VI: JASON LIVES, it occurred to me that at its best, the slasher is not unlike a Buster Keaton movie, in which the point is to set up as many outrageous spectacles as possible, physics and narrative coherence be damned.

The kills in, er, HALLOWEEN KILLS, really are a treat, cleverly executed and convincing. Between cinematographer Michael Simmonds and editor Tim Alverson, Michael Myers is imbued with an unpredictable speed and strength that gives his antics a satisfying visceral impact. I also appreciate that while the movie has a modern feeling for diversity, all of the characters are subject to the same fate. I recently heard a rising star writer swear that she would always buck the grim tradition of making black characters into mere kindling, and while I can respect that—understanding that blackness has historically signified doom in many a horror movie—I think that instating any type of formula for the fates of certain characters can be its own kind of mistake. Not to be all "I'm not racist, I hate everyone equally!", but in a movie with a large cast like HALLOWEEN KILLS, it makes the most sense for everyone to be equally threatened, just to keep things unpredictable. The difference here is that we really like most of the characters. There is no moral quality to their deaths, in the way of punishing wayward teens, and nobody is especially "asking for it". This, the twelfth HALLOWEEN installment (?!), is loaded with great bit performances and a wide variety of colorful characters; you hate to see them go, but you love to watch them leave.

Of course, HALLOWEEN KILLS is not without its flaws. The sheer number of characters in the movie—many of them returners from other sequels, and many of them played by original cast members—prevents any real pathos from developing. No sooner do we get excited for Allyson to join a vigilante ride led by original survivor Tommy Doyle (Anthony Michael Hall), then we're back in the hospital where Laurie is slowly realizing that Michael Myers is still on the street, and having a tortured debate with Karen about her responsibility in the matter. Things are further complicated when a different Smith's Grove Sanitarium escapee is mistaken for Myers, and full-on mass hysteria breaks out. This incident comes with some rhetoric about how "none of us are truly innocent", which is one of the tangled philosophical threads HALLOWEEN KILLS tries to follow. Which is sort of interesting, but also, sort of distracting.

After watching twelve of these movies, with varying degrees of engagement, I've come to think that maybe you can only do a Michael Myers story once. The entire point of interest about him is not something to be elaborated upon. He represents the void; his behavior is unexplainable, apparently unmotivated, and therefore unpredictable. What's scary about him is that he doesn't have any relationship to familiar human feelings, even revenge. Myers' version of Van Helsing, Dr. Loomis, tells us again and again in increasingly flowery terms that there is simply nothing behind Michael's eyes, and we should have listened, because the more filmmakers have tried to explain what Michael's whole deal might be, the more trouble they stir up.

"What if Laurie Strode is ACTUALLY Michael's sister?!"

"OK, then what?"

"Well, obviously he needs to kill all of his family members!"

"Why, though?"

"Ummmmmmmmmmmmmmm..."

Mercifully, HALLOWEEN KILLS doesn't try to give us any extra context for Michael's endless rampage, but it does spiral out on a lot of rumination on whose fault this all might be, as various characters produce complicated reasons why Michael might be the most angry at them personally. I appreciate the urge to give HALLOWEEN a little more pathos than it has in its purest state, but I don't know if it works much better here than it does in 2018's somewhat anemic, unfocused attempt to explore the impact of PTSD on Laurie Strode. I can't believe I'm about to say this, and neither can you, but the only HALLOWEEN iteration that really tackles that topic in a moving and successful way is Rob Zombie's HALLOWEEN II. And no, I won't take that back.

So, maybe there's a little too much going on in HALLOWEEN KILLS, and more internal debate than the story really asks for. But, it's fast-paced, fun, and fabulously violent. What more do you really want?

...Well actually, what I really wanted was to NOT be in a theater that deployed a Michael Myers guy to follow you to your seat and STARE at you. My love of horror is based in my very real feeling of being constantly threatened by life at large, so it does not extend to pranks, haunt attractions, or strangers who pretend (so I tell myself) they want to murder me. I wouldn't want to take away this dubious thrill from anybody who likes that sort of thing, but maybe instead of free Michael Myers masks (not that I'm ungrateful!), they could have handed out some of these types of things at the door instead:

#halloween kills #halloween #david gordon green #danny mcbride #jamie lee curtis #scott teems #judy greer #andi matichak #nick castle #james jude courtney #anthony michael hall #slasher #horror #reboot #michael myers #laurie strode #blogtober #blumhouse

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canyousonicme · 4 years ago

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“Certain actors have a reputation for being difficult. I don’t want to be one of those people”. - Alex Kingston

 INTERVIEW: The Sunday Post

 It comes as no surprise to Alex Kingston that her daughter has decided to follow in her footsteps, despite her best efforts to temper her acting ambitions.

The actress fell pregnant with Salome, now 19, when she was playing surgeon Elizabeth Corday on the long-running US medical drama ER in the ’90s.

Alex’s pregnancy was written into the script and Salome, whose father is German writer Florian Haertel, was just weeks old when she joined the cast as Elizabeth and Dr Mark Greene’s baby girl.

Now, two decades on, mother and daughter are working together again, this time in a Doctor Who spin-off audio drama, The Diary Of River Song. Now in its eighth series, it focuses on the Time Lord’s brilliant wife, the poetically named River Song, whom Alex has played on the TV show since 2008. Salome, meanwhile, plays the part of her synthetic humanoid companion, Rachel.

Alex said: “My daughter was in my belly on ER then played the role of our baby girl Ella Greene. She’s secretly always had the desire to act, but I was always adamant that she finished her education first.

“Salome plays a character who River Song meets up with occasionally and they have adventures together. Working with my daughter has been terrific fun. I am super-impressed with her. She is incredibly professional.”

Alex with daughter Salome

For the past year Alex and Salome have been isolating together at her London home, alongside Alex’s third husband, television producer Jonathan Stamp. The pair married in an intimate Italian ceremony in 2015, and Salome was a bridesmaid.

They are joined by Alex’s German-born mother, Margarethe, who sadly suffers from dementia. It sounds like a potentially stressful set-up but Alex has cherished the unexpected extra family time lockdown gifted her.

Alex, who celebrated her 57th birthday a few days after the first lockdown was announced last March, said: “My daughter had arrived from New York and decided she wanted to live with us. Then my mother, who has dementia, suffered two strokes early on in lockdown and she moved in as well. So I was her carer.

“It was an amazingly special time. And I cherish it. Particularly with my mother, because I wouldn’t have had that opportunity otherwise.”

Like the rest of us, Alex has relied heavily on streaming services to keep her entertained during the long days spent at home. She even broke her self-imposed rule of not watching her own stuff on screen.

She said: “We did all the usual things, massive clear-outs, and of course binge-watched TV. I loved Schitt’s Creek, Call My Agent, Bridgerton and Luther. I can’t bear to watch myself on the television. However, I started watching ER, because it was streaming on Channel 4. I look at myself and it’s like I am watching someone else. It’s such a good show, and it’s really held up!”

She added: “As much as everyone is saying this is the year that they want to forget, I actually feel it’s a year one can never forget. It certainly wasn’t an easy time. However, I have much stronger memories of the year, and of the patterns of the year than I have ever had pre-pandemic, when there was always so much rushing around.”

Alex in 1994 with fellow ER cast members (l-r) Anthony Edwards, Eriq La Salle, Goran Visnjic, Noah Wyle

Alex began her career at the Royal Academy of Dramatic Art, where she met her first husband, Skyfall actor Ralph Fiennes. They were together for 10 years before marrying in 1993. Two years later, Alex was left bereft when Fiennes left her after an alleged affair with a co-star. The London-born actress has barely stopped working since she first appeared on UK screens in 1980, as Jill Harcourt on the iconic children’s series Grange Hill. She continued to find success in UK dramas including Upstairs Downstairs, and The Fortunes And Misfortunes of Moll Flanders.

She first appeared in the fourth series of Doctor Who alongside David Tennant in 2008. Alex thought it was a one-off but has reprised the role in 15 episodes between 2008 and 2015.

It’s thanks to her Doctor Who appearances and, more recently, Sky’s hit supernatural drama, A Discovery Of Witches, that she has become known to a new generation of fans.

During her long and successful career, Alex has never been afraid to call out sexism in the industry. When she was dropped from ER aged 41, after seven seasons, she accused producers of ageism. saying “Apparently, I, according to the producers and the writers, am part of the old fogies who are no longer interesting.”

Then, when she auditioned for the role of Lynette Scavo on Desperate Housewives which eventually went to Felicity Huffman, she says she was turned away for being too curvy.

Although vocal about the challenges that face women, she admits she has seen positive changes in attitudes towards female talent in recent years.

She says: “When I was working on ER, I thought that I wasn’t allowed to get pregnant, I didn’t want to offend the producers as that is not what they had intended. I thought that I would have to ask permission. It was Anthony Edwards, who played my on-screen husband, who said ‘Don’t be ridiculous, don’t wait for them to allow you, you are not that important. If you want to have a child, go and have a child, and they will find a way to work round you.’ So I took his advice.

“I grew up with this notion that one had to be polite and always ask for permission. Whereas this generation don’t. They just get up and do it. The lovely and talented Teresa Palmer, whom I work with on A Discovery of Witches, is constantly popping out babies. Production just work around her. And it’s great, I admire her very much for that.”

Alex in ER

Alex puts her staying power down to being in the right place at the right time – and being nice to people, though she says theatre will provide her with a safety net should the TV work dry up one day.

She said: “Being as versatile as possible helps. I’m up for anything as long it is written well.

“I had a formal training. My first love is theatre. Having that as a backbone will always support me. In an industry that will favour youth more, theatre is always there. In order to succeed on the stage you have to have had good solid training and know how to handle your voice.

“Also, being a nice person counts for a lot. If you were difficult you would get a reputation. Of course there are actors who are extremely difficult and tiresome to work with, and there will come a point at which you think is it worth it? I don’t want to be one of those people.”

Despite her time-travelling credentials Alex has no idea what the future holds but still harbours a dream of being a Bond Girl (though obviously not one who falls for the smooth-talking spy).

She laughs: “I would love to be a villain in a James Bond movie, the real villain, the main one. Because they’ve never had a female villain. And I want to be a villain who does not find James Bond sexy at all. And doesn’t succumb to his charms, I want to be his real nemesis.”

Time for a return to Tardis?

Alex alongside Peter Capaldi in Doctor Who

From ER to the Tardis, Alex’s career to date has been distinguished by roles opposite fictional doctors, whether medical or time-travelling.

The smash-hit hospital drama which made her a star in the ’90s famously launched the Hollywood career of a certain George Clooney. Then in 2008, Alex won a new generation of fans as the wife of Doctor Who.

Because the Doctor transmutates over time Alex, as River Song, gets several leading men for the price of one. Alex said: “Essentially my character is the same, so there’s continuity there, and the fun is interacting with someone who is essentially the same man, but in a different skin and with a different energy.”

Perhaps the least lucky man in the role was Matt Smith.

Alex explained: “One of the most memorable parts of filming was when I flew through the universe, got caught in the Tardis and kneed Matt Smith, who was playing the Doctor at the time, in a sore place by mistake. There were a few tears of laughter from me and cries of pain from him.”

Speculation is rife among fans that Alex will return to the Whoniverse, if the incumbent Time Lord Jodie Whittaker steps down. All Alex will say is: “My Tardis door is always open…” [x]

#Alex Kingston #Salome Haertel #River Song #Doctor Who #Kingston Edit #ER #NEW #Interview #2021 #The Sunday Post #New

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melisa-may-taylor72 · 4 years ago

Photo

QUEEN BEFORE QUEEN

THE 1960s RECORDINGS

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PART 4:

THE OPPOSITION

JOHN DEACON WAS THE QUIETEST MEMBER OF A MIDLAND-BASED FIVE-PIECE WHOSE GREATEST AMBITION WAS TO PLAY ANOTHER GIG.

Initial research John S. Stuart. Additional research and text: Andy Davis.

John Deacon was the fourth and final member to join Queen. He became part of that regal household 25 years ago this month, enrolling as the band’s permanent bassist in February 1971. His acceptance marked the culmination of a six-year ‘career’ in music, much of which he spent in an amateur, Leicestershire covers band called the Opposition.

From 1965 until 1969, Deacon and his schoolmates ploughed a humble, local furrow in and around their Midlands hometown, reflecting the decade’s mercurial moodswing with a series of names, images and styles of music. The most remarkable fact about the Opposition was just how unremarkable the group actually was.

Collectively, they were an unambitious crew: undertaking precisely no trips down to London to woo A&R men; winning only one notable support slot for the army of chart bands who visited Leicester in the ‘60s (opening for Reperata & the Delrons in Melton Mowbray in 1968); and managing even to miss out on the option of sending a demo tape to any of the nation’s record labels. The band’s saving grace is its solé recorded legacy: a three-track acetate — although even this was done for purely private consumption, and has rarely been aired outside the confines of their inner circle.

It is perhaps indicative of the Opposition’s modest outlook that their most promising bid for stardom, a beat contest, was called off before they had the chance to play in the finals. For John Deacon and friends, it seems, merely being in a band was reward enough.

Considering of all of this, it’s easy to imagine the response to the following story, related in the ‘60s to one of the Opposition’s guitarists, Ronald Chester:...[ ]

...[ ] “There was a teacher who worked at Beauchamp School, which John attended, who told fortunes. They went to see her one Saturday and were told, ‘John Deacon is going to be world famous and very, very rich. Of course, they all fell about laughing. She was determined that this was going to happen. But they all thought it was a joke."

What particularly amused Deacon’s colleagues was the unlikeliness of this scenario, given the plain facts of his demeanour. John was born in Leicester in 1951, the product of affluent, middle-class, middle England. As a youngster, he was known to his friends as ‘Deaks’ and grew up to be quiet and reserved, what Mark Hodkinson referred to in ‘Queen — ‘The Early Years’ as “a ghost of a boy".

“He is basically shy,” confirms Richard Young, the Opposition’s first guitarist/vocalist, and later keyboardist. “I suppose he was quieter than the rest of us — but he was fairly static with Queen if you look at him on stage.”

Ron Chester agrees: “John was quiet by nature. His sister, Julie, was the same. Once he got going, though, he wasn’t any different from anybody else. But on first approach, you really had to coax him out of his shell. We’d have to pick him up. He couldn’t walk down the road to meet us."

CONFIDENT

Despite any lack of personal dynamics, Deacon was a capable teenager: “He was very confident," recalls another of the band’s guitarists, David Williams. “But in a laidback sort of way. He didn’t have a problem with anything. ‘Yeah, I can do that’, he’d say. We used to call him ‘Easy Deacon’, not because of any sexual preferences, but because he’d say something was easy without it sounding big-headed. I remember saying to him once, I’m going to have to knock off the gigs a bit to revise for my ‘A’ levels. What about you?’ ‘No’, he said, ‘I don’t need to. I’ve never failed an exam yet, and I’ve never revised for one’. Ultimately, he was just confident, with a phenomenally logical mind. If he couldn’t remember something, he could work it out. And, of course, he got stunning results.”

John’s earliest interest was electronics, which he studied into adulthood. He also went fishing, trainspotting even, with his father. Then music took over. After dispensing with a ‘Tommy Steele’ toy guitar, John used the proceeds from his paper round to buy his first proper instrument, an acoustic, when he was about twelve. An early musical collaborator was a school mate called Roger Ogden, who like Roger Taylor down in Cornwall, was nicknamed ‘Splodge’. But his best friend was the Opposition’s future drummer, Nigel Bullen.

“I’d first got to know John at Langmore Junior School in Oadby, just outside Leicester, in either 1957 or 1958,’' recalls Nigel. “We were both the quiet ones. We started playing music together at Gartree High School, when we were about thirteen. We were inspired by the Beatles — they made everybody want to be in a group. John was originally going to be the band’s electrician, as he called it. He used to build his own radios, before we had any amps, and he fathomed a way of plugging his guitar into his reel-to-reel tape recorder. He was always the electrical boffin."

The prime mover in the formation of the group was another Oadby boy they met on nearby Uplands Park, Richard Young. “Richard was at boarding school," recalls Nigel Bullen. “He was always the kid with the expensive bike. He played guitar, and what’s more had a proper electric, with an amplifier. He instigated getting the band together. Initially, we rehearsed in my garage, and then anywhere we could. John played rhythm to begin with. He was a chord man, the John Lennon of the group, if you like."

SWITCH

Despite his later switch to the bass, Deacon’s technique on the guitar also developed, as Dave Williams reveals: “Later on, I remember he could play ‘Classical Gas’ on an acoustic, which was a finger-picking execise and no mean feat. It’s a bit like ‘McArthur Park’, a fantastic piece of music, and when I heard it, I thought, ‘Bloody hell. You dark horse!’ Because he never showed off."

The Opposition’s first bassist was another school friend of John’s called Clive Castledine. In fact, the group made its debut at a party at Castledine’s ouse on 25th September, 1965 (their first public performance took place the...[ ]

...[ ] following month at Gartree’s school hall). Clive looked good and appreciated the kudos of being in a group, but he wasn’t up to even the Opposition’s schoolboy standards. “I was the least proficient, to put it mildly,” he admitted to Mark Hodkinson.“His enthusiasm was 100%,” adds Richard Young, “but his actual playing ability was null, so we had a meeting and got rid of him.” Deacon took over, initially playing on his regular guitar, using the bottom strings. “John was good,” Young continues. “It was no problem for him to switch to bass. He hit the right notes at the beginning of the bar, and we were a better band for it. Whereas Clive made us sound woolly, as anyone who just plonked away on any old note would, John was solid.”

DIARY

Young turned out to be the Opposition’s archivist, keeping a diary of each gig played, the equipment used, and the amounts of money earned (as indeed did John Deacon). Richard’s diary documented the day Deacon — now, of course, bassist in one of the world’s most famous groups — first picked up his chosen instrument. “In an entry for 2nd April, 1966,” says Young, “it reads, ‘We threw Clive out on the Saturday afternoon. Had a practice in Deaks’ kitchen, and Deaks went on bass. Played much better.’ John didn’t have a bass, so we went down to Cox’s music shop in King Street in Leicester, and bought him an EKO bass for £60. I paid for it, but I think he paid me back eventually.”

“John’s bass style with the Opposition was the same as with Queen,” reckons Nigel Bullen. “He never used to play with a plectrum, which was unusual, but with his fingers, which meant that his right hand is drooped over the top of the guitar. Also, he plays in an upward fashion, which I’d never seen before, certainly when we were in Leicester. Over the years, I’ve watched many bass players adopt that style. I’d say he has been copied a lot. I’ve mentioned this to him, but he doesn’t agree.”

Clive Castledine wasn’t the last member of the band to be dismissed. “The vocal and lead guitar side of the Opposition was changing all the while,” recalls Nigel. “Myself, John, and Richard Young were always there — as were Dave Williams and Ron Chester later on — but we had a succession of other musicians who I can hardly remember now. There was a guy called Richard Frew in the very early days, and a young lad called Carl, but he didn’t fit in. After we began playing proper gigs, Richard decided he wasn’t happy with his singing and wanted to move onto keyboards, so we brought in Pete Bart (formerly with another local band, the Rapids Rave) as a guitarist and vocalist. He was good, but again, didn’t last long.”

“Bart was a bit of a rocker, while we were all mods,” remarks Dave Williams. “We were impressed by mod bands like the Small Faces and the original Who. Bart seemed to come from a different era altogether.”

“Deaks had the Parka with the fur collar,” remembers Ron Chester. “And short hair, a crew cut. Mirrors on his scooter.” Richard Young agrees: “John was more of a mod than us. But you couldn’t really pigeonhole the band, because our music went right across the board”.

”Buying Deacon his bass was no one-off, and Richard Young is remembered as the group’s benefactor. Being older than the others, he had a steady job working for his father’s electronics company in Leicester, which brought him a regular, and by all accounts, generous wage. He rarely thought twice before splashing out on equipment for the other members.

RECEIPTS

“Richard bought me a P.A.,” recalls David Williams. “But he didn’t ask, he used to think that the group needed it. He’d buy it and then say, ‘You owe me this’. My mum used to get really annoyed. She’d was at that going- through-my-pockets stage, probably looking for contraceptives. She once found a receipt from Moore and Stanworth’s, a local music shop. It was for a Beyer microphone, which cost about £30. I was still at school, getting pocket money, and my mum said, ‘What on earth is this?!’ Receipts on the Sunday dinner table, that sort of thing. It was good, though. The group needed it.”

“I was dead serious about the band,” claims Young, who switched to organ with the arrival of Williams in July 1966. “Perhaps more so than anybody else. I could see it going nowhere if money wasn’t pumped into it.”

“Dick Young was an accomplished organ player,” adds Dave, “and he improved the group quite a lot. He always had plenty of dosh, and a car. But he was totally mad, a crazy bloke. He’d come round with an organ one week, then next week, he’d have a better one. He ended up with a Farfisa, with one keyboard on it, then one with two keyboards — one above the other. Then he had a Hammond, an L 100. which was really heavy. Then he had a ‘B’ series one. The ‘L’ was top-of-the-range and he sawed it in half to make it easier to carry!”

Dave Williams helped to improve the group as well. “He was at school with us,” says Nigel Bullen, “but in another band, who we always looked up to.” That band was the Leeds-based Outer Limits (who went on to issue several singles — without Dave — in the late ‘60s). “I joined the Opposition after they asked me to watch them and tell them what I thought,” recounts Dave. “The Outer Limits were older lads, all mods, but I was after something a bit more easy going, and the Opposition were my own age. They were okay, but I first saw them at John’s house, when they were still practising in bedrooms, and they were absolutely awful. I said, ‘Have you thought of tuning up?’ They said they had. But it sounded like they were playing in different keys — totally horrendous. It was so funny. They were so conscientious, they’d all learned their bits, but hadn't tuned up to each other. That was my first tip.”

“Our first proper gig was supporting a local band, the Rapids Rave, at Enderby Coop Hall,” recalls Nigel Bullen. “They used to play at this village hall every week. and then we ended up doing it every week for quite some time.” Richard’s diary records the Opposition’s debut taking place on 4th December 1965, and that the band’s fee was £2. Thereafter, they began to offer their Services in the local ‘Oadby & Wigston Advertiser’, which led to bookings in youth clubs and village halls in local hot-spots like Kibworth, Houghton-on- the-Hill, Thurlaston and Great Glen.

SCHOOL WORK

By spring 1966, the Opposition were playing every weekend, school work permitting. The peaks and troughs of their career are illustrated by the following memorable gigs: one at St. George’s Ballroom, Hinckley, on 23rd June 1967, when just two people turned up and the band went home after a couple of numbers; and a September appearance in a series of shows at U.S. Airforce Bases in the Midlands, at which they were required to play for four-and-half hours with just two twenty-minute breaks. It was nothing if not diverse.

“It didn’t seem to matter what you played,” says Dave. “People would clap simply because you were making music. They never said, ‘Do you do Motown, or soul stuff?’ ” The band’s repertoire initially consisted of chart sounds and the poppier end of the R&B spectrum. “Although we were inspired by the Beatles, we never did any of their songs,” claims Nigel. “But we covered the Kinks, the Yardbirds, and things like Them’s ‘Gloria’, and the Zombies’ ‘She’s Not There’.

They also altered their name slightly to the New Opposition, which they unveiled at the Enderby Coop Hall. “The name-change was decided overnight, when John moved from rhythm to bass guitar,” recounts Richard, whose diary records the date of the transition as 29th April 1966. Interestingly, though, it makes no mention of another local group also called the Opposition, long thought to have been the reason for Deacon’s crew adopting the ‘New’. The change did act as an impetus for further development, however, instigated by Dave Williams, who soon took over as the group’s lead vocalist.

“When I joined they were doing all Beach Boys stuff,” he recalls, “and I think I may have brought in a little credibility. In the Outer Limits, I’d been playing John Mayall, the Yardbirds, that sort of thing, plus that group was into really good soul like the Impressions, and fantastic vocal bands from the States. So I had a broad musical knowledge by then, whereas the Opposition had been a bit poppy.” Appropriately, the words “Tamla” and “Soul” were now added to the Opposition’s ads and calling cards.

Towards the end of 1966, the New Opposition were enhanced further by the arrival of Ron Chester, who’d previously played with Dave Williams in the Outer Limits, as well as in an earlier band, the Deerstalkers. “Ron Chester was a bit eccentric,” claims Richard Young. “He never used to go anywhere without his deerstalker. He was a really good guitarist (“stunning”, adds Dave Williams). We were probably at our best when Ron was in the band.”

On 23rd October 1966, the New Opposition entered the local Midland Beat Contest. They won their heat, landing themselves a place in the semifinals on 29th January 1967. They won this, too, and steeled themselves for the finals, which were due to be held on 3rd March 1967, when they were to be pitched against...[ ]

...[ ] an act called Keny. The stars of the show would have been the nearest the Opposition came to having a rival: an outfit called Legay. (A year later, incidentally, this band issued a now collectable single, “No One” (Fontana TF 904,£80J.) Unfortunately, for all concerned, however, the contest never took place. “That was a fiasco,'' laughs Ron. “Somehow we won those heats, but in fact, I don’t remember seeing anybody else playing. I don’t know whether we won by default or not. After that, they pulled the plug on the competition — probably because they knew we’d be playing again!”.

CASINO

“The heats took place in a club in Leicester called the Casino, which was the place to play,” adds Nigel. “The guy who ran the competition was an agent for the club. His company was called Penguin (or P.S) Promotions and he walked like a penguin too, with his feet sticking out. The final was going to be held in the De Montford Hall, which is still the main venue in Leicester. We thought, ‘Crumbs, this is it, perhaps we might make the big time.’ But the guy did a runner with all the money — people had to pay to come to the heats. So the final was called off.”

David Williams wasn’t too fussed, as he scored another prize that night: “I remember taking a girl back to Dick’s car on the strength of us winning our heat. I said, ‘Can I borrow your keys, Dick? He said, ‘What for? You can’t drive!’ “

Were the New Opposition — or the Opposition, as they dropped the ‘New’ again in early 1967 — left in limbo by the cancellation of the Beat Contest? Having achieved the most public recognition of their talents so far, were they disappointed with the loss of the chance to prove themselves further?

“No. It was almost insignificant,” reckons Ron. “We didn’t really look upon it as a stairway to stardom.” And what would John Deacon have thought? “Nothing really,” suggests Chester. “ ‘It’s cancelled. What are we doing next, then?’ That would have been about the depth of it. We were a village band, all gathering at the church hall to try and improve our abilities. The financial aspect of it wasn’t in the forefront of our minds. We were more concerned with our music, and if we could get a booking doing it as well, to pay off some of the equipment, then that was a real bonus. Three bookings a week was enough for us while we were working or still at school.” Despite any dodgy dealings, history does have the Penguin promoter to thank for the only professionally-taken photograph of the Opposition. (“We didn’t go much on photos in the band,” remembers Dave Williams.) On Tuesday, 31st January 1967, two days after winning the semi-finals, the ‘Leicester Mercury’ dispatched a staff photographer over to Richard Young’s parents’ house in Oadby. Here, the group lined-up in the front room, looking more like refugees from 1964, rather than 1967. The only indications of the actual date are perhaps Ron Chester’s deerstalker hat and the ridiculous length of David Williams’ shirt collars — seven inches, no less, from neck to nipple.

“Dave was very extrovert,” recalls Nigel. “But we all had those silk shirts with the great long collars made by our mums and grandmas for our stage gear.” Dave admits: “Our clothes were all a bit mixed up. We had silk shirts with tweed jackets — which were fashionable for a while — and bell-bottoms. Musically, we were pretty good, better than...[ ]

...[ ] most of the local bands around that time, but we had this squeaky-clean, schoolboy image which let us down. I used to get frustrated when we were billed with other bands, and they’d all play with so many wrong chords but had a better image and still the punters applauded. Were they stupid? We were still at school — we didn’t leave until we were eighteen — and weren’t allowed to grow our hair long”.

“After the mod thing,” he continues, “long hair became really important. Bands were growing their hair right down their backs. I remember getting to one gig with John and Nigel a year or so later, and the other group were already on. And when they saw us they turned round and said, ‘Look! They’ve got no hair!’. We were quite upset about that”.

“We also went through the flower-power look,” Dave adds. “And then we got into those little jumpers without any sleeves that Paul McCartney used to wear, the ones so small that half your stomach showed. And then it was grandad shirts without the collars and flares.” Ron Chester: “The flowery shirts and flared trousers were everywhere. We looked like a right shower of poofters. But so did everybody else. You stood out if you didn’t wear them.”

1967 also heralded the arrival of an additional attraction to the Opposition’s stage show: two go-go dancers. At least, it did if the existing literature on the subject is to be believed. “I vaguely remember it,” admits Richard, “but speaking to Nig, neither of us can recal who those dancers were”.

Dave Williams throws some light on the subject: “They were the jet-set girls of the sixth form, they came from the big houses. They came to a couple of gigs and just started dancing. Somebody who booked us for the following week actually advertised us ‘with go-go girls’. But they were never really part of the show.”

ART

On 16th March, 1968 for a gig at Gartree School, the Opposition changed their name once again. “We called ourselves Art,” reveals Nigel, “because Dave was arty, that is, he was training as an artist. It was as simple as that.” Dave agrees: “It was my idea, because I’d been doing art at school.” Nigel Bullen was aware of another band using that name around the same time (the pre-Spooky Tooth outfit), but assuming them to be American, reckoned they’d be no confusion. As the Leicester-based Art never made it to London, there wasn’t.

Despite wording like “A time to touch and feel, to taste and experience, to hear and understand” appearing on the group’s tickets, Richard maintains that Art was “just the same band” as before. “Nothing changed."

“It was mutton dressed up as lamb, really,” admits Ron Chester. “We thought if we were called something different, people might come because they were curious. But it didn’t make a lot of difference. The audiences were captive at the places we played anyway. There was nowhere else to go on a Friday or Saturday night. Everyone used to roll up to see whoever was on, whether they’d heard of them or not.”

1968 was the year psychedelia caught up with many provincial British bands. The Art were no different, but their acknowledgement of what had been last year’s scene in London was via sight rather than sound. Their light shows seem to have been particularly memorable, as Dave Williams explains: “They were brilliant. We used the projectors from school, filled medicine bottles with water and oil, and projected through them to get this lovely golden, amber backdrop. As the image came out upside down, when we poured in some Fairy Liquid, it dropped straight through in a blob, but came out on the wall like a giant green mushroom cloud. It was amazing, and we had about four of them at the back, projecting over the band.”

John Deacon was party to another of Dave’s exploits. “One day,” recalls Williams, “John and I bought a 100-watt P.A. — which was pretty big for those days — and took it into the lecture theatre full of kids at Beauchamp School (which Deacon had attended since September 1966) for our version of Arthur Brown’s ‘Fire’. We cranked it up as loud as we could, put the light show on, and let off these smoke bombs, which were DDT pellets we’d got from the chemist. All the kids started choking, and then the headmaster walked in...[ ]

...[ ] with a load of governors. You could see the fury in his face. One of the governors asked what we were doing. ‘It’s a demonstration in sound and light, sir,’ I said. ‘We’re using these ink bottles turned upside down, but we’re a bit worried about these DDT pellets so we might knock the smoke on the head, but we’re still experimenting.’ And he fell for it!”.

INFLUENTIAL

Towards the end of 1968, a crop of new groups began to have a profound effect on the maturing schoolboys: Jethro Tull, the Nice, Taste, and in particular Deep Purple. Ron: “We used to buy Purple records and learn to play them. We’d seen John Mayall’s Bluesbreakers and the Downliners’ Sect in Leicester, the Nice, King Crimson. These sort of groups. We learned a lot from just watching them. They were influential. There was always a big discussion in the band as to whether we should do a particular song. Once we’d decided that, there’d be another big discussion as to how we should do it. Everybody had their say.”

Hair, too, had finally began to grow: “John grew his quite long,” recalls Ron. “We all had longish hair, but not shoulder length. We couldn’t look too unkempt for the normal side of life, but we didn’t want to be too prissy for the other end of the spectrum. That was when we started playing universities, and we went a bit heavier. The audiences were far more serious minded about music and more enthusiastic. In some of the youth clubs we’d been playing, the audience would be moving around on roller skates, or peeling bananas all over the place, things like that”.

“We felt we were making an impression towards the last year or two of the band,” he continues. But it went no further: “We were at school, some of us had jobs, and there was an element of common sense overriding what we would have liked to have done. None of us wanted to chuck in our apprenticeships or courses. If we’d had a flair for writing our own material, we might have taken off. But we just played what was popular, nothing different from most other groups. That wasn’t a basis on which to launch ourselves. So it never happened."

“We didn’t think that far ahead,” admits Richard Young. “I just thought of playing and getting repeat bookings. John was probably the least ambitious of all of us, to be honest. I think he felt that there was no mileage in what we were doing, although it was good fun. I think he had the impression that this was a hobby, a phase he was going through.”

Sometime in the Sixties, possibly 1969, but maybe earlier, Art recorded an acetate. Whatever the date, the crucial point is that John Deacon was present at the session. “We weren't asked to do it,” recalls Nigel. “We just wanted to make a disc. I think it cost us about five shillings.”

The venue was Beck’s studio, thirty miles south east of Oadby in Wellingborough, Northamptonshire. “I’d never been in a studio before and it seemed awesome, really,” recalls Dave Williams. “It was a fairly decent-sized room for acoustics. It was all nicely low-lit, with lots of screens. The guy knew what he was doing.” Richard Young was less impressed, though: I’ve been in studios all my life,” he says. “That was just another session. Nothing about it stood out.”

The “guy” Dave remembered was engineer Derek Tomkins, who informed the group that they could record three tracks in the time allotted. “We’d only gone in there with two, ‘Sunny’ and ‘Vehicle’,” says Nigel, “and we didn’t want to waste the opportunity, so Richard knocked up a little instrumental called Transit 3’ — named after our new van, the third one — right there in the studio. Although we were purely a covers band, everybody had a bash at writing, but we never did anything of our own on stage. The exception was Transit 3’, which was incorporated into the set after this session.”

“ Transit 3’ was about about the only track we ever wrote," reckons Richard Young (“Heart Full Of Soul”, as reported in ‘As It Began’, is in fact a Graham Gouldman nurnber). “I initially had the idea, but I can’t really remember anything about it. It’s very basic. It wouldn’t take a great deal of effort to write something like that.” To the objective observer, “Transit 3”, taped in mono but well recorded, is a fairly uncomplicated, organ-led scale- hopper, reminiscent of Booker T & the MGs.

“Everybody was listening to ‘Green Onions’,” confirms Nigel, “so Booker T would have been an influence there.” But for all that, it’s well- played, with memorable lead and twangy, wah-wah guitar passages courtesy of Dave Williams. And, crucially, John Deacon’s thumping bass is plainly audible throughout. On this evidence, the Opposition were clearly a tight, confident outfit. “Transit 3” could have been incorporated into any swinging ‘60s film soundtrack, and no one would have jumped up shouting, “Amateurs”!.

UNFAMILIAR

The other two tracks, covers of Bobby Hebb’s ‘Sunny' and the more obscure, soul- tinged ‘Vehicle’ (later a hit for the Ides of March), featured a vocalist, but an unfamiliar one: another of the Opposition’s fleeting frontmen. “We had a singer for a while called Alan Brown,” recalls Nigel. “He came and went fairly quickly. He was good, really good. Too good for us, I think. That wasn’t him saying that. We just knew it.”

On both songs, Brown is in deep, soulful voice, sounding not unlike a cross between Tom Jones and the early Van Morrison — if such an amalgam can be imagined. The Art’s reading of “Vehicle” is edgy and robust, dominated by Richard Young’s distinctive keyboards and Nigel Bullen’s bustling drum work. Dave Williams is again in fine form, delivering more sparkling wah-wah guitar, while on the cassette copy taped from Nigel Bullen’s acetate, at least, John’s bass is very prominent, over-recorded in fact, booming in the mix.

“Sunny” goes one better, breaking into jazzy 3/4 time halfway through, before slotting back into the more traditional 4/4. It’s an imaginative arrangement, with alternate soloing from both Dave and Richard, while the whole track is underpinned by swirls of Hammond organ and John Deacon’s pounding bass.

“We did ‘Sunny’ as part of our stage set,” says Nigel, “but I don’t recall us ever going into the jazzy bit. That’s quite interesting. We might have talked about that before we went into the studio, but I think it was just for this session. Dave had two guitars, a six-string and a twelve-string, or it could even have been twin-necked. I still quite like the wah-wah he played on that track. By this time Richard would have been onto his second or third organ — he was heavily into Hammonds and Leslies."

Operating as they did in a fairly ambition- free zone, and having prepared the listener for a mundane set of recordings with their trademark laid-back approach, Art’s acetate comes as something of a revelation. Let any bunch of today’s schoolboys loose in a studio for an afternoon and defy them to come up with something half as good!

Just two copies of the Art disc are known to have survived. John Deacon’s mother is believed to own one and Nigel Bullen has the other. “I’d forgotten all about this record,” admits Nigel. “We know that one copy was converted to an ashtray!. We stubbed out cigarettes on Richards at rehearsal one night.” Although treated with anything but respect at the time, the importance of the disc is now apparent to Nigel Bullen: “This is probably John Deacon’s first recording, apart from tracks he did in his bedroom on his reel-to-...[ ]

...[ ] reel, which are probably long gone. Although, knowing John, they’re probably not!”

The beginning of the end for Art came in June 1969, when John Deacon left Beauchamp. With a college course lined up in London, his days with the band were obviously numbered. He played his final gig with the group on 29th August at a familiar venue, Great Glen Youth and Sports Centre Club. By October, he’d moved to London to study electronics at Chelsea College of Technology, part of the University of London.

Another blow was dealt in November, when the band's lynchpin, Richard Young, left to join popular local musician Steve Fearn in Fearn’s Brass Foundry.

“They were a Blood, Sweat and Tears-type of group,” recalls Richard, “and paid better money than I’d been used to. I was out five nights a week, on about £3 per night, against an average of about £10 between us.” The previous year, Richard had played session keyboards on the Foundry’s two Decca singles: “Don’t Change It” (F 12721, January 1968, £10) and “Now I Taste The Tears” (F 12835. September 1968, £8).

SAVAGE

Ron Chester departed shortly afterwards, and gave up music: “I left in the early 70s, after John Deacon moved to London. John was replaced by a bass player was called John Savage, who unsettled me. He had different tastes and drove us a bit hard. His approach was totally different from Deaks's, and he was much more interested in the financial side of things. We’d all been mates before, we didn't just knock about for the band. It just wasn’t the same.”

Nigel, Richard and Dave pushed on into 1970 with the new bassist, changing the band’s name again, this time to Silky Way. They returned to Beck’s studio to record a cover of Free’s “Loosen Up” with another vocalist, Bill Gardener, but that was the band’s last effort. Dave left after falling into Nigel’s drumkit, drunk on stage at a private party one Christmas. “I waited for them to pick me up the next day,” he recalls sheepishly, “but they never carne.”

Richard and Nigel moved into a dinner- dance type outfit called the Lady Jane Trio — “Corny, or what!”, laughs Bullen — but Nigel left music altogether soon afterwards to concentrate on his college work. Richard turned professional, moving into cabaret with the Steve Fearn-less Brass Foundry, before forming a trio called Rio, finding regular work on the holiday camp and overseas cruise circuit. In the late ‘70s, he joined a touring version of the Love Affair.

Down in London, John Deacon caught a glimpse of his future world-beating musical partners as early as October 1970, when he saw the newly-formed Queen perform at College of Estate Management in Kensington. “They were all dressed in black, and the lights were very dim too,” he told Jim Jenkins and Jacky Gunn in ‘As It Began’, “All I could really see were four shadowy figures. They didn’t make a lasting impression on me at the time.”

While renting rooms in Queensgate, John formed a loose R&B quartet with a flatmate, guitarist Peter Stoddart, one Don Cater on drums and another guitarist remembered only as Albert. The new band was hardlv a great leap forward from Art: they wrote no originals, and when asked to perform their only gig at Chelsea College on 21st November 1970, supporting Hardin & York and the Idle Race, they hastily billed themselves — in a rare fit of self-publicity for the quiet Oadby boy — as Deacon.

A few months later in early 1971, John was introduced to Brian May and Roger Taylor by a mutual friend, Christine Farnell, at a disco at Maria Assumpta Teacher Training College. They were looking for a bassist. John auditioned at Imperial College shortly afterwards. Roger Taylor recalled Queen’s initial reaction to Deacon in ‘As It Began’: “We thought he was great. We were so used to each other, and so over the top, we thought that because he was quiet he would fit in with us without too much upheaval. He was a great bass player, too — and the fact that he was a wizard with electronics was definitely a deciding factor!”

How did the members of the Art/Opposition back in Leicester, view John’s success with Queen? “It wasn’t sudden”, says Ron Chester. “First we heard he’d got into another group. We couldn’t believe that — were they deaf? There were all these sort of jokes going along. Then we heard he’d got a recording contract and the next thing he had a record out. It was a gradual progression. No one dreamed he would end up the way he did.”

“I don’t think we expected success for any of us" admits Nigel Bullen. “Richard maybe. He was the first one to go professional. But when John left for London to go to college, he left all his kit here. I thought that was the end of it for him. He had absolutely no intention of continuing. His college course was No.1. It was only after he kept seeing adverts for bass players in the ‘Melody Maker’ that he became interested again.”

He also seemed to lose some of that ‘Easy Deacon’ touch which so impressed Dave Williams in the ‘60s. “He’d ring up these bands,” continues Nigel, “but when he found they were a name act, he bottle out. When he went to auditions for anonymous bands, where he would queue up with about thirty other bass players, he had a bit of confidence. He just wanted to play in a decent band. Once I heard what Queen had recorded at De Lane Lea, and John played me the demo of their first album, I thought they were well set.”

CABARET

By early 1973, Dave Williams had forsaken a career in animation to join Highly Likely, a cabaret outfit put together by Mike Hugg and producer Dave Hadfield on the back of their minor hit, “Whatever Happened To You (The Likely Lads Theme)”. While Dave was in the band, they recorded a follow-up single which wasn’t released, before evolving into a glam rock outfit, Razzle, which later become the Ritz, who issued a few singles. “During Queen’s early days, before they’d had any real success, John came to see us once,” recalls Dave, “and said, ‘I wish I was in a band like this which could actually play some gigs’.” Dave concludes: “I remember John coming round once around that time, saying I’ve got a demo’. ‘So have I!’, I said. So we put his on first, and the first track was ‘Keep Yourself Alive’. My mouth dropped wide open and I thought. ‘Bloody hell! What a great track’. I remember saying that the guitarist was as good as Ritchie Blackmore — who was still our hero then — and thinking ‘They’re serious about this. This is the real thing’.”

RECORD COLLECTOR Nº 198 FEBRUARY 1996

⬅PREVIOUS: SMILE

https://melisa-may-taylor72.tumblr.com/post/639672109315014656/queen-before-queen-the-1960s-recordings

➡NEXT: IBEX, WRECKAGE & SOUR MILK SEA

@natromanxoff, @mephisto92, @moviestorian, @x5vale, @39-brian, @onegoldenglance, @crosmopolitan, @an-abyss-called-life, @his-majesty-king-mercury, @i-live-for-queen, @brian-39-may, @toomuchlove-willkillyou, @brimaymay, @sail-away-sweet-sister, @drummerqueenrmt, @old-fashioned-roger-boy, @briianmaay, @inui-mycroft, @deacytits, @iminlovewithrogscar, @drowseoftaylor, @brianmayislongaway, @balticlover, @astrophysicist-guitar-god, @miez-lakatz, @brianmayoucease, @jesus-in-a-life-boat, @aslongasthereismusic, @roger-taylors-car, @silapril, @sherrifanciesfriskyfreddie, @tenderbri, @brianmydear, @thosequeenboys, @millionairewaltz-carpediem, @painandpleasure86, @bribrifrenchfry, @xlucylennonx, @a-night-at-the-abbey-road, @inthedayswhenlandswerefew, @madformeddowstaylor, @queenrogertaylorfan, @let-roger-get-a-lunch, @queen-for-life, @rethought, @drivenbybrianmay @mymakeupmaybeflaking, @old-but-still-a-child, @let-roger-get-a-lunch, @warriorteam1924, @funnydressesweirdhairanddance, @painkiller80, @thefanhuman13, @yourtieddownmother, @hgmercury39, @brimi-stardust, @thefairyfellermercury, @retroromantics, @sailawaysweetbrimi, @sophiaintheskywithdiamonds, @holybrianmaywritingbear, @lydiannode, @39-yellow-daffodils , @ure-gonna-loveme-when-u-seeme, @kaykaybeachgirl, @foxmonkey, @deakysgurl, @redspecialandclogsandcurls, @briansrainbowsocks-deactivated2, @delilahmay39, @ohmybribri, @bless-the-queen, @everythingaboutfreddie, @doitforthevine67, @recordsoftheseventies, @rhysjoejoshtomfarisblog, @tenementfunsterwithpurpleshoes, @drummah-in-a-rocknroll-band, @beatlegirl1968, @maylorsqueen, @autumnscenemcyt, @gralto, @alittlepeoplemagic, @rainbowsockbrian, @frejudy, @drivenbybri, @yourlocalmusicalprostitute, @saik-ava, @omb-xx, @sassymaylor, @somekindofroger, @starlightmay, @freddiemercuryismylife, @sunshine112, @chrysochromulina, @glitteryloveravenue, @deakyislife51, @0-primejive-0, @just-a-skinny-lad, @bluewillowmom, @sassiesillie, @stesichoreanpalinode, @farrokhbulsaramercury, @tayloredofqueen, @rushingheadlong, @izzy-is-slightly-mad, @scandalacious, @0-my-fairy-queen-0 @39-volunteers-to-space@zodiacaldust, @deakytaylor, @queenband70s, @deakyeveryday, @drivenbybrimay @70smay

#Queen Before Queen #Pre-Queen Series #John Deacon #The Opposition #🎤🎵🎸👑⭐

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walviemort · 3 years ago

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Fairy Godfather, part 1

Summary: The fairies have asked a monumental favor of Killian: be the surrogate for their babies—all nine of them. He's been pregnant before, but this? This is a whole other level. What has he gotten himself into? And just how big will he get?

A/N: As usual, the muse has gone off and done whatever it wants to do, rather than, y'know, work on a WIP. Alas. The idea for this came about when I sent @sancocnutclub this picture of a woman who was supposedly pregnant with 10 babies; it has since come out as a hoax, but dang—her BUMP. Subsequent doodling and headcanoning brought about this story (also partly inspired by a conversation with SherlockianWhovian a while back), and here we are! I should note that this also takes place after a couple of past one-shots, which can be found here and here. Hope you like it!

rated T / 3k words / AO3

Of all the requests put in front of Killian in his long life, this was by far the oddest.

“You want me...to carry babies...for how many of you?” he asked, trying to wrap his head around the query.

“Nine,” Blue answered matter-of-factly. “Normally, it wouldn’t be so many, but we’re past due for a brood. There was just no one around who we thought could handle it.”

“And he can?” Emma was at his side in the booth at Granny’s, where Blue and Tink had requested to meet with them. Their daughter, Hope, was sitting in the high chair at the end of the table, making a mess of some oatmeal.

“It helps if they’ve given birth before,” Tink replied. Well, he had done that—not intentionally, but he had been the one to carry and birth Hope, who was 10 months old now.

And while it had ended up being a beautiful experience, he obviously had reservations. “Yes, but that was only one baby—and you genuinely think I can handle nine?”

“We do,” Blue confirmed. “And we’d obviously provide as much help as we can.”

“It also wouldn’t be like a normal human pregnancy,” Tink added. “No morning sickness or cravings, or anything like that.”

“No, I’d just be massive,” he sighed; memories of his own perceived whale-like proportions toward the end of his pregnancy with Hope were still fresh; this had potential to put that to shame.

“Well, fairy newborns are smaller than the average human infant—less than 4 pounds. But yes, you would go full term.” Blue was awfully clinical in her statements.

Killian glanced down at his midsection, which had yet to fully regain its previous flatness, and he doubted it ever would. Especially not if he agreed to this. “I’m really your only option?” he asked again. “What about David?”

“It’s too soon,” Blue answered. David gave birth a couple months prior to their daughter Ruth, and as promised, Killian was at his side. However, he’d had to have a C-section, which slowed his recovery a bit compared to Killian’s. “And it must be done at the upcoming winter solstice, or we’ll have to wait another few years.”

Killian was about to suggest that until Tink jumped in. “Plus, you kind of still owe us for the whole hat thing.”

“That was the Dark One and you know it,” Emma snapped back, but they both knew Killian still harbored a fair amount of guilt over that. It was a low blow on their part, but not undeserved.

She most likely saw the acceptance in his eyes when they exchanged a glance, but he also saw she wasn’t quite there. “Does it really have to be a guy?” she enquired, turning back to the fairies. “I mean, there are lots of women here who meet your criteria, too.”

“It does,” they said simultaneously, though Tink at least looked somewhat apologetic.

Emma was ready to protest again, but he put his hand over hers on the table and told her with a look that it was okay. She reclined in her seat while he turned back to the pair. “I’ll agree, but with one condition: you’ll have to help pick up my slack—around town and at home,” he said evenly. He was sure he’d get to a point when it wasn’t feasible for him to continue as deputy, or at the library, or even keep up with Hope, who was dangerously close to walking.

“Actually, one more,” Emma added. “He’s not on the hook for any, like, actual fatherhood, right? You won’t be coming after him for child support or anything?”

“No, he's simply the surrogate,” Blue confirmed.

“And we’ll definitely help out—whatever you need,” Tink added.

Emma gave him a tentative but supportive look. “Then I’ll do it,” he told them.

“Excellent,” Blue stated with less enthusiasm than he expected. “We’ll send you more information soon, but the most important thing is to be at the convent next Saturday. Green,” she then turned to Tink, “come; we have much to do to prepare.” (Which was a polite way of asking her to slide out of the booth first.)

Tink rolled her eyes and stood up. “I’ll text you,” she said, and the two flitted out of the diner.

Killian and Emma were silent for a long moment after they left, other than making sure some oatmeal actually ended up in Hope’s mouth.

Emma started to clean up the baby and then said, “I know it’s too late now, but are you sure about this?”

“Not entirely,” he confessed, “but they were right—I do owe them.”

“You don’t,” Emma said matter-of-factly, “even though I know you think you do.” She wiped the mess off Hope’s face. “But if this will finally relieve some of that guilt, then I get it, and I’ll support you.”

“Thank you, love,” he sighed, and pressed a kiss to her temple. “I’m going to need it, I think.”

“Oh, you are,” she said wryly. “And you should probably start planning how you’ll tell my dad.”

“Bloody hell,” he cursed, then dragged a hand down his face. “He’s going to be relentless.” What had been playful ribbing during their respective pregnancies was likely about to be amplified.

“Maybe you can talk to Belle? See if she knows anything on what to expect? Pun not intended.”

“Yeah, that’s a good idea,” he agreed, then followed Emma as she slipped out of the booth. He pulled Hope from the high chair and settled her in his left arm, then grabbed her diaper bag and slung it over his shoulder. “Guess we’ll pick her brain now. See you later.” They kissed farewell and headed off to their respective jobs that day—Emma at the station, Killian at the library, where he’d taken something of an assistant librarian position (and could keep an eye on Hope and her “cousin” Gideon in between reshelving and assisting patrons).

Belle was surprised when he told him about the morning’s turn of events, but then got an almost academic excitement. “I can’t say I know much about their physiology, and I didn’t know this about their reproduction, but let’s see if we have anything.”

She dove into research while he took care of normal library functions, but by midday, didn’t have much to show for it.

“They’re so secretive! Obviously their existence is documented, and there’s mention of someone other than Blue being in charge at some point in the past, and that their young mature faster than average, but that’s it. What did they tell you?”

“Not much,” he answered, relaying what little he’d been told. “But they did call it a ‘brood’, so it sounds like multiples are common. Just not quite so many.”

“Do you think they’d let me take notes?” she wondered. “It’s not like there's any research journals on magical beings I could submit a paper to, but more for my own study.”

“If they don’t let you, I won’t do it,” he commented. “Do you still have everything from last time?” She’d done quite a bit of documentation on his first pregnancy, considering it was the product of a misunderstood spell.

“Of course; David’s, too.” Then she laughed. “Of all the things I imagined becoming an expert in, magical male pregnancy was not one of them.”

“Someone had to,” he countered.

“That’s true!”

---------------------------------------------------------

The rest of the week was fairly uneventful, save for a text from Tink telling them when to arrive at the convent, and to make sure he ate lots of greens and wore something comfortable (which he took to mean stretchy). And they assented to Belle’s presence, too, which didn’t change anything but did make him feel more at ease.

David was something between amused and horrified about what Killian had agreed to, but ultimately glad they hadn’t asked him.

The afternoon of the solstice, before they headed to the convent, Belle took some notes and measurements of Killian as a baseline for her study—and honestly, he was kind of glad, if the proportions on this were going to be as overlarge as he expected. “How big do they make those maternity pants?” he asked Emma as Belle was making note of his waist size (not significantly larger than it used to be, he was at least proud to say).

Emma’s eyes grew large. “I don’t know; I think the fairies are gonna have to help with that one.”

“Let’s hope that’s a ways off, then,” he settled.

They dropped Hope off at Snow and David’s on their way to the convent, where they were greeted by Blue herself. She ushered them in without a word, and a couple other fairies were there to gather their belongings, before Blue guided them further into the building. Killian was both surprised and not to see that they were all in their traditional attire, though he was a bit shocked that they were all still large and not the miniscule size they were known for. Belle had had a similar question a few days ago; they’d ask at some point.

They were led into a large, candlelit room, where Tink suddenly appeared in front of him. “Drink this,” she commanded, holding a mug of steaming liquid, “and take off your shirt.”

“Is that necessary?” he asked as he took the mug.

“I mean, I already know what’s under there, so I wouldn’t be asking if it wasn’t,” she countered with a wink.

He complied with a sigh. The drink was a potion of some sort, he gathered almost immediately; a warm, tingly feeling took over his body as he drank it, eventually settling in his stomach, which made sense. Weirdly, though, when he removed his tshirt, there was a slight glow under the skin of his abdomen. (Belle was off to the side, furiously taking notes; Emma was next to her, trying to keep a straight face and surreptitiously taking pictures.)

Blue was watching a clock, and when it struck a seemingly random time—the peak of the solstice—she began chanting in a tongue he didn’t quite recognize, with others gradually joining in and forming a circle around him. The glow under his skin got brighter, especially in his midsection, although he didn’t feel any different—yet.

“Human,” Blue finally addressed him. “You have agreed to be the vessel for our young. Do you promise to protect them with your life, and care for them until they are ready to join our world?”

“I...yes,” he answered, as confidently as he could manage. “I will.”

Blue continued briefly in the foreign tongue, as did the others. “Now, let the gravidation commence.”

One of the fairies approached him with her hands cupped as the rest continued to chant; she was dressed all in pink, and he thought he’d seen her spending time with Grumpy on occasion. As she got closer, he saw a small ball of pink light pulsing her palm that she was murmuring to, until she was close enough to touch him.

And she did, guiding the ball of light toward his navel and then—it disappeared inside him as she pressed her hands against his stomach. He felt a small twinge inside as it settled within, but no pain—just a spark. The glow from his midsection briefly took on a pinkish hue, but then returned to the white color it had been emanating.

Each of the nine fairies did the same thing, one by one. He did wonder how it was decided who would be reproducing, given that there were far more than nine fairies present, but that was another question for a later date. They appeared before him in all colors of the spectrum—purple, seafoam, navy, yellow, fuschia—and then Tiger Lily’s deep orange joined the array of hues, followed by Tink’s bright green.

Blue was the last to approach, and her orb seemed to be the biggest of them all, which he supposed was no surprise. However, her hands lingered on his abdomen and she continued to chant, the intensity and volume increasing as everyone’s voices joined in.

He suddenly felt a slight cramp within—still nothing painful, but like his insides were being gently rearranged, which they probably were. Then his stomach glowed brighter, casting all the colors of the fairies whose offspring he was now carrying around the room.

“Gods above, watch over this man; let he be exalted among the fairies, and let no harm befall him nor our bairns,” Blue called out with a sense of finality.

The glow grew brighter, until it was too bright for him to look at, but then was gone in a flash. The fairies gave a collective hum that seemed to resolve the ceremony, and then began to file out of the room, although Tink approached and wrapped him in a soft robe.

He felt...he wasn’t sure. Content, at the very least, but also like he might float away were it not for the sensation of a weight within him holding him down. His hand drifted to his midsection, and if he wasn’t mistaken, it was ever so slightly rounder than it was before he arrived; with nine babies in there, he supposed that made sense. He couldn’t feel any sensations of kicking yet, but it was probably too early—and honestly, he still kind of tingled all over. The analytical side of him wondered where they would be considered in their development relative to a human fetus—and if they’d even show up on an ultrasound.

“How are you doing, Captain?” Blue was still in front of him, but in the afterglow (literally) of the spell, he’d lost sense of anything else around him.

“I’m good,” he answered. “Possibly too good.”

Blue gave a small, knowing smile. “That tends to happen. Come, let’s sit; you must have more questions.” She gestured toward the door the fairies had exited out of and then moved toward it herself, expecting him to follow.

Emma was suddenly at his side, and Belle not far behind. “You okay?” she asked, brow furrowed in concern.

“I seem to be,” he replied. “Have I ever told you how bloody beautiful you are?”

She grinned, amused. “Many times. What was in that cup?”

“Potion of some sort,” he shrugged as she started pushing him in the direction of the door. “Why?”

“Seemed like some really potent potables,” she quipped. Yeah, he did feel a little drunk.

He somehow ended up on a very plush couch, with Emma on one side and Belle on the other, sitting across from Blue, Tink, and Tiger Lily. Someone gave him a glass of water, and there was food on a coffee table, but he wasn’t much hungry.

Honestly, he was mostly fascinated with the stained glass windows in the room, and with inspecting whatever was going on in his stomach, until he did hear Belle ask a pertinent question:

“So why men?”

“Well, we’re all women,” Blue answered. “It does take two.”

“But I thought you said he was just a surrogate,” Emma countered. “Are these actually his babies? Because we didn’t agree to that.”

“No, they’re not; I suppose in modern terms, you’d say that we reproduce asexually. But nature still seems to demand the involvement of a man and a woman. So that’s why a willing male carries the brood.”

“Are there always so many?” Belle asked.

“No; usually only 4 or 5. But no one was available at the last solstice.”

Killian didn’t really pay attention to the next several questions regarding fairy reproduction—he’d read Belle’s notes later when he was a bit more focused—but he did eventually get to interject one of his own: “Why are you big right now, though? And why aren’t the babies going to be tiny?”

The fairies chuckled—he supposed his statement wasn’t as coherent as it sounded in his head—but still replied. “Shrinking is an acquired skill,” Tink said. “That’s why we weren’t small when we didn’t have our powers,” she explained, nodding at Tiger Lily.

“But once we learn, it’s our preferred size,” Blue added. “It’s easier to do our job then.”

That made sense.

“So, what else can he expect,” Emma asked. “I know you said it’d be different, but how much?”

“Well, the size, obviously—and you will still gain weight to support that,” Blue explained. “Increased appetite is to be expected, but no cravings or anything like that.”

“Your hormones will be altered, similar to a normal pregnancy,” Tiger Lily added. “But that just helps the body prepare for birth.”

“Bloody hell, what will that be like?” he wondered aloud.

“Nowhere near as difficult,” Blue laughed.

“Wait—if my hormones are affected…” He trailed off, remembering how much those threw him for a loop last time—particularly, certain desires. “I can still have sex, right?”

Emma covered her face with her hands at his blunt question, but it was important.

“Of course,” Blue said plainly. “Do whatever you need to—within reason, of course.”

“Although, don’t forget—you’ll be at least twice as big as last time,” Tink reminded. “At least. That might make it harder.”

More difficult, maybe, but it hadn’t altered either person’s desires the last time around. He turned to give Emma (what he thought was) a salacious look, but she just burst into giggles.

“Just—listen to your body,” Blue finally said. “For everything: rest, food, activity. The spell you drank will last the whole pregnancy and keep things going. We trust you, though.”

“I’ll guard them with my life,” he said, suddenly emotional, covering his stomach with his hand.

“Aaaand there’s the hormones,” Emma commented. “Come on; let’s get you home.”

He was suddenly very sleepy. “Aye; that’s a good idea.”

“Yes, he’s going to be tired the next couple of days,” Blue added. “But otherwise—see you in 40 weeks.”

Emma wrapped her arm around him, said goodbye, and poofed them straight back to their bedroom. He was nearly asleep as soon as his head hit the pillow, but had one last thing to ask Emma.

“You’ll still find me sexy when I’ve got a big, huge belly, right?”

She kissed his forehead. “Incredibly so. Sleep tight.”

------------------------------------------------------

thanks for reading! tagging @wyntereyez @jennjenn615 @superadam54 @ashley-knightingale @justsomewhump @teamhook (let me know if you want a tag!)

#cs ff #killian mpreg #fairy godfather #my ff

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lover-of-queens · 4 years ago

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Farah Dowling is Alive Part 3

Or, as I like to call it, I think I’m running out of funny subtitles.

If you haven’t yet, I recommend checking out Part 1 & Part 2

Under the cut, as usual!

Parts 1 and 2 of this analysis were focused on a deep dive into the first season to to look for clues and any evidence that suggests getting our lovely Eve Best back for season 2 of Fate. This part will be slightly different. While I’m honestly surprised at the seeming fandom consensus that Farah is alive, there are some counterarguments I’ve seen/heard that I’d like to address. These counterarguments may either be the ones most convincing to me that Farah isn’t coming back (and then I’ll give reasons why I think they’re wrong) or fears about Eve’s filming schedule (I’ll also try and offer some hope there).

The first counterargument is that the writers may choose to not bring Farah back in order to play into the dead mentor trope. Also known as the Mentor Occupational Hazard trope. Pretty self explanatory, but the essential idea is that at some point the protagonists of the story have to learn how to make it on their own without that guiding figure; they have to grow up. Frodo has to make it without Gandalf, etc. You only have to google examples of this trope to see how much it shows up in the media we consume. And it could easily apply to Fate. Farah provided that mentoring role in the first season but now, without her, the girls have to figure out how to hold their own against the villains infiltrating their school. The end of season 1 is, essentially, setting this trope up.

I just don’t think that Farah has to be dead for them to do it. While I don’t know where the writers are planning to take season 2, I would imagine even if we do get Farah back, she won’t play as big a role as she did in the first season. What this means is that likely the winx girls will still have to figure out a way to hold their own despite losing that mentor figure (hopefully, she’ll just be in hiding and not dead *cough cough* fate writers).

Also, the thing with setting a show at a school is that the mentor role is somewhat inherent to the structure. And as I’ve mentioned in the previous two parts (extremely unlikely redemption arc pending) I just cannot see Rosalind holding onto that “mentor role” for more than a season (or two, depending on where season 2 ends & if there’s a renewal for a third). Seems to me like they’ll have to bring that “dead mentor” back to resume her rightful place. So, I think it’ll be more likely we’ll get a subversion of the dead mentor trope.

The second argument & the argument that concerns me the most can be summed up in one character: Andreas. Now, I know what you’re thinking, what the hell does he have to do with this? It’s less to do with him and more to do with the fact that he came back from the dead (or allegedly dead, it’s complicated!). This concerns me because writers generally want the idea of death to be taken seriously on the show or whatever form of media they’re writing. Especially since Fate has taken a darker route, I’m not certain it wants viewers under the impression that anybody they kill off can just come back; it somewhat defeats the purpose.

So will Fate writers want to bring Farah back despite knowing this? Maybe.

The whole ‘Farah’s eyes glowed before she died’ plot is interesting because of precisely how vague it is, how many directions it can be taken in that could either lead to her coming back or not. It may be intentionally vague because they want us theorizing and talking about the season/show after it’s ended, it may be vague because they themselves are trying to figure out what direction to take. But let’s be clear, they are heavily pushing the theorizing angle. These are all taken from three separate posts on Fate’s IG page:

In the last one, Hannah, Precious and Sadie all agree that Farah needs to be in season 2. As Sadie says “We can’t have a season 2 without her.” Precious points out how the death scene was “too easy”. Similar sentiments are echoed on Netflix’s Afterparty for Fate when the host asks:

David Spade: “Do you think Professor Dowling . . . faked her own death and then she can come back on season two? . . . sometimes it’s such a big hit like this, then they say ‘People like that character, let’s try to find a way to come back’”.

To which Abbey says: “It’s a magical show, anything can happen!”

I mean one only needs to take a look at AO3 to see that over half of the stories on there feature Farah - but admittedly that is a more niche section of a fandom. Something broader would be looking at the IG comments where Farah’s name generally pops up in the top comments with a message hoping she’s going to be brought back. Also the Farah/Eve fandom on IG is LARGE and growing.

Additionally, I think the amount of Farah/Golden Trio bloopers we got is also a good sign (especially because Eve got single shots) that Netflix/Whoever is in charge sees her as a popular character. And I don’t think there would be a push for discussion of Farah theories just for it to end with her remaining dead. So even though Andreas has come back, I think Farah can too. The next person that dies on the show though . . . well . . . that’ll likely be more permanent.

Now that we’ve established from a story and fandom perspective why Farah is likely coming back. Let’s talk about what most people are actually worried about. Eve’s filming schedule. I’m going to preface this argument with a mention that I’m not an industry professional or anything, so these are just my best guesses based on the facts available to us.

House of the Dragon is due to start shooting in April (source). Since it’s the first season we don’t really have an idea of how long it’ll take to film, but since it is the GOT prequel, I would say its a fair assumption to base a rough production schedule around the earlier seasons of that show. The reason why I say earlier is that the later seasons did come with longer filming schedules, but GOT was the epitome of pop culture at that point. I don’t think House of the Dragon will be getting that treatment until it proves itself.

Game of Thrones took roughly six months to film a season (source). If we’re assuming that HOTD will take a similar timeline then we’re probably looking at an April to September filming schedule, possibly longer because Covid is causing production delays everywhere.

We don’t have news about when Fate is planning to start filming their second season. From Abbey’s IG, we know that the first season filmed from September to December 2019, so I think it’s also fair to assume that we’re probably looking at a similar schedule for season 2. Also, considering they got an additional two episodes then I’m guessing their filming time will increase.

Put these two schedules together and there’s not that much overlap and even should HOTD take longer, or Fate start shooting earlier, there’s still should be enough time for Eve to film both - if she’s willing! Also, realistically, I don’t see any way that Farah’s screen time doesn’t drop in season 2 (for a variety of reasons) but that drop should hopefully mean that they can get Eve.

Alright y’all, I think that’s the last part of this series, at least for now. It has been so so fun to theorize with all of you and to write almost four thousand words on this topic (that’s crazy!). I wouldn’t be doing this if it wasn’t fun for me, but at the same time, seeing everyone’s reactions to these posts really just makes my heart warm and it all worth it. So, thank you all for coming on this journey with me <3

#farah dowling #fate the winx saga #this one is shorter thankfully <3

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girlactionfigure · 3 years ago

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How Naftali Bennett’s kippah stays on his bald head and why it matters

Israel’s new prime minister is probably the first one who has stuck a wad of chewing gum to his head right before a public event.

Naftali Bennett, who took office this week, is the first prime minister in the country’s history to regularly wear a kippah, or Jewish ritual head covering. Unlike his secular predecessors, he identifies as a religious Zionist and practices Modern Orthodox Judaism, which requires men to cover their heads.

He’s also bald. That makes it a challenge to keep the small crocheted disc on the back of his head, where it’s traditionally worn. The traditional methods of securing a kippah — bobby pins and metal hair clips — are of no use to Bennett.

Yet it stays on. No matter where Bennett is — in parliament, on the campaign trail, giving a news interview — the kippah is there, mounted on his scalp, or sometimes on the thin layer of buzzed hair that surrounds his bald spot.

Appearing on a comedy talk show in 2013, when he was a freshman lawmaker, Bennett said that he uses a mixture of tape and gravity to keep the kippah on his head.

But once, he recalled, he had to give a speech outdoors in the wind and discovered that he was out of tape. So he took a piece of chewing gum (presumably ABC) and used it to glue the kippah to his head.

“I had to improvise,” he said. “So we MacGyvered it.”

Bennett doesn’t use ordinary Scotch tape. His adhesive of choice is a product invented and sold beginning in 2013 by Haim Levin, a 65-year-old bus driver living in a largely Modern Orthodox suburb of Tel Aviv.

The product, called the Kipa Keeper, is made of reusable hypoallergenic double-sided medical tape, which allows the kippah to stick to heads with little to no hair. It’s sold in packs of 40 and costs 40 shekels, about $12.50, including delivery. Levin declined to say how many he sells each year.

“It was Yom Kippur, when everyone in synagogue bows down [to the ground] and prostrates themselves, and I saw that 20 to 30% of the worshippers had their kippah fall to the floor,” Levin, himself a bald kippah-wearer, told the Jewish Telegraphic Agency. “I realized I had to come up with an idea for the kippah to stay on the head.”

Levin doesn’t remember exactly when Bennett began using his product — a source close to Bennett confirmed to JTA that the prime minister uses it — but says he got in touch with the future Israeli leader in the hope of boosting sales. They took a photo together in 2015 in Bennett’s office, when he was economy minister. Levin told JTA that Bennett last ordered the product a week and a half ago.

“It really helped,” Levin told JTA regarding his outreach to Bennett. “There are still people who call them ‘Bennett’s stickers.'”

In Israel, where kippah choice often signifies religious and political identity, Bennett’s personal style — a small crocheted kippah — signals that he’s a religious Zionist. By contrast, a black velvet kippah would identify him as haredi, or ultra-Orthodox, while larger crocheted or knit kippot, which might stay more readily on a bald pate, are favored by a subset of settlers who tend to be more religious, openly spiritual and nationalist. The fact that Bennett’s kippah is small, and worn toward the back of the head, suggests that he’s on the more “modern” end of the Modern Orthodox community.

Bennett speaks in the Knesset with coalition partner Mansour Abbas on the day that Bennett became prime minister of Israel, June 13, 2021. (Emmanuel Dunand/AFP via Getty Images)

Regardless of how Bennett keeps it on, the kippah is an important part of his identity as well as a symbolic shift for Israel. In the state’s early decades, the ruling elite was comprised of secular socialists from David Ben-Gurion’s Mapai party, a precursor to today’s Labor. Religious Jews — along with Jews of Middle Eastern descent and Israeli Arabs — were generally excluded from positions of power in Israel’s government and culture.

That began to change in 1977, when the right-wing Likud party led by Menahem Begin mobilized a coalition of conservatives and religious and Middle Eastern Jews to win power. And in the settlement enterprise that had begun following the 1967 Six-Day War, religious Zionist Jews had a cause to rally around.

Since then, religious Zionists (who generally practice Modern Orthodoxy) have largely identified with the political right, which has led Israel’s governments for most of the past 45 years. Haredi Israelis have historically not identified as Zionist, but in recent years have also gravitated to the Israeli right under former Prime Minister Benjamin Netanyahu. Netanyahu, like his mostly male predecessors, donned a kippah at some ceremonies and at religious sites, but did not wear one on a regular basis.

When Bennett entered politics in 2012, he took the helm of Israel’s religious Zionist party, the Jewish Home, and aimed to broaden its staunchly right-wing message to appeal beyond Orthodox Israelis.

Since then, he has tried to represent a fusion between Jews of all types of religiosity, even as he has pursued a right-wing agenda both domestically and in terms of Israel’s settlement policy. In a 2019 Facebook post, Bennett defined his personal religious practice as “Israeli-Jewish.”

“Israeli-Jewish can mean religious, traditional, secular, haredi-nationalist or haredi,” he wrote. “Israeli Jews don’t judge each other based on how strictly they observe mitzvot. Israeli Jews love and accept every Jew.”

Bennett has described his personal religious observance along the same lines. He was born into a non-Orthodox family and became more observant of his own volition. His wife, Gilat, was secular when they met, and he has said that she was drawn to religious Judaism during the years they lived in New York City.

At one point he wore his kippah as a political choice. Bennett wrote last year that at the time Prime Minister Yitzhak Rabin was assassinated in 1995, he had stopped wearing a kippah for a few years. But he felt that because Rabin’s assassin was an Orthodox Jew, the religious community was being blamed en masse for the murder. So, to make a statement, Bennett wrote, “I put the kippah back on my head.”

Today he wears the kippah consistently and lives a religious life. Still, he has written that his family makes the same small compromises that many religious-secular couples in Israel do.

While they keep kosher and Shabbat at home, his wife’s parents drive to their place on Shabbat, which is forbidden by Jewish law. And when they eat at the home of his in-laws, they don’t check how strictly kosher the kitchen is beforehand.

Bennett has been shamed by haredi politicians for posing as a religious Jew publicly while compromising on his private religious practice. But the source close to Bennett said that the prime minister sees his personal example as a bridge across a cultural and religious divide in Israel.

Bennett believes that “at least in theory, the crocheted kippah is and should be the middle ground,” the source said. “He had his very solid belief about what it means to be religious, and so it didn’t intimidate him when people tried to outflank him as nonreligious.”

Levin said it’s “a good thing” that Bennett uses his product, though he added that it doesn’t make a difference to him whether the prime minister is a kippah wearer. And he said he has yet to make up his mind about whether Bennett, who made political concessions in order to helm a narrow, fractious and controversial coalition, is the right person for the job.

But Levin is proud to have Bennett as a customer. And while he said he could not share a copy of the prime minister’s most recent receipt, he promised that Bennett paid full price.

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bestofblackwidow · 4 years ago

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The "Let me go - it's okay," she told him the last time we saw the Black Widow, it was - to say the least - emotional. "Let me go - it's okay," she said to Hawkeye, plunging to her death on the arid planet Sleeping in Avengers: Endgame for the ultimate sacrifice to save the world. While the deaths in the Marvel Cinematic Universe go on - sorry, Iron Man - there was probably no more heart-stopping moment, since the former SHIELD spy who became Avenger gave her life to recover the Soul Stone.

Still, it left the MCU in a bind. For years, a Black Widow film had been mooted, right back to 2004 at Lions Gate Entertainment before the rights reverted to Marvel. When Scarlett Johansson first appeared as Natasha Romanoff - the former KGB assassin with a very particular set of skills - in 2010's Iron Man 2, it didn't take long before questions were asked about a solo outing. Marvel Studios conductor Kevin Feige even held discussions with Johansson, who was then only 25. But there was a caveat, he said. "The Avengers comes first."

While others - Thor, Captain America, Black Panther and even Ant-Man - had their moments in the spotlight, the Black Widow was forced to wait. And wait. And wait. Not that Johansson thought that her character demanded the same treatment; if she was going to be in front of a Marvel movie, there had to be a reason. "Is there anything exciting to do creatively, as an actor?" she says. “Will we be able to do something extraordinary and strong? And something that stands on its own? "It's what makes the independent Black Widow an intriguing prospect: an inauguration of Phase 4 of the MCU promises to step back in time before her dramatic death to answer the provocative questions that still hover over her Crucially, the script transports audiences back to the events right after Captain America: Civil War, after that huge internal confrontation of the Avengers.

Without relatives or an organization that employs her, the Black Widow is alone, says Johansson. "It gave us the opportunity to really show her when she's kind of out of her game, you know? Because of that, anything was possible." The actress was there "from the start" at the script meetings, as they began to figure out how to delve into Romanoff's origins. "You are trying to map all of this ... which is extremely stressful," she laughs, "because there are no guidelines."

Fortunately, Johansson was not alone. In another inspired choice for the MCU canon, Feige recruited Australian director Cate Shortland, best known for discreet dramas like Somersault and Lore. While she was surprised, Shortland was encouraged by the creative freedom that Marvel was offering. “They allowed me to be myself and encouraged me to make a movie that I was passionate about,” she says. "We were allowed to have a lot of nuances and make a character-oriented film."

After several Skype sessions with Johansson, who also receives producer credit, Shortland worked with a Russian researcher to embody Romanoff's dark story: "the red in my ledger", as she told Loki in 2012 in Os Avengers. As she sings in the trailer, "We have to go back to where it all started" - the promising teaser clips of Romanoff as a young man (played by Ever Anderson, daughter of Paul WS Anderson and Milla Jovovich) in a childhood that seems far from idyllic. That's what makes Black Widow a family reunion of the kind that only Marvel would have the courage to conjure. Joining Romanoff is Yelena Belova, a sister-sister and fellow murderer who trained alongside her in the so-called Red Room, the punitive Soviet facility that produced 'Black Widow' spies.

"Their stories intersect," promises Shortland. "They clash." Played by Lady Macbeth's British star Florence Pugh, Belova is more than a physical match for Romanoff. Still, emotionally is where it really matters. "What Yelena does is kind of point to Natasha's pain," says Pugh. “She is part of Natasha's story. And I think that's why we have an opportunity to look at Natasha's story, because Yelena has been knocking on the door and says, 'Hey, let's deal with this pain. ”As Johansson comments, Belova is not just a carbon copy of his own character.

"She is completely alone. She is strong and different. She is so different (from) Natasha." Beside them are Melina Vostokoff (Rachel Weisz) and Alexei Shostakov (David Harbor), two father figures whose own stories intertwine with Natasha and Yelena. "This is the coolest thing with this whole group of people. They all had parts of their past that they regretted," says Pugh. “They’re older. They’ve had more life experience. They know more about the system, about this world they’re all living in.” Harbor, the Emmy Stranger Things nominated star, managed to put an indelible mark on the muscular Shostakov, better known as the Red Guardian super soldier, the Russian equivalent of Captain America. "There is a gangster quality to him," the actor smiles. "And he's covered in tattoos. He's got a beard and those gold teeth. He's crazy." But after years of making bad decisions, he's also full of remorse.

"He's in a bad situation," adds Harbor. "And he needs redemption." Weisz's character, Melina, is another who experienced the rigors of the Red Room, a place that put her in contact with Natasha and Yelena. Marking his first dive at the MCU, Weisz acknowledges that the film addresses the idea of discovering his favorite family. "It's definitely about finding out where you belong and where you came from, and what your background story was, and who you really are, and what matters to you - your ideology, I think." Along the way, Feige made reference to The Kids Are All Right - the 2010 Lisa Cholodenko film about a same-sex couple raising two teenagers. "Which is so weird," laughs Johansson. "You would never expect that from a Marvel movie." no it was the only strange nod to the film. Harbor speaks of Shostakov in terms of Philip Seymour Hoffman's drama teacher in the dramatic black comedy The Savages.

Or even expressing "the pathos of a small town, independent, family-run, weird movie... like Little Miss Sunshine". More understandable cinema references include "things like Logan and Aliens and The Fugitive," says Shortland. "We saw movies like that." Certainly, it's easy to see comparisons between Sigourney Weaver's determined Ripley, from James Cameron's masterpiece Aliens, and Johansson's Romanoff, an Avenger who has no superpowers. "We saw it as a force," says Shortland, "because she always has to dig really deep to get out of shit situations." According to the director, everyone in the production invested in deepening Romanoff - even Scottish composer Lorne Balfe (Pennyworth, His Dark Materials), who replaced Alexandre Desplat's original choice. Balfe looked at the character's origins, says Shortland. “He said, 'I want to put it on the ground, because it has been dug up in the movies in the past. I want to give her that flesh and blood. 'And he created this soundtrack that is really Russian."

However, perhaps the real blow here is to recruit Shortland, the first female director to face the Black Widow (and only the second, following Captain Marvel co-director Anna Boden, to enter the MCU). "This film would not be what it is without Cate Shortland," says Pugh. "I think having her eye, and having her mind with this script, has taken her to a whole different realm." Johansson agrees. "" You can feel it was made from a female perspective ... cooked there. "Although Ray Winstone's casting as Supervisor of the Red Room Dreykov (whose daughter contributed to the abundance of red in Romanoff's book, according to Loki) add more to the psychological battleground that the Black Widow will explore, it also deals with victimization, a very pertinent topic in the current climate. The Red Room itself is where trainees are brutally sterilized. "You will see that these women are hard working and strong, and they are murderers - and yet they still need to discuss how they were abused," says Pugh. "It is an incredibly powerful piece."

Judging by the 2020 Oscars, where Pugh and Johansson had their own private relationship session on the red carpet, the two actors got along very well. "She has a really beautiful career ahead of her ... she's a very special person," says Johansson, excited when Pugh's name is mentioned. More specifically, Pugh may well have more Marvel to chew on, if it is rumored that her character will take on the 'Black Widow' mantle for new adventures. By learning Parkour, kickboxing and knife fighting for role, Pugh can safely cut things physically, though she's reluctant to claim that the Black Widow is just a setup for future outings. "Even though it is obviously where everyone wants to go and want to think - think about what comes next - this film never really seemed to be what he was trying to underline." According to Johansson, however, test the audience who saw the film thinks otherwise. "Her character and her performance are so dear." Now, after more than a year of pandemic-related delays to July 2021), it will not be just a few lucky spectators who will be able to see. Black Widow will even be the first Marvel movie to debut simultaneously on the Disney+ streaming site (with a 'main hit' fee), an understandable move considering the uncertainty that still exists around the world. And in fact, after the success of the Marvel TV shows WandaVision and The Falcon And The Winter Soldier, it doesn't seem like such a strange home. Johansson believes that fans will respond to Black Widow, with this flashback of an earlier part of her life, bringing more poignancy to the Endgame's outcome. "Our goal was for them to be satisfied with this story; that maybe they could have some solution, I think, with the death of this character, in a way. It seemed like people wanted this." Shortland agrees. "We felt that we should honor his death," she says. And the Black Widow will surely honor him.

#blackwidow interview #totalfilm black widow #scarlett johansson interview #cate shortland blackwidow #scarlett johansson #florence pugh #david harbour #rachel weisz

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adultswim2021 · 3 years ago

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Ephemera Week (2002)

It’s still ephemera week, and we’re still talking about John K. I said most of my piece on him in the last post, so don’t expect there to go full bore on this one, except I forgot to say he’s animation’s Jerry Lewis. His current stuff is basically Hardly Working. I will not elaborate, because I’m being mean to you0.

MARCH SPECIALS!

In March, Adult Swim advertised a run of one-off specials. A couple of them were already covered because they fell under the parameters of “Adult Swim original production”. They were Welcome to Eltingville (March 3rd) and Saddle Rash (March 24th).

Day in the Life of Ranger Smith | March 10th 2002 - 11:00 PM (Originally aired on Cartoon Network in 1999)

This was one of two specials commissioned by Cartoon Network re-imagining Yogi Bear. The artist what took this assignment was John K, who I REEEAALLY skewered in last night’s post, didn’t I?

This is about Ranger Smith harassing animals and writing them up for violating park rules, basically. It’s short! I remember liking it at the time! Okay, maybe I’m going crazy here, but I distinctly remembered a part at the end where Ranger Smith is in bed and he solemnly confides in the viewer that the noises of wilderness give him nightmares and then it just ends. Did I imagine this? It does end with him in bed, but this doesn’t happen in the version on YouTube (which is from the Adult Swim airing). Huh.

Boo Boo Runs Wild | March 10th 2002 - 11:15PM (Originally aired on Cartoon Network in 1999)

Boo Boo Runs Wild was another one of these stand-alone Yogi Bear John K specials. This one was 30 minutes long. The Ranger Smith short was a brief 7 minutes; I’m guessing they aired a couple Capt. Lingers or something to fill time.

This one is about Boo Boo reverting to his feral nature and causing BIIIIG problems! This special would later go on to be kind of a weird trolling thing Adult Swim would do where they aired it every Sunday for a few months, even promoting regularly. This was like 2006, I think? They’d also air it as part of April Fools. Is that Adult Swim admitting this special sorta sucks? Does it sorta suck? Again, I liked these at the time and REFUSED to actively rewatch these for this write-up. Sorry.

The Jetsons: Father and Son Day/The Best Son | March 10th, 2002 11:45PM (Originally aired on CartoonNetwork.com in 2001) Our John K rock block ends with a pair of Jetsons shorts, Father and Son Day and The Best Son respectively. This is kinda the same deal as his Yogi Bear shorts, but these were exclusive for Cartoon Network’s website. I remember watching them on there. They are as bad as you’d expect late-period John K internet shorts to be, though the second short is a superior version of Spielberg’s A.I. (in that it’s shorter).

Night of the Living Doo | March 17th, 2002 - 11:00PM (originally aired on Cartoon Network, 2001)

Night of the Living Doo originally aired as wraparound segments during a Halloween Scooby Doo marathon on Cartoon Network. It’s kinda like an episode of the Scooby Doo Movies, which shoehorned in a guest star each episode. Suddenly my man Dick Van Dyke be running a carnival and shit. That’s the Scooby Doo Movies. At the end of the night they played all the wraparound segments in one uninterrupted sitting, so the viewer could appreciate it as an actual full-on Scooby Doo episode. Night of the Living Doo functioned both as an extension of that series as well as a parody. The guests were Gary Coleman, David Cross, and the very cool band Big Bad Voodoo Daddy. It was all very self-deprecating and had jokes about the absurdity of Scooby Doo tropes. Well trod territory by this point, sure. But this is better than most irreverent Scooby Doo things. It didn’t hurt that I was a HUGE David Cross fan when this aired. Is this where I tell the stupid-ass story about getting mad at a message board guy for not liking David Cross? Sure. Okay, yeah. When this aired on Adult Swim a guy on Kon’s (hi Kon) message board posted something about not finding David Cross funny, shrugging that he didn’t get the hype. He cited this and his appearances in the Men in Black movies, and nothing else as proof for his lackluster comedy skills. It’s kinda like deeming Eddie Murphy as a bad comedian after watching Dr. Doolittle.

The point of this special is that David Cross is a little wooden and stilted, like in the old Scooby Doo Movies episodes. This poster revealed that he never heard David Cross’s stand-up or seen Mr. Show, explaining “I don’t watch puppet shows” A response that still baffles me to this day. Why Mr. Show isn’t a-- WHAT IS HE TALKING ABOUT? I’m not even sure if there was EVER a puppet on Mr. Show*. David wasn’t even a guest on Crank Yankers at this point! SO WHAT THE FUCK? To this day whenever mutual pals from that board get together and watch a movie or show and a puppet appears we make a joke about this guy. Good story? No? Fuck you.

Other stuff about this show: When it originally aired on Cartoon Network it was a little bit longer than the Adult Swim version. There’s a missing scene. I think it’s David trying to play an improv game with a mummy or something. At one point I had it on tape, but I’m not sure I kept it. Sorry.

*sorry to be coy here, but I do know of at least one puppet on Mr. Show, episode 204 there is brief footage of Grass Valley Greg putting on a puppet show for his staff. This CAN’T be the source of the confusion, can it? It’s literally like, 5 seconds.

MAIL BAG

This’ll teach me to skip a day cuz this really piled up. Thanks, guys. I love all the attention. It is my favorite thing.

I never really saw oblongs as something for the hot topic set. They had Invader Zim and Squee for that kind of shit. Oblongs feel like it was always directly targeting me: the shut-in comedy nerd who would appreciate will ferrell and the sklars being in a thing. Since they ended up doing the exact same show with Janeane Garofalo and David Cross a few years later it seems like that was the goal.

Yeah, I guess that also makes sense. There were a few elements that were kinda gothy but this show was mostly just Angus Oblong ahem, clowning around (puckering mouth to stifle laughter like Chris Elliott in Cabin Boy)

What are your thoughts on the other adult animation blocks of the past couple decades? Spike's notriously failed attempt. Animation Domination. Apparently Syfy has had their own going?

Spike was irredeemably bad. People think this shit is easy. Animation Domination is sorta legit, but it’s anchored by mostly crap. That ADHD thing was kinda good and underrated. Is that still going on? I wish I were more diligent about watching/recording that. Some of them bumpers were good. Also, we mustn’t forget MTV’s oddities. They were kinda the first cable network to court Adult Animation as their thing. They deserve some kind of credit for that. I’m sure they’re doing fine.

I'm having a nice big thing of spaghetti for dinner with some chicken parm? Jealous?

I’ve never had those are they good

What does Ephemera mean? Why is this happenening? Why aren't you talking about 10 Home Movies episodes in a row like a good boy.

In dude time, my friend. In dude time

What would be your Adult Swim dream come true?

Having a complete archive of Adult Swim blocks on a harddrive like Don Giller has with his Letterman archive. Even the commercials and shit. I know of a guy who was a regular taper of the entire block from night 1 but I’m not sure he kept up with it when they went nightly. I should ask him if he still has his tapes, huh?

That or they bring back the BUILD YOUR OWN DVD thing but with blu-rays and you can make your own bumps, which was a different thing they had. THEY SHOULD COMBINE THEM. And you can master it in SD if you wanna put 10 hours of stuff on a disk.

All this is archival bullshit dork shit. Real answer: Clay Croker comes back from the dead and every block is hosted by Space Ghost. That’d be it, right?

If anyone has genuine/better answers please write in with them I wanna keep this conversation going. ‘kay?

McDonalds reintroduces limited edition Adult Swim Toys. You can get them all (plus an extra to keep wrapped for collectors purposes) but you have to spend 20 dollars at McDonalds to grab them all. This is the last day of the promotion. You have to personally eat everything you buy but you can take it home. You can only buy one of each food item. What are you getting? I know the longer the mailbag message is the quicker you are inclined to give some glib remark but indulge this one for once.

Oh wow. I’m literally going to take this seriously. I’d roll in as breakfast was ending. Get myself a McChicken Biscuit and a Bacon Egg & Cheese McGriddle, hashbrowns and a Coffee. Gobble that knob on down. Wipe my mouth with a napkin. It’s lunchtime, bitch. Big Mac, Large Fries, BIG ass soda. You feel me, dude? Lemme tally up. Okay, probably need more. 20 piece nugget. Take that home cuz I’m probably gonna have to save some for dinner. That’s probably 20 bucks right there, especially if you go to the McDonalds on Burnside where all the menu items are more expensive because of the amount of security they have to hire (did you know that different McDonalds have different prices even in the same city? I didn’t until very recently). If this somehow doesn’t satisfy my price point I get a Vanilla shake and eat it anally DURING my BIG D squirt sesh, so it’ll spend as little time in my body as possible. Wait, do I get something for this? I might do this tomorrow just cuz. It sounds like a funky thing to do

Do you think you'll open an Adult Swim mueseum at some point? You seem to be the only steward of its history.

Unless I’m hired to by a large corporation, probably not. Also I don’t think I actually have much in the way of merch other than DVDs. I stopped being a DVD completist at some point around Freaknick The Musical. Oh, I never EVER bought a Robot Chicken DVD, EVER. I literally had a nightmare once that one appeared in my collection.

Hey! Please keep us abreast any time you put more of your garbage on eBay. Maybe you can put your wedding dress on there, you big girl.

Fucking sexist/trasphobic behavior.

Check out my eBay auctions I got season 18 of NCIS up there and some other things :)

The Ripping Friends blow chunks. I don't care if a rapist or the opposite of a rapist (a virgin who volunteers, lol) made it. It sucks a high hard one like when Ozzy banged the Cheiftan's Wife in that Black Sabbath TV Funhouse cartoon. Tell me more.

Tell you more?

Name one rap song you tolerate lol. You can't say anything by weird al or marky mark.

I guess I like the song the pest sings from the motion picture The Pest

Are there any good podcasts on adult swim?

The official one hosted by Matt Harrigan is good, but I’ve only bounced around on it. I don’t know if there’s any formal recap ones. I simply don’t know!

HE'S GIVING HIGH HARD ONE TO CHEIFTAN'S WIFE? UH OH!

Buddy, you are BANNED for LIFE from my MAIL BAG! You drive me CRAZY!

#adult swim #adultswim2021 #night of the living doo #boo boo runs wild #yogi bear #jetsons #ephemera

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sinceileftyoublog · 3 years ago

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Small Isles Interview: Filmless Music

Photo by Dustin Aksland

BY JORDAN MAINZER

It’s rare that you find a record with a genesis as specific as The Valley, The Mountains, The Sea, the debut album from Small Isles. The new project of guitarist Jim Fairchild (Grandaddy, former Modest Mouse) and songwriter/composer Jacob Snider has its basis in film scoring. The catch? The films don’t exist. The Valley, The Mountains, The Sea is presented as an imaginary score to an imagined sequel to Ang Lee’s 1997 familial drama The Ice Storm, itself based on Rick Moody’s 1994 novel. And the band’s upcoming, unfinished EP, with strings arranged by Snider and recorded by collaborator Sienna Peck, is, according to the band, a distillation of the concept of the band, one that consciously combines film scoring motifs with traditional songwriting. In a way, you could say that Small Isles is music about film scoring as much as scores itself.

Fairchild and Snider hold the belief that film scores should hold their own as a piece of music independent of visuals, and on The Valley, The Mountains, The Sea, they announce themselves convincingly. Opening track “The Concept”--essentially the prototype for the band--combines vaguely harmonic deep bass sounds with pristine, echoing string plucks, and wordless vocals, building up like an Explosions in the Sky tune. Other tracks, too, juxtapose the ambient with recognizable structures. “Fort Wayne” shimmers atop a drum machine, while the vocal samples of “Maybe We Will” cut in and out among the beats and arpeggios. Each track also has a pristine sense of place, as much of the album was written while Fairchild was on tour with Modest Mouse, tracks like “Fort Wayne” and the washy, atonal “Lake Superior” started in those locations.

I spoke with Fairchild (calling from his home in Ojai, California” and Snider (calling from near Philadelphia) last week, a few days prior to the release of the album via AKP Recordings. (The album comes out on vinyl next month). Read our conversation below, edited for length and clarity, about the band’s artistic process, The Ice Storm, adapting the songs live, and what Small Isles has in common with Olivia Rodrigo’s Sour.

Since I Left You: You’ve called this record an imaginary score to an imaginary film. Did you think of the sequencing of the record in a narrative arc?

Jim Fairchild: Kind of, but honestly, there’s a sequence that originally existed, and I don’t remember what it was, and it would have been more aligned with what I pictured from the movie, but it didn’t work as well as a comprehensive piece of music. The last song on here, “The Plot to Take Clover”, that was earlier before. “Life at One”, the first single, really kicked off me and Jacob’s partnership. It was designed that way; it’s not the way the record plays out. I wrote all of the principle themes, the underpinnings of all the compositions, as an imagined score to some sort of a sequel to The Ice Storm. I don’t know exactly how it would play out with Rick Moody. The first one was really successful. I have this idea for a similar type of movie that takes place in contemporary California and all these cues I can use as a mood board. Like, let’s sit down and figure out what this palate is. Let’s write a movie around it. That’s what I was thinking.

SILY: You wrote a lot of this while on tour. Had you conceived of the idea before then and wrote while on tour because of your downtime, or was the downtime the launching point for the idea?

JF: I was totally inspired by the idea. I started some of the themes that popped up, but once the actual Ice Storm Ang Lee idea came to mind, it was really generative. It’s how a lot of this stuff works with me. It kind of floats around for a while, reaching out this way or that. Once the real kernel appears, it’s like, “That’s it!” It all happens pretty quickly. That was definitely the case with this. It was the real fine-tuning that’s the most time consuming. That’s what Jacob and I have experienced. The EP that we’re releasing later this year, basically how it’s worked so far is I send him a sequence of chords and basic rhythm, which happens pretty quickly. Then--and we’ve only done it on Zoom with the new EP, though it was the same with “Life at One”--there was this theme. Jacob came in, we were gonna write some other stuff. He came in with a mic and sang some stacked harmonies. Then it’s carving out all the other elements around that to make it.

These are unconventional compositions. They’re meant to accompany visual ideas. With that in mind, cues and scoring music doesn’t always work in recorded music, traditionally speaking. There’s all these lengths, sometimes time signatures shift, a melody might exist in an unconventional way to fit what’s happening visually. I really wanted to embrace that. With “Life at One”, Jacob did all this stuff, and there’s this really interesting sound I don’t know how to describe. He asked, “What are those over there?” [My partner Natasha Wheat] had made these ceramic bells for me, and that’s the most fun part about working with Jacob. A lot of the people who are trained as Jacob is--and I say this with great admiration for his abilities--are stuck in certain modalities. This is a perfect example. He looked at the bells and said, “Let’s do that.” He grabbed a drumstick and played the edge of these bells and processed them. That was a big feature in the composition of “Life at One”. This all happens very thematically and reflexively, but to then carve it up and get it to have purpose, meaning, ebb, and flow and make it work visually--that’s where the dirty shit happens. [laughs] I also look forward to when Jacob and I can be in person more. We’ve made a lot happen over the past 7 months, but it’s hard when you’re not in the same room. Plus, I’d like to show off. If he’s sitting right next to me, play some fast guitar...[laughs]

SILY: The title of the record refers to various aspects of topography, and there are song titles that refer to specific places, like “Fort Wayne” and “Lake Superior”. Do these aspects exist within the narrative of the film?

JF: “Lake Superior” and “Fort Wayne” were just started in those places, literally. I picture the Ang Lee movie--the new Ang Lee movie that is inevitably gonna take form because he’s gonna hear me and Jacob’s music and think, “You’re right, we gotta do this,”--in this zone a little bit east of Berkeley. It’s the West Coast equivalent of the Connecticut zone where The Ice Storm exists. It’s this affluent, green place. But the reason I chose to keep the others as titles is like, Fort Wayne, that’s pretty grand and has Batman implications. And Lake Superior, what a fucking great name for a lake, you know? I like the power of those, and if I were sitting down and writing a movie, those titles could be at least generative of a conversation.

SILY: What about the other song titles? What inspired them?

JF: “The Concept” is literally the concept for our band. The concept has expanded since then, but out of the ordinary--no sounds are out of the ordinary in modern production--but in the film scoring landscape, out of the ordinary, ambient, or textural sounds. But then big, beautiful melodies. Jacob’s voice. All that stuff. Synthesizing our two strengths. Jacob’s also a songwriter and makes amazing songs, but my background’s in bands, and so I treat our relationship as if it’s a band. Taking our two strengths. Jacob’s more conventionally trained, schooled, and knowledgeable than I am. He has a richer depth of knowledge in theory and orchestration. I can arrange that way, but he knows what’s going on. Mine is more reflexive--I don’t want to say auto-didactic because that’s kind of an arrogant term--but learning through mistakes. I think Jacob’s made fewer mistakes than I have.

SILY: What were all the instruments used on the record?

JF: There’s a lot of found stuff. 12-string guitar. I was writing it using this Rosewood Fender Stratocaster that Fender made for me. The 12-string is prominent on “Life At One”. There’s a piano Jacob played. There’s a lot of me coming up with drum beats. A lot of the initial stuff was in the box. I’d roll in my portable studio backstage, I’d have a guitar, Universal Audio space, whatever drums and synths I had.

SILY: What is your background in film scoring?

JF: I don’t have a specific background. From a very early age, I’ve been into film scores. I’d buy them starting when I was 15 or 16. CDs. Pretty obvious releases, but things like Danny Elfman’s Batman score, The Good, The Bad and The Ugly. Sort of getting into Jerry Goldsmith. Elfman, Morricone. I like some of the Bernard Hermann stuff. I started studying it from the way I study everything: figuring out chord sequences, the way the melodies work, to the degree I was able. In the early 2010s, I was making a lot of music that was getting licensed for TV. Once Modest Mouse really started touring [2015 album] Strangers to Ourselves, I let a lot of those pursuits wither a little bit. But I’d always longed for a collaboration. A lot of that stuff was done in a solitary way, so I felt very fortunate when Jacob and I met. He was into that idiom but has a range of skills I don’t have. We also really work well together. All the reflexive stuff that happens, the melodies, it’s easy for us to go back and forth and see what we’re into and where to keep going. Neither of us get upset when the other person isn’t feeling whatever the direction is.

As I get older, I realize the value of stimulating multiple senses. I look forward to Jacob and I doing more of this stuff in collaboration with people. The Riley Thompson video for “Life At One” was him responding to a finished track, but in an ideal world, filmmakers would come to us and, in the way Trent Reznor and Atticus Ross work with David Fincher, where he says, “This is the concept for the new film,” and Jacob and I come back and say, “This is the sonic and melodic landscape we’re thinking of, and here are some character cues. Let’s take it from there.” I love being in conversation with people collaboratively and am attracted to the idea of it across media.

SILY: Do you think the idea that the music might not be responding to a finished film would make the score stand on its own more as a piece of music?

JF: The scores that I like totally stand on their own as music. When Morricone passed away, I read that John Zorn had a quote when they were hanging out in the late 80′s or early 90′s, Zorn said, “Don’t do it unless you’re thinking about what the soundtrack record is gonna be like.” The music needs to be cool enough to just be music.

SILY: Tell me about the album art.

JF: Natasha and I sold our place in Los Angeles last year and moved to Ojai. We thought it was a temporary transition, and now it’s somewhat permanent, because we bought a place here. We’ve been in this guesthouse next door since November. I like taking pictures at night with whatever ambient light [there is], so I took that picture from our place. I wanted there to be contrast with this technicolor paint and silver border on the upper and lower parts of the image. Homes are very interesting to me, and there’s a lot of that in The Ice Storm. There’s that shelf people look at from the outside and think, “It could be dilapidated, it could be beautiful.” People think of it as a thing. But there’s this whole other world that only exists inside of there. It’s always fascinating to me when walking by the place. Stories in the shell. I like the idea of a structure having implications. I don’t have an agenda for what those implications might be, but I like the idea that there could be implications there.

SILY: Jacob, when Jim came to you with this idea, how aware were you of The Ice Storm?

Jacob Snider: I had seen it. I don’t know if in our first meeting, it came up that specifically and clearly that this is where the music was going. In fact, it started more as a casual meeting of creative types. When I came over to Jim’s studio, he just showed me the latest thing he was working on without any huge idea behind it expressed to me in that moment. Jim might have been thinking it in that moment, but that day was more, “Alright, I’m working on something, what do you hear and is there something you think you could contribute to it?” It was really organic. Like Jim mentioned before, the best thing you can do when making something is show it to somebody else, because they’re gonna hear it in a different way or they might suggest something if you’re open to it. People can make amazing solitary music, but it will always be just their thing. You bring in someone else, there’s a different energy, a different perspective.

As it stands, I do love that film. It’s really haunting. Jim and I talked before that it’s not a movie you can watch every week. It’s heavy, and the themes are deep: family, loss, grief, betrayal. It’s a great one. I think it’s a movie that’s cinematic but also has a lot of depth. I think that’s what we’re going for with Small Isles. It has shades of film music but also shades of rock and roll and romantic string writing from the orchestral traditions. I think we’re trying to combine a few things at once, and we’re really curious how it starts to strike people and how some filmmakers respond to it.

SILY: Are you both generally Ang Lee fans?

JF: I haven’t devoured all of his work. There’s plenty I like. But I’m so in love with [The Ice Storm]. I was in love with the book before the movie came out. He treated it so beautifully. As high in the sky as it is for two nascent film composers to say, “I want to work with Ang Lee,” it’s very important to know where you want to go. It may take a long time to get there, but [it’s important] to have a place where you’re headed. That was definitely the case in the early Grandaddy days, and having watched [Modest Mouse lead singer] Isaac [Brock] for as long as I did, I think it was the case there, too. It may not be as specific knowing that I’m traveling in this direction, but that direction can totally change. There can be diversions that knock you off your course positively or negatively, but thinking about how beautifully he treated that material, that’s where I want to go.

SILY: How are you adapting Small Isles to a live performance?

JF: We’re gonna play at least some of this, maybe all of this live. I’m really looking forward to it. Jacob’s only on half this record, and the 5-song EP we’re releasing later this year, he’s on all of. That’s a straight-up 50/50 collaboration. I’m looking forward to the stuff Jacob didn’t contribute to on the record, hearing what he does with strings. We’re still figuring out how we’re gonna approach it. Jacob will be on keys and vocals, and I might sing a little bit. I’ll be on guitar. Our friend Sienna who Jacob went to school with, who’s doing the strings, we’re talking about having her lead a double string quartet. I would like to have a drummer doing some electronic drums and maybe a kit as well. I definitely don’t imagine we’ll totally nail it on night 1. There’s a lot of stuff we have to work out. There aren’t many antecedents in this zone, but something like Explosions in the Sky mixed with Johann Johannsson. I saw [the latter] in 2010 in San Francisco; there was a little bit of strings, various electronics, and he was on piano. That was a very striking performance. So the explosiveness of a big arena rock show with lots of subtleties and nuance that can come from strings and orchestral.

SILY: What else is next for Small Isles?

JF: We wanna finish this EP. I also really love the way a lot of rap and hip-hop people have gotten it right over the years. Using current listening habits and technology to get out as much music as possible. I definitely have the seeds for at least another EP behind this. Once we get this EP done--there’s just a little bit of tinkering to be done over the next month before going into the mixing stage--I want to make as much music as possible and release it. With the spirits of the world willing, I want to get off the ground live and collaborate with filmmakers, dancers, artists, people in the visual medium. I just love making music with Jacob and this type of music. I’d like to have a few releases a year. EP length [or] album length. I have a number of concepts written down. The seeds that Jacob and I have been playing with to make the EP. I was thinking about The Last Black Man in San Francisco when making this EP, and I’d love to collaborate with those filmmakers. Even just being in person, to tell Jacob, “What do you think of this sequence?” and have him respond without dealing with latency issues and dodgy DSL.

SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?

Jacob Snider: I’ve been listening to a lot of pop. I’ve been listening to the Olivia Rodrigo record [Sour]. I think there’s great writing on there, great production. Watching, I’ll just piggyback on The Last Black Man in San Francisco. It took me a while to finally see it, but I had a filmmaker friend tell me I had to, and I loved it. Also the other film Emile Mosseri did the score for, Kajillionaire, the Miranda July film. Reading-wise, I’m about to jump back into Louise Erdrich’s The Round House.

JF: I’ve been digging the Olivia record, too.

JS: There’s some cool strings on there too from the guy who does a lot of the strings for Portugal. The Man, [Paul Cartwright]. They created a string orchestra sound with just one guy layering violin and viola, which is really cool, and that’s what we’re doing with our collaborator Sienna Peck. There’s totally room for that now, the way the world has been so remote. We can’t put 16 players in a room right now due to public health restrictions, so let’s get one person. It’s really hard to do--you can be a great violinist and not be able to layer yourself in a way that makes it sound like a string orchestra. You have to change your position in the room, the way you’re playing slightly, pretend to be three different people sharing a stand. That’s what you’ll hear on the next record.

JF: I just got into How to Change Your Mind, the Michael Pollan book about psychedelics, which I really loved. I just started a book called The Magic Years, which is about child development. I have a three-and-a-half-year-old son, and I’m very fascinated by what’s going on in his brain and what makes him make the decisions he makes. Just how to be a better dad. I am always a religious reader of The New Yorker, every week it comes out. Natasha and I watched The Kids, a documentary [about the making of Larry Clark’s Kids]. When that movie came out, Grandaddy were skateboarders, so it was important to us. But even as a young kid, I felt that it was really exploitative, and the documentary verifies it. It’s heartbreaking. Larry Clark is a really derelict dude. Truly lecherous. But [The Kids] is a beautiful movie. We’ve been watching Los Espookys. I’m really excited about Vince Staples’ upcoming record. My friend Nik Freitas put out a new song. My musical diet’s gotten really regressive in a way because my son is very into the Super Furry Animals record Radiator. It’s all he wants to listen to in the car.

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moonstone27ls · 4 years ago

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Ducktales finale spoilers

You’ve been warneddddddddd

Warning

Warning you againnnn

Sooo Ducktales will be ending soon my thoughts? Not as sad as when compared to Rise of the TMNT, Venture Bros, Brooklyn 99 (though it had a good run considering), Drunk History, Dark Crystal Age of Resistance. Though there are rumors Darkwing Duck is gonna be rebooted.... uhh maybe excited? I'd say maybe becauseeeee again its on a streaming service... and no for anyone's future question don't have Disney+ and have no intention of getting it why? Cause I'm broke/on a budget and I can't buy every stupid streaming service for the sake of a few shows.

But I'm getting off topic the show in general... sorta sad but sorta not. I'll be honest some eps of Ducktales in the last season didn't fit well with me. Some felt uhh very cliche/or readable, some felt kid dumb (but its a kids show so you're gonna get a few of those more than once), some felt like they were uhh if I had to compare like when you'd watch Adventure Time and you'd be "WTF was that one for". I wouldn't say dark you're just "that one felt random". Sometimes thats not bad but heh depends on the taste.

There are a few things disappointed we didn't get to see one Donald & Della's ACTUAL parents interacting with their children, GRANDCHILDREN. Don't get me wrong their interactions with Scrooge was nice but we barely got one ep with family that WASN'T him. You'd think given what dangerous work they were involved with we'd see a flashback or actual talk of their parents talking to them. Especially with Della being a single mother oO. Kinda feel it slightly unrealistic that they'd just sit and do nothing (and no there's no sign they're dead so they should be around) when their daughter disappeared into space. I mean maybe it'd been nice to see a few eps of past Donald getting advice from his mother Hortense how to raise the triplets. Heck would have like to see Hortense & Matilda's relationship.

Second the triplets father would had been nice oO. Yes he does have a father. All these fan ships but no one actually wondering "hey who's the boys father?".

Third would had been nice to see more of Violet's family life. I mean whats the point of giving her "dads" if they never have a role beyond background character. Heck would had been nice to see a day of Violet and Lena's life with their fathers. Yes probably to the viewers it probably would had been boring but whatever 8B.

Four uhh I dunno explore space more? Maybe actually see some of Moon's home. I'll be honest that episode of "Moonlander on Earth" ep always bugged me. While I could believe some of the moon aliens wanted to stay on earth. I'm not convinced an entire planet thought Earth was so amazing they'd just stay there forever. People are fickle things, I can believe some wanted to stay like a vacation. But I feel at some point some, like Penny wanted to just go home. And I always found it... disturbing that no one attempted to really listen (no I don't count Webby cause that was written more of an experience lesson than "oh I miss home"). I mean the McDucks have all the money in the world, thats how Scrooge spent almost all his fortune finding Della. I'm just not convinced Scrooge and them thought "Hey we got extra rockets if they wanna go home we'll let them". No it was "oh they'll never get home, lets not bothering asking or giving them those extra resources. I think the show MISSED a good opportunity to let Penny go home (as well as others). And since Fenton or Gyro are often considered so smart they couldn't make a special teleport device JUST for them or ways to keep communicating with the moon. Thus meaning they could have explored space. And while some might argue "yes we needed Penny for the finale" (minor spoiler). She didn't DO anything she and Goldie were mostly used for cameo purposes. Sooo wasted use there.

Hmm anything else.... would have LIKED to seen more eps with Gandra/Fenton but hey if that Darkwing Duck spinoff is a thing maybeeee Gizmoduck will make special appearances and Gandra/Fenton can double date with Morgana & Drake(yes I wanted her to make an appearance I liked her goth look). Uhhh I don't think we ever got a Selene & Della interaction. (So far no eps were really... well friendship stuff. I mean I got a small fraction (if that) with Gods on the Block ep but it was near the literal END)

Also wish we could had more from the old show cameos Kit/Molly, Rescue Rangers, Goofy... pft plus I'll be honest before the show ended would had loved an actual cameo of Goofy, Mickey & Donald just alll together. Pfttt omg I would had loved a Max & Roxanne cameo date/wedding (yes I shipped them). Haha more interactions would had been fun. And while I enjoyed the Talespin sorta crossover... could had more (and yes sorta ship Kit/Della. heh sorta more of a crackship haha). And lets be honest that Molly cameo was wasted potential. I mean would had been cool to see Baloo & Becky. Though I understand to a degree why we didn't. At least with Baloo. But ahh well what can you do.

And same with Daisy and Donald buttttt gonna take some of the finale as something. I'm just gonna say it left enough for my imagination to think "they're having a happily ever after soon". Uhh another minor spoiler with Ludwig revealed not to be dead (which I'm glad)... just disappointed he wasn't in the credits or given more interactions with Scrooge. Yeah I know they weren't BEST friends or anything but I dunno I do associate them as friends.

Anything else... uhhh would had been nice to see more of Boyd and Doofus family moments too. I mean I dunno consideringgggg that life probably was better for Doofus' parents now that they had an ACTUAL loving child. Be nice to have seen more scenes. I mean heck that last ep with Doofus... uhh jumping? I assume it meant Doofus had closure and accepted his fate? So I dunno would had been good to see him and Boyd bond more. Heck I'd like to have seen his parents' telling Gyro in finale (yes minor spoiler) take care of "our" son.

Nowww onto the finale gonna put spoilers soo warning here.... as for the finale it was... good. I'm not gonna say "Oh it was the best everrrrrrrr". Nah it was pretty good given their budget or whatever. Yeah some felt rushed and all those cameos while I appreciate the thought felt wasted potential. I mean I get why budget/timing etc. Just saying you know could had some Goldie/Scrooge moments, more Lena & Violet, Webby friendship stuff. I mean heck when they were all "released" (and judging by that cube system) there was a lot we don't really see where they go or how the Ducktales group got everyone where they originally belonged.

What did I think of Webby's so called surprise... uhh mixed. Bigger picture wise kinda explained that need to be so clingy. To a degree I sorta agree with the split fans I like it and I don't like it. But I get it the writers NEEDED something for shock value cause lets face it they ran everything else. I say a part of me didn't like it cause I was kinda hoping this version would show us Webby's real parents. And I'm not fully convinced that photo was just a fake or some random relatives Beakley took to shut her up.

I think she sounded genuine when she said "I missed a lot". I admit when the whole "oh she's made from FOWL" was becoming obvious. I thought Beakley was subtly hinting that her daughter made Webby. I dunno could see that happening seeing that this whole ep was hinting at adults who did NOT think of their actions effects (yeap Scrooge, Della's choice to go on that rocket, Bradford's granny traumatizing the dummy), I thought "Ohh sooo she felt neglect and rebelled or fell for the enemy". But anyways yeah I still think Beakley probably DID have a daughter. Where is she? I dunno, thats kinda the whole point. Either she died or like Donald did with Scrooge, broke away from her family. I really believe whatever the reason, her daughter's gone from her life and Beakley deeply regrets she wasn't a more attentive mother. She probably to a degree saw Webby as her second chance to do better by her.

Hmmm lets see anything else.... as dark as it was with what Bradford did... not really shocked. And while he was obviously a villain I think his background did prove a point. But I could be thinking of Dean Venture and Dr Venture's childhood. Not every kid is built or for that matter wants an adventure life. Bradford was a product of his well intentional but neglectful family. Had the triplets or Donald not wanted this life that could had been them. Thankfully it wasn't 8B.

I admit the part with the villians at the end was quiet surprising. Not because they turned him into a bird pft. But because technically they saved Scrooge but heh I get it, chalk it up to either "they don't like to be used" or "Bradford was so terrible he was beneath even their level". Just somewhat made me wish Magica could have found Poe or something (I liked his design and voice actor).

And super glad we didn't really lose a lot of villains. I dunno I wanted Phantom Blot & Pepper to escape, fight another day stuff. And I kinda think to a degree thats why we saw that dumbed-down clone of Bradford. He's gone but that clone could get "smarted" up to stir more trouble 8B. Maybe I dunno.

Heh but all in all I enjoyed this finale. Its was wayyyy better than Star and Tangled's finale, no flippin' drama :P. I mean I suppose you could call Donald & Daisy leaving drama? but no not really cause literally none of this bothered me. The credits kinda gave me that nostalgia of how this show got so much attention. So while it was rushed maybe and it had its flaws. All in all it kept up with the heart. Soo I enjoyed the credits a lot good way to say goodbye

(just putting that gif there cause I liked it 8B)

Anything else....KEITH FREAKING DAVID, another reason to give this finale a point best flipping part I’m just sad I have no gif to use XD

#finale #Ducktales #Disney #Ducktales spoilers

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xtruss · 3 years ago

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German Neo-Nazis Are Still on Facebook. And They’re Using It to Make Money.

There are at least 54 Facebook profiles belonging to 39 entities that the German government and civil society groups have flagged as extremist. Those entities have nearly 268,000 subscribers and friends on Facebook alone.

— September 24, 2021

— By Erika Kinetz

This story is part of a collaboration between The Associated Press and FRONTLINE that examines challenges to the ideas and institutions of traditional U.S. and European democracy.

It’s the premier martial arts brand in Europe for right-wing extremists. German authorities have twice banned their signature tournament, called Kampf der Nibelungen, or Battle of the Nibelungs. But the group still thrives on Facebook, where organizers maintain multiple pages, as well as on Instagram and YouTube, which they use to spread their ideology, draw in recruits and make money through ticket sales and branded merchandise.

The Battle of the Nibelungs — a reference to an old heroic epic much loved by the Nazis — is one of dozens of far-right groups that continue to leverage mainstream social media for profit, despite Facebook’s and other platforms’ repeated pledges to purge themselves of extremism.

All told, there are at least 54 Facebook profiles belonging to 39 entities that the German government and civil society groups have flagged as extremist, according to research shared with The Associated Press by the Counter Extremism Project, a nonprofit policy and advocacy group formed to combat extremism. The groups have nearly 268,000 subscribers and friends on Facebook alone.

CEP also found 39 related Instagram profiles, 16 Twitter profiles and 34 YouTube channels, which have gotten over half a million views. Nearly 60% of the profiles were explicitly aimed at making money, displaying prominent links to online shops or photos promoting merchandise.

The groups are a who’s who of Germany’s far-right music and combat sports scenes. “These are the ones who build the infrastructure where people meet, make money, enjoy music and recruit,” said Alexander Ritzmann, the lead researcher on the project. “It’s most likely not the guys I’ve highlighted who will commit violent crimes. They’re too smart. They build the narratives and foster the activities of this milieu, where violence then appears.”

CEP said it focused on groups that want to overthrow liberal democratic norms and believe the white race is under siege and needs to be preserved, with violence if necessary. None has been banned, but almost all have been described in German intelligence reports as extremist, CEP said.

Online the groups seem harmless. They avoid blatant violations of platform rules, such as using hate speech or posting swastikas, which is generally illegal in Germany.

By carefully toeing the line of propriety, these key architects of Germany’s far-right use the power of mainstream social media to promote festivals, fashion brands, music labels and mixed martial arts tournaments that can generate millions in sales and connect like-minded thinkers from around the world.

But simply cutting off such groups could have unintended, damaging consequences.

“We don’t want to head down a path where we are telling sites they should remove people based on who they are but not what they do on the site,” said David Greene, civil liberties director at the Electronic Frontier Foundation in San Francisco.

Giving platforms wide latitude to sanction organizations deemed undesirable could give repressive governments leverage to eliminate their critics. “That can have really serious human rights concerns,” he said. “The history of content moderation has shown us that it’s almost always to the disadvantage of marginalized and powerless people.”

German authorities banned the Battle of the Nibelungs event in 2019, on the grounds that it was not actually about sports but instead was grooming fighters with combat skills for political struggle.

In 2020, as COVID raged, organizers planned to stream the event online — using Instagram, among other places, to promote the webcast. A few weeks before the planned event, however, over 100 black-clad police in balaclavas broke up a gathering at a motorcycle club in Magdeburg, where fights were being filmed for the broadcast, and hauled off the boxing ring, according to local media reports.

The Battle of the Nibelungs is a “central point of contact” for right-wing extremists, according to German government intelligence reports. The organization has been explicit about its political goals — namely to fight against the “rotting” liberal democratic order — and has drawn adherents from across Europe as well as the United States.

In 2018, members of a California white supremacist street fighting club called the Rise Above Movement, and its founder, Robert Rundo, attended the Nibelungs tournament. A few months later, four Rise Above members were arrested on rioting charges for taking their combat training to the streets at the Unite the Right rally in Charlottesville, Virginia. A number of Battle of Nibelungs alums have landed in prison, including for manslaughter, assault and attacks on migrants.

National Socialism Today, which describes itself as a “magazine by nationalists for nationalists,” has praised Battle of the Nibelungs and other groups for fostering a will to fight and motivating “activists to improve their readiness to fight back.

But there are no references to professionalized, anti-government violence on the group’s social media feeds. Instead, it’s positioned as a health-conscious lifestyle brand, which sells branded tea mugs and shoulder bags.

“Exploring nature. Enjoying home!” gushes one Facebook post above a photo of a musclebound guy on a mountaintop wearing Resistend-branded sportswear, one of the Nibelung tournament’s sponsors. All the men in the photos are pumped and white, and they are portrayed enjoying wholesome activities, such as long runs and alpine treks.

Elsewhere on Facebook, Thorsten Heise — who has been convicted of incitement to hatred and called “one of the most prominent German neo-Nazis” by the Office for the Protection of the Constitution in the German state of Thuringia — also maintains multiple pages. Frank Kraemer, who the German government has described as a ”right-wing extremist musician,” uses his Facebook page to direct people to his blog and his Sonnenkreuz webshop, which sells white nationalist and COVID conspiracy books, as well as sports nutrition products and ”Vaccine rebel” T-shirts for girls.

Battle of the Nibelungs declined to comment. Resistend, Heise and Kraemer didn’t respond to requests for comment.

Facebook told AP it employs 350 people whose primary job is to counter terrorism and organized hate, and that it is investigating the pages and accounts flagged in this reporting. “We ban organizations and individuals that proclaim a violent mission, or are engaged in violence,” said a company spokesperson, who added that Facebook had banned more than 250 white supremacist organizations, including groups and individuals in Germany. The spokesperson said the company had removed over 6 million pieces of content tied to organized hate globally between April and June and is working to move even faster.

Google said it has no interest in giving visibility to hateful content on YouTube and was looking into the accounts identified in this reporting. The company worked with dozens of experts to update its policies on supremacist content in 2019, resulting in a five-fold spike in the number of channels and videos removed.

Twitter says it’s committed to ensuring that public conversation is “safe and healthy” on its platform and that it doesn’t tolerate violent extremist groups. “Threatening or promoting violent extremism is against our rules,” a spokesperson told the AP.

Robert Claus, who wrote a book on the extreme-right martial arts scene, said that the sports brands in CEP’s data set are “all rooted in the militant far-right neo-Nazi scene in Germany and Europe.” One of the founders of the Battle of the Nibelungs, for example, is part of the violent Hammerskin network, and another early supporter, the Russian neo-Nazi Denis Kapustin, also known as Denis Nikitin, has been barred from entering the European Union for 10 years, he said.

Banning such groups from Facebook and other major platforms would potentially limit their access to new audiences, but it could also drive them deeper underground, making it more difficult to monitor their activities, he said.

“It’s dangerous because they can recruit people,” he said. “Prohibiting those accounts would interrupt their contact with their audience, but the key figures and their ideology won’t be gone.”

Thorsten Hindrichs, an expert in Germany’s far-right music scene who teaches at the University of Mainz, said there’s a danger that the apparently harmless appearance of Germany’s right-wing music heavyweights on Facebook and Twitter, which they mostly use to promote their brands, could help normalize the image of extremists.

Extreme-right concerts alone were drawing around 2 million euros a year in revenue before COVID, he estimated, not counting sales of CDs and branded merchandise. He said kicking extremist music groups off Facebook is unlikely to hit sales too hard, as there are other platforms they can turn to, like Telegram and Gab, to reach their followers. “Right-wing extremists aren’t stupid; they will always find ways to promote their stuff,” he said.

None of these groups’ activity on mainstream platforms is obviously illegal, though it may violate Facebook guidelines that bar “dangerous individuals and organizations” that advocate or engage in violence online or offline. Facebook says it doesn’t allow praise or support of Nazism, white supremacy, white nationalism or white separatism, and bars people and groups that adhere to such “hate ideologies.”

Last week, Facebook removed almost 150 accounts and pages linked to the German anti-lockdown Querdenken movement, under a new “social harm” policy, which targets groups that spread misinformation or incite violence but didn’t fit into the platform’s existing categories of bad actors.

But how these evolving rules will be applied remains murky and contested.

“If you do something wrong on the platform, it’s easier for a platform to justify an account suspension than to just throw someone out because of their ideology. That would be more difficult, with respect to human rights,” said Daniel Holznagel, a Berlin judge who used to work for the German federal government on hate speech issues and also contributed to CEP’s report. “It’s a foundation of our Western society and human rights that our legal regimes do not sanction an idea, an ideology, a thought.”

In the meantime, there’s news from the folks at the Battle of the Nibelungs. “Starting today you can also dress your smallest ones with us,” reads a June post on their Facebook feed. The new line of kids wear includes a pretty shell-pink T-shirt for girls, priced at 13.90 euros. The boy model, in black, already has boxing gloves on.

— FRONTLINE | PBS

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