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ay0nha · 10 months

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Venus Rising | Thomas Shelby

SUMMARY: Three moments in which you run into Tommy, the final provoking a deal neither of you are prepared for.

“I am afraid of getting older. I am afraid of getting married. Spare me from cooking three meals a day—spare me from the relentless cage of routine and rote. I want to be free…I want, I want to think, to be omniscient.” Sylvia Plath (1949)

PAIRING: Tommy Shelby x f!reader

WORD COUNT: 2.4K

WARNINGS: ANGST, swearing, smoking (tobacco/weed), criticism of time-period misogyny/misogyny in general, canon-typical things, angst again, rich people being annoying, no proof reading, rushed ending, slow burn, etc.

A/N: Oop, another Tommy fic, apparently it’s not quite out of my system. Inspired by the film How to Steal a Million (title is inspired by the original title of the book!) and @huntingingoodwill‘s post (here), ESPECIALLY with the third part of this as it comes from Carmen’s beautiful brain. Inspo is taken from various feminist writing and particularly an Agnes Varda quote. MIGHT do a part two, idk yet.

Comments are VERY encouraged! Enjoy.

“Thanks for that…” Tommy was finally catching his breath but still searched for your name. He hadn’t seen you in the gathering below and questioned if the room he found himself in belonged to you.

“We’re better off strangers.” You weren’t defensive, nor was your guard up; you were just focused. Fixated. The painting was borderline mesmerizing, and you struggled to tell if it was from the art or how your joint dwindled steadily.

Your isolation was purposeful.

The reception provoked the start of a migraine; its noise bleeding through the thick walls of the stately home only grew more deafening as the evening furthered. To find relief, you wandered the empty halls, the stairs that led to darkness, and every door that seemed particularly off-limits.

It was a simple measure of self-preservation until your seclusion was fractured.

The door opened abruptly, a body sliding through the narrow space to hide in the most prominent shadow. You thought you were caught, but the man held a finger to his lips, expression prepared for the obvious chase.

You were the perfect accomplice.

Those who came looking for him were met with your theatrics, a role well-rehearsed; your eyes never glanced to where Tommy hid in the most prominent shadows; your upset alone secured you hadn’t seen the man with the razor-lined cap; you simply wanted to return to your silence.

“You stick out, you know…” You filtered smoke through your nose, half-lidded eyes remaining ahead. The thought was absentminded, your lips tingling with indifference.

“I have an invitation.” Tommy had it forged, making it nearly identical to the one you’d received in the post.

You hummed with amusement. “I mean—you don’t belong.”

Considering how you equated his presence with his class, Tommy considered taking offense. However, your humor exposed no ill intent. You were trying to relate to him. To offer some solace, you offered the joint to him between pinched fingers.

“Let me guess, neither do you.” Tommy accepted your olive branch with a drag.

“Oh, I never will.” Although your smile remained, your tone became distant. You didn’t glance at Tommy until he took another puff. His eyes were ahead, just as yours were, attempting to see what had enraptured you in the painting. “Just like her.”

The face of the young woman depicted was covered, but her body was exposed. You were sure the owner of the canvas only valued the misinterpreted eroticism. Yet, the scene’s voyeuristic purposes were to convey the end of a very long day. You were convinced if you reached out, you could soothe her aching muscles from her obviously laborious job.

The painting's size didn’t speak for its cost. You wanted to laugh at how something so precious was stored on a wall as a forgotten decoration. However, you would do the exact same if it were in your possession. It would hang on your ceiling that way; when you rested your head against your pillow, you could get one final look at it as if it were a mirror, a grounding reminder that there was company in such an empty space.

“You pity the poor.” The statement held a questioning tone. Tommy interpreted the painting and your thoughts literally; a woman relieved of farm work was being judged by you—someone worse than the bourgeois.

“Don’t you see it?” Bitter ecstasy carried your words. You wanted to be heard. “Her and I are the same…”

Tommy returned the joint, realizing its purpose was to aid and calm you from the turmoil you hoped to escape. He felt an odd sense to comfort you but wouldn’t.

Instead, he repaid his earlier debt with unaccustomed humor, “I doubt someone like you shovels shit for a living.”

“Doesn’t matter.” You let the smoke settle in your chest, its warmth comforting. “From inception, we’re indistinguishable, born with an innocence that is only nurtured to be stolen. Our very being is never our own. Once our bodies are pried from our minds, we starve because of it.”

“Ah, I see…” Tommy started, “You’re a modern woman.”

The joint was almost a roach, but you passed it back, ridding yourself of its responsibility. The man beside you was a stranger, and you were thankful for that position. Anything said didn’t matter. It would evaporate and leave no trace. Tommy understood this well, participating in a game he didn’t know the rules of.

“Modernity is irrelevant.” You corrected. Your words sunk into your stomach, weighing you down. “This is beyond time.”

—

“Gave a try shoveling shit, eh?” Tommy crossed his legs, leaning back with an ease you were envious of. A cigarette was rolled along his lips, a habit formed by comfort.

Once lit, the image was complete. It had clicked. “You.”

Thomas Shelby. Your memory of him held a haze, that night's intoxication cherry-picking how you retained the interaction. But your vague image of him was enough to understand his occupation. You were warned against his world, but you could only do so much when your worlds overlapped so bizarrely.

“Me.” He confessed with mitigation. There was a cadence even in his silence. Clearly, he was thinking of how to approach you, but you failed to recognize how he always remained ahead in his business. “You were found near the stables.”

“Apparently, I’m a witch.” You mused. Cheltenham was never dull.

Tommy hummed, entertaining your wit only slightly. “They think you’ve cursed the horses.”

Horses were efficient beasts that were often mistreated, that much you knew. However, they intimidated you into submission. Their role in your life was distant, typically involving a reflection of wealth and nothing more.

You hid behind the stables because you misunderstood the distance you created. It had a false bottom that showed those in your world never enter their stables, allowing others to do the hard work. Those around you wouldn’t dare stain their fine fabrics how you chose to.

Although the air was foul, the stables were the only place you could breathe without the hands of your arranged date finding home where they weren’t welcomed.

You knew the man who caught you was Tommy’s brother. Though they looked different, the air surrounding them was suffocating. They were driven by brutal confidence that manifested physically and for Tommy mentally. The mind game you were presented with was just as predetermined as the races.

“I want us to understand each other.” Ash fell from Tommy’s cigarette in thought. “We do not share the same fantasy.”

“And what fantasy is that?”

“Poor little rich girl—” His words were punctuated. “—thinks she can play gypsy until she hears the dinner bell.”

Your laughter made him flinch. “And what’s for dinner?”

Tommy had vetted you. No one knew anything worthy about you. So everyone simply fantasized about you, spinning tales. Yet, you were an extraordinary nobody—an amazing unknown. Suspicion wasn’t necessary, but there was no need for his growing intrigue.

“That man you came with…” Tommy knew who he was. He was another kid that thought one day he could rule the world. But all he was capable of was poorly executed white-collar crime. “Who is he?”

You shrugged. “To him, I am his girlfriend.”

“And to you?”

“Does that matter?”

Tommy quickly learned that your only form of retaliation was posed through questions. The more philosophical, the more your guard remained. “I've been thinking about what you've said…”

The admission alone was out of character and also misrepresented. Tommy's mind was riddled with your sentiments. It was a thoughtful comment on something broader, something Tommy knew of and was growing to understand. But that wasn’t what preoccupied him.

It was how your poise wasn’t carried through your posture. It was how you expressed yourself indifferently but spoke so sharply. You were a constant contrast that perplexed him, possessed him to look into you, into your life. He planned to search until he found a moment where you put your thoughts to use the way he had.

“You, a suffragette?” Your lip curled at the thought. “Now, that, Mr. Shelby, is a fantasy.”

—

Planning an escape was satisfying but little compared to the follow-through.

The feeling solidified when the silk hem of your dress billowed was the only trail of your escape. You could hear your name echo along the corridor wall, someone sent to find you and force you back into the festivities.

“Where are you going?” The voice was a mix of a whisper and shout, reflecting nothing but urgency. The guests weren’t privy to your behavior, but your absence was clear. You heard your name again.“You must come down! You’re upsetting the guests!”

Although your home, the walls felt like they were shifting, creating a maze to your safety. The click of your heels was like a countdown to being caught. That was until your hand frantically found an antique handle of the most inconspicuous door.

Sliding into the broom closet, darkness invaded your senses.

With its veil, you could make out the sliver of light that fought to illuminate the room from the other side. It tracked the shadow of who chased you, showing you how they inched closer, hoping to hear your rapid breathing. Once enough time was given to their search; the footsteps receded in the wrong direction, their voice calling after you growing faint.

Your relief was borderline euphoric; your body demonstrated success as the tension drained the further you calmed. You sunk toward the door, forehead against the smooth, cool wood.

The sound behind was as quick as the movement. Identifiable and surprising.

The match created friction that illuminated the small space with an orange glow. You moved fast, your breath pinned to the roof of your mouth.

“Cigarette?” Tobacco filled the cramped room, the burning end of the cigarette not quite exposing your companion. But you could feel the amusement at the situation radiate from the corner.

Your stupor made you move with shock. “Christ!”

Your hand shot up to feel around for the light switch above you, yanking on the cord. Awash in light, you took in the sight of the man who was casually nursing a cigarette.

“Mr. Shelby?” You blinked at him, dumbfounded.

“Tommy.”

“What are you—

“I’m a guest.” The cigarette bobbed with his chiding.

“A guest.” You repeated, your tone brimming with doubtful sarcasm. “And what is a guest doing, hiding here, so far away from the party?”

“I could ask the same of you.” He quipped, icy expression holding your own.

“Ah, but I’m not a guest.” You defended yourself, holding up a finger as you corrected him. “This is my family’s party. I am technically a host.”

“Well—” He began, taking a puff of his cigarette, silver smoke spilling from his lips as he spoke. “—not a very good host if you’re hiding up here, eh?”

Your eyebrows cocked as you took him in. His presence meant business. “I don’t seem to remember my father mentioning gangsters would be on the guest list tonight.”

“Why not?” He replied, shrugging nonchalantly. “We’re good fun at parties.”

“Oh, I don’t doubt that.” You mused. “But I doubt this is your kind of party.” You wished to witness him in action, for him to live up to all the stories you’ve heard about him firsthand. And you could tell he was itching for you to ask. “What have you got planned tonight?”

“If you must know—” Tommy remained externally stoic but revealed himself bluntly. “—I’m here to rob your family blind.”

“Excuse me?”

“Your father has come into quite a bit of money recently,” Tommy said, words calculated and measured. “He’s been stepping on the Blinders’ business. So, I came here tonight to take back what’s ours.”

“How much?” You asked.

“A million dollars.” He sighed, highlighting his statement with a drag of his cigarette.

“That all?” You scoffed.

“You’d hardly miss it,” Tommy explained. “And, with your family’s yearly legendary holiday party going on tonight, I figured I could hide until all the…” He took a second to ponder, searching for the words, “...rich fucks down there were drunk enough. Then, I’d take what’s mine and leave. No one would be any the wiser.”

There was a pause. He wanted you to protest, but he knew you wouldn’t. You were reading him just as well. It quickly became a stalemate, but you had the advantage of toying with him.

“Well, I should fulfill my host duties.” You sighed, tone wrapping up the unorthodox interaction. “Find my father while I’m at it; tell him bookkeepers are infested in our walls.”

“You’re not going back down there.”

Another pause. Your skin crawled with jest. “And why’s that, Mr. Shelby?”

He shook his head casually, eyes boring through yours. “You’re not going back down there because you don’t want to.”

“What?” Your laugh was soft and unexpected. It was hard to determine, but some of you would have rathered a threat. This was almost as entertaining.

“I can tell you don’t want to go down there. So don’t.”

Behind your back, you reached for the doorknob, but as your fingers grazed it, you lost your nerve. You sighed, flexing your fingers.

“Move over.” You instructed, and Tommy listened. He slid closer to the wall as you squeezed beside him, arm against him in a one-sided comfort. “Poor little rich girl opening up to a gangster. Never saw that in the cards.” You plucked the cigarette from his fingers, taking a drag, carefully considering your next words. “It’s never as simple as it seems, really.”

“Sure it is.”

“It really isn’t.” You chuckled, eyes trained on the glowing end of the cigarette.

“Enlighten me.” He replied, taking the cigarette back as you passed it to him.

The emotions you kept bottled up bubbled in your throat. Living in the gilded cage of high society had privilege but was equally emotionally destructive. It felt foreign, the thought of exposing yourself with such vulnerability; you grew nervous at the prospect of having to do so.

“Simplicity is a pipe dream when your life relies on codependency.” Just the thought of it made you dizzy. “It’s better to hide than risk being a blemish to the family.”

Tommy stayed quiet. Then against better judgment, he spoke. “Why not just leave? You’re a clever girl. Surprised you haven’t figured that out yet.”

“You don’t think I’ve tried?” You countered without edge; you knew his slight dig was only to lighten things. He said his part out of decency. “Why do you think I was at those stables? If it weren’t for your brother…”

The crackle of your drag filled the new-found silence. You weren’t sure how long you’d stay there nor how long you subject Tommy to your company. It was a moment of brevity you both seemed to need. You hadn’t meant to find him, and his plan had nothing to do with you, but that in itself sparked your idea.

“Hey, Tommy?”

He turned to meet your contact, eyebrows raised, air mixing from the proximity. “Hmm?”

“How’d you like some help with stealing that million?”

#q #tommy shelby #tommy shelby x reader #tommy shelby x f!reader #tommy shelby fluff #tommy shelby angst #tommy shelby fic #thomas shelby #thomas shelby x reader #thomas shelby x f!reader #thomas shelby angst #thomas shelby fluff #tommy shelby smut #peaky blinders imagine #peaky blinders fic #cillian murphy #cillian murphy x reader

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anghraine · 13 days

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thatinsufferableb-st-rd said:

@anghraine so i have read the books multiple times and am an avid fan of the movies. I enjoy both for what they are. I think the main difference is that Peter Jackson was very open about what they chose to cut and why from anything I've ever seen. They even have Sam give a nod to the book readers by saying "by rights we shouldn't even be here". No I'm not happy about what they did with Faramir and Glorfindel got jipped, and I would have lover to have seen Elronds sons but at the end of the day there were acknowledgments of what and why. Rings of Power to me has always come off as hiding from any criticism by using the shield of "well if you don't like it it's because you don't like POCs in it". To which I genuinely could not give a fuck less, like there are so many branches of elves that went different ways so that could make sense within what Tolkein established. But don't hide behind that when your writing is just "Sauron is evil. We know. And we know she knows. But we have to make it seem like she's the only one who Has A Clue so we must all try to shoo her off to make a plotline"

@lesbiansforboromir has already correctly and politely pointed out that you are doing the very thing we were criticizing in that post—intruding on ROP fan discussion to unfavorably contrast the show to the Peter Jackson films, while also applying a degree of scrutiny to ROP that the Jackson films are rarely subject to in a remotely comparable way and could not bear. Frankly, @lesbiansforboromir is nicer and more restrained than I am about this, but you chose to tag me as well, so I'll also respond.

We (lesbiansforboromir and I) were talking about being excited about costuming in S2 of ROP and disliking the fandom meltdowns over ROP's costuming looking (somewhat) different from the films' aesthetic. Since it had already come up in their discussion, I added that I'm not convinced by the anti-ROP contingent framing their seething hatred of the costuming and design as just caring so much about fidelity to Tolkien's vision. I pointed out that Tolkien fandom broadly cares far more about their preferred, film-influenced aesthetics than Tolkien's actual descriptions and gave some specific examples of this.

There's been a lot of talk, for instance, about how the universally long, flowing hair for Elves preferred by the fandom and used in the films is actually totally canon according to Tolkien even if it's rarely mentioned in LOTR proper. This is inaccurate. Galadriel's brother Aegnor is typically depicted in the fandom/film-preferred style rather than per Tolkien's description of his hair as "strong and stiff, rising upon his head like flames" (indeed, in general neither Aegnor nor anyone else is ever depicted this way, and this description rarely shows up in the lists of "no it's about ethics in adaptation" Tolkien hair quotes).

Tolkien repeatedly describes Elvish, peredhel, and Dúnadan women as wearing their hair bound up in braided coiffures with jeweled hair pieces/nets rather than loose and flowing à la the films and the fandom. Nobody cares, any more than they care about Tolkien's description of Arwen's clothing as soft, grey, and noticeably devoid of ornamentation apart from a belt and netted cap (i.e. the opposite of her highly elaborate film costuming and typically loose, unbound, uncovered hair in the films and most illustrations).

Meanwhile, my fave Faramir's hair is nowhere near long enough in the films or most art to mingle with Éowyn's as Tolkien describes. It's usually also depicted as blond, reddish, or brown rather than black as in the book; in Tolkien's LOTR, all described Gondorians have dark or black hair, with the only difference in coloring being that some Gondorians are dark-skinned and some are pale. Again, almost nobody in the fandom cares about this when they're going on about costume design and casting to reflect Tolkien's vision, and male Gondorians are overwhelmingly depicted with short or shoulder-length hair in the films and in Tolkien illustrations.

Popular depictions of Gondor, including the Gondor of the films, very rarely reflect Tolkien's description of Gondor's aesthetic as similar to ancient Egypt, the Byzantine Empire, and the Roman Empire. Film Gondor has, at most, extremely vague allusions to Byzantine architecture amidst the general and deliberate westernization of Gondor's design—as just one example among many, Tolkien's explicitly Egyptian-based design for the royal crown of Gondor is converted to a generically western European-style crown in the films and overwhelmingly in the fandom.

I then pointed out that it's been very noticeable that ROP haters tend to have a powerful double standard wrt fidelity when it comes to the Jackson films. For over 20 years, most film fans have been constitutionally incapable of tolerating even slight criticism of the films without jumping in to defend their greatness and condescendingly explain the most basic elements of adaptation. (Yes, we know film is not the same medium as text, we know changes are part of adaptation to another medium, we all know that, we all know that a word-for-word adaptation would suck and never be made, this is not new information and does not make the PJ films' every choice a good one.) Yet most film LOTR fans who vocally despise ROP display none of the charity towards ROP that they demand for the films (demand even from someone like Christopher Tolkien, a dead man the entire fandom is deeply indebted to, whose dislike of the films still leads to regular attacks on his character from Jackson film stans).

This hypercritical yet hyperdefensive tendency in the fandom is neatly illustrated by the fact that you responded to a conversation about the double standards in evaluations of ROP's costuming vs the films' to go on about how ROP is objectively bad for reasons entirely unrelated to costuming, how you're totally not racist (something nobody was talking about), and to quote you directly, "Like the show was just Bad." Truly, an incisive critique. Meanwhile, your concessions with regard to the Jackson films are mainly about extremely minor and defensible omissions like removing Glorfindel and the sons of Elrond rather than the serious and fundamental problems that lesbiansforboromir and I have with them, or even the ways they do pretty much the exact same things you're lambasting ROP for.

I mean, if we're going to talk about action hero Elves in ROP vs the Jackson films, what about the action hero-ification of Legolas in the films? He was described by Tolkien himself as the Fellowship member who accomplished the least, so super badass battle-skateboarding Legolas hardly represents fidelity to Tolkien's vision. Why should that get a pass while film-stanning ROP haters seethe about ROP!Galadriel being too special, even though Tolkien described her as one of the most special Elves to ever live and specifically as remarkably athletic and insightful?

Meanwhile, film Gimli is reduced to comic relief, the only dwarves taken seriously are conventionally hot ones in The Hobbit films, and Frodo's expressions of strength and fortitude are consistently removed to glorify other characters. Film Gondorians were deliberately designed to seem like useless tin soldiers (which they are in the films, as well as whiter and blonder than Tolkien wrote them) rather than the physically imposing and highly effective fighting force of the book. ROP imagining Elvish rituals upon approaching Valinor that aren't based in Tolkien canon but don't directly conflict with it is absolutely trivial compared to the films' handling of Denethor and Faramir.

The point is not that you, personally, are not allowed to like the films or dislike ROP despite all this. Many people do love the films, including most of my followers. They do have their strengths, though they are extremely racist and few film fans will acknowledge this without soft-pedaling it in some way (esp, since you brought it up, given the context of the truly unhinged degree of racism that has accompanied much of the broader discourse around ROP).

The point is that film fans who hate ROP are constantly showing up in our conversations to be "well actually ROP is just objectively bad, unlike the films, because the show has failings that are also in the films but it's totally different there because of the contents of Peter Jackson's soul" or whatever. The point is the absolutely glaring and obnoxiously hypocritical double standard of defensiveness about the films and obsessive nitpicking of ROP that leads to ROP haters continually going on rants to ROP fans that are unwelcome, uninvited, and usually (as in this case) irrelevant to what was even being discussed.

#legendarium fanwank #respuestas #anghraine rants #legendarium blogging #pj critical #tv: lotr #ondonórë blogging #long post #jrr tolkien #aegnor #arwen undómiel #peoples of middle earth #letters of jrr tolkien #faramir #legolas #galadriel

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demisexual-eddie-diaz · 10 months

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Being in a fandom where the “ship” is actually the whole point of the film/show/book is weird. Like I don’t have to make anything up.

Henry and Alex are in love and actually together. They say the words “I love you”. And yes there’s push back but they’re still almost completely accepted.

Nick and Charlie are together. They haven’t said ‘I love you’ yet but they’re still very much in love with each other.

Oliver admits early on to himself that he’s gay and is in love with James. And, yes, their story is tragic but they both still acknowledge their feelings.

Achilles and Patroclus have been in love their whole lives. The whole point of the book is that Achilles loves him so much that he’d give up his life for him.

What am I supposed to do with this information? It’s not like I need to go read fics to fill the void of them not being canon.

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drchucktingle · 6 months

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Hello, Dr. Tingle. Just finished reading Camp Damascus and I wanted to let you know that I loved it. ^_^ That ending blew me away. Couldn't stop reading until I was done. Loved the characters. It gave me some things to think about, too. Great book, thank you very much for writing it. Looking forward to Bury Your Gays. Hope you have a wonderful day!

thank you i am so glad to hear you enjoyed CAMP DAMASCUS it seems to really be resonating with this timeline. you never know what art will do when it leaves your cupped hands and starts to flutter around the room. will it crash or will it grow and bloom and spread out far and wide with a million flashing wings. camp damascus has spread far and wide because of buckaroos like yourself. it is sort of IN THE CANON now when discussing queer horror and that is so powerful it is honestly overwhelming for me to think on. i sit back and think 'whoa chuck and all the buckaroos got together and we actually bent this timeline around us'

i think BURY YOUR GAYS has the potential to be like this as well for a number of reasons. it is a BIG BIG SWING of a book and it has a lot to say about art and what it means to be a creator, about the value of FANDOM and being inspired by what came before you: shows, music, books, film. about the humanity of all this and how these are things that should be nourished and cherished. about how everything is fan fiction in its own way and fan fiction is valid

it is about how queerness weaves into all that. how it weaves through fandoms and what happens when it does. about the responsibility of queer creators.

it is also about asexual buckaroos and representation and how the letters of fun alphabet trot need to support one another. (STRAIGHT is also about this)

anyway that is a bit of a ramble but i just cant wait to see how BURY YOUR GAYS bends this timeline as well. i think we are just getting started bud. i think CAMP DAMASCUS made a dent and BURY YOUR GAYS is going to tie this strings of this reality in a big beautiful bow

i am so thankful to have my buckaroos here with me when it happens. this is our way as buds, the whole dang lot of us. this is our trot together

oh and PREORDER BURY YOUR GAYS

#buckaroo lifestyle #queer horror #tingleverse #bury your gays #camp damascus #straight #fandom #queer #love is real #chuck tingle

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wjbs-aus · 6 months

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Fuck it, here's three important websites for if you want to get into Bionicle in 2023, inspired by a conversation I had with a mutual.

Biosector01

The main Bionicle wiki, which is very thorough. Has articles about everything from main characters to minor background villagers, and even out-of-universe stuff like the mediocre (but free) downloadable first-person shooter and the franchise's infamous use of the Māori language. It also covers the 2015-2016 reboot, and also has a sister-site dedicated to Hero Factory I guess.

Wall of History

An archive of all written and illustrated canon Bionicle media, including books, comics, animations, and even the official in-character walkthrough for a fan-favourite adventure game. The text can be toggled between the Latin alphabet and Bionicle's own "Matoran script", for some reason. I can personally say that it is really good, and if I wasn't busy with, like, 5 other things, I would probably be pretty far in (at time of writing, I am at the end of 2002/beginning of 2003).

Biomedia Project

Basically Wall of History but for non-text stuff (including some of the animations that are included in Wall). Includes all the games (free and retail), as well as the franchise's excellent music, various fanmade games and animations, ISO files of promotional CDs, all four films (including their bonus-features!), and even concept art and early pitch documents!

Oh also uh go check out @wjbs-bonkle-au I guess

#bionicle

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annes-andromeda · 7 months

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⚠️Spoilers for Wish⚠️

While I am excited for/ planning to watch Disney’s Wish, I honestly wish (heh) they had gone with the original plan for Amaya’s character and made her a villain alongside Magnífico.

Like, I genuinely think it could’ve been cool to see them as partners in crime and be inspired by classic Disney villain traits: vain, narcissistic, power-hungry, cruel, and enjoyable to hate.

I could’ve seen their relationship as something similar to Scarlett and Herb Overkill from the Minions movie, where it’s two married villains who are clearly terrible people, but are still heads over heels for each other.

I’ve read the golden book and kids book of the movie that some people have uploaded on YouTube, and while those books tend to omit things from the actual film, they give us a basic synopsis of the overall story.

(SPOILERS FOR THE MOVIE BELOW)

——————

Essentially, the story ends with Magnífico being sucked into his staff, Amaya rules Rosas and Star gives Asha a wishing wand (essentially making her a Fairy Godmother sort of character mixed with elements of Snow White)

It’s a pretty basic, cut-and-dry story and I’m not saying I expected Shakespeare or whatever, but imagine how much better the story would’ve been with both Magnífico and Amaya as the villains:

The story could’ve been that the kingdom of Rosas was ruled by Magnífico and Amaya, who both seemed charming and generous on the outside, but were greedy and self-serving on the inside. They essentially didn’t care for anyone but each other.

I’d also add Amaya’s cat Charo from the concept art book, cause it think it would be cute that these two are absolute shitheads, but are still cat parents who spoil their cat and take it everywhere.

Anyways… Magnífico, like in the actual story, only granted the wishes that benefited him (and his wife), while the majority of wishes were stashed away in his tower.

Asha wants to become Magnífico’s apprentice and when introduced to the wishes, wants to grant her grandfather’s wish and finds the kings (and queens) whole wish-granting system unfair to the people (again, like the canon material).

The story would then go like the actual movie: Asha makes a wish on a Star and Magnífico sees her as a threat to his power and hunts her down (only with Amaya by his side).

I’d like to think that while Magnífico has his moments where his true personality shines, I feel like Amaya wouldn’t truly snap until the very end, having a little more composure than her husband (similarly to the Evil Queen or Maleficent or Ursula)

In the end, the King and Queen are defeated and banished into Magnífico’s staff. Asha is named the new Princess of Rosas (or Queen, whichever you prefer), and she actually joins the Disney Princess lineup and it’s not just advertisement. Like the real story, Star gives her a wand and Asha becomes the new wish-granter.

It’s not perfect, but I think it may have been more interesting and entertaining to see rather than the typical director the creators went with the story

These are just my thoughts, however, I’m still gonna watch the movie and see I think about it.

#disney #wish 2023 #disney wish #king magnifico #queen amaya #princess asha #magnifico x amaya #wishparents #rosas royalty

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antianakin · 2 months

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Am I the only one who just lost any and all love for newer Star Wars material due to Jedi hate ? Like- the only merch or show or even FANDOM topic I get involved in is clone wars stuff and MAYBE TBB. Like- why would I want the watch shows who attempt to rewritte canon and portray the very heroes of Star Wars as the bad guys ?

Why would I want to watch shows that assassinate characters left and right (looking at you, Ahsoka and Sabine) ? Why would I want to buy merch of characters who I not only NOT care about, but who also are used as meta mouthpieces for stupid Jedi hate ?

I think there's TONS of good newer Star Wars material, to be honest.

I loved the Kenobi show and it is arguably one of the most pro Jedi pieces of media to have existed since the Prequels films. Aside from one itty bitty somewhat awkward word choice in one line of one episode, there is absolutely NOTHING in that show that can be used to indict the Jedi or blame them for anything and it is arguably one of the only shows to really spend time MOURNING the Jedi and recognizing the horror of what was done to them. Rebels comes closest after this, but its structure makes it a little less visceral than the Kenobi show was to me.

I really adore Visions and I recognize that this is sort-of Star Wars adjacent more than anything else, but SO LITTLE truly understands what makes Star Wars compelling as a story and really hits on those primary themes the way that Visions does. There's SO MUCH Jedi content in Visions and I remember people complaining about how much Jedi content was in Visions and other people responding that if you were given free reign to just play in the Star Wars sandbox with near zero restrictions on what you could make with it, you would probably ALSO immediately go for the psychic space wizards with laser swords. Who WOULDN'T? Visions also just genuinely has some of the most engaging and heart-wrenching stories to come out of Star Wars in a LONG while and it does it in these beautifully animated 15 minute packages. It's such a gem and I am so glad to be alive at the same time as Visions.

Rogue One is older now, but both Rogue One and Andor, despite having zero actual Jedi in them, really hinge on the themes from the Prequel trilogy about the tragedy in the Star Wars universe, stepping up when no one else will, choosing to be selfless and compassionate for the greater good, etc. Faith and hope are MASSIVE themes within these two works and even though there aren't any space wizards, good or evil, in either story, they feel like some of the most pro Jedi things Star Wars has come out with in a while based on thematic messages ALONE.

The Mandalorian's first two seasons actually have this absolutely BEAUTIFUL story about the selfless sacrifice of one man as he gives up everything in order to help this child find his way back to the culture he'd been ripped from. Everything AFTER that regarding Grogu and Din's storyline is a piece of shit (it's not explicitly anti-Jedi or anything, but it undoes a lot of the things that made their story so compelling and beautiful), but the first two seasons are genuinely GOOD and very pro Jedi in a lot of ways despite the lack of many actual Jedi characters.

The Book of Boba Fett is a terrible show for a LOT of reasons, but shockingly none of them have anything to do with its treatment of the Jedi. If it ever ends up with a season two, I desperately hope they leave Mace Windu's name the fuck out of it, but at this point it is a pretty Jedi neutral show if you're willing to deal with the rest of its bullshit.

Rebels is also somewhat older now, and it has a few lines here and there that are a tad more Jedi critical, but it is by and large VERY Jedi positive and does also follow a lot of the themes of selflessness and sacrifice that go along with being a Jedi. It also has themes of mercy and patience and facing your fears in Sabine's storyline that got entirely thrown away in her later storyline. Just thought that was worth pointing out. For reasons.

TBB is also fairly Jedi neutral, but its treatment of the clones is basically the clone version of being anti Jedi, so I'm not sure it's actually any better. It just traded hating on the Jedi to hating on the clones, and I find that just as distasteful.

I can't really speak to things like comics and novels much since I don't tend to consume them really. I've read a few of the adult novels in the High Republic Phase I and the first one was genuinely very good, but there were some relatively heavy-handed Jedi critical themes within the third book of Phase I (The Fallen Star) that put me off of it a little. I haven't continued into Phase II or III at all, so I have no idea if those themes got continued in later books. I've heard generally good things about the Padawan book, I think.

The Cal Kestis video games, Fallen Order and Survivor, also have their small Jedi critical moments, but much like Rebels, it has these massive overarching themes and messages about compassion and selflessness and sacrifice and facing your fears and mercy. They are immensely Jedi positive in a lot of ways and I really enjoyed both of them.

So out of everything I have seen (and know about) the only stuff that's truly heinously and insultingly anti-Jedi is the Ahsoka show, the Acolyte, and Tales of the Jedi. Three shows and like 30% of one book. Out of a list of like ten different shows and one film and some books and video games. It's not even really HALF of the content we've been getting recently.

A lot of people talk about the Disney era like it's ruined Star Wars, or like nothing it releases has ever been good. But it just straight up isn't true. It's a little insulting to all of the genuinely wonderful work that is being done by all of these other creators to just brush aside everything that's been coming out recently as awful and bad because some of the MOST recent things have been pretty explicitly hateful towards the Jedi. It's not fun that we had the Ahsoka show immediately followed by the Bad Batch followed by the Acolyte. I hate that, too, it feels like we're on this neverending shitshow of stories explicitly aimed at hating a group of characters for no obvious good reason. But I don't think that the last 6 months or so of bullshit should overshadow some of the really beautiful stories we HAVE gotten within the last several years.

If you feel like things are getting difficult, maybe do a "good Star Wars" marathon of sorts. Watch the Prequels, followed by the Kenobi show, then Andor, then Rebels, then Rogue One, then the Original trilogy. This one long beautiful story of people stepping up to fight against selfishness and greed and darkness no matter what.

Or go rewatch Visions or read some of your favorite fanfics and remember all the things about Star Wars that are just universally cool and compelling across the world. Hell, you can try writing something of your own! Anything! A lot of my AU concepts stemmed from spite and really helped me feel a little bit better about Star Wars when it sometimes felt like I was just surrounded by the parts of it I liked the least. Go buy yourself a cool t-shirt or some fun jewelry. Find some pretty stickers and put it on a water bottle or an enamel pin to put on a canvas tote bag or a corkboard.

Curating your fandom experience goes beyond just the internet. There's a reason I am boycotting the Acolyte and it isn't because I think Disney or its creators are going to care at all. I'm doing it for ME, because I had such a shitty time watching the Ahsoka show and it made me so miserable each week that I seriously think I will be better off just leaving it the hell alone and just absorbing whatever ends up crossing my dash from a distance. I only participate in Star Wars fandom servers that I feel safe in and only really get into discussions with personal friends who I know well. If participating in Star Wars fandom is making you sad, maybe take a step back or find a way to create your own corner of fandom that feels better. Ignore the damn Ahsoka show, pretend it never existed. Ignore the Acolyte. Ignore Tales of the Jedi. Ignore Filoni-related bullshit. Focus on the parts you DO like, or give yourself the space to remember why you liked it in the first place.

#star wars #jedi #pro jedi #obi-wan kenobi #sw owk #kenobi show #kenobi series #andor #star wars andor #rogue one #star wars rebels #rebels #anti tbb #tbb wank #anti ahsoka show #anti acolyte #visions #star wars visions

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arliedraws · 1 month

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In the books, Sirius's devotion to Harry is of course very deep, but it never translates to something physical. He only shakes Harry's end when he leaves his bedside in book 4, and in book 5 there is something resembling a hug, like twice...? As a dog he stood up his hind legs and front paws on harry's shoulders and a half hug after Christmas. Idk it sort of drives me crazy, because in the movies Harry and Sirius are so affectionate! That first hug when Harry arrives in Grimmauld!! Gary and Dan had an amazing chemistry that other actors were jealous of, they mirrored the book characters, so it palpable on screen, the few scenes Gary is in at all at least.

So, what do you make of this? Do you in musing for art imagine a more affectionate relationship between Harry and Sirius? Maybe if Sirius survived the war? Molly's hug in book 4 was a poignant moment but imo that should have been a moment between Sirius and Harry. Sirius already says he expected something catastrophic to happen to Harry in the third task, that's what he stutters when Harry comes in with Dumblebore. So he is literally afraid of his godsons life and it still shows of course, Sirius staying at Harry's side was very beautifully written, like the devotion is clear, but I am foaming at the mouth for more affection between them in canon? Platonic, not shipping. So between the movies and the books Im just kinda torn what's better

It's more a rant than an ask, sorry lol, but if you have any input I'd he so stoked to read it. Not many peeps in the fandom even give Sirius and Harry any time of day, nvrmind even understand what they had (which also drives me kinda nuts but ok)

Ohhhh, anon, you’ve come to the right spot! Mostly because I love them. I would say that 80% of my fandom interest is just Sirius being a dad to Harry.

To your question, I don’t think one is better than the other. Each has their purpose. Let me share my thoughts:

1. I am soft for movie Sirius and Harry’s affectionate touching. However. The dynamics of their relationship were NOT mirrored from the books, which…is fine. Honestly, I just don’t think it was a priority for the filmmakers. This particular bit doesn’t bother me because the movies are not supposed to replace the source material—they are an interpretation. To me, watching the movies is like reading fic—fun to watch but not canon. Also, the filmmakers removed so much of their relationship in GoF that they HAD to make Sirius and Harry physically affectionate in order for movie audiences to see what losing Sirius would mean to Harry. Their complexity is completely unexplored in the films, and they had to do SOMETHING to get the audience to feel sad when Sirius died. This started in PoA when they really downplayed the context of their relationship. (Lol, see my rant on PoA. I really don’t like that movie hahahahaha.)

2. In the books, Harry and Sirius are not physically affectionate with each other despite their intense love for each other, and I think this is an effective way to show characterization. As I tell my students, this might have been intentional by the author, but it could have been an instinct that she followed (what feels right for the characters).

Here’s what I think: both are so terrified of losing the other that they won’t allow themselves to get too close, and, crucially, they both fear showing vulnerability. Touching someone and reaching out for a hug or comfort is an extremely vulnerable thing to do. If you reach out for a hug, you are showing your true feelings. To be rejected physically is sometimes more devastating than someone telling you to just “go away.” It’s a sign of trust to touch someone—you are trusting that they feel the same way about you, and you are trusting that they won’t pull away. Both Sirius and Harry understand rejection, and both avoid it. How do you avoid rejection? You distance yourself.

I’ll put the rest under a cut because I think this might get long…

Sirius and Harry, for all that they love each other, fall out of trusting each other by OotP. Part of this is trauma, but it is also miscommunication. Harry is worried that Sirius will do something stupid—either out of concern for Harry or because he wants to get out of number 12–but he’s worried he’ll lose Sirius. So by withholding affection (which I’m not sure if he knows how to give physically), Harry distances himself from Sirius which will, theoretically, keep Sirius safe (of course, it backfires). Sirius is…you know…going through stuff in OotP. He is already vulnerable—he perceives himself as being emasculated because he’s not allowed to leave his childhood home and he’s relegated to performing ‘uninteresting, domestic work’, and he must be inactive when he’s a man OF action.

When it comes to Goblet of Fire and the odd handshake… I think Sirius is reeeeeally holding back. Harry does NOT want him to go, and Sirius knows this. (Why DOES Dumbledore send him away? Literally anyone else could have “alerted the old crowd” and NOT the convicted murderer. This is clearly the author’s excuse to get Sirius away from Harry—and, I’ve spoken to this before, Sirius is too much of a miracle character—too smart, too loyal, too loving to support the story that the author wanted to tell.) Sirius, if he had stayed, would have been the emotional support that Harry needed. So if Sirius holds Harry, what if Harry doesn’t let go? What if Sirius himself can’t let go? A handshake will have to do.

So Sirius leaves Harry with that bizarre handshake. That Sirius leaves at all damages their relationship—it could have been repaired with time (if they’d been allowed time), but this moment makes Harry realize that he cannot rely on anyone, not even Sirius. This leaves Harry to be isolated in OotP, and it leaves him to feel like he cannot trust anyone. I’m not blaming Sirius for leaving, but I believe this action causes a rift between them that carries into the next book.

My point is, I HATE that they don’t touch but it is very important that they don’t, at least when it comes to the story that the author wanted to tell. I think it was the right move when we look at the story as a whole. Do I like it? NO! But it’s interesting, and it DOES feel right for them. Is it devastating? Yes!!!!!!!

TL;DR: I don’t think either interpretation is necessarily better than the other, but they both have their purpose. Both are effective!

Touch is…huge in HP. Consider Voldemort’s “I can touch him now” and causing Harry pain. Touch is a privilege, and to be touched without permission is a violation. Harry kills someone by touching them. He is only touched by his family when Dudley beats him up or he gets shoved in his cupboard.

Weirdly, one of my absolutely favorite moments when Sirius and Harry touch is in PoA when the Dementors are closing in on Sirius, Harry, and Hermione, and Harry, as he’s about to faint, reaches out to grab an unconscious Sirius by the arm, thinking something along the lines of “the dementors weren’t going to take him” and such. And this is about two seconds after Harry has accepted that Sirius is telling the truth! Harry physically tethers Sirius to him—this touch-starved teen reaches out to this man who is now everything to him, who is now his only real family, willing to risk death (or worse) to keep it. BUT THEY JUST MET!!!!! Devastating!!!

Also…another thought: the first time Sirius and Harry touch is the first time Sirius has been touched as a human in twelve years. And Harry is beating the absolute shit out of him…and then Sirius nearly strangles him…

Also, also, not to like…self-promote, but if you want some Sirius & Harry family feelings and a wee bit of affectionate touching, I wrote a one-shot where they talk about their feelings in OotP.

Anyway, this got longer than I thought. Thank you for the prompt!!

#if this sounds critical of sirius it’s not #he is a Very Good Character #if he were ‘perfect’ he’d be boring #i like his messy parts #and i like harry’s #i wish there had been more of them together #but i like that we can build the relationship outside of what we’re given #i love AUs #sirius black #harry potter #hp meta #long post #asks

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mrghostrat · 5 months

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"He needed an internet connection so he could download an app to draw with, but the whole point of setting the thing up in London was because he knew Crowley understood all of this a whole lot better than he did."

Okayyyyy I just got violent flashbacks to the s2 finale this is evil 😭😭

But in all seriousness, I LOVED the new bnf au chapter, I mean the kiss??? I audibly gasped, it was soooo good

I was wondering if the witch and the witchfinder are a canon couple in the nice and accurate prophecies? Or are they just a very popular fanon ship? Or is it like good omens, where people saw the romantic subtext in the book and where it was made explicitly canon in the show?

I just think all options would be really interesting, given that Crowley and Aziraphale are both middle-aged queer people and the book came out thirty years ago. So they either would have had some representation back then, or they recognised themselves in the story and even though it wasn't canon, maybe those ideas would later explicitly be confirmed by Agnes Nutter nonetheless? Since all these options have really interesting implications for the way they both interacted with the source material, I'm really curious what your thoughts on the matter are.

Thank you so much for all the beautiful things you create for the fandom, both your fics and your art give me life and I'm so grateful for them ❤

omg you have no idea how excited i am about this question 😭 as i've written BNF, i've been quietly fleshing out more about their fictional fandom, and accidentally gotten reeeeally invested and am dying to talk about it 😭😭

i'm actually tempted to make some fanart of the witch & the witchfinder, using michael and david as facecasts to go full meta thphptftf. in b4 i write it as a fuckin book series for real

buttttt i'll put all my N&A thoughts under a cut so i dont ramble too long on your dashes 💛

The Nice and Accurate Prophecy: Agnes Nutter's book series (turned play, turned film, turned tv series); the fandom in my fic Big Name Feelings

the idea of using Agnes Nutter's "Nice and Accurate" book for the in-fic fandom was taken from @tawnyontumblr's fic New Messages (i just thought that would be a fun fanon consistency to follow), but all the details about the story and characters are me.

N&A takes inspiration from Good Omens (as a story, and as a fandom) but isn't intended to be a direct copy of it. the original paperback series is a few books long, and each adaptation of the books are considered good, accurate, canonical content. the tv show (a HBO series) is the most recent, highest quality, and most popular. The Witcher style, high fantasy quality.

agnes is loudly supportive of the lgbt community just like neil/david/michael are. but i imagine that for the series to be so "marketable" over the last 30 years, there isn't an explicit queer relationship between the witch & finder. there are canon queer side characters but the witch & finder are a little more nuanced.

the witch and the witchfinder aid each other through time, working together to defeat the evils in the story (like Aziraphale and Crowley from GO). there's tension between them, but boundless love, and plenty of flirtation, despite the running "we shouldn't, we're meant to be enemies" theme. they would canonically get together at some point in the story, probably towards the end after they've spent some time dancing around each other.

the thing that makes this vague is: the witch reincarnates through the story, almost doctor who style. they're a trans icon, much like how the GO fandom looks at Crowley and all his gender ambiguity.

when they finally tryst with the witchfinder, they're female. it's by pure happenstance that they're female presenting at that stage of the story, but still widely critiqued over the years. the thing that canonises the mlm relationship is that the witch is said to carry their consciousness through each reincarnation— they're not a new person like The Doctor is when he regenerates.

the start of the book series spends more time on "Crowley and Aziraphale's favourite male reincarnation", while the movie and tv show only briefly montages through some of the witch's faces. the mlm side of the fandom most definitely lost their minds over the brief few minutes of screentime that they got of the male witch, and has absolutely gifsetted it to death.

i've done it like this because so much of (every) fandom has always been seeking out representation and filling gaps where the original content lacks. there's something to be said about the solidarity of queer fans creating more queer content for themselves. except, in the case of N&A, they're getting to work from a source material that is genuinely queer supportive, unlike fandoms like SPN and BBC Sherlock that are fighting against the tide of queerbaiting and buried gays.

it also gives aziraphale and crowley a chance to band together in the next chapter when they talk to a dickhead at the party:

i haven't exactly decided what happens with the witchfinder, like if the story takes place over hundreds of years and he keeps reincarnating as the same lookin dude (like how jack whitehall plays both Thou Shall Not Commit Adultery and Newton Pulsifer) or if it's set over one lifetime and the witch just gets killed and regenerates a lot. i do like the idea of there being some "through the ages" shenanigans, and a canonical "modern day" setting like GO has.

but i gotta be careful bc i genuinely can't stop thinking about this fake story that's barely mentioned in my fan fic or i'll end up writing the damn thing myself

#ask a rat #bnf au #good omens au #ratwips

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saintsenara · 2 months

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Any favourite Irish headcanons for Seamus? 😊

thank you very much for the ask, anon!

and i'm sorry to say that i'm going to be really dull and - before we get into the more insincere headcanons i have for seamus - say that figuring out his role in the series depends on the answer to a really important question which neither the books nor [to my knowledge] jkr's post-series writing addresses:

is wizarding ireland a colony?

as someone who is fond of seeing the series through the lens of anglo-irish history, this preoccupies me a lot - and i think it's something very interesting to unravel...

the statute of secrecy - the law which brings about the separation of the magical and muggle worlds - was first instituted in 1689 and put fully into effect in 1692.

it's reasonably clear from the tone of the extra canonical material that these dates come from [and also from the fact that - i am told - the statute of secrecy is a fairly significant sub-theme of the fantastic beasts films] that jkr landed on these dates for the statute primarily by thinking about the history of witchcraft in early-modern america [the salem witch trials, for example, take place in 1692-1693].

[witch trials were not an exclusively american phenomenon, of course, but they had begun to fade out in early-modern europe by c.1650, which is roughly when they begin to become more widely-documented in the american colonies. it's also fair to say that the pop-culture image of witch trials, even in europe, is heavily influenced by their american manifestation - we've all seen the crucible!]

but selecting this american context to situate the statute within means that - apparently by accident - it's also a document which appears into the lives of british and irish wizards during an extremely bloody time in anglo-irish history...

a detour which has nothing to do with harry potter...

the sixteenth and seventeenth centuries were the main period of british colonial expansion in ireland - the early seventeenth century is, for example, the period of the plantation [that is, the settler colonisation] of ulster [what is now roughly northern ireland].

like many periods of anglo-irish relations, there was a major sectarian aspect to the british treatment of the irish. the plantation was driven by protestant settlers from scotland [which is not and has never been a colony!] and england into northern ireland. the protestant population expanded rapidly in the seventeenth century, political authority in the subordinate irish parliament was largely in the hands of protestant elites [especially clerics connected to the church of ireland] who enacted the policies of the british parliament and the crown, the catholic population was subject to land confiscations, restriction of worship, and an expectation of anglicisation.

and in march of 1689 - the year the statute of secrecy was first signed - this all... rather kicked off.

in november 1688 - in an event known as the glorious revolution - the king of britain [and ireland!], james ii, was forced from the throne. among the reasons for this [many of which were to do with james' absolutist views of monarchy] was the fact that james was a roman catholic, and that the birth of his son james [iii, the old pretender] in june 1688 displaced james ii's protestant daughters mary and anne in the line of succession and would result in a catholic dynasty on the throne. which was unpopular.

so james was chased off and the throne was offered to william of orange - soon to be william iii - the husband of mary [ii].

in an attempt to regain his throne, james primarily recruited support from among the catholic population of ireland [as well as scotland and france], having promised to reverse many of the more unpopular sixteenth- and seventeenth-century policies imposed upon ireland by the crown. this was intolerable both to british and irish protestants, and william iii had no choice but to land in ireland with an army.

the start of the conflict was bloody but nebulous. the tide turned in william iii - and his protestant supporters' - favour in july 1690, with the battle of the boyne, a williamite victory. the jacobite cause was in shambles, james fled the country, and his supporters were eventually made to formally surrender with the signing of the treaty of limerick in october 1691.

from 1691 to 1800, ireland was a british colonial client state [nominally an autonomous kingdom with its own parliament, in reality controlled by the crown and responsible to the king's cabinet in london] politically dominated by anglo-irish protestant families. in 1800, this "independent" legislature was abolished and ireland was absorbed into the united kingdom of britain and ireland and governed from westminster via a colonial administration in dublin, which remained dominated by anglo-irish protestants. this remained the case until the establishment of the republic of ireland in 1922. northern ireland remains a constituent nation of the united kingdom.

and now back to the wizards...

according to the harry potter lexicon [my beloved], jkr has connected the establishment of the statute of secrecy in britain to a delegation of wizards who sought protections for the magical from [a post-battle-of-the-boyne?] william iii and mary ii in 1690. when they failed to get these, the british delegation - along with the representatives from other nations who made up the international confederation of wizards - agreed to the full imposition of the statute, with the main local result of this being the creation of the ministry of magic to govern the magical citizens of britain...

and of ireland?

because something which has always stood out to me - in a way i imagine it has for literally nobody else - is that you can suggest on the basis of canon that magical ireland was never partitioned...

“[England] Went down to Transylvania, three hundred and ninety to ten,” said Charlie gloomily. “Shocking performance. And Wales lost to Uganda, and Scotland was slaughtered by Luxembourg.”

charlie is talking about the performance of the uk's constituent nations in the quidditch world cup here. we know - obviously - that ireland are the finalists and eventual champions of the competition.

northern ireland, however, is nowhere to be seen...

it could be that the northern irish quidditch team is as abysmal at international sport as its muggle equivalents and that charlie regarded it as futile to mention it. it could be that wizarding ireland is a united ireland [slay!]. but it could also be that the minister for magic is ultimately responsible - as the monarch would have been at the time the statute was signed - for the governance of the entirety of ireland, with his rule maintained within ireland itself by a client government which he appoints.

because while i don't buy the idea of a hereditary wizengamot or think that the sacred twenty-eight has any actual power other than the opportunity to influence the minister... it's striking that the name of an anglo-irish noble family appears on it [burke - although carrow is sufficiently close to the anglo-irish "carew" for us to consider it a variant, and one also finds the odd lestrange knocking about irish history...], and that jkr has written about another of the most prominent pureblood families as having been resident in ireland during the seventeenth century... the gaunts [it's why lord voldemort like relics so much...]. we also know that the london edition of the daily prophet - which functions as something close to state propaganda - circulates in ireland, because seamus' mother takes it, and that the ministry is unhappy with the tricolour flag being flown ostentatiously by ireland supporters during the world cup...

it is, then, entirely possible - should an author wish - to imagine that the imposition of the statute at such a key point in anglo-irish history means that the magical ireland of the 1990s remains subject to the british minister, and that it therefore has a very different political and cultural relationship to britain than its muggle cousin.

and i also think that this but one way of thinking more broadly about the wider imperialist vibe which is found in the books: the defence of "civilisation" and the status quo; the fact that so much "wizarding" culture is just posh british stuff; the fact that so many of the historical analogies jkr uses to mirror wizarding history relate to the troubles; the ways in which the size and insularity of the wizarding population means that the conditions which enable revolution might not be present in magical communities, etc.

and for us to think about the ways this might make wizarding history diverge from muggle in the early-modern and modern era: is there a revolution in wizarding russia, or are there still estates staffed by squib serfs? do wizards think they're travelling to istanbul or constantinople? do wizards participate in the "new imperialism" of the late nineteenth century, imposing the same colonial borders upon magical africa and asia as muggles do? what would it be like, if you were muggleborn, entering a world which is not only so culturally and politically different, but geographically different?

which brings us to...

seamus finnegan headcanons

on the basis of name alone - which, of course, doesn't mean everything - seamus appears to be one of the only students of irish extraction [that is, not just the only student who's an irish national, but the only student who's of irish heritage] at hogwarts [orla quirke - sorted in goblet of fire - is the only other one i can think of].

[although it is worth noting that many names which appear to be scottish are also common in ireland - especially in the north. professor mcgonagall has - on the information of the seven-book canon - just as much chance of being an ulster protestant as she does a scot...]

[i have decided on the basis of this that i now think cormac mclaggen is northern irish.]

irish people from all walks of life live, study, and work in britain - and vice versa. but the fact that seamus attends a boarding school with the specific cultural vibe hogwarts has - that is, an institution which is a pastiche of elite, fee-paying british schools; which directly maintains the class-based status quo which props up the wizarding state; whose graduates dominate high-level political and institutional positions; and whose student body is strikingly well-heeled - suggests that there are less famous wizarding schools in ireland, and that him being sent to hogwarts is the result of a certain anglophilia [and the desire for him to benefit in any future ministry career, in britain or ireland, from an elite british education] on behalf of his parents...

this is not to say that i think seamus is a protestant - although i genuinely think that the muggle dad witch mam thing is meant to be a joke suggesting he comes from a mixed marriage [still reasonably scandalous here even in 2024!] - but that he comes from a reasonably posh, anglophile, unionist catholic background, as did many real anglo-irish civil servants educated at the sort of institutions - especially oxford and cambridge - hogwarts shares a cultural vibe with.

but who gives a shit about class and religion! the more important things to know about seamus:

his go-to chip shop order is - as it should be - a spice bag.

he has - in his life - drunk the odd bottle of football special.

his over-the-top loathing of "pretty-boy diggory" in goblet of fire is an absolutely iconic deflection tactic from the fact he's gay - and deamus is canon.

indeed, he loves dean so much that he has willingly cheered for the england national football team [although he threatened to obliviate anybody dean told about this]. dean, for his part, has got really into hurling.

the closest they come to divorce is when dean won't stop singing galway girl by ed sheeran at him.

one @whinlatter has convinced me of: this is their son.

his confirmation name is florian - the patron saint of protection against fire.

him getting beaten to a pulp by the carrows - and then explaining in great detail how the room of requirement works to harry - is iconic, and is a really under-appreciated aspect of character growth from his doubt over harry in order of the phoenix.

the derry girl he identifies most strongly with is james - although he tells everyone it's michelle.

he met edele lynch from b*witched once and lost his mind.

he owns a flat cap.

him publicly beefing with his mam in the immediate run-up to dumbledore's funeral is one of the most specifically irish things he ever does and i can't explain why.

him giving harry an "appreciative smirk" after he drops the iconic "there's no need to call me sir, professor" line is the second most irish thing he does. i, once again, cannot explain why. [him winking at harry after he answers snape back in their very first potions lesson also sends me.]

he is the voice behind this iconic video... and, let's be real, his slight capacity for self-aggrandisement and sulking does make him a plausible cork man.

he visits his granny every sunday for endless cups of tea and re-runs of ballykissangel.

he has never read a single piece of writing by sally rooney - but he lies and says he has.

he did this to harry on his first day in the ministry:

his wand is made of dogwood - which suits the flamboyant and loud.

he's shown in canon to quite like a bit of gossip - him being gassed up by quirrell's claim that he fought a zombie and then gutted when quirrell refuses to actually tell the story always sends me - and i like the idea of him being amazing value in a pub.

he's an only child - but he has at least thirty cousins. and his cousin fergus genuinely never did have another peaceful moment after seamus learned to apparate.

he and lavender went to the yule ball together because both dean and parvati are stupid and didn't see what was right in front of their faces. they split a bottle of archers behind a rose bush and complained about men and it was the best night of their lives.

he goes as red as a lobster the second the sun's out.

he runs the shit london guinness twitter account.

his boggart is a banshee because his dad - who is literally only mentioned once in philosopher's stone - dies over the summer before his second year [banshees - in irish folklore - herald the deaths of family members with their weeping]. however - unlike harry - you don't hear him fucking banging on about this all the time...

and he can't speak a word of irish, but none of the posh english lads he knows are going to risk calling him out on that...

#asks answered #asenora meta #seamus finnigan #northern ireland posting #republic of ireland posting #the fact that she didn't think *once* about the fact the ministry of magic is technically established by king billy...#joanne come on noyyyyy #dumbledore was in the apprentice boys i fear #that's why fawkes is orange #literally just checked the lexicon to see if anything significant happened on the twelfth...

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emiliosandozsequence · 3 months

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okay i'm gonna be very frustrated and angry probably but none of this is directed at you guys i promise!!! i'm just!!!! upset!!!!!!!!!! (tagging you so you see this emily!! 💕 @thesparrow1996 )

let me start off by saying i am not a book purist by any means, but when visual media is being made from a book, i would like it to, at the very least, be telling the same story and that isn't what happened here. it wasn't even telling the same story as the first film in the series.

in the last film, it seemed pretty apparent that paul's visions were going to become a reality and then in this one they Sort Of did that, but Not Really but that isn't even my biggest gripe with it. my biggest gripe is that the last film was telling the story of the book and this film was telling a different story altogether.

my other issue is how chani's character was completely changed. and think is probably because i've been obsessed with her character and the lovestory between her and paul (which is CENTRAL TO THE PLOT OF THE WHOLE SERIES BTW) since i first discovered dune when i was in high school.

in the book, she's supporting paul. she agrees with everything he's doing. she and the fremen all support him because the fact that the bene gesserit are controlling things from the shadows is NOT!!!!! a well known thing!! in fact no one knows that except the bene gesserit!!! OF WHICH CHANI IS CANONICALLY ONE!!!!!! (and even then the bene gesserit are very much a 'knowledge divided' kind of people so no one knows everything about the society) she and irulan are literally narrative foils!!!! like the entire reason i made this web weave was because of how much i fucking LOVE chani's storyline, and because i really love how it shows even the most well meaning of people can fall into the trap of doing the wrong thing for the right reasons. but i suppose it makes less sense to anyone else who hasn't read the book because they also entirely erased the existence of paul's first son.

in the books, paul has a son before he has his twins and that son is murdered by the very last of the harkonnens in a last ditch effort to erase the atreides bloodline. before this, paul is refusing to take the water of life because he has a family and he doesn't want to jeopardize that!! after his son is murdered, he takes the water of life, so he can enact revenge on the harkonnens and start his holy war. by then, he his so distraught that he really doesn't care if his visions become a reality and, while they tried to do this with the destruction of sietch tabr in this film, it does not have anywhere NEAR the same emotional impact because of how it was done (without paul really ever spending any significant time among the people there).

also, as you can imagine, i've got an issue with how they leave this film especially since this isn't even really the full first book and chani and paul's lovestory seems to not be anywhere near as central to the main plot as it is in the books.

all of this is an issue if they want to make further films because they've literally wrecked the storyline with this film. as i said: paul and chani's lovestory is central to the plot. everything happens the way that it does because paul is in love with her and treasures her above everything and, without the existence of his son, without him really seeming to truly care about her, the rest of the story is just going to come across as cheap by comparison.

i wouldn't have had as much of a problem with this if they'd started out the last film by steering it in this direction, but they so very much did not do that. this film really feels like denis villenueve was writing his own fix-it fanfic and that's what i hate about it most.

as for things i did enjoy:

everything on geidi prime; the black sun was so fucking cool. i completely forgot that was a thing from the books. i also loved how the fireworks looked like ink blots

stilgar!!! he's not really like that in the books, but i didn't even care bc it was genuinely funny and i had a good time whenever he was onscreen.

the way chani refused to bow to paul because they're supposed to be equals (you deserve so much better, babygirl, i'm so so sorry for what they've done to your story)

florence pugh did exactly what i thought she would and made me like irulan a WHOLE lot more than i do in the books and the miniseries.

crazy paul and jessica and alia!!! deeply obsessed with their evil family slay

also all the weird family stuff in general, including when feyd and harkonnen made out in front of the whole population of geidi prime

the whole bit with paul learning to ride the sandworm!! that was so fucking good

the part where paul is walking toward rabban out of the fog of the sand on arrakis after he tells muad'dib to come face him. that literally was my fav scene and it was only a few seconds long.

#BUT IT'S WHATEVER!!!! IT'S WHATEVER!!!#I'VE ONLY WANTED THIS PART OF THE BOOK TO BE FILMED RIGHT SINCE I WAS 17 BUT IT'S WHATEVER #emilio.txt #dts

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avelera · 1 year

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Some slightly more coherent thoughts about Spider-Man: Across the Spider-Verse (ATSV) now that I've had a little time to process and long to return to the theater to see it again and again and again:

1 ) Go see it. Holy shit, go see it. Re-watch Spider-Man: Into the Spider-Verse (ITSV) before you go if you have the chance but you don't have to, they recap it well enough and I promise anyway, the first thing you're gonna do when you get home after is turn ITSV on and then scream a bunch because it is all so tightly connected from the very beginning.

2 ) ITSV is a masterpiece. ATSV is more of a masterpiece in the same way that 11 is bigger than 10. They took everything in ITSV, which is a perfect 10/10 and made it 11/10 for this film. I shit you not. It cannot be otherwise expressed with words. Everything is just bigger, faster, bolder, more.

Ok, now getting into some of the more spoiler-y thoughts:

3 ) Loved me those themes of connection and loneliness. When you go back to ITSV, you see it's right there from the start. All of the version of Spider-Man are lonely. They are tired. They're isolated and unsupported and they are all suffering. Miles makes their lives better. They make Miles' life better. This becomes such a huge, huge theme in ATSV as Miles literally breaks the canon, he is the ultimate fix-it fanfic character, every Spider-Man he interacts with gets some element of their tragic backstory fixed. Peter B. reunites with MJ and has a child that brings joy back into his life. Gwen gets a friend again. Pavitr doesn't have to watch his girlfriend's father die. They are no longer doomed by the narrative.

4) Another post commented on how tired Peni looks when we finally see her, but she's not the only one. All of the Spider-People in the Spider-Verse look tired and it is, in fact I'd argue, Miguel's fault. He appealed to their sense of martyrdom to put together an organization that helps people and saves the world(s). BUT he made "maintaining the canon" an aspect of this (a wonderful meta commentary on Miles himself, btw, and all the comic book nerds who want to rehash the same story over and over instead of transforming it into something new and hopeful). Because they had all suffered so much, it followed logically for all the Spider-People that all of their parallel universe selves must also suffer.

This is the crab bucket mentality. Miguel dragged all the Spider-People into the crab bucket with him. He taught them learned helplessness. They're all tired and worn down because they have to keep reliving their own trauma by standing by and making sure these awful things that happened to them continue to happen, over and over. It's the mirror too for any marginalized community where the past generation believes the next one must suffer as they did. But it's exhausting for them to see the misery and do nothing. That's why they're all so tired. It makes sense to them that to be Spider-People, the next generation must suffer as they did but they are also, all of them, heroes and so it wears them down to watch this happen over and over. Miles brings back their energy and joy and their hope by refusing to be doomed by the narrative.

It's wonderful fanfic but it's also fantastic storytelling and it works on so many layers of the story, Doylist and Watsonian, all the way down.

5 ) THIS is a tightly knit story. Every. Single. Element. Ties back to the central story, the central themes. Every line either reveals plot, character, setting, or themes. It is so, so tight as a writer I was gaping. In necessary, if brief, moments of exposition they make sure to keep the screen busy and moving. There's no time for boredom. It is literally so fast that even as someone with ADHD I was sometimes overwhelmed as much as riveted. The few scenes that slowed down to simply fast movie pace felt achingly slow as a result and I bet you they were maybe 30 seconds long.

6 ) I AM. SO HYPED. FOR THE ENDING AND THE SEQUEL IT SETS UP? The perfect dark mirror story, not rushed but simply introduced so we can see that the final boss for Miles is himself. Unless they subvert that expectation, which they might! But it is so ominous to see Prowler Miles, it makes so much sense, it is perfect and deep and rich. Literally every time you think, "Maybe they'll rehash old material?" they don't they just keep introducing cool new characters and concepts and themes it's mindblowing.

7 ) They never leave you with one thread. Miles is going to face himself and fight to save his dad from the Spot and fight Miguel, presumably, in the next one. No single line only does one thing. No frame does one thing. And yet everything ties back to the core story of Miles and the Spider-People both on the Watsonian and Doylist level. I want to study every frame under a microscope. It's insane.

8 ) THE ART IT'S JUST. I'm not an artist so I'll leave it at this but THE ART.

9 ) I love Pavitr and Hobie. So much. I gasped when we saw Pavitr's world.

10 ) The Spot's animation was insane just insane and I think he's foreshadowed in the ITSV and it blew my mind on the re-watch.

I need to see it again. I could talk about any single element for hours. But I just can't stop thinking about the mastery embodied in this film. I know a sequel to a superhero movie that's animated will never win Best Picture but I do not exaggerate when I say that in itself might be an indictment of Best Picture. This film deserves Best Picture. It is the best movie I've seen in an unfathomably long time including ITSV.

#spider-man across the spider-verse #atsv spoilers #atsv #itsv #spider-man #spiderverse

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