#tom's canonical terrible sense of direction

[hoosbandewan]

TOM BENNETT IN EVERY WORLD ON FIRE EPISODE - S01E06 (Part 1)

[kuwdora]

20 Questions for Fic Writers

Tagged by @deerna and @jawanaka !

How many works do you have on A03? 110 - but this would probably be +200 if I had been crossposting my fanvids there. I still remember when video embeds did not work on AO3 pages. But that was ages ago. And I’m terrible at crossposting. Especially when I have so many to crosspost at this point.

What's your total A03 word count? 280,783

What fandoms do you write for? In the past it was Stargate SG-1/Atlantis, Heroes and Sanctuary and a lovely romp with Being Human UK. Star Trek. These days I’m still on The Witcher, with the occasional fleeting non-witcher stuff I manage to finish.

What are your top five fics by kudos? I can see through you, The Witcher Netflix. My Geralt and Jaskier role reversal thing. More like a role inversion.

Surface Tension, The Witcher Netflix. soft very established relationship Geralt/Yen/Jaskier smut.

Papa’s Got a Brand New Suit, Star Trek: Deep Space 9. Julian/Garak PWP. From ye olde porn battle days. Learning Curve, The Witcher Netflix. Yen/Jaskier, post-season 2 soft feelings and sex with an emphasis on all of Yennefer's pain.

Heart Tap, The Witcher Netflix. Leshen Eskel(/Geralt). My first story about what it could be like for Eskel to live with his transformation into a monster. I'm actually surprised this is in my top 5 kudos considering how niche it is but man I love my tree boyfriend and have so many more thoughts about him that I haven't gotten out yet...

Do you respond to comments? Why or why not? Yes! I try to respond to comments when I can. Sometimes it takes forever and sometimes I do forget to respond to comments but man I love rolling around in them.

What's the fic you wrote with the angstiest ending? My angstiest endings are for fic that I haven’t finished or posted on AO3 yet for more of my witcher fixations. But for posted things?? Hmm. I do have an old Heroes fic called Code of Hammurabi that is Peter/Sylar time travel AU that’s particularly angsty and gave me the chance to rummage around in the way Peter would endure in a very very messy situation.

Oh, my Doctor Sleep ficlet is also pretty angsty. Danny reflecting on his time with Billy when Billy's ghost shows up. I'm smiling upside down is the name of that ficlet.

What's the fic you wrote with the happiest ending? Oh that’s probably my smutty fluffy thing for Being Human. PWP. Moon Mambo, Hal/Tom.

Do you get hate on fics? No, but I sense that’s only a matter of time before someone directs their hate at me.

Do you write smut? Yup.

Do you write crossovers? Yes, but not for a very long time. I have a “Ciri collects all the young girl protagonists from sci-fi/fantasy books for a group project” crossover idea but my focus is too scattered to get that going. I did start it with a Nona-meets-Ciri Locked Tomb/witcher crossover here: Call to Adventure.

Have you ever had a fic stolen? Not that I’m aware of. I think my stuff is far too niche and self-indulgent for that kind of thing but who knows. The internet is a smaller place these days but people seem to find new ways to steal. Alternatively: I did learn that someone submitted one of my Stargate SG-1 vids to a Creation Con fanvid contest that had prize money in it. That was very upsetting to learn well after the fact.

Have you ever had a fic translated? Nope.

Have you ever co-written a fic before? No, not co-written. But I do love rolling around with my beta and workshopping my fic into better shape and a lot of my stuff ends up way better as a result of my betas. And I also love doing the same with folks who ask me for beta. It’s a fun kind of collaboration.

What's your all-time favourite ship? Agh this one is so hard. Don’t make me pick just one. Aeryn/John from Farscape. Fraser/Ray(s) from due South. I don’t write a lot of book Yennefer/Geralt but they also are It for me.

What's the WIP you want to finish but doubt you ever will? Oh my god, definitely my TWN Leshkel canonical divergence AU thing. I have something like a whole season 2 (not a fix-it) outlined, with lots of stuff focusing on Ciri and Leshy Eskel, and Leshy Eskel with Triss. With more stuff about witcher-and-leshen biology and Wolf School disappearing, Kaer Morhen becoming a magical greenhouse where a mythical Swallow is rumored to visit every 6 years.

What are your writing strengths? Description, maybe characterizations. Theme and tone.

What are your writing weaknesses? Too much description, comma splices. Slow pacing.

Thoughts on writing dialogue in another language for a fic? I think it’s fun to do but it can be a lot to read and I definitely will overthink the writing and both the reading. If it suits the characterization and context clues within the text, I think that’s cool. But I think it’s fine to go without con-lang or other languages in fic. It’s just a matter of texture and color that adds to the scene, you know?

First fandom you wrote for? Stargate SG-1.

Favourite fic you've ever written? Ever??? It’s so hard to pick just one. Hang on, I got several of those ‘rec 5 of your favorite fics’ asks in my inbox. Lemme see if I can pick 5 for that.

[iamnmbr3]

I saw the ask about having the person feeling like that the Loki show is objectively bad. I liked the show, here is why.

I love Loki, and I love the MCU, but I don’t go into any of it expecting consistency. Tony and Loki are my favourite.

Tony goes through character development in his own movies, IM3 especially that main canon just kinda ignores. So I didn’t go into work he Loki show expecting them to get him consistent or right. I just went in prepared to enjoy the show for what it is in isolation. I also know that no one looks at the stories they write for the MCU critically, so I try and turn off that for a first time watch.

I really like the show, that doesn’t mean I think they made it consistent or in character for Loki. I get why people don’t like it.

I really like the TVA and all the concepts it introduced. I really liked seeing Tom acting his heart out. And I really like Loki/Sylvie because I find something very compelling about a character who hates themselves, meeting another version of themselves and being able to love them. It is not a ship I’m going to write fic about but I like them within the show.

Basically what I am saying is that I go into MCU media with the expectation they will mess up at least one character or plot point badly every time. I like the media for what it is, and I appreciate whatever it brings to the table that I can then cannibalise into da works.

Yeah that's fair. Everyone has a right to their own opinion. Fandom is better when there are a diversity of opinions and we can all respect each other and engage in open and good faith discussion rather than attacking people for having the "wrong" views or trying to harass them out of fandom.

For me personally I feel like the show fails on 3 fronts.

1) To me it fails as a Loki show. I really enjoy Loki as a character and I wanted a show about him. And I didn't personally see him in the show at all. I saw a completely different character who does not behave, speak, act, respond, react, stand, emote, or make choices like Loki does. He doesn't even LOOK like Loki because they did his hair and makeup wrong. And that's really what I wanted. I didn't want Larry (as I call the show character). I wanted Loki. That was what was advertised and to me he was so ooc that he was unrecognizable. If I just saw a clip out of context and didn't know what it was from I would have assumed I was seeing Tom in a totally different role.

Thor Ragnarok felt like a different take on Loki that definitely retconned some of his personality and history, but still felt like an alternate interpretation of the same character in the sense that I could recognize the character as Loki (albeit a different version of him); some people liked that, other didn't. But here it wasn't that. It just felt like a completely new (and to me far less interesting and compelling) character. And beyond that it felt like the show went out of its way to make a mockery of the character played by Tom and by extension anyone who ever cared about Loki's character. Like it felt like a mean spirited caricatured parody. Loki is also extremely sidelined in what is supposed to be his own show. And it most certainly didn't feel like a show about Loki, which is what I wanted. So for me the show didn't provide what I was looking for.

2) To me it also fails on its own merits. If I view it in isolation without comparing it to previous canon and just view it as its own thing it also fails. The quality of the dialogue felt very poor. None of the humor made me laugh and it all felt very juvenile and forced. The plotting and characterization seemed nonsensical and all over the place. Like Sylvie sets off those charges and the episode ends on a cliffhanger with that but then it's never addressed later.

The reason that Loki and Syvie allegedly falling in love breaks the timeline didn't really make sense. Sylvie is going around murdering timekeepers and yet Mobius somehow immediately like and trusts her and says he prefers her to Loki. Loki and Sylvie are simultaneously presented as the same person and also totally different people. Loki allegedly learns self love but we never see that - we see him call himself degrading things like pathetic. And we see him think that Sylvie is better than him. That doesn't seem like self love. The romance feels extremely rushed and unrealistic and awkward and we aren't given a compelling reason for why they are in love or what they even have in common. Sylvie doesn't really have much of a character. Mobius and Loki don't interact much and Mobius consistently mistreats him but Loki somehow thinks of him as a friend. Mobius is portrayed as a good guy for cheerfully carrying out the TVA's ends but Kang is a villain for creating the TVA. The TVA seems to be all made up of humans even though it's in charge of all reality.

If Loki did bad things, then the TVA did worse things and thus are not moral authorities. If the TVA’s actions are acceptable then so are Loki’s. If Loki was wrong to violently impose his will on a planet (let’s forget about the context with Thanos for a minute) then the TVA is wrong to violently impose its will on all of reality in order to eliminate free will. If Loki was wrong to kill a few people, then the TVA was certainly wrong to kill trillions. And thus neither Mobius nor the TVA are moral authorities when it comes to Loki because they are infinitely worse. If the actions that Mobius and the TVA took are acceptable, then there is no reason to criticize Loki because he did far less than them. Etc etc etc.

The cinematography is also very poor and unprofessional and the costumes look extremely cheap and unprofessional. The whole story feels confused and disjointed. The directing is bad because the actors are all very capable but the performances often feel wooden and forced and fake. And the pacing is terrible. A lot of it drags and then plot twists come out of nowhere with no setup so it just makes them feel jarring rather than earned or entertaining. 

3) To me it also fails on a moral front. The show contains a lot of problematic depictions and messages and promotes messages that are offensive or even downright harmful.

Mobius gleefully subjects Loki to physical torture by leaving him to be repeatedly beaten in the genital area. This is a very clearcut and straight forward example of physical torture. And Mobius feels no compassion for Loki or remorse over what he has done to him. If anything he seems to find it amusing. And certainly the audience is supposed to find it amusing (which is gross and harmful messaging on Disney’s part). He also subjects Loki to psychological torture. This is a fact. There are multiple instances in the show where the TVA and Mobius subject Loki to treatment that would meet the legal definition of torture under both US law and international law. Furthermore, Mobius and the TVA are holding Loki against his will and forcing him to labor without compensation or any hope of release because they view him as belonging to a group of people (Variants) that they view as inferior and not really people. That’s a pretty textbook case of slavery. So objectively Mobius is Loki’s jailer, torturer, captor, and enslaver. And yet Mobius is presented as justified in what he does to Loki. The writer and director have even called it therapy. And a result many people have parroted this which is very harmful.

The queer “representation” feels straight out of bigoted propaganda. Loki’s personality traits have been retconned to map onto harmful stereotypes about queer men. He is overly expressive, makes grand gestures, is flamboyant, cowardly, dishonest, weak, bad at fighting, lazy, spineless, meek, unused to exercise etc. Now a person could be all these things and also happen to be queer. However, Loki was never like this before. His character was retconned to be this way only in this series where he is confirmed to be queer.

Furthermore, the entire premise of the series seems to be that it is funny and entertaining and justified when Loki is dehumanized, mocked, humiliated, hurt, tortured, beaten, assaulted, and/or robbed of his dignity. That’s the premise. That’s the whole show.

In addition to pro torture and pro authoritarianism and pro victim blaming messaging the show also has problematic depictions of black characters  (see here and here), Asian people (see here) and also has a lot of fludphobia and transphobia issues. And much more.

@nikkoliferous has put together a great compendium here of various posts explaining the various issues with the show if you're curious about why some people disliked it.

[hepalienstuckyrecs]

Hidden Gems Stucky Fic Rec

Amazing fics with <10k hits

raise the flag by mcwho [M, 1k]

Slice of Life, PWP

Steve had made the mistake of laying on the sofa lengthways, on his stomach, so of course as soon as Bucky walked into the room he was all over that

Heart by @concavepatterns, everandthe [T, 1k]

Fluff, Love Confession, Post CATWS

"You're not my friend, Steve."

softer than whispers by @spacebuck [E, 1.4k]

Fluff, PWP, Table Sex, Rimming

"concept: steve fucking bucky in knee socks bc thighs and long sweaters"

Concept: The sweater hangs down nearly to Bucky’s knees as he walks past the couch Steve’s sprawled on, the hem swaying a little with each step. Steve doesn’t recognise it, realises Bucky must have gone out of his way to get something too big for him, and smiles just a little to himself. Bucky’s oblivious to his presence in the way a content cat is. Steve’s his, so he belongs.

i want it, i got it by bornes [T, 1.5k]

Fluff, Humor

Ten minutes into their impromptu mall adventure, Steve has offered to buy Bucky a designer sofa he had sat on briefly to rest his legs, a $600 headband, and a diamond-encrusted butterfly clip

more under the cut

no grave can hold my body down by @biblionerd07 [G, 1.9k]

Bucky Feels

Bucky has died more than once, but he never stays that way. Companion to let me give you my life.

Not the Needle, Nor the Thread by @steebadore [E, 2k]

Hurt/Comfort, Emotional Sex

Bucky wakes to a noise.

No, Bucky wakes to the noise. It's not the hoarse shout of nightmares born of battlefields and blood that so often tear them both from sleep. No, this is smaller. Bitten off. Choked back. A furtive, strangled keen, nearly silent but pitched at a frequency that would raise Bucky from the dead.

in the morning i’ll be sober and you’ll still be mine by mcwho [T, 2.2k]

Drunken Confessions, Kissing, Light Angst, Team fic

Steve always marveled at how people lost all their inhibitions after they got a little alcohol in them.

And then Thor gets him drunk on Asgardian liquor. Events unfold.

tutorial by @belovedmuerto [T, 2.4k]

Modern AU, High School AU, Practice Kissing, Fluff

“I’m pretty sure I’m a terrible kisser,” Steve mutters, mostly to his pencil and paper.

black eyes, bandages and bloody knuckles by @concavepatterns [M, 2.7k]

5+1 Things, Post CATWS, Prewar Flashbacks, Hurt/Comfort

Five times Bucky says “Jesus, Rogers” out of pure exasperation, and one time he means it in a completely different context.

Gorecki by @ataraxetta [M, 3k]

Hurt/Comfort, Soft, Post CATWS

Steve has a crummy mission. Bucky has a crummy dream. They cuddle it out.

hold some dirt with those hands by magdaliny [T, 3k]

Post-IW, Fix-it

It had sent him to his knees.

I Had a Marvelous Time Ruining Everything by fallendarlings (@pressrestartwrites) [T, 3.2k]

War Era, CATFA, POV Steve, Hurt/Comfort, Mutual Pining, Love Confessions, Light Angst

“I’m not worth all that. Not worth your life.”

“You’re worth everything to me.” And there it is, the secret truth. There’s no way to interpret it as anything but what it is. Steve’s heart, held out in his hands. The one that didn’t work right, ugly all over from damage. The one that was Bucky’s first, has always been Bucky’s. They say his new one is perfect, but he knows the truth. Even if they fixed everything else, they can’t fix this. Every inch of his heart, scarred with Bucky’s name. Over and over and over.

(Not Quite) All The Small Things by @leveragehunters [T, 4.1k]

Prewar, Post CATWS, Magical Realism AU, Fluff, Bucky POV

Bucky was used to finding Steve in alleys. Not every day, thank baby Jesus and all the saints or he’d be as grey as Mrs Milligicutty, but often enough.

The thing about Steve in alleys was, it meant finding Steve in fights. Or finding Steve after fights, bloody and bruised, picking gravel and dirt out of his skin, having come off third best in a two-person punch-up. Sometimes, not often, but sometimes, it meant finding Steve standing, bruised but unbowed, glaring down some hapless meathead who’d underestimated just how much sheer goddamned never-say-die was packed onto those skinny bones.

That was Steve in alleys. Not this hunched over sack of glare, facing down a mangy orange tom cat that was glaring right back and trying to dart past his legs.

My Kind’s Your Kind by @callmejude [M, 4.1k]

Prewar, Practice Kissing, Smut with Feelings

Steve's beginning to get self-conscious of the fact that he's never been kissed.

let me give you my life by @biblionerd07 [T, 4.3k]

5+1 Things

Five times Steve chose to live when he could have died. Companion to no grave can hold my body down.

To Seek a Nood-er World by jehans (@lafbaguette) [E, 8.2k]

Misunderstandings, Humor, Sexting, Canon Verse, First Time, Idiots in Love

Send noodz

Steve has been staring at his phone for the last six minutes, eyes narrowed so much they’re almost closed at this point, trying to figure out what the hell Bucky means. Noodz? What the fuck are noodz?

Listen, Steve is at least marginally aware of modern pop culture. He’s heard of nudes — not that nudes are exactly a modern invention; artists have been creating them for millennia — and he does know that people tend to misspell words to be cute or funny. They did that when he was young, too. Because time is a flat circle, apparently.

But, wait—does that mean…?

No. Not possible. Bucky isn’t asking Steve to send him…nudes.

Right?

TBC (taking care of bucky) series by @steebadore [T, 8.6k]

Domestic, Fluff

It starts, as most things do, with spite. The problem is, it doesn't end there.

Glad to love you, Steve Rogers series by @maddiewritesstucky [E, 9.2k]

Modern AU, Stripper Bucky

Steve’s first thought is that he knows this song.

His second thought is little more than a stream of expletives, as the male embodiment of Fuck Me walks out onto the stage. Although, ‘walk’ seems an entirely inappropriate word…the man struts, stalks, and all at once the frenzied reaction of the crowd makes perfect sense.

If Steve had known this was about to make an entrance, he’d have been screaming for it too.

_____

In which Steve Rogers is promised a night of highly-skilled dance performance, and gets exactly that...just not in the way he expected.

Strange Human Mating Rituals by @liionne, art by velvetjinx [E, 13.7k]

Post CACW, Canon Divergent, Bucky Recovery, Sexting, Fluff

Bucky doesn't have a job. Steve assures Bucky that there's no pressure for him to do anything; Steve's army back pay and his avenging days mean they're taken care of. Bucky's a kept man, and whilst he loves that, he isn't much of a house husband. So he goes out, and that's how it happens. He's sitting on the subway when he sees the magazine, garishly pink with a woman flashing big pearly white teeth on the front cover. He can't help himself. Letting himself do things he wants to do is one of the things the Wakandan healers had taught him, so maybe it's a step in the right direction.

The magazine turns out to be a little less factual than Bucky’s usual reading material, but he loves it. He reads an interview with some actress he's never seen before, then an article on how to get the perfect brows (and he looks up at his reflection in the subway window then to find that his brows are-- what does the magazine say? on fleek already), and then he gets to something interesting.

Sexting 101: What your man really wants to hear

Now that is something Bucky wants to know more about.

[sk1fanfiction]

the many faces of tom riddle, part 4

-attachment, orphanages, and yet more child psych: time to add yet another voice to the void-

FULL DISCLAIMER THAT THIS IS JUST MY OPINION OF A CHARACTER WHO DOESN’T HAVE THE STRONGEST CANON CHARACTERIZATION, AND THUS ALL THIS IS BASED ON MY CONCEPTUALIZATION.

I'm going to be super biased, because my favorite portrayal of Tom Riddle is actually Hero Fiennes-Tiffin as eleven-year-old Tom Riddle, in HBP and I get to chat about child psych in this one, sooo here we go.

First of all, I’m just so impressed that a kid could bring that much depth to such a complex character.

This is the portrayal, I feel, that brings us closest to Tom’s character. Yes, Coulson’s brought us pretty close, but by fifth year, the mask was on.

We don't really get to see Tom looking afraid very often, but it's fear that rules his life, so it's really poignant in our first (chronologically) introduction, he looks absolutely terrified.

The void being the fandom's loud opinions on a certain headmaster. I wouldn't call myself pro-Dumbledore, but I'm certainly not anti-Dumbledore, either. (Agnostic-Dumbledore??)

Since I'm not of the anti-Dumbledore persuasion, I decided to poke around in the tags and see what the arguments were, so I don't make comments out of ignorance.

Most of the tag seems to be more directed towards his treatment of Harry and Sirius, but a few people mentioned that Dumbledore should have treated Tom with ‘exceptional kindness’ and tried to ‘rehabilitate’ him.

As I said in Parts 2 and 3, I am 100% in favor of helping a traumatized kid learn to cope, and I don’t think Tom Riddle was solidly on the Path to Evil (TM) at birth, or even at eleven. Not even at fifteen.

Could unconditional love and kindness have helped Tom Riddle enough for the rise of Lord Voldemort to never happen? Possibly, but...

Yes, I'm about to drag up that Carl Jung quote, again.

“I am not what happened to me, I am what I choose to become.”

The problem with this is that if you’re going to blame Dumbledore for this, you also have to blame every other adult in Tom’s life: his headmaster, Dippet, his Head of House, Slughorn, his ‘caretakers’ at the orphanage, Mrs. Cole and Martha, and possibly more. In fact, if we're going to blame any adult, let's blame Merope for r*ping and abusing Tom Riddle Senior, and having a kid she wasn't intending to take care of.

Furthermore, you cannot possibly hold anyone but Tom accountable for the murders he committed. (I should not have to sit here and explain why cold-blooded murder is wrong.) And if you like Tom Riddle's character, insinuating that his actions are completely at the whim of others is just a bit condescending towards him. He's not an automaton or a marionette, he's a very intelligent human being with a functioning brain, and at sixteen is fully capable of moral reasoning and critical analysis.

I've heard the theories about Dumbledore setting the Potters up to die, and I'm not going to discuss their validity right now; but he didn't put a wand in Tom's hand and force him to kill anyone. Tom did it all of his own accord.

And while yes, I have enormous sympathy for what happened to Tom as a child, at some point, he decided to murder Myrtle Warren, and that is where I lose my sympathy. Experiencing trauma does not give you the right to inflict harm on others. Yes, Tom was failed, but then, he spectacularly failed himself.

We also have no idea how Dumbledore treated Tom as a student.

In the movies, it’s Dumbledore who tells Tom he has to go back to the orphanage, but in the books, it’s Dippet. We know that Slughorn spent a lot of time around Tom at Slug Club and such, yet I don’t really see people clamoring for his head.

I regard the sentiment that Dumbledore turned Tom Riddle into Lord Voldemort with a lot of skepticism.

But let's hear from the character himself -- his impression of eleven-year-old Tom Riddle.

“Did I know that I had just met the most dangerous Dark wizard of all time?” said Dumbledore. “No, I had no idea that he was to grow up to be what he is. However, I was certainly intrigued by him. I returned to Hogwarts intending to keep an eye upon him, something I should have done in any case, given that he was alone and friendless, but which, already, I felt I ought to do for others’ sake as much as his."

Now, assuming that Dumbledore's telling the truth, I'm not seeing something glaringly wrong with this. No, he hasn't pigeonholed Tom as evil, yes, I'd be intrigued, too, and it's a very good idea to keep an eye on Tom, for his own sake.

“At Hogwarts,” Dumbledore went on, “we teach you not only to use magic, but to control it. You have — inadvertently, I am sure — been using your powers in a way that is neither taught nor tolerated at our school."

Again, it seems like he's at least somewhat sympathetic towards Tom, and is willing to at least give him a chance.

More evidence (again, assuming Dumbledore is a reliable narrator):

Harry: “Didn’t you tell them [the other professors], sir, what he’d been like when you met him at the orphanage?” Dumbledore: “No, I did not. Though he had shown no hint of remorse, it was possible that he felt sorry for how he had behaved before and was resolved to turn over a fresh leaf. I chose to give him that chance.”

Now, I think Dumbledore is pretty awful with kids, but I don't think that's malicious. Yeah, it's a flaw, but perfect people don't exist, and perfect characters are dead boring. I am not saying that he definitely handled Tom's case well, I'm just saying that there's little evidence that Dumbledore, however shaken and scandalized, wrote him off as 'evil snake boy.'

It's also worth taking into account that it's 1938, and the attitudes towards mental health back then.

Why is Tom looking at Dumbledore like that, anyway? Why is he so scared? What has he possibly been threatened with or heard whispers of?

"'Professor'?" repeated Riddle. He looked wary. "Is that like 'doctor'? What are you here for? Did she get you in to have a look at me?"

"I don't believe you," said Riddle. "She wants me looked at, doesn't she? Tell the truth!"

"You can't kid me! The asylum, that's where you're from, isn't it? 'Professor,' yes, of course -- well, I'm not going, see? That old cat's the one who should be in the asylum. I never did anything to little Amy Benson or Dennis Bishop, and you can ask them, they'll tell you!

Tom keeps insisting he's not mad until Dumbledore finally manages to calm him down.

I'm really upset this wasn't in the movie, because it's important context. Instead we got these throwaway cutscenes of some knick-knacks relating to the Cave he's got lying around, but I just would have preferred to see him freaking out like he does in the book.

There was extreme stigma and prejudice towards mental illness.

'Lunatic asylums,' as they were called in Tom's time, were terrible places. In the 1930s and 40s, he could look forward to being 'treated' with induced convulsions, via metrazol, insulin, electroshock, and malaria injections. And if he stuck around long enough, he could even look forward to a lobotomy!

So, if you think Dumbledore was judgmental towards Tom, imagine how flat-out prejudiced whatever doctors or 'experts' Mrs. Cole might have gotten in to 'look at him' must have been!

Moving on to the next few shots, he is sitting down and hunched over as if expecting punishment or at least some kind of bad news, Dumbledore is mostly out of the frame. He’s trapped visually, by Dumbledore on one side, and a wall on the other, because he’s still very much afraid. uncomfortable, as he tells Dumbledore a secret that he fears could get him committed to an asylum (which were fucking horrible places, as I said).

It brings to the scene that miserable sense of isolation and loneliness to that has defined Tom’s entire life up to that point (and, partially due to his own bad choices, continues to define it).

And, when Dumbledore accepts it, his posture changes. he becomes more confident and more at ease, as he describes the... utilities of his magical abilities. 

"All sorts," breathed Riddle. A flush of excitement was rising up his neck into his hollow cheeks; he looked fevered. "I can make things move without touching them. I can make animals do what I want them to do, without training them. I can make bad things happen to people who annoy me. I can make them hurt if I want to."

Riddle lifted his head. His face was transfigured: There was a wild happiness upon it, yet for some reason it did not make him better looking; on the contrary, his finely carved features seemed somehow rougher, his expression almost bestial.

I do think Harry, our narrator, is being a tad bit judgmental here. Magic is probably the only thing that brings Tom happiness in his grey, lonely world, and when I was Tom's age and being bullied, if I had magic powers, you'd better believe that I'd (a) be bloody ecstatic about it (b) use them. And, like Tom, I can't honestly say that I can't imagine getting a bit carried-away with it. Unfortunately, we can't all be as inherently good and kindhearted as Harry.

Reading HBP again, as a 'mature' person, it almost seems like the reader is being prompted to see Tom as evil just because he's got 'weird' facial expressions.

So... uh...

Nope, let's judge Tom on his actions, not looks of 'wild happiness.'

To his great surprise, however, Dumbledore drew his wand from an inside pocket of his suit jacket, pointed it at the shabby wardrobe in the corner, and gave the wand a casual flick. The wardrobe burst into flames. Riddle jumped to his feet; Harry could hardly blame him for howling in shock and rage; all his worldly possessions must be in there. But even as Riddle rounded on Dumbledore, the flames vanished, leaving the wardrobe completely undamaged.

Okay, one thing I dislike is Tom's lack of emotional affect when Dumbledore burned the wardrobe, in the books, he jumped up and started screaming, instead of looking passively (in shock, perhaps?) at the fire. Incidentally, I can't really tell if he's impressed or in shock, to be honest. I think they really tried to make Tom 'creepier' in the movie.

This is one of the incidents where Dumbledore's inability to deal with children crops up.

I think he was trying to teach Tom that magic can be dangerous, and he wouldn't like it to be used against him, but burning the wardrobe that contains everything he owns was a terrible move on Dumbledore's part. Tom already has very limited trust in other people, and now, he's not going to trust Dumbledore at all -- now, he's put Tom on the defensive/offensive for the rest of their interaction, and perhaps for the rest of their teacher-student relationship.

Riddle stared from the wardrobe to Dumbledore; then, his expression greedy, he pointed at the wand. "Where can I get one of them?"

"Where do you buy spellbooks?" interrupted Riddle, who had taken the heavy money bag without thanking Dumbledore, and was now examining a fat gold Galleon.

But I'm not surprised Tom is 'greedy.' He's grown up in an environment where if he wants something, whether that's affection, food, money, toys, he's got to take it. There's no one looking after his needs specifically. I'm not surprised that he's a thief and a hoarder, and I don't think that counts as a moral failing necessarily, and more of a maladaptive way of seeking comfort. It would be bizarre if he came out of Wool's Orphanage a complete saint.

Additionally, I think given that the Gaunt family has a history of 'mental instability,' Tom is a sensitive child, and the trauma of growing up institutionalized and possibly being treated badly due to his magical abilities or personality disorder deeply affected him.

And there are points where it seems that Dumbledore is quick to judge Tom.

"He was already using magic against other people, to frighten, to punish, to control."

"Yes, indeed; a rare ability, and one supposedly connected with the Dark Arts, although as we know, there are Parselmouths among the great and the good too. In fact, his ability to speak to serpents did not make me nearly as uneasy as his obvious instincts for cruelty, secrecy, and domination."

"I trust that you also noticed that Tom Riddle was already highly self-sufficient, secretive, and, apparently, friendless?..."

And while this is all empirically true, these are (a) a product of Tom's harsh environment, and (b) do not necessarily make him evil. But the point remains that child psych didn't exist as a field of its own, and psychology as a proper science was in its infancy, so I'd be shocked if Dumbledore was insightful about Tom's situation.

But I've gone a ton of paragraphs without citing anything, so I've got to rectify that.

Let's talk about Harry Harlow's monkey experiments in the 1950-70s.

If you're not a fan of animal research, since I know some people are uncomfortable with it, feel free to scroll past.

Here's the TL;DR: Children need to be hugged and shown affection too, not just fed and clothed, please don't leave babies to 'cry out' and ignore their needs because it's backwards and fucking inhumane. HUG AND COMFORT AND CODDLE CHILDREN AND SPOIL THEM WITH AFFECTION!

I will put more red writing when the section is over.

This is still an interesting experiment to have in mind while we explore the whole 'no one taught Tom Riddle how to love' thing and whether or not it's actually a good argument.

Andddd let's go all the way back to the initial 1958 experiment, featured in Harlow's paper, the Nature of Love. (If you're familiar with Maslow's Hierarchy of Needs, him and Harlow actually collaborated for a time).

To give you an idea of our starting point, until Harlow's experiment, which happened twenty years after Dumbledore meets Tom for the first time, no one in science had really been interested in studying love and affection.

"Psychologists, at least psychologists who write textbooks, not only show no interest in the origin and development of love or affection, but they seem to be unaware of its very existence."

I'm going to link some videos of Harry Harlow showing the actual experiment, which animal rights activists would probably consider 'horrifying.' It's nothing gory or anything, but if you are particularly soft-hearted (and I do not mean that as an insult), be warned. It's mostly just baby monkeys being very upset and Harlow discussing it in a callous manner. Yes, today it would be considered unethical, but it's still incredibly important work and if you think you can handle it, I would recommend watching at least the first one to get an idea of how dramatic this effect is.

Dependency when frightened

The full experiment

The TL;DW:

This experiment was conducted with rhesus macaques; they're still used in psychology/neuroscience research when you want very human-like subjects, because they are very intelligent (unnervingly so, actually). I'd say that adult ones remind me of a three-year old child.

Harlow separated newborn monkeys from their mothers, and cared for their physical needs. They had ample nutrition, bedding, warmth, et cetera. However, the researchers noticed that the monkeys:

(a) were absolutely miserable. And not just that, but although all their physical needs were taken care of, they weren't surviving well past the first few days of life. (This has also been documented in human babies, and it's called failure to thrive and I'll talk about it a bit later).

(b) showed a strong attachment to the gauze pads used to cover the floor, and decided to investigate.

So, they decided to provide a surrogate 'mother.' Two, actually. Mother #1 was basically a heated fuzzy doll that was nice for the monkeys to cuddle with. Mother #2 was the same, but not fuzzy and made of wire. Both provided milk. The result? The monkeys spent all their time cuddling and feeding from the fuzzy 'mother.' Perhaps not surprising.

What Harlow decided next, is that one of the hallmarks being attached to your caregiver is seeking hugs and reassurance from them when frightened. So, when the monkeys were presented with something scary, they'd go straight to the cloth mother and ignore the wire one. Not only that, but when placed in an unfamiliar environment, if the cloth mother was present, the monkeys would be much calmer.

In a follow-up experiment, Harlow decided to see if there was some sort of sensitive period by introducing both 'mothers' to monkeys who had been raised in isolation for 250 days. Guess what?

The initial reaction of the monkeys to the alterations was one of extreme disturbance. All the infants screamed violently and made repeated attempts to escape the cage whenever the door was opened. They kept a maximum distance from the mother surrogates and exhibited a considerable amount of rocking and crouching behavior, indicative of emotionality.

Yikes. So, at first Harlow thought that they'd passed some kind of sensitive period for socialization. But after a day or two they calmed down and started chilling out with the cloth mother like the other monkeys did. But here's a weird thing:

That the control monkeys develop affection or love for the cloth mother when she is introduced into the cage at 250 days of age cannot be questioned. There is every reason to believe, however, that this interval of delay depresses the intensity of the affectional response below that of the infant monkeys that were surrogate-mothered from birth onward

All these things... attachment, affection, love, seeking comfort ... are mostly learned behaviours.

Over.

Orphanages, institutionalized childcare, and why affection is a need, not an extra.

His face is lit the exact same was as Coulson’s was in COS (half-light, half-dark), and I said I was going to talk about this in Part 3. I think perhaps it's intended to make Fiennes-Tiffin look more evil or menacing, but I'm going to quite deliberately misinterpret it.

Now, for some context, Dumbledore has just (kind of) burned his wardrobe, ratted out his stealing habit, and (in the books only, they really took a pair of scissors to this scene) told him he needs to go apologize and return everything and Dumbledore will know if he doesn't, and, well, Tom's not exactly a happy bugger about it.

But interestingly, in the books, this is when we start to see Tom's 'persona,' aka his mask, start to come into play. Whereas before, he was screaming, howling, and generally freaking out, here, he starts to hide his emotions -- in essence, obscure his true self under a shadow. So this scene is really the reverse of Coulson's in COS.

And perhaps I'm reading wayyy too much into this, but I can't help but notice that Coulson's hair is parted opposite to Fiennes-Tiffin's, and the opposite sides of their faces are shadowed, too.

Riddle threw Dumbledore a long, clear, calculating look. "Yes, I suppose so, sir," he said finally, in an expressionless voice.

Riddle did not look remotely abashed; he was still staring coldly and appraisingly at Dumbledore. At last he said in a colorless voice, "Yes, sir."

Here's an article from The Atlantic on Romanian orphanages in the 1980s, when the dictator, Ceausescu, basically forced people to have as many children as possible and funnel them into institutionalized 'childcare', and it's absolutely heartbreaking.

There's not a whole lot of information out there on British orphanages in the 30s' and 40s', but given that people back then thought you just had to keep children on a strict schedule and feed them, it wouldn't have a whole lot better.

The only thing I've found is this, and it's not super promising.

The most important study informing the criteria for contemporary nosologies, was a study by Barbara Tizard and her colleagues of young children being raised in residential nurseries in London (Tizard, 1977). These nurseries had lower child to caregiver ratios than many previous studies of institutionalized children. Also, the children were raised in mixed aged groups and had adequate books and toys available. Nevertheless, caregivers were explicitly discouraged from forming attachments to the children in their care.

Here's a fairly recent paper that I think gives a good summary: Link

Here, they describe the responses to the Strange Situation test (which tests a child's attachment to their caregiver).

We found that 100% of the community sample received a score of “5,” indicating fully formed attachments, whereas only 3% of the infants living in institutions demonstrated fully formed attachments. The remaining 97% showed absent, incomplete, or odd and abnormal attachment behaviors.

Bowlby and Ainsworth, who did the initial study, thought that children would always attach to their caregivers, regardless of neglect or abuse. But some infants don't attach (discussed along with RAD in Part 2).

Here's a really good review paper on attachment disorders in currently or formerly institutionalized children : Link

Core features of RAD in young children include the absence of focused attachment behaviors directed towards a preferred caregiver, failure to seek and respond to comforting when distressed, reduced social and emotional reciprocity, and disturbances of emotion regulation, including reduced positive affect and unexplained fearfulness or irritability.

Which all sounds a lot like Tom in this scene. The paper also discusses neurological effects, like atypical EEG power distribution (aka brain waves), which can correlate with 'indiscriminate' behavior and poor inhibitory control; which makes sense for a kid who, oh, I don't know, hung another kid's rabbit because they were angry.

Furthermore...

...those children with more prolonged institutional rearing showed reduced amygdala discrimination and more indiscriminate behavior.

This again, makes a ton of sense for Tom's psychological profile, because the amygdala (which is part of the limbic system, which regulates emotions) plays a major role in fear, anger, anxiety, and aggression, especially with respect to learning, motivation and memory.

So, I agree completely that Tom needed a lot of help, especially given the fact that he spent eleven years in an orphanage (longer than the Bucharest study I was referring to), and Dumbledore wasn't exactly understanding of his situation, and probably didn't realise what a dramatic effect the orphanage had on Tom, and given the way he talks to Tom, probably treated him as if he were a kid who grew up in a healthy environment.

In case you are still unconvinced that hugging is that important, there's a famous 1944 study conducted on 40 newborn human infants to see what would happen if their physical needs (fed, bathed, diapers changed) were provided for with no affection. The study had to be stopped because half the babies died after four months. Affection leads to the production of hormones and boosts the immune system, which increases survival, and that is why we hug children and babies should not be in orphanages. They are supposed to be hugged, all the time. I can't find the citation right now, I'll add it later if I find it.

But I think it's vastly unrealistic to say that Dumbledore, who grew up during the Victorian Era, would have any grasp of this and I don't think he was actively malicious towards Tom.

Was Tom Riddle failed by institutional childcare? Absolutely.

Were the adults in his life oblivious to his situation? Probably.

Do the shitty things that happened to Tom excuse the murders he committed, and are they anyone's fault but his own? No. At the end of the day, Tom made all the wrong choices.

And, for what it's worth, I think (film) Dumbledore (although he expresses the same sentiment in more words in the books) wishes he could go back in time and have helped Tom.

"Draco. Years ago, I knew a boy, who made all the wrong choices. Please, let me help you."

[bigskydreaming]

And one more bit from the “Kings of the Sky” AU albeit several installments in, because I just......don’t know when or why I stumbled into an obsession with the dynamics between Dick and Jason and Cass as the eldest three Wayne siblings, but its there, its real, and its happening. I’ve stopped fighting it. I just....enjoy writing those three being dumb siblings who are dumb like so, so much.

Anyway, in this AU series, Jason doesn’t go to Ethiopia and die, but rather eventually joins Dick at Titans Tower more regularly and is Flamebird. Both are closer with Bruce here than in canon because Dick helped Bruce and Jason get through the Garzonas stuff and Jason helped kick Bruce in the direction of Dick and adoption papers right after the Brother Blood storyline. Then Cass is actually the third to join the family, by way of Babs, and she’s Batgirl and then Black Bat, but there’s a period of time when its just Dick, Jason and Cass as the Wayne kids. 

(PS - this is the same series as where Jason ends up with his own age group of Titans, and accidentally falls into a love quadrangle of doom that is absolutely NOT a polycule dammit, with Tom Bronson (Tomcat), Ray Terrill (The Ray) and Todd Rice (Obsidian). Which amuses his brother and sister to no end).

Tim and Duke are both next, but sorta at the same time? Like Tim’s story takes a sharp turn when Robin II never dies and obviously is Flamebird now like Robin I is Nightwing, and Tim winds up in foster care after his parents die differently than in canon. Duke is also in foster care at this time, though a different placement, and while no Robin has died here, its been awhile since there’s been one in Gotham, and to kids who grew up with the idea of there always being a Robin, that feels weird and wrong ultimately. 

So Tim and Duke both hit on the idea of being Robin like, at around the same time and totally disconnected from one another, and that leads to them both joining the Batfam around the same time, and co-sharing Robin until Damian arrives much later and they both move on to new identities. But there’s no real confusion between Robins because Duke is the daytime Robin with more yellow coloring in his costume and Tim is the nighttime Robin with more red, and people say Red or Yellow if they ever need to differentiate which Robin they’re talking about. Anyway.

************

So [Tim and Duke] run into trouble eventually and then when running from trouble they run into each other and they’re like….huh. Awkward. And then they decide well, might as well both run from trouble in the same direction, I guess. So they do.

“Did you have a plan for dealing with these guys?” Tim yelled at Duke. The other boy looked back over his shoulder briefly and gave what would probably have been a half-shrug if he didn’t awkwardly try to barrel-roll over a car two seconds later.

“Umm, sorta?”

“How sorta are we talking about? Maybe the two of us together could fill in the gaps in the plan and come up with one full plan?”

“Uh yeah, no, its not that kinda sorta. I meant sorta in the sense that I thought I had a plan but it didn’t work and that’s why these guys are after me. Sooooo…”

“Not helpful, basically.”

“Yeah. Pretty much. And hey, I don’t hear you offering up a plan! Did you even have one at all?”

“Uh….I mean I kinda didn’t think I was going to need one because I figured some kid running around in a mask making a nuisance of himself was the sorta thing that was bound to attract Batman. And so I was just pretty much running around until that happened, and then I’d make a case for how I obviously need training and Gotham needs Robin and if its not me its likely to be someone else trying eventually anyway so why not be me?”

Duke paused just long enough to squint at him. “That’s a terrible plan.”

Tim rolled his eyes. The effort didn’t pair well with his huffing and over-all exertions from running for his life and all that, but necessity demanded. “Yeah I know, that’s why I never said it was a plan! It was mostly….more…idea-ish.”

“I’m just saying, I thought I was doing this wrong, but at least I had a plan! I mean yeah, it might have ended up with me accidentally busting in on what I thought was a bunch of Riddler’s henchmen setting up some kind of clue thing, only it was actually a bunch of Intergang type guys with alien space guns or some shit all dressed up as Riddler henchmen for some reason? I dunno what they were trying to do honestly, but so yeah I might have ended up running away on foot from like twenty of them and some kind of hovercycle -”

“I’m going to cut you off there and say wherever this is going its probably not the superior vantage point I think you think you have.”

Meanwhile, Batman was not going to be coming because he’s off on a JLA mission. However, in his absence Dick and Jason are in town filling in, and they finished taking out the bad guys several blocks back and caught up to whomever was running from them, figured out the situation and are currently sitting on the edge of a rooftop watching them realize they’re totally lost and trying to figure out where to go from here. Mostly because Dick and Jason are incredibly amused listening to their back and forth and also just…this whole situation.

Dick justifies not piping up to let them know they’re safe now by saying this is good intel gathering so we can offer Bruce our assessment as to whether they’re gonna try and keep doing this whether we train them or not, and also how they handle this whole being lost situation. Not knowing they don’t have to run anymore isn’t going to hurt them and really, this is a good field exercise almost.

Jason justifies not piping up by saying this is fucking hilarious and I will hurt you if you end this any sooner than we have to, I deserve this, I had a rough week.

Which is right around the time that Cass pipes up from where she’s been lurking unnoticed behind them this whole time: “Oh no. Was it Tom? Or Ray? Or was it Todd?”

And she does it right in Jason’s ear so he kinda aborted-shrieks and almost falls off the roof except Cass is ready for that and grabs his arm to steady him.

“I hate when you do that!” Jason growls in an attempt to cover up how badly she got him and also because he hates when she does it which is why she does it a lot. Again, they don’t hate each other at all, but they do seem to act like it a lot, and neither of them is entirely sure why. They kinda just started doing it and have each been trying to get the other back ever since and ended up locked in an unending spiral of gotcha-gotchaback, except, y’know, Batfam style.

Dick occasionally picks sides just to muddy the waters. And then he randomly switches sides without warning, so neither of them ever wants to risk getting too peeved at him even when he’s helping the other, because that might push him fully over to the other side and leave them permanently outnumbered, so they’re kinda stuck, which is exactly as he likes it, lol.

“Why are you Satan,” Jason hisses dramatically as he gets up and stomps over to the other side of the roof to sulk, lest she almost knock him off again. Its not the almost falling part that bothers him, its that she’s the one that snatches him to safety each time. She’s like a freaking cat toying with a - yeah not going there, just blaming Selina. Knew them hanging out was going to be bad news for me somehow, he gripes.

Cass just shrugs and smoothly sits down cross-legged right where she is, grinning Cheshire-cat style at him from there. “Childhood trauma,” is her answer.

“Great, and now you’re stealing my comeback on top of it?! Is nothing sacred to you?”

She offers another shrug. He would like to return those for store credit please. Maybe get something useful instead. “Haven’t decided yet. Babs is still helping me explore my options. We’re going alphabetically and we’re only on  the E-religions.”

“God, you’re the worst. I can’t believe you ruined sisters for me.”

“You already used that same line last week when you came out of your room still half-asleep and she was just sitting directly across from your door waiting and staring unblinking and you yelped and dropped your laptop on your toe, and then cursed so loud that B came running around the hall thinking we were being invaded,” Dick reported idly, still perched in the same position he’d been in all along and watching the boys below them. “Just in case you thought no one noticed when you recycle.”

“I noticed too,” Cass added solemnly.

“I have no siblings,” Jason intoned. He threw up his hands dramatically and then loudly jumped down to the street below with a little help from the fire escape. It drew both Duke and Tim’s attention and they startled before realizing it was Flamebird. And that he’d landed on the street and was stalking past them while barely acknowledging them. And that that was Nightwing standing on the roof now with his hands on his hips yelling after him.

“Oh, reeeeeeal subtle. You’re not having fun anymore so you gotta make sure nobody else does either. Wow, the Brat-like behavior, just jumped out of the shadows with that one!”

And that was Flamebird not even turning around and just yelling back. “I HAVE NO SIBLINGS!”

And also they were both pretty sure that was Batgirl crouched on the roof next to Nightwing now, and she was…..sticking her tongue out at Flamebird’s back? No, Batgirl very much definitely was sticking out her tongue, that wasn’t in doubt, it was more just….very unexpected to see.

What was happening right now?

********

Eventually Tim and Duke have inevitably worn down [Bruce’s] resistance to training them by insisting they’re gonna keep doing this and if its not them its gonna be someone sooner or later anyway. Because, as they put it, you guys may not know this but Gotham’s gotten used to Robins by now and it freaks people out not to see one and Robin’s as important as Batman really and there needs to be a Robin and its not just us that will think that, like look at the fact that already two of us had the exact same idea, huh? And also, we’re gonna keep doing it anyway, sooooo….there’s that.

And then Cass vouches that they’re both 100% serious about that.

And then Dick vouches that as a former determined daredevil kid that was absolutely going to keep doing the same thing no matter whether you’d helped me or not, B, I also am of the assessment that these two mean it all the way.

And not to be left out and just to have something to contribute but also grumpy because his brother and sister are picking on him and he’s eighteen going on ten, Jason throws in: “And my assessment is that they both definitely seem dumb enough to keep doing this without help anyway and they definitely need help or they definitely will die, I’d give it a month, month and a half tops.”

And then Bruce dryly thanks his children for their contributions, their keen insights in this matter have been absolutely invaluable, he has no idea how he would make a decision here without it.

“Oooh, a rare sighting of Bat-snark in the wild. Someone call Nat-Geo quick, maybe he’ll do it again,” Dick says.

Bruce sighs. Duke and Tim look like they’re trying to decide if they’re allowed to be amused or if that’s also part of some weird Bat-test that they’re probably taking without even knowing it.

So Tim and Duke move in, start training together, and then also get sent to school together and it takes a month or so of settling in before they decide whether or not they actually are happy about this. There’s a period of deciding they’re supposed to be bitter rivals who snipe at each other back and forth across the dining table at every available opportunity, but that changes the first night Dick and Jason come back from the Tower since Tim and Duke have moved in and where Cass is also home instead of at the Clocktower with Babs.

Since all three of the older Batkids, upon seeing Tim and Duke squabble at dinner, decide to obnoxiously coo about how adorable it is watching the kids play. Which pretty instantly cements Duke and Tim as realizing their best chance of surviving the sudden acquisition of three older superhero ninja foster siblings who all can be as obnoxious as they are dangerous but also as much as they are - Duke and Tim are convinced - all quite insane.

A belief further cemented the next morning, with all three of them having spent the night at the Manor as well. Treating Duke and Tim to their first Saturday morning episode of the Cass and Jason show.

In this episode, Jason emerged from his bedroom in his pajamas still but warily peeking his head out first to look both ways down the hall before deciding it was clear…..and then makes it just almost to the end of the hallway leading to the stairs, when Cass drops down from where she’d been waiting perched above the other side of the door, in such a way as to suddenly fill the doorway just in front of him, hanging upside down suspending herself just with her feet wedged above the doorway, all while keeping her hands crossed her chest, a dead-eyed expression on her face, and with her tongue hanging out like she’s some kind of vampire hanging upside down in mid-slumber.

Jason shrieked and stumbled back a foot before catching himself and shoving two fingers in a cross shape in her direction.

“Demon! DEMON! Goddammit, I abjure thee, that’s supposed to fucking do something about having a demon sister, now what the fuck does it take to banish you!?”

“Can’t be banished,” Cass informed him, still upside down. “Can be bought though.”

Jason halted. “What?”

“I’m really surprised you never figured it out,” Dick said from his room further down the hallway. He was leaning against the doorjamb, arms casually crossed.

“Why did you think she never goes after me?”

Jason swiveled back and forth between his siblings suspiciously, trying to scry both their inscrutable (and in Cass’ case, still upside down) faces for signs they were telling the truth. “You’re telling me that Little Miss Monstrous has been a pain in my ass from day one and the reason she’s never so much as eked a single boo in your direction is you’ve been bribing her all this time?”

Dick shrugged. “Its all about getting in on the ground floor.”

Jason squinted, still unconvinced. “Nuh-uh. No way. You’re just fucking with me. Like if this is for real, what have you been buying her off with?”

Dick smiled beatifically. “Cuddles and hugs.”

“NO! NO! Bullshit! I am NOT falling for this crap again, you are not gonna get me this way this time. I call BS, fuck you, nuh uh, you’re lying out your ass and your ass-face both.”

“Wait, what is this ‘this’ that I did before? What ever are you talking about?”

“You know damn well what I’m talking about.”

“Is this about the Care Bear you had when you were fifteen?”

“Shut upppppppppppppppp, I didn’t have a Care Bear then, you’re such a - “

“Oh, I dunno, I’m preeeeetty sure there’s some holiday photos from that year that would say otherwise, pretty definitively in the form of you and your Care Bear….”

“That I only had because you literally just gave it to me as a present solely so that you could claim that I had a Care Bear when I was fifteen, you douchebag!”

“Just because I gave you the Care Bear didn’t mean you had to keep the Care Bear and hold the Care Bear and love the Care Bear, Jay. You chose to do all that.”

“I only kept the damn thing because you’re an asshole who lied about it being a family heirloom so I felt like I had to or I’d be a total jerk. Is nothing sacred to you?”

“I didn’t lie! It is a treasured family heirloom! Its the first Care Bear I gave to my little brother to teach him the important and valuable lesson that Care Bears - say it with me now - “

“Finish that sentence and they will never find your body.”

“CARE!” Cass shrieked from behind him before jumping on Jason’s back and bearing him down to the floor in an undignified tangle as she splayed atop him like a starfish and he stared up at the ceiling in a kind of strangled frozen fury, like there was so much emotion he wanted to process he’d overheated and now was stuck like that until he cooled down.

That was when Dick leaned over him and solemnly added one final thought, as though it was a crucial addition of the gravest importance:: “A lot.”

Jason’s eye twitched.

Dick’s eyes went wide in response. “Uh oh. He went to the Danger Zone. Run Cass. We’ve unleashed the dogs of war!”

Cass was off and on her feet in a second, taking off down the hall like a rocket. “Not the dogs of war!” She yelled.

Dick was only seconds behind her when behind him, Jason rose like an eruption, growling wordlessly and sparks practically flashing from his suddenly flinty eyes. He charged after them like an enraged bull.

“Kenny Loggins wouldn’t want this!” Dick yelled over his shoulder as he rounded the doorway and vanished. Jason rounded it in hot pursuit.

“Poison Ivy won’t even be able to make compost from what’s left of you when I’m through!”

The yelling and running vanished into the distance. Duke and Tim finally looked at each other blankly.

“What?” Tim asked. Duke shrugged helplessly.

A door opened at the end of the hallway. Bruce stuck his head out. “Is it safe?”

Tim just stared at him.

“What?” Duke asked.

**************

LOL mostly I just want to get to the tail end of the series, when Dick and Jason go undercover as supervillains in the Society of well, Supervillains....Dick as War Shrike and Jason as Gray Jay. (A kind of bird usually known for or referenced as being thieving and unpredictable and unexpectedly dangerous despite its size. Jason never went into the Lazarus Pit here and so isn’t as huge as he is in canon, he’s on the smaller side due to his early life’s malnutrition. Living with Bruce helped him catch up enough that he’s not TINY tiny, but he’s still smaller enough that this particular mantle fits him a little better than it would his massive canon depiction).

Cass also partakes in the undercover storyline, just showing up uninvited in a persona she’s crafted for the mission and calls Black Swan. And War Shrike and Gray Jay are both so startled and obviously a little freaked by her unexpected arrival, that combined with her being ticked at her brothers for leaving her behind, RUDE, and them sufficiently cowed and guilted by her wrath, that it all adds up to the other villains as being clear evidence that she is the boss and they are her advance minions. 

Which mollifies and satisfies Cass immensely, and leaves Jason grumpy that their mission was hijacked and also his sister is The Worst, and leaves Dick temporarily disgruntled because This Whole Thing Was His Idea DAMMIT but then five seconds later finding it hilarious because Dick is a chaos connoisseur and he has an appreciation for whimsy and the unexpected.

“I can’t believe you not only gate-crashed our extremely sensitive and delicate undercover operation, but you completely hijacked it as well! This is so typical,” Jason grouched.

Cass simply swept ahead of him and strode down the hallway with lethal grace. “Silence minion.”

Jason spluttered behind her and she grinned to herself. He really made it too easy sometimes.

[metvmorqhoses]

It’s a head canon of mine that Tom escaped poverty as soon as he had the ability to do so—in particular by spending his twenties charming and/or Charming lonely old people into writing him into their wills and then dying of Perfectly Natural Causes. He just stayed at Malfoy Manor after the resurrection because he liked the Old Blood history already built into the place and also thought that humiliating Lucius by replacing him as house head was an appropriate punishment for being a wishy-washy semi traitor. “More for me, since my rightful place in the world includes Everywhere”

that last line of yours pretty much sums up the crux of it to me.

i don't think voldemort particularly cared about material things, not even in his youth - at least not in the base sense of wanting to be rich just for the sake of not being poor. yes, i think he had resolved to expedients to survive when needed, why not, but actively using his time to accumulate money just to compensate his previous poverty? not quite.

we actually never see him owning or desiring anything decadent or mundane just for the sake of it, and in my opinion that's an emblematic characteristic of his.

he planned for the whole world to be eventually at his disposal, he didn't want a portion of the world, he wanted everything, the keys to it. everything his followers owned, he automatically owned. he used malfoy manor because it was convenient to him in that particular moment probably, but i can completely see him using just as freely every manor or house of britain. and he didn't even need to legalize any of it, didn't need a vault at gringott's with money on his name (he didn't even have a real name anymore), since he already possessed the minds of the very people who pretty much possessed society.

i see young tom riddle working hard to achieve that and nothing else. i suppose he thought the best was due to him, but i don't think he really obsessed or particularly reveled in the notion of being materialistically powerful. i don't really see him using his powers to charm vulnerable people in order to hoard wealth, to be honest. i see him charming old people to achieve his means more rapidly and in order to hoard different and much more valuable stuff.

he coveted special things (and in a quite obsessive way), powerful things, things made to be admired and therefore worthy of him, things that at the same time he also considered useful and in some way mystical. he didn't collect them to be rich, but to add meaning to himself, to adorn his own power with a legendary, ancient one. he wanted somehow to be part of the mythology of the magical world, to possess it, to link himself to it, in a way that really reminds me of how roman emperors used to collect lost heirlooms of deities to make themselves appear godly.

sure, i agree that he had felt the need since infancy to escape the terrible situation he was born in, but probably his arrival at hogwarts had already pretty much resolved the majority of the situation for him. he was a child that literally went from living in a gutter to residing in a magical castle. if arriving at hogwarts gave a fairy tale, mesmerizing impression even to the children of wealthy wizards, you can imagine how little tom riddle probably thought he had died and gone to heaven at the mere sight of it.

true, he had to go back to the orphanage for the holidays and true, he had to climb a social ladder amongst his peers, but his talent, looks and charisma ate pretty much everyone around him alive without much trouble. his focus was directed elsewhere.

so yeah, your last line summarizes it all perfectly. in his eyes, the whole world was his to use. he had probably been the wealthiest person alive at some point, but in a much broader sense.

[alirhi]

Loki ranting

Okay. I had this thought in my head of like just compiling links of all the Loki shit I've posted/reblogged so far so that when I get into a conversation about the show and how it fucking disgusted me, I can just be like "here. here's this masterlist post, go read all this shit. This is my entire argument, and not only mine, but a lot of stuff posted by people far more intelligent and level-headed and eloquent than I am, whom I happen to agree with." Because the alternative is constantly getting fired up all over again, and that is exhausting.

BUT! I'm stupid and don't know how tumblr works. Apparently I can't just be like "give me all the Loki-tagged shit I've got" I can only search all the Loki-tagged shit on all of tumblr. And I'm not scrolling back through all of my posts. I talk too fucking much for that shit 😂

So, I'll try to remember all of my grievances with how the MCU has treated Loki, and all of the excellent posts made by other, equally upset fans, and put it all together here under this nice, neat little cut for everyone else's sanity and scrolling convenience...

For people who actually read my shit fairly regularly - bless you, you crazy, patient people. I love you! - this is going to be a lot of repetition of shit you've already read. Probably at least twice. I'm passionate and I have a terrible memory lol. Sorry.

Anyway, first, for those who don't know me and haven't been following my explosions of rage for the past couple of months, some quick background: I do not read comic books, so Loki's Marvel comic canon means nothing to me. I know almost nothing about it. The reason I'm so in love with the character in the MCU is because I am an eclectic witch and the deity I've actively loved and worshiped the longest in my life (literally for as long as I can remember) is Loki. So when he was mentioned in The Mask, I squeed. When they named Matt Damon's character after him in Dogma, I cheered.

When Thor came out in 2011, I just about died from happiness. I was hungry for any representation of this underappreciated god, no matter what it was. I didn't even bitch about how underpowered he was, because at least he was there. But I'm getting slightly ahead of myself.

I can hear anyone reading this going "Why Loki? Isn't he, like, evil? Like basically the Norse version of The Devil?" Because I heard all this shit irl all the fucking time. And no. So let me give you a quick rundown of who Loki actually is.

Loki is a Trickster God. He's often referred to as the God of Mischief. He is not and never was evil, simply chaotic and hedonistic. Loki Laufeyjarson was the son of Laufey (that's mama; they changed her to a man for some reason in the movie) and Fárbauti. Right from the start, from his name, we get a sign of how Loki goes against traditional norms of the time, because in Norse culture, families were patrilineal, and surnames were "son/daughter of father" (which would have made him Loki Fárbautitason), not the mother. But Loki's surname is matrilineal. Feminist icon woo! lol

Though he's a Jotunn, Loki is counted among the Gods (Aesir) in Norse tradition. Depending on his mood, he is alternately helpful or disruptive to the other Gods. I'm not gonna sit and teach a whole text class on him lol but I'll use my favorite example of Misunderstood Loki - the conception of Sleipnir!

So, get this shit. This is also part of why I DO NOT follow Odin and never fucking will (a very small part, but still part of the reason). So, the other Norse Gods are petty motherfuckers, and they wanted some shit built but didn't want to pay the dude doing the building. So they were like "okay, if you can get it done in X amount of time, we'll pay you, but if you can't manage it NO MATTER WHAT, this whole thing is free." And they made sure he had NO help, nothing but him, his materials, and his Very Good Horsey. And this guy and his horse were fucking BAMFs. So it was looking like he was definitely gonna get it done in time, and Odin was like "nah, fuck that shit. I'm cheap." and so he sent Loki to distract the work horse. Loki transformed into a mare and lured the horse away, got fucked, got pregnant, gave birth to the 8-legged (for some reason) horse Sleipnir. Odin rides Loki's son into battle. Um. Kay.

So Loki helped Odin be a petty mf, and Odin got himself a new pet out of the deal.

Oh, also, because he's smart af and a shapeshifter and a master magician and genderfluid, Loki "fails" to fit the super fucking toxic and narrow Norse/Aesir view of "a real man". He prefers intelligence and manipulation to solve problems rather than violence, he's not afraid to behave like a clown if it gets shit done, and that grosses the Aesir out, so they constantly ridicule him for being "less than a man".

Loki is the God of the outcast and the misunderstood. The marginalized people from all walks of life. He is the God of the LGBT community. In modern terms, he's pansexual, polyamorous (married to Sigyn and they are deeply in love, but boy gets around and I've never seen any indication that Sigyn gives a shit) and genderfluid.

Okay. Focus, Ali. This is part of why I usually post multiple rants instead of one big long one XD The longer I ramble, the more I get sidetracked and forget the original point.

So. Loki's awesome, and being a Trickster, is powerful as all fucking hell. There's not much he can't do.

And now we come to Thor (the movie, not the deity). Loki's there! 24-year-old Ali is spazzing! All is right with the world!

Oh lord, they've actually done him justice?! Amazing! He's complex and nuanced and emotional, just like the real Loki! I loved this movie. Loved. It. The climactic thing with trying to blow up Jotunheim never really made much sense to me until someone made an excellent point the other day about Loki being raised in a racist society that was racist against his own race, he just didn't know it yet, poor child. Baby Thor was never corrected when he pledged to commit mass genocide, so Baby Loki probably absorbed the lesson then that Jotunns=evil and killing them all will win his father's love. Anyway, 2011 Loki was a beautiful, heartbreaking portrayal of the God I've loved all my life and spent 24 years longing to see depicted on the big screen.

Then The Avengers happened. And I saw another Loki very close to Norse mythology - mainly, how he's treated. In the beginning of the movie, he's sick, exhausted, and in pain. He can hardly stand, he stumbles and needs help when he walks. He was very obviously tortured, and the sickly blue light of the scepter's control is in his eyes. That gets less and less pronounced as the movie goes on, showing Loki working his way free of it, but in the beginning, he's a mess. Because he was tortured and used by Thanos. Marvel directly confirmed this, and that he was under the scepter's/Mind Stone's control. Loki's actions are not his own in The Avengers. He's under both threat and Thanos' direct control. The movie actually shows The Other directly threatening him to keep him on task, because this is not Loki's plan. It is not what he wants. He's being used and villainized... Just like in real life. It hurt to see this done to him, but the accuracy was too beautiful to ignore.

Thor: The Dark World comes out. I've heard people complain that this movie is the weak link in the Thor trilogy. I disagree. I think that's Ragnarok, for a bunch of reasons, but we'll get there. (And for the record, I loved Ragnarok, too. It was a funny movie. Infinity War and the Disney+ series are the only portrayals of Loki in the MCU that I truly fucking hated.) Anyway, good, fun movie. Had its faults, as all movies do, but it still followed Loki's real-life arc in a way. How? By having Loki dragged back to Asgard in chains and imprisoned underground. Again, not super happy that this happened to my love, and having to see it on screen was painful, but at least in the MCU he's not chained to a rock with venom dripping on his face for eternity, so there's that. (poor Sigyn. how tired do her arms get, holding up that bowl? best wife ever, amirite?)

In TDW, we're shown Loki's love for Frigga, who favored him and taught him magic as a child. We see his bravado; his attempts to mask his true feelings, especially grief. We see him slowly coming back to himself after the events of The Avengers, and slowly mending his relationship with his brother. He accepts that Odin will likely never love him, but Thor just might, because they were close when they were young. "I didn't do it for him." No, no my sweet, you did it for your brother, and a little out of guilt for what happened to your mother.

At the end, Loki fakes his death and escapes, taking the throne, and I have mixed feelings about this. Not the writer's choices here; I love that completely! A natural progression in Loki's story. But my joy is tainted by how closely they're following the Eddas now. Because Loki's escape from his prison heralds the beginning of Ragnarok. And Loki will die in Ragnarok. I don't want to see that play out in front of my face. I won't be able to handle the grief (spoiler alert! IW broke me. I almost walked out of the theater. Loki's death was legitimately fucking traumatic for me. I don't even care how pathetic that is. That grief was real, it was intense, and I still shake and cry when I think about it.)

Marvel announces that Thor 3 will be called Ragnarok. The internet treats this as a shocking revelation. I roll my eyes and mumble "duh" to myself and move on XD

Then they say Ragnarok will be a buddy comedy. I throw up a little in my mouth and no longer want to live on this planet. If they're going to make something called Ragnarok, could they at least treat it with even a fraction of the respect they've shown these characters thusfar? Jfc. I mean, I'll see it anyway, because I'm a whore for Tom Hiddleston lol. But come on, people!

I hated that they made Hel the long-lost older sister and Fenrir her fucking pet/attack dog. Those are my favorites of Loki's children! Hel is such an incredible badass that the early Christians named their dimension of eternal torture after her! They were terrified of her, to the point of naming the place that terrified them most after her. That's awesome! And Fenrir's just the best. I love wolves. Those two details, and Odin's retcon of "we're not Gods! ...lol, except your sister. she's totally a Goddess. and def gonna kill literally everything, so... good luck! byyyeeeee" pissed me off royally.

The rest was great. I genuinely liked this movie. Still do. And they finally used The Immigrant Song! That was pretty cool. If they'd thrown in Bring the Hammer Down and Thunderstruck, I might've called this movie perfect. XD

I wasn't totally in love with their portrayal of Loki in Ragnarok. Yes, the falling for 30 minutes line was funny, as was "I have to get off this planet" and "YES! That's how it feels!" And "Get Help" was funny as hell. But also, like... There is no way Loki would have been the dumb one in that first encounter with Hela. Also, he can teleport and project copies of himself and shit, so... He would not have been that desperate to go straight back to Asgard and bring her right along with them. Loki's not stupid. But whatever. Movie's gotta movie.

What I did love was seeing the slow mending of his relationship with Thor continuing, and the badass fighting on the bridge. I also loved that, like Real Loki, Movie Loki helped when help was needed, was quick and clever, and while he was carrying out the main plan, he was also planning ahead and grabbing the Tesseract. Yes, that drew Thanos right to them, but that's a whole other thing. Loki never would have left that thing on Asgard to be destroyed or lost.

And now Infinity War. Hooooly fucking shit. You know what? No. I'm not going into this. He was killed, years of character growth were erased forever, my heart fucking shattered. The end.

Endgame. IW hurt me so bad I didn't see Endgame until this year. I actually watched Civil War first (for context: I had actively avoided all Cap movies until this year because I fucking hate Steve Rogers. I find him insufferable. Did not realize what I was denying myself until I watched CW and finally saw the charms of Bucky. When he appeared in IW, I was so lost. XD I was like "...who dis? Murder Jesus?" also I just... didn't care. I was numb by then from crying through most of the movie over Loki)

So, anyway. Endgame. Loki picks up the Tesseract in alternate 2012, escapes, fans go "yay! he didn't actually die!" I go "yes he fucking did. Five years of his life, gone. Five years of growth and change, erased. Loki is dead. This will not be the same."

I was more right than I could have predicted. Now we come to the point of this rant. Sorry it took so long, but you were warned lol.

The Loki series makes me so angry I actually get sick to my stomach. It was fucking TRASH. When I praised Marvel for following Norse mythology so faithfully earlier? Yeah. I DID NOT MEAN TREAT HIM THE WAY THE OTHER GODS DID. I did not mean paint him as a pitiful clown, a joke, a caricature of who he truly was, with his pain and suffering played for LAUGHS.

This is supposed to be 2012 Loki, newly freed from Thanos' control. The Loki we saw in the beginning of TDW - snarky, exhausted, nihilistic. The Loki who rolled his eyes and said "get on with it" expecting to be killed.

The bumbling clown flipping on a dime from posturing to calling himself weak is not 2012 Loki. That is not ANY Loki. That is Tom Hiddleston in a black wig doing what he's told by a shitty writer who had no fucking idea what he was doing and was salty about his (bad) original script (for something totally fucking unrelated) getting killed.

In Episode 1, Loki is mocked, imprisoned, stripped against his will, tormented, belittled, and given a flippant summary of all the trauma Actual MCU Loki suffered that this one skipped out on, with no context, no acknowledgement of the trauma he's already lived quite fucking recently, and with the narrative twisted to not only erase all the abuse he's suffered, but to make it all his fault. And this is supposed to make him want to help these people?

And worse, IT FUCKING WORKS. WHAT?! I CAN'T- FUCKING WHAT?! Remember when I said LOKI IS NOT FUCKING STUPID?! So why is he STUPID?

Episode 2, he's a child. Mentally, this Loki is a fucking child. Now we've erased all the growth and development of his entire adult life. He's dopey, impatient, impulsive, desperate for a pat on the back and actually shows it. Yes, abused and neglected children crave the positive attention we never received, and we often grow up to be a bit emotionally stunted. But not all of us, and not Loki. Not as we've seen him EVER in the rest of the MCU. Playful and a bit callous at times? Absolutely! But not a big dumb fucking puppy.

Episode 3, a ray of hope, despite Sylvie! (I hate Sylvie) Loki casually admits he's pan/bi; labels never come up, but he admits to being with both men and women! He sings! Not really relevant to whether I approve of his portrayal or not lol but Tom has a beautiful voice, Norwegian ("Asgardian" lol) is a gorgeous, entrancing language, and I could watch that one bit on loop for eternity and never get bored. And then, finally, we see a glimpse - a glimpse - of Loki's power! He stops a falling building and pushes it right back up! Are we finally getting to see what he can really do? Will the next episode bring us Loki in all his glory?

Nope. 4 and 5 we see him mocked and pushed around and utterly irrelevant. Again. We see tiny reflections of what he could maybe theoretically do in other random Loki variants, but the "main" (lawl. main. it was the Sylvie and Mobius show. Loki was never the main anything.) Loki? Nothing. He wears his heart on his sleeve for no reason, bonds with the man who imprisoned, taunted, and gaslit him, is killed, and continues to be a moron and a joke. Always the clown. Always the dumb one. The one with the bad ideas. The inferior Loki.

Don't even get me started on that finale. I can't. This already took so much out of me. Fuck Marvel. Fuck this fucking show. I just... I'm done.

[katsitting]

"Audacity"?

AN: So, we’ve got another one that I ran with.  I hope you enjoy, and that this is along the lines of what you had in mind :) All typos are mine

Ships: Tomarry

Rating: T

Warnings: Alternate Universe - Modern, Canon Divergence, Professor Tom Riddle, Sexual Tension, Student/Teacher Dynamic, Tom Riddle is a Dark Lord but Harry doesn’t know this, POV Third Person Limited, Not Beta-Read

You can read it on AO3 here.

_______________________________________________________________

“That’s total bollocks” Harry said, aware that he was playing a dangerous game, but unwilling to anyway. To do anything else would be to admit defeat, and Harry, even when acquiescence was the safest option in his toolbox, would sooner kiss a Mandrake than do as much.

To hell with that.

“Harry!” Hermione hissed into his ear, with what Harry could imagine was an ashen and horrified look on her face. Harry didn’t turn to face her, though, not when Professor Riddle was standing in front of him with a look of absolute contempt on his face.

“This is insane, Harry. You’re going to get detention, or worse, expelled.” Hermione was buzzing with nervous energy at his side, while Ron, the more terrified of the two, remained silent. It was as if Ron had absorbed all the fear and good sense Harry had because what Harry said, was going to continue to say, wasn’t sensible in the least. “Harry, please, see sense.”

Harry couldn’t, not over the loud rush of anger, of bitterness in his ears. It was a writhing, living mass in the centre of his chest, a poison slowly spreading through his veins.

Stopping wasn’t an option. Not anymore.

“No matter how you slice it, it’s wrong. You can’t just say that the Unforgivables have their moments where they—the total bloody opposite of what the word unforgivable even means—are forgivable.”

Professor Riddle’s expression darkened, his contempt growing into something that resembled loathing.  The murmurs in the classroom had all but vanished; Harry doubted there was even an intake of breath. Still, Harry couldn’t find it within himself to care, to be concerned. He only had room for fury in his heart.

Because how fucking dare he?

A dark wizard had murdered Harry’s parents using an Unforgivable.

A dark witch had tortured Neville’s parents until they’d gone mad using an Unforgivable.

There was no justification, no reason for the use of dark magic. Even if Professor Riddle was brilliant, one of the most talented young wizards to grace this school, he was wrong.

The gall, the bloody nerve, to say that they could somehow be justified.

Harry’s fingers were shaking to the point that he couldn’t keep his pencil in his grip.

“Mr. Potter—“ Riddle began, but Harry didn’t let him finish.  He was on his feet before he realised what he’d done, hands clenched into fists at his hands. His shaking had spread from his fingers to the rest of him.

“No, don’t say another word.”

The room went still. Everyone did. Even Riddle had paused, his expression freezing into one of disbelief.

Harry drank the look in, taking that moment to give Riddle the most disgusted look he could muster, before turning away and beginning to gather his things.  He wasn’t going to stay a second longer.

What would be the point? He was angry, no, furious. Staying in this classroom, with his pissant of a professor, would only invite another argument, would only cost his House more points.

It was such bullshit. Such horseshit.

Harry tried not to think about his anger, tried not to focus on the nervous glances Ron and Hermione cast his way in the hopes he’d face them and sit back down, but that anger—

It was all he could focus on, all he could taste in the back of his tongue as he shoved his books into his bag. He was so furious that he couldn’t stand it, that he couldn’t breathe through his it.

How could someone so brilliant be so blind? How could someone so young be so heartless? It was maddening. It didn’t make any bloody sense!

His head still rung with Riddle’s cavalier discussion of dark magic, of what a fascinating history they had, Riddle had said. He couldn’t get the words out of his head, couldn’t erase the look of fascination in Riddle’s dark eyes as he spoke about the subject to his class.

It was disgusting, so fucking—

Harry shot the thought down before he riled himself up any further.  If he let himself just run with this, there was no telling what else he might do, might say.  Dumbledore could cover for him, but not even he could protect him if Harry took things too far.

“Mr. Potter—“

Harry’s fingers stilled, his head snapping up to look at Riddle without meaning to. Riddle’s expression had grown icier in the time Harry had spent gathering his things. It was like all the colour had been drained out of him, his humanity gone.

Harry didn’t let that intimidate him. Squaring his shoulders, Harry levelled him with a fierce expression of his own.

“Sit down.”

Harry didn’t. He refused to be cowed, to be silenced for his legitimate position. No one got a pass at saying that dark magic was justifiable, not even the professors.

No, especially not the professors.

Riddle had been alright for a Slytherin, even if he was some of the harsher professors when it came to his lessons, but now, Harry was certain that he was worse than all the rubbish in Slytherins he knew.

The Slytherins he knew at least were forthright with their noxious beliefs, but no, not Professor Riddle.  Riddle was the worst kind of Slytherin, the most heinous of all, he was a bloody liar. A terrible person pretending to be kind, to be good. He was—

A dark wizard through and through.

“Mr. Potter, don’t make me repeat myself.”

Still, Harry refused to back down. The room grew chillier still, the tension among the other seventh-year students enough to make everyone rigid in their seats. Harry wanted to feel bad for putting everyone through this, but he didn’t. Harry felt no guilt.

“Class dismissed. Mr. Potter, you stay.”

Riddle’s voice was a whisper; no louder than the flutter of a page turning. With how everyone reacted, it might as well been a Bombarda. Everyone scrambled to gather their things, to rush out of the room and escape from the mounting conflict with between them.

Harry paid them no mind, still not standing down even as Hermione and Ron lingered on the outer perimeter of his sight. They should have left with everyone else, but Harry understood their reservations, their hesitance. A Harry that was alone was a Harry that could get himself into deeper trouble.

Calling Professor a fucking  dark wizard would do precisely that, and the temptation to shout that off the top of his lungs, was growing stronger by the seconds.

“Granger and Weasley, I believe I said that class was dismissed.”

From Harry’s peripheral, he could make out Hermione freezing in place, her hand falling away from where she had tried to reach for the outer edge of his robes. Her face was expressionless, but by the state of her hair, Harry knew she was flustered and on the verge of panicking. Harry almost winced at the look on Ron’s face.  He fared no better than Hermione; he looked faint, his face a shade of pale green.

Hermione was short of having a panic attack, and Ron, by the look of things, was in the middle of one.

Harry did feel a twinge of guilt then.

Harry turned to Hermione with a smile on his face that he meant to be comforting, but Hermione’s expression didn’t look convinced. Her hair was still frizzed up, as if the strands were sucking up the tension in the room.  

“Go. I’ll be fine.”

Hermione hesitated, unwilling to leave him alone but also equally as unwilling to disobey a direct instruction from their professor. The tension radiating from Riddle was growing worse by the second, it was only a matter of time before he directed his ire on Harry’s friends if they didn’t move fast enough.

Harry didn’t want to drag him into his mess.

“Go.”

Hermione gave a subtle nod, and then, with a fierce expression on her face, managed to undo whatever spell of panic Ron was in and lead him out of the classroom.

Harry didn’t watch them as they left, not with Riddle watching him as closely as he was. It was like he was trying to see beneath Harry’s skin, to uncover some sort of secret that he didn’t know.

What he was trying to find, to uncover, Harry didn’t know nor care.

Riddle could look all he fucking liked.

“Mr. Potter—“ Riddle began, voice so soft that Harry struggled to catch it. It wasn’t angry or upset. It wasn’t much of anything. It was empty, but it was still eerie enough to make the hair’s on the nape of Harry’s neck stand on end.

“While I admire your passion on the subject, what you have said and done today, is—“

Harry couldn’t help his smirk when Riddle stopped talking, lifting his chin a little to stare at Riddle from beneath his nose. A gesture that said, no, screamed—

I dare you.

I bloody dare you.

Whatever the circumstances, Harry was not afraid. Nothing Riddle said could scare him, nothing that he did could make him take his words back. Riddle had lost all of his respect, his goodwill. There was nothing Riddle could possibly do to him now that would make a bloody difference.

Detention?

Expulsion?

While detention was definitely a tool in Riddle’s arsenal, Harry’s behaviour wasn’t enough to justify expulsion. Dumbledore wouldn’t allow it, and in fact, Harry was certain, Dumbledore might even praise him for his defiance.

“The audacity Mr. Potter, to accuse me of being accepting of dark magic, to derail my class with your ridiculous tantrum—“

Harry laughed, unable to help it when Riddle’s expression turned lethal, when Riddle crossed the room to loom over Harry like some sort of angry ghost from across his desk. Harry had never considered Riddle the type to throw fists, but with the look he was sporting, Harry had half a mind to prepare himself for an all-out brawl.

“If given the chance, I’d do it again,” Harry said, and Riddle froze, all the anger draining out of him leaving behind an expressionless mask. “Hogwarts has no place for dark wizards…sir.”

It was miraculous just how fast Professor Riddle switched from one emotion to the next. It made one wonder just how sane he was, if one could even call Riddle sane at all for spouting the nonsense he’d had in class.

“Seventy-five points from Gryffindor and a month’s detention, Potter.”

Harry didn’t flinch, already expecting that. His entire house was going to kill him, but it couldn’t be helped. Actions had consequences, and although he would have preferred getting out of this unscathed, that was not going to be possible after what he’d said.

Oh well.

Riddle didn’t say anything more for some time, his gaze burning into Harry’s eyes.  It was uncomfortable, to say the least, but Harry did not blink. He didn’t want to miss a thing even though his eyes were starting to water.

“Listen well, Harry—

The sound of his name coming from that mouth was enough to make Harry’s skin crawl.

“For someone that is so quick to accuse others of being a dark wizard, I find it curious that you would choose to submit yourself to detention with the very wizard you are accusing of condoning dark magic.”

Harry’s blood ran cold, shock enough to drain away all the burning righteous indignation swimming in his gut. Riddle’s lips had into a saccharine smile and—

Those eyes.

They were lit with something Harry couldn’t identify, something he couldn’t place. All that he knew was that it was wrong somehow, that it was—

No, Harry tried to shake off the unease. He’s only trying to scare you.

Harry squared his shoulders, fighting down the wave of unease murmuring in the back of his mind to turn away and run.

“It’s not very intelligent of you, Harry,” Riddle purred and Harry blanched, unsure of how to respond when Riddle’s face changed again, something mischievous now gracing his features. “But I suppose, that is what others find so endearing about you. This recklessness.”

Harry’s throat caught, a burn he didn’t want to acknowledge blooming across his cheeks. How did he even begin responding to that?

“I’d be careful if I were you. Someone might just find you too endearing, and—“ Riddle’s lips were curled into a strange smile, one Harry had never seen on his professor’s face before. Harry tried to swallow down his discomfort, to not take a step back when Riddle tilted his head to one side, observing him from beneath his lashes.

What the fuck?

What the fuck?

“Never you mind, Harry. You’re free to go.”

Riddle waved his hand, and it was like Harry could breathe again, had been snapped out of his unwanted and unexpected stupor for a moment to take a step back and reach for his moleskin bag.

The moment was over as quickly as it had come.

What the fuck was that all about?

Harry couldn’t even begin to answer that question, to sort through this own confusing thoughts. Even after he’d left the classroom, rushing through the halls all the way to Gryffindor Tower at a much faster pace than he would have liked, he was at a loss.

It was obvious Riddle had been upset. That couldn’t have been more clear, but—

But I suppose, that is what others find so endearing about you. This recklessness.

It was almost as though he were paying Harry a compliment, and that was wrong on so many levels that Harry didn’t even want to consider it. Riddle didn’t pay compliments like that. Especially not after what Harry had said, had done, in the middle of class.

What the fuck?

Harry wasn’t looking forward to detention.

[crowdvscritic]

round up // NOVEMBER 20

Hi, I’m tired. Actually, my friend Celeste created a piece of art that puts the emphasis needed on that sentiment:

I’m very tired. November felt like it was three years and also felt like it went by in a blink and also I’m not sure where October ended and November began—how does time work like that? (I’ve yet to see Tenet, but maybe that will explain it.) But like Michael Scott, somehow I manage, and lately it’s been like this:

Late-night Etsy scrolling. Browsing beautiful, non-big-box-store artwork is very calming just before I go to bed. I’d recommend Etsy stores like Celeste’s chr paperie shop, which I know from experience is full of great Christmas gift ideas. 

Taking a day off of work to do laundry. I’m not sure if it’s more #adulting that I did that or that I was excited to do that.

Eating Ghiradelli chocolate chips straight from the bag. I actually don’t recommend this as a healthy option, but this is also not a health blog.

Watching lots and lots of ‘80s movies. One day I’ll ask a therapist why this decade of films is so comforting for me despite its many flaws, but for now I’m just rolling with it.

Reading. Have you heard of this? It’s a form of entertainment but doesn’t require screens—wild!

Memes. All good Pippin “Fool of a” Took jokes are welcome here.

Leaning into the Christmas spirit by ordering that Starbucks peppermint mocha, making plans to watch everything in that TCM Christmas book I haven’t seen, and keeping the lights on my hot pink tinsel tree on all day as I work from home.

This month’s Round Up is full of stuff that made me smile and stuff that sucked me into its world—I think they’ll do the same for you, too.

November Crowd-Pleasers

Sister Act (1992)

If in four years you aren’t in an emotional state to watch election results roll in, I recommend watching Whoopi Goldberg pretend to be a nun for 100 minutes. (Though, incidentally, if you want to watch that clip edited to specifically depict how the results came in this year, you’ll need to watch Sister Act 2.) This musical-comedy is about as feel-good as it gets, meaning there’s no reason you should wait four more years to watch it. Crowd: 9/10 // Critic: 7.5/10

Nevada Memes

Speaking of election results, Nevada memes. That’s it—that’s the tweet. Vulture has a round up of some of the best.

SNL Round Up

Laugh and enjoy!

“Cinema Classics: The Birds” (4605 with John Mulaney)

“Uncle Ben” (4606 with Dave Chappelle)

RoboCop (1987)

I’m not surprised I liked RoboCop, but I am surprised at why I liked RoboCop. Not only is this a boss action blockbuster, it’s an investigation into consumerism and the commodification of the human body. It’s also a critique of institutions that treat crime like statistics instead of actions done by people that impact people. That said, it’s also movie about a guy who’s fused with a robot and melts another guy’s face off with toxic sludge, so there’s a reason I’m not listing this under the Critic section. Crowd: 9/10 // Critic: 8/10

Double Feature – ‘80s Comedies: National Lampoon’s Vacation (1983) + Major League (1989)

The ‘80s-palooza is in full swing! In Vacation (Crowd: 9.5/10 // Critic: 8/10), Chevy Chase just wants to spend time with his family on a vacation to Wally World, but wouldn’t you know it, Murphy’s Law kicks into gear as soon as the Griswold family shifts from out of Park. The brilliance of the movie is that every one of these terrible things is plausible, but the Griswolds create the biggest problems themselves. In Major League (Crowd: 8.5/10 // Critic: 6.5/10), Tom Berenger, Charlie Sheen, and Wesley Snipes are Cleveland’s last hope for a winning baseball team. Like the Griswolds, mishaps and hijinks ensue in their attempt to prevent their greedy owner from moving the Indians to Miami, but the real win is this movie totally gets baseball fans. Like most ‘80s movies, not everything in this pair has aged well, but they brought some laughs when I needed them most.

This Time Next Year by Sophie Cousens (2020)

They’re born a minute apart in the same hospital, but they don’t meet until their 30th birthday on New Year’s Day. So, yes, it’s a little bit Serendipity, and it’s a little bit sappy, but those are both marks in this book’s favor. This Time Next Year is a time-hopping rom-com with lots of almost-meet-cutes that will have you laughing, believing in romantic twists of fate, and finding hope for the new year.

Double Feature – ‘80s Angsty Teens: Teen Wolf (1985) + Uncle Buck (1989)

In the ‘80s, Hollywood finally understood the angsty teen, and this pair of comedies isn’t interested in the melodrama earlier movies like Rebel Without a Cause were depicting. (I’d recommend Rebel, but not if you want to look back on your teen years with any sense of humor.) In Teen Wolf (Crowd: 8/10 // Critic: 5/10), Michael J. Fox discovers he’s a werewolf.one that looks more like the kid in Jumanji than any other portrayal of a werewolf you’ve seen. It’s a plot so ‘80s and so bizarre you won’t believe this movie was greenlit.

In Uncle Buck (Crowd: 8/10 // Critic: 7.5/10), John Candy is attempting to connect with the nieces and nephew he hasn’t seen in years, including one moody high schooler. (Plus, baby Gaby Hoffman and pre-Home Alone Macauley Culkin!) This is my second pick from one of my all-time fave filmmakers, John Hughes (along with National Lampoon’s Vacation, above), and it’s one more entry that balances heart and humor in a way only he could do. You can see where I rank this movie in Hughes’s pantheon on Letterboxd.

Lord of the Rings memes

This month on SO IT’S A SHOW?, Kyla and I revisited The Lord of the Rings, a trilogy we love almost as much as we love Gilmore Girls. You can listen to our episode about the series on your fave podcast app, and you can laugh through hundreds of memes like I did for “research” on Twitter.

Nothing to See Here by Kevin Wilson (2019)

Most adults are afraid of children’s temper tantrums, but can you imagine how terrified you’d be if they caught on fire in their fits of rage? That’s the premise of this novel, which begins when an aimless twentysomething becomes the nanny of a Tennessee politician’s twins who burst into flames when they get emotional. The book is filled with laugh-out-loud moments but never leaves behind the human emotion you need to make a magical realistic story.

An Officer and a Gentlemen (1982)

Speaking of aimless twentysomethings and emotion, feel free to laugh, cry, and swoon through this melodrama in the ‘80s canon. Richard Gere meanders his way into the Navy when he has nowhere else to go, and he tries to survive basic training, work through his family issues, and figure out his future as he also falls in love with Debra Winger. So, yeah, it’s a schamltzier version of Top Gun, but it’s schmaltz at its finest. Crowd: 8.5/10 // Critic: 7.5/10

November Critic Picks

Double Feature – ‘40s Amensia Romances: Random Harvest (1942) + The Ghost and Mrs. Muir (1947)

Speaking of schmaltz at its finest, let me share a few more titles fitting that description. In Random Harvest (Crowd: 8/10 // Critic: 8.5/10), Greer Garson falls in love with a veteran who can’t remember his life before he left for war. In The Ghost and Mrs. Muir (Crowd: 8.5/10 // Critic: 8.5/10), Gene Tierney discovers a ghost played by a crotchety Rex Harrison in her new home. Mild spoiler: Both feature amnesiac plot developments, and while amnesia has become a cliché in the long history of romance films, Harvest is moving enough and Mr. Muir is charming enough that you won’t roll your eyes. You can see these and more romances complicated by forced forgetfulness in this Letterboxd round up.

The African Queen (1951)

It’s Humphrey Bogart and Katharine Hepburn directed by John Huston—I mean, I don’t feel like I need to explain why this is a winner. Bogart (in his Oscar-winning role) and Hepburn star in a two-hander script, dominating the screen time except for a select few scenes with supporting cast. The pair fight for survival while cruising on a small boat called The African Queen during World War I (in Africa, natch), and the two make this small story feel grand and epic. Crowd: 8.5/10 // Critic: 9/10

Kind Hearts and Coronets (1949)

A young man’s (Dennis Price) mother is disowned from their wealthy family because she marries for love. After her death, he seeks vengeance by killing all of the family members ahead of him in line to be the Duke D'Ascoyne. The twist? All of his victims are played by Sir Alec Guinness! Almost every character in this black comedy is a terrible person, so you won’t be too sorry to see them go—you can just enjoy the creative “accidents” he stages and stay in suspense on whether our “hero” gets his comeuppance. Crowd: 8/10 // Critic: 8.5/10

Bluebeard’s Eighth Wife (1937)

What would you do if you found out you were to be someone’s eighth wife? Well, it’s probably not what Claudette Colbert does in this screwball comedy that reminds me a bit of Love Crazy. This isn’t the first time I’ve recommended Colbert, Gary Cooper, or Ernst Lubitsch films, so it’s no surprise these stars and this director can make magic together in this hilarious battle of the wills. Crowd: 9/10 // Critic: 8.5/10

The Red Shoes (1948)

I love stories about the competition between your life and your art, and The Red Shoes makes that competition literal. Moira Shearer plays a ballerina who feels life is meaningless without dancing—then she falls in love. That’s an oversimplification of a rich character study and some of the most beautiful ballet on film, but I can’t do it justice in a short paragraph. Just watch (perhaps while you’re putting up your hot pink tinsel tree?) and soak in all the goodness. Crowd: 8/10 // Critic: 10/10

The Third Man (1949)

Everybody loves to talk about Citizen Kane, and with the release of Mank on Netflix, it’s newsworthy again. But don’t miss this other ‘40s team up of Joseph Cotten and Orson Welles. Cotten is a writer digging for the truth of his friend’s (Welles) death in a mysterious car accident. Eyewitness accounts differ on what happened, and who was the third man at the scene only one witness remembers? 71 years later, this movie is still tense, and this actor pairing is still electric. Crowd: 8.5/10 // Critic: 9/10

The Untouchables (1987)

At the end of October, we lost Sean Connery. I looked back on his career first by writing a remembrance for ZekeFilm and then by watching The Untouchables. (In a perfect world I would’ve reversed that order, but c’est la vie.) In my last selection from the ‘80s, Connery and Kevin Costner attempt to convict Robert De Niro’s Al Capone of anything that will stick and end his reign of crime in Chicago. Directed by Brian De Palma and set to an Ennio Morricone soundtrack, this film is both an exciting action flick and an artistic achievement that we literally discussed in one of my college film classes. Connery won his Oscar, and K. Cos is giving one of the best of his career, too. Crowd: 9/10 // Critic: 9.5/10

Remember the Night (1940)

Fred MacMurray and Barbara Stanwyck in my favorite team up yet! Double Indemnity may be the bona fide classic in the canon, but this Christmas story—with MacMurray as a district attorney prosecuting shoplifter Stanwyck— is a charmer. I’ve added it to my list of must-watch Christmas movies—watch for some holiday cheer and rom-com feels. Crowd: 8.5/10 // Critic: 8.5/10

Photo credits: chr paperie. Books my own. All others IMDb.com.

[popwasabi]

Why I don’t give a fuck about canon

Recently, after randomly coming across some dope pictures of Transformer toys on Instagram that gave me a strong case of nostalgia, I was inspired to revisit an old childhood favorite in “Beast Wars.”

“Beast Wars,” in case you never watched or heard of it as a kid, is the continuation of the Transformer’s story set in the future as descendants of the Auotobots and Decepticons, the Maximals and Predacons, respectively, accidentally travel to prehistoric Earth to continue a centuries long battle between the two opposing factions.

There’s a lot of to digest there, so I’m not going to go into extreme detail over the plot, but the cast features colorful characters such as Optimus Primal, Cheetor, Rattrap, Dinobot and Megatron to name a few. They all have interesting and distinct personalities and generally play well off each other. It was a big part of my childhood and I collected an ungodly amount of their toys back in the day.

(This was my first ever Beast Wars toy and I think it’s beautiful.)

My rewatch though was…a mixed bag to say the least. The graphics have not aged well. The adventure of the week setup of the plot was repetitive and lacked real character development at times. There were characters that were added in last minute to the show clearly to promote a new action figure over the story on numerous occasions. Though I found the humor to still be pretty good, the action was stale and just lacked high stakes most of the time, save for a few episodes.

I was not shocked it didn’t land terribly well on my rewatch but you know what did? “Beast Machines!”

“Beast Machines” was the follow-up to Beast Wars that had the Maximals fighting on Cybertron where Megatron has taken control of the whole planet using a virus that changes Transformers into mindless drones to do his bidding. The remaining Maximals manage to survive however after Optimus discovers The Oracle which reformats them into animal robot hybrids that are both mechanical and biological. This sets them on a quest to stop Megatron and bring biological and mechanical balance to Cybertron once and for all.

The series is much more narrative based than the previous as it follows a steady trajectory to its epic conclusion. The animation is much sharper, and the soundtrack is fun as hell to listen to still. The pacing is much faster as the stakes couldn’t be higher for the Maximals and all the old characters from the previous grow in interesting ways and develop into more organic people (literally in some ways). Optimus is a more hardcore and emotionally damaged leader and Megatron goes from being something of a punchline in the previous series to a far more menacing and calculating nemesis. The story touches on themes of balance, authoritarianism, PTSD, love and reunion to name a few and for a kids’ show it is, dare I say…more than meets the eye.

I absolutely loved it as a kid and I might actually love it even more as an adult, so it was shocking for me, to say the least, when I read further into the history of the show, that a lot of fans straight up rejected it back in the day.

Common complaints I came across were they didn’t like how characters, such as Ratrap especially, “changed.” They didn’t like the new bio/mechanical Maximals and couldn’t believe that Cybertron was once an organic world.

Their big reason (in just about every forum and video I saw about it)? It didn’t adhere to “canon.”

Now, I’ll start this by saying there is no objective way to critique or even not critique a story. People can like or hate something for a variety of reasons that don’t follow a strict logical pattern. Gods know I have a few questionable/divisive favorites in my catalogue that I have written about here that are based on abstract ideas and personal experiences.

(The Matrix Reloaded is still great btw)

But I will say, if you judge a mega franchise’s latest entry on how well it is supported by established canon it is, in my opinion, a flawed way to critique a work of fiction.

Canon, sometimes referred to as “lore” by fans, is most often applied and used to describe the long running back stories of franchises that stretch beyond just the main books, movies or series, or even the original narrative of the plot. Star Wars, Star Trek, Lord of the Rings, and to a certain extent Harry Potter, all fall into this camp of series with so many interconnected parts, with more than one main character featured in each, that fans follow along this canon like ancient monks studying scripture and history books.

And they can be just as fanatical and over zealous about it.

(I wish they were more fanatical about proper hygiene or at least deodorant...)

My problem with the ways fans often view canon is that their conceptions of what a new story should be is based entirely on the past rather than what is happening right now with the story and what themes the writer is trying express with it this time. 

They base their impressions of the story on external continuity more than the internal continuity.

Yea, the changes in a series like “Beast Machines” are jarring to say the least. Cybertron was formally an organic world like Earth? Rattrap doesn’t have confidence in himself and actually at one point sells out his comrades? Transformers can be biological now? It’s a lot to take in but when watching the story play out it’s not like these elements aren’t explained through the text of the new story.

Cybertron lost balance between its robot inhabitants and its biological life forms and its why it’s out of balance now, and Megatron is the logical progression of that inbalance. Rattrap is struggling to understand his new form, half his friends on the Maximals have been turned into drones, and the remaining team out loud say they don’t have confidence in him. He has PTSD from both the events of this story and the Beast Wars and feels insecure because of how others view him and that’s perfectly logical to not just the story but also the canon. If a fan is willing to give a story a chance they will see that the canon hasn’t actually been destroyed in much of any way and the logical progression is actually there if they simply listen to what’s going on.

(Seriously, it’s not that deep.)

Fans need to stop confusing a character achieving a franchise long arc with being “suddenly different.” In this way, criticisms of canon in new entries in long running series reveal that fans really just lack imagination to connect the dots. It would be like complaining that Luke Skywalker can’t become paranoid and make a grave mistake in judgment because people never change, nevermind the character already has changed a lot from his origins in “A New Hope” to where he was in “Return of the Jedi.”

(Oh wait, people did do that…)

But that’s not to say you have to like the new direction either. You can understand these changes and still be like “well, it’s not for me. I don’t care for a PSTD angle or a new origin for Cybertron,” but that’s whole lot different than saying the new series “rapes your childhood” or “Bastardizes the canon.” All the old canon you hold nostalgia for still exists. My love for “Beast Machines” is not harmed by the existence of newer Transformers properties that don’t meet what I look for in the series.

Too often, fans take changes to established “lore” very personally because it doesn’t fit their expectations or have the same nostalgic feelings they had before. When new entries in mega franchises occur fans often try to judge it by how much it is like what they watched before, rather what makes it different and what it is saying now. Again, you don’t have to like new directions in tone or character but consistency to established work DOES NOT equal good storytelling.

I have not been immune to this myself in the past, of course. Back in the day I wrote a 2500-plus word diatribe on “The Amazing Spider-man 2” that mostly went after how it changed the character I grew up with in a bad way and butchered the established back story I knew him by.

You know what other story doesn’t follow canon very well though? “Spider-man: Homecoming.”

(Now, hear me out...)

Spider-man in the MCU is generally agreed upon to be a good thing by fans. Both movies were big hits both critically and financially and fans often go as far as to say Tom Holland is the “definitive” Peter Parker. 

But Holland’s Spider-man differs quite a bit from the comic-book webslinger. This Spider-man does not have a spidey sense. His best friend is not Harry Osbourne but in fact a retcon of a Mile Morales character. His father figure is Tony Stark, something that never happened in the comics, instead of Uncle Ben, which no matter what way you spin it is arguably his most important relationship in the series.

His character is a reverse of traditional Peter Parker too. Where comics Peter is a reluctant hero, who if anything hates being Spider-man and the burden of his responsibility, “Homecoming” Spider-man actively seeks out responsibility and in many ways enjoys his role as the famous webslinger. In fact, his whole arc is about him earning a spot as an Avenger. He wants to be THE hero and be worthy of it. It’s completely different from what we know of Spider-man.

(He just wants Tony sempai to notice him uWu)

Now I know some fans actually do complain about this Spidey from a “canon” standpoint, but most don’t. So why did this Spider-man get a pass for many but not “The Amazing” one? Quite simply it’s because stories, as cheesy as it sounds, are about feelings and stories like “Homecoming” tell a good story that effectively make those feelings connect with the audience.

We root for this Peter Parker and his journey to becoming an Avenger and successor to Iron Man because the story is told well, the emotions feel earned, and frankly both films are fun and enjoyable.

It’s easy to complain about canon for many nerds because it’s something tangible that they can point to and make a big stink about when they don’t understand why a movie isn’t reaching them. I don’t doubt that many neckbeards genuinely hate a film like “The Last Jedi” (Hell, I’m not a big fan myself) but when those same nerds enjoy something like “The Mandalorian,” a series that has its own loose relationship with canon and establishing new rules in the series, it tells me it’s not about the “lore” to them.

(Easy, fanboys...)

I have come to understand, in my growth as a nerd, that my problems with a lot of movies and TV shows in my favorite series rarely, if ever, have anything to do with the story not meeting some arbitrary guidelines regarding canon. It has more to with the story simply not connecting with me emotionally. The story isn’t drawing me in and keeping me on its narrative path. I’m not feeling the same magic that someone else might feel enjoying it because either a) it doesn’t feel earned to me or b) it just stylistically isn’t for me.

To paraphrase a line from another mega franchise, also owned by Disney, the canon is more like guidelines than actual rules.

(Didn’t expect to see ol’ Barbosa in this write up, did ye?)

It can show you where a story comes from but it isn’t law that you strictly adhere to it. Of course, when writing a new work in a popular series you should consider what came before it but I would like writer’s the freedom to try something new and most importantly fans to be open to it. You don’t have to like it but the idea that new entries in a story MUST remain strict to the canon is bull shit. Not even the original Star Wars trilogy adhered to its own canon perfectly, as clearly the writers were in fact making it up to a certain extent as they were going along.

(hmmmm...)

And that’s ok, because some of those changes were great! Made the story better and made the conclusion stronger.

Again, you don’t have to like every new entry that tries something bold or confrontational in your favorite franchise but if writers strictly followed canon to the T we wouldn’t have things like “Homecoming,” we wouldn’t have “The Mandalorian,” and we certainly wouldn’t have my favorite Transformers series “Beast Machines.”

Canon shouldn’t be a trap for writers and it shouldn’t be a litmus test for fans digesting it. There are so many better ways to judge a story than whether or not it fits neatly into established lore. A good story is a good story, regardless of whether or not it’s supported by something as static as canon.

“Beast Machines” has its flaws here and there, but canon isn’t one of them, at least not for me. Again, if you feel that the lore is important, that’s fine, you don’t have to ignore it but I would ask you to look beyond what came before when critiquing a new story.

Otherwise, you might miss something special that comes next…

Now then... 

[dorigvbcorvis]

The French Horn

A Second Season Glee Story

CHAPTER 3: THE SECRETS WE KEEP - FROM OURSELVES IF NECESSARY

The Muse behind this story is Kurt’s French Horn tee-shirt.  Seen here in ‘The Power of Madonna’ it was also worn in ‘Grilled Cheesus’ - My head Canon since seeing Kurt wear the shirt twice is that Kurt had once played the horn. This is a story that addresses why Kurt quit playing

NOTES:

Since originally this chapter had graphic depictions of high school bullying and the use of homophobic slurs I felt that this might be too sensitive and/or could be a trigger for some and for this reason I split the chapter into three pieces CHAPTER 4 will post likely to my Live Journal or possibly A03 

CHAPTER 1

CHAPTER 2

CHAPTER 3: The Secrets We Keep…From Ourselves If Necessary

Kurt felt his world starting to fold in on itself the moment he stepped outside Dr. Thompson’s office. His hand went to his chest as it tightened - Each step he felt his body become increasingly shaky- more clammy, his legs were like lead, and yet chief among these growing concerns for the epicene young man was the fact that the perspiration dripping from his forehead was now leaching product down his face. For him it was the worst; it meant he had to fight like mad the urge to wipe away the whole mess from his eyes with his sleeve of his wool-blend blazer - If he was in his father’s garage in his work coveralls this would be no problem….

But here at Dalton he still needed his uniform one more day as it was midday Thursday. Oh great! he said literally dripping now - He knew he had to find something to wipe the mess away - but he had nothing, not even a pocket square.

Everything was spearheading into a perfect storm and like added water Kurt had come to an icy cold realization that the last time he felt this badly it was just after learning Korofsky had won his appeal and was returning to McKinley. Kurt knew it made little sense to believe Korofski was behind his current malaise - For one the guy would never drive two hours out his way just to seek him out when it was more likely the guy would have just move on to another target. Deep down It was Kurt’s personal hope that somewhere in the whole f***ed up mess that Korofski had just found peace with himself - So where did that put him? 

Stalled…stalled by what?  fear? Then if fear, what was he was afraid of? And just like that he was back to square one trying to figure it all out.

Shit, Kurt uttered finally wiping the mix of sweat and hair product away with the sleeve of his blazer He had to - It had gotten that bad.

As much as fear made sense to Kurt he quickly ruled this out with the reasoning that fear was something he should have had before meeting with Dr. Thompson not afterwards. Yet looking back at Thompson’s closed office door Kurt knew Thompson was the only thing different in his routine - So what was it about him?

Maybe it was it bringing up his mother’s death and because of this having to stay back a year when he was in the third grade…

‘No, no,’ Kurt shook his head: ruling this out. It couldn’t be this. There had been countless times he had shared how he didn’t have a mom - and sure this often bought back heart ache and tears - He could not recall a time this ever make him feel this physically ill.

Kurt’s head started to swim with racing thoughts he didn’t want. If he were at home right about he was sure nothing at all would be stopping him from numbing his thoughts with alcohol – His Aunt Mildred’s variation on a Tom Collins that entailed mixing champagne with gin came to mind. “Except news-flash Kurt,” Kurt made a harsh point to informed himself. “You only just came off probation…Something like getting drunk at Dalton is not just dumb but you’ll surely get yourself put back on probation or worse get yourself expelled.’ This self-admonishing only made things worse and he still wasn’t any closer to knowing what it was exactly that was making him he feel like crap and he was running out of ideas.

The only thing Kurt knew looking at his watch was that the lunch hour had almost slipped away completely without him eating a thing. This revelation made Kurt giggled with a sad laugh - ‘Was is it really that simple? Was this only because he had skipped a meal?’ He of course remembered when he and Mercedes were in The Cheerios and how Mercedes face planted in the middle of the cafeteria’s from not eating. Low blood sugar now seemed plausible and it had a lot of the same symptoms. This was enough to point his feet in the direction of the cafeteria in hopes that this late the dining hall would still be open. Kurt quickened his steps fearing this would indeed be the case.

Just as he expected- Only the cleaning crew was in the hall. Gone was everyone else. He walked past a crew bussing tables with what dishes still remained on his way to the cafeteria itself only to find the cleaning crew had already switch off the heated buffet tables and removed the food trays leaving nothing but lukewarm baths of water. Even the salad bar had been gutted…but what really sucked was The desert case had been completely emptied out he could have totally gone for comfort-food in the wondrous baked pastry form.

“I’m not going to catch a break am I?” It was a loud enough statement for him to start to fume.  That was until one of the headphone wearing cleanup workers stopped and pointed out the three tiered basket display at the end of the counter.

 “Thanks,” Kurt said to the worker

The worker only nodded and rolled his mop bucket out of Kurt’s way

 The worker was right - It hadn’t been cleared out yet. Five weeks of being at Dalton Kurt knew Sandwiches had always been placed in the bottom basket, chips and pretzels in middle basket, and fruit in the top basket. ‘It would have to do,’ He told himself as he rifled through saran wrapped sandwiches Only here too he found his run of bad luck had continued because every last one of them was Ham and Cheese sandwich - Kurt uttered an Ugg tossing back the of the lot he has looked at - He absolutely loathed processed deli ham he found it too salty and that emulsified gelatin sort of grossed him out. If it was to be ham he preferred a slow cooked ham leg that had been properly cloved or pork tenderloin medallions glazed in a sesame ginger sauce and then that had been grilled to perfection …and then he would not ever add cheese.  His stomach growled thinking of food but he didn’t seem to be catching any luck.

He knew it was his own damn fault He should have eaten first and then gone to see Thompson - ‘actually,’ Kurt thought internally correcting himself - ‘He shouldn’t have gone to see Thompson at all - That way he never would have spilled the beans and made himself feel like crap now…Now was that really what was wrong?’

‘Oh crap,’ He knew now. While it bothered him that any additional meeting with Thompson he would end up letting the man know everything - What was really bothering him; the brass tacks of it all, was the risk of his dad finding out all the things he kept from him. It would kill him.  Suddenly Kurt wasn’t hungry anymore he tossed back the bag of sun chips before picking it up again plus an apple from the top basket.  Kurt knew it would be six hours until dinner service.

Kurt quickly departed the food area to find a seat the worker with his mop moved in behind Kurt to mop the floors like they had been only waiting for him to leave.

Kurt tried not to let this too bother him the guy after all pointed out the chips….but the thin irony of it all was feeling like every last thing in the world was eating at him while he went without anything to eat himself.

Kurt was just about to sink his teeth into his apple when he heard Blaine call out for him. And as much as he was secretly crushing hard on the black haired boy with the killer tenor voice the last thing Kurt wanted was for Blaine to see him like this - So exposed, so vulnerable with his heart pounded in his chest like something was terribly-terribly wrong.  Blaine called to Kurt with a tone that was both happy and relieved to see him. “So it’s true -Trent said he saw you in here. I totally looked for you everywhere during lunch.”

“Except where I was,” Kurt blurted, before instantly regretted it. He didn’t know why he said it out loud. “I had to see Dr. Thompson.” Kurt now said, offering up the truth.

The explanation alone gave Blaine pause. He knew Dr. Thompson and how most at Dalton liked the man- It was just as well known how many emerged from his office in tears either because they had lost their scholarship or because they had to see Dr. Thompson in the capacity of the school’s psychologist…given his own bout with the man and how similar Kurt’s situation mirrored his own it was much too likely this was how it was with Kurt now but it wasn’t until Blaine actually looked at Kurt did his happy go lucky demeanor change… “My God, are you alright? - It looks like you’ve been crying “

“It’s nothing,” Kurt said defensively blowing off the question.

Blaine wasn’t about to buy Kurt’s write-off noting how he could “Totally see your eyes”

Caught Kurt was back peddling “What I meant was, I don’t want to talk about it and I kind-of want to be alone right now” this much was true.

Blaine frowns… ”Fine,” he says, after a beat of feeling stunned.  But then he adds “But let me at least tell you why I was looking for you.”

All Kurt had to do was look at Blaine sitting in front of him hazel eyes looking like a lost puppy for him to cave. “Okay - You win. Why were you looking for me?”

“I got comp tickets for my King’s Island gig - Dad called right after our duet in the Commons Room - He has to fly to New York on business so he can’t go.” Blaine sets a King’s Island admissions ticket down on the table and pushed it towards Kurt - It’s yours if you want it” then he adds with a high brow flourish Call it a Thank You for our practice session last night” Blaine returns back to common speech for the details “The plan is Mom is gonna pick me up Friday to drive me there. We’ll probably stay a couple nights in Cincinnati and come back on Sunday”

Kurt silently cursed the rotten timing of how in a heartbeat he would go see Blaine and spending two nights in a hotel with Blaine? …In the same room?  Kurt was kicking himself. “I-I cant,”‘ Kurt said, biting his tongue in protest. “Friday is dinner night - I also have these damn papers my dad needs to sign.”

“What are those?” Blaine asked, suddenly taking notice of the stack of papers sitting on the table next to Kurt’s arm.

“One is for a test I need to take…” Kurt trails off “The others…” Kirk’s voice breaks and wavers as he starts over… “The others are because Thompson thinks I should see someone over what happened”

Blaine was nodding knowingly. “Yeah, he was like that with me last year…But he’s good. He’ll listen…But…you don’t want to hear that do you?” Blaine saw Kurt didn’t seem to be listening.

“It’s not that, not really - It’s complicated - It’s why I have to go home when I so much rather go with you and not have to bothered with this - It’s just horrible timing and rotten luck. And - I am sorry”

Blaine shook his head, Kurt’s apology wasn’t needed - He knew he would have no trouble finding another to go in Kurt’s place. It was that he was just as sorry it wouldn’t be Kurt joining him.. He also heard the hurt in Kurt’s voice so he knew it wasn’t out of personal choice.  It was why he hesitate to go any further talking about Thompson or his King’s Island gig - Instead the first words out of his mouth are only about the test. “Haven’t you taken enough tests? - I mean when I came here I didn’t have it anywhere near as bad as you had it” he looks again at the stack of papers and corrects himself saying: “….still have it”

“That’s because you came here as a sophomore” The voice seemed to come out of nowhere.  Both boys look up to see that Wes was now standing at the table’s edge. Wes was still talking “Kurt came here as a junior, and everybody here knows that’s the year they get you: SATs, Subject Tests, AP Exams….” Kurt’s eyes had widened hearing what still remained. Wes switches to a more personal note with Kurt and asks “Did everything go ok with Dr. Thompson?”

“Yeah, he just wanted me to take some cognitive test” Kurt answered, deliberately stopping short of repeating the bit about Thompson also wanting him to seek counseling..

“Very well. You boys need to finish up here and get to class.” Wes starts to walk away before turning back. Oh, and don’t forget we have a double practice meeting today.”

“Through dinner?” Kurt asks with the kind tone in his voice that would let anybody know he wouldn’t liking the answer if it was to be yes.

Blaine was already jumping to Kurt’s defense. “He’s kidding!” Blaine exclaimed, placing a comradic arm around Kurt’s neck like they both in were in sync while he emphatically added: “We’ll be there!”

Wes raised an eyebrow but he was also a perceptive young man, he knew enough to guess what was behind Kurt’s objection. With a shrug he said. “We’ll order pizza like we always do when our practice cuts through dinner”

It was just enough to make Kurt reply with a simple relieved “Oh?”

“Now you two should really get to class. The Warblers have a reputation to up hold.”

“What kind of test did you say?” Blaine asks wondering if he would be someday be taking the same test.

“It’s called the CogAt - Apparently I was supposed to have already taken it. But I never did. That’s Public Schools for you - gotta love that attention to detail.”

“You’re smart,” Blaine insists like it’s known statement of fact.. “You’ll probably ace it”

“I’m not that smart”

“Yeah, you kind-of are,” Blaine reaffirms with a warm smile that could melt butter. “It’s one of the things I like best about you.”

Kurt manages a halfway smile. He knew there was no ‘there’ yet between them but he loved it when Blaine flirted – It made him believe that one day there could be.

“Well, you heard the man,” Blaine said, standing up.

“Where to?” Kurt asked, also getting up out of his seat and placing his paperwork in his satchel along with his apple and unopened bag of chips.

“I have Algebra” Blaine answered, promptly. “You?”

“World History - I actually think today might be the day I am finally caught up with the class.”

“You’ve been working on that hard enough.”

Kurt pursed his lips - He wasn’t sure if what Blaine said was meant to be a jab or not.

Blaine was already sheepishly offering a correction. “What I meant to say is I hope whatever it is getting you down - I hope it passes”

Kurt drew a hard breath trying to hide his feelings he managed to nod.

The boys left the dining hall not saying much else. They proceeded down two long corridors to the section of Dalton where the classrooms were. Kurt watched Blaine turn down the maths wing “I’ll see you after class,” Blaine said, with one last look back. He then proceeded turning the door knob to his math class and walking in.

As the door closed Kurt suddenly knew he was never going to make it to history… He went straight to the nearest bathroom to throw up the contents of his stomach which under the circumstances wasn’t a whole lot. When he finally had stopped he washed his face. He looked up from the sink, to the mirror mounted above it not at all liking the young man in the mirror staring back at him. Not even a little.

Maybe it was because he was in a restroom - maybe it was because he was dripping with perspiration…or maybe simply after two years it was bound to resurface but standing there looking at himself in the mirror Kurt’s memories came flooding back and covering his face he began to sob.

The pee filled balloons didn’t end with him being chased off the football field - No, That was where it began - It started back up again after the jocks followed him into the same bathroom.

[princess-of-the-corner]

Like, obviously I hate how this all happened and the back and forth no progress thing with Chloé so here’s how I would’ve written Chloé’s redemption arc!!

Start off with Origins happening exactly how it did. Establish Chloé as your typical bully and have Marinette stand up to her.

However! Either in Origins or at some point in the first 5 episodes, have Adrien talk to her about her bully behavior, which is a side he hasn’t seen of her before. They go back and forth, Adrien trying to encourage her to be kinder, and Chloé resisting while making up excuses why she shouldn’t

Over the course of Season 1, have her continue like usual. Trying and failing to keep her power over the classmates. But every time she fails, she questions ‘why?’. She starts to realize that as easy as it is to be a jerk, the power that comes from it will be negated by all the friendship and standing up for one another.

This comes to a head in Antibug, where Ladybug doesn’t even trust her. It hits too hard. Because Ladybug is her Hero, and Chloé has let her down. But by the end, Ladybug gives her a second chance, believes in who she could be.

Antibug is the turning point because there are only two people in her life she’s looked up to, and wanted to be loved by. Ladybug is one, the other is her mother. However, so far, Ladybug is the one who has truly given her the opportunity.

Between encouragement from Adrien(and low-key encouragement from Marinette since she’s Ladybug), Season 2 begins with Chloé trying to be nicer.

However, due to her previous actions/reputation, any attempts to be nice are met with suspicion and sometimes outright hostility. Especially since this is a learning process, and she’s not always perfect. She’ll still sometimes insult without thinking, or word something incorrectly so it sounds like an insult. And she’ll definitely lose her temper in more than one ‘I’m trying to be nice you jerk!��� blowup.

After a while, she starts to get to the mindset she had in Malediktator. Thinking about perhaps transferring to another school, or out of the country even, to get a fresh start.

Then we have Style Queen. Audrey appearing in Chloé’s life again begins to cause a major relapse in her attempts to be nice. Because any time she does, her mother will berate her. And she starts to go back to ‘if I do what she says maybe she’ll at least remember my name’.

Much like in canon, Ladybug loses the Bee Miraculous, and Chloé finds it.

However, when her mother tells her ‘the only thing exceptional about you, is that you’re related to me’, Chloé doesn’t transform into Queen Bee.

Instead, this is another Turning Point. She realizes nothing she does will impress her mother, it’s all pointless. She kinda goes into breakdown mode. I’m saving the ‘she snaps at Audrey’ thing for Lady Luck, so for this I’m going for a ‘she runs off crying and isolates herself for a while’. Possibly she’s akumatized over this, but I want to give her a break.

Either way, there is no reconciliation with Audrey in this. Marinette does talk to Chloé, telling her she has another option: being nothing like her mother.

Next time there is an Akuma though, Queen Bee suddenly arrives on the scene. Ladybug and Chat Noir are suspicious, especially considering what happened with Volpina. However, the current Akuma doesn’t have the power to fake a hero, and Ladybug knows she lost the Bee.

Queen Bee is a bit awkward and clumsy, due to being very new at this. She’s also very attention hungry, and enjoys how many people quickly grow to love her. Despite being a newbie (Or a ‘New Bee’ as Chat calls her), she is ultimately helpful.

But when Ladybug asks her to hand over the Bee Miraculous, she refuses. Says it’s not fair. She can still help them.

When Ladybug starts to get more pushing with that demand, Queen Bee runs off. She manages to dodge Ladybug long enough and eventually looses her.

This happens again and again. Queen Bee shows up, Ladybug and Chat let her help out, but she manages to slip away before they can make her hand over the Bee.

Meanwhile, Chloé keeps up with the ‘being nicer’ thing. It’s still hard, but some of the classmates have realized she might be sincere. They start to let her in on things. Even then, other classmates are very much ‘she hasn’t changed and she won’t change, this is all a ploy to get something’.

Adrien is still encouraging and helpful. Marinette helps too, offering Chloé a place to get away from things. (And tbh, after seeing Audrey in action? Tom and Sabine are absolutely going for unofficial adoption.)

Pollen is also a big encouragement. She helps her Queen a lot, talks to her. The two quickly become best friends.

This all comes to a head in this version of Miraculer. When the Akuma shows up, Ladybug gets Rena Rouge and Carapace to help out. However, the real plan is for the four to track down Queen Bee when she tries to leave.

Between the four of them, they eventually corner her with only seconds left on her transformation. And when it finally drops, the other heroes have various reaction.

Chat is only mildly surprised. He low-key kinda wondered because Queen Bee felt very familiar to him.

Ladybug is quite a bit more surprised. A bit disappointed that Chloé had been doing it behind her back and all. But it makes sense given some of the things she’d been opening up about lately.

Carapace is mostly confused. Because Queen Bee acted very little like the Chloé he knows. (Nino had been fairly neutral on Chloé’s actions in class)

Rena is actually very pissed, but because she assumes to know Chloé’s motive. (Alya had been on the side of classmates who felt that Chloé wasn’t actually trying to be nicer)

Ladybug tells Chloé to return the Miraculous. She refuses.

Chat tries to reassure her. “I’m sure it’s only temporary. Next time we need a Hero, she’ll give it back so you can help out!”

Rena goes the other direction, accusing Chloé of stealing the Bee since ‘Ladybug would never give a Mirauclous to someone like you’.

Oh boy. Chloé retorts that she didn’t steal it, and even Ladybug admits that it was her own fault for losing the Miraculous. But Chloé needs to give it back now.

Chloé still refuses, and Rena gets mad at her again. Calling her selfish for trying to get attention as a Hero. ‘I wonder how much of that love would be taken away if they knew who was behind the mask’.

I know Rena seems overly mean here, but she was learning to love Queen Bee as a Hero and partner, despite the issue of ‘she needs to give her Miraculous back’. Finding out that Queen Bee is Chloé, she feels very tricked and betrayed by that.

Chloé snaps back, saying that sure, it was for attention, but she knows exactly how people would feel about Queen Bee if they knew it was her. But it was nice for a while. Because ‘Chloé’ being nice is met with suspicion and hostility. And that’s valid, since she was terrible. But ‘Queen Bee’ didn’t have that baggage. She was allowed to be nice, and heroic and all that other stuff without people wondering about her motive. People love Queen Bee.

She continues to say that she doesn’t care about that anymore. She’ll give up being a hero, stay out of fights, all of that. But she refuses to let them take Pollen away from her.

The four all pause and question that. She tells them that the Kwami has helped her through all of this. Her frustration of what’s going on at school could’ve easily made her give up, or worse be Akumatized over it.

Pollen is her friend, and she refuses to let anyone, even Ladybug herself, take her away.

That kind of gets through to everyone how serious she is. How much she’s trying. Rena feels like a jerk for, you know, hopping on the ‘suspicious and hostile’ train.

Ladybug makes a decision. For now, Chloé can keep the Bee. But she needs to discuss long-term what should happen. While Rena is more open to Chloé staying a Hero, she and Carapace feel like that’s a little unfair since they don’t get to keep their Miraculous. Ladybug agrees.

She goes to talk to Master Fu about the situation. Saying that she doesn’t want to take Pollen away from Chloé, and that both Alya and Nino should be able to keep their Miraculous. Fu agrees with her decisions.

Back in class, both Alya and Nino officially join the ‘Chloé is trying’ train. And if you think Chloé doesn’t know exactly why they had a change of heart, then you don’t give her enough credit.

I’m debating on doing the usual ‘Chloé figured out everyone’s identities’ thing. Because, you know, she knows Adrien too well, and after getting Pollen she realized the ‘toy’ Marinette had was a Kwami. And she figured out Alya when Rena was yelling at her, so naturally since Rena is dating Carapace that means he’s Nino.

If she mentions that she knows, she assumes that all four of them know each other’s identities, accidentally outing both Ladybug and Chat to Alya and Nino who are like ‘wait what?? We didn’t know that! And I’m pretty sure those two don’t know who the other is’. The three of them then get to enjoy the agony of the ‘Love Square’ together.

Chloé continues to get better. She still has a tough time, and does slip up a lot. But she has several friends to help her out now.

[recklessrex]

The prompt: 14 using Scar and Persi (it doesn't need to be canonically with ur fic, to avoid spoilers, I'm just curious to see them on different situations :]

“Can you explain why my phone is up there?”

The first thing Persimmian was aware of was that the sky was a rather pleasant shade of bright blue. A couple of puffy clouds here and there. Very pretty.

The second thing she was aware of was the warm, familiar weight at her side, tucked under her right arm. A quick instinctual mental assessment (thin, tall, scruffy fur, on the right he's always on the right) instantaneously identified it as her best friend Scaramouche.

The third thing she was aware of was that her left side was cold. No warm, familiar weight.

"Scar…"

The warm, familiar weight on her right shifted and settled. She wiggled her shoulder to nudge him awake.

"Scar."

"Hh?"

"Where's Crash?"

That got Scar's attention. He lifted his head. Seeing no silver spotted tom on his friend's other side, he propped himself up to look around.

"I gotta bettah question for ya," he said.

"Hnh?" grunted Persi, still staring at the pretty sky.

"Where da fuck are we?"

Persi peeled her eyes away from the pleasant blue sky and puffy clouds to take a look around. They were laying in some sort of small field behind what looked like a suburban neighborhood. Rows of rundown houses with small back gardens lined three sides of the field. The fourth side was bordered by a highway.

"Where the fuck are we?" she asked.

"S'what I'm askin' you" Scar answered, rising into a kneeling position.

"I know. I mean I don't know. Shit," Persi's mind raced. The sensation was almost comforting to her. It meant she was finally properly awake. Her thoughts were always going a mile a minute.

But none of her thoughts right now could tell her where they were or how they'd got there.

"What'd we do last night?" she wondered as she sat up.

"Well we still have all our clothes on, so we prolly di'n't fuck," said Scar, as if it were the most normal thing in the world to say. He was good at straight-faced teasing.

"Fuck off," Persi scolded softly, her mind elsewhere. She stood up and looked around some more. No sign of Crash. That's not good. Probably. She narrowed her eyes. Her ears went back. Her tail flicked back and forth, its long fur swaying.

Scar stood up next to her, eyeing his oldest friend. He knew what she looked like when she was thinking. It usually didn't take long. He looked around too, hoping to spot his other best friend laying in the grass some meters off, but no luck. Even with only one good eye he could tell they were alone in this field.

Persi could vaguely remember a party. She clung to that memory and worked to expand it. She's been there with Scar and Crash. Of course, that part was easy, they went everywhere together. The party had been mostly lame, but there had been booze. She remembered sitting on a sofa and laughing about something with the lads, beer in hand. She thinks it was beer. She didn't remember leaving.

"So what we doin', boss?" Scar's voice cut into her thoughts.

"We left the party without Crash, apparently," she said aloud, frowning. It didn't answer his question, but it was the thought she was having at that moment, and she knew what he really wanted was to hear her thoughts.

"Oh yeah, I remember, the party!" exclaimed Scar, snapping his fingers in triumph. Then he realized how the rest of that sentence went.

"Why da fuck would we do that?" he asked.

"I don't fuckin' know!" answered, frustrated and starting to worry. Scar was worried too, but Scar could shrug it off a lot easier. Sometimes it just pays to be calm about shit, even bad shit.

"Oi, Crash!" Persi called, hoping if he was in or near one of those houses he might hear her.

"Crashie!" echoed Scar "Where ya at?!" But they got no response.

"Maybe he like, was already passed out when we left or something," Scar thought aloud after a moment. It was the only thing he could think of that made sense.

"Ah yeah, maybe. I guess," agreed Persi. Then suddenly a thought came to her, one that should have come much sooner. Resisting the urge to smack herself in the face, she reached for her phone.

"Oi, where's my phone?!" she cried in alarm.

"I don't fuckin' know" shrugged Scar.

"You still got yours?"

He checked.

"Yeah."

"Call Crashie," ordered Persi.

Scar dialed Crash's number.

Ring

Ring

Ring

Oi, you've reached a badass. You know I'm badass cuz I'm Australian. Aw yeah! Leave a message!

That was a new one.

Scar hung up and opened the text messenger.

Crashie, dude, where you at?

He dialed again.

Ring

Ring

Ring

Oi, you've reached a badass. You know I'm ba-

Scar hung up. Shit.

"No luck?" Persi asked.

"Nothing," he said. "I texted him." Then he had a thought.

"Hang on I'ma try yours," he said.

They both listened close, but neither could hear Persi's ringtone within earshot.

After another attempt to call Crash, and a couple more unanswered texts, Persi decided they should head to one of the suburban streets bordering the field to get their bearings. As they walked, Scar kept trying Crash's and Persi's phones, and they both occasionally called out,

"Crash!"

"Yo Crashie!"

"Oi! Where are ya mate!"

No response.

It turned out they hadn't traveled far from the party. They didn't recognize the street they came to at the edge of the field, but a quick Google Maps of the street name put it just three blocks from the address of the party, which was still saved in Scar's phone.

They headed off in that direction, hoping to retrace their steps, and possibly even find Crash asleep on the sofa. When they reached the party, or rather where the party used to be, they let themselves in, and made a search of the premises. They properly started to panic when all they found was trash, empty booze containers, and drunk jerks passed out in various locations around the house, none of them an Aussie silver bengal named Crashendo.

The stench of drunk farts and stale booze was getting to Persi. Exiting the house to stand on the lawn she took a deep breath of semi-fresh air and tried to get a grip on her thoughts. She was out of ideas. They needed to find Crash. They needed some sort of plan. Dammit. She was a decision maker, a tactician. She thought on her feet. She didn't do plans. Crash is the planner, she thought forlornly.

Scar joined her on the lawn, phone in hand.

"Maybe we can at least find your phone," he said, his voice totally even, as if nothing was wrong. But his clenched jaw and anxious eyes told a different story. Persi was grateful for Scar's calm sensibility under pressure.

He may not be the most educated fella, but damn if he ain't the only one with a brain sometimes, she thought, allowing herself a small affectionate smirk at her friend before worry wiped it from her face again.

"I don't really give a fuck about that," she growled, "but go ahead." It was a lie. Worry was making her argumentative. She wasn't sure how finding her phone would help find Crashie, but Scar never had an idea that turned out to be useless. She trusted him.

He started to turn back into the house as he dialed, but something stopped him in his tracks.

Persi's ringtone.

From outside somewhere…

They both looked around them intently, ears twitching back and forth, trying to pinpoint the sound. It went to voicemail. Scar dialed again. It seemed to be coming from… above them?

They looked up. There, on the roof, tucked into a corner where the main roof met an alcove, laying next to two phones, asleep under the pretty blue sky and puffy clouds, was Crash.

"Oi!" called Persi, "Crash!"

"Crashie! Eyyy buddy!!"

"Crash! Wake up!"

"Ey!"

Persi picked up an empty beer can from the lawn and tossed it at her sleeping friend. He grunted and stirred, then sat up, looking thoroughly bewildered.

"Crashie!" shouted Persi.

"Persi!" echoed Crash, looking down to find where her voice was coming from, the confusion leaving his face instantly when he spotted his best friends.

"What's up?" he asked with a smile, and without a single trace of irony.

"You are, looks like," answered Scar, straight-faced.

Persi's worry had evaporated, to be replaced with intense irritation. How in the hell had he... No she didn't want to know. And how was Scar not even surprised?

She pinched the bridge of her snout where it met her eyes. If she was honest with herself, she shouldn't be surprised either. Why couldn't she have normal friends? She glared up at Crash.

"Can you explain why my phone is up there?” she inquired flatly.

"Boss, I can't explain why I'm up here," he answered as he collected both phones and stood up.

"Well den get da fuck down ya idiot!" laughed Scar.

"Get the fuck down 'ere!" growled Persi in agreement, her accent bleeding through in her frustration. "D'you have any idea wot we been through? Get your arse down 'ere!"

"Can't say that I do, boss," drawled Crash as he slid on his arse down to the edge of the roof, where he gracefully jumped off. And not-so-gracefully landed hard on his feet with a soft thud, forgetting to bend his knees to absorb the impact and nearly falling over.

"Ow," he muttered.

"Y'alright?" chorused Persi and Scar.

"Yea I'm good," said Crash, brushing imaginary dust from his wrinkled jumper. "So what've you two been up too?"

"Well first of all, we wake up in middle of a fuckin' field…"

Scar and Persi continued to fill Crash in on the morning's events as the three best friends started out for home. They quickly ran out of things to say as it turned out it hadn't been terribly eventful after all, just nerve-wracking, so they switched to other topics of conversation. On and on they walked, laughing and shoving each other and chatting about nothing in particular.

Persi put an arm around each of her friends, Scar on the right, Crash on the left, both warm, familiar weights against her sides. The sky was blue and pretty, and everything was right in the world.

[20cop]

around what years was everyone born? what are their timelines?

YE okay here’s what i have rn 

Brook: April 3, 1928 - born in The Bronx in NYC, mother died giving birth to him; his dad was hit pretty hard by the Depression so they started living with his dad’s friend Crocus Desrosier in the early 1930s. his dad joined the army in WWII to try to bring in a bigger paycheck for the family but was killed in the line of active duty around christmas of 1943. i don’t have much for brook beyond this point except that he pays his share of rent through music gigs. 

Franky: March 9, 1932 - born on the island of Molokai in Hawaii, he ran away from home, sailed across the ocean on a boat he built himself, and found Tom on the island of Oahu. Tom immediately adopted him into his family (Kokoro and Iceburg). Tom had a job for the Navy doing maintenance on the ships, and one morning in 1941, after trying to sneak on board at sunrise to help, Franky was caught in the Pearl Harbor bombing, taking away his nose and causing nerve damage in his legs. once Tom had a job secured (also for the Navy, working in a shipyard), the family moved from Hawaii to New York (i’m still working out the details of exactly how they move cross-country). Franky avoids Brook at first after moving into the apt below his, but one day after coming up to ask Brook to keep it down, they become fast friends. Some time after this, he meets Robin when her mother is killed in an “accident” which Tom is then blamed and executed for. 

Robin: February 6, 1938 - born in Ithaca (upstate New York), Robin grew up with her mother and had no friends because she was always bullied for her polydactyly and heterochromia. One day they travelled down to NYC so Robin’s mother could do some research, where she was killed in an “accident” orchestrated by the government agents there. Robin met Franky here, who tried to comfort her when he found out about her mother. Robin was sent back upstate to live with her terrible aunt and uncle, and developed suicidal ideation over the years. When she was older, she travelled down to NYC again to carry this out, but couldn’t bring herself to do it. Here, she meets Luffy (a child at this time), who talks with her until Franky comes by and brings her to his place so she has a place to sleep for the night. That’s mostly what I’ve got for her - she meets the others later and recovers emotionally at some point. 

Zoro: November 11, 1946 - born in either Washington or Canada, probably. Koshiro found him when he was like six years old. he had amnesia with no idea what his family name was (probably bc he was six) and no idea where he’d come from. Koshiro took him in and raised him along with Kuina in the countryside of northern Washington state (sort of west-central area). things proceeded much as they did in canon, with Kuina passing away due to an unfortunate fall and Koshiro teaching Zoro the art of swordsmanship. Zoro set out when he was a teenager to live on his own, and wound up utterly lost and somehow got to NYC, where he currently crashes wherever he can and makes a living as a bounty hunter. he met the others through the Baratie, and eventually discovered he had dyslexia (he didn’t know this before bc he was never taught to read or write; Koshiro just assumed he knew). he learned to read enough to get around town (if he had any sense of direction) and to read a menu at a restaurant. 

Sanji: March 2, 1947 - born in France. After running away from an abusive family (haven’t worked out the details yet lol i had this in mind before the whole backstory reveal), Sanji snuck aboard a ship to work in the kitchens. He was shipwrecked on an island in the Atlantic ocean with another survivor, Zeff, from Ireland. Sanji barely knew any English and Zeff only knew a little French, so communication was difficult, but they worked with what they had. Things proceeded much as they did in canon, and after they were rescued, they settled in NYC and opened up the Baratie. From there, Sanji learned English by picking it up from people around him, and Zeff taught him to read and write it. Sanji met the others through the Baratie in various ways: Luffy when he was stealing food, Brook when he was looking for a job, and so on. 

Nami: July 3, 1948 - b&r in southern California, adopted by Bellemere and raised along with her adopted sister Nojiko. Some time after her mother was killed by gang members (I guess???), Nami moved to NYC by herself and found it was more difficult than she’d thought to make a living. Tbh this is pretty much where I’m drawing a blank, I had an idea of her story before but I dunno if I wanna keep it that way, so I’ll come back to this at some point... 

Usopp: April 1, 1949 - born in Massachusetts, ended up raising himself when his mother passed away and his father was nowhere to be seen. Had few friends his age in town and played pretend to comfort himself, which resulted in DID when he was older. He moved to NYC as a young teen with his closest friend Merry with dreams of making it big, but ended up living on the streets with Merry when, like Nami, he found it was more difficult than he’d thought to survive when he wasn’t stealing food from the neighbors. 

Luffy: May 5, 1949 - b&r in NYC with his adopted brothers and foster mother, Dadan, and her cronies, bribed into taking care of them under threat of their drug racket being exposed by Luffy’s military grandfather. Luffy and his brothers pretty much grew up on the streets themselves and learned to take care of themselves there. I haven’t thought much about Luffy beyond this, and whether or not Sabo stays with them or not. If things proceeded like they did in canon, I was thinking maybe Luffy has to travel around the world to rescue Ace, but I haven’t thought about the details of that at all. 

Merry: May 2, 1950 - b&r in Massachusetts. Abandoned by parents after they found out their child was mute, and lived much as Usopp did, becoming close friends with him eventually. They moved to NYC with Usopp, but passed away, having always been a sickly child, just a couple years after. 

Chopper: December 24, 1950 - Adopted by Hiriluk and Kureha when he was seven. This is... about as far as I’ve thought about Chopper? He’s got a blue nose like in canon and he loves animals. Haven’t really thought about how he meets everyone else. 

[edharrisdaily]

What It Means to Stage To Kill a Mockingbird in 2019

The Broadway adaptation’s writer and star—Aaron Sorkin and Ed Harris, respectively—talk about updating and paying homage to Harper Lee’s American classic today. 

The first line of Aaron Sorkin’s stage adaptation of To Kill a Mockingbird is one of quiet confusion. “Something didn’t make sense,” Scout Finch tells the audience of the tale that’s about to unfold. Sorkin’s dramatization of Harper Lee’s novel, which opened on Broadway last December, is an unexpectedly probing work that refuses to let an American classic go unchallenged. Instead it stages two trials: One is from the book, where Scout’s attorney father Atticus Finch defends Tom Robinson, an African American man accused of rape in 1930s Alabama, and tries to combat the community’s entrenched racism.

In Sorkin’s play, the other trial is of Atticus’s own nobility, and how it doesn’t always square with his grander vision of justice. Though the adaptation broadly follows the narrative arc of Lee’s novel, it uses Scout, her brother Jem, and her friend Dill (all played by adult actors) to cast a wary eye over some of the book’s more idealistic details. That framing encourages the audience to ponder the limits of Atticus’s impulse to empathize even with vile racists like Bob Ewell, a man who’s trying to pin his own assault of his daughter Mayella on Tom. The play beefs up the relatively anonymous parts given to black characters in Lee’s work, gives Atticus’s kids a more argumentative nature, and sheds harsher light on the book’s somewhat pat ending.

The stage adaptation is nonetheless made with appreciation for Lee’s novel, and that mix of homage and update has translated into a family-friendly Broadway hit. The production, directed by Bartlett Sher, premiered last year with Jeff Daniels headlining a seasoned cast and has now turned over with Ed Harris in the lead role. I was fascinated by the prospect of Harris, who brings an edge to even his most warm-hearted roles, playing one of the most heralded characters in the American literary canon, and he didn’t disappoint. There’s a sweetness and a sadness to his Atticus, a perfect match to the melancholy backward glance of Sorkin’s text. I talked to Harris and Sorkin together about their approach to the revival, Atticus’s status as a hero, and recasting the classics for a modern audience. This conversation has been edited.

David Sims: The show surprised me. I knew the book, and I had seen the film multiple times, so I was not expecting to be surprised.

Aaron Sorkin: I’m glad to hear that. From the moment the curtain goes up, we try to knock you off your pins a little bit. Scout spends the play trying to solve [the mystery of Bob Ewell’s death], but broadly what we’re doing is having a new conversation about the book, the story we all learned in seventh grade and thought we knew.

Sims: The industrial warehouse look of the set—it’s like a space that’s been there for a long time but has been standing empty.

Sorkin: That’s right. The curtain goes up and it’s not what you were expecting to see. And what the three characters—Scout, Jem, and Dill, are questioning is something from the book.

Sims: The ending, specifically. But also the entire tale.

Sorkin: When I started out [with this play], I thought it was a suicide mission, but I said yes right away cause I wanted to do a play so badly. My first draft was terrible because I tried to gently swaddle the book in bubble wrap and transfer it to the stage. It felt like a greatest-hits album done by a cover band, just somebody trying to imitate Harper Lee and standing up the most famous scenes from the book. I realized that Atticus, as the protagonist [of the stage version of the] story, has to change. And if he’s gonna be the protagonist he has to have a flaw.

How did Harper Lee get away with having a protagonist who doesn’t change? Because Atticus isn’t the protagonist in the book or the movie, Scout is—her flaw is that she’s young, and the change is that she loses some of her innocence. While I wanted to explore Scout, I absolutely wanted Atticus to be a traditional protagonist, so he needed to change and have a flaw … It turned out that Harper Lee had [already] given him one, it’s just that when we all learned the book it was taught as a virtue. It’s that Atticus believes that goodness can be found in everyone.

Sims: He excuses things [like bigotry and cruelty].

Sorkin: By the end of the play, he realizes he doesn’t know his friends and neighbors as well as he thought he did. That it may not be true that goodness can be found in everyone.

Sims: Ed, how did you get involved with the show?

Sorkin: How do you win the lottery!

Ed Harris: I was in San Francisco. I woke up in a hotel in the morning and I had an email from [the producer Scott Rudin] asking, “Do you want to play Atticus.” Period. How could I say no?

Sims: Aside from the thrill of playing Atticus, was there also the appeal of doing a big Broadway show again?

Harris: I knew Jeff [Daniels] had been doing it, but I hadn’t seen it—I’m glad I hadn’t and didn’t want to, just not to be influenced. I didn’t know what to expect in terms of whether they’d just paste us into a thing that already had its wheels turning. And it was very encouraging during rehearsal that [the director Bartlett Sher] realized this was a new cast. Yes, the play has been running for a year; yes, there are certain things you have to retain in terms of blocking. But within the themes and relationships, he was very open to us exploring stuff.

Sorkin: What Ed is describing is a big deal. To have four weeks of rehearsal, essentially just do the play all over again with a new group of people, is something you don’t find a lot. What happened on my end was, Scott called and said, “We have a chance to get Ed Harris.” So I talked to Bart about it. It’s a whole new cast, with someone like Ed Harris, you can’t just have the stage manager show them their blocking. So we started from the beginning. The result is even more thrilling because the quality hasn’t diminished at all. In fact, both Bart and I make a strong argument that the play has gotten better as a result of rehearsing it again.

Sims: For playing Atticus, how long had it been since you’d thought about the novel or Gregory Peck’s performance in the film?

Harris: I love the film. I think Peck’s portrayal in terms of that story and that script is just indelible. There are little things that happen on the stage even now, just a head move or something, that feels like Gregory Peck! But the inner life of this man I’m playing is so different [than Peck’s character]. He’s trying to hold onto a belief that’s being eroded slowly but surely. It’s really interesting to play. I’m not one of those people who finds a way to do it and is gonna do that same thing for six months. It’s always new. I try to stay open to allowing it to affect me every night.

Sims: The show is interrogating Atticus’s passivity and his nobility. How do you want to communicate that passivity, and the anger within him, as well?

Harris: Early on in the play, Bob Ewell comes by [to the Finch house] and threatens Atticus, saying “We’ve got two ropes.” And Jem, Atticus’s son, comes out and says, “You want me to respect Bob Ewell?” And he says, “Yeah, there’s good in everyone.” That statement in itself does not betray who Atticus is and how he behaves. The first clue [of Atticus’s inner anger] to me, at least, is when Atticus goes off on Mayella [in the courthouse].

Sims: That’s a fascinating scene, where Atticus yells at Mayella Ewell for falsely accusing Tom Robinson and refusing to admit the truth under oath. His frustration is very understandable; as Atticus acknowledges, she’s a victim who’s obviously suffering, but when she rejects his empathetic gesture, he loses his cool slightly. Aaron, did you want that moment to be played that frighteningly?

Sorkin: This may be weird for Ed to hear, but when I’m writing, I’m playing all the parts. I’m very physical; I’m up, I’m down, I’m talking to myself. It was easy for me to get angry at that moment and to write the line, “I want to make the truth known to this court, if I have to go through you to do it.” There’s a great tension there—we’re in the time of MeToo, and we’re doing a play about a woman falsely accusing a man of rape. And Mayella is a victim, and she does deserve pity. But Tom Robinson doesn’t have a choice, and Mayella does.  

Sims: You give a lot of that anger to the kids. In the novel, I don’t remember them ever challenging their father; they’re more like observers who are invested in childish obsessions like [their mysterious neighbor] Boo Radley. But you’ve given them, especially Jem, a more defiant dynamic with Atticus.

Sorkin: Well, if Atticus is going to have all the answers, let’s ask him tougher questions.

Sims: Calpurnia [the Finch family’s black housekeeper] has more to do as well, and she’s a much more passive figure in the book.

Sorkin: I returned to the book and was surprised to find that in a story about racial tension, there were really only two significant African American characters, neither of whom had much to say. I want to be careful—this play is in no way meant to correct what I feel were mistakes that Harper Lee made. It’s a conversation. And I couldn’t do a Harper Lee impersonation or pretend like I was writing the play in 1960. But Calpurnia in the book is mostly concerned with whether Scout’s going to wear overalls or a dress; Tom Robinson pleads for his life, but we don’t know much more about him. In 1960, using African American characters mostly as atmosphere is something that probably would have gone unnoticed by a mostly white audience. But it would be noticeable today, and it’s a really big missed opportunity. You want their point of view in this.

Harris: One of my favorite things that Aaron did is the tension between Atticus and Calpurnia. And the reason for that tension is that when Atticus tells her he’s going to defend Tom Robinson, she isn’t “grateful” enough, and he says “you’re welcome” under his breath. And she calls him on it! That scene really resonates for me, because it says so much about Atticus, and his real motivations.

Sorkin: There’s a scene in the book and in the movie. For a lot of people it’s their favorite scene, it had always been mine. My father passed away a few years ago, it was his favorite, too. At the end of the trial, Atticus has lost, he’s putting stuff back in his briefcase, and the whole courtroom has cleared out, except for what they call the “colored section” up in the balcony. Atticus turns around to see that they’re all standing silently out of respect for him, and Calpurnia says [to Scout], “Stand up, Miss Jean Louise, your daddy’s passing.” It’s a good movie scene.

Sims: Of course, it gives you a chill.

Sorkin: But the people in the balcony should be burning the courthouse down. They should be out in the street chanting, “No justice, no peace.” Instead they are [written as] docile, they are quietly respecting the guy who I most identify with in the story, the guy who seems like my father, the white liberal guy. We all want to be identified as one of the good ones, and that’s what they’re saying to Atticus. And I do think Atticus is one of the good ones—it’s just a little harder than that, and it’s where Calpurnia’s dynamic with him comes from in the play.

Sims: It’s an ongoing conversation in 2019—what the limits of empathy should be.

Sorkin: And I’m not sure that there’s an answer to that, but I know those questions are being asked very loudly, because of the monumental election we had three years ago and the one we’ll have 11 months from now.

Sims: Ed, are these things you’re thinking about, or are you more trying to inhabit the person?

Harris: I’m just trying to live it more and more every night. I’m trying to fill up this character with humanity.

Sims: Have either of you seen the recent Broadway revival of Oklahoma? I bring it up because that’s a musical that ends with a crime being covered up—the death of Jud—and a miscarriage of justice, and then the ensemble sings a song and everything’s happy. But this revival tries to interrogate that [ugliness] a little more. And then I had forgotten that To Kill a Mockingbird also ends with a crime—the [murder] of Bob Ewell [by Boo Radley, trying to protect Scout]—being covered up!

Sorkin: Isn’t it amazing? I had forgotten about it, too, and I couldn’t believe it!

Sims: It’s a story about the greatest lawyer of all time—Atticus—and he’s complicit in this crime!

Sorkin: This novel ends with, as Scout said, “The most honest and decent person in Maycomb” covering up murder with a judge and a sheriff. Why didn’t that ever come up in my eighth-grade class? I saw that and thought, well, I can tell this exact same story, but can’t that [tension] be part of it from the beginning? But that even raises new questions that people have talked to me about—that Boo Radley gets a different kind of justice than Tom Robinson gets. Never are the judge and the sheriff saying, “We gotta get Tom out of here!” [for his protection].

Sims: And there’s infinite understanding for Boo.

Sorkin: Right. Now I have a defense for that, which is that Atticus and the judge, when they arrange for Tom Robinson to have a jury trial, sincerely believe that it’s going to be a good thing for Maycomb, that justice is going to be done. They do not anticipate [Tom being found guilty]. Atticus’s mantra is “there is nobody in this town so far gone that they would send an obviously innocent person to the electric chair.” And they do.

Sims: There’s mob justice at work—Bob Ewell is disgraced, and Atticus successfully proves the way [Bob is] treating his daughter, but the town’s reaction is just to excommunicate [Bob], not to make the leap forward of finding Tom innocent. It’s been an interesting year for these great American works getting interrogated on Broadway.

Sorkin: They’re not getting repainted. We’re just taking another look, given the times we’re living in.