#yes I want to know what Andrew’s thought process behind the blow scene

[starry-night-ly]

Now that we’ve been blessed with dual pov Miss Nora, I am so curious to know just a little bit of Andrew’s POV. Seeing Neil and Kevin from Jean and Jeremy’s pov makes me want others pov! Give me Andrew when Neil calls him out for not being drugged! When Neil wore the club clothes! When Neil payed a waiter to knock him out! I WANT IT SO BAD! I need to know how many times Andrew or anybody else just think “wtf is with this kid”

[sodasback]

Ex BF - Part 2

Drew Starkey x Reader

Part 1

You guys, I changed my mind, this one just works so much better as a Drew Starkey fic ...so fuck it, I’m just gonna post what I had on my deactivated blog. 

It had been months since you ran into Josh on set at Drew’s work. Luckily, Drew was only in a couple scenes for that project and he only worked on that show one more day without running into Josh. Now, you, Drew and a lot of the Outer Banks crew were all in LA again and going out to a bar.

Unfortunately for you, and everyone that night, Josh and his friends were at the same bar.

“Oh hey, it’s y/n and her movie star boyfriend, Andrew.” Josh said as he appeared next to you and drunkenly leaned an arm on your shoulder. If looks could kill, the look on Drew’s face would have for sure been the death of Josh. It was a mixture of shock and rage at the audacity of this guy. Drew was so taken aback, he didn’t know how to react.

You uncomfortably chuckled and squirmed out from under Josh’s arm to stand in front of Drew quickly, not knowing if Drew’s truly calm nature could be tested any further. “Mhmm, great to see you Josh.” You stated dismissively.

Your effort to separate them was lost as Drew instantly and easily maneuvered you behind him protectively. You turned for the bar as quickly as possible, hoping to end the situation there, so you grabbed Drew’s hand to pull him along with you.

“Aww, y/n/n, you’re not gonna stay and let me get to know your little boyfriend?”

You felt dead weight behind you as you tried to pull Drew away. 

“Bro, I’m telling you right now, back the fuck off.” Drew stated. You whirled around to get in front of him, as Josh took a step forward and titled his chin up, “Or what?”

You put your hands on Drew’s chest. He easily looked over your head to continue glaring at Josh.

“Drew” you said sternly. He glanced down at you for a second, before looking back up at Josh. Josh smirked and waited to see what Drew was gonna do. “He’s not worth it. Trust me.” You said. Drew looked down at you and softened. 

He wrapped an arm around your shoulder an you wrapped both arms around his waist to walk to the bar. 

“You know, as hot as you are when you get all scary like that. I really really don’t want you getting in a fight because I have an absolutely horrible ex boyfriend.” 

You emphasized the first part of this sentence, but Drew just gave you a deadpan stare. He knew you were trying to flirt with him to get him to relax. And you knew it was too late at this point. As evolved and emotionally intelligent as Drew was, he had now entered caveman mode. Josh challenging him because of you triggered instincts deep within him to meet that challenge aka defending your honor. ...1 point toxic masculinity, 0 points non-violent female empowerment.

At this point in your life, you were happy. You had everything you wanted in your career. You had a beautiful apartment. Your family was healthy. You had the best friends you could ask for. And of course, you had Drew. Drew was the one. He was your soulmate. Your best friend. And you knew it. You didn’t feel the need to put Josh in his place any more. You just wanted to keep enjoying your life. You had time to make peace with what Josh did to you and you felt like you moved past it and him. Yeah, you felt like you were past it, you tried to convince yourself. It had been years since the incident happened and you and Josh broke up...

Flashback

You and Josh were 20 and had been on and off for a couple years. One night, you had both been out, when you started fighting, something that wasn’t new to your relationship. Josh had been flirting with another girl a lot of the night and gaslighting you to make you feel like you were imagining it. As you brought up the flirting again, he was reaching for his car keys. You were pissed that he was using this tactic again. He would leave until you calmed down and started to worry about him so much that you would just finally give in and forget the fight, instead of holding him accountable. You were so mad at him for making you feel like you were crazy and for always manipulating you by leaving. You couldn’t stop the words from coming out of your mouth, “Sure, just leave again. Fucking typical, Josh. Like father, like son, I guess.”

And before you could even process what happened, the whole right side of your face was stinging, a cut near eye was bleeding from his ring and your ears were ringing. Josh had just backhanded you hard. Time stood still for a moment as your hand went to cradle your cheek. You were absolutely shocked.

“Oh fuck. You okay?” 

You finally looked up at him with an unreadable expression on your face. “..don’t make this a big deal, okay? That was a really shitty thing to say and you just made me so mad, I couldn’t help i-” At that point, you stormed into the bedroom and locked the door. He now was faced with you being upset and maybe even losing you; he started knocking on the door and apologizing profusely after realizing your reaction. You were completely blocking out all the noise coming from the other side of the door as you tried to gather your thoughts. 

Okay, that was a really low blow. Yeah, but he HIT you.

I definitely shouldn’t have said that. But he HIT you.

Maybe I deserved it. No, he HIT you. You continued to argue with yourself.

What would you tell your y/bff’s/n if this happened to her?

What would your mom or dad tell you right now?

If he did it once, he could do it again.

...this isn’t the first time you’ve been scared of him.

...but he seems genuinely really sorry.

You opened the door to find Josh sitting on the ground leaning against the wall. He looked at you scared and hopeful, tears rolling down his cheeks.

“I’m sorry for what I said. It was really unfair and hurtful of me.” You stated genuinely.

Relief washed over his face for a second, “I’m so sorry baby. I swear that will never happen again.” He said, as he got up and he started to make his way to hug you. 

“Yeah, I know it will never happen again...” you held your hand out to stop him from touching you, confusion now evident in his expression, “because we’re done.”

His face dropped, expression now being somewhere between confused, angry and disappointed. Josh wasn’t used to you putting up boundaries and not letting him get away with all the shit he pulled. “Y/N-” he started. 

“No.” You said adamantly, “Frankly, I don’t care how sorry you are. I don’t care how much I pissed you off. I don’t care how much you promise that will never happen again. Our relationship was toxic before what just happened. I know I’m not perfect and I have a lot of things to work on. But I 1000% know in my bones, that I WILL NEVER let you hit me again. I deserve better. We’re done. I’m going to my parents’ house. I’m coming back tomorrow between 10 and 2 to get my stuff. Don’t be here.”

A couple months later, you had a text from an unknown number. It was Josh borrowing a friend’s phone to text you, since you blocked any way he had to contact you. He apologized. He held himself accountable. There was no deflecting or manipulating in the message and he promised he would never contact you again. You replied: “Thank you for your apology. Yes, I’d appreciate it if you don’t contact me again.”

And that was it. You ran into him briefly at the grocery store once and you had been in a really good mood. Your interaction was light and almost flirty. You felt so ashamed about it later, but you hadn’t seen or heard from Josh again until years later, with Drew on set. And little did you know, seeing you with Drew set something off in Josh that he just couldn’t let go.

-

As you stood at the bar, waiting for the bartender’s attention, you turned to see the caveman version of your gorgeous boyfriend still glaring, his fists clenching and unclenching.

“Babe.” You said and he looked at you.

“He’s got fuckin nerve.” He said shaking his head and you took a deep breath ready for the rant, “First off, called me a movie star. I am a serious actor, Y/N.” 

You couldn’t help but laugh at Drew being offended anything this asshole said and Drew’s eyes widened at you and you stifled a giggle while you laced your hands around his neck to appease him, “Mhmm” you encouraged. 

“And then he called me ‘Andrew’“ Drew went on. And you nodded and gave him a sympathetic pout, “I know, I heard.”

“And THEN, he has the AUDACITY to put his fucking arm around you?! Bro, I’m heateddddd-” He continued, barely paying attention to you as you leaned your body against his. You ignored the fact that he just called you bro and tried a different tact. 

“Drew, stop. You can’t get into a bar fight. Think about your job.”

“I don’t care about my job. I care about you.”

“That’s not true. You do care about your job. And I know you care about me. But if you get into a fight right now, it’s not gonna change what he did to me. It was a long time ago. We’re not together anymore. I’m over it. Punching him is not gonna do anything except jeopardize your future.”

Drew still had his fight face on, “Well, knocking that smirk off his fucking face would sure make me feel better.” He said and you scowled at him. “And for the record, I don’t think you’re over it. And you don’t have to be. You never have to be over it. And that doesn’t mean you aren’t fucking strong and badass.” 

You were quiet as you contemplated what Drew said. He closed his eyes and took a deep breath, before looking at you. “Okay” he said softly. 

 “Thank you” you said softly before you pulled him down to kiss him. After a minute of you successfully distracting him with a pretty passionate slow kiss, you felt Drew melt a little. 

“Hey, I’m sorry. Do you want to leave? Like do you not feel like being out anymore?” He asked sweetly.

“No, I’m okay. He’s just being a drunk asshole.” You turned away to grab the drinks the bartender poured for you and Drew, “We probably won’t even see him for the rest of the night.” 

You turned back and realized caveman Drew was now glaring at Josh again as you spoke, “..or not.” You rolled your eyes.

Despite the bad beginning, you and your friends ended up having fun as the night went on. And you and Drew proceeded to drink. Which was probably not the smartest decision. You were both feistier when you drank and you knew Drew’s natural state of calmness was only going to wear off as the night went on.

Eventually, you had to go to the bathroom. But you didn’t trust Josh to not instigate something with Drew while you were gone and you didn’t trust Drew to not try and avenge your honor while you were gone either. So you found Austin, Chase and JD. Chase and JD were only half-listening as they watched whatever game was on the tvs at the semi-crowded bar. 

“Guys, I need you to watch Drew while I go pee.” You said. Drew rolled his eyes and hung his head back with a groan.

“What’s the rig?” Austin asked, ironically using his favorite word as he put one arm on your shoulder and the other on Drew’s.

“Drew is trying to fight my ex-boyfriend and you need to stop him from ruining his career and/or going to jail for assault.” You looked at Drew as you finished your sentence remind him that he could get in serious trouble for getting in a fight. Drew scoffed as Austin looked to him for confirmation of what you were saying.

“He called me a movie star dude” Drew said.

“Oooff” Austin agreed that this was a major dig.

“And then he called me ‘Andrew’“

“Ahhh man” Austin commiserated, “This kid deserves to get hit for sure.”

“Austin!” You scolded, “You are not helping!”

“Bro, that’s not even half of it. Like what he did to Y/N; he deserves to get the absolute shit beat out of him, I promise you-”

“Okay, stop! We’re not discussing this. Chase, JD, you are in charge of Drew. Keep him occupied while I go pee and don’t let him ruin his entire life by getting in a stupid bar fight. And Austin, stop encouraging him and keep your mouth shut til I get back please!” You commanded, as you pushed Drew and Austin toward Chase and JD. JD gave you a salute while he put his arm around Drew’s shoulders. 

While you were gone, Drew was drunk and spilling all your business, trying to get all 3, also drunk, boys on his side. “Guys, you don’t even know. This guy is the biggest asshole.”

“Wait, is he really? Or do you just not like him because he’s y/n’s ex?” JD asked.

“No dude. First of all, he like cheated on her a bunch of times; he was super manipulative and .. he fucking hit her once dude.”

The all looked at each other, “What the fuck?!”

“Like hit her?”

“Yeahhhhhh, like physically hit her face.”

“Well you are completely justified, brother.”

“Yeah, we have your back man, whatever happens.” They all nodded and broke out of their little huddle.

“Look! No fighting!” Chase said proudly when you got back, opening up his arms.

“Good job Chase. Gold star” You said returning his quick side hug.

The group decided it was time to go to one more bar, so you all walked out the back ext into a big alley. Where, of course, Josh and his friends were smoking and noticed your crew before you noticed them.

“You think her movie star boyfriend knows what an uptight little prude she used to be?” Josh said to his friend loud enough for you to hear. You honestly didn’t even care about what Josh said, you knew he was trying to get Drew to react. And you knew even your sweet, soft Drew was not immune to anger getting the best of him. Drew stopped walking, still slightly turned away from Josh and just shook his head, not believing Josh’s audacity. 

Even though the guys had been supportive when they were talking to Drew about fighting Josh, no one actually wanted that to happen. So Austin was quickly by Drew’s side, “Don’t do it bro. It’s not worth it.”

“Drew.” You said trying, to get him to focus on you. Unfortunately, you were with a group of boys full of testosterone and Chase was also feeling feisty and protective. 

“Hey, why don’t you shut the fuck up bro” Chase said, taking a step toward Josh, but luckily a level-headed JD was immediately pushing Chase softly backward. 

“Ooh maybe, she’s not such a prude anymore. Maybe she’s sleeping with the whole cast; they’re all so protective of her.” Josh laughed.

“Josh stop! What the fuck is wrong with you?” You yelled at him. And Drew was instantly moving in front of you, “You need to stop talking right now man.” Drew said in a tone that made the hair on your arms stand up. You could feel the tension rolling off Drew.

“Drew calm down. Please.” You pleaded as he looked down at you.

“Y/n, I can’t let him talk about you that way.”

“He’s trying to get under your skin. That’s what he wants.”

“Yeah, well it’s fucking working.”

“Drew, come on. Let’s just go home.” He began to give in as you pulled his arm. 

Josh was obviously determined for a fight, because the next thing that came out of his mouth made it impossible for anyone to stop Drew.

“Hey good luck with y/n, man. I treated her like trash for years and she still came running back to me, bitch has got issu-” And before he could utter another word, Drew’s fist connected with his jaw. 

“Fuck.” You cursed as your hands went through your hair and you backed up between Austin, Chase and JD.

Josh recovered and hit Drew in the eye. 

You gasped. Turning into JD’s chest and he protectively wrapped his arms around you. Drew hit Josh again and he fell to the ground. Drew bent over him and punched him again. “Don’t you ever fucking talk about her again!” He yelled through gritted teeth, “Don’t look at her again. And if you EVER touch her again, I swear to God-” he spat in between a few more punches. 

“Drew! Please!” You yelled and finally Austin pulled him back. “That’s enough, bro.” 

“Come on” JD still had his arms around you, walking you away from everything. 

Drew was breathing heavy and trying to overcome his adrenaline. You and JD were already around the corner with most of the group. 

“Come on, let’s go” Chase ushered Drew away with Austin. And they followed in the same direction. Drew saw you walking ahead of him. 

“Y/N” he called after you softly. You stopped and turned around. He was already right there enveloping you in his arms. 

“Fuck y/n. I’m so sorry.” He muttered kissing the top of your head. You just kept holding each other while the group called Ubers. 

You pulled away from him a little, “Are you okay?” You asked trying to get a look at the bruise forming on his face. “Yeah, baby. I’m fine. I’m so sorry I did that. I’m sorry I put you in this situation.” He said, hugging you again. After a long pause, you pulled up and looked up at him:

“Thank you.” You stated genuinely and Drew looked at you surprised. But while you continued to look at each other, you both understood without saying anything more. You both knew it wasn’t okay that Drew just got in a fight. And you both knew you didn’t need your boyfriend to defend you honor, but you were thankful someone finally had.

Taglist: @moniamaybank @abbyj1822 @october-cameron @hernameisnoell @railmerafe @stupidpendeja @lemur46 @phantompogues 

[thecrownnet]

Season four began filming immediately after three wrapped. The ever-aggressive paparazzi snapped many scenes of Princess Diana (Emma Corrin) and former Prime Minister Margaret Thatcher (Gillian Anderson) filming the penultimate installment, which just narrowly completed production before the Covid-19 shutdowns in the U.K. But the rush to finish didn't affect the costume department.

"With all those custom-made pieces, you have to be ahead of the game," explains Roberts. Her couture house-like department regularly operated on a three-week to one-month-ahead schedule, especially for the "ceremonial" pieces for principles.

"In fact, the last day, it was a huge scene with Diana and that was it," she continues. "We went out on a bang, you know. A massive scene with her in New York, and that was it. No more filming."

[Spoilers Ahead]

Season four extends to 1989, when Princess Diana embarked on a solo trip to New York City — actually shot in Manchester, England — prior to her 1992 separation from Charles. Playing the People's Princess, Corrin was photographed wearing a stunning re-creation of a gold-embroidered, pearl-embellished Victor Edelstein gown and bolero jacket that Diana wore to attend a Welsh National Opera Gala production of "Falstaff" at the Brooklyn Academy Of Music.

As "The Crown" stans anxiously await the announcement of a season four premiere date from Netflix, Roberts revisits some of the costume and behind-the-scenes highlights from three with Fashionista, including Colman's reaction to donning Queen Elizabeth II's intimidating investiture helmet, Princess Margaret's historically inaccurate White House visit dress and Prince Charles's and Camilla's imagined meet-cute outfits. And, yes, the costume designer drops more teasers for the upcoming season, including Princess Diana's "fantastic journey."

Your re-creations for Queen Elizabeth II were so accurate, like the fur-trimmed coat she wore to Aberfan (episode three) and her investiture suit — especially the hat. What was the most challenging costume to recreate and why?

The investiture costume with that extraordinary hat. In "The Crown," you have key moments with actual events that we know about. [The images are] very much out there on film and photographs and you are acknowledging those looks. I hate to say we're "copying" them. I think we're making a nod to them with hopefully a bit of us in there.

But that was quite a challenge because everybody knew that extraordinary medieval hat that the Queen wore. [We made ours out of] a very fine satin georgette and getting that color, that pale clotted cream color, [was a challenge]. For Olivia, that was quite a challenge to wear as well. She's a remarkable actress to work with, as you can imagine. She just lets you do your job. But even she looked slightly askance when that hat came out. But being Olivia, she went with it.

Which costume for Queen Elizabeth II allowed you the most creative freedom, because it wasn't a re-creation?

I'm really fond of when I imagine dealing with the real woman. There's a series of outfits [in episode five], when she is very involved with sorting out her riding stables and her horses aren't doing very well. And she leaves her [royal] role in the care of her mother and goes off [to Normandy, France and then Kentucky] with Lord Porchey [John Hollingworth].

I loved doing her like that. In macs [trench coats] and blouses and skirts and headscarves. The scarves are such a cool look. People can really relate to that now with that slightly Prada and Miu Miu-style shirts, blouses and colors that we went for.  When she dines, for once, she's not done up in a long dress. She's in rather attractive — well, I think they were nice — floral silk dresses.

I loved being able to see or pretend or imagine that side of her; that kind of upper-middle-class country woman doing things that she loved. [Spending time with] her horses — not that there are many dogs in that episode — which I think she probably feels most at ease with. Olivia looked fantastic in those clothes. She's like glowing in a way.

Everybody assumes [my favorites are] all the big ball dresses, which are lovely to do. But I like doing that more real element of people. This other side. 'The Crown' gives you that fantastic opportunity — the big, glamour, out there moments — and there's a lot of very intimate personal stuff, where you don't know what they would wear or what they would say, but you can have let your imagination go with that one and that's lovely to do.

In episode two, Princess Margaret goes to the White House to see President and Ladybird Johnson, to help secure U.S. aid. You designed a floral, off-the-shoulder, arm-baring dress, which made sense for her to trade dirty limericks with POTUS. But in real life, Princess Margaret wore a pink, long-sleeved jacket over her gown. What was the inspiration behind changing the design, and what are the print and silhouette telling us about her?

I just wanted to be a bit bolder and more startling. I just remember when we saw that fabric in one of the shops, I thought, 'That's it. That's it! Let's use that for that [part].' Sometimes things jump out at you, don't they? Also, it's a portrayal of Margaret by an extraordinary woman, Helena Bonham Carter. So somehow you're also taking that on board. With Helena, you could push it a little bit further and she would just be bold and brave with it herself.

Princess Anne is considered a fashion icon and as young woman in the late '60s and '70s, she was able to push the fashion envelope and do things like wear jeans and mini-skirts. How did you use her costume to show her as the more independent one in the family?

I don't think she represented the wild '60s. But the mini-skirts — the short skirts — that she wore, represented the '60s in a kind of posh-girl way. The first image that we had of her [to work off of] was written in the script as Anne in jodhpurs. That blew it all apart, didn't it? Here's this girl, strutting through the palace in riding breeches and boots — I think that's how it was written — that was my big guide into how we would deal with her.

There's a little shot of her [in episode six], when she visits her brother, when he's performing the play and she's in the audience. She's got '60s baker boy cap on, but there's nothing extreme about her. It's sort of sensible. It's getting that balance of that youthful brashness, but still she's a princess.

I did enjoy the scene where a buttoned-up Prince Charles calls her from Wales because he's homesick. She's in her room at the palace — and it's all messy — and she's wearing high-waisted flare jeans and a Hawaiian-print, long-sleeved T-shirt.

[That] was a scene where you could do that. She's on her own and I quite like that because it was contrasted against Charles, who never gets to be relaxed. He's at university. He's still wearing those little old man clothes, like tweed jackets and sweaters. I mean he looks adorable, because the actor's quite adorable, isn't he? [Ed. note: Yes.] He never somehow lets his hair down. So it was quite fun that she was dressed like that and he was in corduroy trousers or slacks — they were called slacks then — and a jumper.

It was really quite funny, the director of that particular episode, Christian Schwochow, is quite young himself and also German. So his view on the Royal Family was quite refreshing and we wanted to blow it out of the water as much as we could.

What inspiration and process did you go through to design and create the costumes for imagined scenes between Charles and Camilla?

There's very little reference [imagery] on her in that early time. With Camilla, it's a sexy posh girl with, dare I say, not a huge amount of style. Why should she? Why should she have that? So it's just that Sloane Ranger girl. We were just trying to tune into that and her country pursuits. So after she marries [Andrew Parker Bowles, played by Andrew Buchan] in series four, suddenly she looks a whole lot more herself, really. She's living the life she wants to in the country, [as part of the] the country set. It was a little point to what she'd become, probably. She's fun, relaxed and not particularly into clothes.

In series three, you know that you'll see a lot of these people again in series four. So you're kind of giving little pointers to what they'll become when they're a bit older and more settled. And people have a style. You change, of course, but you are what you are. You just get a little more sophisticated or get a little more confident.

Speaking of, images of Emma Corrin as Princess Diana in famously-photographed outfits (or variations of them) have been caught by paparazzi. How does Diana's place as an international fashion icon influence how you designed her portrayal in season four?

Well, she was brilliant to do because she has a real journey in four. Most of them do, but she, in particular, has a fantastic journey — a real arc — again, like Camilla. We kick off with a nice little Sloane Ranger, wearing bobbly old jumpers, and you end up with a dramatic change. A complete manipulation of her look. Like, she puts on suits of armor to protect herself. So that's all we'll say about that.

What hints can you share about the other members of the Royal Family in season four?

The Queen grows in being steadier in her role and her marriage. I'm always saying this, but whatever issues she has — or had — in the marriage, [she and Philip, played by Tobias Menzies] found a way of dealing with that, like a lot of marriages. It's just everybody maturing.

And Margaret — that very tempestuous relationship she has with Tony at the beginning, it's just getting more and more toxic. Of course, in four, her life is really a real mess and we just illustrate that with her clothes. But the colors are much more dour and bruised and her flamboyance from three is slightly toned down now. Charles actually matures into a married man, quite stylish, but, again, an unhappy marriage. And good old Queen Mum stays the same. Lovely Queen Mum. I love her.

This interview has been edited and condensed for clarity.

[squaredcircleconfess]

Talking Christ #1

𝗕𝗥𝗢𝗨𝗚𝗛𝗧 𝗧𝗢 𝗬𝗢𝗨 𝗕𝗬 𝗦𝗤𝗨𝗔𝗥𝗘𝗗 𝗖𝗜𝗥𝗖𝗟𝗘 𝗖𝗢𝗡𝗙𝗜𝗗𝗘𝗡𝗧𝗜𝗔𝗟

𝗛𝗢𝗦𝗧𝗘𝗗 𝗕𝗬 𝗟𝗢𝗚𝗔𝗡 𝗙𝗘𝗡𝗜𝗫 𝗔𝗡𝗗 𝗞𝗜𝗘𝗥𝗦𝗧𝗘𝗡 𝗙𝗥𝗔𝗨𝗦𝗧

The Talking Christ by Squared Circle Confidential signature plays until the scene transitions over to Kiersten Fraust and Logan Fenix sitting on opposite sides of the large glass table. A backdrop of the Talking Christ logo behind them ready to start the show.

Kiersten Fraust: Hey everybody and welcome to Talking Christ! I'm Kiersten Fraust and to my right is my very outspoken co-host Logan Fenix joining me tonight! Wooo! What a show Wrestling with Christ in Saudi Arabia was, right? 

Logan Fenix: It was a complete catastrophe, Kiersten, but it was the kind of catastrophe I could not look away from like a child falling down an escalator.  I laughed, I cried, I threw up in my mouth in sheer disgust and much much more.

Kiersten Fraust: I was very surprised how they got away with so much of the stuff that happened. Being Saudi Arabia and how strict things are over there. I'm just thankful that everybody who made the trip came back to the United States and their homes safely.

Logan Fenix: Got away with it?  Hercule Giles was over there forever, according to Brennan Devlin they’re still picking apart Bun Bun to this very day.  They all left pieces of themselves behind, quite literally, and none of them will ever be the same.  Do you know how much the therapy is going to cost them all?

Kiersten Fraust: Well, you know sometimes people tend to exaggerate things online and really... my mind is still trying to process everything that happened. The whole golden ticket championship madness throughout both nights of the show. Everyone thinking that Marty Kovacs was dead but shows up on night two very much alive. I mean there is a ton more which will require therapy for the viewers.

Logan Fenix: And what about say for instance, C.J. Sweet turning her back on everything she’d ever known in this business.  From the start of her career, she’d been the good girl, the fan favorite…  one big win and suddenly her personality shifted and she turned her back on Angel and the fans.  Somehow, that paid off and you know what?  I’m actually happy to see that side of her.

Kiersten Fraust: Seeing her in that light is kinda disturbing to me. It's honestly sad because she had so many fans rooting for her, rooting for Angel, rooting for this match but then she turns her back on them? I don't get it.

Logan Fenix: That’s what you do when you are trying to make that next step, to turn that next corner.  This CJ has a lot more stock in her than the last and I am happy to see it.  But then, we had on Night One, Jacob Kuntz taking on Winter Drell.  This one had a lot of potential to change the very outlook of Night Two.  Because if Kuntz won, it changed our main event from winner take all…  If Winter won, well, the chances of Winner Take All weren’t just chances anymore, they were happening.  Boy what a fight that was too.

Kiersten Fraust: Ever since Winter Drell won the CCW heavyweight championship she has done everything in her power to keep it. Like when she ate the light tube in her match against Jacob Kuntz. That match was very, very, very brutal thing to witness and I was just sitting at home watching. I can't imagine what it was like seeing it in person. Then Kuntz? Oh my lord, he was just taking the blunt of every light tube that came in contact with his... Uhh.. private area. 

Logan Fenix: But in the end, Winter Drell hung on…  somehow, the Queen of the Double Dragons ensured that she had her chance for Winter Take All.  Get it?  Winter take all.  But before we get to that..  Chang had an eventful weekend, he killed Allah!

Kiersten Fraust: While you're all celebrating it, I just don't know how to process it all. Were we all tripping on something we didn't know we took before this match or what? Like Chang killed this invisible presence. It's like...

Kiersten Fraust: My words have failed me.

Logan Fenix: Love it, love everything about it, and let’s not forget what he did to Prince Salman.  You saw what he did, right?  It was like something out of the Avengers.  I kept waiting for Samuel L. Jackson to show up at the end and recruit him.

Kiersten Fraust: Throughout this match I was thinking how we were watching a collaboration between Avengers and Terminator movies in wrestling. But yeah, I saw what Chang did to Prince Salman. I wish I didn't but I did.

Logan Fenix: It was the most captivating, enthralling, some would even say erotic thing I’ve ever seen, Kiersten. 

Kiersten Fraust: Don't you mean exotic? Like Joe Exotic.

Logan Fenix: No, erotic.  As in I experienced confusing emotions in my brain, and in my nether regions.  My girlfriend Taylour and I had the best lovemaking experience of our lives after watching Chang’s matches.

Kiersten Fraust: Uhmmm... Okay. How about that Winter take all? It was one of the best things you've said tonight. And she really showed up in that match. The champ was kicking butt and much more.

Logan Fenix: Everything I say is good things, Frausty.  But you’re right!  What about when Redd Thunder and Duke Andrews hurled themselves into the Double Dragons, all of them went off the Heaven in a Cell to the floor.  Thank goodness for Wendy Wynne’s magic toilet paper maze…  it was magic right?  Actually, let’s not get into the mysticism of an enchanted toilet paper maze, we’ll be here all day.  What a move from Thunder and Andrews though, but it did not pay off in the end.

Kiersten Fraust: Constantine was about to win it for his team but then the freakin' devil shows up? The Saudi Arabia crowd definitely got more than what they bargained for. It was hellish with little sprinkles of good thrown in here and there.

Logan Fenix: It seemed like Satan may have been making an offer to Constantine too, but Winter took the deal instead…  and then the end, when the building was finally overrun?  And did you see the post-credits?!

Kiersten Fraust: Where Chang was holding Prince  Salman's heart and declaring he was going after Jesus next? Yeah, I saw it. I wonder how that match will go down, if it will be a match at all.

Logan Fenix: We did see a logo at the end for Wrestling With Christ: Satanic Service, maybe?  But let’s not get ahead, we have some guests!

Kiersten Fraust: Oh yes! Ladies and gentlemen, please welcome our very first guests to the show Conor Machina and Mitch McMaster.

Both men walk on to the set, Mitch acting like he had a few extra shots of hard liquor and Conor his cool and collected self. They sit at each end of the table as they are given microphones.

Kiersten Fraust: Guys! It's so great to have you here. Thanks for coming tonight.

Conor Machina: It's a pleasure to be here.

Mitch McMaster: Wow look at you honey.

Mitch scooting closer to Kiersten, obviously very inebriated and thirsty for a drink of that Frausty root beer.

Kiersten Fraust: Wow, and look at you too. But I wanted to ask how your client Barry is doing after the loss to Axel at Wrestling with Christ?

Mitch McMaster: Oh you like what I’ve got goin’ on don’t you honey?  Who?  Oh, Barry!  Barry, I love Barry, that kids been family for ages.  We’ll get Axel, don’t you worry.  My baby girl Angel made a bad choice in a man, and I have to protect her.

Kiersten Fraust: How did this match come about? 

Mitch McMaster: It all comes about at Wrestling With Christ 2.  He asked her to marry him, it was brief, but I caught it.  Now, I always dreamt of better for my girl, she’s so many generations ahead of wrestler that she deserves the best.  Instead, she has to deal with that wrestling equivalent of a mutt?  Nuh uh!  I thought maybe Barry would whoop some sense into this guy but, apparently, I need to look deeper because he cheated Badass Barry Saban.  You saw it right?!

Logan Fenix: The world saw it, Mitch.  Several closed fists, which should be banned but the referee just lets it go.

Conor Machina: I know the thought of your daughter marrying Axel gets you extremely hot under the collar and it's natural for you to disapprove of him and want better for Angel. But I have known Axel for a really long time and the guy's a good dude. Nobody would mess with her with him around.

Kiersten Fraust: I totally agree. 

Conor Machina: Now as far as the closed fists are concerned... What about that low blow Barry gave to Axel when you distracted the referee? Are you guys just selectively blind during the match? Barry had it coming.

Kiersten Fraust: Yes. Excellent point.

Mitch McMaster: You have a problem or something boy?  Your line of questioning is starting to get me hot under the collar, I did what I had to do and I’ll do it again.  But right now it seems to me you’re trying to rabble rouse and cause issue.  You’ve been looking at me cross-eyed this whole show and I might be an old man but this old man still got a lot of bullets left in his gun.

Conor chuckles into his microphone.

Conor Machina: I mean this with the utmost respect but come get your ass kicking, playboy. Pull the trigger.

Mitch McMaster: Oh it’s on, boy, I’m going to slap you around like your mama should have before she went out and let me put my thing in her way back in the day.

He jumped up as security rushed in to keep the two men separated.

Mitch McMaster: Better watch your ass big boy, me and the homies are coming for you.  Better sleep with one eye open cause froggy’s about to leap!  RIBBIT MOTHERFUCKER.

Conor Machina: Tell me... was there a secret stipulation to that match if Axel won, Angel had to call him daddy? 

Mitch McMaster: Watch yourself because McMaster spells disaster for you, kid!  And my daughter would never be into DDLG fetishism!  That tears it!

McMaster threw a shoe across the room at Conor, nearly taking his head off as he was drug out of the room.

Mitch McMaster: RIBBIT MOTHERFUCKER, RIBBIT!

Kiersten Fraust: Well, this is an interesting way to sign off. See everyone next time.

Mitch continues to shout out of camera view and the show finally comes to an end.

[minaminokyoko]

Spider-Man: Far from Home--A Spoilertastic Review

Oh, my baby boy is back and it feels good.

Like many of you, I was looking forward to FFH due to the trauma left behind by our final film with all the Avengers present, and I needed to see my sweet Spider Son to try to dry my tears. I'm happy to say Far from Home is just the popcorn flick we need this summer: light, enjoyable, fun. I do admit to a bias right off the bat, before I begin the review: I am one of the hugest fans of the Iron Dad and Spider Son dynamic, and so I knew by default that I wasn't going to like this movie as much as the first one. Sorry. I am a skank for adopted family tropes, and I think Iron Dad and Spider Son was one of the strongest relationships developed in the MCU period. Losing Tony is just...agonizing. I've sectioned it off in my brain as Did Not Happen just to get by, honestly, and so keep that in mind as we proceed.

Spoilers ahead.

Overall Grade: B

Pros:

-Lemme get this out of the way: MY SONNNNNNNNNNNNNNNNNNNNNN MY SPIDER SON OH MY GOSH PETER PARKER IS SUCH A GOOD BOI AND A SWEET SMOL BEAN AND I HAVE NO MATERNAL INSTINCTS EXCEPT WHEN IT COMES TO MCU PETER PARKER AND I LOVE THIS CHILD MORE THAN ANYTHING AND I JUST WANT TO PROTECT HIM AND HUG HIM AND BRUSH HIS HAIR AND COOK HIM DINNER I LOVE MY LITTLE BOY Y'ALL.

-Ahem. Tom Holland still shines in this role. I really, solidly care about Peter Parker. He's a great kid and he's very realistic in the way that he's written and acted. He's just a shy, awkward little nerd with a heart of gold who unfortunately has been forced into the worst situations that he's not ready for. I wanted to punch "Nick" in the face for how much goddamn pressure he put on a kid who is literally still in the goddamn mourning process just like everyone else. Peter has so much to deal with and he's only had these powers for a short amount of time, so it's natural that he's so frustrated and anxious and he wants time to go after things that are important to him. I found that very understandable and sympathetic, even if the "I just want to be normal" trope has been done to death in superhero media. MCU Peter has so much heart and I'm proud of this baby for what he's able to accomplish.

-The allusions to Tony and the void left behind hit home quite hard. Especially that fucking gravestone part of the Mysterio sequence. That was just...cruel. Tony taught Peter so much, and he genuinely loved that kid. He grew to love him and trust him and worry about him, and it's so awful that Tony won't get to see him grow up to be his own man. I'm grateful for the time they had together, and I really love Tony leaving Peter the glasses and the A.I., knowing that while he might still make a mistake, he would do the right thing in the end. (Side note: EDITH is as funny as it is fucked up, "Even Dead, I'm the Hero." God fucking damn you, Tony, that is so in-character and it hurts my soul.) "Nick" shoving all that pressure onto Peter made me want to kick his ass, especially since he talks down to him and tries to blame him for not being ready when he only just got into the game relatively speaking. But I also loved the sequence of him in the plane doing exactly what Tony used to do in his lab. It's such a great parallel, showing that Peter is his own person but he's also a chip off the old block, and that is very sweet to see. (I also squealed at the Led Zeppelin comment, oh my son, such a cutie.)

-I was extremely hesitant about them choosing Gyllenhaal for the role of Mysterio (not because of his skill as an actor, just because he looks like a giant puppy, sorry) but now I see why. He's an unstable narcissist and it fits him. What a jerkoff. I was furious with how callous he was and how he shifted blame everywhere like it's just SO necessary to kill all these people for fame, fortune, and money. Ugh, what a shitbird. So kudos to him. I didn't think he could pull it off, but he sure as hell did.

-The effects were fantastic. I really do think the illusion sequence will go down in MCU history as one of the most visually creative, disorienting, heartbreaking things we've seen so far in the saga. It was harrowing, especially the Iron Man suit crawling out of the grave. What a kick in the fucking nuts for Peter, and for us.

-Peter and MJ, while it did get a little overwhelming, were cute as shit. And I'm glad that the modern films are removing the stigma of the "I can't let my family and friends know I'm the hero" thing. It was definitely heavily done in the 80's, 90's, and early to mid 2000's and I'm fine to see it being phased out at least in terms of the MCU. It's a little more realistic that most of your family or friends would be able to handle your secret, and not only that, help you out on occasion. I'm glad she knows and their kisses were freaking adorable. Sweet babies.

-That. First. End. Credits. Scene. What a fucking killer. First off, God bless whoever at Marvel Studios listened to the thousands of fans begging them to cast J. K. Simmons as J. Jonah Jameson again, continuity be damned. The man IS the embodiment of the character, and I absolutely fucking ADORE that they gave us the nod and the wink we all wanted even back when Spidey was Andrew Garfield. Thank you, thank you, thank you. Next, oh my God, my sweet baby boy, my smol bean, got called out and branded as a murderer. Fuck, this is gonna be a serious problem, and considering the fact that we don't have the next MCU film lined up yet (at the time this was posted, and mind you, San Diego Comic Con is in two weeks, so maybe they'll clarify) the consequences could definitely be crazy. Poor Peter. He's gonna have a lot of work to do in order to undo this mess and prove that he's not Spidey, but this could also mean they're adapting some part of the Civil War story, maybe. We'll see, but that was a big ass bomb to drop.

-The Skrulls second credit scene was a genuine surprise, and it made sense. I thought Nick felt a little off the whole movie, and that really does explain why--it's someone else doing an impression of him and trying their best. Nick would've been smart enough to know probably right off the bat that Beck wasn't who he said he was. His story was way too noble and convenient. Nick would've probably have run facial recognition and then it would ping for a former Stark Industries employee, and that would've been a wrap. I like that it being a Skrull justifies what would be a plothole. Neat idea.

-I appreciated the Spidey's eye view of the action. Those were some cool shots and they were centered well, so you didn't feel nauseous or anything. It kept you in the action and was very engrossing and cool.

Cons:

-The bystander syndrome that everyone got this time around is a little irksome. It's the same reason that while I really, really love Guardians of the Galaxy Vol 2, I default don't like it as much as the first one since everyone got put into the bystander spot except for basically Peter in the very end. While it was nice to have them defend themselves, I'd have liked it more of MJ and Ned and the others figured their own way out of escaping the drones. Why? Because it would show Peter that it's not always on just his shoulders. His friends are competent and they can help, and I think that would've been a better way to go rather than him doing it himself.

-Some of the humor was flat. JB Smooth and the other teacher are the worst offenders, I'd say. They were given too much screentime and they're not that funny.

-The May and Happy subplot goes almost nowhere and isn't fully explored, and I kind of would've been fine if it hadn't been in the movie at all. It doesn't add much.

-The ending was kind of unclear? Did Beck actually get shot and die from his wounds? If so, then what was the official story about the drones and his body and whatnot? It's all pretty damn vague. If Beck is dead, that's disappointing. I kinda wish Marvel would stop killing the villains at the end of almost all the films. Longest running recurring villains are Loki and Thanos, I think. Vulture lived, and I'd like him to return in the future if possible. You can use actors more than once, Marvel, they're not tissue paper.

-Nitpick: It did almost feel like we missed a movie where Peter likes MJ. She was more a cameo in the first one than a full lead, so it almost felt like there's a short film somewhere of them getting closer and him getting over Liz and liking MJ instead.

-Nitpick: Same with the whole "other guy also likes MJ" subplot. Eh, I could leave it out and not miss it.

-Nitpick: I still can't with how they expect anyone to buy that Night Monkey story. I mean, it's black suited Spidey no matter which way you look at it. And yes, people should immediately notice he's at the very least one of the students at Peter's high school, and then it can't be too hard after that. I mean, Peter doesn't even change his voice while he's in the suit.

-Nitpick: I was kind of hoping for more clues or reactions to half of everyone, you know, being fucking murdered by Thanos for five years and returning to their lives. But I guess that was just pushed aside because it could become a whole rabbit hole issue. Still, though, I was hoping someone would tell us if the Snapped just don't remember being dead or if there is some kind of afterlife they experienced. (Side note: wow, holy shit, the teacher's mini story about it was dark and awful but I did laugh out of shock. I mean, damn. Low blow, wifey. Low fucking blow.)

-They mention spidey sense but I'd have liked it if they explicitly explain why he has it sometimes but other times he doesn't? It seems to fluctuate, but why and how? Is it more like anxiety or an extra sense? Is it based on his emotional health? I want clarification.

All in all, I had a good time and I'd put this in the middlegrade MCU films. I still really enjoy Holland in the role and I want nothing but good things for him and this franchise.

[village-skeptic]

on “having it both ways”: thinking about S2 and looking ahead to S3

So apparently once a year I end up latching on to Riverdale pre-season promo and having WAY TOO MUCH to say about it.

Image analysis, pop-culture riffing, S2 criticism, meditations on resistant reading, my own discomfort with “wrongfully accused” narratives in this particular historical moment, and some hopes on the literal eve of the S3 premiere, below the cut...

So, last week when this piece of promo dropped, the very first thing that I thought of was the visual reference to Chicago and the Cell-Block Tango.

(I didn’t do it! - but if I’d done it? - how could you tell me that I was wrong?)

HOW perfect is that homage? The red lighting, the raised arms? The promo still just FEELS like a snapshot from a Fosse dance routine. (A little more on legendary choreographer Bob Fosse here.)

It’s a defiant pose, right in the center of the frame, but a slightly vulnerable one at the same time. There’s nothing hidden here; everything’s on display. The pose draws the viewer’s eyes inescapably to the body - a muscled body, but one which here seems like a gymnast or dancer’s body: lithe figure, tapered waist, power that is channeled into performance.

(this is tasty; this is plenty; this is hungry work)

So, on a first pass, insofar as it puts this demonstrative male body on display, it’s a little bit of a subversive image, I think. And that’s well in line with the way that Riverdale so often courts the female (and/or gay male) gaze, and at its best does some really unusual stuff with masculinity. 

I thought about all of this - and then, silly me, I saw that this piece of promo was NOT a still, but is, instead, a short clip. 

Archie doing pull-ups on the prison bars, as another heavily muscled dude saunters behind him, reads to me like a completely different type of performance! To the degree that it invites the eye, it sends the message: don’t fuck with me. In motion, we have purely the pursuit of greater strength, the purging of weakness in favor of the means of self-protection. 

Instead of Chicago, my mind jumps to 3x01′s title source: Fortune and Men’s Eyes. Dominate or be dominated. 

Realistically, I’m willing to believe that the ambiguous interpretation here between “still” and clip is just a quirk of how it happened to be uploaded to Twitter by a social media intern. 

Still - the interpretative gulf between the still image and the image in motion got me thinking how often Riverdale seems to want to “have it both ways,” and what that does to the audience’s experience and expectations of the show.

For instance:

Other people have written at length about how Riverdale’s pursuit of aesthetic homage or plot contrivance has created character inconsistencies that occasionally baffle. Cheryl is alternately a tragic Gothic heroine and a lacquered, ruthless Mean Girl; Jughead is both a sensitive loner writer and also a bad-boy gang leader; Betty is both Betty and Dark Betty. (GOD.)

Other folks have discussed how the show needs to really play out the consequences of conflicts between the characters. It’s not that the show shouldn’t drop bombshells like the Bughead breakup(s) or the conflict between Betty and Veronica/Jughead and Archie, but it seems all too willing to reset back to milkshakes in a booth at Pop’s without doing enough work to explain WHY things are okay again. (See also: resolving major conflicts between characters literally with a song.)

The desire to “have it both ways” also really shows up in the show’s tendency to engage complicated issues (racism, sexism, colonialism, the prison-industrial complex) on a shallow level - thus getting credit for mentioning them, without really taking the time to explore them meaningfully or to explain the characters’ investment in them. 

The result of this, in terms of storytelling, is that you leave a lot of room for resistant (even combative) readings of the text to emerge. To name a few of my own:

frustration with Jughead’s acceptance of what feels like a suuuuper patriarchal role as “the Serpent Prince” (and later King)

the fact that it’s really hard to sympathize with Veronica throughout entire swathes of season 2

a profound opposition to a storyline that sexualizes Betty’s mental health issues in a really exploitative fashion

And then... there’s Archie.

In the “Cell Block Tango,” the murderesses of Chicago (bar one) get to justify their crimes. Conversely, as we open the third season of Riverdale, the audience knows that Archie’s being blamed for something he didn’t do. Despite bragging about it (!!) to a bunch of mobsters (!!!!), Archie is not guilty of the murder of Cassidy Bullock. 

...but he IS guilty of so! many! other! things! across Season 2. I’m sure I’m forgetting some, but aiding and abetting a criminal, covering up a murder, blowing up a car, and forming an extralegal vigilante militia group - TWICE - all come to mind. 

The last bits of S2 offer us a version of Archie’s amends-making that comes in the form of defending the Serpents, turning on Hiram, supporting his father, et cetera. And then the very last image of S2 - Archie being clapped in cuffs right at the moment that he’s supposed to be sworn into office - is meant to distress us.

But a season of watching Archie embrace fascism leaves some marks, y’all. And a not insignificant portion of the audience, still frustrated with the character’s choices, couldn’t help but say - well, he had it coming.

So, yeah. It’s been a few months between the close of S2 and the open of S3, and in most cases that would be enough time for me to sit with the story in and of itself, to consider more broadly where it had failed or succeeded, and to allow some of that “resistant reader” response to drain away.

But real talk, you guys: I’m finding it really hard right now, at this moment in American history, to connect emotionally with the story of a young man trying to fight the charges of which he has been wrongfully-yet-ever-so-plausibly accused.  

[Please note, I am NOT trying to say that RAS is somehow trying to weigh in explicitly on the SCOTUS debacle. The S2 finale laying the groundwork for this plot aired this spring, and S3E1 has (presumably?) been in the can for a while now. And, to its credit, Riverdale has in both seasons explicitly criticized a sexual culture that objectifies young women and reduces them to “points” (the football team’s playbook) and to prey (Nick St. Clair).]

But, for me personally, I can’t help looking at this plot and hearing echoes of “It's a very scary time for young men in America when you can be guilty of something you may not be guilty of.”

Here’s the interesting thing: I think RAS knows this, and I think the promo around this plot is partially designed to try to dispel these connections. 

(For me, at least, it’s having mixed results.)

(source)

For instance, I can’t look at this still (young man, formal suit intended to project good character and youthful vulnerability, sullen face, flanked by counsel) without thinking, “Wow, this feels....Brock Turner-y.” 

I don’t know if anyone’s written about courtroom photos and sketches as a genre of visual composition, but I feel like I’ve seen variations of the Riverdale still a million times, often printed on the front page of the local university newspaper, discussing the controversy over the conviction (or NON-conviction) of a promising young athlete accused of something awful that no one who knows him EVER would have suspected he would do. (Nice boy, nice family, so many extracurriculars, such good grades!)

Of course, there’s a major difference between the photos above: Archie’s defense team is entirely female. 

Obviously this makes sense because Mary Andrews and Sierra McCoy are both major supporting characters who are also lawyers - but it also makes sense in trying to dismantle some of the potential gut reactions to this visual framing. There’s some “innocence by association” going on here, I think. And after all, Archie IS innocent of this particular crime!

This still lands with mixed effect for me though, because any defense strategy that suggests the intentional composition of a visual tableau feels inherently cynical, even when the character is sympathetic or innocent. 

For instance: I just watched The Marvelous Mrs. Maisel, which features a scene where the main character shows up in the courtroom in full Upper West Side respectable regalia to try to get the obscenity charges against her dismissed - she fails and ends up having to plead guilty, because she mouths off at the judge. Anyone who’s familiar with Amy Sherman-Palladino’s work will recognize this bones of this plot point in the courtroom scene in Gilmore Girls: Rory’s grandparents’/lawyer’s attempt to portray her as a naive little angel backfires, and she ends up getting a ton of community service as penance for stealing a boat. It’s important to note that the characters are both guilty of their charges - although, as another favorite show of mine might note, “the situation’s a lot more nuanced than that.”)

(source | source)

Another way in which the pre-season promo is distancing Archie from both his actions last season, and the present context external to the show, is to emphasize his profound contrition. In this teaser from Riverdale 3x01, we get Archie declaring that “whatever happens to me in the courtroom on Tuesday - that is what I deserve.” This a statement of universal guilt and responsibility (one might say martyrdom?) that goes well beyond the scope of his actual infractions.

Now - I really, really appreciate that we’re getting a sad Archie rather than a mad Archie. And I want to acknowledge that he’s so definitely a kid here, trying hard to “man up” and to grapple with the fact that he screwed up big time and that there are consequences for his actions. After a season of doing the wrong thing over and over and OVER again, he’s trying to do the right thing. 

But here’s the thing: Fred responds to this confession of near-universal guilt with what (in this snippet) feels like a pair of universally-exculpatory statements: “You are a good kid. You got manipulated by a mobster.” (Mary is more nuanced: “You do not deserve to be framed for murder.”)

Archie does not deserve to be framed for murder, and he certainly did get manipulated by a mobster. In fact, I would like to formally start a petition to have Archie not fall under the control of an unscrupulous adult in S3!

However. 

Instead of accepting guilt for anything and everything and being immediately absolved for non-specific sins because of his inherent “goodness,” I really want to know that Archie understands what he actually DID do last season. He climbed wholeheartedly on board with the plan to Make Riverdale Great Again, and in that process, he did things that were NOT AT ALL commensurate with being “a good kid.” I think both the character and the show would benefit from a more explicit meditation on exactly why Hiram’s manipulation was so effective, and why Archie moved so quickly past being merely Hiram’s pawn, and voluntarily embraced the role of Hiram’s very ambitious accomplice. 

One of the specific preconditions of restorative justice is that the offender has to acknowledge their actions and the hurt that they caused. Reconciliation and vagueness are incompatible for so many reasons, but one of them is because a BIG part of learning from your mistakes is thinking precisely about what you did so that you can choose not to do it again.

I read a bunch of the new Archie comics over the break, and I think I now have a greater appreciation for the trope of Archie as a schlemiel. Despite his best intentions, the Archie archetype keeps making the same goofy, klutzy mistakes over and over again. This is fine, even funny, when it means that Archie just keeps accidentally ending up with a bucket on his head. Whoops! 

It is super not okay if it means that Archie just keeps finding himself supporting fascists. ...whoops?

(At present, my entire country is being “manipulated by mobsters.” Clearly, I have some feelings about this.)

I don’t actually know how to wrap all the loose ends of this analysis up meaningfully and coherently at the finish here - but then again, that probably puts me into good company with our showrunners. Optimistically, I’m going to hope that that’s intentional - that I’m judging in media res, and that plotlines and character arcs in S3 will weave together in a way that will surprise and delight me! 

But mostly, I’m going to reiterate my hope that S3 makes meaningful choices. That the people in charge don’t waste their actors’ time filming oodles and oodles of material that gets sliced and diced to ribbons. That they make choices EARLY about major plot points; that they stick to them; and that they let the rising action and falling action of your narrative reflect those choices, and the consequences that naturally accompany them. 

I hope that the people in charge of S3 will resist the ever-present temptation to “have it both ways” - which ultimately works out to really no definitive way at all. Telling a sturdy story is risky in a totally different way than courting controversy - but it’s so, so worth it. 

[i-may-have-a-point]

Review of 14x03 “Go Big or Go Home”

“She’s still grumpy, huh?”  If you read my season 13 reviews, you know that I often criticized who Meredith had become, or more accurately, who the writers had written her to be.  Meredith, at her core, is dark and twisty, but in earlier seasons she still had basic kindness.  Seasons 12 and 13 Meredith did not.  She was bitter, snarky, and unrelatable.  Season 14 Meredith has, so far, been written much better.  And even though she spent most of this episode being angry, it was written in a way that was human.  She acknowledged her anger and dealt with it instead of just being nasty to everyone in her path.  This is a huge improvement in the writing for Meredith, in my opinion.  And since they are letting Meredith acknowledge and deal with her emotions, it makes sense that her patient would also be her therapist. Kill two birds with one stone, right?   This way Meredith can practice medicine and process her feelings.  I would have appreciated the “I am done with triangles,” line if the first major promo of the season hadn’t been solely about love triangles.  Instead, it just made me yell at my TV.  The blood clot that the psychiatrist has represents Meredith’s inability to tell Nathan how she feels.  His heart is blocked.  Her heart is blocked.  Until it isn’t and Meredith’s feelings spill out.  “You don’t have to lie.  You have to fight.  Show her that you love her.  Remind her of why she fell in love with you.  Make her see that she is your first and only choice.  Please don’t blow this.”  Not one line of that was about Megan.  

Speaking of Megan, she looks rougher recovering from surgery than she did after being held captive for ten years.

Benley – Once again, I am 100% here for them being the side couple who are happy to rub each other’s feet in a cute little scene but not be a prominent storyline.  Side note – Do Benley have a foot fetish?  Last week it was the shoes, and in every bedroom scene he is rubbing her feet.  I mean, whatever works.  I’m just wondering…

Arizona and Carina – They are having great sex, guys.  They really want us to know that.  Better than Eliza sex. Skilled sex.  Incredible sex. And good for Arizona.  Go on girl, get yours.  But…I’m not invested in them yet.  I want to hear about great sex with a couple I am rooting for.  I need more from this to fully jump on board this ship.  

Webber – I don’t think I mentioned this last week, but I am happy to see Webber back as the wise old sage.

Jolex – Yay for kissing in the elevator.  And the parking lot. And Alex moving back home. Like I said last week, I love happy Jolex, but I can’t help but wonder when the other shoe will drop.

Maluca – I was a Maluca shipper before we wanted Maggie as far away from Jackson as possible.  I said last week that I thought we should watch these two because of Carina telling Maggie that Andrew thinks she’s beautiful and Maggie clearly reacting to it.  And in this episode, they have two scenes together, one entirely discussing their relationship that leads to, like last week, Maggie calling Webber her father.  Plus, in the promo for next week, they are standing next to one another in Amelia’s room. Nothing is completely clear yet, but I still say that this may be something.  

Amelia – Caterina is playing this story well.  Amelia questioning every decision she has ever made over the last several years is heartbreaking.  And can I just applaud the writers for moving this story along?  If this story had happened last season, no one would have found out about her tumor for at least eight episodes.  I cannot be more thankful for continuity and movement this season.  My favorite scene was when Owen realized he was looking at Amelia’s scans.  Owen moving from anger to realization to pain in seconds was captured perfectly.

 Maggie/Jackson – I didn’t watch live so when I saw the tweets about Maggie touching Jackson I thought it was much bigger than what it was.  There was no ambiguity in their looks.  They looked uncomfortable, and he looked mildly annoyed.  I have a guy at my work who hugs me without asking.  I give him the same look that Jackson gave Maggie.  There was no flirtation, sexual tension, or spark.  Just awkwardness.  The writers had to do something with this story because it was brought up in the finale, so they decided to try and make it funny.  We know it is failing, and I think they do, too, whether they admit it or not.  But I see why they went this route.  It’s all part of fixing what was broken with the writing.  The way they are “fixing” the writing issues of last season are all pretty clear: make a joke out of it (Jackson/Maggie), a brain tumor (Omelia), pretend it didn’t happen (Jolex), or correct major writing flaws (Griggs).  I think that because there is such a reaction to this story, the writers thought they could bank on that and use it for comedy. They were wrong, but I see the thinking behind the decision.

Harper Avery/Jackson/April – The ONLY reason Harper Avery is in this episode is to say what he said to Jackson. He says he is there to discuss some issues he has with how the hospital has spent money, but all of that is glossed over and the focus is only on the message Harper has for Jackson.  Think about it.  They could have killed Harper off screen, and just told Jackson and been done with it. Instead, they purposely chose to bring him on screen and let us watch him call April Jackson’s wife and tell Jackson that he is like his father.  And, I know this is controversial, but I partially agree with Harper on this.  April should not have gone to Jordan the second time, but I don’t see her going as a reason for divorce.  You divorce someone because they are mean, violent, a terrible person, or they cheat.  You don’t divorce someone who is mentally broken over the loss of their child.  She absolutely hurt him, but he used that as his way out.  Whether Jackson wants to admit it or not, Robert taught him that when things are tough, you leave.  And he did. Yes, he is still there physically (for now?)  but he still walked away.  (I am ready for the messages telling me I am wrong on that point.  Go ahead.  But I will always believe Jackson has some Robert Avery inside of him.) If I am right, Jackson’s journey this season began with finding and confronting his dad last season.  He thought he needed to do that to deal with and close the trust and abandonment issues he has in his life, but I would argue that seeing Robert just ripped the hole inside him wide open.  Finding his father after just becoming a father has sent Jackson on a journey to figure out what being an Avery means to him.  Is he like Harper who seems cold, distant, and unfeeling but has unparalleled business sense and values family?  Is he like Robert who always felt not quite good enough to carry the Avery name and decided it was easier on the Averys, his wife, and his child if he was no longer a part of the picture?  Or is he someone else entirely?  Does he have the ability to be a strong business man and a strong family man?  I think Jackson will find out this season who he is as an Avery and what is ultimately important to him.  He is still under the shadow of his father and grandfather, but Harper’s death will change that.  We will either see a reappearance of Robert trying to step back in or Jackson stepping up and doing things his way.  If I am right, I think this is the perfect story for Jackson, and this journey is necessary for him to be able to have a meaningful, lasting relationship.

We have been told April has a complicated journey this season.  I think this journey started with April telling Jackson she was in pain last week and is a little clearer this week.  I think April’s journey is a mental health journey.  I am not saying April is crazy.  Far from it.  However, she has been through multiple deep traumas, and she hasn’t fully dealt with any of them.  Speaking up for what SHE needed last week was the first time, maybe ever, that we have seen April make a decision with her best interests above everyone else’s. This doesn’t mean she does not love Jackson anymore or wants to move on.  She clearly still loves him.  But for once, she is taking care of herself.  Good for her, because like Jackson’s journey, she has to fix what she is dealing with before she can be in a meaningful, lasting relationship.  This episode, in a way, walked the audience and April back through many of her traumas.  The brought up several of the major things April has dealt with over the years for a reason.  They are reminding us what she has been through and what she still needs to deal with. We see that April is hurting from the beginning when she is (as always) a supportive friend to Arizona, even though it hurts.  April has been a shoulder to lean on for many of the other characters, yet she hasn’t had one in return.  Jackson is the only confidant and support she has had, but she cannot lean on him right now. The Nicole Herman mention is used as a part of Ameila’s story, but we can’t hear that name and not flash back in our minds to April and Jackson holding their dying son in that dimly lit hospital room.  The Matthew flash-mob proposal mention hints at another moment that April has to be still dealing with mentally.  In no way do I think she regrets marrying Jackson, but leaving Matthew, who whether you like him or not is a good man, went against everything she believes and tested her moral compass.  (Side note: I saw all the tweets praying that Matthew doesn’t come back.  You might see him again.  Don’t make it more than what it is.  Closure for April.)  I think at this point April is questioning herself, her choices, her actions, and everything she believes.  Because “No matter how many vows you make, you still end up in a new apartment and don’t see your kid half the time.”  April believed in promises and vows and happily ever afters.  But did any of that work out for her?  Is that her fault?  And where does she go next?  In the end, the camera focuses on April as the voiceover asks, “How do we save lives when ours may be falling apart?”  And that is exactly how April feels right now.  Her life has fallen apart.  And what is she supposed to do about it?

Jackson and April’s journeys, if I am right, are tough this season, and I think we will see them mostly face their obstacles alone.  Because they need to.  Jackson needs to learn how to trust, and April needs to make herself happy before they can come back together.  Otherwise, they will have the same problems and end up right back where they are.  For those of you that think they are done, go back and look at the scenes they were in.  Japril is the underlying message, the elephant in the room, the unspoken word in most, if not all of them.  Harper Avery’s dying message to Jackson was to bring his WIFE and CHILD to dinner and not to be like his father.  That line is completely unnecessary to a Jackson storyline that is only about HAF and does not involve April.  April easily could have helped those sixteen-year-olds go to the dance without relating it to her personal story.  Sarah plays comedy well and those scenes could have been written that way if her storyline is not going to involve Jackson, but they weren’t.  I see everyone’s frustration, and I get it. However, I THINK we may be at the beginning of a beautiful story of Jackson and April finding themselves, and then each other, if we are patient enough to wait for it.

[forficdrafts]

Philip pushed the door open and allowed Theresa to blow past him into the hospital. They’d gotten the first bus they could find tickets for, and the ride there was painful. He’d wanted to hold her and tell her everything would be okay, but he wasn’t sure if he could and he didn’t want to make her uncomfortable. Instead, he grabbed her hand and she leaned her head on his shoulder until they made it to the station.

Now, she was walking with a purpose, and he had to focus to keep up with her. She was following the signs to make it to the right place, and after a few turns they made it to the reception desk.

“Hi. I’m looking for Zaidee Brasier?” Theresa asked, nervously leaning into the desk.

“Are you family?”

“I’m her daughter,” she said curtly. He could detect a hint of frustration.

“Right. She’s the second to the last door on the right here.” The nurse gestured down the hall, and Theresa took off in that direction.

“Thank you,” he said to the nurse before following Theresa down the hallway. He could see her dad leaning against a wall and realized that Theresa had picked up her pace to get to him.

“Dad!” she said, running to him and throwing her arms around him.

“Hi, love,” he said, wrapping her in a tight hug. “The neurologist is in now. They’re doing some tests, but it seems like a relapse. A bit worse than they’ve been before.”

Philip thought back on what she’d told him about relapses. It could be anything from confusion to loss of coordination, and it could be mild or quite severe.

“How bad? What were the symptoms?” she said, stepping back and crossing her arms.

“It started with vision problems, and her hands were numb. She started having trouble eating and drinking, so I thought it best to come in.”

Theresa nodded and shuffled her feet as she processed all of the information. “Can I talk to the neurologist when they’re finished? I think I have a few questions.”

“Of course. I was hoping you’d be here to talk to him. You’re good with questions.” Hubert looked up at him and stuck out his hand. “Philip. I’m glad you’re here,” he said, sounding totally sincere. It was a departure from their usual banter, and it caught him off guard.

“I’m glad I could be here,” he said, looking over at Theresa who was smiling at them. He could see in her eyes that she was worried, and all he wanted to do was hold her and reassure her that everything would be fine.

The door to the room opened, and a man who he assumed was the doctor walked out.

“You must be Theresa,” the doctor said reaching out to shake Theresa’s hand, “I’m Dr. Andrews.” Theresa gave him a confused look, and he smiled. “Your mum was telling me about you, and I recognized you straight away. She’s very proud.”

Theresa smiled, and Philip could see her blinking rapidly. She was trying not to cry, and it broke his heart.

 Theresa, Hubert, and the doctor started discussing things, and Philip took in the scene in front of him as awe washed over him. She was so on top of things. He knew how involved she’d become in her mom’s health, but watching her take charge of the conversation with the doctor was something else. He was simultaneously proud of her and sad that someone so young had no choice but to be well versed in the relapse symptoms of MS.

The doctor shook both of their hands and went off down the hall, and Theresa gave Philip a shy look.

“I need to run home for a few things if you’re okay here, Theresa?” Hubert said, looked up at Theresa for confirmation.

“Of course. They’re bringing food by in a bit, but I can handle that.” Theresa gave Hubert a kiss, and he was off. She turned back to Philip and let out a sigh.

“I’m going to go in and talk to Mum.”

He nodded and shoved his hands in his pockets. “Do you want me to go in with you? Or go find you some tea or coffee?”

“A coffee would be lovely. That way I can get her settled,” she said with a soft smile. She’d worked so hard to seem composed, but he could see the signs of worry.

He nodded and reached out to grab her hand. “Whatever you need, Theresa.” Her guard slipped a bit, and she squeezed his hand back. The tension from their fight was still there, but he couldn’t help himself: he leaned in and kissed her cheek. “I’ll be right back,” he whispered before he went in search for coffee.

It turned out to be a more complicated task than he’d anticipated, but with the help of some nurses, he finally found something that passed for coffee. He found his way back to the room, and as he stood quietly in the doorway, he could hear Theresa talking with her mum. Theresa had a cup of fruit in hand, and it looked like she was helping her mum eat.

“Do you feel like you can eat some more?” Theresa asked softly.

“Maybe another bite.” Zaidee, her voice sounding strained. She looked especially weak and tired propped up in the hospital bed.

“Good,” Theresa said, getting another spoonful and feeding it to her. She’s amazing, he thought to himself. She just selflessly and without complaint took care of everything. He decided it might be time to make his presence known, so he stepped into the room and cleared his throat.

“I found something that is alleged to be coffee,” he said passing on of the cups to Theresa.

“Thanks,” she said, taking it from him and taking a sip. Her immediate grimace made him chuckle.

They sat together and chatted with her mum as much as she was able. Philip could tell Zaidee was having trouble forming some words, and Theresa had to keep giving her water. Every time she struggled with a word or paused in the middle of a sentence, he could see Theresa tense, and it broke his heart to watch. He forgot sometimes how much stress she was under, but she always handled herself with so much grace. He thought back to their earlier exchange and felt a wave of guilt. Had he been too harsh with her?

“How’s everyone in here?” Hubert said, walking into the room with them.

“We have caffeine and mom did a good job of eating,” Theresa said, winking at her mum who smiled back.

“I’m glad to hear it,” he said, pulling up a chair beside them. “I have everything I need to stay here for the night if you two want to go back to the house for a while to get some sleep?”

Philip thought it sounded like a good idea, mostly because he knew Theresa had to be exhausted, but he took his lead from her.

“Are you sure you don’t need me here?” she asked her dad earnestly.

“I’m sure. You can come back after you’ve had some sleep.”

_______________________________________________________

Theresa closed and locked the door behind them. A mostly silent trip back to her childhood home had given her some time to ponder how she should proceed. She wanted to clear things up with him and resolve the conflict… even if it meant having her fears confirmed.

“Tea?” he said, giving her a hint of a smile.  She nodded in response, realizing how nice that sounded. “Right. I’ll go put a kettle on. You should go sit for a while. I know you’re tired.” His arm moved to reach for her, but he hesitated and returned it to his side. Her eyes stung with tears she’d been keeping in all night, but she refused to let that happen right now.

She found spot on the couch and settled in. Suddenly comforted by her familiar surroundings, she noticed just how tired she really was. She had to fight it, though. They had to talk this through before she could really rest.

“Do you want it black?” he asked, leaning his head around the kitchen wall.

“Yes, please.”

He nodded and retreated to the kitchen only to return a few moments later with two cups full of tea. She tucked her legs underneath her and reached out for her mug.

“Thanks for this,” she said, watching as he took a seat beside her and settled in. They sipped their tea in silence for a while, and she thought about how to restart this conversation with him.

“Philip can we…” she started, stopping when she realized she didn’t know how she wanted to continue. “I think we should… talk about… everything.”

“Theresa, it’s quite late. Wouldn’t you rather we discuss in the morning? I know you’re exhausted.”

“Well we’re both tired, but I’d like to clear this up now if you feel up to it,” she rushed out, feeling her throat tighten at the admission that she was tired. “And I realize this isn’t very fair to you with everything happening with Mum, but don’t feel like you have to hold back… or anything like that. I want you to be honest.”

He looked down at his lap, seemingly taking in what she was saying. A few moments of silence passed between them before he finally looked back up at her.

“I just… I can’t understand how you came to the conclusion that I don’t want to be with you.” He sounded more hurt than angry this time, and it made it even more difficult to proceed. Speaking in anger was much easier than this. He looked like he wanted to continue, so she let him. “I love you and I have loved you from the start. I don’t know what else I can do to convince you.”

“The last time we talked about our future, you seemed so much… less sure than you had in the past. And you were so attentive and…careful with me. It felt like something had changed.”

“As for what I said about marriage, it meant nothing. I was a bit caught off guard by the conversation, and I didn’t mean to trouble you. I’ve intended to marry you since the night of that first Christmas ball,” he said, staring off across the room. “And as for things changing after your surgery,” he paused, sounding a bit like he was on the verge of tears, “I’ve given it some thought and you’re right. Something did change. I realized exactly how much you meant to me.” He turned to her and took her hands in his. “Watching them wheel you away… hearing the doctor say you should pull through. It was the most terrifying night of my life.” He bent down to kiss her hands and continued. “If I’ve been looking at you differently it’s not because I think something’s wrong with you. It’s because I know now exactly how precious you are to me.”

Her eyes were stinging now at the realization that she’d so totally misunderstood him. He seemed so earnest, but the nagging feeling that he couldn’t possibly still want to marry her remained.

“I just… I feel like all of this has to be wearing on you, Philip. And I can’t stand the idea of you sticking by my side to be noble… In spite of everything. I wouldn’t want that for you.” She pulled one of her hands away to rub her eye and stop a tear from falling.

Almost from the moment she’d received a diagnosis, the thought of any future husband growing to resent her for her condition had plagued her. Conversations with doctors about her reproductive prospects had always been laced with the implication that she’d have a hard time finding someone who would accept her in her current state. After years of hearing them, the doubts had become a part of her. And now that she was so deeply in love with Philip, it pained her to think that he might eventually grow tired of dealing with it. It pained her to think that he could, after years of insisting he didn’t mind, decide that he wanted a wife who could give him children. Above all, she wanted him to be happy, and she worried that she could never truly give him the life he wanted.

“I don’t understand, sweetheart. There’s nothing noble about it. I just love you and want to be with you,” he said emphatically. “What can I do to make you believe me… or what have I done to make you doubt me?” His tone softened when he looked up at her.

“Nothing!” she exclaimed, finally giving in to the emotion that had been threatening since the conversation began. “You’ve done nothing wrong and everything right. You’re so kind to me.”

“Then what,” he reached up to tuck a piece of hair behind her ear, “is giving you these ideas?”

“I… It’s always been implied that anyone who, on the off chance, decided to marry me would have to do so at great personal expense. They might have to give up the chance for children. Then my mum got sicker, and I became an even bigger mess. It’s not anything you’ve done or not done. I just find it hard… to imagine anyone wanting to marry me.”

Silence filled the space between them again. He looked totally stunned, his brow furrowed with confusion. She felt her cheeks flush thinking about the embarrassing admission she’d just made, and she looked down at her lap. This had always been her own personal hang up, but now it was out in the open for his scrutiny.

Philip reached out and placed a finger under her chin, tilting her head up slightly and looking into her eyes. “Have people said that to you?” he asked, anger practically dripping from his words.

“Not in so many words, but it’s been implied… heavily and repeatedly.”

A pained expression appeared on his face, and he tangled his fingers in the hair on the back of his head. Silence took over again, and she felt the need to reassure him.

“You never made me feel that way,” she said, reaching over and gently placing a hand on his knee. He took it and kissed it, holding it tightly between his own.  

“I’m so sorry, Theresa. I didn’t even think…”

“You couldn’t have known,” she all but whispered.

He took another moment before reaching out and pulling her into a hug. She wasn’t sure at first, but she soon felt herself melt into him. She buried her face in his neck and allowed herself to be comforted by his arms. His hand made slow and steady passes up and down her back, and he kissed the side of her head between whispers that he was sorry. She slowly but surely collected herself and when she felt like she could continue, she pulled away from him, keeping a hold on one of his hands. He took in a deep breath and let it out.

“Sweetheart, I need you to listen to me very carefully.” He scooted closer to her and placed his free hand on her leg. She nodded at him, not wanting to interrupt. “I love you. I am totally and completely in love with you, and I have never for a moment considered any alternative to spending the rest of my life with you.” He paused and studied her to make sure she was listening, so she nodded again to let him know she was. “This condition you’ve had to live with and the comments people have made… I can’t imagine what it’s been like, but I’m not doing this in spite of anything. I want you and whatever comes along with you. All of it has made you into the wonderful, kind, and loving person you are.” He reached up and placed a hand on her cheek. “Nothing noble. Nothing I’m giving up. I’m the lucky one in this arrangement.”

Something clicked in her brain. In spite of everything, all of the drama and heartache she would inevitably heap on him in their life together, he earnestly considered himself lucky to be with her. And that was, after all, what love was supposed to be. She’d seen that in a very personal way as her mum’s illness progressed. Each and every day her father had displayed totally selfless love and care for his wife. And at the end of the day, it didn’t create resentment or tension. He still worshiped the ground she walked on because he truly loved her and that wasn’t something that could be shaken by circumstance. And that, she finally realized, was what she had with Philip.

It took a moment for her to sort through all of her thoughts, but when she finally made sense of everything she realized he was waiting for her to say something. The fact was she didn’t have the words, so she pulled him to her and kissed him.

“You understand?” he whispered before leaning in to kiss her again.  She nodded and wrapped her arms around him.

“I’m sorry I’ve made this so difficult.”

“I’m sorry I was cross,” he said, wiping a tear from her cheek with his thumb.

“And I’m really glad you were there with me tonight,” she said, patting his leg and sitting up straight. “I feel so much calmer when you’re around.”

“Well I’m always going to be around. No matter what.” He looked over at his watch and back at her. “It’s getting really late and I know you wanted to get some sleep before we go back to the hospital.”

She grabbed his wrist and checked the time, letting out a heavy sigh when she saw how late it was. “I could use a nap. Even if it’s just for a couple hours.”

“Do you want me to use the guest room?”

“Maybe both of us could sleep in there?” she said, searching his face for a response. “I know that didn’t go well the last time, but I’m so exhausted. There’s really no risk of anything untoward going on,” she quipped, rubbing at her eyes.

“And I can keep my pants on this time,” he said, eliciting a laugh from her.

“I would appreciate that. And I really don’t want to be away from you right now.”

He leaned in and kissed her again before they set about getting ready for a short sleep before they returned to the hospital. When she walked into the guest bedroom, she found him resting on top of the covers with his back against the headboard.

“You’re looking mighty comfortable,” she said, tossing an extra blanket at him.

“I would be even more comfortable if you were with me.”

She crawled into bed with him and under the blanket he was holding up for her. He wrapped his arm around her and pulled her into his side so she could rest her head on his chest.

“Is that going to be warm enough for you?” he asked, pulling the blanket around her.

“Mmhmm,” she murmured, wrapping her arm around his torso and turning her head so she could place a kiss on his chest.

“I love you,” she said softly, tightening her arm around his waist.

“I love you, too,” he whispered, leaning down to kiss the top of her head.

She’d always loved to hear him say those words, but now she felt like she really understood what he meant. She let herself relax into him and it wasn’t long before she was resting in the arms of the man would always love her, no matter what.

[spotlightsaga]

Cody Cole of @spotlightsaga reviews... The Evil Within (2002-2017) Andrew Getty Release Date: February 26, 2017 Budget: Estimated $6 Million Score: 7.5/10 @amazonvideo ************SPOILER FREE REVIEW*********** Happy Halloween 🎃 Everyone! This is the first time we’ve addressed Halloween as an entity, so we wanted to do it right and pick something a little off the beaten path, but still accessible *coughISIAcough*. As we sink deeper into subcultures, countercultures, and ready our existential POV and empathic strings, I remain dedicated to sharpening my teeth. As usual, this is not a review... We just happen to be covering 2017’s ‘The Evil Within’ for #31DaysOfHorror, not that we’ve watched anything close to 31 movies... That was never gobig to happen, but it was a nice thought. Oh, right, technically this film belongs to 2002. After all, that’s when production on the film began. It shows. Sean Patrick Flannery looks like a complete stranger... Frederick Koehler looks like a friggin baby... And Dina Meyer looks like she stepped off the S3 set of ‘One Tree Hill’. I’m not complaining, not even about the extremely outdated special effects, because when it’s all said & done, they do their job and all messages hidden throughout the film’s tapestry are definitely received. ‘The Evil Within’ is a terrifying film in the strangest of ways... Both in front of the camera, as well as behind it. Andrew Getty, who directed, wrote, created, and financed most of the film, was a grandson of a famous Oil Tycoon Patriarch... He inherited a billion dollar company, and billion dollar problems. He was lonely. You know what the easiest and most disastrous ways to cure loneliness and get creative is? Methamphetamine. Tina, as those of us familiar with her call her, is a fucking bitch. Boy, but does she like to party! Don’t fuck up the vibe tho... And definitely don’t go carpet surfing looking for a meth rock that’s actually an old popcorn kernel. That’s meth faux pas. You’re never alone, because you’ve got the glass, you’ve got the shards... People love other people with drugs, it goes without saying! Getty had an endless amount of money and endless amount of meth and for years he wrote erratic scripts, they never went anywhere... But ‘The Evil Within’, this was his baby. This was his passion project. He armed his home with cameras and guns, becoming increasingly paranoid after his cousin was kidnapped in Italy, his ear mailed to the family in exchange for an extortion deal... The meth probably didn’t help either. Getty modeled this film after nightmares he had as a child. What a fn’ mind, huh? An expert purveyor or Horror & Porn, he worked on what was his ‘perfect script’... Making sense of the nightmares, giving them structure. It’s a basic story that dives heavily into clouded POVs, no character sees clearly, and there’s a real horror in that. A 30-year old man, Dennis (Koehler) is ravaged by mental challenges, the cause of which at first is not clear. In a subconscious attempt to slowly push his brother out of his life, Dennis’ brother John (Flannery) fills his room with objects that make Dennis feel uncomfortable. One of those objects is a mirror, one that Dennis had seen in a dream, one that could either represent or actually contain a Demon (played by cross-generational Horror Icon, Michael Berryman). Feeling shackled and bound to caring for Dennis, John withdraws and his relationship with his girlfriend, Lydia (Meyer) suffers as does his mental health. This allows Dennis to connect with the demon in the mirror and bodies start to pile up right under John’s nose. In 2017, Koehler, nor anyone, would take on a role that depicted anyone with mentally challenging obstacles that a character like ‘Dennis’ faces in a murderous or particular negative light... Especially fiction. In 2002, well, that’s a different story. Many of us have forgotten how far we’ve come at shattering ignorance & stereotypes as a society. Yes, they still exist, but I think most younger, modern minds might not believe the stark differences in how we addressed things in the late 90s and early 00s. We live in a very PC Culture, and it has its pros and cons, but once upon a time not so long ago, people weren’t so sensitive to these issues as they are now. Sure, Dennis’ ‘diminished mental capacity’ is used as a vessel for horror in (what many would call) an ignorant way... But that doesn’t make it any less frightening. And guys, we can’t be scared to ‘go there’. Not when it comes to art. Getty would most likely want to tell you that if we interviewed him today. You see, this is the only film that Getty ever completed... And technically he didn’t complete it, his partner and producer Michael Luceri did. According to Luceri it wasn’t an easy process to finance and round out the edges of a film that had been worked on for almost 15 years. Getty became obsessed with re-editing the film after he was unable to secure distribution rights, blowing all his money on buying equipment, instead of renting it, for the film. He even sold a rare AC Cobra Sports Car to keep the funding going. 15 years after the project was started, and unfortunately just a little over 2 Years after his death, ‘The Evil Within’ finally found a home. If only Getty had made different choices, the methamphetamine wouldn’t have corroded his organs... Leading to such an embarrassing death, that few reported the actual ‘on scene’ details. Details that included some kind of gastric blow-out that left some detectives and forensic specialists so puzzled that they considered a bizarre homicide a possible cause of death. Getty shouldn’t feel embarrassed, though... If his soul is somehow moving in and out of the cosmos and he happens upon this article, I want him to know that I liked his movie and that he won’t be remembered for the way he died... But the sick & twisted, visceral film he left behind. A character study so bold, and so outside the lines, that no one dare ever make a film quite like it ever again. There’s nothing simple about the human brain. And there’s nothing simple about understanding what makes anyone want to kill, even if the demons in our life make it all too clear. Even if the only one that we are truly killing is ourselves. **************Written by Cody Cole*************** TVTime/Letterboxd/FB/IG/Path/Pin/Tumblr/Twitter: @SpotlightSaga 📺 TVTime📺 http://www.tvtime.com ✅Spotlight Saga FB Page! Give us a like!✅ http://www.facebook.com/spotlightsaga 🚧Spotlight Saga's Main Page is Under Works🚧 http://www.spotlightsaga.com 🔥The Culture Pit FB Group🔥 http://www.facebook.com/groups/ArtsEntertainment Kevin Cage // Justin O'Malley // Cody Cole // Jerry Wilson // Kat Holiday // Carolyn Holt // Yackarette Borge // Carina Enered //