#who am i kidding this entire film is a whole vibe

[curtwildseyeliner]

JONATHAN RHYS MEYERS as Brian Slade & EWAN MCGREGOR as Curt Wild in VELVET GOLDMINE (1998)

[theladyheroine]

Softer Werewolf Headcanons 🌙

❥ Hey everyone! So I know that I should be working on my Bad Batch one shots for the time being, I promise I am, but recently I’ve hit a bit of a stump? So I’m trying to get my creativity out with these little posts. I might make another small one about my crossover just to get some ideas too. But all these fall writing prompts are so cool & fun, I’ve been wanting to give it a try for awhile!

❥ Plus werewolves are one of my favorite creatures, I wanted to try writing about them! It’s also because super gorey or gothic vibes just aren’t entirely my thing, no offense do anyone that likes that genre, but I wanted to do something different! Thank you & I hope you enjoy! 🙏🙌✨

They don’t fight each other to see who’s in charge, it’s more like a sense of already knowing. Someone who already “commands” a presence or behaves more responsibly is gonna be the leader. But if there’s really a big opinion about it, they’ll just arm wrestle.

Make sure you write your name on leftovers!! Or they’ll be gone by morning, even the veggies aren’t safe…

The whole shifting during nighttime is more of an urban legend that human folk made up. However, it’s become more of a scary campfire stories werewolves use to get kids to go to bed on time. 😅 Kind of as a more spooky “If you keep making that face it’ll get stuck like that” vibe?

Werewolves can change form any time they want, but there are rare occasions they get “stuck.” This can last from 15 minutes up to a whole day.

Daily hangouts!! If a werewolf lives near a forest or near vegetation, morning hikes & walks are a must. But if a werewolf happens to live in a city or anything similar, a nice nap in the park or even breakfast on a balcony is just as good!

Dogs LOVE them!! Usually all animals do but it’s mainly dogs, even unruly or grumpy dogs will be on their best behavior! They make for good trainers if you just need a helping hand.

Regardless of appearance, werewolves are definitely stronger than the average human. While it’s not always obvious, even a scrawny guy or gal without any workout experience can lift a 30lb weight easy.

Okay these next couple points I was inspired by Cartoon Saloon animation studio, and their film Wolfwalkers. I love the interpretation Irish folklore has with werewolves!! It’s not this super eerie or gross transformation or anything, but it’s just beautiful and maybe a bit simple. The characters look completely normal in human form too! There’s nothing too odd or bizarre about them either, they’re just normal people with incredible powers! Plus the aesthetic is so beautiful and woodsy and vibrant, this is what I wanna see in werewolf movies. 🙌✨

In all honesty, when I think of werewolf vibes or even just wolves in general, I think of like an earthy colored version of fairycore. 😅 Which is also my favorite, but anyways, Wolfwalkers is literally the perfect werewolf movie I honestly can’t believe how good it is! Plus wolves are my favorite animal anyways lol so this made me happy to see.

Anywho! This next idea was inspired by the studio’s Song of the Sea and selkie mythology. I’ve always thought the idea of a magical animal cloak in mythology is sooooooo amazing! I know tales about swan maidens and other animals are a thing, but a magic fur coat is most popular with selkies. But it would be cool to have this for werewolves too! Like imagine a fluffy fur coat and when you put it on you’re a wolf!

I do like this idea better than some transformations I’ve seen. 😅 Plus, I’ve always found it strange that werewolves are sometimes “super hairy” or they’re a bit aggressive personality wise? Idk, that just doesn’t sound very nice to me. 😅

[adeadhorse]

Another ask is that

How do you think Chase would’ve reacted to Logan’s anger management message? Given it was all over the web he must’ve found out in some way or form.

Tho to me; this episode is pretty much non canon in my book. Most of s4 is off but this is the episode that doesn’t even feel like Zoey 101 the most out of all them: Zoey, Dustin and James are completely terrible people in this episode, Logan even at is worse moments (besides webcam) is nowhere near as bad in this episode (tho what Zoey, Dustin and James did was worse) and Quinn and Lola are idiots. Not to mention the events of this episode are never mentioned again (if it was a show like SpongeBob it would be fine but for a show like this it’s kinda a big deal)

Sorry for rambling about how terrible this episode is, I just wanted to ask you if what think Chase would’ve thought of all that since no one else did. Hope all is well!

Honestly, I have never thought about it before, but good point.

I am also going to ramble, but please keep in mind that I have barely watched the episode because I hate S4, so my memory is pretty hazy.

Anger Management as a whole is indicative of what's wrong with S4, which is the genre change. It's one thing to no longer dip your toes into full drama because your actual main character is no longer there, but it doesn't even go back to the previous vibe of S1 or S2. Instead it goes full Drake & Josh, which had way more pop culture references from the start like Oprah and the Dr Phil parody, and makes sense because George Doty is running the writing instead of Dan, and George did a lot of D&J writing, especially in S4.

So the whole thing is based on Alec Baldwin's voicemail to his daughter which would have happened only a month or two before filming, but like...why put that into a kids show. Who is the target audience here. There's no commentary on anything anyway, and it feels weird to do an episode about how yelling at children is wrong when you're on a Dan Schneider show and that's his entire thing, so the whole thing is just mean-spirited.

That said, it's still just an exaggerated, worse version of an established plot device, which is to take some sort of 'revenge' on Logan. He was always presented as a kind of antagonist, so the payback was often deserved in some capacity. Chase was also very often the deliverer of it in some capacity; the rat down his pants in Zoey's Tutor is probably not deserved (and is arguably questionable), but I don't mind it, probably because I actually kind of like Chase's meanness in S3. So I would argue that how James behaves is pretty much how Chase would act in the same situation, especially if he'd just started dating Zoey. The issue is that James just comes off as being an arsehole because he has none of the established history with Logan that Chase does, and I'd argue that Austin and Matthew have none of the same chemistry and affection that Sean and Matthew had, which I think helped make some of the revenge plots feel more good-natured.

In terms of how S4 actually happened, I think it's likely that Chase would have reached out - both to provide payback idea to Michael and to be like "dude, what the hell is up with you?" to Logan. That said, he'd likely also just been told that the girl he's in love with started dating his replacement (I know this isn't confirmed by canon, but I maintain one of the boys would have told him), so I think it's understandable he'd keep his distance. Especially if he's clinically depressed.

In conclusion, S4 is bad and this episode is bad and it's a lot easier to ignore than to consider it canon (and it's always right to shit on S4).

[melrosing]

ok I'll share. I've been avoiding barbie conversations online (as much as that was even possible to do) bc I didn't want to get spoiled but the vibe I was getting was that it was going to be a film that might have been somewhat fresh in like 2012 but in 2023 it's just a repetition of all the conversations we've been having over and over throughout the fourth wave. and yeah that's exactly what it was.

like first of all I really don't buy this retroactive notion that Barbie was this paragon of feminism for little girls who have all become disillusioned since, like I ALWAYS felt alienated by the barbie brand as a kid, even as a skinny white girl, and every time I was gifted one of those dolls it was a reminder that this is what I as a girl was supposed to like and was supposed to be like, and that nobody seemed to care much if that wasn't me. the fact that they introduced Career Barbies and whatever else in the 2010s in an effort to appeal to modern sensibilities means nothing to me, it's just marketing. if they didn't think it would make profit, make the press, they wouldn't have done it.

so the brand just feels like entirely the wrong vessel for a feminist manifesto, and the manifesto itself is just so stale. like 'imagine if girls had the same jobs as men!'/'who cares if you have cellulite!'/'aren't boys boring sometimes!' like uh huh okay!! you got anything else?? I don't expect barbie to start speaking on abortion rights but from a director like greta gerwig I sure expected something more cutting than what we got, which was almost like an introduction to feminism to those who'd never heard of it

and I know Greta Gerwig is capable of greater subtlety and nuance than this so I assume that at least in part this was down to the fact that the whole film was an aggressive marketing vehicle for Mattel. and also chanel and chevrolet apparently?? like these brands stuck out like a sore thumb in a film that was pretending to be above all that, but the presence of Mattel throughout was just especially uncomfortable, like they joked about it being a male dominated company whilst flogging its wares through a feminist parable, and the 'sell sell sell' messaging just felt weirdly contrary to what the film seemed to claim was its heart, which is 'you can just be you without all the baubles' or whatever

and I think ultimately it didn't have anything to say that hadn't been said more articulately a hundred times over, in films that don't contradict themselves throughout. there was probably a good film in there that could've been made without Mattel glaring over everyone's shoulders, instead critiquing the Barbie brand's hollow pretences at feminism and white girlboss feminism more generally. or they could have just made a fun film about barbie, because the music and dancing was mostly great. but instead we got this which is pretending to be both and achieving neither and I really hate to be a killjoy but I just. really resent films as tawdry as this repeatedly placing at the forefront of the conversation around feminism, we need to stop having the same discussions over and over, and the only reason we are is because these are the easier conversations that are simple to sell. the more complicated shit is harder for brands to grapple with, and I am sick of brands being placed at the centre of debate on pressing social issues!!!

so idk what i was really expecting from a film called Barbie but in short I wish we could stop pretending it's something that it wasn't. everyone suddenly embracing the barbie brand and barbie nostalgia because they've decided it's feminist now just feels Bad

sitting on unpopular opinions about the barbie movie

[goffilolo]

On today's episode of: "I got too many asks" the mana immunity!au edition

I got a lot of asks and I am in fact trying to get through them all, so I though I might compile them into a single post cause i got a lot about the mana immunity!au.

First of all all of these messages are hilarious and i am choosing to imcorporate some of these ideas into my belief system. lets go girls:

yes, mana immune asta is the single scariest thing in the world because there is legit no method that can stop him, this is like the vibes form that 'it follows' horror film.

asta can't actually see the sheep or wolf at all, because unlike devils they arent really seperate entities of their own, but rather extentions of charmy's spells, where as devils are seperate individuals, but even then he only sees them as vague ghostly clouds of malice and he cant even hear anything they say. also i do appriciate your love for silv, truly the mvp of this fandom

yes, asta is indeed that old man meme from spiderman, who simply is ignorant of everything around him but that is not going to stop him from fuckin someone up, just because he cant see shit doesnt mean he's not ready to fight. lucifero will truly face next level humiliation when he fights asta

liebe's mood during majority of this au is the "(laughing nervously) what the fuck?" meme. as for astaroth, if were operating under belief that he is asta's father in this au as well (which i am) then this man has made a whole ass kid that isnt even capable of comprehending his existance and man is in trenches over it, as he should.

yes i love that! asta's entire dream of being a wizard king is just 'lol im going to become a fuckin 'wizard' king, whats next? santa king?' people really do be making up job titles left and right as far as he's concerned and when yami gives him a speech about him needing to be stronger than the captains hes jsut looking at yami like he's chronically stupid

[masterwords]

stops and starts (2 of 2)

Summary: Hotch goes out to the bar to try and have a good time at the end of the week and ends up a very bad situation. He's fortunate that Derek ended up at the same bar.

Notes: BAD SHIT HAPPENS HERE. MIND THE WARNINGS. This is the end of this 2 part story, it's sort of a foundation for the whole series...I won't just drop this, I am all about aftermath situations and that will for sure happen but I want to be able to jump around. Here we're just creating canon for this universe.

Pairing: Hotch/Haley & Hotch/Morgan

Words: 5.2k

*** Warnings: sexual assault/attempted rape, drinking alcohol, violence, vomit ***

**

The bar stool dug into his thighs. It was worn down in all the wrong places and no matter how he turned it to try and make it comfortable, he never achieved more than a backache for his trouble. He pressed his hands to the scrubbed wood of the bar, the slick and sticky film interesting against the warmth of his skin. It was clean for the most part, and then he'd hit a patch of spilled drink and the contrast made him feel odd.

“Whatcha drinking?”

Hotch glanced up from the depths of his glass, the glass he'd barely even touched, and smiled at the man who had silently sidled up next to him and casually placed an elbow on the bar. The man was huge, handsome, wearing a denim jacket and tight jeans, a black t-shirt that was at least three sizes too small for his girth and showed off how often he worked out. Hotch couldn't place him from any of his classes, but he did look vaguely familiar.

“Old fashioned,” Hotch replied quietly, almost too quiet to be heard over the pounding of the jukebox. The last person to feed it some coin had selected an assortment of outlaw country that had the dance floor gyrating in strangely comical ways. The women ground themselves against each other, against the men, against anyone they could find but it was oddly out of sync with the drawling grit of the vocals and the twang of old guitars.

“Mind if I sit here?”

Hotch shrugged and scooted his stool over a little to make room for the much larger man, a gesture that he figured said why not. It's a free country, isn't that what the kids said?

“I'm Drake.”

A handshake, firm and strong and Hotch thought it lingered a little long. He was getting a strange vibe. The man was looking at him a little too intently, like he was hungry. He pushed the thought aside as quickly as it appeared.

“Aaron,” he replied with a smile, trying to remember how to do this. How to be casual on his own. He hadn't been to a bar without Haley in his entire adult life...college didn't count, and even then, he rarely went to actual bars. It was never his scene. So he was wildly out of place and felt every bit of it. Like there was a sign hanging over his head that said FRESH MEAT.

Or I DON'T BELONG HERE.

“Nice to meet you, Aaron. I saw you at the range today...you're a helluva shot. Where'd you learn that?”

Was he blushing? He thought he might be now. It was hot in the bar, though, with as many people as there were packed in there. He shrugged, unsure how to answer that question. Practice? He'd come up through the Academy winning marksmanship awards and he couldn't tell you why he excelled at it...he simply did. There was something that felt incredibly natural about firing his weapon.

“Ah, right, you don't wanna share your secrets...I get you. So where are you from?”

“I'm from Virginia,” he began, swirling the cherry around in his drink absentmindedly. “But right now I'm running the Field Office in Seattle.”

“Woahhhh we got a big shot here huh?”

“Hardly,” Hotch replied, a little ashamed that it had come off boastful. He was really off tonight. The phone call with Haley earlier had done a number on him, from his heart to his head. He'd been playing it over and over and over again, verbatim, trying to pick apart each syllable. She didn't sound like she was planning to get back together. Said something about leaving Seattle. He'd sort of blacked out part of it, heard without really listening. “Trent lives in Bellingham,” she'd said. “He's down here for a few weeks but I'm thinking I might go stay with him. Good thing we don't have any pets huh! I'm so lonely here, Aaron...do you mind? You don't mind do you?” No, he'd replied, he didn't mind. For a moment he wondered if her bags were already packed. If she was ready to leave and never come back.

If he'd fly back to Seattle and find an empty apartment.

“Earth to Aaron,” came a voice and Hotch blinked hard, glancing up at Drake who was leaning closer to him. He could smell the whiskey on the man's breath he was that close. “Did you hear me?”

“No, I'm sorry, I'm a little distracted tonight.”

“Aw, well no problem. I just wanted to know if you liked this music...maybe you'd like to hit the dance floor?”

Hotch couldn't help it, he laughed. “I'm not much of a dancer under the best circumstances, but I don't think I could find the right beat in this song to save my life.”

“I'll show you. It's easy. Come on.”

Against his better judgment, he let Drake convince him with a second drink. By then Willie Nelson's voice was shuddering through his sinew and he thought why the hell not? Gulping down the last of his drink, he followed the other man to the floor. Once he was out there he noticed that everyone seemed to just be a writhing mass, people dancing with people, no rhyme nor reason. No real partners, no real rhythm, just movement and sweat and smiles. So he went along with it, and he tried his best to find a beat while Willie crooned about mamas and babies and cowboys.

“I'm a cowboy,” Drake said in a gravely twang, leaning close to Hotch's ear and swaying with hands on his waist. Hotch let out a chuckle and nodded.

“I guess I'm a lawyer...and such...” He was loosening up, and that was good he thought. Haley told him to have fun and by fucking golly he was going to have some fun. This guy wouldn't have been his first choice but he'd presented himself at the moment Hotch needed someone to the most and so...why not?

That was quickly becoming the theme of the night. Why not? It wasn't a crime to have fun. The problem was that some small part of him was sure he wasn't actually having fun, he was just pretending. Fake it til you make it.

Across the bar, in the darkened corner, Derek was shooting pool with a group of women whose muscles were nearly as pronounced as his. And he was losing, but he was doing so with enough charm and grace that the girls took pity on him and and used all of their winnings to keep the pitchers of beer flowing. They were also drinking him under the table.

He hadn't noticed Hotch on the dance floor, in fact, he really thought Hotch would be back at the dorm doing some studying he really didn't need to do on a Friday night. That's all he'd shown interest in so far.

“Hey,” one of the women said, hanging herself around Derek's neck as she perched on the pool table. Her name was Tia and he was fairly sure he wanted to try and bring her back to his place that night, if Hotch wasn't around...he'd have to work on that. She draped her whole upper body there, her black hair pressing soft and pillowy against his cheek. “That your roomie heading into the bathroom?”

He cocked his head and squinted against his beer soaked vision at the vaguely Hotch shaped person who was ambling across the dance floor toward the bathroom. “Yeah. Guess it is.” He didn't really care and wasn't entirely sure why she cared. He wanted her attention on him.

“That big guy following him in the tight jeans? His name is Drake...he's got a reputation for being...pushy.”

Derek frowned. “Pushy? Like how?”

“Like the word no doesn't mean a whole lot to him...he's never been in any real trouble but you know how people talk.”

“I do...” Derek drawled, staring hard as the man walked into the bathroom a careful distance behind Hotch. Like he was timing it just right. And that little glance he did around the bar before he opened the door...it did look a little predatory, but he knew how people talked and he'd been on the wrong end of that more than once. He wasn't looking to accuse anyone of anything. “Hotch can take care of himself.”

“Yeah. Of course he can. Cos he's a man right?” The way she emphasized man made his skin crawl, and she let it hang there in the air between them for a long moment before changing her demeanor and planting a kiss on his cheek that he knew would leave a deep glossy purple stain. “Wanna play again?”

“Yeah. Another round. You ain't getting me three times in a row...”

He racked them and let her go first, while he kept an eye on the bathroom with a silent timer ticking away in his mind. Every second Hotch was in that bathroom with that man, every second he didn't come back out. He wasn't exactly watching...but he wasn't not watching either. She'd gotten into his head.

In the bathroom, Hotch had gone right for the urinal. He was eager to get back to the dance floor for the first time in ages, he was having a decent time but he was about to piss his pants and that was no joke so he'd excused himself and said he'd be right back. Halfway through the stream, he heard the door open and did his best not to look up, just continued doing what he needed to do.

The sound of the lock clicking on the main door was jarring in the silence of the tile room and he pushed a little harder to try and finish, shaking it one two three times to finish it up. That was when he saw Drake in the mirror, coming up behind him with that strange hunger in his eyes that he thought he'd detected when they first met. Hotch forced a smile and reached for his pants, but Drake was faster than he was and soon instead of zipping them up he was scrambling to get them before they hit the floor. His belt and gravity made it a little too easy for Drake to win that one, and he stood for a moment with bare legs and boxers, trying to figure out where this was headed. All the fun he thought he'd been having was a distant memory now. How quickly that faded.

“What are you doing?” Hotch asked, masking the fear that was bubbling up in his chest with whatever authority he could muster. Drake grinned at him, made eye contact through the mirror. He didn't speak though, just pressed himself up behind Hotch, his chest to Hotch's back, and reached around until his hand was slipping over the peak of Hotch's hip bone and down through his hair to his penis. Like a bolt of lightning, electricity shot through his abdomen at the touch and burned down his thighs. Against his will, he felt himself beginning to grow hard beneath the rough unwanted touch. “Drake, I'm not...”

“Shhhh...” Drake hissed, using his free arm to pin Hotch's arms to his sides before he caught his wits and started thrashing to get out of the grip. Drake was bigger than him by a few inches, and a lot stronger. It was no trouble at all for him to subdue Hotch as long as that one hand maintained its too tight grip on his growing erection. Hotch felt his cheeks flush with anger and shame and he twisted, tried to free his arms, to kick backward but Drake had it all down. He'd said he was a wrestler, he knew exactly how to subdue another person, to bend them to his will, to pin them. And with some dim understanding, Hotch knew he'd done this before. “I know you want it. I saw the way you were looking at me.”

A sound at the door distracted Drake for a split second, not long enough for Hotch to do much more than bite down on his hand and let out a shout for help before that huge hand was pressed over his mouth and nose and he was being dragged forcefully back into one of the two empty stalls. Drake threw him against the wall, bent him backward over the exposed plumbing and tore at his clothes while the banging at the door increased. Hotch could feel the frustrating tears of anger burning down his cheeks as he thrashed and kicked, the pipe digging deep into his tailbone painfully until Drake twisted him and turned him over, rammed his diaphragm hard against the pipe. That silenced him. For one terrifying moment everything went completely silent and Hotch thought he was going to pass out, he couldn't breathe and he couldn't move.

Then the door was crashing in on itself and there was a feeling of utter chaos, the sound of frantic shouting. The sound moved closer and closer, one loud furious voice, and then the stall door was being ripped off of its hinges and Drake's weight was gone from him. He sunk there, bent half over the pipe, and gasped for breath while tears burned tracks down his cheeks. He heard the sound of bodies smacking and breaking tile, grunting and shouting, and somewhere deep in his mind he recognized one: Derek.

Derek had watched that door intently, more and more intently with every minute that passed with no movement. And when he saw someone try to get in, rattle the door handle a few times and leave because the door wouldn't open...he knew. Fuck he knew.

He also knew where to plant his foot to kick a fucking door in, and that was exactly what he did. Later, when asked why he didn't ask the bar tender for a key to the bathroom he would only mutter something incomprehensible, a lie disguised in truth. But the kicking in doors part, that was easy. Taking on a man who was a brick shit-house was quite another thing. He tossed Derek around pretty good, but it kept Drake off of Hotch long enough that he could get his pants up and get the hell out of there.

After that it was cops and statements and drunken brawl on both of their records. “Why?” the officer had asked Derek who only shrugged while the medic closed a cut above his eyebrow with butterfly bandages and told him he'd need stitches.

“Felt like it,” he said. “The guy looked at my girl funny and I didn't care for it. Right baby?”

Tia played along, and surprisingly so did Drake. The sonofabitch. It got him off easy, but Derek would deal with that later. Right now he just knew that Hotch had gotten out of there quickly and without talking to the cops so it wasn't likely that whatever happened was something he'd be willing to make a statement about. Derek could deal with that too. In private. He knew enough about these situations, the way it feels, to figure it out.

And to know damn well that Hotch wouldn't want to talk about anything that happened...or didn't happen. And Derek really hoped that nothing actually happened, that he got there in time. So he talked to the officer and he told as much of the truth as he could without implicating Hotch and without backing himself into a corner either. “I don't know what he was doing in there, sir,” he'd said quietly. “I was just so angry.”

“How much have you had to drink?”

After that, Derek and Drake found themselves being escorted down to the police station for more talking. Derek knew whatever came of this wasn't going to be good and he was going to have to do a ton of damage control. He was still relatively certain it had been worth it.

Suspended for two weeks. That meant two more weeks without pay at his job, and they were none to happy, but he was just glad not to be kicked out of the program entirely. Being behind felt better than not being there at all. He knew he couldn't tell Hotch though, it would only add insult to injury and he figured there was plenty of injury to cover it right now.

(x)

Hotch had no idea how he managed to get out, his vision had gone entirely gray and he was crashing through the crowd bumping shoulders and trying desperately to look as collected as he possibly could. Staring at the floor, watching his feet, step by step, one after another until the cold air whipped his cheeks and he turned the corner abruptly. He found himself in an alley and froze, the memory of what had just happened filling him, freezing him in place. An alley was the last place he wanted to be as darkness seeped into the cracks and walls closed in. He pressed his hands to his pants, checked that his zipper was closed, and turned around to get the hell away from the bar completely.

He needed a shower.

The showers were empty, thankfully, when he stepped into the locker room and began stripping his clothes. Tearing at his shirt, at his pants, throwing them into the trash can rather than looking at them again. His pants were ripped, covered in strange rust stains and water from the floor (he refused to believe it was anything but water) and he saw the toilet beneath him as he lunged for it, hands outstretched to steady himself there before losing the entire contents of his stomach in one go. He heaved painfully there, over and over, bending and arching his back, crying desperately for his insides to feel clean. Whiskey scorched his esophagus, burned him and made him gag again and again. “Nothing happened,” he whispered through tear slicked lips, the taste of bile in his mouth. “Nothing happened.”

It wasn't true and he knew it. Maybe Drake hadn't finished what he'd started, maybe he never entered him, but it wasn't nothing and he knew it. He could feel Drake's rough hands on him as he stepped into the shower and scrubbed himself clean over and over, until his skin was raw and red.

Maybe it was divine intervention, or something else, but no one joined him in the shower. He was alone with his thoughts and his soap the whole time. And when he returned to his room in nothing but a towel, alone again. No one in the hallway, no one in the room. Derek hadn't returned but he looked at Derek's bed and he let out a gasping desperate sob, shaking himself free of whatever last dredges of emotion he'd been choking on.

He got into bed fully clothed and wrapped himself tight inside of the thin blankets, shivering at the way his wet hair made his whole body feel chilled. He closed his eyes but he didn't sleep, he just replayed the night over and over. The dancing, the drinking, the bathroom stall.

It was hours before Derek returned, his face bruised and bloodied, a few stitches above his eyebrow. Hotch tried not to look at him too long, be too obvious, but he couldn't help it. He'd spent the last few hours being angry at Haley for putting ideas into his head, making him think he could go out and date people or whatever he'd even attempted...it had backfired. Spectacularly. But he also knew it wasn't Haley's fault. She didn't do this. She wanted good things for him, he believed that. She genuinely thought he'd have a good time.

He could never tell her, not in a million years. Not just for shame, but for her own sake. She would remain with him out of pity then, like some broken sick puppy to care for. She would think of him as a project, something to save, and forget herself in the process. He would simply tell her he hadn't had any luck. That was, essentially, the truth. The palatable version of it, anyway.

Until Derek's weight was on the bed beside him and his hand was on Hotch's shoulder and his honeyed voice was engulfing all of Hotch's senses. He wanted to sit up, to fall into his arms, he knew Derek would offer. They hadn't been roommates long but there was something about him that just...he couldnt explain how he did but he knew. He knew that he could be held by Derek with no judgment.

Derek had saved him, hadn't he? And the fact that there were no police knocking at his door meant Derek hadn't told them what happened, not really. No one wanted a statement from the victim because probably, the way Derek swung it, there was no victim. Hotch could predict it because he would have done it too.

“Can we talk?” Derek's voice was hopeful and soft, and his hand was so warm and reassuring that Hotch almost said yes but those words weren't going to come out of his mouth, not tonight. None of it was. If he sat up, he'd be sick again and that was really all he knew for certain. Nothing else made sense. The whole world was scrambled and raw.

“In the morning,” came Hotch's ghostly reply and Derek nodded, fully expecting that response. He would have said the same thing. And if he left, if he wasn't there in the morning, Hotch would skirt around it and never bring it up. He would have one opportunity to talk about this with Hotch, and if he missed it, it would be gone forever.

“Okay. In the morning.”

A small hum came from beneath Hotch's blankets, and Derek shifted but didn't get up. Not yet.

“Hotch? Are you okay?”

“...morning...” came the muffled voice from beneath the sheets and Derek nodded. That was the official brush off, he wouldn't get any further and if he tried again he would be in danger of this avenue being closed off entirely.

Derek moved to his own bed with a grunt and a sigh. He sat with his back against the wall, his knees drawn to his chest, and watched Hotch pretend to sleep until it became real. Until Hotch actually fell asleep, and he continued watching until the sun came up. Until the smell of coffee from down the hall swept its way beneath their door and shards of sunlight danced on the floor beneath their drawn shades.

Hotch was surprised to find he had slept and slept hard. He couldn't remember dreaming, just a void. Endless and somehow comforting in its vastness. He'd closed his eyes with the certainty of a man who knew the dreams would be vivid and awful, if he even slept at all, but his body had shut itself down entirely. And for a full minute after he woke, after he opened his eyes and saw Derek sitting upright on his bed sleeping, the night before was gone from him.

Until he moved, and the instant sharp pain in his lower back forced him to surrender to the memory. He slid his hand down to where the swollen, bruised skin was and let out a low whine at the deep ache there, the way it twisted and coiled in his hips, in his belly, in his groin. Breathing became difficult and that whine became a gasp that became something that felt like a sob but he managed to stifle it at the last second and turn it into a mournful groaning sound. It was enough to wake Derek from whatever short and light sleep he'd drifted into sometime around sunrise, and quickly he was sliding over his bed and standing over Hotch, watching.

“Let me help?” Derek asked, crouching now, until he was eye level with the other man, carefully distant. Hotch licked his dry lips and let them part, as if he had something to say, but the anguish in his eyes was about all Derek could make out before Hotch pressed his face into the pillow and shook his head.

“Need a minute.”

“Yeah...” Derek said, racking his brain for something he could do. Something he could say. Some way to help without just reaching up and touching him. He knew that wouldn't go over well. “Coffee? I'm gonna run down and grab some, you want me to get you one too?”

Hotch grunted and Derek took that for a yes, because who would turn down coffee? He was pretty sure this guy lived on the stuff. “Cool. You want cream or sugar?”

“Black. Thanks.” Two words muffled by a pillow. It was a start, Derek figured. While he was gone, Hotch managed to push himself upright and begin to assess the damage. He pulled his sweatshirt up gingerly, tucking it beneath his chin. His chest was a mottled mess of bruises centering just around his sternum, a few small red patches of scraped skin and dried blood indicated exactly where he'd been pressed against that pipe. There were smaller bruises along the bones of his hips, and some part of him was glad he couldn't see his back. It was enough just to know. To feel it. There was a sinister stiffness there, he could scarcely bend at the waist or move his hips, Drake's strength rushed back to him in waves of nausea. He hadn't been overpowered like that in years, not since his father would throw him around like a rag doll with that same sickly scent of whiskey on his breath.

When Derek returned, Hotch was sitting on his bed, feet planted flat against the floor, his eyes dim and staring off into some middle distance that made Derek feel uneasy.

“Here you go.” He stopped just short of making a joke about the coffee being bitter and black, and instead just sat down on his own bed directly across from Hotch. The room was small enough that their knees weren't far from touching. Hotch could feel it, the expectation that he start talking, explaining what it was that Derek had broken in on, yet he still had nothing that would come out as more than just angry, confused sobs. But when he looked up at Derek, he could see that the expectation there wasn't quite what he'd assumed. It had a softness to it. He wasn't expecting Hotch to come clean, he just wanted to help.

“Did you get in trouble?” he asked finally, breathing the steam from his coffee deep into his lungs. Derek smiled.

“Nah, it's all good. Slap on the wrist.” He'd already made up his mind that Hotch wouldn't need to know the specifics. It wouldn't make anything better. Lying made him feel like a creep, though.

“Thank you,” he finally managed to say, because of every single thing he thought he needed to say, of every part of every second, the only thing he knew for sure was that Derek had saved him and whatever he was feeling right now would have been worse if not for that detail.

“Yeah, of course,” Derek replied quietly, a little shaken by the severity of Hotch's voice. It was grim and there was no trace of the man he'd eaten dinner with every night and kissed in a beer-soaked haze outside of that pizza joint the first night. “My friend Tia is the real hero, though. She's the one who warned me that guy was a real piece of shit. I didn't even know you were there til she said so.”

“Guess I should have seen it coming. Everyone else did.”

“What? No, man, no...” Derek took a leap and moved, from his bed to Hotch's, and left just enough of a distance between them that it wasn't pushy. Comfortable distance. “She's had friends who had run ins with him, it wasn't...I didn't mean to imply that it was common knowledge or anything about you...”

“It's fine, Derek.”

“No, it isn't fine dammit. What happened last night was really fucked up and it wasn't your fault.”

“But you didn't get in trouble?”

Derek sighed wearily. Hotch wasn't going to talk, he was going to keep twisting and turning until every angle pointed back at Derek. He'd have to let it go. “No. They brought us both down to the station, took our statements, and let me go. I don't know what they did with Drake.”

At that, Hotch looked stricken. “What did you tell them?” His voice was haunted and quiet, a little fearful, and Derek shook his head.

“Nothing. Your name never came up. I just said he was looking at my girl and I didn't like it. Few too many beers and I get a little antsy I guess, huh?”

Hotch let out a mirthless chuckle and pressed his palm against the pain that erupted in his chest. Laughing hurt. “Your girl huh?”

“Yeah. Aaron, look, I'm not gonna tell anyone if you aren't gonna...but if you need to get checked out...if he...”

“He didn't.”

“Okay. Okay. Are you alright?”

“I'll be fine. I think I just need to have some breakfast and get some fresh air.”

Derek nodded and stood up, knowing a brush off when he heard one. This was Hotch's battle, not his, and he'd already pushed hard enough. From behind him, as he moved away from Hotch's bed, he heard a small gasping sound and knew that he was trying to hide tears. He wouldn't turn around, put him on the spot, so he kept moving toward his dresser. He needed to go take a shower and shave, figure out what the hell he was going to do with two weeks of no classes and how he was going to hide that from his roommate. How he was going to tell his Chief, and his family. He was really in it now. Lying was the worst, but somehow even through all of the agony it was going to cause him...it felt like the right thing to do.

“Will you let me buy you breakfast? As a...thank you?” Hotch's voice was wet and small, but Derek smiled and rifled around in his drawer for clean clothes. Sincerity would only make Hotch cry, he was aware of the brink that man was perched dangerously against, so he settled on some levity instead.

“Yeah. You could start with that. Might need a dinner, too...I did end up with stitches...” he paused and hugged his clothes to his chest while he downed the last gulp of his sugary coffee. “I'm gonna go get cleaned up for our date.”

[whysojiminimnida]

Hello! Did you ever talk about Festa 2016 BTS spanking each other? What do you think about Jungkook’s reactions? Not Jikook, but in general? Because he doesn’t give me the straight vibe at all. Not in a creepy way. It’s just that everyone except Jungkook seems rather chill? And he’s a little bit too much excited? But trying not to let it show? Or I am wrong and his reactions seemed awkward because he was the youngest and shy? The link: https://youtu.be/NGR30ZDzN-w

Your link, anon :)

And it is cute. But since we watch original content in this house, here is the longer version. And it is long - so by all means enjoy the edit of the spanky spanky part. THIS BEAST IS AN HOUR+ but it's totally worth it BECAUSE We get to see a lot of what went on right at FESTA 2016. This was actually filmed on June 12 that year.

And there are some amazing moments. At 23:30-25:00 Yoongi starts talking about a guy he knows who was talking to him about Jimin, for example, and we get this.

A bit of a half-pleased, half really shy/ embarrassed JeiKei. And why not when his hyungs are all basically talking about how Jimin is so sexy that guys in other groups can’t stop talking about him.

We do get a camera cut-off moment around 44:00 as well:

Personally? I don't think Jungkook is being overly gay about the spanking. First off for most of us spanking games are just super gay in and of themselves, but it is kinda locker room humor and I really think the guys were viewing it that way. Okay maybe not Yoongi. That dude just … hung out there for a minute.

I never paid that much attention to YoonMin but damn, Yoongi. Wanna talk about nothing straight going on here, that boy was a mess for Jimin this whole video. And if you watch that’s really where you see Jungkook’s shy come out. He’s a mess, this guy.

Jungkook does seem to be a little shy about the sheer magnificence of Jimin's ass but really? Can't blame him. JeiKei was rather interested in Jimin doing the spanking:

I think there was a combo platter of feelings going on for Jungkook that whole FESTA season. He wanted so much to prove he was an adult. And at 20 Korean age, almost 19 international? He was. But he spent so much of his formative time working that he really didn't get to grow up normally. I mean if you think about it, by 2016 Jungkook had been working and living with all those guys for years. The only person he was still shy around was Jimin. And that, for obvious reasons.

When you've been taught your whole life that your basic attraction to people is built wrong, that makes you doubt your whole self.

Along comes Jimin who upended every idea about traditional beauty, masculinity, and sexuality he'd ever been taught. And the kid fought it, he tried, but by 2016 it was a done deal. He was head over feet, as Alanis would say, and he was DONE. Done and in love and very much NOT heterosexual. That's a lot for any kid to handle. Then you add the need for secrecy while he figured things out, uncertainty about what a relationship would mean for him, for Jimin, for the group, whether there should even be a relationship, what constitutes boyfriends vs just friends, an entire gay and also sexual awakening... that is a LOT a lot.

Queer kids don't get enough credit, IMO. Straight kids are given a lot of romantic leeway while they go through these early stages of crushes and loves and sex - but queer kids are so busy trying NOT TO BE QUEER that they don't get that.

Especially not Korean idols who live with six other guys and only a few of them maybe know who he is. Maybe up until 2015-2016 he wasn’t even sure who he was. And I don’t think Jimin was experienced enough to be a lot of help. After all, he was going through the same damn thing.

So I vote we give Kookie a bit of a pass on this one. His life was looking very different to him in the summer of 2016.

[thetriggeredhappy]

recently rediscovered your blog and read the fic from your dad spy au where scout starts out as the "guard" and then becomes scout from there and lemme tell you that shit put me on some s-tier brainrot. like a cranial decay type beat.

i had a concept in my head that instead of being hired as a guard, he could have been hired as a right hand man to the administrator like pauling, because i think hed be awesome in that position. like imagine having a personal merc who can get in fast and out even faster. but maybe he would stay in the base like the rest of them, sort of like a secret on call intel gatherer, who also maybe sometimes has to dig a couple graves. and also like, nobody on the team expects anything from him at first because its this 20 year old newbie kid. hes dressed in his formal clothes and he talks like somebody from relatively around boston but not quite. i can just imagine one day he comes back during a team dinner with his shirt half untucked and stained with blood, hair disheveled as he asks soldier if he can borrow his shovel, or him debriefing them for a mission when miss pauling is busy. same vibe as the fic i mentioned before but scout gets to have a job as cool as miss paulings. honestly id write it myself if i didnt have the attention span of a fly

anyways your scout content gives me life thank you

scout teamfortress but 20% more competent standing next to miss pauling teamfortress while she's doing her job and doing like silly quips and otherwise contributing nothing like it's a buddy cop film is literally my fucking ideal

(warnings for some canon-typical violence)

-

“Oh, Pauling, it’s good to see you again,” greeted the chairman, smiling in an imitation of a grandfather and clasping her hands perhaps too-kindly considering she barely knew him. “Young as ever, and still so stylish, I see. And who’s the new fellow?”

“He’s just here to help with transport, Mr. Montgomery, nothing unusual,” Miss Pauling replied, returning his smile and adjusting her glasses. “Heavy cases, you know how it is.”

“Of course, I remember you almost toppling clean over last time we made a trade!” Montgomery agreed, frowning at the memory. “You’ll pull a muscle that way, better to be careful. It’s a pleasure to meet you, young man. And your name?”

“Mr. Normandy, sir,” the new kid replied easily enough despite his slight East Coast accent, giving the man a firm handshake, expression neutral and stony, the picture of professionalism. Internally, Pauling breathed a sigh of relief.

“Firm grip there, young man,” Montgomery praised, nodding approvingly. “Tennis player, perhaps? Or golf?”

“Baseball, sir,” he replied, still evenly. “First baseman.”

“Ah! Of course! Were you any good?” Montgomery joked.

“At everything but playing in front of the crowds, otherwise I’d be in the major leagues,” he replied, tilting his head just slightly to imply that he was joking, his sunglasses glinting at the movement, and Montgomery barked a laugh.

“I like this one, Miss Pauling!” Montgomery said, and Pauling just barely caught herself from physically relaxing at it.

“We do too, Mr. Montgomery,” she agreed. “I was under the impression that you’re very busy today, so we won’t keep you for too long, we just wanted to sort out the final details surrounding the manufacturing rights for the—“

“—Pacific Northwest branch, up into British Columbia and Alberta, of course,” Montgomery agreed, nodding faintly. “Of course, of course.” He turned to regard his own man in a dark suit, the one standing to the right, who appeared to be unsuccessfully trying to stare down Normandy, who was completely ignoring him. “My briefcase, please.”

The man handed over the briefcase, and Montgomery put it on his desk, opening it and pulling out a sheaf of papers. “All our requests are submitted and approved, at this point we just had a few dustbins to take care of regarding initial percentages and making sure everything is wired to the correct accounts, which names are undisclosed, things like that,” Pauling explained as he glanced through the papers.

“Right, right, everything looks good here,” the man murmured, nodding to himself, sending his long-white hair just ever-so-slightly out of place. ��I’m assuming these more sensitive documents should be sent some way besides through the mail?”

“If you finish them today I can take them with me, otherwise either me or Mr. Normandy can return to pick them up at your convenience,” she replied, to which Normandy gave a singular nod.

“Oh, it would only take me a short while,” Montgomery said, waving a hand. “We have a lovely lounge just down the hall from here if you’d prefer to wait there, it should only take me ten, fifteen minutes at most. In the meantime, I do believe there’s also the manner of payment for services rendered.”

Miss Pauling tilted her head just slightly to one side, confused.

“I arranged with Helen already,” Montgomery explained, not looking up from where he was initialing a few things. “The payment, rather than being wired, she asked to be made in material investment. A venture of mine from years ago that she’s willing to sit on. Rather than gold or bonds, she agreed to take some old currency of mine that my family collected, from early 18th century New Zealand and Australia. Monetarily it’s worth around the same, and I’m quite a bit attached to it to be entirely frank, but it was at her request to buy the whole collection from me, and after years of the work we’ve been doing together, well, I’d never trust it with anyone else.”

He gestured to the other man, the one on his left, who stepped forward to hand him a manila envelope, which he passed to Pauling.

“Inside is both keys, the door alarm codes, and all other security information for the building where the collection is being stored. They’ll ask for a few codes and confirmation of identity, only because several other art collections and artifacts are being stored there by other affluent individuals such as myself.”

“Thank you, Mr. Montgomery,” Pauling said, taking the envelope gratefully.

“Think nothing of it, my dear. Helen talked me into it all her own,” he said easily enough. “Now, gentlemen, if you would let Miss Pauling and Mr. Normandy into our lounge? I should have these wrapped up before any of us can even think about lunch, eh?”

One of the suits showed the two of them through the doors and down the hallway, through two doors bracketed by similar suits who simply nodded politely at Pauling and ticked their chins at Normandy as they passed them.

Normandy posted up beside the door for all of three seconds before they shut and Pauling pulled her glasses up, rubbing at the bridge of her nose and making a vaguely distressed noise. He then promptly relaxed, instead leaning his hip against an armchair probably worth the same amount as a small car. “So, uh, we’re glad that he’s giving us a bunch of commemorative coins from when dinosaurs still walked the earth?” he asked just below normal speaking volume, eyebrows raised.

“Yes. Very glad. Because unlike about six people total on the planet, he hasn’t figured out yet how valuable those are.”

“What, is a picture of a kangaroo on some copper really gonna make up for a couple hundred thousand American dollars?” Normandy asked, sounding doubtful.

“Not copper. Something else,” she replied. “I can’t tell you much more about it other than that, but these coins are made of something priceless to us. And to the Administrator.”

“…Love? Memories? The magic of family?” he joked, cracking a smile, and she rolled her eyes, moving to open the envelope and start reading the papers inside. “Hey, uh, not to question whether my job should exist, but what the hell am I doing here, exactly? Besides carrying a briefcase. Like, chivalry isn’t dead but I really don’t think you need me carrying your bags and holding the door for you.”

“You’re helping with security, basically,” she replied, adjusting her glasses to squint at tiny handwriting about the collection. “Mr. Montgomery is trustworthy, but he mostly hires out to… well, people like us. His security detail is mostly people we’d rather have screened, freelancers, stuff like that. A lot of people we contract out to are like that. Most of them have heard about me and know better than to try and pull something, since I can hold my own pretty well, but if they haven’t, seeing a second person might persuade them to think it over again.”

“Oh, so I’m like, uh, when it says ‘tow zone’ next to the no parking signs even though nobody checks, or when they’ve got a camera in the corner of the store that isn’t even plugged into anything,” he said, and the looked up at him, confused. “Like, uh, what’s the word… I’m a casual deterrent.”

“Sure,” she said, because it sounded like he knew what he was talking about, shuffling the papers back away and closing the envelope again, making a note to ask the Administrator if she should change their current containment procedures to be closer to Mr. Montgomery’s. “Just… if there’s a fight, you deal with it, otherwise you just stand there and look like you’re paying attention.”

“That’s what the sunglasses are for,” he agreed. “I was blinking morse code at the guy across from me literally the whole time.”

“You know morse code?” Pauling asked, surprised.

“Just the alphabet, ‘S.O.S.’, and ‘ass’.”

She rolled her eyes again, and that’s when the door opened.

She expected Mr. Montgomery, not one of the men in suits. “Excuse me, both of you, if you don’t mind,”the man said, accent having the slightest English tilt to it, a Londoner if Pauling had to guess. “You’re Miss Pauling, the Mann Co. affiliate, yes?”

“That’s me,” she agreed, hesitant, and glanced at Normandy.

“I’m afraid there’s been a mistake. Mr. Montgomery have you the wrong envelope on accident,” the man said apologetically, extending a hand forward. “We apologize for this unfortunate mix-up, it’s really quite embarrassing, but those documents are sensitive and we’ll be needing to see them back now.”

Pauling looked at him, and within a moment, shifted her expression. “Oh, I’m so sorry!” she agreed, nodding. “No, right, of course. These aren’t the papers for the currency collection?”

“I’m afraid not,” the Brit agreed, head tilting just slightly, hand still extended, moving a fraction further forward.

“Well, thank goodness we figured out now and not with us halfway back,” she joked, and moved to hold the folder closer to her body. “I’ll take this right back to Mr. Montgomery, then.”

“He’s sent me to correct the error,” the man explained simply.

“Right,” she said, and saw in her periphery that Normandy had already started sneaking a hand in towards his primary, clearly having pieced together something she was only suspecting. “We can bring this to his office, then, right down the hall.”

“You misunderstand,” the man said, taking a step forward again. “I’ll be taking it to his office myself.”

“That’s funny,” Pauling said. “I didn’t realize you had clearance to be in there. Or to be carrying a semi-automatic instead of a standard handgun.”

The Brit reached for the semi-automatic, and before he could even get it out properly, Normandy hit one clean shot to the side of his head and another to his thigh, sending him crumpling to the ground.

Pauling had only as far as pulling her own handgun free, thumb on the safety, and breathed a sigh of relief, glancing over at Normandy, shifting to more comfortably hold her gun. “Quick reflexes,” she noted.

“Just noticed a lot sooner, maybe,” he shrugged, stepping forward to glance over the body, tucking his gun back away.

“What was your hint?”

“He’s here to give us the right folder, yeah? Well, why were his hands empty, then?”

She was just starting to nod and realize that as well when a second man shouldered through the door, holding a gun at the ready. Normandy scrambled to draw his own, but Pauling fired a shot into his knee, shoulder, and neck to send him dropping before he was even close. “There’s quick on the draw, and then there’s prepared,” she said pointedly. “Gotta think of if there’s more than one, new guy.”

He nodded, and drew his gun again, bending to hit the guy on the ground at the temple hard enough to knock him out if he wasn’t unconscious already. He then glanced up at the sound of a shout from the other side of the door, two men shouldering through, guns drawn but lowered. It was only the firm eye contact they made with both her and Normandy that made her pause the millisecond it took to realize these ones weren’t trying to kill them.

“Pauling, what on earth is going on here?!” Montgomery demanded, entering the room and staring with wide eyes at the bodies on the ground. “What could’ve possessed you to—“

“He was trying to run off with these documents,” she explained quickly, gesturing with the envelope. “He knew whatever was in here was valuable.”

“He drew his gun, sir,” Normandy added, tipping his head down towards the body, and Pauling glanced down as well and found herself a little surprised. He’d rearranged the man just slightly, apparently, adjusting the arm to be holding the gun a bit further outward. “Other one was aiming to kill.”

“My, my,” Montgomery tsk’d, shaking his head as he surveyed the scene. “What a mess. My apologies, Miss Pauling, Mr. Normandy.”

“It’s alright, but you need to start doing more thorough checks on your staff, Mr. Montgomery,” Pauling stressed.

“He’s only been here two weeks, sir, he was one of the men we hired in a hurry after the incident last month,” one of the bodyguards said, and Montgomery shook his head.

“Thank goodness nobody was hurt,” he sighed. “Mutiny, and besides that, they’re bleeding on my carpet. Here are those papers, Miss Pauling—what a day, eh?”

“It’s really alright, we handled it,” Pauling assured him, giving her bravest smile, a little exasperated now.

“Right, right, you and the first baseman,” he agreed, and Normandy fought back an actual smile.

“If you’d like, we can take care of those for you,” Pauling said, gesturing at the bodies. “To pay you back for the carpet and the scare.”

“Sounds fair to me,” Montgomery agreed, clearly relieved.

-

“My dad’s gonna be pissed, by the way,” Normandy was so helpful as to say on the way back up the path to the base. “And you’re fielding that.”

“About the suit, or the fight?” she asked, glancing at his clothes where he was somewhat covered in a fine dusting of mud and grime from the gravedigging, shovel still in his free hand.

“Both. Mostly the fight. Your fault for saying it’d be an easy one to start with,” he said.

“If it was going to be that much of a problem, you wouldn’t have gotten this job. I’d just have made you go do dishes all day or something,” Pauling replied.

“Point taken,” he said, walking ahead to get the door, holding it open for her. “Wait, we’re allowed to mention what we do, right? Just not names?”

“Or locations, even with travel distance. Round up to the hour if it comes up,” she replied.

“Sure, sure,” he agreed, trailing a step behind her as she led the way through the base.

In the common area, there was a bit of a ruckus happening. Soldier, Heavy, and Demo appeared to be having some kind of arm wrestling competition on a rapidly-toppling table, the Engineer was on a stepstool trying to fix the ceiling fan, and Sniper appeared to be half-watching the beginnings of an argument between Pyro and the Spy regarding use of the oven as Medic patched up a burn on his arm.

“Hullo,” Sniper greeted the two of them, sounding a little bored, Medic giving them a brief, polite nod. Normandy’s eyebrows were raised pretty far as he surveyed the room.

“Hi, Sniper,” she greeted in return, then cleared her throat, raised her voice. “Team meeting in five minutes! New mission for next week!”

Groans from the room at large, the eight mercenaries starting to finish up what they were doing and filing out. Spy moved over, glancing over Normandy and starting to talk to him in rapid-fire French, picking smaller bits of gravel off of his suit as they walked.

“Alright,” she addressed the room, Normandy peeling off from getting mother hen’d by Spy to stand next to the blackboard with her. “Monday, you’re all going on a transport mission. Getting the truck from point A to point B with everything in the boxes intact. Already we’ve had to put up with some people trying to get ahold of these things, so bring your guns.”

“Oh, our guns, you said? Lads, this is a serious one, keep your heads on a feckin' swivel, she’s sayin’ we might even need guns, can you believe it?” Demo faux-gasped, and chuckled when Spy bopped him on the arm, rolling his eyes at the Scot's theatrics.

“Yeah, yeah,” she waved off, flipping through the papers a bit. “So Engie, I’ll need the keys to the truck, me and Normandy are going to be loading those tomorrow, all of you need to be at this drop point bright and early.”

“How early?” Heavy rumbled.

“Six. Hour and a half of drive from here.”

Some complaints from the room that she sighed at.

“Hey, hey, calm the hell down,” Normandy cut in, and she glanced over at him where he had his arms crossed and a stern look on his face. “You chuckleheads get to have all eight of you to unload the damn thing, me and Miss P gotta do all the rest of this on our own and probably kill twenty guys on the way there and back. She had to be up at 6 AM, workin’ since 7 AM, lunch break at noon and nothin’ else, and we just got back now at, what, fuckin’, 10, 11 PM? Any of you work her shift and then see if you even got the energy to complain about wakin’ up early, how about that?”

The room went utterly devoid of complaint or backsass. “Thank you, Normandy,” she said politely, and he just nodded once, glancing off to the side. “Anyways, anything new on this end? Spy, how are you adjusting?”

“Very well,” he said simply. “I have nothing pressing to say. Once I’ve been updated from the stock weaponry provided here to my requested preferred weaponry, I believe I should do just fine.”

“I see you already have Herr Normandy digging graves,” Medic chimed in. “Straight into the hard labor, ja?”

“Eh, hey, y’know, it’s why they keep us young people around,” he shrugged, grinning, and there was a brief uproar to drown out Medic’s entirely offended scoffing and Spy’s snort-laughing.

“Get ‘im, lad!” Demo cheered, and Normandy indeed looked fairly proud of himself.

“Monday, transport mission,” Pauling noted over the noise, writing it up on the chalkboard to hide her own smile from the room. “Normandy, you and me are doing the boxes tomorrow. Everyone on the same page? Good. Dismissed. Oh, and Pyro—stop taking the fire alarms down when they beep. They’re beeping because you light things on fire in the base. Do that outside.”

“Oh, hey, uh, helmet guy, All-American Beef,” Normandy called, and Soldier straightened up. “Here’s your shovel back. Gettin’ my own tomorrow.”


Soldier walked directly over to him, clasping a hand on his shoulder. “That’s a high honor, Cadet,” he said, tone grave. “Do not take this responsibility lightly.”

“I, uh, I won’t?” he said hesitantly, and blinked a few times as the shovel was carefully taken from him before it was promptly marched from the room in double-time. Only then did Normandy look over at her. “So he’s always like that?”

“You’ll get used to it,” she assured, dusting chalk from her hands. “You should get to sleep soon, we have to be up early.”

“Sure thing, Miss P.”

[worstloki]

Top Forty Thor-Being-Thor Moments from Thor 1

just absolute dumb*ssery that this 7yr old kid’s life goal is to “hunt down the monsters and slay them all”. I’ll go easy on him here and let the Thor/Loki expressions do the talking because of “...just like you did Father” but seriously can his hands even fit around a sword handle??? this kid isn’t even punching the air right??? if there was a sword in his hand he would’ve cut his head with the way he’s moving???? pure tiny-himbo energy here just look at that >:o face he’s making. contrasts very nicely with Loki’s ‘,:|. 10/10. such a baby idiot.

“the jotuns must pay for what they have done! they broke into the weapons vault! if the frost giants had stolen even one of these relics!” thor. thor please. can you even name one of these relics. thor. hey thor. thor. shut up. “well, what would you do about this?” odin asks him. “march into jotunheim! like you once did! break their spirits! so they’ll never try anything like this again!” wow okay so we’ve fast-forwarded by like a thousand years and thor is still going on about genocide. huh. that’s funny, i thought loki was the genocidal one. hmm. i also just realized that the loki exclusive clip gives loki the same hairstyle thor has here so do what you will with that information.

0/10. horrible. terrible. i dont care how angy thor is about not getting to kill some jotuns or become king today this very instant, that is a tremendous waste of food. an absolute fool. how can he just remorselessly throw the bread to the floor. if loki stabbed him when he was 7 he would deserve it for this table flip alone. what a privileged white *ssh*le.

loki came skulking around a corner and suggested not to go to jotunheim and not only did thor not suspect anything but he also then went on to decide to go to jotunheim. 10/10 himbo material. 

if tumblr didn’t have a picture limit i would put every instance of thor smiling in this list because look at that stupid smile. he’s such an idiot. 11/10. this is the thor content i’m here for.

“I have no plans to die today” thor says with the stupidest open-mouthed smirking smile ever captured on film. right after he also told heimdall not to tell anyone they’re gone. he’s literally planned to strand them on jotunheim. thor’s grand plan was to strange themselves on jotunheim and also start a fight. i repeat: thor’s plan was to successfully slay all the frost giants and not need to return until they’re all gone. what an absolute d*mb*ss. this is getting ridiculous. this was originally a top-ten-thor moments list but i’m not even twenty minutes in so i’ll have to extend the list. thor. thor are you listening? thor, you’re such an idiot.

“HOW DID YOUR PEOPLE GET INTO ASGARD?!” thor you sweet sweet summer idiot, please, i am beggin,g you,, learn to rea,d , a room,, literally everyone else who came with you is regretting it, there is complete silence and only the rumble of the opposing king is meeting your “I AM THOR, SON OF ODIN”s, please, please take some notes from Loki, or, you know, literally anyone else in the room, since everyone is asking you to get out of this realm while you still can,

thor’s stupid smile makes an appearance after he gets called a princess and decides to fight a whole realm over it. you know what? thor is a princess. he’s the prettiest princess in all the lands. what’s thor gonna do about it? is he going to fight me too? I hope he does the stupid grin first. minus 15 points for the sexism. thor is a complete and utter sadistic fool who needs to get a hobby. seriously, he’s 1500 years old and still going on and on about slaying all the frost giants. boi, i hate to break it to you, but your dad is not the best or only example of greatness out there. i don’t think your dad even qualifies as an example of that. 

“THEN. GO!” 🥰 ahh yes, just thor thingz 🥰🥰 like when one friend has had his arm burnt 🥰 and another friend has been impaled and needs medical attention, 🥰🥰 and all the rest of your friends are yelling for you, 🥰 and your brother is telling you they must go, 🥰 and you decide to buy everyone time by laughing maniacally and killing more frosties because you care for them and dont find joy in destruction like a loon 🥰🥰🥰 

THIS is the iconic Thor moment that makes my day whenever I think about it. Just Thor, an absolute bumbering 6′6′’ giant boodlusting dummy sees Odin and just decides to yell “FATHAA!! WE’LL FINISH THEM TOGETHAAA!” as if the last thing Odin told him wasn’t “no, thor, we’re not going to do anything to the frost giants, do not go after them and try to kill them all.” 11/10 d*mb*assery right here folks, I couldn’t ask for Thor to be more of a fool. This is PEAK Thor energy. Look at that face. I feel like Thor spends half this movie with his nostrils flared. I love it.

okay i gotta give thor credit for rightfully calling odin “an old man and a fool” but also there was not even 1 frame of the scene where Thor had a decent face so now all i see is >:O >:| >:o >:[ when i watch that scene. yelling at odin was great, not yelling at odin after he HUAERGHed at loki was less great, but to be fair it’s thor and he is the definition of Peak D*mb*ss. 

thor literally GROWLS and starts yelling “HAMMAA?? HAMMER??” over and over. He was hit by a van, he fainted, he woke up and started growling. I don’t know what else there is to say about this.

“you dare threaten me? puny human?”. so. uhh. basically. Thor knew she was threatening him? He KNEW she had a weapon? instead he made a face and started yelling as he tried to walk his way closer????? thor you complete and utter dum dum. you frickin hairball-for-brains. im not even surprised darcy tasered him. with that kind of face, i’d taser him too.

when you wake up in an unknown place to a person smiling at you without a stupid smile, the first step is always to attack first and ask questions later 😌😌😌 (but seriously thor you imbecile why didn’t you ask where you were instead of throwing multiple people around the room and getting your butt needled. you clueless buffoon. you’ll remain a clueless buffoon if you don’t listen to anyone.)

just a quick recap but thor was knocked unconscious by a van and these people kidnapped him aboard and the next scene we see him in he’s checking himself out in  mirror after presumably changing right there in the open?????? these are the things that make thor thor. any other character and i’d question it so much, but this is thor, and i truly believe this is in-character for him. just change in the open because why not? thor is a beefcake and that’s his only redeeming quality and he knows it. 10/10 thor moment. 

I am now convinced that Thor saw Jane and “5k van-hitter to lover slow-burn height-difference himbo-scientist trope” flashed through his mind.

“but no more smashing!” Jane says, and then Thor proceeds to check her out and smile unlike an idiot and like a douche. was this his version of flirting???? i’m not one to decide, but yes, yes it was. He threw a cup to the ground and broke it, and she’s getting mad at him and berating him about it, and he’s liking it. y’all i’m sorry to break it to you like this, but thor has a canon fetish. i am so, so sorry.

im DYING. THAT ISN’T EVEN A KISS, HIS MOUTH IS OPEN. he SMUSHES his mouth around her knuckle???? WHY. I can’t keep noticing things like this. send help. please. Jane’s response makes so much more sense now; she’s laughs for a solid 3 seconds and shakes her head and is like “uhh, thank you? ahaha,” and then she keeps looking back longingly when walking away. they are doing this in PLAIN sight of EVERYONE. Darcy and Erik are standing RIGHT THERE, and Thor is doing weird things to her with his mouth. I’m out. I am done here. goodbye. 

return of the stupid smile AND the douche smile in quick succession through the entire trip. their entire dialogue is peppered with innuendo. “I’ve never done anything like this before. have you ever done anything like this before?” “many times, but you are brave to do it.” “I have nothing else to lose.” “ah but you are clever, far more clever than anyone else on this realm.” “realm? rEaLm?” “you think me strange?” “yes” “good strange or bad strange?” “I haven’t decided yet.” I AM DYING OVER THIS. plus, we get Return Of The Himbo with Jane asking after Einstein Rosen bridges and Thor is like “uh, actually, more like a rainbow bridge 😜🤪” i feel so sorry for jane here, didn’t know how much of a d*mb*ss Thor was when signing up for this van-trip and knuckle-sucking 😭😭😭 i also no longer have questions about how the trip that SHOULD HAVE BEEN A HALF-HOUR ONE turned into one that LASTED TILL THE SUN WENT FROM THE MIDDLE OF THE SKY TO SETTING by the time they arrived. I have no questions. please. I don’t want to know what they were doing in that van. please no. don’t make me think about it.

thor’s plan had 3 steps and they were 1. give jane his jacket 2. walk in and get his hammer 3. fly out. that was literally his plan. he had the first “I have a plan. attack.” moment in the MCU. pure concentrated 0-brain-cells energy right here. how can you not stan this king of d*mb*ssery. look at him, flaunting his big boy muscles. he’s about get his hammer and fly out, like he just told jane with a trademark stupid-smile.

crop-top hair-mop thor is my favourite thor. the way the entire fight scene parallels a hamster in a maze only exemplifies the thor vibes for some inexplicable reason.

“you’re big. fought bigger.” + Thor douche-smile + subtext from earlier + rolling around passionately in the mud = not a happy me. 

I swear i’m not making up this romantic subtext but it’s barely even subtext. the entire scene leading up to Thor’s attempt at lifting the hammer is actually filmed erotically. I’m not kidding. First there’s a shot where Thor pulls aside a hamster-cage-wall blind which mirrors a shower-curtain, and THEN he walks around the hammer while smiling douche-ly at it, we get a few close-ups to his face which are shot from angles slightly lower than himself, giving him an aire of superiority, plus the music adds to this, he reaches out for the hammer’s handle with a mud-covered arm in the rain, in non-slow-motion slow-motion, and he wraps his arm around it, like, he fully twists his arm, unecessarily sexually, around it as he grabs the hammer. This is not okay. On the plus side, it makes the movie much more entertaining,, on the down side,,.

im not going to call Thor dumb for not knowing he’s not worthy. im not going to. because odin literally whispered the enchantment to mjolnir after he’d thrown thor to midgard. it is very funny watching thor grunt in frustration though. he starts yelling because he couldn’t lift the hammer and just lets himself get caught. like, dude, get a life, go buy a new weapon from the store, seriously. he mourns for the hammer on-screen longer than he does for loki. he also looks like he’s in far more pain here. he becomes catatonic and unresponsive after this, but when loki dies he’s already feasting the same afternoon. 10/10 dum dum thor material. never change thor, never change. (that’s code for please change, thor, please,)

thor trying to establish dominance wherever he goes is the funniest thing because at this point he’s being a complete asgardian *ss about it and it’s reaching points of pettiness never seen before. side note: he is possibly flirting with selvig too. maybe. i’m not saying anything happened, but Thor’s openning lines when bringing him home carried over his shoulder are “he’s fine, not injured at all,” followed with an apology to selvig, and an explanation to jane which consisted only of “we drank, we fought, he made his ancestors proud,” and then he puts the man to bed and before he falls asleep erik says “i still don’t believe you’re the g*d of th*nder, but you ought to be,” so... your choice, i guess...

thor’s got his trademark stupid smile and stupidly takes jane’s life’s work notebook and starts doodling in it about trees. the last time his father told him this story about Yggdrasil was when he was 5 and he clearly hasn’t payed attention to any lesson about anything since and it shows so so much. thank you thor. very insightful knowledge you’re passing on hear. ‘i come from a world where [science and magic] are one and the same,’ ok great, now elaborate on that please. oh, right, you can’t because you’re thor, my bad, 20/10 thor behaviour. he couldn’t even doodle nicely. all his lines are wobbly. epic art fail. i wouldn’t trust him near my sketchbook with a 2B pencil.

THIS is thor’s realization face. in case anyone was interested in what ‘dawning truth’ looked like on him. 😰😪 THIS is the face of a thinker, of a man betrayed by his own beloved brother for unprecedented reasons. look at the nuance in his expression. 😩😩😩 so many emotions, I can’t even count them all 😩💯😪

stupid smile and “do not worry my friends, i have a plan,” he says, “i’ll just try and abuse the fact that Loki’s super selfless and kind and has no self worth to my benefit as i have countless times before which is exactly what he’s rightfully angry about this time,” he doesn’t think to himself because that is NOT the smile of someone who is thinking... like, at all. +10000 points to gryffinthor. the d*mb*ssery really jumps out.

“im sorry bro for whatever i did and whatever you’re blaming me for as an excuse to do this, im sorry bro, but you’re disturbing innocents that i don’t really care about but you’re the one making a scene in front of them so why don’t you admit you won’t kill me and are just having a temper tantrum and we move on? hmm?” and then he proceeds to get slam dunked in the face with a metal arm like yEAAAA BOI that’s what you GET for going up against the SENTIENT LAVA-SPEWING metal-man ya absolute dunderhead clod. thunderhead clod? yeah, that. he’s just so dumb, your honour, please, you must understand, the victim pleads guilty on all charges of d*mb*ss and d*mb*ss alone.

I can NOT describe the emotions I feel knowing that Thor is suck-kissing Jane’s knuckles. Like, his mouth is literally jelly-ing it up against her hand. There is suction there and it shows when he is placing and removing his mouth. I promise that’s what is happening. I’m not any happier than you about this. I regret everything. This is why Loki should be what is focused on and not Thor; Thor’s going around trying to frick frack everything in sight even if it’s just Jane’s hand. He’s maintaining eye contact with Jane while he licks her fingers. Why did I decide to rewatch this movie. 

i’m only adding this in as a thor moment because of how desperately and badly they kiss. seriously. 2/10 kiss. im not surprised jane broke up with him. they look like two actual seals fighting over an actual grape. while i’m here i’m going to criticize every fic ever that decided thor is an experienced gentle lover. what were y’all on when watching this movie. thor can and will f*ck literally everything in sight and he won’t even do it well because he is the peakest of peak d*m d*m. look at this man. look at his face. that is the face of an absolute himbo idiot, and it’s the face of an absolute himbo idiot who knows it. he’s been stranded on earth for 2 days, max, and his flirt-count is at 69 people because his name is one letter away from thot. i bet his terrible use of a pen from early means he writes his ‘r’s like ‘t’s and he doesn’t even care. 1000/10 thor moment. doesn’t get much more romance-thor than two individuals smooshing their faces together after some finger sucking. that finger sucking is gonna leave jane simping for years. and that’s true love babey. <3

“I’ll handle my Brother!” Thor says, as if Loki didn’t send a metal-murder-bot that quite virtually killed him less than ten minutes ago asdfhkhsdgsdjf Thor, you horrific himbo you, Loki’s weapon of choice is literally throwing knives he will literally kill you before you enter the room if he’s on his game and wants you dead which he just proved he would do and you’re just gonna???????????? jog on over to him????? Thor??????????? bruH???????????? buddy??????? pal???????? you really wanna go 1v1 the brother you very clearly underestimate and know nothing about????????????????? im loving the confidence, but, no.

Loki: “you literally can’t stop this from here.” Thor, immediately: “i’m going to hit it with the hammer and see if that works” and then it does in fact work later... technically speaking, even if it ends up causing chaos destruction and death and loki falling off the bifrost 😔😔😔 but Big Brain Thor is the Biggest Brained Thor!!! The plan worked!! in a messy-Thor-ish way, but it did!!!

“you can’t kill an entire race!!!!” Thor yells, teeth gritted, as he faces his brother, his coward pacifist brother, who has suddenly decided he wants to join the age-old family tradition of realm-destroying, when this is supposed to be Thor’s dream, Thor’s, not Loki’s. How dare he, Thor thinks to himself, fist clenched around Mjolnir in anger, the pain of the handle pressing against his palm perhaps the only thing preventing him from lashing out at this thought, that’s my planet of monsters to slay, he should go get his own! Loki hits Thor across the face with the back-end of his spear. “Now fight me,” Loki says, but Thor, well, Thor cannot fight, as he remains stunned that of all things Loki would dare steal his life’s ambition, and he is sent sprawling backwards across the observatory, slowly but surely sliding to a stop despite his catatonic, very symbolic silence.

the elegance, the poise, i see your time on earth has made you no less graceful, Thor. the simple magnitude of this sprawl. the spread of the arms. the turn of the feet. this is not a dude, this is a man.

sometimes your brother starts vehemently talking about he’s gonna kill the race of monsters and about how he’s only ever wanted to be your equal and about how he’s not your brother and never was and sometimes you just have to say “this is madness” instead of addressing the issues or asking for any of the  deets 🔥 👊💯😩

Loki is whipping Thor’s butt. Both literally, and metaphorically, Loki is whooping Thor’s d*mb*ss. Earlier he knicked Thor’s face, now he’s just pushing Thor around, he uses the spear as a pole and later kicks Thor’s face by kicking vertically up, and Thor, bless him in all his blond golden muscled glory, doesn’t think anything is up with this, gosh he’s such an absolute utter idiot

sometimes your brother laughs way too much and also cries too much in a fight and there are also too many of him so you just need to blast lightning so you get a shot at all of them 😌😌😌 and then put your magical infinitely-heavy hammer on his chest 😌😌😌 but it’s okay because Thor left holes in Loki’s container 😌😌😌

now THIS is the meat to Thor’s funny bone, just the pure unadulterated humour that is Thor saying that there will never be a “wiser king” or a “better father” than Odin, it cracks me up every single time without fail, just the way he says it with a straight face and— what do you mean he wasn’t joking

look at Thor’s stupid smile as he asks Heimdall to spy on jane every single day while conveniently never asking after Loki ever. This is Thor’s face in mourning after he attended a feast after everyone was celebrating after Loki’s death. Look at his stupid smile. I love him your honour. He’s just,, he’s just so frickin stewpeed, just Thor being Thor, just the purest of d*mbest of *sses. 

[carriagelamp]

Art of Aardman

I found myself a cheap copy of the Shaun the Sheep movie, so I was rewatching a bunch of Aardman films earlier this month and decided to hunt down some books too. For anyone that doesn’t know, Aardman is a British stop-motion studio that does fantastic work like Wallace and Gromit, Shaun the Sheep, Chicken Run, Early Man… tons of cool stuff. They’re always quirky and funny and warm-hearted. This was just a very nice art book for anyone that’s a fan of Aardman stop motion and wants to see a bit extra; it shows some cool concept art and blows up the neat details in Aardman work, especially in their intricate stuff like The Pirates! In an Adventure with Scientists!

Asterix and the Picts (Asterix and the Chariot Race, and How Obelix Fell Into The Magic Potion)

I decided to try a couple of the new Asterix comics that were done by the new team, just to see if they stand up to the old ones (that and How Obelix Fell Into The Magic Potion cause I’d never read that one before). They were pretty decent! Asterix and the Picts was my favourite of the two though I wouldn’t say either are going to contest for my favourite Asterix comic... but still! The art looks good and the stories felt like what I would expect, they made for a pleasant couple evenings of reading especially since it’s been so long since I’ve read a new Asterix comic. If you’ve never read Asterix it’s one of the biggest name French comic series in North America, as far as I know and very worth the read. It’s about a single Gaulish village that’s holding out against the invading Romans through sheer force of will, slapstick hijinks, and a magical super-strength potion brewed by their druid. Lots of fantastic visuals and cute wordplay, even in the English translations.

Bear

I found out about this bastion of Canadian literature via tumblr post that was losing its collective mind over the fact that some bizarre bear-based erotica novella somehow won the most prestigious literary prize available in Canada. Since I too found this hilarious and unspeakably bizarre I had to give it a read, obviously. And yes, the flat surface level summary is... a librarian moves out into rural Ontario and falls in love with a literal for-real not-supernatural-not-a-joke bear. And I have to say… it is actually worthy of an award, which I was not expecting given that I was there for a laugh. It has beautiful writing, and the subtextual story is pretty interesting… it kind of makes me think of The Haunting of Hill House actually in terms of themes. (Womanhood, personhood, independence, autonomy partially achieved through escaping the male gaze by claiming non-human lovers... listen if I were still in university I would right a paper comparing the two novels).

I dunno man, it’s fucking weird. Actually a well-written book, but sure is about a woman falling in love with a literal bear. Give it a read if you want something bonkers but like… high-brow bonkers.

Hunger Pangs: True Love Bites

Best book I have read in like… a while. A long while. I am not a fast reader, and I consumed 90% of this book over a weekend. It’s not at all like Terry Pratchett, but at the same time it scratched an itch for me that I haven’t had satisfied since Pratchett’s death. A very clever, hilariously funny poly romance between a disabled werewolf, an anxious vampire lord, and an incredibly powerful woman, with heaps of social satire, political commentary, and sinister undertones. The whole thing reads a bit like fanfiction and I say that in the most flattering way possible -- it is so easy to jump right in and be immediately taken over by the characters and the world and the plot, you never feel like you’re fighting to engage even though the world-building is fascinating and expansive. It welcomes you in right away, it was the book equivalent of a quilt and a hug which is something I sorely needed with all this pandemic bullshit. If you read any of the books on this list, go read that one while I sit here in pain waiting for the sequel.

Kid Paddle

I watched the cartoon of Kid Paddle as a kid and was thinking about it recently, so I decided to hunt down some of the original comics online. They’re fun and weird, with a cute art style and fantastic monsters designs. (My favourites are always about Kid either daydreaming or playing games that involve Midam’s weird warty troll creatures. It’s like a cross between Calvin and Hobbes and Foxtrot with the fun sort of quirks that I love in Belgian comics. Unfortunately, unlike Asterix, I’ve only come across these ones in French, but if you can read French it’s totally worth popping over to The Internet Archive and reading the ones they have available.

The Last Firehawk: The Golden Temple

The lastest Firehawk book. Despite being written for quite young readers, I did enjoy the early books in this series quite a bit. They’re about a young owl and squirrel who found an egg for a magical species that was believed to be extinct. With the newly hatched firehawk, the three of them head off on a mission to find an ancient firehawk magic that could save the entire forest. Very basic adventure story but a good intro to the tropes for children. Unfortunately the quality really feels like it drops with each subsequent book; this will probably be the last one I bother reading.

Lumberjanes: The Moon Is Up

I honestly think I enjoy these Lumberjanes novels even more than the comics just because it really gives time to delve into each story and examine how the camper are really thinking and feeling about everything. (Also I’m always weak for novelizations of anything.) The Moon Is Up is a book that focuses more on Jo, and takes place during the camp’s much anticipated Galaxy Wars, a competition between cabins that goes over several days. While the campers prepare for these challenges though, they also run into a strange little creature with a penchant for cheese and theft. Roanoke cabin needs to keep ahead in Galaxy Wars and somehow deal with the fearsome Moon Pirates that a closing in...

Lumberjanes v4 (Out Of Time)

One of the Lumberjanes comics, a cool, girl-focused, queer comic series. Honestly, this is just a fun series that I never got as into as I should have. My advice is honestly to skip book one because it gets better as it continues, and I’ve really been enjoying the later books now that I’ve given it another go. It follows five campers at Miss Qiunzella Thiskwin Penniquiqul Thistle Crumpet’s Camp for Hardcore Lady Types (Jo, April, Molly, Mal, and Ripley) as they handle all sorts of challenges, from friendship to crushes, camp activities to supernatural horrors, getting badges to not being brutally killed. Great if you liked the vibe of Gravity Falls but want it to be queer-er.

Mooncakes

Another queer graphic novel, but unfortunately not a very good one. It really looked appealing and I had high hopes, but the book itself really didn’t hold up… I actually couldn’t even finish it, the plot was just too… non-existent. The art is fairly mediocre once you actually look at it, especially backgrounds, and it feels very… placid. Not much conflict or excitement or even a very compelling reason to keep reading. If you just want a soft queer supernatural you may get more mileage out of it than me, but it didn’t really do it for me. There’s better queer graphic novels out there.

New Boy In Town

One of the worst books I have ever read. My girlfriend had ordered a very different book online but through a frankly stupendous error was sent this 1980s pulp romance instead. Absolutely nauseating on levels I couldn’t even begin to enumerate here. Naturally we read the whole thing out loud. Probably took us 10 times longer to finish than it warranted because I had to stop every two sentences to lose my mind. If you like bad decisions, baffling hetero courting rituals, built-in cultural Christianity without actually calling it that, and gold panning then boy howdy is this the book for you.

(seriously, you better have patience for gold-panning if you attempt this one, because I sure learn that I don’t)

Piggies

This was a picture book I enjoyed as a kid and had a reason to reread recently. Honestly it’s just very cute and simple, and the art is completely mesmerizing. Wonderful if you know a young child that would enjoy a simple goofy boardbook.

Shaun the Sheep: Tales From Mossy Bottom

Related to my Aardman fascination earlier this month. I tried reading a varieties of Shaun the Sheep books — most of which are mediocre at best — but the Tales From Mossy Bottom Farm series is genuinely good. Just chapter books, of course, but the illustrations match the series’ concept art and each story feels like it could have jumped directly out of an episode. They’re just cute and feel-good! Kinda like Footrot Flats but more for kids, and from the sheep’s perspective moreso than the dog’s.

[the-hunchback-of-notre-dame]

‘The Hunchback of Notre Dame’ at 25: An Oral History of Disney’s Darkest Animated Classic

Posted on Slashfilm on Monday, June 21st, 2021 by Josh Spiegel

“This Is Going to Change Your Life”

The future directors of The Hunchback of Notre Dame were riding high from the success of Beauty and the Beast. Or, at least, they were happy to be finished.

Gary Trousdale, director: After Beauty and the Beast, I was exhausted. Plus, Kirk and I were not entirely trusted at first, because we were novices. I was looking forward to going back to drawing.

Kirk Wise, director: It was this crazy, wonderful roller-coaster ride. I had all this vacation time and I took a couple months off.

Gary Trousdale: A little later, it was suggested: “If you want to get back into directing, start looking for a project. You can’t sit around doing nothing.”

Kirk Wise: [Songwriters] Lynn Ahrens and Stephen Flaherty had a pitch called Song of the Sea, a loose retelling of the Orpheus myth with humpback whales. I thought it was very strong.

Gary Trousdale: We were a few months in, and there was artwork and a rough draft. There were a couple tentative songs, and we were getting a head of steam.

Kirk Wise: The phone rang. It was Jeffrey [Katzenberg, then-chairman of Walt Disney Studios], saying, “Drop everything. I got your next picture: The Hunchback of Notre Dame.”

Gary Trousdale: “I’ve already got Alan Menken and Stephen Schwartz. You’re going to do this.” It wasn’t like we were given a choice. It was, “Here’s the project. You’re on.”

Kirk Wise: I was pleased that [Jeffrey] was so excited about it. I think the success of Beauty and the Beast had a lot to do with him pushing it our way. It would’ve been crazy to say no.

Gary Trousdale: What [Kirk and I] didn’t know is that Alan and Stephen were being used as bait for us. And Jeffrey was playing us as bait for Alan and Stephen.

Alan Menken, composer: Jeffrey made reference to it being Michael Eisner’s passion project, which implied he was less enthused about it as a story source for an animated picture.

Stephen Schwartz, lyricist: They had two ideas. One was an adaptation of Hunchback and the other was about whales. We chose Hunchback. I’d seen the [Charles Laughton] movie. Then I read the novel and really liked it.

Peter Schneider, president of Disney Feature Animation (1985-99): I think what attracted Stephen was the darkness. One’s lust for something and one’s power and vengeance, and this poor, helpless fellow, Quasimodo.

Roy Conli, co-producer: I was working at the Mark Taper Forum in Los Angeles, doing new play development. I was asked if I’d thought about producing animation. I said, “Yeah, sure.”

Don Hahn, producer: The goose had laid lots of golden eggs. The studio was trying to create two units so they could have multiple films come out. Roy was tasked with something hard, to build a crew out of whole cloth.

Kirk Wise: The idea appealed to me because [of] the setting and main character. I worked with an elder story man, Joe Grant, [who] goes back to Snow White. He said, “Some of the best animation ideas are about a little guy with a big problem.” Hunchback fit that bill.

Gary Trousdale: It’s a story I always liked. When Jeffrey said, “This is going to change your life,” Kirk and I said, “Cool.” When I was a kid, I [had an] Aurora Monster Model of Quasimodo lashed to the wheel. I thought, “He’s not a monster.”

Don Hahn: It’s a great piece of literature and it had a lot of elements I liked. The underdog hero. [He] was not a handsome prince. I loved the potential.

Gary Trousdale: We thought, “What are we going to do to make this dark piece of literature into a Disney cartoon without screwing it up?”

Peter Schneider: The subject matter is very difficult. The conflict was how far to go with it or not go with it. This is basically [about] a pederast who says “Fuck me or you’ll die.” Right?

“We Were Able to Take More Chances”

Wise and Trousdale recruited a group of disparate artists from the States and beyond to bring the story of Quasimodo the bell-ringer to animated life.

Paul Brizzi, sequence director: We were freshly arrived from Paris.

Gaëtan Brizzi, sequence director: [The filmmakers] were looking for a great dramatic prologue, and they couldn’t figure [it] out. Paul and I spent the better part of the night conceiving this prologue. They said, “You have to storyboard it. We love it.”

Roy Conli: We had two amazing artists in Paul and Gaëtan Brizzi who became spiritual leaders in the production. They were so incredible.

Gaëtan Brizzi: [“The Bells of Notre Dame”] was not supposed to be a song first.

Paul Brizzi: The prologue was traditional in the Disney way. Gaëtan and I were thinking of German expressionism to emphasize the drama. I’m not sure we could do that today.

Paul Kandel, voice of Clopin: They were toying with Clopin being the narrator. So they wrote “The Bells of Notre Dame” to open the movie.

Stephen Schwartz: [Alan and I] got called into a presentation, and on all these boards [was] laid out “The Bells of Notre Dame.” We musicalized the story they put up there. We used the pieces of dialogue they invented for Frollo and the other characters. I wrote lyrics that described the narrative. It was very exciting. I had never written a song like that.

Kirk Wise: Early on, we [took] a research trip with the core creative team to Paris. We spent two weeks all over Notre Dame. They gave us unrestricted access, going down into the catacombs. That was a huge inspiration.

Don Hahn: To crawl up in the bell towers and imagine Quasimodo there, to see the bells and the timbers, the scale of it all is unbelievable.

Kirk Wise: One morning, I was listening to this pipe organ in this shadowy cathedral, with light filtering through the stained-glass windows. The sound was so powerful, I could feel it thudding in my chest. I thought, “This is what the movie needs to feel like.”

Brenda Chapman, story: It was fun to sit in a room and draw and think up stuff. I liked the idea of this lonely character up in a bell tower and how we could portray his imagination.

Kathy Zielinski, supervising animator, Frollo: It was the earliest I’ve ever started on a production. I was doing character designs for months. I did a lot of design work for the gargoyles, as a springboard for the other supervisors.

James Baxter, supervising animator, Quasimodo: Kirk and Gary said, “We’d like you to do Quasimodo.” [I thought] that would be such a cool, amazing thing to do. They wanted this innocent vibe to him. Part of the design process was getting that part of his character to read.

Will Finn, head of story/supervising animator, Laverne: Kirk and Gary wanted me on the project. Kirk, Gary, and Don Hahn gave me opportunities no one else would have, and I am forever grateful.

Kathy Zielinski: I spent several months doing 50 or 60 designs [for Frollo]. I looked at villainous actors. Actually, one was Peter Schneider. [laughing] Not to say he’s a villain, but a lot of the mannerisms and poses. “Oh, that looks a little like Peter.”

James Baxter: I was doing design work on the characters with Tony Fucile, the animator on Esmerelda. I think Kirk and Gary felt Beauty and the Beast had been disparate and the characters weren’t as unified as they wanted.

Kathy Zielinski: Frollo stemmed from Hans Conried [the voice of Disney’s Captain Hook]. He had a longish nose and a very stern-looking face. Frollo was modeled a little bit after him.

Will Finn: The team they put together was a powerhouse group – Brenda Chapman, Kevin Harkey, Ed Gombert, and veterans like Burny Mattinson and Vance Gerry. I felt funny being their “supervisor.”

Kathy Zielinski: Half my crew was in France, eight hours ahead. We were able to do phone calls. But because of the time difference, our end of the day was their beginning of the morning. I was working a lot of late hours, because [Frollo] was challenging to draw.

Kirk Wise: Our secret weapon was James Baxter, who animated the ballroom sequence [in Beauty and the Beast] on his own. He had a unique gift of rotating characters in three-dimensional space perfectly.

Gary Trousdale: James Baxter is, to my mind, one of the greatest living animators in the world.

James Baxter: I’ve always enjoyed doing things that were quite elaborate in terms of camera movement and three-dimensional space. I’m a glutton for punishment, because those shots are very hard to do.

Gary Trousdale: In the scene with Quasimodo carrying Esmeralda over his shoulder, climbing up the cathedral, he looks back under his arms, snarling at the crowd below. James called that his King Kong moment.

As production continued, Roy Conli’s position shifted, as Don Hahn joined the project, and Jeffrey Katzenberg left Disney in heated fashion in 1994.

Roy Conli: Jeffrey was going to create his own animation studio. Peter Schneider was interested in maintaining a relationship with Don Hahn. We were into animation, ahead of schedule. They asked Don if he would produce and if I would run the studio in Paris.

Don Hahn: Roy hadn’t done an animated film before. I was able to be a more senior presence. I’d worked with Kirk and Gary before, which I enjoy. They’re unsung heroes of these movies.

Kirk Wise: The [production] pace was more leisurely. As leisurely as these things can be. We had more breathing room to develop the storyboards and the script and the songs.

Gary Trousdale: Jeffrey never liked characters to have facial hair. No beards, no mustaches, nothing. There’s original designs of Gaston [with] a little Errol Flynn mustache. Jeffrey hated it. “I don’t want any facial hair.” Once he left, we were like, “We could give [Phoebus] a beard now.”

Kirk Wise: The ballroom sequence [in Beauty] gave us confidence to incorporate more computer graphics into Hunchback. We [had] to create the illusion of a throng of thousands of cheering people. To do it by hand would have been prohibitive, and look cheap.

Stephen Schwartz: Michael Eisner started being more hands-on. Michael was annoyed at me for a while, because when Jeffrey left, I accepted the job of doing the score for Prince of Egypt. I got fired from Mulan because of it. But once he fired me, Michael couldn’t have been a more supportive, positive colleague on Hunchback.

Kirk Wise: [The executives] were distracted. We were able to take more chances than we would have under the circumstances that we made Beauty and the Beast.

Don Hahn: Hunchback was in a league of its own, feeling like we [could] step out and take some creative risks. We could have done princess movies forever, and been reasonably successful. Our long-term survival relied on trying those risks.

One sticking point revolved around Notre Dame’s gargoyles, three of whom interact with Quasimodo, but feel more lighthearted than the rest of the dark story.

Gary Trousdale: In the book and several of the movies, Quasimodo talks to the gargoyles. We thought, “This is Disney, we’re doing a cartoon. The gargoyles can talk back.” One thing led to another and we’ve got “A Guy Like You.”

Kirk Wise: “A Guy Like You” was literally created so we could lighten the mood so the audience wasn’t sitting in this trough of despair for so long.

Stephen Schwartz: Out of context, the number is pretty good. I think I wrote some funny lyrics. But ultimately it was a step too far tonally for the movie and it has been dropped from the stage version.

Gary Trousdale: People have been asking for a long time: are they real? Are they part of Quasimodo’s personality? There were discussions that maybe Quasimodo is schizophrenic. We never definitively answered it, and can argue convincingly both ways.

Jason Alexander, voice of Hugo: I wouldn’t dream of interfering with anyone’s choice on that. It’s ambiguous for a reason and part of that reason is the viewers’ participation in the answer. Whatever you believe about it, I’m going to say you’re right.

Brenda Chapman: I left before they landed on how [to play] the gargoyles. My concern was, what are the rules? Are they real? Are they in his imagination? What can they do? Can they do stuff or is it all Quasi? I looked at it a little askance in the finished film. I wasn’t sure if I liked how it ended up…[Laverne] with the boa on the piano.

Kirk Wise: There was a component of the audience that felt the gargoyles were incompatible with Hunchback. But all of Disney’s movies, including the darkest ones, have comic-relief characters. And Disney was the last person to treat the written word as gospel.

“A Fantastic Opportunity”

After a successful collaboration on Pocahontas, Menken and Schwartz worked on turning Victor Hugo’s tragic story into a musical.

Alan Menken: The world of the story was very appealing, and it had so much social relevance and cultural nuance.

Stephen Schwartz: The story lent itself quite well to musicalization because of the extremity of the characters and the emotions. There was a lot to sing about. There was a great milieu.

Alan Menken: To embed the liturgy of the Catholic Church into a piece of music that’s operatic and also classical and pop-oriented enriches it in a very original way. Stephen was amazing. He would take the theme from the story and specifically set it in Latin to that music.

Stephen Schwartz: The fact that we were doing a piece set in a church allowed us to use all those elements of the Catholic mass, and for Alan to do all that wonderful choral music.

Alan Menken: The first creative impulse was “Out There.” I’m a craftsman. I’m working towards a specific assignment, but that was a rare instance where that piece of music existed.

Stephen Schwartz: I would come in with a title, maybe a couple of lines for Alan to be inspired by. We would talk about the whole unit, its job from a storytelling point of view. He would write some music. I could say, “I liked that. Let’s follow that.” He’d push a button and there would be a sloppy printout, enough that I could play it as I was starting the lyrics.

Roy Conli: Stephen’s lyrics are absolutely phenomenal. With that as a guiding light, we were in really good shape.

Stephen Schwartz: Alan played [the “Out There” theme] for me, and I really liked it. I asked for one change in the original chorus. Other than that, the music was exactly as he gave it to me.

Gary Trousdale: Talking with these guys about music is always intimidating. There was one [lyric] Don and I both questioned in “Out There,” when Frollo is singing, “Why invite their calumny and consternation?” Don and I went, “Calumny?” Kirk said, “Nope, it’s OK, I saw it in an X-Men comic book.” I went, “All right! It’s in a comic book! It’s good.”

Stephen Schwartz: Disney made it possible for me to get into Notre Dame before it opened to the public. I’d climb up the steps to the bell tower. I’d sit there with my yellow pad and pencil. I’d have the tune for “Out There” in my head, and I would look out at Paris, and be Quasimodo. By the time we left Paris, the song was written.

Kirk Wise: Stephen’s lyrics are really smart and literate. I don’t think the comical stuff was necessarily [his] strongest area. But this movie was a perfect fit, because the power of the emotions were so strong. Stephen just has a natural ability to connect with that.

Will Finn: The directors wanted a funny song for the gargoyles and Stephen was not eager to write it. He came to me and Irene Mecchi and asked us to help him think of comedy ideas for “A Guy Like You,” and we pitched a bunch of gags.

Jason Alexander: Singing with an orchestra the likes of which Alan and Stephen and Disney can assemble is nirvana. It’s electrifying and gives you the boost to sing over and over. Fortunately, everyone was open to discovery. I love nuance and intention in interpretation. I was given wonderful freedom to find both.

Stephen Schwartz: “Topsy Turvy,” it’s one of those numbers of musical theater where you can accomplish an enormous amount of storytelling. If you didn’t have that, you’d feel you were drowning in exposition. When you put it in the context of the celebration of the Feast of Fools, you could get a lot of work done.

Paul Kandel: The first time I sang [“Topsy Turvy”] through, I got a little applause from the orchestra. That was a very nice thing to happen and calm me down a little bit.

Brenda Chapman: Poor Kevin Harkey must’ve worked on “Topsy Turvy” for over a year. Just hearing [singing] “Topsy turvy!” I thought, “I would shoot myself.” It’s a fun song, but to listen to that, that many times. I don’t know if he ever got to work on anything else.

Paul Kandel: There were places where I thought the music was squarer than it needed to be. I wanted to round it out because Clopin is unpredictable. Is he good? Is he bad? That’s what I was trying to edge in there.

Kirk Wise: “God Help the Outcasts” made Jeffrey restless. I think he wanted “Memory” from Cats. Alan and Stephen wrote “Someday.” Jeffrey said, “This is good, but it needs to be bigger!” Alan was sitting at his piano bench, and Jeffrey was next to him. Jeffrey said, “When I want it bigger, I’ll nudge you.” Alan started playing and Jeffrey was jabbing him in the ribs. “Bigger, bigger!”

Don Hahn: In terms of what told the story better, one song was poetic, but the other was specific. “Outcasts” was very specific about Quasimodo. “Someday” was “Somewhere Over the Rainbow.”

Kirk Wise: When Don watched the movie, he said, “It’s working pretty well. But ‘Someday,’ I don’t know. It feels like she’s yelling at God.” We played “God Help the Outcasts” for him and Don said, “Oh, this is perfect.” That song is the signature of the entire movie.

Don Hahn: “Someday” was lovely. But I had come off of working with Howard Ashman, and I felt, “This doesn’t move the plot forward much, does it?” We ended up with “Someday” as an end-credits song, which was fortunate. ‘Cause they’re both good songs.

Kirk Wise: It was all about what conveys the emotion of the scene and the central theme of the movie best. “God Help the Outcasts” did that.

Everyone agrees on one point.

Stephen Schwartz: Hunchback is Alan’s best score. And that’s saying a lot, because he’s written a whole bunch of really good ones.

Gary Trousdale: With Hunchback, there were a couple of people that said, “This is why I chose music as a career.” Alan and Stephen’s songs are so amazing, so that’s really something.

Paul Kandel: It has a beautiful score.

Jason Alexander: It has the singularly most sophisticated score of most of the animated films of that era.

Roy Conli: The score of Hunchback is one of the greatest we’ve done.

Don Hahn: This is Alan’s most brilliant score. The amount of gravitas Alan put in the score is amazing.

Alan Menken: It’s the most ambitious score I’ve ever written. It has emotional depth. It’s a different assignment. And it was the project where awards stopped happening. It’s almost like, “OK, now you’ve gone too far.”

Stephen Schwartz: It’s astonishing that Alan has won about 173 Academy Awards, and the one score he did not win for is his best score.

The film featured marquee performers singing covers of “God Help the Outcasts” and “Someday”. But one of the most famous performers ever nearly brought those songs to life.

Alan Menken: I met Michael Jackson when we were looking for someone to sing “A Whole New World” for Aladdin. Michael wanted to co-write the song. I could get a sense of who Michael was. He was a very unique, interesting individual…in his own world.

I get a call out of nowhere from Michael’s assistant, when Michael was at the Four Seasons Hotel in New York. He had to [deal with] allegations about inappropriate behavior with underage kids, and the breakup with Lisa Marie Presley. He’s looking to change the subject. And he obviously loves Disney so much. So I mentioned Hunchback. He said he’d love to come to my studio, watch the movie and talk about it. So we got in touch with Disney Animation. They said, “Meet with him! If he likes it…well, see what he says.” [laughing]

There’s three songs. One was “Out There,” one was “God Help the Outcasts,” one was “Someday.” Michael said, “I would like to produce the songs and record some of them.” Wow. Okay. What do we do now? Michael left. We got in touch with Disney. It was like somebody dropped a hot poker into a fragile bowl with explosives. “Uh, we’ll get back to you about that.”

Finally, predictably, the word came back, “Disney doesn’t want to do this with Michael Jackson.” I go, “OK, could someone tell him this?” You can hear a pin drop, no response, and nobody did [tell him]. It fell to my late manager, Scott Shukat, to tell Michael or Michael’s attorney.

In retrospect, it was the right decision. [But] Quasimodo is a character…if you look at his relationships with his family and his father, I would think there’s a lot of identification there.

“They’re Never Going to Do This Kind of Character Again”

The film is known for the way it grapples with the hypocrisy and lust typified by the villainous Judge Frollo, whose terrifying song “Hellfire” remains a high point of Disney animation.

Gary Trousdale: Somebody asked me recently: “How the hell did you get ‘Hellfire’ past Disney?” It’s a good question.

Alan Menken: When Stephen and I wrote “Hellfire,” I was so excited by what we accomplished. It really raised the bar for Disney animation. It raised the bar for Stephen’s and my collaboration.

Stephen Schwartz: I thought the would never let me get away with [“Hellfire”]. And they never asked for a single change.

Alan Menken: Lust and religious conflict. Now more than ever, these are very thorny issues to put in front of the Disney audience. We wanted to go at it as truthfully as possible.

Stephen Schwartz: When Alan and I tackled “Hellfire,” I did what I usually did: write what I thought it should be and assume that [Disney would] tell me what I couldn’t get away with. But they accepted exactly what we wrote.

Don Hahn: Every good song score needs a villain’s moment. Stephen and Alan approached it with “Hellfire.”

Alan Menken: It was very clear, we’d thrown the gauntlet pretty far. It was also clear within our creative team that everybody was excited about going there.

Don Hahn: You use all the tools in your toolkit, and one of the most powerful ones was Alan and Stephen. Stephen can be dark, but he’s also very funny. He’s brilliant.

Gary Trousdale: The [MPAA] said, “When Frollo says ‘This burning desire is turning me to sin,’ we don’t like the word ‘sin.’” We can’t change the lyrics now. It’s all recorded. Kinda tough. “What if we just dip the volume of the word ‘sin’ and increase the sound effects?” They said, “Good.”

Stephen Schwartz: It’s one of the most admirable things [laughs] I have ever seen Disney Animation do. It was very supportive and adventurous, which is a spirit that…let’s just say, I don’t think [the company would] make this movie today.

Don Hahn: It’s funny. Violence is far more accepted than sex in a family movie. You can go see a Star Wars movie and the body count’s pretty huge, but there’s rarely any sexual innuendo.

Kathy Zielinski: I got to watch [Tony Jay] record “Hellfire” with another actor. I was sweating watching him record, because it was unbelievably intense. Afterwards, he asked me, “Did you learn anything from my performance?” I said, “Yeah, I never want to be a singer.” [laughing]

Paul Kandel: Tony Jay knocked that out of the park. He [was] an incredible guy. Very sweet. He was terrified to record “Hellfire.” He was at a couple of my sessions. He went, “Oh my God, what’s going to happen when it’s my turn? I don’t sing. I’m not a singer. I never pretended to be a singer.” I said, “Look, I’m not a singer. I’m an actor who figured out that they could hold a tune.”

Kathy Zielinski: I listened to Tony sing “Hellfire” tons. I knew I had gone too far when, one morning, we were sitting at the breakfast table and my daughter, who was two or three at the time, started singing the song and doing the mannerisms. [laughs]

Don Hahn: We didn’t literally want to show [Frollo’s lust]. It turns into a Fantasia sequence, almost. A lot of the imagery is something you could see coming out of Frollo’s imagination. It’s very impressionistic. It does stretch the boundaries of what had been done before at Disney.

Kirk Wise: We stylized it like “Night on Bald Mountain.” The best of Walt’s films balanced very dark and light elements. Instead of making it explicit, we tried to make it more visual and use symbolic imagery.

Gaëtan Brizzi: We were totally free. We could show symbolically how sick Frollo is between his hate and his carnal desire.

Kathy Zielinski: The storyboards had a tremendous influence. Everybody was incredibly admiring of the work that [Paul and Gaëtan] had done.

Don Hahn: They brought the storyboarded sequence to life in a way that is exactly what the movie looks like. The strength of it is that we didn’t have to show anything as much as we did suggest things to the audience. Give the audience credit for filling in the blanks.

Gary Trousdale: It was absolutely gorgeous. Their draftsmanship and their cinematography. They are the top. They pitched it with a cassette recording of Stephen singing “Hellfire”, and we were all in the story room watching it, going “Oh shit!”

Paul Brizzi: When Frollo is at the fireplace with Esmeralda’s scarf, his face is hypnotized. From the smoke, there’s the silhouette of Esmeralda coming to him. She’s naked in our drawings.

Gary Trousdale: We joked, maybe because they’re French, Esmeralda was in the nude when she was in the fire. Roy Disney put his foot down and said, “That’s not going to happen.” Chris Jenkins, the head of effects, and I went over every drawing to make sure she was appropriately attired. That was the one concession we made to the studio.

Gaëtan Brizzi: It’s the role of storyboard artists to go far, and then you scale it down. Her body was meant to be suggestive. It was more poetic than provocative.

Brenda Chapman: I thought what the Brizzis did with “Hellfire” was just stunning.

Roy Conli: We make films for people from four to 104, and we’re trying to ensure that the thematic material engages adults and engages children. We had a lot of conversations on “Hellfire,” [which] was groundbreaking. You saw the torment, but you didn’t necessarily, if you were a kid, read it as sexual. And if you were an adult, you picked it up pretty well.

Will Finn: “Hellfire” was uncomfortable to watch with a family audience. I’m not a prude, but what are small kids to make of such a scene?

Kathy Zielinski: When I was working on “Hellfire,” I thought, “Wow. They’re never going to do this kind of character again.” And I’m pretty much right.

“Straight for the Heart”

“Hellfire” may be the apex of the maturity of The Hunchback of Notre Dame, but the entire film is the most complex and adult Disney animated feature of the modern era.

Gary Trousdale: We went straight for the heart and then pulled back.

Kirk Wise: I was comfortable with moments of broad comedy contrasted with moments that were dark or scary or violent. All of the Disney movies did that, particularly in Walt’s time.

Don Hahn: A lot of it is gut level, where [the story group would] sit around and talk to ourselves and pitch it to executives. But Walt Disney’s original animated films were really dark. We wanted to create something that had the impact of what animation can do.

Will Finn: Eisner insisted we follow the book to the letter, but he said the villain could not be a priest, and we had to have a happy ending. The book is an epic tragedy – everybody dies!

Kathy Zielinski: It’s a little scary that I felt comfortable with [Frollo]. [laughing] I don’t know what that means. Maybe I need to go to therapy. I’ve always had a desire to do villains. I just love evil.

Don Hahn: Kathy Zielinski is brilliant. She works on The Simpsons now, which is hilarious. She’s very intense, very aware of what [Frollo] had to do.

One specific choice in the relationship between Frollo and Esmeralda caused problems.

Stephen Schwartz: I remember there was great controversy over Frollo sniffing Esmeralda’s hair.

Kirk Wise: The scene that caused the most consternation was in the cathedral where Frollo grabs Esmeralda, whispers in her ear and sniffs her hair. The sniffing made people ask, “Is this too far?” We got a lot of support from Peter Schneider, Tom Schumacher, and Michael Eisner.

Kathy Zielinski: Brenda Chapman came up with that idea and the storyboard. I animated it. It’s interesting, because two females were responsible for that. That scene was problematic, so they had to cut it down. It used to be a lot longer.

Brenda Chapman: I know I’m probably pushing it too far, but let’s give it a go, you know?

Kirk Wise: We agreed it was going to be a matter of execution and our collective gut would tell us whether we were crossing the line. We learned that the difference between a G and PG is the loudness of a sniff. Ultimately, that’s what it came down to.

Brenda Chapman: I never knew that! [laughing]

Don Hahn: Is it rated G? That’s surprising.

Gary Trousdale: I’m sure there was backroom bargaining done that Kirk and I didn’t know about.

Don Hahn: It’s negotiation. The same was true of The Lion King. We had intensity notes on the fight at the end. You either say, we’re going to live with that and it’s PG, or we’re not and it’s G.

Brenda Chapman: I heard stories of little kids going, “Ewww, he’s rubbing his boogers in her hair!” [laughing] If that’s what they want to think, that’s fine. But there are plenty of adults that went, “Whoa!”

Don Hahn: You make the movies for yourselves, [but] we all have families, and you try to make something that’s appropriate for that audience. So we made some changes. Frollo isn’t a member of the clergy to take out any politicizing.

Gaëtan Brizzi: We developed the idea of Frollo’s racism against the gypsies. To feel that he desires Esmeralda and he wants to kill her. It was ambiguity that was interesting to develop. In the storyboards, Paul made [Frollo] handsome with a big jaw, a guy with class. They said he was too handsome. We had to break that formula.

Stephen Schwartz: I [and others] said, “It doesn’t make any sense for him to not be the Archdeacon, because what’s he doing with Quasimodo? What possible relationship could they have?” Which is what led to the backstory that became “The Bells of Notre Dame.”

Don Hahn: The things Frollo represents are alive and well in the world. Bigotry and prejudice are human traits and always have been. One of his traits was lust. How do you portray that in a Disney movie? We tried to portray that in a way that might be over kids’ heads and may not give them nightmares necessarily, but it’s not going to pull its punches. So it was a fine line.

Stephen Schwartz: Hugo’s novel is not critical of the church the way a lot of French literature is. It creates this character of Frollo, who’s a deeply hypocritical person and tormented by his hypocrisy.

Peter Schneider: I am going to be controversial. I think it failed. The fundamental basis is problematic, if you’re going to try and do a Disney movie. In [light of] the #MeToo movement, you couldn’t still do the movie and try what we tried to do. As much as we tried to soften it, you couldn’t get away from the fundamental darkness.

Don Hahn: Yeah, that sounds like Peter. He’s always the contrarian.

Peter Schneider: I’m not sure we should have made the movie, in retrospect. I mean, it did well, Kirk and Gary did a beautiful job. The voices are beautiful. The songs are lovely, but I’m not sure we should have made the movie.

Gaëtan Brizzi: The hardest part was to stick to the commercial side of the movie…to make sure we were still addressing kids.

Kirk Wise: We knew it was going to be a challenge to honor the source material while delivering a movie that would fit comfortably on the shelf with the other Disney musicals. We embraced it.

Roy Conli: I don’t think it was too mature. I do find it at times slightly provocative, but not in a judgmental or negative way. I stand by the film 100 percent in sending a message of hope.

Peter Schneider: It never settled its tone. If you look at the gargoyles and bringing in Jason Alexander to try and give comedy to this rather bleak story of a judge keeping a deformed young man in the tower…there’s so many icky factors for a Disney movie.

Jason Alexander: Some children might be frightened by Quasi’s look or not be able to understand the complexity. But what we see is an honest, innocent and capable underdog confront his obstacles and naysayers and emerge triumphant, seen and accepted. I think young people rally to those stories. They can handle the fearsome and celebrate the good.

Brenda Chapman: There was a scene where Frollo was locking Quasimodo in the tower, and Quasi was quite upset. I had to pull back from how cruel Frollo was in that moment, if I’m remembering correctly. I wanted to make him a very human monster, which can be scarier than a real monster.

Roy Conli: We walked such a tight line and we were on the edge and the fact that Disney allowed us to be on the edge was a huge tribute to them.

“Hear the Voice”

The story was set, the songs were ready. All that was left was getting a cast together to bring the characters’ voices to life.

Jason Alexander: Disney, Alan Menken, Stephen Schwartz, Victor Hugo – you had me at hello.

Paul Kandel: I was in Tommy, on Broadway. I was also a Tony nominee. So I had those prerequisites. Then I got a call from my agent that Jeffrey Katzenberg decided he wanted a star. I was out of a job I already had. I said, “I want to go back in and audition again.” I wanted to let them choose between me and whoever had a name that would help sell the film. So that series of auditions went on and I got the job back.

Kirk Wise: Everybody auditioned, with the exception of Kevin Kline and Demi Moore. We went to them with an offer. But we had a few people come in for Quasimodo, including Meat Loaf.

Will Finn: Katzenberg saw Meat Loaf and Cher playing Quasimodo and Esmeralda – more of a rock opera. He also wanted Leno, Letterman, and Arsenio as the gargoyles at one point.

Kirk Wise: Meat Loaf sat with Alan and rehearsed the song. It was very different than what we ended up with, because Meat Loaf has a very distinct sound. Ultimately, I think his record company and Disney couldn’t play nice together, and the deal fell apart.

Gary Trousdale: We all had the drawings of the characters we were currently casting for in front of us. Instead of watching the actor, we’d be looking down at the piece of paper, trying to hear that voice come out of the drawing. And it was, we learned, a little disconcerting for some of the actors and actresses, who would put on hair and makeup and clothes and they’ve got their body language and expressions. We just want to hear the voice.

Kirk Wise: We cast Cyndi Lauper as one of the gargoyles. We thought she was hilarious and sweet. The little fat obnoxious gargoyle had a different name, and was going to be played by Sam McMurray. We had Cyndi and Sam record, and Roy Disney hated it. The quality of Cyndi’s voice and Sam’s voice were extremely grating to his ear. This is no disrespect to them – Cyndi Lauper is amazing. And Sam McMurray is very funny. But it was not working for the people in the room on that day.

Jason Alexander: The authors cast you for a reason – they think they’ve heard a voice in you that fits their character. I always try to look at the image of the character – his shape, his size, his energy and start to allow sounds, pitches, vocal tics to emerge. Then everyone kicks that around, nudging here, tweaking there and within a few minutes you have the approach to the vocalization. It’s not usually a long process, but it is fun.

Kirk Wise: We decided to reconceive the gargoyles. We always knew we wanted three of them. We wanted a Laurel and Hardy pair. The third gargoyle, the female gargoyle, was up in the air. I think it was Will Finn who said, “Why don’t we make her older?” As the wisdom-keeper. That led us to Mary Wickes, who was absolutely terrific. We thoroughly enjoyed working with Mary, and 98% of the dialogue is her. But she sadly passed away before we were finished.

Will Finn: We brought in a ton of voice-over actresses and none sounded like Mary. One night, I woke up thinking about Jane Withers, who had been a character actress in the golden age of Hollywood. She had a similar twang in her voice, and very luckily, she was alive and well.

Kirk Wise: Our first session with Kevin Kline went OK, but something was missing. It just didn’t feel like there was enough of a twinkle in his voice. Roy Conli said, “Guys, he’s an actor. Give him a prop.” For the next session, the supervising animator for Phoebus brought in a medieval broadsword. Before the session started, we said “Kevin, we’ve got a present for you.” We brought out this sword, and he lit up like a kid at Christmas. He would gesture with it and lean on it. Roy found the key there.

Gary Trousdale: Kevin Kline is naturally funny, so we may have [written] some funnier lines for him. When he’s sparring with Esmeralda in the cathedral and he gets hit by the goat. “I didn’t know you had a kid,” which is the worst line ever. But he pulls it off. He had good comic timing.

Kirk Wise: Tom Hulce had a terrific body of work, including Amadeus. But the performance that stuck with me was in Dominic and Eugene. There was a sensitivity and emotional reality to that performance that made us lean in and think he might make a good Quasimodo.

Gary Trousdale: [His voice] had a nice mix of youthful and adult. He had a maturity, but he had an innocence as well. We’re picturing Quasimodo as a guy who’s basically an innocent. It was a quality of his voice that we could hear.

Don Hahn: He’s one of those actors who could perform and act while he sang. Solo songs, especially for Quasimodo, are monologues set to music. So you’re looking for someone who can portray all the emotion of the scene. It’s about performance and storytelling, and creating a character while you’re singing. That’s why Tom rose to the top.

Stephen Schwartz: I thought Tom did great. I had known Tom a little bit beforehand, as an actor in New York. I’d seen him do Equus and I was sort of surprised. I just knew him as an actor in straight plays. I didn’t know that he sang at all, and then it turned out that he really sang.

Paul Kandel: [Tom] didn’t think of himself as a singer. He’s an actor who can sing. “Out There,” his big number – whether he’s going to admit it to you or not – that was scary for him. But a beautiful job.

Brenda Chapman: Quasimodo was the key to make it family-friendly. Tom Hulce did such a great job making him appealing.

Kirk Wise: Gary came back with the audiotape of Tom’s first session. And his first appearance with the little bird, where he asks if the bird is ready to fly…that whole scene was his rehearsal tape. His instincts were so good. He just nailed it. I think he was surprised that we went with that take. It was the least overworked and the most spontaneous, and felt emotionally real to us.

Kathy Zielinski: Early on, they wanted Anthony Hopkins to do the voice [of Frollo]. [We] did an animation test with a line of his from Silence of the Lambs.

Kirk Wise: We were thinking of Hannibal Lecter in the earliest iterations of Frollo. They made an offer, but Hopkins passed. We came full circle to Tony, because it had been such a good experience working with him on Beauty and the Beast. It was the combination of the quality of his voice, the familiarity of working with him, and knowing how professional and sharp he was.

Though the role of Quasimodo went to Tom Hulce (who did not respond to multiple requests for comment), there was one audition those involved haven’t forgotten.

Kirk Wise: We had a few people come in for Quasimodo, including Mandy Patinkin.

Stephen Schwartz: That was a difficult day. [laughing]

Kirk Wise: Mandy informed Alan and Stephen that he brought his own accompanist, which was unexpected because we had one in the room. He had taken a few liberties with [“Out There”]. He had done a little rearranging. You could see Alan’s and Stephen’s spines stiffen. It was not the feel that Alan and Stephen were going for. Stephen pretty much said so in the room. I think his words were a little sharper and more pointed than mine.

Stephen Schwartz: I’ve never worked with Mandy Patinkin. But I admired Evita and Sunday in the Park with George. He came in to audition for Quasimodo. When I came in, Ben Vereen was sitting in the hallway. Ben is a friend of mine and kind of a giant star. I felt we should be polite in terms of bringing him in relatively close to the time for which he was called.

Mandy took a long time with his audition, and asked to do it over and over again. If you’re Mandy Patinkin, you should have enough time scheduled to feel you were able to show what you wanted to show. However, that amount of time was not scheduled. At a certain point, I became a bit agitated because I knew Ben was sitting there, cooling his heels. I remember asking [to] move along or something. That created a huge contretemps.

Kirk Wise: Gary and I stepped outside to work on a dialogue scene with Mandy. As we were explaining the scene and our take on the character, Mandy threw up his hands and said, “Guys, I’m really sorry. I can’t do this.” He turned on his heel and went into the rehearsal hall and shut the door. We started hearing an intense argument. He basically went in and read Alan and Stephen the riot act. The door opens, smoke issuing from the crater that he left inside. Mandy storms out, and he’s gone. We step back in the room, asking, “What the hell happened?”

Gary Trousdale: I did a drawing of it afterwards. The Patinkin Incident.

Stephen Schwartz: Battleship Patinkin!

“Join the Party”

The darkness in the film made it difficult to market. Even some involved acknowledged the issue. In the run-up to release, Jason Alexander said to Entertainment Weekly, “Disney would have us believe this movie’s like the Ringling Bros., for children of all ages. But I won’t be taking my 4-year old. I wouldn’t expose him to it, not for another year.”

Alan Menken: There was all the outrage about Jason Alexander referring to it as a dark story that’s not for kids. Probably Disney wasn’t happy he said that.

Jason Alexander: Most Disney animated films are entertaining and engaging for any child with an attention span. All of them have elements that are frightening. But people are abused in Hunchback. These are people, not cute animals. Some children could be overwhelmed by some of it at a very young age. My son at the time could not tolerate any sense of dread in movies so it would have been hard for him. However, that is certainly not all children.

Don Hahn: I don’t think Jason was wrong. People have to decide for themselves. It probably wasn’t a movie for four-year olds. You as a parent know your kid better than I do.

If everyone agrees the score is excellent, they also agree on something that was not.

Alan Menken: God knows we couldn’t control how Disney marketing dealt with the movie, which was a parade with Quasimodo on everybody’s shoulders going, “Join the party.” [laughing]

Roy Conli: I always thought “Animation comes of age” would be a great [tagline]. I think the marketing ended up, “Join the party.”

Brenda Chapman: Marketing had it as this big party. And then you get into the story and there’s all this darkness. I think audiences were not expecting that, if they didn’t know the original story.

Kathy Zielinski: It was a hard movie for Disney to merchandise and sell to the public.

Gaëtan Brizzi: People must have been totally surprised by the dramatic sequences. The advertising was not reflecting what the movie was about.

Stephen Schwartz: To this day, they just don’t know how to market “Disney’s Hunchback of Notre Dame.” I understand what their quandary is. They have developed a brand that says, “If you see the word Disney on something, it means you can take your 6-year old.” You probably shouldn’t even take your 8-year old, unless he or she is very mature, to Hunchback.

Alan Menken: We [Disney] had such a run of successful projects. It was inevitable there was going to be a time where people said, “I’ve seen all those, but what else is out there?” I had that experience sitting at a diner with my family, overhearing a family talk about Hunchback and say, “Oh yeah, we saw Beauty and Aladdin, but this one…let’s see something else.”

Stephen Schwartz: I did have a sense that some in the critical community didn’t know how to reconcile animation and an adult approach. They have the same attitude some critics have about musicals. “It’s fine if it’s tap-dancing and about silly subjects. But if it’s something that has intellectual import, you can’t do that.” Obviously we have Hamilton and Sweeney Todd and Wicked. Over the years, that’s changed to some extent, but not for everybody.

Roy Conli: Every film is not a Lion King. [But] if that story has legs and will touch people, then you’ve succeeded.

Kirk Wise: We were a little disappointed in its initial weekend. It didn’t do as well as we hoped. We were also disappointed in the critical reaction. It was well-reviewed, but more mixed. Roger Ebert loved us. The New York Times hated us! I felt whipsawed. It was the same critic [Janet Maslin] who praised Beauty and the Beast to the high heavens. She utterly shat on Hunchback.

Don Hahn: We had really good previews, but we also knew it was out of the box creatively. We were also worried about the French and we were worried about the handicapped community and those were the two communities that supported the movie the most.

Will Finn: I knew we were in trouble when the first trailers played and audiences laughed at Quasimodo singing “Out There” on the roof.

Kirk Wise: All of us were proud of the movie on an artistic level. In terms of animation and backgrounds and music and the use of the camera and the performances. It’s the entire studio operating at its peak level of performance, as far as I’m concerned.

Gary Trousdale: I didn’t think people were going to have such a negative reaction to the gargoyles. They’re a little silly. And they do undercut the gravity. But speaking with friends who were kids at the time, they have nothing but fond memories. There were adults, high school age and older when they saw it, they were turned off. We thought it was going to do really great. We thought, “We’re topping ourselves.” It’s a sophisticated story and the music is amazing.

Kirk Wise: The 2D animated movies used to be released before Christmas [or] Thanksgiving. The Lion King changed that. Now everything was a summer release. I always questioned the wisdom of releasing Hunchback in the summertime, in competition with other blockbusters.

Paul Kandel: It made $300 million and it cost $80 million to make. So they were not hurting as far as profits were concerned. But I thought it was groundbreaking in so many ways that I was surprised at the mixed reviews.

Kirk Wise: By most measures, it was a hit. I think The Lion King spoiled everybody, because [it] was such a phenomenon, a bolt from the blue, not-to-be-repeated kind of event.

Gary Trousdale: We were getting mixed reviews. Some of them were really good. “This is a stunning masterpiece.” And other people were saying, “This is a travesty.” And the box office was coming in, not as well as hoped.

Don Hahn: I was in Argentina doing South American press. I got a call from Peter Schneider, who said, “It’s performing OK, but it’s probably going to hit 100 million.” Which, for any other moviemaker, would be a goldmine. But we’d been used to huge successes. I was disappointed.

Peter Schneider: I think it was a hit, right? It just wasn’t the same. As they say in the theater, you don’t set out to make a failure.

Don Hahn: If you’re the New York Yankees, and you’ve had a winning season where you could not lose, and then people hit standup singles instead of home runs…that’s OK. But it has this aura of disappointment. That’s the feeling that’s awful to have, because it’s selfish. Animation is an art, and the arts are meant to be without a price tag hanging off of them all the time.

Paul Brizzi: We are still grateful to Kirk and Gary and Don. We worked on [Hunchback] for maybe a year or a year and a half. Every sequence, we did with passion.

Gaëtan Brizzi: Our work on Hunchback was a triumph of our career.

Kathy Zielinski: There are certainly a whole crowd of people who wish we had not [done] the comedy, because that wasn’t faithful. That’s the main complaint I heard – we should’ve gone for this total dramatic piece and not worried about the kiddies.

Gaetan Brizzi: The only concern we had was the lack of homogeneity. The drama was really strong, and the [comedy] was sometimes a little bit goofy. It was a paradox. When you go from “Hellfire” to a big joke, the transition was not working well. Otherwise, we were very proud.

James Baxter: We were happy with what we did, but we understood it was going to be a slightly harder sell. The Hunchback of Notre Dame usually doesn’t engender connotations like, “Oh, that’s going to be a Disney classic.” I was very happy that it did as well as it did.

Jason Alexander: I thought it was even more mature and emotional on screen. It was an exciting maturation of what a Disney animated feature could be. I was impressed and touched.

“An Undersung Hero”

25 years later, The Hunchback of Notre Dame endures. The animated film inspired an even darker stage show that played both domestically and overseas, and in recent years, there have been rumors that Josh Gad would star as Quasimodo in a live-action remake.

Alan Menken: I think it’s a project that with every passing year will more and more become recognized as a really important part of my career.

Stephen Schwartz: This will be immodest, but I think it’s a really fine adaptation. I think it’s the best musical adaptation of the Victor Hugo novel, and there have been a lot. I think the music is just unbelievably good. I think, as a lyricist, I was working at pretty much the top of my form. I have so many people telling me it’s their favorite Disney film.

Alan Menken: During the pandemic, there was this hundred-piece choir doing “The Bells of Notre Dame.” People are picking up on it. It’s the combination of the storytelling and how well the score is constructed that gets it to longevity. If something is good enough, it gets found.

Paul Kandel: I think people were more sensitive. There was an expectation that a new Disney animated film would not push boundaries at all, which it did. For critics, it pushed a little too hard and I don’t think they would think that now. It’s a work of art.

Gaëtan Brizzi: Hunchback is poetic, because of its dark romanticism. We have tons of animated movies, but I think they all look alike because of the computer technique. This movie is very important in making people understand that hate has no place in our society, between a culture or people or a country. That’s the message of the movie, and of Victor Hugo himself.

Jason Alexander: I think it’s an undersung hero. It’s one of the most beautiful and moving animated films. But it is not the title that lives on everyone’s tongue. I think more people haven’t seen this one than any of the others. I adore it.

Peter Schneider: What Disney did around this period [is] we stopped making musicals. I think that was probably a mistake on some level, but the animators were bored with it.

Don Hahn: You know people reacted to Beauty and the Beast or The Lion King. They were successful movies in their day. You don’t know the reaction to anything else. So when [I] go to Comic-Con or do press on other movies, people started talking about Hunchback. “My favorite Alan Menken score is Hunchback.” It’s always surprising and delightful.

Kirk Wise: I’ve had so many people come up to me and say, “This is my absolute favorite movie. I adored this movie as a kid. I wore out my VHS.” That makes all the difference in the world.

Paul Kandel: Sitting on my desk right now are four long letters and requests for autographs. I get 20 of those a week. People are still seeing that film and being moved by it.

Alan Menken: Now there’s a discussion about a live-action film with Hunchback. And that’s [sighs] exciting and problematic. We have to, once again, wade into the troubled waters of “What is Disney’s movie version of Hunchback?” Especially now.

Jason Alexander: Live action could work because the vast majority of characters are human. The story of an actual human who is in some ways less abled and who is defined by how he looks, rather than his heart and character, is timely and important, to say the least.

Kirk Wise: I imagine if there were a live-action adaptation, it would skew more towards the stage version. That’s just my guess.

Stephen Schwartz: I think it would lend itself extremely well to a live-action movie, particularly if they use the stage show as the basis. I think the stage show is fantastic.

Kirk Wise: It’s gratifying to be involved in movies like Beauty and the Beast and Hunchback that have created so much affection. But animation is as legitimate a form of storytelling as live-action is. It might be different, but I don’t think it’s better. I feel like [saying], “Just put on the old one. It’s still good!”

Gary Trousdale: There were enough versions before. Somebody wants to make another version? Okay. Most people can tell the difference between the animated version and a live-action reboot. Mostly I’m not a fan of those. But if that’s what Disney wants to do, great.

Don Hahn: It’s very visual. It’s got huge potential because of its setting and the drama, and the music. It’s pretty powerful, so it makes sense to remake that movie. I think we will someday.

Brenda Chapman: It’s a history lesson. Now that Notre Dame is in such dire straits, after having burned so badly, hopefully [this] will increase interest in all that history.

James Baxter: It meant two children. I met my wife on that movie. [laughs] In a wider sense, the legacy is another step of broadening the scope of what Disney feature animation could be.

Kirk Wise: Hunchback is the movie where the final product turned out closest to the original vision. There was such terrific passion by the crew that carried throughout the process.

Roy Conli: It’s one of the most beautiful films we’ve made. 25 years later, I’d say “Join the party.” [laughs]

[dramaqueeenamby]

Waves: Quarantine

A/N: It's been way too long since I've done something for the Wavesverse, and I apologize deeply. I have a few requests related to this series to complete, but I couldn't knock this idea.

Words: 4K

Warnings: None

Tags: @babe-im-bi @notacamelthatsmywife @missyperle @queenoftheworldisdead @tashawar @valkryienymph @letsshamelessqueen-m @hello-therree @mani-lifes @liquorlaughslove @toni9 @koko-michelle @theequeenofcurses @taylortheeshowpony

Waves

Summer placed her phone inside of the mount and made sure that it was secured before she sat back in her bed, getting comfortable with the mass of pillows supporting her back, and smiling tentatively. “Hi, guys.”

Summer!

Someone tell me this isn’t a joke???? Please???

She lives!

Sis, blink twice if you need help.

Summer rolled her eyes. “Ya’ll better stop. I know it’s been a minute since I’ve hopped on live, but it hasn’t been that damn long.”

Summer continued to read the comments where more than a few people pointed out she hadn’t gone live on Instagram in over three months. Her mouth dropped. “Ya’ll lying. It has not been almost six months, has it?” She placed her hand over her mouth when people started dropping dates in the comments. “Okay, I stand corrected. Damn, I’m sorry, guys.”

Don’t be sorry, bestie. Do better!

Damn, ya’ll are so entitled. Celebrities have lives too.

What life? We all been in quarantine.

Rich people quarantine be different from us poor folks, I guess.

“So that’s actually one of the things I wanted to talk about.” Summer cleared her throat. “And I’m going to try really hard to make sure I word what I want to say as clear and as effective as I can, but I know this is still going to end up as a salacious headline. So, it is what it is.”

Oooh, Summer about to drop some tea.

I don’t see her wedding ring, ya’ll…..

I’m scared omg.

Watch this be nothing but a role announcement.

She shrugged and took a deep breath. “Okay, so a few days ago, I did the Buss It challenge, after being harassed by Sanda. And can I just say that filming was a challenge in and of itself? Not necessarily the movements but preparing? I’ve got two kids, twins, who are like the Tasmanian devil. I was literally up at 3 something in the morning trying to record it because my wild children won’t let me be great.” She chuckled. “Kids are something else.”

Summer truly jumped through hoops and was a damn near acrobat trying to figure out when she could not only get herself done up but actually record the challenge. Being the perfectionist that she was didn’t help, but the fact that she couldn’t recall the last time she’d put on makeup and dressed up was a whole other fiasco.

Quarantine definitely brought out her bum side.

“All of that aside, I truly was satisfied and happy with the final product when I posted it. In hindsight, I should have just left it that, but I wake up every day and choose chaos, so I decided to read the comments.” She blew out a breath. “One of the most frequent comments and really, insults, I’ve received my whole career. Primarily, since I was cast as Storm, revolves around how I look. I.e., my weight. I’ve been called fat, obese, out of shape, and so many other things.”

It was 100% true. The minute Marvel announced that she’d been chosen to play Storm, the racists came all out of the woodworks. She was too short, too chubby, too dark, too black. And Summer didn’t care, not a bit.

“Even,—and I’ll tell you guys this, when I first started my SS training, that’s what I call it, SS for Storm Shape, there was a—person who worked for Marvel at the time who came to visit me while I was training.” She smiled thinking back on that day. She could still recall it so clearly. “He basically was pissed because to him, I still looked the same, fat and out of shape.” She adjusted her top and shifted in her bed. “That same day, I deadlifted and bench-pressed over 200lbs” She paused for effect. “What I need for people to stop doing is stop fucking projecting—and I’m going to cuss in this, so if you don’t like it, oh well. I work for Disney, but I’m a grown ass woman, and I’m going to say what I want.”

I am screaming. Summer said we getting alll the tea today!

So, it’s wrong to point out that someone is physically unhealthy now, cool?

The problem is that no one wants to see a fat superhero. It’s not realistic.

^^^^ Tell me you have a small dick without actually telling me you have a small dick.

“I saw Lizzo, whom I adore, post a Tik Tok where she basically said that she workouts to have the body she wants not what ya’ll want, and honestly? Same. She said that her body type is no one’s fucking business, and that’s so true. Ya’ll love to hop on this internet and pick apart people you don’t even know and criticize bodies you don’t even have to live in and move around with. And for what?” She shook her head, slamming her fist into her open palm as she spoke. She was fully invested now. “I know we in quarantine, but damn, pick another hobby cause being a bully is not it, sweetie.”

I really needed to hear this today.

Using Lizzo as a point of reference makes everything you’re saying null and void. Lizzo is clearly overweight and at risk for diabetes, heart disease, just to name a few…..

I been saying this! You can’t look at a person and say they’re unhealthy.

Bodies come in so many forms, and all are beautiful.

“Now, I bring all this up because a lot of people were commenting on my Buss It challenge and pointing out the fact that I’ve gained weight, and guess fucking what? I have, and you know what else?” She leaned over to whisper while covering her mouth with her hands for focused effect. “I don’t care.”

Summer laughed and shook her head. “As others have pointed out as well, yes, we have a gym in our house. I 1000% acknowledge the fact that having the resources that I do as a celebrity and someone who has money puts me in a different category. Hell, my husband has a whole fitness app. I recognize that. If I wanted to keep up with my workouts, emphasis on wanted, I could have. I own up to that, but I just didn’t feel like it, and that’s okay. What’s not okay is to send and leave mean messages calling me all kinds of names.”

Summer had thick skin. She always had. Growing up with her family, who always ensured to feed her self esteem and make sure she knew that she was beautiful, definitely paid off. It was just a combination of quarantine and not having a lot of opportunities to keep herself busy with work that had her feeling some type of way.

“And that’s something else I wanted to bring up.” She blew out another breath and tried to gather her emotions. This was the subject she was almost certain she’d grow teary eyed discussing. “I love my husband to death. My children are everything. Christopher’s family is like my own, but— I haven’t seen my family, like my mom, grandma, brothers, etc in almost a year.” She paused, dwelling on that. Almost an entire year since she’d been able to physically hug and interact with the people who made her who she was. “And I’ve always made it clear how much I fucking love my family. I live in Australia. I can’t do a drive by with grandma so I and my kids can at least see her on the doorstep.” She quieted again, eyes darting off as she quietly cursed. “I’m trying really hard not to cry right now.”

Please don’t cry, bestie.

This is the side of quarantine that people don’t talk about enough.

Has this woman never heard of FaceTime????

I feel her pain. I live in Europe, and my family is in the states. This quarantine has been brutal.

My grandma died from COVID, and I couldn’t even go to the funeral. Summer is bringing up a good point.

“Damn,” Summer chuckled bitterly and wiped at the tears that fell. “I’m okay, I promise. I just bring this up because quarantine has also been very hard for me in that aspect. At certain points, I’ve been down, I’ve been in my head a lot, and I just was not, for the most part, in a space where I felt like I had to keep up my fitness regimen. And that’s okay. I put my mental wellbeing ahead of making sure my body is socially acceptable. Sue me.”

I really appreciate her honesty.

Summer never goes beyond surface level in interviews, so seeing her this vulnerable is really surprising.

Are we supposed to feel bad for her? She’s rich. She can afford whatever help she needed.

These comments are not passing the vibe check.

Ya’ll are all mental health advocates, but when a black woman is opening up about her struggle, it’s discarded?

“And let me make this clear too, I have an amazing husband who is so patient and so kind. He’s one of the best people I can go to when my anxiety hits, so I don’t want this to come across as me complaining that I’ve been alone. I have him and our children. I just miss the rest of my family. That’s all.” She dried her eyes and started to read the comments, unsurprised by the mixed reaction. She expected as such and was unaffected. At least until she saw one comment.

@ChrisEvans: ❤️❤️❤️

“Evans!” Summer wasn’t expecting to see his name pop up. It’d been such a task convincing him to join IG, let alone teaching him how to operate it. “Let’s go live.”

Not my husband and wife in my head about to go live!!!!

Imagine being able to call Chris Evans your best friend

I still say they smashed idc

It’s Christopher Jamal Evans hopping on this live for me.

^^^ I’m so sick of y’all with that shit.

“Let me try to add him,” Summer spoke to herself, scrolling through the comments to find his so she could request him. “Alright, I requested him. Let’s see if he answers.”

She wondered if she should have sent him a text asking if he was available when he appeared on her screen, effectively splitting it with her on the top and him on the bottom.

“Punk.”

“Kid.”

Summer smiled and greeted, “Hi, best friend.”

He chuckled. “How you doing, Summer?”

“Clearly not as good as the people watching,” she chimed. Summer saw nothing but heart eyes and hearts in the comments. “These people really love you. You truly are a manipulative bastard. He’s an asshole, guys.”

“Don’t be jealous, Summer. It’s so unbecoming of you.”

“You can go to hell.”

“Language,” he playfully reprimanded. “Where are the kids?”

“At preschool. Things are finally starting to open back up over here. Thank God.” She clasped her hands together. “Y’all, please wear masks. Don’t be Karen’s.”

Chris laughed, grabbing his chest. “We’re getting there, Summer.”

“The lies you tell,” she countered. “Don’t A Starting Point, me. Ya’ll are far from getting there, and I’m tired of it. I wanna see my family.”

He sighed. “I know, but how are you feeling today?”

“I got rid of the kids, so that’s definitely a weight lifted,” she answered honestly, laughing when she saw judgmental comments in the chat. “Listen, if you’re a parent, you know where I’m coming from. You love your kids, but my god, sometimes you just need some space.”

“As soon as this all blows over, I told you to send em’ by me for a couple of weeks.”

“Best friend, I already purchased their tickets.” He laughed. “As soon as I get the green light, they are all yours. Feel free to keep them.”

“You guys see how she is?” He pointed to Summer, leaning and squinting to read what was being said. “I do love kids, especially the twins, they’re amazing.”

“He is really really great with them, guys,” Summer added. “One thing about Evans, he’s patient as hell and really, just a big kid. Why do you think him and Christopher get along so well? 40 going on 4.”

“I resent that.”

“Is it a lie though?”

He hesitated. “No.” They both laughed.

I’m loving the dynamic between these two so much.

Is it just me or are they flirting with each other…..

Ain’t nothing inappropriate about this conversation. Ya’ll are reaching…

Ya’ll remember that blind item that came out years ago alleging Chris (Evans) was the biological father of the twins? Hmm…..

^^^^^This kind of bullshit is the reason we’re in a global pandemic.

As always, Summer and Evans ignored any foolery that was being dropped in the comments when she caught a comment that didn’t contain some ridiculous rumor.

“Yes, it is true that Evans and Christopher weren’t allowed to do press together anymore. Ya’ll, they literally could not stay serious for more than a minute. I felt so bad for the poor interviewers.”

“Hey, we were not that bad,” Evans protested, his Boston accent more prominent.

She gasped. “You guys were terrible, Evans, and you know it. I was so mad when they put me with ya’ll those few times. I could barely hear the interviewers over your laughing and stupid commentary that literally no one asked for.”

“We did not.”

“There’s deadass video proof, Evans.”

“Fake news.”

She opened her mouth but caught herself. “I was about to say something.”

He laughed and asked, “Do you remember how we all got drunk before the Infinity War premiere?”

“No, ya’ll got drunk. I was big and pregnant, remember?”

“No,” he dismissed. “You were drinking with us.”

“Evans, how was I drinking when I was pregnant?” She challenged and reminded. “I got drunk with ya’ll for the Endgame premiere, not Infinity War.”

“That’s right,��� he remembered and chuckled. “You think we’ll get in trouble for saying this?”

She shrugged with one shoulder. “You’re dead, Christopher never gets in trouble for anything, and I do what I want. I think we’re good.”

Kevin Feige watching this live right now like 🥴🥴🥴🥴

I never realized how arrogant she is……

LMAO. Not the whole cast showing up drunk to the biggest premiere of their lives.

Chris Evans is too damn fine to be approaching 40 and still single.

Their friendship is so goals omg

@ChrisHemsworth: Snitches

Summer’s jaw dropped as she caught the last comment, swiping up to click the name and make sure that she was reading correctly. “Christopher, what the hell are you doing on my live?”

Evans brows furrowed. “Hemmy is here? Shouldn’t he be working?”

“That’s what I want to know,” Summer supplied. “And how long have you been watching?”

@ChrisHemsworth: Long enough.

She smiled nervously and looked off to the side. “I feel weird now. I don’t like when he watches my lives.”

“Aren’t you guys married?”

“Aren’t you supposed to be shutting the fuck up?”

Evans lifted his hands in a defensive manner. “Touchy subject, I see.” They shared another laugh as he cleared his throat. “Why don’t you add him now? I’m supposed to be helping Scott cook.”

“My favorite Evans,” she gushed and furrowed her brows. “You, cooking? Since when?”

“Get out of here.” He waved her off and reminded. “I’m not the one who constantly causes near fires when in the kitchen.”

“So, you really just putting all my business out there like that?”

“Summer, it’s not secret to anyone that you can’t cook for shit.”

“Wow, it really be your own best friends.”

He chuckled. “Love you, kid.”

“Love you too, punk,” she blew a kiss. “I’ll text ya’ later.”

“Alright.” He smiled for the camera. “Thanks for having me everyone.”

“Yeah, yeah, yeah,” she said jokingly. Evans and Summer said goodbye one last time before he left the live. She blew out a breath and ran her hand through her hair. “Baby, comment something so I can add you. It’s too many comments to wade through.”

Summer adjusted her phone and checked the time on the clock on the wall. It’d been a while since the kids were away at school, and she didn’t want to get so caught up that she was late picking them up.

@ChrisHemsworth: I can’t. I’m too drunk.

Summer released a mixture of a laugh and a snort reading his comment. “You are so damn petty.” She clicked his name and adjusted her outfit while waiting for him to answer. She almost cursed when it seemed like he wasn’t going to join, only for her to smile when his face appeared on her screen.

“Hi,” she greeted in a soft voice with a small smile.

“Hello, Sandcastle.”

“Did you just—I swear to god, it’s always something with you.” Summer rubbed her temples and shook her head. Christopher smiled in response. “Why aren’t you working?”

“I am.”

“You are?”

“Yes.”

“If you’re working, how are you talking to me?” She asked, sassily.

“Umm, a little thing called multitasking, ever heard of it?”

“Wow. You are an asshole.”

“That’s mean.”

“You’re mean.”

“Christopher, you are literally a child.”

“Does a child have muscles like this?” He flexed, and Summer stilled. Christopher stayed in ridiculous shape, but this was another level. He’d never been this massive, and she wasn’t too proud to admit that. Just not aloud.

She faked a yawn. “Am I supposed to be impressed?”

They really just be roasting each other all the time, and I’m here for it.

Summer must be legally blind because this man is stupid fine tf

It’s gotta be steroids. That’s not natural.

^^^^^He’s the god of thunder.

Summer rolled her eyes at the typical nature of the comments. These were the reasons she limited her time on social media and especially stayed away from reading the comments. Her attention was redirected to the top of her phone. It was a text from Christopher asking her to call him.

“But we’re—oh, I get it.” She realized he wanted to talk to her, not her and her tens of millions of followers. “Alright, guys, I’m gonna get off here so I can talk to my husband, alone.”

“She just doesn’t want to share me with you all, that’s all.”

“Don’t even start, Christopher,” she lectured while he laughed and got serious, for a minute tops.

“Hope you all are taking care and staying safe,” he spoke honestly. “And we’ll talk to you soon.”

Summer waved and smile. “Bye, guys. Remember to be kind.” Summer offered a final smile before ending the live. Closing up the app, she moved to open FaceTime and called up Christopher. He answered almost immediately. “You know I hate when you watch my Lives. Now, how much did you see?”

“Enough to know you’re coming to see me tonight.”

She laughed aloud. “Funny.”

“I’m serious, Summer.” Focusing on him, she realized that there was no humor in his voice nor his expression. Summer also noticed that he didn’t have the Thor wig on yet, which was probably why he was able to go live with her. He was waiting to get into hair and makeup. “Leave the kids with Liam. It’s not like he’s doing anything.”

“Christopher!”

“What? Is he not a professional unemployed bastard.”

Summer’s smile remained as she shook her head. “You are so mean.”

“I’ll handle the flight arrangements. You, my beautiful wife, just make sure you get on the jet so I can handle you.”

“Christopher, you’re working. People with everyday jobs don’t just up and show up to their spouses workplace because they miss them or need a break from the kids. That’s how folks get fired.”

Christopher started to move around, walking somewhere, she realized. “What are you doing?”

“Hey, Tike.”

Summer’s eyes widened slightly. “Christoper!”

“Sup, man?” Taika asked casually, as Summer laughed again. Taika Waititi was such a character.

“You mind if Summer comes up for a few days?”

“Sure, man,” he replied almost right away. “Bring the kids and chickens too.”

“I am not bringing those damn chickens,” she immediately protested.

Christopher made a sound. “Ha, so you are coming!”

“I didn’t say that.”

Taika joined Christopher so that he was in camera. “Hey, Summer, why don’t you come on join? You can have a cameo. Chickens, too.”

She rubbed her temples. Taika’s and Chris’s friendship would never not make sense to her. They were cut from the same cloth. “One, hey. Two, I was already in Ragnarok. I’m good on the cameos. Three, what is with ya’ll and those creepy looking chickens?”

“Whoa, creepy? What did the chickens ever do?”

“Exist,” Summer answered dryly. She still hadn’t forgiven Evans and Christopher for convincing her to let the kids keep those damn things. Her home was becoming more and more of a farm with each animal that joined the household.

“Tough crowd, that one, ehh?”

“Always,” Christopher agreed.

“I can hear you both,” she reminded and groaned loudly. Summer would love to spend a few days away from the kids. Chris would be working, yes, but she’d at least get some time for herself. Even better, alone adult time with her husband. That had also been a bit tricky during quarantine because of her rambunctious twins. Still, she disliked using her status as a celebrity to gain things, and this would definitely be a case of using status for pull. “I don’t know….”

Deep in her thoughts, she hadn’t realized that Chris had walked away and returned to wherever he was prior to finding Taika, most likely his trailer.

“What if you only stayed a night?” Chris tried to bargain. “The flight is only an hour and a half. That will give you more than enough time to come here, let me fix you dinner, run you a nice bath, maybe get in the good ole’ horizontal tango—”

“You know I hate when you call it that,” she reminded quietly, admitting. “That does sound nice, though.”

“Or, I can come to you—“

“Absolutely not. Christopher, you’re already doing so much back and forth as it is.” One of the good things to come out of quarantine, to Summer at least, was that it forced many people to take a much needed break. Her husband was one of those people. Christopher had been working nonstop since she met him. Project after project, film after film, many of them Marvel films, which put a whole other layer of difficulty what with the strenuous physical requirements. Even now as he shot Thor 4, he was in the best shape he’d ever been, muscles nearly tearing the cotton of his clothes. He looked amazing, but it was what they couldn’t see that she was starting to grow a little concerned over. Christopher wasn’t as young as he once was. He had to slow down, eventually.

Summer realized this would be a perfect chance to have a conversation about just that with him, which all but led her to her final decision.

“Alright,” she conceded, finger up as she made her demands. “Three days, and I stay at the house while you shoot. We may be returning to normal, but we’re still in a pandemic. I won’t go around anyone except you.”

“So I get you all to myself? Hardly consider that a stipulation.”

“And…we talk.”

“After the horizontal tango—“

“I swear to God, if you don’t stop calling it that—“

“What was that, sweetheart? I wasn’t listening.” She saw that he had paused the screen, causing Summer to remember that she hadn’t even consulted with the babysitter. “Making flight arrangements for you.”

“Shit, let me text Liam and make sure he’s available.”

“He gets reception in the box?”

“Christopher! For the last time, your brother is not living in a box.”

“Do you know that for certain?”

“Goodbye, Christopher,” she prepared to end the call before smiling softly. “I love you, Christopher, and thank you.”

He winked. “I’ll always do anything for you, Summer. Anything.” A beat. “Don’t forget to leave the clothes. You won’t need them.”

“Christopher!”

[ja-khajay]

Stuff I read (and liked) this year

As promised, here’s a list of the novels, comics, manga, etc... I read this year, focusing on the ones I enjoyed and would recommend to people. Under a cut, this is going to be a little long.

-------- Books --------

Favorite book of the year: Stranger in the Woods, by Michael Finkel

Non-fiction. Based on the interviews of the man himself by the author, it is about a man who felt so unfit for society he decided one day to leave it, and spent the next 28 years as a hidden hermit in forest in Maine. The book details how he survived there, how he was eventually found, and some of his reasons for doing so. It’s a great reflection on the nature of loneliness.

Indian creek, by Pete Fromm

...Yet another detailed tale of living alone in the woods. This time, the diary of a student who spent a winter in the mountains to help tend for salmon hatchlings, and how he spent the rest of his days hiking, hunting, meeting the locals. It’s a fun little book who, being set almost the whole world away from where I live, was a nice way to travel.

Howl’s Moving Castle, by Diana Wynne Jones

I don’t feel the need to explain this one since everyone and their mom has seen the movie adapted from it. The book, that I first read a decade ago before I actually watched the film, is a less romantized, more spirited telling of the same story. The writing is absolutely delightful and so is the world it paints, and it’s the first time in ages a book had me laughing out loud during my entire read.

-------- Comics (BD) --------

Favorite comic of the year: Monsieur Désire?, by Hubert and Virginie Augustin

A discreet young woman becomes a maid for a decadent, unbearable, byronesque young lord. Caked in the rigid and oppressive social hierarchy of the victorian era, you follow a mental and verbal joust between the two, as the lord tries his best to offend and corrupt his new unrelenting servant, to little success. The writing and especially the dialogues were stellar, drawing me into the tense atmosphere, watching this trainwreck of a character flamboyantly destroy himself. While there’s no precise content warnings that I can give, this is a mature and heavy story.

World of Edena, by Moebius

Anyone who’s followed this blog for over a month knows how much of a Moebius fan I am. Edena combines the vague, dreamlike, wordless storytelling from stuff like Arzach or The cat’s eyes with an actual plot. While I haven’t completly finished the story, the evolution of the main characters and how the story is told have been great to read through, and as always the art is beyond gorgeous. Unfortunately suffers from some good old sexism in the writing that even if minimal, tasted sour

Le roman de Renart, by Joan Sfar (book 1)

Sfar’s work always has a signature vibe of being dreamy and light without being light hearted, of being down to earth but drifting in the fantastical, and this one is no exception. It’s an adaption of a series of medieval folk tales I grew up with, who uses the same characters to tell an original story. If you’re familiar with icons like Renart as well as other mythological big boys like Merlin you’ll fit right in. There is something special in how the dialogues are written, who feel natural in a way that you’d overhear in a street corner and is very special to me.

The mercenary, by VIncente Segrelles

Another one I post about a lot on this blog. The mercenary is a king on the throne of fantasy cheese. The worldbuilding is interesting at times but the writing is a pretty pathetic display of glorious old time sword and sorcery sci-fantasy 10 years too late for it’s prime (warning for ye old sexism and orientalism that plagues the genre, cranked very high...) but you come and stay for the art. The entire thing is drawn in a series of hyper detailed oil paintings with an insane eye for technical detail, from the engineering of the weaponry, to the architecture and weather, to the anatomy of the fantasy creatures... Each panel stands out as it’s own painting which makes even flipping through it without reading the scenario a treat. Click here to see more of the art, in my Segrelles tag.

The ice maurauder, by Jacques Tardi

A short story about mad scientists entirely drawn like a 19th century engraving. In great Tardi tradition everyone is ugly and mean, it ends terribly, it’s both a hommage to the genre of late 19th cent. to early 1900s dramatic adventure novels and a critical eye on it, and it’s morbidly funny. Most people I saw online hated the way this was written but I’m not them and I really recommend this book. Die mad

-------- Manga --------

Favorite manga of the year: it’s a tie between the following two.

Cats of the Louvre, by Taiyo Matsumoto

Most wonderful comic I have read in ages. The story follows a bunch of semi-feral cats secretly living in the Louvre museum’s attic, and the small group of humans who share their life, walking through the museum as the night watch. When the cats are together, they are represented in a humanoid way, but still act like animals, and “become” cats again when a human is nearby. The plot is a sort of supernatural mystery centered around a kitten who walks around paintings. It’s a love letter to art, sincere and beautiful, with a unique art style and great characters.

Memoirs of amorous Gentlemen, by Moyoco Anno

A sex worker in early 20th century paris starts writing down a diary of the clients she meets, in a quest to cope with the troubles of her life. You follow her, her colleagues, and her bittersweet relationship with an abusive lover. I don’t have much words about this comic, but the art and writing both are amazing, it’s the perfect length and drew me in like little series had before. Obvious content warnings as this is an adult story that talks about sexuality, but also depicts both mental and physical abuse.

Hana, also by Taiyo Matsumoto 

A very short story, this was not made to be read as a comic originally, but served as storyboarding and visual development for a play, and the way it is written follows that. Hana is a slice of life story set in a fantasy world, of a young boy, his family, his village. Despite the setting being an original one, the character interactions are refreshingly... normal, and there is no huge plot to speak of, just a bit of the life of these characters. The art is beautiful, entirely black and white, with a scratchy style and an emphasis on contrast. Matsumoto is on a speedy road to becoming my favorite manga artist haha

Delicious in Dungeon, by Ryoko Kui

While not marked as my year’s favorite, I still consider this series among my favorite manga ever. The art and writing are amazing, and it’s both heartfelt, well concieved and plain hilarious. The story follows several parties of dungeon diving adventurers each on their little quests with a premise of our protagonists, on a panic rescue mission, surviving in the dungeon by cooking and eating the monsters they come across. From a DnD party turned cooking manual dinner of the week beginning, the plot creeps up on you and slowly thickens. I don’t want to spoil anything about the overarching story of this because it was a delight to discover for myself. While everything about DinD rules, I am especially fond of the design philosophy of the author, who puts great detail in the practicality and biology of what she draws, as well as the character writing. Everyone even side characters has so much charm and depth to them, the cast is so diverse and entertaining...! Each character is just a bit lame enough but endearing, and has their own little backstory that shows in the way they exist. It’s a delight

Chainsaw man, by Tatsuki Fujimoto

I went into CSM expecting a borderline campy hyperviolent dumb fun thing to read and was very surprised to find an uncomfortably well written story about a teenager being groomed. The hyperviolent dumb fun fights are here nonetheless and the series still qualifies as shonen for some reason, but the more mature character writing as well as some truly outlandish visuals make it something very special. If you can’t stand shonen, not sure you will like it, but if you don’t mind it, worth trying.

Witch hat atelier, by Kamome Shirahama

The oh so elegant fantasy seinen every cool kid started posting about this year, who I also succumbed to and fast. Witch hat is hard to explain, as most of it’s plot revolves around the rules of the world it’s set in, specifically the regulations around it’s magic and the social and historical reasons for them. It’s about growing up, learning, disability, making art. You follow a little girl taken in by a witch as an apprentice, her magical education, and learn little by little why her lovely teacher is so willing to break a lot of rules... While a bit too gentle and pretty for my taste at times, Witch hat has great worldbuilding and explores sensitive themes I rarely see in manga, much less in fantasy. And Berserk wishes it had art this good

[boredout305]

Kid Congo Powers Interview

Kid Congo Powers was a founding member of the Gun Club. He also played with The Cramps and Nick Cave and the Bad Seeds. Powers currently fronts Kid Congo and the Pink Monkey Birds and recently completed a memoir, Some New Kind of Kick.

           The following interview focuses on Some New Kind of Kick. In the book Powers recounts growing up in La Puente—a working-class, largely Latino city in Los Angeles County—in the 1960s, as well as his familial, professional and personal relationships. He describes the LA glam-rock scene (Powers was a frequenter of Rodney Bingenheimer’s English Disco), the interim period between glam and punk embodied by the Capitol Records swap meet, as well as LA’s first-wave, late-1970s punk scene.

           Well written, edited and awash with amazing photos, Some New Kind of Kick will appeal to fans of underground music as well as those interested in 1960-1980s Los Angeles (think Claude Bessy and Mike Davis). The book will be available from In the Red Records, their first venture into book publishing, soon.

Interview by Ryan Leach   

Kid Congo with the Pink Monkey Birds.

Ryan: Some New Kind of Kick reminded me of the New York Night Train oral histories you had compiled about 15 years ago. Was that the genesis of your book?

Kid: That was the genesis. You pinpointed it. Those pieces were done with Jonathan Toubin. It was a very early podcast. Jonathan wanted to do an audio version of my story for his website, New York Night Train. We did that back in the early 2000s. After we had completed those I left New York and moved to Washington D.C. I thought, “I have the outline for a book here.” Jonathan had created a discography and a timeline. I figured, “It’ll be great and really easy. We’ll just fill in some of the blanks and it’ll be done.” Here we are 15 years later.

Ryan: It was well worth it. It reads well. And I love the photographs. The photo of you as a kid with Frankenstein is amazing.

Kid: I’m glad you liked it. You’re the first person not involved in it that I’ve spoken with.  

Ryan: As someone from Los Angeles I enjoyed reading about your father’s life and work as a union welder in the 1960s. My grandfather was a union truck driver and my father is a cabinetmaker. My dad’s cousins worked at the General Motors Van Nuys Assembly plant. In a way you captured an old industrial blue-collar working class that’s nowhere near as robust as it once was in Los Angeles. It reminded of Mike Davis’ writings on the subject.

Kid: I haven’t lived in LA for so long that I didn’t realize it doesn’t exist anymore. I felt the times. It was a reflection on my experiences and my family’s experiences. It was very working class. My dad was proud to be a union member. It served him very well. He and my mother were set up for the rest of their lives. I grew up with a sense that he earned an honest living. My parents always told me not to be embarrassed by what you did for work. People would ask me, “What’s your book about? What’s the thrust of it?” As I was writing it, I was like, “I don’t know. I’ll find out when it’s done.” What you mentioned was an aspect of that.

           When I started the book and all throughout the writing I had gone to different writers’ workshops. We’d review each other’s work. It was a bunch of people who didn’t know me, didn’t know about music—at least the music I make. I just wanted to see if there was a story there. People were relating to what I was writing, which gave me the confidence to keep going.

Ryan: Some New Kind of Kick is different from Jeffrey Lee Pierce’s autobiography, Go Tell the Mountain. Nevertheless, I couldn’t help but think of Pierce’s work as I read yours. Was Go Tell the Mountain on your mind as you were writing?

Kid: When I was writing about Jeffrey—it was my version of the story. It was about my relationship with him. I wasn’t thinking about his autobiography much at all. His autobiography is very different than mine. Nevertheless, there are some similarities. But his book flew off into flights of prose and fantasy. I tried to stay away from the stories that were already out there. The thing that’s interesting about Jeffrey is that everyone has a completely different story to tell about him. Everyone’s relationship with him was different.

Ryan: It’s a spectrum that’s completely filled in.

Kid: Exactly. One of the most significant relationships I’ve had in my life was with Jeffrey. Meeting him changed my life. It was an enduring relationship. It was important for me to tell my story of Jeffrey.

Ryan: The early part of your book covers growing up in La Puente and having older sisters who caught the El Monte Legion Stadium scene—groups like Thee Midniters. You told me years ago that you and Jeffrey were thinking about those days during the writing and recording of Mother Juno (1987).

Kid: That’s definitely true. Growing up in that area is another thing Jeffrey and I bonded over. We were music hounds at a young age. We talked a lot about La Puente, El Monte and San Gabriel Valley’s culture. We were able to pinpoint sounds we heard growing up there—music playing out of cars and oldies mixed in with Jimi Hendrix and Santana. That was the sound of San Gabriel Valley. It wasn’t all lowrider music. We were drawn to that mix of things. I remember “Yellow Eyes” off Mother Juno was our tribute to the San Gabriel Valley sound.

Ryan: You describe the Capitol Records Swap Meet in Some New Kind of Kick. In the pre-punk/Back Door Man days that was an important meet-up spot whose significance remains underappreciated.

Kid: The Capitol Records Swap Meet was a once-a-month event and hangout. It was a congregation of record collectors and music fans. You’d see the same people there over and over again. It was a community. Somehow everyone who was a diehard music fan knew about it. You could find bootlegs there. It went from glam to more of a Back Door Man-influenced vibe which was the harder-edged Detroit stuff—The Stooges and the MC5. You went there looking for oddities and rare records. I was barely a record collector back then. It’s where I discovered a lot of music. You had to be a pretty dedicated music fan to get up at 6 AM to go there, especially if you were a teenager.

Ryan: I enjoyed reading about your experiences as a young gay man in the 1970s. You’d frequent Rodney’s English Disco; I didn’t know you were so close to The Screamers. While not downplaying the prejudices gay men faced in the 1970s, it seemed fortuitous that these places and people existed for you in that post-Stonewall period.

Kid: Yeah. I was obviously drawn to The Screamers for a variety of reasons. It was a funny time. People didn’t really discuss being gay. People knew we were gay. I knew you were gay; you knew I was gay. But the fact that we never openly discussed it was very strange. Part of that was protection. It also had to do with the punk ethos of labels being taboo. I don’t think that The Screamers were very politicized back then and neither was I. We were just going wild. I was super young and still discovering things. I had that glam-rock door to go through. It was much more of a fantasy world than anything based in reality. But it allowed queerness. It struck a chord with me and it was a tribe. However, I did discover later on that glam rock was more of a pose than a sexual revolution.

           With some people in the punk scene like The Screamers and Gorilla Rose—they came from a background in drag and cabaret. I didn’t even know that when I met them. I found it out later on. They were already very experienced. They had an amazing camp aesthetic. I learned a lot about films and music through them. They were so advanced. It was all very serendipitous. I think my whole life has been serendipitous, floating from one thing to another.  

Ryan: You were in West Berlin when the Berlin Wall was breached in November 1989. “Here’s another historical event. I’m sure Kid Congo is on the scene.”

Kid: I know! The FBI must have a dossier on me. I was in New York on 9/11 too.

Ryan: A person who appears frequently in your book is your cousin Theresa who was tragically murdered. I take it her death remains a cold case.

Kid: Cold case. Her death changed my entire life. It was all very innocent before she died. That stopped everything. It was a real source of trauma. All progress up until that point went on hold until I got jolted out of it. I eventually decided to experience everything I could because life is short. That trauma fueled a lot of bad things, a lot of self-destructive impulses. It was my main demon that chased me throughout my early adult life. It was good to write about it. It’s still there and that’s probably because her murder remains unsolved. I have no resolution with it. I was hoping the book would give me some closure. We’ll see if it does.

Ryan: Theresa was an important person in your life that you wanted people to know about. You champion her.

Kid: I wanted to pay tribute to her. She changed my life. I had her confidence. I was at a crossroads at that point in my life, dealing with my sexuality. I wanted people to know about Theresa beyond my family. My editor Chris Campion really pulled that one out of me. It was a story that I told, but he said, “There’s so much more to this.” I replied, “No! Don’t make me do it.” I had a lot of stories, but it was great having Chris there to pull them together to create one big story. My original concept for the book was a coming-of-age story. Although it still is, I was originally going to stop before I even joined the Gun Club (in 1979). It was probably because I didn’t want to look at some of the things that happened afterwards. It was very good for my music. Every time I got uncomfortable, I’d go, “Oh, I’ve got to make a record and go on tour for a year and not think about this.” A lot of it was too scary to even think about. But the more I did it, the less scary it became and the more a story emerged. I had a very different book in mind than the one I completed. I’m glad I was pushed in that direction and that I was willing to be pushed. I wanted to tell these stories, but it was difficult.

Ryan: Of course, there are lighter parts in your book. There are wonderful, infamous characters like Bradly Field who make appearances.

Kid: Bradly Field was also a queer punker. He was the partner of Kristian Hoffman of The Mumps. I met Kristian in Los Angeles. We all knew Lance Loud of The Mumps because he had starred in An American Life (1973) which was the first reality TV show. It aired on PBS. I was a fan of The Mumps. Bradly came out to LA with Kristian for an elongated stay during a Mumps recording session. Of course, Bradly and I hit it off when we met. Bradly was a drummer—he played a single drum and a cracked symbol—in Teenage Jesus and the Jerks. Bradly was a real character. He was kind of a Peter Lorre, misanthropic miscreant. Bradly was charming while abrasively horrible at the same time. We were friends and I always remained on Bradly’s good side so there was never a problem.

           Bradly had invited me and some punkers to New York. He said that if we ever made it out there that we could stay with him. He probably had no idea we’d show up a month later. Bradly Field was an important person for me to know—an unashamedly gay, crazy person. He was a madman. I had very little interest in living a typical life. That includes a typical gay life. Bradly was just a great gay artist I met in New York when I was super young. He was also the tour manager of The Cramps at one point. You can imagine what that was like. Out of Lux and Ivy’s perverse nature they unleashed him on people.

Ryan: He was the right guy to have in your corner if the club didn’t pay you.  

Kid: Exactly. Who was going to say “no” to Bradly?

Ryan: You mention an early Gun Club track called “Body and Soul” that I’m unfamiliar with. I know you have a rehearsal tape of the original Creeping Ritual/Gun Club lineup (Kid Congo Powers, Don Snowden, Brad Dunning and Jeffrey Lee Pierce). Are any of these unreleased tracks on that tape?

Kid: No. Although I do have tapes, there’s no Creeping Ritual material on them. I spoke with Brad (Dunning) and he has tapes too. We both agreed that they’re unlistenable. They’re so terrible. Nevertheless, I’m going to have them digitized and I’ll take another listen to them. “Body and Soul” is an early Creeping Ritual song. At the time we thought, “Oh, this sounds like a Mink DeVille song.” At least in our minds it did. To the best of my ability I did record an approximation of “Body and Soul” on the Congo Norvell record Abnormals Anonymous (1997). I sort of reimagined it. That song was the beginning of things for me with Jeffrey. It wasn’t a clear path when we started The Gun Club. We didn’t say, “Oh, we’re going to be a blues-mixed-with-punk band.” It was a lot of toying around. It had to do with finding a style. Jeffrey had a lot of ideas. We also had musical limitations to consider. We were trying to turn it into something cohesive. There was a lot of reggae influence at the beginning. Jeffrey was a visionary who wanted to make the Gun Club work. Of course, to us he was a really advanced musician. We thought (bassist) Don Snowden was the greatest too. What’s funny is that I saw Don in Valencia, Spain, where he lives now. He came to one of our (Kid Congo and the Pink Monkey Birds) shows a few years ago. He said, “Oh, I didn’t know how to play!”

Ryan: “I knew scales.”

Kid: Exactly. It was all perception. But we were ambitious and tenacious. We were certain we could make something really good out of what we had. That was it. We knew we had good taste in music. That was enough for us to continue on.

Ryan: I knew about The Cramps’ struggles with IRS Records and Miles Copeland. However, it took on a new meaning reading your book. Joining The Cramps started with a real high for you, recording Psychedelic Jungle (1981), and then stagnation occurred due to contractual conflicts.

Kid: There was excitement, success and activity for about a year or two. And then absolutely nothing. As I discuss in my book—and you can ask anyone who was in The Cramps—communication was not a big priority for Lux and Ivy. I was left to my own devices for a while. We were building, building, building and then it stopped. I wasn’t privy to what was going on. I knew they were depressed about it. The mood shifted. It was great recording Psychedelic Jungle and touring the world. The crowds were great everywhere we went. It was at that point that I started getting heavy into drugs. The time off left me with a lot of time to get into trouble. It was my first taste of any kind of success or notoriety. I’m not embarrassed to say that I fell into that trip: “Oh, you know who I am and I have all these musician friends now.” It was the gilded ‘80s. Things were quite decadent then. There was a lot of hard drug use. It wasn’t highly frowned upon to abuse those types of drugs in our circle. What was the reputation of The Gun Club? The drunkest, drug-addled band around. So there was a lot of support to go in that direction. Who knew it was going to go so downhill? We weren’t paying attention to consequences. Consequences be damned. So the drugs sapped a lot of energy out of it too.

           I recorded the one studio album (Psychedelic Jungle) with The Cramps and a live album (Smell of Female). The live record was good and fun, but it was a means to an end. It was recorded to get out of a contract. The Cramps were always going to do it their way. Lux and Ivy weren’t going to follow anyone’s rules. I don’t know why people expected them to. To this day, I wonder why people want more. I mean, they gave you everything. People ask me, “When is Ivy going to play again?” I tell them, “She’s done enough. She paid her dues. The music was great.”

Ryan: I think after 30-something years of touring, she’s earned her union card.

Kid: Exactly. She’s done her union work.

Ryan: In your book you discuss West Berlin in the late 1980s. That was a strange period of extreme highs and lows. During that time you were playing with the Bad Seeds, working with people like Wim Wenders (in Wings of Desire) and witnessed the collapse of the Berlin Wall and the GDR. Nevertheless, it was a very dark period marred by substance abuse. Luckily, you came out of it unscathed. As you recount, some people didn’t.

Kid: It was a period of extremes. In my mind, for years, I rewrote that scene. I would say, “Berlin was great”—and it was, that part was true—and then I’d read interviews with Nick Cave and Mick Harvey and they’d say, “Oh, the Tender Prey (1988) period was just the worst. It’s hard to even talk about it.” And I was like, “It was great! What are you talking about?” Then when I started writing about it, I was like, “Oh, fuck! It really wasn’t the best time.” I had been so focused on the good things and not the bad things. Prior to writing my book, I really hadn’t thought about how incredibly dark it was. That was a good thing for me to work out. Some very bad things happened to people around me. But while that was happening, it was a real peak for me as a musician. Some of the greatest work I was involved with was being done then. And yet I still chose to self-destruct. It was a case of right place, right time. But it was not necessarily what I thought it was.  

Ryan: Digressing back a bit, when we would chat years back I would ask you where you were at with this project. You seemed to be warming up to it as time went on. And I finally found a copy of the group’s album in Sydney, Australia, a year ago. I’m talking about Fur Bible (1985).

Kid: Oh, you got it?

Ryan: I did.

Kid: In Australia?

Ryan: Yes. It was part of my carry-on luggage.

Kid: I’m sure I can pinpoint the person who sold it to you.

Ryan: Are you coming around to that material now? I like the record.

Kid: Oh, yeah. I hated it for so long. People would say to me, “Oh, the Fur Bible record is great.” I’d respond, “No. It can’t possibly be great. I’m not going to listen to it again, so don’t even try me.” Eventually, I did listen to it and I thought, “Oh, this is pretty good.” I came around to it. I like it.

Ryan: You’ve made the transition!

Kid: I feel warmly about it. I like all of the people involved with it. That was kind of a bad time too. It was that post-Gun Club period. I felt like I had tried something unsuccessful with Fur Bible. I had a little bit of shame about that. Everything else I had been involved with had been successful, in my eyes. People liked everything else and people didn’t really like Fur Bible. It was a sleeper.

Ryan: It is.  

Kid: There’s nothing wrong with it. It was the first time I had put my voice on a record and it just irritated the hell out of me. It was a first step for me.

Ryan: You close your book with a heartfelt tribute to Jeffrey Lee Pierce. You wonder how your life would’ve turned out had you not met Jeffrey outside of that Pere Ubu show in 1979. Excluding family, I don’t know if I’ve ever met anyone who’s had that sort of impact on my life.

Kid: As I was getting near the end of the book I was trying to figure out what it was about. A lot of it was about Jeffrey. Everything that moved me into becoming a musician and the life I lived after that was because of him. It was all because he said, “Here’s a guitar. You’re going to learn how to play it.” He had that confidence that I could do it. It was a mentorship. He would say, “You’re going to do this and you’re going to be great at it.” I was like, “Okay.” Jeffrey was the closest thing I had to a brother. We could have our arguments and disagreements, but in the end it didn’t matter. What mattered was our bond. Writing it down made it all clearer to me. His death sent me into a tailspin. I was entering the unknown. Jeffrey was like a cord that I had been hanging onto for so long and it was gone. I was more interested in writing about my relationship with him than about the music of the Gun Club. A lot of people loved Jeffrey. But there were others who said they loved him with disclaimers. I wanted to write something about Jeffrey without the disclaimers. That seemed like an important task—to honor him in a truthful manner.

Ryan: I’m glad that you did that. Jeffrey has his detractors, but they all seem to say something along the lines of “the guy still had the most indefatigable spirit and drive of any person I’ve ever known.”

Kid: That’s what drove everyone crazy!

Ryan: This book took you 15 years to finish. Completing it has to feel cathartic.  

Kid: I don’t know. Maybe it will when I see the printed book. When I was living in New York there was no time for reflection. I started it after I left New York, but it was at such a slow pace. It was done piecemeal. I wanted to give up at times. I had a lot of self-doubt. And like I said, I’d just go on tour for a year and take a long break. The pandemic made me finally put it to bed. I couldn’t jump up and go away on tour anymore. It feels great to have it done. When I read it through after the final edit I was actually shocked. I was moved by it. It was a feeling of accomplishment. It’s a different feeling than what you get with music. Looking at it as one story has been an eye-opener for me. I thought to myself, “How did I do all of that?”

           I see the book as the story of a music fan. I think most musicians start out as fans. Why would you do it otherwise? I never stopped being a fan. All of the opportunities that came my way were because I was a fan.

[authenticdesperation]

A Review of Every Single Episode of Inside No. 9 [1/2]

Disclaimer: my opinions are not definitive but they are bloody good. There may be spoilers so read at your own risk. This will probably have to be a two-parter for the sake of my sanity and your scrolling.  

Series 1

1. Sardines 

A killer way to kick off a series with an absolutely top notch cast. This episode probably wins the award for the episode I’ve spent the most time thinking about after watching, putting all the little things that went over my head at first into place. I love the set design in this episode as well with everything seeming delightfully old fashioned. 

2. A Quiet Night In

This episode is something of a masterclass in farce and it is a Bold Move to have the second episode of a new series almost completely free of dialogue. It’s dirty, it’s fully of silly slapstick and it’s a nice change of pace after the rather harrowing ending to the first episode. 

3. Tom and Gerri 

This is an episode I enjoyed more when I thought about it more. It beautifully shows the decline of Tom’s mental health (acted impeccably, lovely work from Reece) due to grief. Also it was quite nice to see Reece and Steve acting opposite each other more, they have great chemistry together and Steve as Migg is perfectly unsettling. 

4. Last Gasp

Now, I have to be honest with you: I do not exclusively have glowing praise for this episode. I enjoyed it far more after watching it more than once as I liked the humour of it. One of my favourite things was the video camera perspective at the start, as well as some lovely moments with the music. However, I’m not overly keen on the ending, I just found it slightly underwhelming. 

5. The Understudy

Back on the praise train kids! I am a big old Shakespeare nerd (as are Reece and Steve, apparently) and I studied Macbeth for my GCSEs so I was particularly excited when I watched it. I will also have to give a little nod to the directing of this episode, it was an absolute feast for the eyes. 

6. The Harrowing

Oh hell yes (no pun intended). I think this episode is a great one to cap off the first series, really demonstrating the versatility of Steve and Reece. Also, I’m a big horror fan and the entire atmosphere of it really appealed to me. Though I would say that the second I saw that house I would have run about fifteen miles in the opposite direction.

Series 2

1. La Couchette

This episode is very similar to Sardines in the sense that it feels rather claustrophobic, but this time it leans far more towards the comedy side of things rather than drama. Bonus points for Steve demonstrating his German skills. 

2. The 12 Days of Christine

Ah yes, the episode I’ve cried at every time I’ve watched it. This one is a strong demonstration of how to wrong foot an audience: you never quite know what’s going on until towards the end and all of the horror-esque moments just add to the confusion making the ending one hell of an emotional gut-punch. I wouldn’t watch it if you need something to cheer you up, though.

3. The Trial of Elizabeth Gadge

My second favourite episode of series two, The Trial of Elizabeth Gadge is packed to the brim with silly puns and smutty jokes. I personally predicted the twist but in this case I don’t think it really mattered as I was too busy enjoying the Horrible Histories for adults thing that was going on. Bonus points for another killer cast.

4. Cold Comfort

The first of two episodes directed by Steve and Reece and really quite a bold one at that. The whole thing is filmed in the style of a CCTV feed, which I’m pretty sure an experienced director would warn you off trying, but it really pays off in the narrative. Since the camera doesn’t switch focus at any point, it really relies on the acting performances to keep your focus which, in my opinion, the cast fucking nailed.

5. Nana’s Party

If I had to describe the episode in two words they would be ‘domestic drama’. It’s a fairly classic setup of a family with their fair share of secrets, namely adultery and alcoholism, but happily doesn’t give the game away too early and a layer of humour is added by the slightly irritating prankster character of Pat. It’s the second episode of the series directed by Steve and Reece and has a sort of understated quality to it, showing Claire Skinner’s character’s exacting nature above a layer of familial drama. 

6. Séance Time

My favourite episode of series two, at first you think you’re walking into another haunted house scenario until you find out it’s a prank show that went off the air due to a scandal. There’s a great sense of humour throughout, and I don’t know whether I’m easily freaked out or the final jumpscare was genuinely terrifying but I flew about fifteen feet into the air when I saw it. Once I’d peeled myself off the ceiling, I really appreciated that it felt like a slow burn horror despite still only being half an hour. 

Series 3

1. The Devil of Christmas

I live for schlocky horror films that are so cheesy they give you nightmares if you watch them before bed. So the 1970s film within the episode, accompanied by a director’s commentary-cum-police interview performed by Derek Jacobi, was an absolute treat. The story of Krampus is one that has been done a lot, but never as a snuff film (as far as I know) so it was a nice little twist.

2. The Bill

Every time I rewatch Inside No. 9 this is the episode I always have to watch no matter what. It is such a simple premise and it feels slightly reminiscent of the Geoff, Mike and Brian sketches from The League of Gentlemen. Now is probably the moment where I should sing the praises of director Guillem Morales who has, quite frankly, become my personal hero having seen the many, many episodes of this series he’s directed. The framing in this episode is absolutely genius, but it’s only really obvious after you’ve watched it a few times and I have to give kudos for making a dialogue-heavy episode visually interesting. There are jokes that I think about at least twice a week and I am obsessed with Jason Watkins’ acting...I think this will be my longest review of this whole post. 

3. The Riddle of the Sphinx

This is the best episode I will never watch again. I love horror, and I’ve watched some bone-chilling films but something about this episode made me feel so uncomfortable. It is also a real testament to Steve Pemberton, who I’m led to believe is the cryptic crossword fan who took the lead writing this episode, that he wrote something involving cryptic crosswords that didn’t give me a migraine. 

4. Empty Orchestra

Ah, what a nice change of pace after the last episode with something far lighter. The karaoke booth concept is so fun and I’ve never understood the criticism of the episode. That being said, of every single antagonist in every single episode of Inside No. 9, Connie is the character I love to hate the most. All of the characters feel more like people you’ve met before and the vibe of a group of work colleagues in a karaoke booth going through the usual petty drama feels familiar. I think series three is one that has some of the darkest concepts and this is a great exception to that. 

5. Diddle Diddle Dumpling

When I looked in the background more while rewatching this episode, I noticed a lot of things were in twos. I can only assume that was a deliberate choice made somewhere along the line, and one that pays off when you notice it. Both Mat Baynton and Keeley Hawes played their parts to perfection, with Mat really doing quite a lot with a fairly small part. The whole episode reads as an interesting analysis of grief, in a similar sense to Tom and Gerri. Also, Reece’s character did not murder the remaining twin and apparently I’m the weirdo for thinking that was what was being implied. In my defence, there was cannibalism earlier in the series; filicide did not seem like that big of a leap.

6. Private View 

Agatha Christie eat your heart out (that wasn’t meant to be a reference to the ending, it’s just a happy accident). Murder mysteries are my absolute jam so I am obsessed with this episode. The modern art show is such a great setting for a whodunnit as demonstrated by the reaction to the discovery of Peter Kay’s character’s body. All the characters have their brilliant little quirks, and the killer is revealed at the perfect time and it was a good idea to not make that reveal the twist. 

[hiding-under-the-willow]

Hey can we please hear more about the dnd campaign?

Of course! I assume this is about the slenderverse campaign I run, so I’m gonna talk about that, but if you wanna hear about the other campaign I’m a player in feel free to ask lol

So we play every Wednesday, we’re about ten sessions in, and I’ve got four players, all playing fucked up teenagers living in a tiny ass town in Ohio in 2016. They’ve all got custom subclasses based on the EMH Everyman play character archetypes. 

We’ve got Kaesy, an orphan living with his ex-FBI agent grandmother who now runs a bakery. He’s a conspiracy theorist with a cryptid themed podcast. He used to live in New Jersey with his parents until they were killed by the rake. He’s the party’s Voyeur and he hasn’t quite figured it out yet but he has some childhood connections to the EMH crew. The party has fully taken to calling Habit his best friend bc out of everyone in the group he’s kinda the one Habit has taken to fucking with the most, to the point that they're like fully penpals at this point. They fully just text each other and it’s so fucking funny bc I can tell that the party is lowering their guard around him slowly while I know full well that he is like. the main antagonist of the campaign.

There’s Abigail, who happens to also be an orphan who’s parents were killed by the rake. Abigail and Kaesy’s players fully separately both wrote backstories in which their parents were killed by the rake. The funny part is that Kaesy’s player doesn’t know shit about the slenderverse, so he fully did that shit on accident, while Abigail’s player fully knew what he was doing. Anyways, Abigail’s parents raised her like fully off the grid in the woods, and now that she lives with her uncle, an ex-college professor turned cop, she is only going to school and participating in society as a whole because legally she has to. Her inventory looks fully like a normal dnd character’s inventory, weapons and rope and torched and shit. Not a single school supply. Her player is the only one who knows slenderverse lore and also she keeps finding lore shit and then hiding it from the rest of the party bc none of them trust each other so that’s been really fun. She is the Firebrand of the group and ended up connected to all this shit a) bc of her family’s connection to this town the party lives in, and b) bc her uncle fully used to be a film professor in Alabama and may or may not be in some way connected to Marble Hornets. He’s slowly started to take on the sort of vibe of The Guardian archetype (bc our pc who took that subclass hasn’t quite fully played into the vibe) so you can see where that may or may not be going lmao

Then there’s Logan, who is one of my personal favorite pcs. He is a fake-woke hypebeast vlogger/streamer with a kind of neglectful family. He used to live in New Jersey with his father until his father died and he moved in with his mom and her girlfriend in Ohio. His mom gives off like girlboss silicon valley business woman vibes and everyone thinks she’s a higher up in some big cosmetics company up in New York. Which. Uh. Between you and me, is not the case, at all. She’s fully a part of ‘The Family” from Whispered Faith, and spends all her time that she claims she spends on business trips to New York in New Jersey. She is so incredibly neglectful and may or may not have something going on with Lexx <3 Anyways I am entirely planning on making Logan a Carrier to pit them against each other. Don’t even get me started on Shelly, his mom’s girlfriend back in Ohio, I fucking love her and she’s never done anything wrong in her life. But yeah, Logan fully like tries to sell his merch in the hallways at school cause he couldn’t figure out how to set a merch website, and constantly lands in detention for it, and like hangs out with all the popular kids even though they’re mean to him. He once started explaining fnaf lore to one of the other pcs in the middle of an emotional argument and then somehow managed to actually make it work to get his point across, and he carries around a shit ton of youtuber books and like entire packs of lacroix in his bag. He’s the Everyman of the group.

Lastly we have Jasmine, who is so incredibly annoying and so incredibly fun to fuck with. Her dad is the mayor, she’s student council president, she gets straight A’s, she volunteers at the church on the weekends, and she is such an entitled and overly sheltered asshole. She is supposed to be our Guardian, except that she has separated herself from the party in such a way both emotionally and physically you would never be able to tell. So at this point I’ve just started manifesting a religious trauma fueled Alex Kralie arc for her. Her father canonically had a scandal before the last election in town where he was caught kicking a dog on camera at a campaign event and if that doesn’t say enough about what’s happening in her family I don’t know what else you want me to say. Jasmine’s absolute ability to be the most frustratingly annoying character to work with possible is the source of the campaigns long running ‘roll to spontaneously combust’ which has recently come back to haunt me. You can read about that here lol

Things have been really fun so far, they spent the first few sessions running around the eastern US trying to get back to Ohio after a mix of a slenderman encounter and some Habit fuckery landed them in Alabama along side two other NPCs, Mr. Laurel, a first year art teacher who was in charge of them in detention when shit went south, and Mae, a mysterious classmate of theirs who was later found out to be related to Alex Kralie. They met a lot of people along the way, namely Habit, Tim, Skully, Stan, and Patrick, and eventually ended up back in their small town in Ohio, where some of them have started trying to figure out what the hell happened to them and some of them are trying to go back to normal. And by some I mean exclusively Jasmine is trying to pretend nothing ever happened and it is going incredibly badly for her on a number of levels, meanwhile the other three are starting to uncover the mysteries of the town but have gotten no closer to figuring out why the hell this is happening to them. 

I should probably stop rambling here lmao cause this post is getting really long but like feel free to send me follow up questions about the town or npcs or encounters they’ve had so far because I could literally talk about this forever