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asvterias · 2 years

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𝖨’𝗆 𝖧𝖾𝗋𝖾 ~ 𝖤𝗆𝗆𝖺 𝖣𝗎𝗏𝖺𝗅

Warnings: None

Pairings: Emma Duval x Black!Girlfriend!Reader

Summary: The killer calls Emma and threatens to hurt her girlfriend but the blonde hangs up, scared. She calls [name] to come over to her house and [name] comes over and reassures her and cuddles Emma to sleep.

Word Count: 1,086

Author’s Note: Requested from my wattpad account.

Emma just got out of the shower with her pajamas already on, she kissed her mom goodnight and headed for bed. She got under her covers and tried to go to sleep but she just couldn't, she tried to sleep in different positions but it didn't help one bit. And as if on cue, her phone rang turning on from her nightstand, the small source of light in her bedroom.

She removed the thick blankets away from her body, getting up out of the bed and walking to her nightstand. The blonde froze, scared already knowing who it might be but regardless of her consequences, she answered the call putting it to her ear.

Emma's voice was stern and cold, “What the hell do you want now?”

“Aww...I thought that you missed me emma.” The other reicever taunted.

“Cut the crap, what do you want?” Emma was livid now. This person ruined her life, killed her friends, killed the sheriff and almost killed you. They taunted the group of teenagers just for fun. She didn't want live in fear for the rest of her life. She didn't want you to worry over her problems, you already had enough problems. First, your parents died in a car crash and than this physco kills your cousin, zoe. You were a only child so you had no siblings to lean on.

You didn't have any other close relatives who lives anywhere near the town so you moved in with your friend, brooke maddox. She offered you to stay in her mansion claiming that she doesn't want to be living in this huge mansion all alone but the truth was she saw how much you meant to emma. She knew emma would have been devastated if you left the town and besides emma was her bestfriend and she wanted her to be happy.

“Be careful with the way you talk with me, emma. We don't want your precious girlfriend [name] to be the next headline of this town's newspaper.”

“Leave her out of this.” Emma demanded, her voice a bit shaky as she closed all her curtains in her room still feeling uneasy.

“Oh...sweet naive emma. She’s just fair-game as anyone else in your life. She just made the horrible mistake of meeting of you.” The murderer sent her a video attachment, she tapped the video to see you in you eating some snacks in your kitchen with your pajamas on. She instantly becomes worried, now knowing that the killer was near you.

Her fingers rush to call you but the voice stopped her, “Call her and I’ll gut her like a fish. Remember, you got to [name] in time but next time, she won't be so lucky.” She immediately stops knowing that the killer won't hesitate to kill you. Emma hesitated remembering that they almost succeeded in killing you a few days ago so she followed their commands.

“Why are you doing this to me?”

“Because it's fun seeing you crumble trying to protect your loved ones, especially [name]. nighty-night emma.” The killer disconnects the call and tears threaten to come out of emma's eyes. Her fingers fumble to reach your contact and she calls you.

After two rings, you instantly answer, “Hello.”

Emma’s voice was completely shaky as she tried to form a sentence, you furrowed your eyebrows trying to make out what she was saying. “[name], please. I really need you right now.”

Your heart started beating fast as you grabbed your car keys and headed outside to your car. Your phone still by your ear with emma still on the phone, “Don’t worry baby, I’ll be there in five.” You’d started the ignition and drove over to emma's house, only saying sweet things into the phone. Parking your car, informing your girlfriend that you are at her house now.

You used the key that emma gave you, opening the door you walk to the kitchen to see emma with red eyes in front you. You immediately pull her into a hug and she hugged back, her grip tightening on you like you were about slip away from her grasp. She let out her cries and as you rub her back as she lets it all out. She lets go of the hug and looks at you.

“I’m so sorry [name]. The killer threatened to kill you...and I couldn't bear enough to lose you as well. so many people died around me and it's all my fault, i'm just a danger magnet for my loved ones.” The blonde said, wiping tears away from her eyes with her sleeve.

You shoke your head, taking emma's hand in yours, “None of this is your fault, em. You won't lose me and I won't lose you. This person is sick, killing all those innocent people just because you know them. Don’t let this sicko get to you even more.” You sat her down and got some water for her to drink, handing the glass to her saying, “Here drink some water.”

She drank most of it and you both walked back into her bedroom. reaching her bedroom quietly, having the door open a crack for when you leave. Once she's in bed, you get ready to leave but emma's soft voice stops you asking, “Can you stay with me, please?”

You nodded your head yes as she smiles making some space on her bed, patting the place where she wants you to lay. You ask, “Do you want me to lock the door?”

She answered, “Yes.” You shut the door behind you gently not wanting to startle emma and locked it before joining her onto the bed.

You spoon her as you kiss the top of head and she plays with hands. you only whisper sweet things in her ear, reassuring her that you'll be right here whenever she needs you and soon enough she falls asleep. Emma felt safe in your arms, she felt lucky to have you despite the deaths of her friends and the residents of this murder town.

#scream tv series #scream Tv series oneshot #scream Tv series fluffy oneshot #emma duval #emma duval x reader #emma duval x fem!reader

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sexierthanaheartburn-blog · 7 years

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Scream (series) - Theories behind the 2015 Lakewood murders

Season 1 - 2015 murders:

-Background-

In October 1994, the 1994 Lakewood murders were 5 brutal killings high schoolers - with the only direct survivor being Kevin Duval. These murders were thought to be committed by Brandon James who was shot by police officers and thought to be dead. Later, he resurfaces outside the lake - injured but still alive. Eventually, he was found by Daisy (his secret lover whom he was obsessed with) and her friend Miguel. They buried his knife and allowed Brandon James to escape and disappear in peace for the next 20 years. His last words were “don’t forget me” in a note in which he left for Daisy. Daisy later changed her name to Maggie Duval to protect her identity as she was very vulnerable due to her connections with the 1994 Lakewood murders and her being a minor.

During this, Maggie and Brandon James hooked and Maggie ended up pregnant. Her family forced to give up her child for adoption and later resulted in Piper Shaw.

Maggie ended up marrying Kevin Duval in which she had a daughter named Emma Duval. Shortly after, Kevin became an alcoholic and lashed out pretty badly (and fearing for his daughter's safety after fracturing his wife’s jaw)- he then abandoned his daughter and wife.

Clark Hudson and his wife had split up (divorced possibly) due to his pill addiction and thus Hudson left in order to get help. Kieran felt neglected and unloved and so he had an obsession with a girl in Atlanta and framed his cousin Eli for it (which he got a restraining order.) Kieran’s mum and his stepfather died in a car crash that he indirectly/directly caused.

He and Piper met and dated and wanted to take revenge on their parents for leaving them and for Piper - to ruin Emma Duval’s “perfect life”. The life she craved for and was starved of it.

Kieran first killed Nina Patterson to start of the murder spree as she was looked upon the central character. She was back sliced and throat slit with a hunting knife before bleeding out after being thrown into her swimming pool. Killed by Kieran. As she and Kieran had left the bar together the previous night, Kieran knew exactly the layout of Nina’s house. She was Lakewood’s mean girl who seemingly had no weakness and was a manipulative bitch - she was immortal in that sense. Kieran and Pipers killing, from that perspective, can be looked upon as some sort of perverted justified killing.

Then, Tyler O’Neill. He was decapitated with a hunting knife. He also dated Nina. He was blackmailing Mayor Maddox as Mayor Maddox was moving a body into his garage and Tyler had gotten that footage. Killed by Kieran.

Throughout all of this, Audrey and Nina were best friends until she betrayed her and left for the “popular gang” and was lonely. Additionally, it was more than a friendship to Audrey as she loved Nina and claimed she broke her heart. She then asked Piper to come to Rosewood (also bring Kieran) to help her film her documentary. She accused Piper if she had any involvement in Nina and Tyler’s dead to which she replied no (however she was the one who was filming this) and naive Audrey believed her.

After this, the person to get murdered was Rachel Murray. She had filmed Nina and Kieran leaving together and could potentially harm Kieran's reputation and even to the extent of unmasking him as a killer. She had been noose wrapped around neck; thrown over the balcony; hanged. It’s also important to note her death was purposefully made to look like a suicide to throw of suspension. Killed by Kieran (as Audrey admitted she was with Piper the night that Rachel was murdered).

Her death was pivotal as it brought Emma and Audrey closer together to find out who the Lakewood Slasher was. Additionally, Nina and Emma had filmed Audrey and Rachel kissing in a car and was "leaked" by Nina. Though Emma did not directly film the whole stunt - she felt equally as guilty and knew this was one of the things that lead to Rachel's depression and self-harm. Due to this, it was convincing it would look upon as a suicide and nothing more. Emma, as a result, felt guilty and responsible for this until she later found out the truth behind her death.

The killer strikes back again - but this time, it’s Emma’s pick. The killer texts Emma she can either chose who dies - Riley Marra or Brooke. During the time, Brooke mysteriously “disappeared” from the police station and Emma thought she would be in danger. Her other friend, Riley, is safe at the police station so this way, the killer could not touch Riley out of the fear of getting caught. Therefore, she chose Riley. Riley then shortly died after being stabbed twice in the lower back and her leg slashed open; blood loss. Piper killed Riley whereas Kieran purposely crashed Tyler’s car beforehand so that police would investigate the scene - making it a two-way job. Her death represents a symbol of everything good, pure and innocent being destroyed in Lakewood. What became “random killings” were calculated ones in which Emma had no control over her friend's beings killed. Riley was meant to get killed.

The next person to die was Will Belmont. He was kidnapped; tied and gagged to a chair at a farm; head and skull split open by farm saw. Emma accidentally set the trigger off for Will to be sliced into half however it was the Killer’s intention to make Emma indirectly kill him, amounting more death on her hands. Will was Emma’s first love and that was the icing on the cake for Emma to have a breakdown and thus getting referred to a psych ward. Killed by Kieran.

and later on in Season 2, we see this...

Can you see the parallels between this Will’s death scene and Kieran’s tape suffocation? Only that Kieran did kill Will and Kieran set this up on purpose - making him not a suspect since he “looks” like a victim.

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Other deaths during the next few episodes were Deputy Clifton Roberts. He was attacked by the Killer; handcuffed to jail cell; stabbed in the stomach repeatedly. Killed by Piper as she released Seth from jail and Clifton Roberts just got in the way. from her achieving her aims.

In the final episode, we see Clark Hudson being tied to a tree; beaten to death; later accidentally gutted. Trigger indirectly pulled by Maggie.Killed by Kieran. Kieran has the most motive to kill his dad as payback from leaving him in Atlanta.

During Season 1 Finale, Grayson Pfeiffer was murdered (by Piper) at the house party. The final murder of the series was Piper Shaw. She was shot in the chest by Audrey using Kieran's gun; shot in the temple by Emma with Kieran's gun; fell back into Wren Lake - mirroring her father’s death. She was revealed as the First Killer with Kieran being her accomplice. In Season 2, he took her place of being the Second Killer (avenging his girlfriend, Piper.)

Other notes:

The reason why Audrey’s DNA was in the Brandon James was that she gave it to Piper for her documentary research or Kieran framed her by using some of her DNA while she was sleeping. He has a habit of going into Audrey’s bedroom quite a lot in Season 2.

NB: part 2 of this theory about the 2016 murders (season 2) is going to come out next week and the third killer theory.

-sexierthanaheartburn

#mtv scream #scream #scream theories #scream the tv series #scream the tv show #horror

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0xarena · 5 years

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ARENA SPACE

The harmonic merging of the arena space in electronic clubs, as in other musical performance, is constructed by the interaction of different spaces. According to Denis Smalley in his article Space-form and the acousmatic image, the spaces involved have varying nested interactions. Here, I will use some of Smalley's classifications of nested spaces, in order to connect aspects related to the experience of rave.

The author divides the ‘holistic view’18 into the following variety of nested spaces. In the next lines, I will draw how the arena space (contained in the holistic view), reunites the interactions of the DJ gestural space with the dancers’ circumspace. This relationship involves not only the perspectival space of the dancers, but also the narrow relationship this has with the intimate space of each participant.

The author refers to the space and form in acousmatic music, as “an aesthetically created ‘environment’ which structures transmodal perceptual contingencies”(Smalley, 2007,40). This created environment has a great incidence in the way other spaces will develop. Related to the performance aspect, he refers to a performed space (contained in the arena space), as a space rooted in a gestural form.

According to Chion, sound is “trans-sensorial”19, and this quality allows us to extrapolate feelings between senses, and by a transmodal perception20 we are capable to communicate our perception of sound via our gestural space.

Gestural Space

Gestural space is “the intimate or personal, source-bonded zone, produced by the energy of causal gesture moving through space, as with performer and instrument, or agent and sound-making apparatus.” (Smalley, 2007,55)

This definition is centered on the gesture as in between performer and the sonic events and/or the musical “instrument”, but in the Club, this is presented slightly differently, because the attention is not always (and I think should not be) center on the DJ. This can be for many reasons, as may be the long or undefined extension of the sets, altered states of consciousness, the global stimuli of the space setting and the soundsystem, as well as the gestural act of dancing with others. Here the gestural space of the DJ is merged with the circumspace of the dancers/co-performers.

Circumspace / Perspectival space

Circumspace is a space nested in perspectival space, and is “The relations of spatial position, movement and scale among spectromorphologies, viewed from the listener’s vantage point.”(Smalley, 2007,56). Being perspectival space “the extension of prospective and panoramic space, so that sound can move around the listener and through or across egocentric space”(ibid).

Arena Space

The individual and collective experience of the flow of sound linked via a vibrational nexus, bonding gestural (and other) spaces around the co-performers in the context of physical space of the venue, finally make possible the materialization of what Smalley calls Arena Space. Smalley sustains that to arrive at a final holistic view of space and form, a disregard for time is necessary, and this is what Rave can do well.

The affective halo of the combination of dancing, performance, psychedelics, and aural immersive stimulus make a dilution in what is related to boundaries. This not only temporal but also spatial, personal, and social.

I think that studying club space in the context of concepts about acousmatic listening and the analysis of the spaces related in this way of how we hear sound, could provide new ideas about understanding and enhancing the Club experience and clearing the social implications this place/practice has.

“The theatre is the arena where a living confrontation can take place. The focus of a large group of people creates a unique intensity—owing to this, forces that operate at all times and rule each persons daily life can be isolated and perceived more clearly.”*21

Peter Brook

In 1968 Peter Brook wrote a book called The Empty Space where he underlines that a bodily experience of ourselves within space, movement, and an intersection of arts, with bodily affective feeling of oneself among others, has socio/political implications, placing the idea of the ‘Arena’ near the conception of the place where the gladiator fights against an oppressive system. For me, the oppressive system is not an empire as in the time of the Romans for example, but extreme capitalism, and the sophisticated tools it has developed for alienation.

Mediatic Space

The last of Smalley’s spaces that I want to mention here, is one that is present also in Rave. Mediatic space is “an amalgam of spaces associated with communications and mass media, creating an image of spaces, places, distances, events, etc.”(Smalley, 2007,55) The original idea of “no photographs” drawn by Mancuso, and the feeling of liberation manifested in a most varied and experimental way, make this space a place of friction in club culture. Many of the interactions are involved with sex practices, drug consumption and fetish. Also this interferes with the DJ performance and the trip of other dancers (for example flashing lights of mobile phones). Mediatic space brings to Club a connection that breaks the anonymity proposed by the ecosystem.

lation of bodies created a collective experience that had social and political consequences. Douglas Crimp, an American art critic, reflected on his exposure to New York’s dance scene in the late 1970s: “[W]hat would it be like if we were somehow able to produce ecstasy synthetically?” he asked. “If we were able to just plug ourselves into a machine that would produce pleasure?” Was that not exactly what Maddox had achieved? Maddox was an architectural space capable of producing bodily pleasure. Mediated by synthetic molecules and exposure to light and sound waves the body acquired an erotic-synthetic dimension. Sensual pleasure would spread to all parts of the body, ultimately also modulating an individual’s cognitive state. At peak moments, when the music was louder and the lights brighter, thought dissolved into a fluid Lacanian jouissance.23 The sensation resembles an orgasm. Multiple in most cases, repeated again and again, in time to the cyclical peaks of intensity of music and light. It was like making love in the abstract neither a genital act nor an act of a couple, but a non-carnal experience involving multiple bodies . This spatial disposition achieved a collective eroticisation that expanded the limits of its ffect. It was a communal orgasm, imploding in the individual body to give it a new meaning Maddox, as with many of the spaces for high-tech social dance that followed, would become an instrument of social emancipation. The dance clubs of Platja d’Aro were like decompression chambers for the emerging consumer society. It was precisely in the decade after Maddox opened that the term biopolitics was popularised by Miche Foucault, and when minorities were finally recognised as political subjects. It was in this decade that the techno-experienced body became politically charged, and the focus of the debate switched to the sexual, racial, and productive emancipation that defined the intellectual panorama at the end of the twentieth century. As Herbert Marcuse had claimed in the 1950s, the body had to be re-eroticised in order to overcome the repression of a machinist age. Maddox, by reassigning physical and intellectual meaning to the body, catalyst for the redefinition of the political and social status of the individual in the twenty-first century IBID 145

18 An analytical stance, realised by mentally amalgamating an array of spatial forms into a unified spatial view. (Smalley, 2007,55)

19 Chion in (Smalley, 2007,39)

20 "Our experience of the physical act of sound making involves both touch and proprioception, that involves the tensing and relaxing of muscles in relation to all types of body movement". (Smalley, 2007,39)

21 (Brook, 1968, 122)

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