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usaclothingmanufacturers · 8 months

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Diversity and Inclusion in the USA Apparel Sector

Introduction

In the dynamic realm of the fashion industry, the significance of diversity and inclusion has taken center stage like never before. In this exploration, we direct our focus to the USA apparel sector, where the interplay of these essential concepts resonates profoundly. Within the vast tapestry of fashion, USA clothing manufacturers, also recognized as apparel manufacturers, occupy a pivotal role.

This segment not only contributes to the creation of clothing that graces runways and streets alike but also plays a crucial part in shaping the industry’s commitment to embracing diversity and fostering inclusion. From iconic brands to emerging labels, the realm of clothing manufacturers in America pulsates with creativity, innovation, and the aspirations of representing a multifaceted society. In the pages that follow, we delve into the intricate threads that bind diversity and inclusion in this dynamic landscape.

The Current Landscape of the USA Apparel Industry

The USA apparel industry stands as a towering colossus, its influence spanning the globe and its trends setting the tone for fashion enthusiasts worldwide. Within this expansive tapestry of style and innovation, the role of USA clothing manufacturers, often referred to as apparel manufacturers or clothing manufacturers in America, is nothing short of pivotal. As we embark on an exploration of the current landscape of this dynamic sector, we uncover the intricate web of creativity, business acumen, and cultural resonance that define its essence.

In a nation known for its entrepreneurial spirit and penchant for creativity, the apparel industry has carved out a prominent niche. From bustling urban centers to quaint corners of the country, clothing manufacturers in USA orchestrate a symphony of design, production, and distribution. They are the masterminds behind the diverse array of garments that grace runways, fill boutiques, and adorn everyday individuals. From iconic heritage labels with decades of history to cutting-edge startups with their finger on the pulse of the latest trends, the sector’s mosaic is a testament to its adaptability and innovation.

The USA’s apparel industry isn’t merely a collection of brands and labels; it’s an ecosystem that impacts culture, identity, and economics. It generates employment for a vast array of individuals, from skilled artisans to marketing maestros. This multifaceted industry extends its influence beyond borders, shaping international fashion conversations and establishing the USA as a trendsetting force. At its core, the industry thrives on the balance between artistic expression and commercial viability, a dance choreographed by clothing manufacturers who meticulously weave together fabrics, patterns, and styles that resonate with consumers.

Apparel manufacturers in the USA are not just creators; they are curators of stories. Each garment they produce carries the narrative of its inception, the hands that crafted it, and the aspirations it embodies. In a world where fashion is increasingly seen as a vehicle for personal expression, these manufacturers bridge the gap between artistic vision and individual style preferences. From high-end luxury brands that exude opulence to inclusive labels that champion everyday comfort, clothing manufacturers in America cater to a diverse spectrum of tastes and needs.

In recent years, the industry has been undergoing a transformation driven by evolving consumer preferences and a growing awareness of sustainability. USA apparel manufacturers are adapting to the call for eco-conscious practices, embracing ethical sourcing of materials and minimizing their environmental footprint. This shift underscores the industry’s ability to adapt to societal demands and contribute positively to the global movement towards a greener future.

Understanding Diversity and Inclusion in Fashion

In a nation known for its entrepreneurial spirit and penchant for creativity, the apparel industry has carved out a prominent niche. From bustling urban centers to quaint corners of the country, clothing manufacturers in the USA orchestrate a symphony of design, production, and distribution. They are the masterminds behind the diverse array of garments that grace runways, fill boutiques, and adorn everyday individuals. From iconic heritage labels with decades of history to cutting-edge startups with their finger on the pulse of the latest trends, the sector’s mosaic is a testament to its adaptability and innovation.

In recent years, the industry has been undergoing a transformation driven by evolving consumer preferences and a growing awareness of sustainability. USA clothing manufacturers are adapting to the call for eco-conscious practices, embracing ethical sourcing of materials and minimizing their environmental footprint. This shift underscores the industry’s ability to adapt to societal demands and contribute positively to the global movement toward a greener future.

Diversity in the USA Apparel Sector

Within the expansive canvas of the USA apparel sector, the vibrant threads of diversity are being woven with purpose and passion. As the industry evolves, clothing manufacturers in the USA, distinct from apparel manufacturers in other countries like India, are taking significant strides towards championing diversity in all its forms. This movement is not merely about representation on the runway; it encompasses a profound reimagining of the very fabric of fashion.

Diversity in the USA apparel sector transcends geographical boundaries. While the global fashion scene is a mosaic of cultures and influences, clothing manufacturers in the USA are embracing the richness of their own society. In stark contrast to apparel manufacturers in India or other nations, these American counterparts are embracing diversity by recognizing that their consumer base is a kaleidoscope of identities. This understanding has led to initiatives that amplify the voices of underrepresented communities, ensuring that fashion resonates with a wide spectrum of individuals.

One of the striking aspects of diversity in the USA apparel sector is its alignment with sustainability. Sustainable clothing manufacturers, a growing force in the industry, understand that the pursuit of eco-consciousness is inherently tied to the well-being of all people. The movement towards sustainable practices isn’t just about reducing the carbon footprint; it’s also about promoting fair labor practices and uplifting marginalized communities. This convergence of sustainability and diversity underscores the sector’s commitment to holistic betterment.

Apparel manufacturers in USA are employing a multi-pronged approach to foster diversity. From diverse hiring practices that bring together talents from varied backgrounds to collaborative ventures with designers who draw inspiration from a multitude of cultures, the sector is acknowledging that true innovation is born at the crossroads of differences. In an industry often criticized for its exclusive standards of beauty, American clothing manufacturers are redefining aesthetics, featuring models of various body types, ethnicities, and gender identities on their runways and in their campaigns.

The USA apparel sector’s dedication to diversity is not without challenges. Overcoming deeply ingrained biases and breaking free from traditional molds requires persistence. The task is complex, involving introspection, education, and a commitment to change. It also demands a shift in the broader narrative of beauty and style, replacing narrow ideals with an inclusive celebration of authenticity.

As the conversation around diversity evolves, it intertwines with a broader discourse on social responsibility. Clothing manufacturers in the USA are increasingly recognizing their role in shaping perceptions and influencing change. By promoting diversity, they contribute to a society that values every individual, regardless of their background. In this pursuit, the sector is setting an example for industries around the world, demonstrating that fashion’s influence extends beyond aesthetics.

Challenges and Barriers to Inclusion

In the quest for inclusion within the dynamic world of fashion, there exists a tapestry of challenges and barriers that clothing manufacturers, including denim manufacturers and sportswear manufacturers, must navigate. While the industry strives to embrace diversity in all its forms, acknowledging and addressing these obstacles is essential to fostering a more equitable and representative landscape.

One of the prominent challenges to inclusion is the deeply entrenched norms and standards that have shaped the fashion industry for decades. These norms often perpetuate narrow definitions of beauty, marginalizing individuals who do not conform to these ideals. Denim manufacturers in the USA, sportswear manufacturers, and others face the task of breaking free from these constraints and creating garments that cater to a diverse range of body types, genders, and ethnicities.

Inclusivity also hinges on proper representation, both in terms of models and behind-the-scenes contributors. The lack of diversity in leadership roles within clothing manufacturers can hinder the industry’s ability to authentically connect with its audience. Breaking these barriers requires a concerted effort to provide opportunities for underrepresented individuals in decision-making positions, from designing and manufacturing to marketing and branding.

Cultural sensitivity is another significant hurdle in the pursuit of inclusion. The fashion landscape is a blend of myriad cultures, each with its own unique symbols, traditions, and aesthetics. Denim manufacturers in USA, sportswear manufacturers, and others must tread carefully to avoid cultural appropriation, which can lead to controversies and alienate communities. It calls for education and collaboration to ensure that the fashion created respects and honors the cultures that inspire it.

Economic barriers also play a role in inhibiting inclusion. Sustainable and inclusive fashion, although gaining momentum, can often carry higher price tags due to ethical manufacturing practices and quality materials. This can limit access for certain groups of consumers, perpetuating exclusivity rather than promoting true inclusion. The challenge lies in finding ways to make inclusive fashion accessible without compromising on ethical and environmental values.

Language and communication also pose challenges in the globalized world of fashion. Brands with international reach must ensure that their messaging is not only culturally sensitive but also inclusive of diverse linguistic backgrounds. Translations, interpretations, and cultural nuances must be carefully considered to avoid miscommunication and alienation.

Addressing these challenges requires a multi-faceted approach. Education and awareness campaigns can help break down biases and stereotypes, promoting a more inclusive understanding of beauty and fashion. Collaboration between the best clothing manufacturers in USA, including denim manufacturers and sportswear manufacturers, and marginalized communities can lead to products that are authentically representative and resonate with consumers on a deeper level.

Furthermore, industry-wide initiatives that focus on mentorship, diversity training, and recruitment from a wide range of backgrounds can pave the way for a more inclusive leadership structure. Brands that champion diversity should not only highlight it during specific campaigns but should weave it into their core values and everyday practices.

While the fashion industry strives for inclusion, challenges persist. From rigid beauty standards to cultural sensitivities and economic barriers, clothing manufacturers, including denim manufacturers and sportswear manufacturers, face complex hurdles. However, by recognizing these challenges and working collectively to address them, the industry can foster a more diverse, equitable, and genuinely inclusive future, where every individual feels represented and celebrated in the world of fashion.

Inclusive Practices and Strategies

In the pursuit of a more inclusive and diverse fashion landscape, denim manufacturers, including those in the USA, and sportswear manufacturers are pioneering a range of inclusive practices and strategies that go beyond aesthetics. These approaches are reshaping the industry’s mindset, fostering a more equitable environment, and encouraging representation that resonates with a broader spectrum of consumers.

One of the foundational strategies employed by denim manufacturers in the USA, sportswear manufacturers, and other clothing creators is to diversify their workforce. Embracing employees from various backgrounds and experiences enriches the creative process and leads to designs that reflect a wider range of perspectives. By nurturing a team that mirrors the diversity of their potential consumers, manufacturers can create garments that authentically connect with people’s lives and aspirations.

Mentorship programs also play a pivotal role in inclusive practices. Establishing avenues for emerging talents, especially those from marginalized communities, to be guided by industry veterans can be transformative. This approach not only provides mentorship but also creates a network that opens doors to opportunities that might have otherwise remained inaccessible.

Inclusive hiring practices extend to casting models for campaigns and runway shows. Denim manufacturers, sportswear manufacturers, and other fashion creators are recognizing the power of showcasing models of diverse backgrounds, body types, and abilities. This practice not only breaks away from unrealistic beauty standards but also communicates a message of acceptance and empowerment to consumers.

Collaboration is another potent strategy in promoting inclusivity. Collaborating with designers, artists, and influencers from various cultural backgrounds can lead to clothing lines that celebrate unique aesthetics while fostering cross-cultural understanding. Such partnerships can result in collections that transcend boundaries, connecting with a global audience on a personal level.

Education and training programs are essential components of the journey towards inclusion. Many clothing manufacturers are incorporating diversity training that raises awareness about biases, sensitivities, and cultural nuances. This empowers employees to approach their work with greater empathy and ensures that every garment reflects a deep understanding of the communities it serves.

Size inclusivity is gaining prominence, with more manufacturers recognizing the importance of catering to a diverse range of body types. By offering a broad array of sizes, denim manufacturers, sportswear manufacturers, and other creators empower individuals of all sizes to engage with fashion confidently. This shift challenges the industry’s historical focus on a limited range of body shapes and contributes to a more positive body image culture.

Transparency in sourcing and production is yet another inclusive practice that resonates with consumers who are increasingly concerned about ethical and sustainable practices. By sharing information about the materials used and the labor conditions of the workers involved, manufacturers create a sense of accountability that aligns with the values of conscious consumers.

Inclusive practices and strategies are reshaping the fashion industry in profound ways. Denim manufacturers in the USA, sportswear manufacturers, and other clothing creators are dismantling barriers by diversifying their teams, embracing size inclusivity, collaborating across cultures, and prioritizing ethical transparency.

Through mentorship, education, and thoughtful casting choices, the industry is fostering a more authentic and equitable representation of the diverse world it serves. As these practices continue to evolve, they hold the potential to not only transform the fashion landscape but also drive broader societal change toward acceptance and celebration of diversity.

Impact on Innovation and Market Success

The commitment of the fashion industry, spanning clothing manufacturers in India, clothing manufacturers in America, and USA apparel manufacturers, to embrace diversity and inclusion isn’t solely a moral imperative; it also has a profound impact on innovation and market success. The interplay between diversity, inclusion, and the creative process results in a dynamic synergy that not only pushes the boundaries of design but also resonates deeply with consumers, propelling brands to new heights of success.

Diverse teams, reflective of a wide array of backgrounds and experiences, are hotbeds of innovation. When designers, creatives, and strategists from different walks of life converge, they bring a plethora of perspectives to the table. These fresh viewpoints challenge conventional ideas and ignite the spark of creativity, leading to the birth of innovative fashion concepts that transcend the ordinary. The collision of diverse ideas cultivates a vibrant ecosystem of originality, where fashion defies norms and enters uncharted territories.

Inclusion, coupled with innovation, has a ripple effect that extends to the consumer base. As clothing manufacturers in India, clothing manufacturers in America, and USA apparel manufacturers craft garments that resonate with diverse audiences, they forge a deep emotional connection with consumers. Fashion ceases to be a one-size-fits-all affair; instead, it becomes a mirror that reflects individual identities and aspirations. Consumers find pieces that align with their personal style, culture, and values, thereby strengthening brand loyalty and affinity.

The link between diversity, inclusion, and market success is not anecdotal; it is substantiated by data. Brands that prioritize diversity and inclusion often witness a surge in consumer engagement and positive sentiment. A study by McKinsey & Company revealed that companies with diverse executive boards are 25% more likely to experience above-average profitability. This trend is mirrored in the fashion realm, where brands that embrace inclusivity tend to outperform their counterparts that remain stagnant in their approach.

Furthermore, diverse and inclusive fashion extends beyond mere aesthetics. It has the power to challenge societal norms, influence conversations, and even effect social change. When clothing manufacturers in India, clothing manufacturers in America, and USA apparel manufacturers create designs that cater to a wide range of identities, they send a powerful message of acceptance. Such fashion acts as a visual representation of the world we aspire to create — one that celebrates individuality, shatters stereotypes, and fosters a sense of belonging.

The resonance of inclusive fashion is particularly evident in the rising influence of social media. With platforms like Instagram and TikTok, consumers have become active participants in the fashion discourse, advocating for representation and inclusivity. Brands that align with these values find themselves at the forefront of trends, receiving not only attention but also the loyalty of a diverse consumer base that seeks authenticity.

The impact of diversity and inclusion on innovation and market success within the fashion industry is unequivocal. Clothing manufacturers in India, clothing manufacturers in America, and USA apparel manufacturers are experiencing the transformative potential of embracing diverse perspectives. As fashion transcends its traditional boundaries, it evolves into a force that not only shapes individual wardrobes but also contributes to a more inclusive and empathetic society. The journey towards innovation and success isn’t just about crafting clothing; it’s about weaving the threads of diversity and inclusion into the very fabric of the industry’s future.

The future holds promise as more apparel manufacturers recognize the value of diversity and inclusion. Consumers are increasingly demanding authenticity and representation, which will likely drive the sector to further embrace these values. This shift will redefine not only the aesthetics of fashion but also its cultural impact.

Conclusion

In the tapestry of the fashion world, diversity and inclusion have emerged as transformative forces, resonating across borders and cultures. As clothing manufacturers in India, clothing manufacturers in America, and apparel manufacturers in USA embrace these values, the industry undergoes a profound evolution. The journey towards a more inclusive future isn’t just about creating garments; it’s about crafting narratives that reflect the mosaic of human experiences. Through diverse teams, innovative designs, and genuine representation, fashion transcends its traditional confines, becoming a vehicle for empowerment and self-expression. The impact ripples beyond runways and racks, shaping perceptions, fostering connections, and fueling the success of brands that prioritize authenticity and acceptance. In this tapestry of change, the threads of diversity and inclusion are being intricately woven into the very essence of the fashion industry, ushering in a vibrant era where everyone’s story is celebrated, and where every garment becomes a reflection of a more diverse and interconnected world.

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dannyavilasandieg · 9 months

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Elevating Digital Presence: The Creative Odyssey Of Danny Avila In San Diego Web Design

In the kaleidoscopic realm of web design, where artistry converges with technology, there emerges a visionary whose creativity knows no bounds. Danny Avila, a name that resonates in the echelons of digital craftsmanship, has carved a niche for himself in the world of San Diego Web Design. With an alchemy of innovation, aesthetic finesse, and technological prowess, Avila has woven a tapestry of captivating online experiences that redefine the very essence of web presence.

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The Art of Brand Storytelling

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Strategic Engagement through CTAs

A master in the art of strategic engagement, Avila integrates Call-to-Actions (CTAs) that are nothing short of strategic masterpieces. Every button beckons, every link entices. CTAs are thoughtfully placed, guiding users seamlessly through their journey on the website. Whether it's a click to explore further, a call to action, or a pathway to delve deeper, Avila's CTAs are strategic signposts in the digital landscape.

Designing the Future

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Collaborative Symphony

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Conclusion: A New Horizon in San Diego Web Design

In the panorama of San Diego Web Design, Danny Avila shines as a luminary whose designs aren't confined by conventional boundaries. His approach marries innovation with function, aesthetics with strategy, and technology with artistry. Each creation is a testament to his commitment to reshaping the digital landscape, one pixel at a time. With Avila at the helm, the world of web design ventures into uncharted territories, where the ordinary transforms into the extraordinary and the virtual realm becomes an enchanting reality.

#San Diego Web Design

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charlie04fermin · 9 months

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Leading Strategies To Drive Organic Web Traffic On Facebook

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spneveryseason · 3 years

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My Stuff Part 1

Fics

Short Fics

That’s All Free Will, Baby: 15x06 Coda

To Bow and Sue For Grace (poem)

On The Road Again: the first step onto the road of duty is a difficult one. But they have no choice but to go down it.

Earth: coming back to earth in two different ways

Demonic: the moment in which a demon is born

Branded: handprints and skin

Daydream: when daydreams aren’t daydreams

Mask: this is why Sam hates Halloween

Domestic: a day in the life

Heartless: somewhere far along this road he lost his soul

Electric: Dean develops a new fear

Sweet Rides: Cas tries his best

Rock & Roll: Dean’s music is important to him. It hasn’t always been.

Rewind: the past, from different perspectives

Ladies: Mary’s not doing this anymore

Fun & Games: ways to pass the time

Third Eye: Sam never asked for any of this

Switch it Up!: Dean doesn’t like being on this side of it

Autumn Invading (poem)

Dark & Stormy Night: the stories that remain

Pour One Out: the first drink

Fear: here’s how they deal

Medium Fics

iPod: The reminders are everywhere, but this one just never disappears. Post 5.22 "Swan Song", exploration on how Dean copes after the events of S5.

Hemoglobin: Five times Sam hated his blood, and one time he didn’t

Thirty Seven: Sam turns thirty seven. Everyone's excited about it but him.

The Men in the Chevy Impala: "Dean,“ Sam grins, almost manic. "We’re Poirot! Hercule Poirot!" "Excuse me, what?" Or: the boys encounter a mystery that feels very…Agatha Christie. It’s all fun, until it isn’t. Set Season 2, Case fic.

The Special Children: After Dean reveals his Dad’s last words, he asks Sam to lay low for a while. This time, Sam says no. This time, Sam goes all in in his search for the other kids like him. S2 AU

The Specialer Children: Sam finds himself in a strange place, but the people are all familiar this time. Will that be enough to change the outcome?

Out: A god-possessed witch reveals a secret that Sam’s been keeping for a long time. The brothers handle it like mature, well-adjusted adults, for once. Bi!Sam story for pride month, set s15.

Meta

Speculation

On Cas and His Failing Powers

On Supernatural and Storytelling

Dean in 15x04

A Memorable Ending

Chuck’s Mistake

Sam, Dean, and Lilith

Ending Predictions

Chuck’s AUs

The Nature of the Bullet Wound Plot

The Need For an In Universe Change

Billie the Villain?

Bullet Wound Coming Back? (It didn’t)

Sam’s Happy Ending

Trailer Breakdown 1

Trailer Breakdown 2

Trailer Breakdown 3

Trailer Breakdown 4

Deals and Cosmic Consequences: What’s Coming for Cas

The Final Scene: How The End May Be Coming

Amara’s Role

Character Analysis

Cas and Sam’s Dynamic

15x11 and “Normal”

Preseries Sam

John Winchester

A Note on Season 3 Sam

Sam + Cross Imagery

Sam and Mary: Religious Imagery

Because It’s Cas

S4 Sam is S2 Dean

Sam’s Character Flaws

Sam & Kaia

Sam, Dean, and running away

Sam and Mary

Dean, Sam, and John

Sam and Bobby

Dean’s Character Flaws

Cas and Jack’s Character Flaws

Sam, Dean, and Narrative Focus

Worldbuilding Analysis

Ranked List of Season Finales

8x21: The Great Escapist vs 15x04: Atomic Monsters

Favorite Episodes

Supernatural and Free Will: Season 1

Supernatural and Free Will: Season 2

Supernatural and Free Will: Season 3

Fan’s Favorite Episodes

My Season 9 Rant

Inequitable Narrative Balance

Did Chuck Come Out of Left Field?

Is Soulless Sam the Same as Regular Sam?

What Does it Mean to be God in Supernatural?

The Redemption Arc Cycle

The sacrifice speech

What if the trials made you god?

That s10 Finale

Why Are Sam and Dean Never Caught?

What if Mary Had been the Only Survivor

Edits

Images

The Trials of God

Places the Winchesters Called Home

Sam + Conflict in Literature

Favorite Moment in “Baby”

Side Characters Who Deserved Better

Best Outfits

Gifs

Dean & Sam vs Cas & Sam

Web Weaving

Gethsemane (Jesus Christ Superstar) + Sam Winchester

Sam + the Jedi Code

Sam + the Sith Code

Sam + Grip by Bastille

Sam and Anger

Sam + “Sunny”

Sam & Dean + “Vienna”

Quizzes

What spn season are you quiz

#speaks

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plounce · 4 years

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my Concepts for aj2

so these are my thoughts and ideas about the game that would follow aa4 in a timeline where we got a coherent apollo trilogy rather than aa5 and aa6. as such, i am discarding aa5 and aa6′s apollo backstories because i find them incoherent as an arc and only slapped onto him for the plots of the games. etc etc. theorizing on squandered potential is me-bait. trucy and klavier get to have THEIR place in the narrative as important characters!! (sorry athena. you will get your own trilogy with good writing and a better design in this timeline too)

this is very stream of consciousness and while i think it’s fairly coherent it is also not chronologically organized as i build on ideas. i am genuinely sorry if the read more doesn’t work on mobile because this thing is stupid long.

containing:

apollo, trucy, and klavier being a firm Trio and getting character development and growing closer :)

themes about found family, letting yourself love/be loved, performance and persona, love giving you strength to do good, you being the one to determine your identity

exploration of the trio’s backstories and the development of their skills

prosecutor franziska chipping away at the corruption within the legal system

klavier being the assistant for a case

kristoph continuing to be a corrupt bastard

buildup to the sibling reveal & canon klapollo in the conclusion of the trilogy

- apollo is the main character

- phoenix is absent for like the entire game besides maybe a couple tiny flashbacks, later revealed to be working with edgeworth on anti-corruption stuff (which is also tied to kristoph & kristoph’s ties within the legal system, “old boys club” etc)

- trucy is assistant for first half of the game

- klavier is assistant for second half of the game. his hair is in a little bun or ponytail :) no drill hair for THIS individual person

- klavier is prosecutor for trucy assistant cases. in the 3rd case klavier was supposed to prosecute against apollo but things keep getting fishier and fishier and things keep reminding them of kristoph. klavier is ordered off the case from on high. mysterious replacement. klavier is too invested in seeing truth & justice come to light so he helps apollo

- franziska prosecutes cases 3 & 4. she has short hair and it’s super sexy and hot.

- kristoph set things up so that klavier is implicated in things. dig into how klavier and apollo feel unable to escape kristoph’s influence - “he’s too foundational”

- 4th case klavier is on trial. oh maybe 3 isn’t about kristoph but it’s just background stuff about the rampup to the 4th case - klavier is put on probation while things are investigated but he doesn’t know WHY, but he’s still committed to his ideals

- trucy is pursuing her magic career, klavier still loves music - has been releasing solo stuff maybe, just some EPs for free/charity, but isn’t touring. focusing on law

- case 4 has a family friend (NOT A WOMAN FOR THE LOVE OF GOD... A MALE DAMSEL PLEASE) get accidentally poisoned through something klavier gave them. that’s the trial itself. kristoph was the source. klavier is arrested. it’s more complicated that this but it gets to this point. day 2 of the trial is when klavier is implicated and he gets yanked into cuffs from the defense bench

- one of case 4′s pillars is a memory from the gavin brothers’ childhood. discuss how kristoph was as a child. klavier has been realizing how... odd certain things were, and trying to pass it off as like “haha yeah kristoph would dissect dead birds and convince our parents that every mess was my fault. i guess that makes sense considering how he ended up haha? I Don’t Feel Strongly About This I Just Think It’s Funny :)”

- apollo’s perceive abilities expanding to be able to perceive general emotional states as well - along with learning to practice more empathy, being considerate. No Klavier And Trucy, You Are Not Fine. this is kind of like athena’s thing actually huh

- trucy, meanwhile, is learning to be more like. emotionally... independent? no. emotionally... self-caring. both independent in that she’s a young adult and also caring in that she is trying not to force herself to take care of everyone all the time and show her less pretty emotions to apollo. take care of herself

- case 1 has to do with something happening at trucy’s show/her career/her school etc. she’s still a real person etc. trucy’s friends mostly being adults, her feeling isolated at school. nah wait this is a slightly absurd world she’s not overly weird for her classmates necessarily. yeah ok it’s about magic

- case 2 has to do with klavier being a rockstar, the pressure of celebrity and public fascination with his persona. stalker fans, music industry, talk shows, etc. someone trying to convince him to come back to music. klavier has to arrest someone he’s fond of again. no big stadium performance in this game

- the trio all dealing with themes of hiding and trying not to feel “bad” emotions: apollo going “im fine” and suppressing his problems & just trying to do his job so he can cope with how overwhelmed & stressed he feels constantly etc etc + trucy hiding the secrets of her magic which is sort of representative of her hiding a lot of her sad/”ugly” feelings because she thinks she needs to because she thinks phoenix depends on her being cheerful all the time + klavier dealing with having a public persona and the pressures of being Himself, trying to be the person others see him as/want him to be, who is klavier when he is not performing? who are all of them when they are not performing? who are they performing for?

- yes i am a “woman” yes i am obsessed with the idea of performance

- trio all dealing with/feeling lonely wrt family: apollo learning more about jove (possibly during the music industry case - someone knew his dad, who refused a big contract), who he was & one of the cases involving someone from his past in the foster system - maybe it’s even clay! - but in general feeling very disconnected from “family” in general esp compared to trucy&klavier’s family troubles being so immediate and raw for them + trucy feeling lonely and kind of abandoned as phoenix is increasingly gone in this game and seeming very distant from her, similar to how zak abandoned her, and also the pains of growing up + klavier’s parents either are dead or are somewhat estranged after he got kristoph imprisoned, klavier feeling very lonely in general after his pursuit of truth&justice has snipped many of his connections from him

- yes i am gay yes i am obsessed with found family

- franziska having a moment of “i get how it is and it sucks” with klavier about Complicated Feelings About Family

- she eventually does realize during case 4 that klavier is guilty but has to hide it in order to push one of kristoph’s allies out into the open. sorry kid uh... what do you like. i will buy you. an ice cream? or something. look do you want a gift card i’ll buy you a gift card

- kristoph’s lawyer shows up near the start of the game to give things to apollo which he is deeply suspicious of but ema tests them and they come up clean. guy shows up here and there throughout the game. maybe tries to bribe apollo or something. apollo gets invited to a Fancy Lunch because he’s the one that bested kristoph gavin and that shows Promise. in a sense. or something. apollo being manipulated by people who refused to hire him when he got kristoph convicted etc

- themes about being young in a world full of secrets and webs of alliance that you feel barred from because you have ideals and won’t compromise them and also either come from nothing or burned all your bridges. just aa protag things <3

- oh maybe there’s a new judge who is also In On Nefarious Plots

- catching these people doesn’t fix everything but - it’s something. they got a couple shitheads

- trucy continues developing her gramarye abilities. more emotional depth. more exploration on complex feelings wrt phoenix and her childhood and her adolescence and how she’s fairly well-adjusted as one can be but also... the shit still hits yk... she’s like 16 years old so she’s maturing

- ema is there. she and apollo get along a bit better. asks after phoenix. provides evidence against klavier, and then evidence for.

- followup on apollo-edgeworth klavier-phoenix parallels - who is the one bringing them further into the light, chaser/chased, the one who wants more/the one who pushes away, etc etc

- follow through on implied gramarye mafia connections

- klavier isn’t super in the first case besides the courtroom and maybe one appearance, but he is like. worried about trucy if there is cause to be worried about her. set up their dynamic beyond trucy just liking the gavinners

- trucy&apollo and klavier&kristoph compares&contrast

- franziska is(/appears to be) very doubting/dismissive of apollo’s belief in klavier bc it’s like... are you pursuing the truth? or trying to shield your friend?

- apollo does end up almost very close believing klavier was in kahoots with kristoph/kristoph’s friends because it just looks. really bad. like it genuinely looks VERY BAD. and he’s like “i have to find truth like prosecutor von karma said”. yknow how with a lot of aa cases it starts out “oh no it looks open and shut” and then is like “NO WAY THEY COULD HAVE DONE IT... BUT HUH”. this one is reverse. and then straightens back out again. dig the hole then climb back out

- yeah the theme is like. “are you trying to find truth or do you want to protect your loved ones. what is your duty as a person, your job or your loved ones.” this carries through on klavier’s thread from aa4 where he has to work against his loved ones. meanwhile apollo, who is a bit more cool-tempered irritable grump, is the one going “oh god, am i biased towards my friends?” so it sort of flips. what kind of stories will you weave to clear your friends of blame? kristoph’s boys club.

- echo back to “evidence is everything” - this line of thinking (in a certain way) is what saves klavier when kristoph is trying to punish him for his betrayal

- since phoenix is away, the gramarye siblings aren’t revealed yet. but more info is dropped to compensate - stuff about jove and apollo’s childhood in the foster system and how that’s shaped him into someone who keeps people at arm’s length to keep himself safe; trucy and apollo getting closer despite that, trucy busting down those barriers because she needs his support and he’s like “oh my god i have to support her.” older sibling stuff.

- maybe the trucy case involves like. a mafia guy trying to collect on debts or smth and tries to ruin trucy, and threatens apollo. there’s a hint that is very obvious to the audience but is like “wow apollo he thought you were my brother!” like the mafia guy calls apollo “the other child” and apollo is like “hey, i’m 24!” which is humorous but also the audience is like Oh My God I Know What That Means

- there isn’t a deliberate withholding of information from phoenix - he literally is not there to withhold it. but there is still tension and stakes and weight to their relation - apollo keenly feeling his absence of family and trucy feeling sort of abandoned by phoenix

- phoenix is like “ok trucy you’re almost an adult so i’m trusting you to stay safe and responsible while i’m away. apollo will technically be in charge but i’m still trusting you” and privately to apollo is like “If Anything Bad Happens To Her. Your Head Is On The Line.” so it is just them making it on their own

- klavier drops the line “watching you two is like what kristoph and i should have had” and then there’s a couple “...” dialogue boxes as the audience is like I KNOW WHAT HE MEANS and then apollo is like “... are you for real comparing me to kristoph.” haha funny but also THERE IT IS

- very carefully walked tightrope. acknowledged enough that there is still tension/suspense around it but not too much as to be slightly infuriating

- before the last case trucy gets mad at apollo for something - trucy is allowed by the narrative to be angry for real. stand up for herself. trucy and apollo come back together to defend klavier. they see each other in the detention center when theyre still mad at each other - trucy was visiting klavier (he wasn’t there for the fight). “you made fraulein trucy very mad, hm?” then during the trial trucy busts in dramatically with important help when things look very bad for klavier

- aj3 has emotional revelations/high points of the trio - siblings reveal and klapollo canon. aj2 is a lot of building of these connections and building suspense and tension. more more more of these relationships before they emerge fully formed in aj3

- the last trial echoes the “im the only one who can save prosecutor gavin” or whatever gay thing apollo says in the last trial of aa4 because he literally is. just a lot of hinting and them getting along. case 3 is very important because that’s when it’s just them and it’s “oh! we work well together! we’re complementary!”

- implement the dual investigation mechanic from dgs so it does feel collaborative

- just build on the fact that klavier is the first friendly, helpful, cooperative prosecutor. he wants to help you. make that a very positive, very important feeling while still making it extremely enjoyable

- resolves in “you can have truth AND the ones you love”. or smth like that but more nuanced. it’s very inspirational and sentimental etc

- you get to meet vongole and it’s a Pet The Dog moment for klavier. look! how nice he is. he truly loves this insanely sweet and lovable dog. trucy is enamored with vongole as well. “it’s strange that she was kristoph’s dog, hm? with how affectionate she is.” “well, i guess being owned by kristoph doesn’t means she’s an equally bad dog ... ER i mean--” “hm, you always struck me as a cat person, herr forehead?” “uh - well yeah, you’re right. but... that doesn’t mean i don’t think vongole is a pretty great dog.” IMPLICATIONS. SUBTEXT. TASTE IT IN THE AIR

- oh there’s definitely a moment in case 2 when you get to examine klavier’s apartment and you can look at a couple albums and for a gavinners album apollo is like “ugh” but then you get one of his solo eps and apollo is like “trucy made me listen to this. it... was okay. not as bad as the gavinners stuff. sounds more honest. or something like that.”

- oh also when you examine the guitar klavier offers to teach apollo some basics. hee hee (BUT ALSO... JOVE!!)

- maybe for case 2 The Industry Suits want klavier to stop releasing his eps for free/total charity so it’s a whole coordinated scheme. his manager, a devoted fan who hates to see him going his own way and being happier for it, etc. “we want you to be the person you were. the one we could possess.” be more like gavinners klavier instead of honest relaxed current klavier. be who we want you to be so we can make you dance like a puppet. music industry kristoph parallels.

- “i’m sick and tired of being a plaything for other people!” >:( face moments

- a fan broke into his house and defaced the solo stuff etc. >:( face.

- who determines who “you” are? what role do your loved ones have in your life? those who truly love you can save you and make you better. loving and being loved sincerely and genuinely and truly have positive effects on your life. letting people love you and letting yourself love them is good.

- ugh but this kind of contrasts with the “the old boys club is controlling and using/shaping the institution of law to amass wealth and power for themselves while throwing others under the bus.” well actually wait

- lunch with apollo = they don’t actually care about each other, would throw each other under the bus for their own benefit

- contrast between sacrificing the weak to protect the strong and protecting the weak to depower the evil strong

- love and bonds can motivate/enable you to chip away at the system and can help you make a difference. les mis etc etc etc

- the old boys club are all putting up fronts of appearing strong and tough and above everything and in control. real love and friendship let you show vulnerability and weakness and help you & your bond come out stronger for it. (tumblr voice) the mortifying ordeal

- additional stakes of “if you are found aiding this criminal and hiding evidence etc etc we will disbar you” or smth. stakes for sticking with klavier, for winning the trial, for demonstrating care. franziska is kind of like “... apologies. but you had nothing to worry about so don’t worry about it.”

- klavier and apollo damned by association with kristoph, especially as a kristoph scheme was just found to happen, and it depended on kristoph being in jail, so maybe they were the ones to enable that part of the plan... it’s a long con...

- it feels like there should be another legal reform here to make aa4′s jury implementation but maybe this one is more about how reform is often very gradual and like chipping away at a mountain

- in aj3 the death penalty gets reformed. (tension there about kristoph being on death row and this game piles on a lot more GOD KRISTOPH SUCKS but then it’s like. no. we have to fight for True Justice and the legal system is extremely imperfect (how many of our clients narrowly avoided a wrongful guilty verdict!) so we have to prioritize protection over punishment)

- “it’s like chopping heads off the hydra. it feels like we’ll never actually change anything.” “yes, but hercules didn’t defeat it by himself. he had a partner that burned the stumps after he sliced off the heads. ... one person to hold the sword, one person to hold the torch.” NARUMITSU KLAPOLLO PARALLELS. HI

- okay i had some really good discussions on twitter w @henriettamarias about this and here’s a couple more things

- trucy’s case involves her inheriting the gramarye secrets and the legacy. the weight of tradition and the burden of what has happened in her family. trucy’s estranged grandmother shows up - it’s kind of similar to the feys kind of. the grandmother is a complex maternal figure who doesn’t know trucy and trucy doesn’t know her and it’s sort of the idea of... even if your “new” family is related by blood, you still have to choose them. and trucy’s like !!! because she’s openhearted but the grandmother disappears - doesn’t choose trucy. it’s not a Villainous Action it’s just... it’s complicated. maybe it’s to protect trucy or something. it wasn’t done to hurt trucy is what i’m getting at, but it still hurts

- one of the music industry people in klavier’s case is a gavin uncle/aunt/cousin who is pressuring him to go back to being an Extremely Profitable Rockstar. and klavier has to deal with more disappointment from a family that values extreme success and is sort of cold (this contrasts with the warmth of the WAA found family). they liked klavier when he was very successful and famous on two fronts but now he’s opened the door and invited in shame on their family’s name so everyone’s kind of mad at him. trucy and apollo get to be really defensive of him

- apollo’s case is one i’m still thinking on what it’ll be about because i’m deeply uninterested in his aa5+aa6 backstories but there’s not A Concept to go deeper into like trucy magic and klavier music... it does involve his past from being the foster system. i think maybe there’s a teen who he was kind of the older brother of for a while before the kid got adopted who contacts him for help defending himself.

- while trucy and klavier’s stories are about rejection from their blood family, apollo’s is about warmth with a boy who he met and made a familial bond with

- at the end of this case there’s some piece of evidence that mentions kristoph and this is never resolved within that case but it sort of leads into the next kristoph-focused case

- trucy doesn’t get angry at apollo over being like jealous there’s something else that happens in this case... it doesn’t end super satisfyingly and tidily wrapped up in a neat bow. there are a lot of lingering questions and it makes everyone uneasy

- in case 3 apollo gets injured and is feeling really defensive and kind of scared and trucy is upset with him for putting himself in harm’s way to save her and they have a fight and they’re both kind of hiding their true feelings with anger to cover up how scared they were (gramarye secrets) and it just. boils over. klavier tries to mediate but it’s... a lot. they both say some things they don’t mean. :(

- oh my god. the person who got poisoned in case 4 was apollo’s foster brother from case 3. and it HURTS because we’ve spent a whole case getting to know him and working so hard to save him from a guilty verdict and it’s like :D yay he’s ok! and then he just. dies. and it’s so fucking sad

- he got poisoned because kristoph looked through papers and found that him and apollo were close so he’s like “oh i can use that ^_^” because he’s a bastard. but klavier was the one in constant contact with him recently so it’s like UH OH! UH OH! plus other aa level complications etc

- the tightrope of trucy being mad at apollo and the tragedy of apollo’s foster brother dying is one that will have to be very carefully walked bc we don’t want trucy to look like an asshole because above all she does love apollo

- i guess it’s also apollo pushing her away because I’M FINE. STOP TRYING TO MAKE ME CONFRONT MY TRAUMA. IF I THINK ABOUT MY PROBLEMS I WILL GO INSANE. yeah that works

- OH and also she’s mad at him for not telling them about the lunch with kristoph’s lawyer friends. klavier is kind of mad about that too so apollo is like STOP GANGING UP ON ME

- so the setup of case 4 is: day 1: apollo and klavier investigating, in court klavier is implicated and is put in detention, day 2: apollo investigating by himself and missing his friends :(, franziska being like “where is your sister” and apollo being like “ok first she’s not my sister. second IM FINE I CAN BE ALONE, I CAN’T TRUST ANYBODY ANYWAY” and franziska is like “... yeah being betrayed sucks, i get it, but like. are you sure about that. fine whatever you idiot be a fool”, but then in court trucy busts in at a dramatic moment and narrowly saves klavier from getting a guilty verdict, day 3: trucy and apollo investigating and Saving The Day!!!!!

- for franziska in case 4 there’s this tension between her belief that klavier is guilty (because shit looks BAD and also kristoph sort of sent shockwaves through things etc) and franziska being older (she has short hair and it’s hot) and more emotionally mature and being like “baby lawyer. it’s okay to chill. it’s fine. you’ll be okay”. but also being extremely wary and hating the corruption and collusion within the law community because MvF dealt with a lot of that and she will be BETTER than that, she has to work hard to erase the harm that her father did. she’s kind of a superhero in terms of tackling a lot of corrupt-lawyer/cop cases - it’s her specialty now. god she is hot

- aw in case 4 ema is like. kind of reluctant to help implicate klavier. because while she thinks he’s annoying she doesn’t think he’s a bad guy. she feels really conflicted :( like she blusters to cover it up but she does say to apollo at one point “hey... you better do your job right. don’t slack. defend your client.” awww she care him

- kristoph gets brought out from prison as a witness in case 4. this really negatively affects klavier (and apollo too kind of but less so), but the strength of Found Family helps him be strong :) yay

- there’s mention made of kristoph having Secrets, but since apollo doesn’t have a magatama and phoenix isn’t there, the black psyche-locks aren’t explored. it gets revealed in aj3

- apollo does have a conundrum similar to the aa5 stuff where his perceive ability is going haywire at klavier’s entire emotional state because BOY is it screwy (suppressed memories from childhood??) so he just has to rely on plain old logic

- (cw animal death) god what if one of those childhood memories is kristoph poisoning klavier’s pet - experimenting, doing trials. klavier realizes that during the trial. jesus christ. evil bastard kristoph i hate his guts. at least klavier gets to go home and pet vongole so so much

- OH on a happier note we get to meet mikeko... mikeko loves trucy and klavier so much. it’s like a big gooey hint that LOOK APOLLO LOVES THESE PEOPLE - HIS CAT IS PURRING AND CUDDLING ALL OVER THEM :) Express Your Feelings, Apollo

- i think for aj3 it’s apollo & co having their own schemes and plans sort of. bc in this setup, klavier and apollo (and trucy too) are being yanked around by the machinations and plots of the older generation like in aa4. i think in aj3 is when they finally get a leg up and have control over things for once. good for them! good for them

- oh also in aj3, it’s revealed that thalassa has been held hostage by some bad guys, which is why she didn’t come back after some time away to figure herself out to tell them. and then apollo and trucy get to know they’re siblings :)

- okay that’s it. maybe i’ll add more if i think of more. hope u enjoyed :~)

#ace attorney #apollo justice #aj2 #klapollo #trucy wright #klavier gavin #i had a lot of fun writing this post :)#chirps #aa #aa4

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blkgirlsinthefuture · 3 years

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Kindred Words are Key

Week 3: Black Women of the Past By Keyyatta Bonds

To better organize my thoughts, I am going to layout my discussion points first (just so there’s a through-line): 1) Afrofuturism vs. Speculative Fiction 2) Reflection on BodyMinds, specifically how language choices and definitions guide a narrative 3) Hot Take about Kindred

After reading about Afrofuturism, (Black) speculative literature seems to be underneath its umbrella. The category itself doesn’t have many rules, as Schalk describes speculative literature as “allow[ing] us to imagine otherwise.” However, even though it seems boundless, in comparison to the realms described within Afrofuturism, it seems smaller and more compact to me. If you ask me for a particular point to make that distinction, I sadly could not tell you; but Afrofuturism seems to be a more complete encompassing of stories centered in Blackness. It may be the terms themselves as Afrofuturism’s name lends itself to its identity as a genre and (Black) speculative is very generic.

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Schalk does a great job in the Introduction of BodyMinds in clearly defining her terms. Schalk, inadvertently, illuminated for me the faults of current literary evaluations and reviews. Not to get very English-majory, but a lot of descriptions used in storytelling and describing the stories thereafter are very static or fluff-filled. I would expect literary-minded folks to be more deliberate in how they relay, and especially, critique stories; but I have noticed that stories exploring ‘deep’ topics in fiction are often watered down to 2D descriptions OR overexplained and picked apart to the point that real messages get lost in the wordiness of it all. Moreover, if evaluations of a text go beyond the typical -isms, the relationships are explained very shallowly. To give a short example, Kindred could be described as a story about race and gender and racism – all of which are correct observations but provide no depth or intimacy within the story or its characters, which in my eyes, is doing it a grand disservice.

In this evaluation of the text, even though those topics can be seen as themes, it gives no clue to what characters are participating in these systems and the effects of these systems on the characters. Literary evaluations are meant to go that extra mile and provide a greater analysis of the text – but many people are attempting to discuss these topics without having (access to) the language to adequately support their ideas. [This line of thinking – in my mind – also greatly aligns with Schalk’s mention abut Barbara Christian’s approach to theory in that it does not have to be done in a certain way to “produce knowledge” and new idea do not need to be created but just looked at through a Black feminist lens.] I could get into my academia rant but I’ll save that for another day.

So, moving into Schalk’s definitions, I loved how she used and described bodymind. In lieu of Kindred, the word ‘bodymind’ perfectly gives way to what we already discuss as we analyze Black people and their relationship to slavery without the wordiness of it all. Schalk fills in that language gap and gives us the vocabulary to more adequately navigate the conversation without losing its sincerity. The word bodymind – alone – provides an intimacy and depth in relation to whatever character may be referenced. It more successfully explains how the two are connected and constantly interacting, even when we may think that an action – let’s take whippings for example – may only affect the body. It provides nuance to conversations and concepts we have likely discussed before, especially when talking about literature centered around the Black experience.

Traditionally, talking about slavery is already a large task, so to add psychological effects then generational trauma and so many other layers leads to an ever weaving web of conversations. The experiences are all connected but there’s a better way to describe the interconnectedness, which can lead into Schlack view on intersectionality. Her takes on these fairly new, but truly old, ideas is very refreshing – as I am finding a new and more effective way to discuss such heavy topics.

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I am running out of words – but I had to touch on this. I absolutely despise, hate, cannot stand the white man saving Black woman narrative. I fully realize Kindred is much deeper than that and the focus is on Dana’s journey as a free Black woman now experiencing life as a slave – I get it and there’s a lot to unpack there. I am not trying to reduce the story to this one narrative at all. However comma, I could not focus on Dana because this white man is just taking over the story.

This is interesting to read because my friends and I have been recently trying to analyze why outspoken, “revolutionary,” smart Black women always end up in relationships with white men. Here’s my mini-theory: White men are the first, in that Black woman’s life, to acknowledge their words and talents over their looks; and for a Black woman, who is discouraged by her community like Dana, it is an overwhelmingly validating experience. The white man compliments their intellect from the very beginning, along with their initial attraction of course, but the white man is willing to listen to the Black woman’s story because they have no experience with it and appreciate a new perspective. (And we can see this in Kindred when Dana is trying to explain to Kevin the plantation dynamics and Kevin is not getting it until he arrives there with her.) The Black woman is over the moon that someone is listening to her thoughts and ideas and BOOM – they’re in a damn relationship just because they were appreciated. I need someone to do a case study because the correlation has got to be there.

Again, I have better takes on Kindred but that is something I wanted some outside perspective on.

#kindred #bodymind #afrofuturism #relationships #words #speculative fiction

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thepermanentrainpress · 3 years

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THE PERMANENT RAIN PRESS INTERVIEW WITH MADELEINE SIMS-FEWER AND DUSTY MANCINELLI

Violation is one of the most stirring films we’ve seen over the past year. Since making its world premiere at Toronto International Film Festival last year, the Canadian flick has been busy on the film festival circuit; now available through digital-cinema on TIFF Bell Lightbox, with Vancouver International Film Festival (VIFF) Connect to follow beginning March 26th.

What inspired the story behind Violation?

We were both dealing with our own personal experiences of trauma at the time, and wanted to make an anti-revenge film that deals with female rage, and emotional and psychological unravelling that trauma gives rise to.

We really wanted to make a revenge film that pushed the boundaries of the genre, challenging the tropes of the scantily clad woman becoming empowered by violent revenge against a menacing stranger, and that revenge is the cathartic climax we are all seeking at the end of the movie. Yes, it is a film about seeking retribution, but also about the cost of that retribution. It is a film about violation, but also about lack of empathy and selfishness, and how both can erode your morality and the relationships around you.

It’s been described as “twisted,” “feminist-minded,” and a “hypnotic horror.” At its core, how would you describe the film’s genre(s)?

Those three descriptors fit perfectly, actually! We weren’t thinking too much about genre when we wrote the script, mostly about the story and about how we portrayed Miriam’s journey. We were inspired by films that don’t sit comfortably in a genre box, like Caché, Fat Girl, Don’t Look Now. Films that are dramas with elements of horror.

When you were writing the script, can you elaborate on the dynamics between the two couples that you wanted to portray – Miriam and Caleb, and Greta and Dylan?

Miriam and Caleb are very much at an impasse in their relationship. The spark has gone out and they don’t know how to reignite it. Instead of doing the work it might take to get through a rough patch Miriam is very much running away. There is a real transience to modern relationships that we wanted to capture in their dynamic - this idea that when the romance is gone the relationship has run its course. Miriam wants to fix it, but doesn’t know how - she clumsily tries to fix it with sex (on her sister’s advice), and this echoes how she tries to fix her trauma too.

Greta and Dylan have a seemingly healthy relationship. But when you look a little deeper their outward affection and codependence masks a deep distrust. Dylan is having his ‘grass is greener’ moment, and he’s totally selfish to the impact this has on those around him. Greta can sense this, but she’s too enamoured by him to risk rocking the boat. It’s all a recipe for tragedy really.

Miriam and Greta have a complex relationship, to say the least. It’s natural to have distance between siblings as they grow older, did you always intend to have a sibling relationship be a centre of your story?

Yes, we always wanted to make a film about a person who suffers sexual assault and is not believed by their sibling. That was one of the first parts of the story that came together. There is so much to unpack in a sibling relationship like theirs. A rich history of mutual failures and resentments as well as so much camaraderie and love. The more painful betrayal in the story comes from Greta, not Dylan.

We wanted to explore the idea of trauma within families, and how abuse and violence affects everyone in the family, not just the person who suffers it. Everything else orbits around these two sisters — Miriam and Greta — as Violation mines the little resentments, commonalities, shared joys and sorrows that weave together a truthful portrait of these women.

A lot of the horror and dread in Violation comes from the way the sisters interact, and in the ways they react to each other from a place of fear. There is no filter in these close sibling relationships (we know this as we both come from big families!) which can be wonderful, but can also lead you to hurt and be hurt in ways that leave permanent emotional scars.

The non-linear editing engages viewers into the story, as do the jarring intercuts with imagery of nature, animals and insects. Tell us about the editing and post-production phase, and what you hoped to accomplish with the progression and symbolism.

The way we have edited Violation is very deliberate. We are forcing you to experience things you might not want to in a very specific way, guiding you through this post traumatic landscape where the past and present are constantly speaking to each other.

We chose to weave two timelines together — the 48 hours leading up to the betrayal and the 48 hours surrounding the act of revenge. This forces the audience to re-contextualize what they have seen, challenging their own opinions of the characters based on what information we choose to reveal and when.

Violation is told completely from Miriam’s perspective — we watch her emotional and psychological unravelling as she struggles desperately to do the right thing. There is a sequence in the middle of the film where we see this act of revenge. There is no dialogue for a long time, we just follow Miriam as she goes through these meticulous actions. And what we realize is that her plan, though well thought-out, is unbelievably emotionally and physically taxing. She’s not prepared, and we watch the real horror of her actions play out through her visceral emotional responses. It was important for us to really force the audience to experience things as Miriam does. The editing is focused and relentless; never letting you stray from her experiences and emotions.

Madeleine, for you, getting to play Miriam and connect with her pain and turbulent emotions through the course of the film, can you share your thoughts on that experience. How did committing to this character challenge you as an actor?

It was the most challenging role I have ever played, and in many ways was absolutely terrifying. I wanted to push myself as far as I could go as an actor and challenge myself to really find the truth of who this woman is, and reveal that to the audience. There are so many quiet moments where Miriam’s journey is so internal, so the challenge there was in truly living each moment as if I was her — getting lost in the role — so that I was not indicating what she was feeling, but living it.

What was it like having Anna, Jesse and Obi as screen partners?

Very liberating. They are all extremely dedicated, layered, engaging performers. They elevated me and challenged me every step of the way. Jesse and I have worked together before, and we have an ease that makes scenes with him very fun. The comfort level we share allows us to really experiment. It was my first time working with Anna and Obi, but it won’t be the last. They are both so open and sensitive that I felt our work was incredibly nuanced.

An overarching question is whether revenge is ever justified. Tell me about Miriam’s mindset, and the struggle between morals, motives and her actions. For you as individuals, is this something that you have had conflict with in your own lives?

In a way we wanted to make a sort of revenge fairy-tale. Fairy tales provide ways for children to think through moral problems, and to wrestle with life’s complexities. They aren’t depictions of reality, but reflect ideas about morality and humanity. We wanted the audience to think about consent, the rippling effects of trauma, how we judge women vs how we judge men, and perhaps consider those things more deeply.

In the end Miriam’s desire to punish those who have wronged her hopefully leaves the audience with a compelling ambiguity to be unpacked as they scrutinize her actions.

Tell us about the trust built between the cast and crew on-set, especially during the more intimate and grim scenes and tense conversations. How do you build that comfort level?

It’s really just about having open, honest conversations. We spent a lot of time with the actors during prep and rehearsals just talking, and building friendships. We are dedicated to creating a comfort level where actors can be completely transparent and open with us, so that when we ask them to go somewhere they know we are there guiding the process and aren’t afraid to take big risks.

To survivors of trauma, what do you hope this movie provides in its story?

We hope to provide a new take on the revenge genre - one that explores rape from a different angle and context - with the focus of the narrative much more on the psychological ramifications of trauma. We aren’t looking to tell anyone what to take away from the film, and we made Violation as much for people with no experience with trauma as for people who understand these murky waters. Really we hope the film sparks thought, discussion, and empathy.

You met at the 2015 TIFF Talent Lab; what drew you together as a filmmaking team? What advice do you have for artists/filmmakers looking for their own collaborators?

It’s hard to pinpoint exactly what drew us together - it’s sort of an intangible thing. We developed a very candid friendship that we thought might translate well to a working relationship. Luckily it did!

Shortly after the Talent Lab we decided to work together on two short films, Slap Happy and Woman in Stall. Until directing these shorts neither of us had really had ‘fun ’making a film. Filmmaking was a drive, but it wasn’t a joy. These shorts gave us a totally new perspective, where we actually had a good time workshopping the script, creating a visual style, and just challenging each other. By the time we were making our third short, Chubby, we had decided to officially form a creative partnership.

We definitely approach filmmaking from different perspectives and with complementary strengths, but we don’t say ‘this is your thing and this is mine.’ We work collaboratively on every part of the process, and we built this unique way of working through our shorts, so that when we got the funding to make Violation (through Telefilm’s Talent to Watch program) we already had a solid method that works for us.

In terms of advice it really helps to know how you like to work before looking for a collaborator. Then it’s just about experimenting. It is very much trial and error. Don’t try to force a collaboration that isn’t working for you. There is no shame in a creative relationship not working out. But also it is important to be flexible and open to compromise - that’s how ideas flourish and grow. If you are too rigid then maybe collaboration is not right for you.

Going from short films to your debut feature with Violation, what new challenges did you face and how did you overcome them?

The endurance required to make a feature was something we weren’t prepared for. At about day 3 we turned to each other, totally exhausted, and were like: “there’s 30 more days of this.” It was brutally draining. Honestly every day brought its own unique challenges and problems to overcome, but we had such a strong, supportive team that it made each mountain a little easier to climb.

Aside from yourselves, who are some other up and coming Canadian filmmakers viewers should keep their eyes on?

Grace Glowicki and Ben Petrie are both doing really interesting work. Grace’s film Tito is a disturbingly good character study that builds a terrifying sense of dread. Ben’s short Her Friend Adam is one of our favourites, and he’s about to make his first feature.

Is there anything further you’d like to add or share, perhaps what you are currently working on?

Right now we are writing a slow burning mystery thriller and a twisted dark comedy. That’s about all we can reveal at the moment!

Thank you to Madeleine Sims-Fewer and Dusty Mancinelli for providing us with further insight into Violation! Visit their official website for more information on their projects.

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mahashankh · 5 months

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Mahashankh Web Stories : Unveiling 4 Year of Captivating Narratives and Digital Adventures

Exploring the Magic of Mahshankh Web Stories: A Year of Digital Tales and Imaginative Journeys

WEB STORIES In the vast landscape of digital storytelling, Mahshankh Web Stories has emerged as a beacon of creativity, captivating audiences with its diverse array of narratives and imaginative journeys. As we celebrate the platform's one-year anniversary, it's an opportune moment to reflect on the impact it has had on the world of online storytelling. Exploring the Magic of Mahshankh Web Stories: A Year of Digital Tales and Imaginative Journeys The Birth of Mahshankh Web Stories: Diverse Narratives: Interactive Elements: Emerging Talents: Community Building: Looking Ahead: Textiles: Unraveling Tales in Threads Wallpapers: Stories Unfolding on Walls Interior Decor: Creating Narrative Spaces Fashion: Wearable Stories Product Design: Everyday Narratives Collaborations and Community: Sustainability and Ethical Practices:

The Birth of Mahshankh Web Stories:

Launched a year ago, Mahshankh Web Stories was envisioned as a platform to bring together storytellers and audiences in a unique digital space. The creators aimed to provide a canvas for writers, artists, and creative minds to weave their tales in a format tailored for the fast-paced online world.

Diverse Narratives:

One of the defining features of Mahshankh Web Stories is the incredible diversity of narratives it offers. From gripping short stories that leave readers on the edge of their seats to immersive long-form tales that unfold over multiple episodes, the platform caters to a wide range of storytelling preferences. Genres span from fantasy and science fiction to romance, mystery, and beyond, ensuring there's something for every reader.

Interactive Elements:

What sets Mahshankh Web Stories apart is its incorporation of interactive elements. Readers are not mere spectators; they are active participants in the unfolding stories. The platform allows for reader engagement through polls, choices, and comments, making the reading experience dynamic and personalized.

Emerging Talents:

Over the past year, Mahshankh Web Stories has become a breeding ground for emerging talents in the world of digital storytelling. Many writers and artists who started on the platform have gained recognition for their unique voices and creative contributions. The platform's commitment to fostering a community of storytellers has paved the way for new voices to be heard.

Community Building:

Mahshankh Web Stories goes beyond being a platform for stories; it's a thriving community. Readers and creators connect through discussions, fan forums, and live events, creating a sense of belonging. This community-driven approach has not only enriched the stories themselves but has also fostered a supportive environment for creators to grow and evolve.

Looking Ahead:

As Mahshankh Web Stories celebrates its first anniversary, the journey is far from over. The platform continues to evolve, incorporating new features and expanding its reach. The coming years hold the promise of even more captivating stories, innovative formats, and a growing community of storytellers and enthusiasts. Mahashankh: Weaving Stories into Fabric, Walls, Spaces, and Fashion In the ever-evolving world of design, Mahashankh has emerged as a trailblazer, seamlessly blending storytelling with various forms of artistry. From textiles to wallpapers, interior decor, fashion, and products, Mahashankh has carved a niche that transcends traditional boundaries, transforming everyday items into canvases for narrative expression.

Textiles: Unraveling Tales in Threads

Mahashankh Textiles doesn't just create fabrics; they weave stories. Each textile design is a chapter, telling tales through patterns, colors, and textures. From intricate motifs that reflect cultural narratives to modern designs that speak of innovation, Mahashankh Textiles brings a unique storytelling approach to the world of fashion and interior decor.

Wallpapers: Stories Unfolding on Walls

The walls become a canvas for narratives with Mahashankh Wallpapers. Every roll tells a story, whether it's a whimsical journey through fantasy landscapes or a sophisticated narrative through minimalist patterns. Homeowners and designers alike can transform spaces into immersive environments, where the walls themselves become storytellers.

Interior Decor: Creating Narrative Spaces

Mahashankh Interior Decor extends the storytelling experience beyond fabrics and wallpapers. From furniture to accessories, each piece is carefully crafted to convey a specific narrative. A living room might tell a tale of comfort and warmth through plush fabrics, while a study could evoke a sense of adventure through carefully chosen decor elements.

Fashion: Wearable Stories

Mahashankh Fashion takes storytelling to the runway. Every collection is a narrative exploration, with garments that speak volumes about culture, history, or the designer's imagination. From couture pieces that tell elaborate stories to ready-to-wear lines that convey everyday tales, Mahashankh Fashion invites individuals to wear and share their stories.

Product Design: Everyday Narratives

Even everyday products become vessels for storytelling in the hands of Mahashankh. From tableware that narrates tales of tradition to tech accessories that weave stories of innovation, each product is a chapter in the broader narrative of a lifestyle. The intersection of functionality and storytelling creates a unique user experience.

Collaborations and Community:

Mahashankh thrives on collaborations, bringing together writers, designers, and artists to create cohesive narratives. The community that surrounds Mahashankh is not just a consumer base; it's a collective of individuals who appreciate the art of storytelling through design. Collaborative projects, workshops, and events further enrich the narrative tapestry.

Sustainability and Ethical Practices:

In addition to its creative endeavors, Mahashankh is committed to sustainability and ethical practices. The materials used in textiles, wallpapers, fashion, and products are sourced responsibly, reflecting a dedication to both artistic expression and environmental consciousness. Mahashankh's journey across textiles, wallpapers, interior decor, fashion, and products is a celebration of the boundless potential for storytelling in design. By infusing everyday items with narratives, Mahashankh invites individuals to surround themselves with stories—whether they're worn, displayed on walls, or integrated into daily life. As Mahashankh continues to innovate and collaborate, the narrative woven into each creation becomes a testament to the power of design to inspire, evoke emotion, and connect people through shared stories. Read the full article

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maddie-grove · 5 years

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Bi-Monthly Reading Round-Up: January/February

Playlist

“Sex and Candy” by Marcy Playground (The Beguiled)

“Please Help Me, I’m Falling” by the Everly Brothers (With Hope)

“Cool for the Summer” by Demi Lovato (Kissing the Witch)

“Burn the Witch” by Queens of the Stone Age (The Magic Circle)

“The Curse of Millhaven” by Nick Cave and the Bad Seeds (The Hazel Wood)

“People Take Pictures of Each Other” by the Kinks (The Opposite of Fate)

“On the Steps of the Palace” from Into the Woods (Bound)

“Little Lion Man” by Mumford and Sons (Beast)

“You Keep Me Hangin’ On” by Diana Ross and the Supremes (Sweet Sorcery)

Best of the Bi-Month

The Beguiled by Thomas Cullinan (1966): In the waning days of the Civil War, cash-poor Virginian aristocrat Martha Farnsworth and her feckless sister Harriet try to run their mostly deserted girls’ boarding school within earshot of a battlefield. When a young pupil discovers an injured Union soldier in the woods and brings him to the house, his presence exacerbates every tension among the sisters, their one remaining slave, and their five fractious students. Cullinan weaves a web of fascinating power dynamics in a wonderfully claustrophobic setting. John McBurney, the Union soldier, is both vulnerable and dangerous, pitiable and despicable. The women, each of whom gets her own POV, reveal themselves to be no less fascinating.

Worst of the Bi-Month

With Hope by Dorothy Garlock (1998): In Depression-era Oklahoma, Henry Ann struggles to keep her late father’s farm going, manage her troubled half-siblings, and avoid gold-diggers (because a lady with a mildly prosperous farm is basically Beyoncé in this context). Tom Dolan, her neighbor, is also in a dire situation; he’s struggling to make ends meet, his wife has become frighteningly unstable, and they have a three-year-old son who can no longer be safely left in her care. After learning of Tom’s predicament, Henry Ann offers to take in his son, starting a friendship that inconveniently turns into romance. There were things I liked about this novel. The plot moves along nicely, the style is more sophisticated than I’ve seen in other Garlock books, and there are some interesting historical details. Yet the whole thing comes across as mean-spirited and crude, especially towards Tom’s wife (whose mental illness, naturally, includes an insatiable sexual appetite) and Henry Ann’s fifteen-year-old half-sister (functionally the villain of the piece despite being a neglected kid). Garlock makes an effort at inclusiveness with Henry Ann’s half-Cherokee half-brother and her elderly black friend, but the results are pretty stereotypical and shallow.

Rest of the Bi-Month

Kissing the Witch by Emma Donoghue (1993): In this collection of loosely connected short stories, Donoghue retells twelve fairy tales (Cinderella, Thumbelina, Beauty and the Beast, Snow White, The Goose Girl, Rapunzel, The Snow Queen, Rumpelstiltskin, Hansel and Gretel, Donkeyskin, Sleeping Beauty, and The Little Mermaid) and adds a story of her own. Many of the stories, as you might have guessed, are real gay. The best ones tend to change the context of the story a great deal--for example, by making the Little Mermaid a fishmonger’s daughter who gives up too much to an infatuation with an aristocrat--and use the shift in setting to explore the themes. Sometimes Donoghue takes a more straightforward yet still very effective approach, either having the character ruminate on the implications of her story (as in Donkeyskin) or asking the eternal question “what if they were lesbians” (as in Cinderella). A couple of stories (Thumbelina, The Snow Queen) feel a little slight or incomplete, but they’re still enjoyable to read.

The Magic Circle by Donna Jo Napoli (1987): In this heartbreaking and weird little fantasy novel, the witch from Hansel and Gretel reveals that she used to be a successful healer and a loving mom, but then she got tricked by some demons and now she has an uncontrollable desire to eat children. Man, I hate when that happens. I expected this story to be a lot more metaphorical than it was--an allegory for mental illness or something, I don’t know--but there’s nothing very symbolic about the protagonist’s downfall. She was just slightly cocky and got tricked by demons on a technicality. I ended up enjoying this lack of symbolism, partly because the mechanics of the magic were really interesting and because it made for a more immersive experience where I could understand the protagonist’s situation on her own terms. I also liked that she had a hunchback and was considered “ugly” even when she was young and had never messed around with magic; it was a nice subversion of the Magical Disability trope.

The Hazel Wood by Melissa Albert (2018): Seventeen-year-old Alice has finally settled down in New York City with her mother after an itinerant childhood and, despite her anger issues and uneasiness with her rich step-family, things are pretty okay. But then she comes home one day to find her mother missing and the apartment in disarray--and she has reason to believe that the disappearance has something to do with her late grandmother, a enigmatic author who wrote a book of pitch-dark fairy tales. I really enjoyed the mystery that Albert builds up in this novel, and the reveal doesn’t disappoint. The story lost momentum at times, though, and I kind of wish Albert had just written the book of fairy tales, because the bits and pieces we get are gorgeously disturbing.

The Opposite of Fate by Amy Tan (2003): In this collection of essays, Amy Tan, author of The Joy Luck Club and several other books, expounds upon her childhood, her writing process, her relationship with her mother, her possible brushes with the supernatural, the time she almost got caught in a landslide, and the time she had Lyme’s disease for like two years but nobody figured it out, among many other things. Amy Tan was one of the first non-YA authors I ever read--in fact, I was still playing with dolls when I read The Joy Luck Club, and, yes, I did steal some inappropriate storylines for my Barbie dramas--but I never knew she’d had such a harrowing and fascinating life. Her best essays are about figuring out what kind of writer she should be, negotiating her relationship with her very complicated mom, or both. It was definitely interesting reading this so soon after my Memaw died from dementia, the same thing that killed Amy Tan’s mom; aside from their causes of death, they seem like very similar people, despite coming from very different places.

Bound by Donna Jo Napoli (2004): In this retelling of Cinderella, Xing Xing, a poor teenage girl in thirteenth-century China, is berated and overworked by her stepmother. Xing Xing’s stepmother is also frantically trying to bind the feet of her own daughter, Wei Ping, in hopes of her making a good marriage; however, her efforts are incredibly painful and, due to Wei Ping’s relatively advanced age, not very effective. Xing Xing has one source of solace from the horror at home, but even that comes under attack from her stepmother’s desperation. Like many Napoli books, Bound has a somewhat abrupt ending, but it’s still one of her stronger works. In addition to the wealth of historical details, Xing Xing’s complex relationship to her stepmother and stepsister is beautifully portrayed, as is her tough decision to break away from them.

Beast by Donna Jo Napoli (2000): In fourteenth-century Persia, pious and scholarly young Prince Orasmyn makes a seemingly minor mistake during a religious holiday and gets transformed into a lion by a vindictive fairy. The curse can only be broken by the love of a woman, but who could ever love a beast lion that can’t explain that it doesn’t want to eat you? I appreciated this novel a lot; the prose is lovely, the portrayal of Islam and Zoroastrianism is interesting and thoughtful, and Orasmyn’s mingled pleasure and shame over his animal impulses is moving. On the other hand, the novel is mostly just a dude in a lion’s body trying to do lion things and not doing a very good job at it, which wears thin after a while.

Sweet Sorcery by Emily Bradshaw (1995): During the reign of Charlemagne, Frankish warrior Rutgar takes over the Saxon castle of Ardun. He takes a fancy to Gisela, a serf and healer who’s believed to be a powerful witch, and decides that it’d also be a good idea to sleep with her because it will demoralize the Saxons to see that her powers can’t protect her from rape!!! Damn, most “heroes” in this sort of romance just force the heroine to marry them in order to solidify their control of her castle. That’s not really better, but it’s not such a blatant war crime. I did like Gisela and the unusual setting, but Rutgar is just pure evil.

#WITCH MONTH WITCH MONTH #books #reading

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miss-m-calling · 4 years

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Chocolate Box 2020 letter

Requests (all fic):

Adult Wednesday Addams (web series) – any (Wednesday/Brian, Wednesday & Warren Agency Interns, Wednesday & OFC, Wednesday & OMC, Wednesday/OMC)

American Gods (TV) – Laura Moon/Mad Sweeney

The Marvelous Mrs. Maisel (TV) – Lenny Bruce/Midge Maisel/Susie Myerson, Lenny Bruce & Midge Maisel & Susie Myerson, Lenny Bruce/Midge Maisel & Midge Maisel/Susie Myerson

Starred Up (2013 movie) -- Oliver Baumer/Eric Love

Dear writer,

Hello and thank you for writing for me. I’m very excited to read whatever you come up with. I hope my burbling and prompts spark your creativity, and feel free to reach out through the mods if you have any questions! My likes and DNWs are all the way on the bottom of the letter.

Without further ado…

Requests:

Adult Wednesday Addams

Wednesday/Brian

Wednesday & Warren Agency Interns

Wednesday & OFC

Wednesday & OMC

Wednesday/OMC

I belatedly discovered this webseries (https://www.youtube.com/watch?v=gYQE9dh6f78), and it resurrected (see what I did there?) my love for Wednesday and how the Addams Family canon runs on the endless possibilities of this loving, happily eccentric family being 100% true to themselves and the world just having to deal with it. The show was everything I never knew I wanted till I watched it, the perfect blend of Addams-macabre and cozy slice of life with bonus Wednesday navigating the world alone, without always knowing her family will back her up, and it made me crave more of adult Wednesday’s mini adventures in LA. For this canon, I’m good with gen or, if you want to write that, more of Wednesday’s adventures in dating guys who really aren’t up to the challenge, and you can absolutely have Wednesday interact with OCs I haven’t listed as part of a pairing. I’m keeping the prompts pretty short, just to (hopefully) pique your creativity, as I expect I will love any way you make these or any similar scenarios play out:

-Wednesday goes to IKEA

-More of Wednesday’s interactions with the nice interns at her receptionist job. Maybe they invite her out to happy hour, or to the beach or a club. Or maybe we get to eavesdrop while they shoot the breeze on their lunch break, possibly over barbecue-chicken pizza from CPK.

-More of Wednesday’s gigs. She already babysits and walks other people’s dogs, what else might she do for extra cash that would be both really common and seemingly ill-suited to Wednesday, except she totally makes it work for her? Cat sitting (especially if the cat belongs to someone incredibly rich whose house is full of secrets – and expensive things for the cat to knock over), driving an Uber/Lyft, becoming an AirBnB host, catering/server, working the late shift in a New Age/occult supply store where none of the woo is real…?

-Or, alternately, Wednesday finds a career that is perfect for her, in which she can have success and respect. What ever could that be and still fit into the non-Addams world?

-Wednesday tries speed dating

-Or, she runs into Brian a.k.a. chains guy (I cackle with glee every time I rewatch the bit when he tries to kiss her at the pet store) a third time – how does it not go quite as he wanted or expected this time?

-Wednesday takes an evening class, or goes back to school part time, or enrolls in an online degree program

-Wednesday takes a road trip, alone or with her apartment mates/colleagues/Brian/strangers she met for carpooling purposes. Bonus points if you work in real roadside attractions, or tourist traps, or famous sites/landscapes.

-It’s Dia de Muertos, and Wednesday goes out to celebrate and soak up the atmosphere. It may or may not live up to her expectations.

American Gods (TV)

Laura Moon, Mad Sweeney

I ship it. Yes I do. They had me at “gimme-my-coin-dead-wife”-flicks-him-into-wall. The snarky road trip was the best thing I never knew I wanted until it happened, and I adored every second of it, not to mention the upped shippiness in S2. They’re both such assholes and so fascinating, even if they start to mellow toward each other a bit, and all the gods/magic/resurrection stuff swirling around them begs to be explored further. Also I love love love how their dynamic is about equal parts spikiness, pathos, and humor (they’re funny! and the canon doesn’t shy away from putting them in ludicrous situations), and it weaves seamlessly between those three. Plus she’s half his size yet can and does beat him up with literally one finger, and then there’s the angst of he having killed her, feeling really guilty about it, and then bringing her back. And the way that their New Orleans adventure makes clear they have feelings for each other (S1 was more one-sided SweeneyàLaura) but neither wants to admit it. And and and… yeah, I just love them.

My prompts are a combo of prompts I had after I binged S1 and others I added throughout S2. Even if some of this is addressed or hinted at in canon, feel free to diverge – canon divergences and canon-adjacent stories are my jam!

Please give me either missing scenes from the road trip (if you can work in a divergence, that’s great - for example, I like Salim, but if you want to have him boot Sweeney and Laura to the curb and go off on his own, or Sweeney to boost his taxi before Salim catches them, or whatever else to have those two alone, go for it!), or a divergence from either season (instead of going to Ostara, they go where? to see whom? about getting Laura resurrected. Or things go down differently in New Orleans, or Cairo, or anywhere else) or something about these two post-canon.

-Laura discovers (how? you decide!) that Sweeney gave her back the coin after their accident – whatever happens next, some punching may be involved. (If nothing else, Mama-Ji mentions that the coin is now in Laura’s heart, and we saw Sweeney place it on her ribcage after the accident, whereas it was originally in her gut like she’d swallowed it. Laura might ask herself how the hell it moved.)

-Wednesday’s big war finally comes, and “don’t you dare die on me [again], you asshole” is a line either Sweeney or Laura (or both) might say to each other.

-Laura asked “What does Wednesday have to lose?” and the answer is…? (Yes, give me that sweet poetic justice. One possibility, though not remotely the only one, but as of S2E3 Laura is technically a god-killer...) Or later when she straight-up says she’s going to kill Wednesday, but is warned to bring power with her when she does, how does that work? How else might she damage Wednesday or ruin his plans, just in case she can’t actually kill him?

-At the end of S2, Laura hoists Sweeney’s dead body over her shoulders and strides off, seemingly leaving Cairo, Shadow, and all of it behind. Tell me what happens then – does she use Baron Samedi’s potion to bring him back, and whose is the blood filled with love she uses (does she still bleed? You could get creative here, worldbuilding is also my jam)? Does her/his coin play a part – and how come the coin still “powers” Laura despite Sweeney’s death? Does she bring him back another way, maybe figuring out how to keep herself around and be able to give Sweeney back his coin? Does he come back like she did, more undead than alive, or does his godhead, however depleted, help with that? That still leaves Laura to be fully resurrected too… Or does something completely out of left field happen – surprise me!

-Possible divergences from “Treasure of the Sun”: Sweeney manages to kill Wednesday, and then Laura rolls up, and then…? Or Laura rolls up and makes like Mama-Ji told her – destroys some motherfuckers? Or Sweeney gets killed temporarily but Laura brings him back, or brings herself back, or does something else with the Baron’s potion, and is Sweeney’s blood the one filled with love, or can we interpret voodoo spells in a non-literal way? Or what happens with Gungnir hidden in Sweeney’s hoard? And definitely how do they deal with each other once they meet up in Cairo, given how they parted in New Orleans (I don’t know what hurt more to watch: Laura deflecting at the diner, or Sweeney rambling drunkenly about her when Shadow finds him, or later on telling Shadow with such desperate sincerity to keep her away from Wednesday)?

-Or how about a wild divergence from the last several episodes? Sweeney and Laura manage to settle their differences (ahem, more fucking, on this plane of reality, might help) and don’t part ways before leaving NOLA. Or they roll up in Cairo separately but at the same time, and confront Wednesday together, and neither of them die (or die more, in her case). Or they’re there together when the police nearly raid the house. Or they have Wednesday (the ultimate cause of Laura’s death) and Ibis (a death deity) and Bilquis (a love/death/life deity) on hand, surely they can concoct some kind of resurrection thingamajig for Laura, and if they have to twist some divine arms then so be it. Or or or…?

-Wednesday told that luckless cop that Sweeney had been against the big gods’ war from the start, and while Wednesday lies, what if Sweeney decided much sooner to say to hell with Grimnir and his war and his having Sweeney kill random people? I’m guessing Sweeney too drank three glasses of mead so he can’t back out without dire consequence – but he does have a fierce, dead woman in his corner.

-They go to some as-yet-unnamed old god (feel free to bring in whatever mythology you want) in order to bring Laura back to life. Between Sweeney’s mouth and temper, and Laura’s mouth and temper, it doesn’t go well. Now one or both of them are in big magical trouble with a pissed-off deity and have to get themselves/each other out of it.

-Speaking of other deities, I really enjoyed their brief canon interactions with Ostara, Anansi, and Mama-Ji, and I’d like to see more of that, especially Ostara’s polite yet over-it attitude, Anansi very obvious over-it attitude and his dramatic flair, or Mama-Ji being one of the few capable of giving Laura pause.

-All the petty, ridiculous ways in which Sweeney’s bad luck manifests itself make me laugh (can’t help it, won’t even try), and I’m down for more variations on that theme.

-Sweeney and Laura fighting together, like they did on Mr. Town’s train of torture. Whether it’s a bar fight of their own making, or the big gods’ war they find themselves embroiled in, or something else entirely.

-Things happen and Laura finds herself in the position to throw Sweeney under the bus but also help/save him, and while he knows it’s only karma (he did kill her way back when), he can still be pissed off about it – how do they navigate this?

-Related to that, the Baron said: “In death is her true love, but she betrays him also.” If that meant Sweeney, or can mean Sweeney in the future (I don’t like destiny-wills-it stories, and they’re definitely not there yet, but they could maybe get there at some future point, and even then It Would Be Complicated), was the betrayal Laura rejecting him after the loa ‘fuck them,’ or is it something that hasn’t happened yet, and if so, what?

-Laura gets fully alive again, but traces of her (un)dead state remain – what are they, how does she cope, what price did she/he/they have to pay for her resurrection, and how does their relationship change? I’d especially be curious how it would work if they’re already a sorta-maybe-item and then she’s alive again and it’s weird in a new way.

-For reasons I’ll leave up to you, Sweeney and Laura have to stay put in a single place for a while and end up essentially cohabiting, regardless of what their relationship is at that point. Take “cohabiting” as literally or as creatively as you want – in any case, I’m sure it will be marvelously disastrous and amazing. If the place they have to stay happens to be NOLA, all the better, I find everything about that city fascinating. Or, if you wanted to use book canon, Laura and Sweeney (rather than Shadow) are the ones who have to spend time living in Lakeside and deal with its creepy Norman Rockwell-ness and with Hinzelmann.

-Slight or major AU from the opening of “The Ways of the Dead”: Laura has hitchhiked with Sweeney instead of going off in a huff with Wednesday, or she otherwise gets to New Orleans sooner, and she and Sweeney tear up the town together. Gimme bar fights, carnival shenanigans, all the food and drink porn, backstage craziness with the Christian rock band (Sweeney seems to have a backstage pass on a lanyard around his neck when Laura finds him)… Maybe they even cross the paths of some loa and it doesn’t get all angsty (for what it’s worth, I think the reason the sex magic didn’t bring Laura back to life was because she couldn’t accept the truth(s) revealed during the astral-plane sex and just ask Sweeney to prick his finger for the potion – instead she defaults straight to “this is all Wednesday’s evil plan” the morning after – not because the loa fucked them over). They were actually getting along nicely in those first couple of scenes in NOLA, only ribbing each other a little while still being their grouchy selves, before they got to Le Coq Noir. I wouldn’t have minded seeing some more of that.

-AU from the end of “The Ways of the Dead”: they still have their big fight (which was amazing as well as painful) or some variation thereof, but they don’t split up. (Maybe the reason is as mundane as Sweeney refusing to get left behind or they have a shared ride out of town, or maybe the more time passes the less Sweeney can afford to be far from his coin – or maybe the coin needs him close by to work at full capacity.) And then what?

-All the old gods hide their true appearance to an extent. A situation arises in which Laura sees Sweeney’s true, or at least old, self (I’m thinking of his surprise!poignant monologue about when he used to be a king, and him in full Celtic warrior mode in the S2 flashbacks). Or Wednesday’s war ends in victory, meaning the old gods again get belief, worship, and sacrifices. How does Laura, the ultimate skeptic even when she’s on the other side of the mirror, react? How does this new knowledge and new reality change her opinion of/attitude to Sweeney? Or to flip that around, if Sweeney were again relevant and believed-in, would that actually change his bad attitude and fix his issues (my guess is it would be complicated)? On that note, Sweeney’s decline from Lugh to king to leprechaun was more sketched in than really explored in canon, ditto I didn’t really get why he couldn’t seem to remember his own history except in snatches (the curse that made him a bird/madman of the woods?) – I’d love to see more about it and his (not) dealing with it, or with a reversal of that decline. Eorann told him long ago to adapt and change with the times – but what does that mean after humpteen centuries in a rut and becoming used to always feeling angry and unappreciated?

-The power of names, since they never use each other’s in canon: for all his “dead wifeing,” there comes a time when Sweeney (has to) call her by her actual name, and that’s a tricky moment for them to navigate. Or, Mad Sweeney is not his actual name, and true names have great magical power and so must be kept secret; Laura discovers or learns his name, from someone else or from himself; what does she do with that knowledge? Or, Sweeney gets to say “cunt” in a situation (sexual or otherwise) where, not only does Laura not peel his lips from his gums, but she finds that she can’t object, even though she knows that he knows that he’s getting away with it.

-So far in canon, it’s pretty clear that Sweeney has a lot of complicated but sincere feelings for Laura. Laura is still pretty focused on Shadow (or rather her idealized vision of Shadow and what their relationship might yet be), whom she seems to equate with her own lost-maybe-to-be-regained life, although that’s starting to change at the end of S2. For one thing, she’s starting to soften toward Sweeney as she realizes he’s doing things for her that are not all about getting his coin back (and her sparring match with Wednesday in “Muninn” as well as Shadow refusing to be called puppy anymore in “Moon Shadow” may finally force her to accept that her relationship with Shadow died alongside her and Robbie on that road in Indiana). Not to mention the shared truth revealed in “The Ways of the Dead” (bullshit was that just Laura’s truth!) and how Laura flips out rather than deal with it and Sweeney can’t spit out that it mattered to him either, or how obviously cut up she is about Sweeney’s death despite refusing to admit it. Tell me the story of how Laura stumbles her way to feeling – and acknowledging that she feels – more complex, maybe kinder or softer, really annoying for her blunt-force-trauma-personality things about Sweeney and about the notion that her dynamic with him is different from the way she tended to use men for her convenience without really letting them in in the past. Also I’m pretty sure that even if they can admit they feel the same – or sorta in the same ballpark – about each other, their relationship would still run on a lot of conflict, and I would so be here for it.

-On that note: in “Munnin” it also becomes clear that Laura has, without realizing it herself, started to rely on Sweeney. The “I trusted you” line made me think, whoa she’s too furious to catch herself doing it but this is huge for Laura, and the fact that she goes off with Wednesday (!) basically because she’s mad at Sweeney because she thinks he’s prioritizing his debt to Wednesday over her… Yeah, I would like to see that explored some more and/or to see Laura and Sweeney get to a point where they trust each other and rely on each other, and know it and accept it, however difficult the getting there and being there may be for them.

-Sweeney has this intense need to see himself as a brave person and someone worthy of the world’s respect – but his past and his long experience as just a leprechaun have chipped away at that. Add the guilt of having been the instrument of Laura’s death and then all the pesky feelings he develops for her, and it’s a lot. Obviously his final actions in S2 are his trying to reclaim that courage and nobility of old (also to spite Wednesday, who’s messed both him and Laura up), but I would love to read about his character development under different circumstances, where Laura is there all the way, as opposed to them parting ways and meeting up again multiple times like in canon.

-And since I’m on the subject of Laura, you know how she’s not actually an abrasive bitch all the time to everyone? And when she is, the people on the receiving end of it sometimes richly deserve it, or very occasionally they push back (ILU, Mama-Ji!), and anyway it’s refreshing to see a female character who defaults to confrontational and doesn’t bother flirting and accommodating others for the sake of social harmony? As much as I enjoy watching her rip into people (ahem, Sweeney), I also love it when she acts differently, like her genuine interest in getting to know Salim and her joy in seeing him again in S2, or her running passive-aggressive battle of wills with Wednesday. Her beginning to feel sympathy for Sweeney and her anger and disappointment when she feels let down by him are a part of that, and I’d love to see all that explored more. Nuance! Give me all the nuance and seeming contradictions in both Laura and Sweeney’s characters!

-Sweeney and Laura get drunk and wake up married. Or some sex and/or blood resurrection spell results in basically an unbreakable marriage bond, whether it also secures resurrection or not. Or marrying the dead keeps them (sorta) alive. Or being married makes it possible for them to share magical/supernatural abilities. They’re both pissed about it, but secretly having to make it work may not be the worst thing that’s ever happened...

-My perfect AG spinoff would basically be Sweeney and Laura tooling around America, looking to get her resurrected (whether they succeed or not is up to you), stealing ever more ridiculous vehicles, arguing/fighting and having those pesky moments where vulnerability and genuineness creep in – and fucking. So yessiree I’d be down for porn, including “it’s technically necrophilia/zombiesex” porn, including a canon-divergent first time, or their second time, or all the later times after they had their first time in NOLA in canon.

-If you wanted to throw in some worldbuilding, maybe something exploring living death. Magical bargains. What kind of favor did Sweeney do for Ostara that would be worth her bringing someone back to life as repayment? What other powers might Sweeney have – or have left from when he was Lugh? How long can a dead wife keep going before she’s “soup”? What other superhuman abilities might dead!Laura have? Can the dead do magic? What even are the rules governing and the limits of different beings’ magical abilities? For example, why can’t Sweeney just take his coin back, or why does Laura gain super-strength as part of her undead package deal? Is the hoard in the same space as the behind-the-scenes accessed through the merry-go-round, or it’s a different place? Why does the coin seem to start to “run down” the longer Laura has it? Why did Wednesday need Laura to kill Argus when he killed Vulcan himself just fine? What happens with Gungnir now it’s in the hoard – can only Sweeney get to it, has it been transformed somehow (it’s now the treasure of the sun), etc.?

If it helps your inspiration, you can find some of my meta and lots of tag-burbling about these two here. I have read the book though I remember it only in bits and pieces, and while I prefer the show characters and the fact that they get thrown together, you can use or riff on book material if you want, though I’d prefer a story that isn’t just a retread of the book. With reference to one of my DNWs, for this canon, describing Laura’s physical decay is totally fine. Also, Shadow/Laura don’t interest me except as a part of Laura’s backstory (so if your story wants to include Laura figuring out or having already figured out that pinning all her hopes on Shadow to make everything right is unrealistic, unfair, and not how it works – by all means, go for it!), and Shadow/Sweeney interest me not at all.

Canon-specific DNWs: Sweeney dying/staying dead (at least not permanently), Laura being treated as just a part of Sweeney’s story, and Laura being Essie’s reincarnation/descendant/reincarnation of Sweeney’s wife from back when he was a king in old Ireland. Reincarnation/“new love looks like old love”/“lost love found again” plots bore me, and I don’t enjoy ships that hinge on characters being somehow destined to be together. Characters having agency is my jam as much as canon divergences are. Anyway I’m certain that Laura would have neither time nor patience for the notion that Destiny Fate and All That Jazz threw her together with ginger minge, and even if it were technically true, she’d still want this relationship to work on her terms – and Sweeney obviously has a problem with Laura’s cheating, her relationship with Shadow, her personality (though he also recognizes they’re alike in many ways), and all that maps onto his anger and sadness over becoming irrelevant over time, so it’s not just about Laura. So yeah, let them be their own (grumpy, spiky, dysfunctional) people, and let Laura’s dynamic with Sweeney not be shaped solely by his past and his issues.

The Marvelous Mrs. Maisel (TV)

Lenny Bruce/Miriam “Midge” Maisel/Susie Myerson

Lenny Bruce & Miriam “Midge” Maisel & Susie Myerson

Lenny Bruce/Miriam “Midge” Maisel & Miriam “Midge” Maisel/Susie Myerson

I’m here for Midge’s adventures in the intoxicating, foul-mouthed, and often-frustrating world of comedy, so her dynamic with Susie and Lenny is where it’s at. Shippy or platonic, I just love the interactions between these three, and between every pair combination among them: Midge and Susie bantering and swearing and tits-upping even when they irritate each other, Midge and Lenny bringing the pathos as well as the humor, and Lenny and Susie both being hardened old pros with still a little glimmer of starry eyes. I am good with L/M/S or L&M&S or L/M & M/S – so, if you go the shippy route, either a V-shaped triad or hey, Susie (whom I absolutely read as gay) might find a way to be good with a full-on triangle… If you want to keep it platonic, True Companions all the way, always there for each other, even when they want to strangle each other. And as much as I like the comedy inherent in the characters, I also love that they’re all three, each in their own way, messed up people and dysfunctional to various degrees. So yeah, I just want Midge to hand the kids over to her parents, ditch Joel once and for all, marry (interpret that as literally or as loosely as you want) both Susie and Lenny, and for the three of them to ride off into the sunset to make comedy history.

Most of these prompts are from before S3 dropped – feel free to work with canon or diverge however you see fit:

-Does Susie manage them both? Does Midge open for Lenny on tour? Does he open for her??? Or they become equal stars on the comedy circuit?

-Maybe Lenny joins Shy Baldwin’s tour, or they run into him while touring Europe or the US, or after Shy fires Midge, Midge and Susie cobble together a Miriam-only tour of America and keep crossing Lenny’s own touring path, and they all tool around, and yes I would love as much period detail and geography porn as you can throw at me. And while Lenny and Midge have seen the world, Susie hasn’t – her reaction to different foods, languages, customs, landscapes would be spectacular to witness. Especially if “different” is someplace as close to New York as Jersey or Connecticut, or someplace as far away and different as, say, Japan.

-If they do go to Europe, somehow or other they also tour the Soviet Bloc. Cue culture clashes, getting followed (or thinking they’re being followed) by the secret police, getting hammered on vodka and herring and pickles, and then when they get back to the States, the Feds grill them. It’s all dead serious, and Midge and Lenny refuse to take it as seriously as they should, while Susie is trying but the whole thing is really pissing her off…

-Lenny’s burned out, and Midge is just getting started. This dissonance may or may not find some sort of resolution. One thing’s for sure: Susie has limited patience for both Lenny’s depression and Midge’s need to make everything pretty.

-Instead of going to Joel for a no-way-is-that-closure fling after the Steve Allen Show taping, Midge goes to have a drink or seven with the two people who have, in their own ways, always been there for her and never let her down.

-Midge goes on TV again, this time as the star: longer set, prime time slot, dressing room, the works. She’s dying of nerves. Lenny and Susie coach her through it.

-More radio work to make ends meet in between gigs: hilaribad period ads, hilaribad radio drama, running all over town to be on time, getting paid in all kinds of dubious merch…

-Midge and Susie head out west to make it big and stay with Lenny once they’re in Los Angeles, and it’s marvelous (ha ha) and disastrous in equal measure.

-More of Susie being the hypercompetent manager we saw especially in S3! (And please don’t dwell on her gambling problem, I was not a fan.)

-They all three get drunk, maybe with a hint of sadness if it’s the holidays (you can ignore my DNW about holidays, but please let that be just the background, not the lynchpin of the story) or someone’s birthday, and there’s a bar fight, running from the cops, eating greasy food at ass o’clock, and possibly kissing, not necessarily in that order.

-One or two or all three of them get arrested/have court appearances all over America and have to bail each other out, or find someone to bail them all out, or secure legal counsel – you get the drift. Or all three of them are trying to explain to a single lawyer what happened, talking over each other, the two pros not being able to resist landing zingers and Susie not being far behind, and the lawyer just getting more and more confused.

-They get in trouble some other way – offended patrons, surly management, shitty hotels, tour bus breaks down in the middle of Wyoming – and have to have each other’s backs because no one else will.

-Three-person road trip or tour, and only Susie knows how to drive. So Midge decides to learn, right then and there. And Lenny… Lenny may or may not be too lazy/hungover/lying about not knowing how. There’s supposed to be a rotation so everyone gets to stretch out on the back seat for equal lengths of time, but you know the system doesn’t work too well in practice. Also, they play games in the car to while away the time, and they do it their own way of course: I spy, cows on my side, never have I ever, 20 questions, or riffing on whatever’s playing on the radio…

-They sit down to watch the moon landing (you can move it up a bit so it’s not happening a whole decade after S2) – by which I mean, Midge is all gung-ho about the moon landing, and Lenny and Susie are like whatever – and things don’t quite go to plan, but a good time is eventually had by all.

-It’s Yom Kippur again, and Midge wants to do the whole production: synagogue, breaking fast, the lot. Lenny and Susie would rather eat glass. Midge gets her way, of course. Does she decide to bring Susie and Lenny home to meet – or meet properly – her parents??? I bet Abe and Rose’s reactions would be something to see. (This too is an exception to my DNW about holiday settings – I just want stuff to get as crazy as it did the two times we saw Yom Kippur celebrated on the show, and for everything to still somehow turn out relatively OK.)

-Midge and Lenny have cheered each other up when the going got extra rough. I want for Susie to be especially down in the dumps – maybe her boozehound of a mother died and Susie took it worse than she does in canon, maybe some asshole told her she’s a shit manager and got her right in her insecurities – and Midge to rope Lenny into trying to cheer her up. And for Susie to fight them every step of the way but still be glad they care enough to try.

-Inspired by Susie’s brother looking just like her, by which I mean she and he and their sister look nothing alike, and by Lenny’s “she’s my mother” quip about Midge at the TV studio and then his “let me introduce my wife or maybe my sister” in Miami – Midge, Susie, and Lenny pretend to all be blood relatives, or mafiosi, or spies, or something else they’re not, while out in public, say in a restaurant. Just to be assholes and see how long they can keep it going before they break character or people figure them out, or call the cops, or something. There’s totally a bet on who corpses and breaks character first. Or, nice hotels ca. 1960 weren’t very big on letting unmarried couples, let alone threesomes stay in rooms together – pretending to be family might make that easier; forgetting what they’re meant to be to each other, or mixing up their backstories might make it harder. This could also work platonically, if they’re trying to save money by only getting one room, there only being one free room in the hotel, or for any other screwball reason you can invent.

-Lenny and Midge do a (comeback) tour of the Borscht Belt, and all the Steiner Mountain Resort guests (especially the gossipy old hens from the beauty salon) and staff go to see them – and heckle.

-Stuff happens and they end up performing at some hole in the wall place where no one knows who they are (or no one believes it’s really those people they’ve seen on TV) – tough crowd, but a good workout for the two comics, and if Susie gets to threaten to rip off someone’s head, all the better.

-Lenny and Midge honing their routines – and maybe developing a double act – and Susie being all “oh my fucking god, what the fuck!!! … They’re actually good. I’m so proud.”

-Sharing a bed with two other people is an ongoing project: who sleeps (or refuses to sleep) in the middle? Who gets up during the night and why? Who starfishes across most of the bed? Who snores, and how does this get handled? If alcohol or pot have happened, how does that affect the sleeping arrangements? Also, Susie and Lenny witness and react to Midge’s beauty routine, ‘nuff said. Or, for various reasons one person after another ends up decamping to another room/bed/couch, but it doesn’t help them get much sleep or even stay there very long (this is inspired by my love of Shirley Jackson and her short story/humorous essay “The Night We All Had Grippe”). If you prefer to keep it platonic, most of this would work if they’re just sharing a double bedroom on tour (I leave the reason for why Lenny is bunking with the women up to you).

Canon-specific DNWs: explicit sex and pairing any two as a / couple with the third as a & hanger-on. I’m here for equality in this three-way dynamic and the banter and the surprise!feels and the companionship. And of course all the comedy, situational or stand-up. Oh, and Lenny can still be his RL messed-up, drugged-up self – albeit the gentler version the show gives us – but it would be good if he didn’t kick the bucket a handful of years down the line.

Starred Up

Oliver Baumer/Eric Love

Yes I do ship it, I do, I do!

Ahem. Don’t get me wrong, I liked what the movie did with the father-son relationship and its influence on both men’s character development – but I really wish they hadn’t got Oliver out of the action before the story’s climax (not like that!). The final denouement with Love father and Love son was great, as was the hint at the end that Eric learned something in anger-management group and has a support network that will help him a lot. But. I would have wanted to see more of the intriguing dynamic between Eric the intelligent, semi-feral, yet not-incorrigible, young thug and Oliver the educated, dedicated, kind yet aware of his own potential for violence (what was he on about with “I need to be here”?), slightly older counselor. They had me at Oliver’s “I want him” and Eric later telling his father that Oliver’s a better man than Love Sr. Also the not-flirting and the push-pull in the scene when Oliver picks up Eric from his cell - yowza!

Prompts:

-I would love to see Oliver return to holding his group in prison, so the two of them can interact more, either in the movie’s immediate aftermath or years down the line, as it’s implied that Eric will be serving a long sentence. Give me more scenes from anger management or the ribald, honest, free-flowing conversations in group, either with the other men present (I liked Hassan and Tyrone especially, among the group members) or a one-on-one session.

-An oblique or open-but-undramatic admission/declaration that they both know there’s something there, even if they don’t know what to do with it. Or, one or both of them knows exactly what to do with it, and the push-pull that would result from that.

-Dirty talk: used for arousal, as a defense mechanism, as a form of flirtation. Eric using slurs to assert dominance, and Oliver not letting him hide behind profanity, when he can use colorful language to express emotion and/or sexual interest. There could definitely be some verbal taunting/flirting about who wants/is eager to do what or is good at doing something. There may be some sniping comments about logistics and (lack of) condoms and barebacking and what men get up to in prison. There probably wouldn’t be deep discussions about sexual identity.

-An emergency in the prison requires a lock-down, so Oliver gets temporarily stuck in Eric’s cell or another room with only Eric for company. Things get porny and/or emotional.

-Eric is eventually released (you can handwave this so it happens soon after the movie or have it happen years later) and crashes with Oliver while he adjusts to the outside world. You guessed it: things get porny and/or emotional.

-How do they get to the point where both can cross that line from friends/whatever the hell they are and become, to lovers? (There’s Eric’s personal history and general discomfort with vulnerability, plus all the ways prison sex can be or make things complicated, and if it helps, I headcanon Oliver as either gay or bi and at least somewhat closeted, at work especially.) Who initiates and “directs traffic”? How does their always-contentious dynamic shift during and after sex? Is the sex an isolated (series of) occasion(s), or a progression/escalation over multiple encounters (how would I love especially an escalating series of encounters, let me count the ways)? Eric might seem like the logical initiator and/or dominant partner as well as using the possibility of sex to manipulate and exert control, but then Oliver might (or might not!) surprise him and is definitely the one more in touch with himself as well as aware of his custodial duty toward the men in the group.

-At some point in their intimate relationship (probably not right at the start, and probably not in prison, though if you can make it happen in prison, more power to you!), Oliver decides he’s going to take his sweet time and make Eric fall absolutely apart with pleasure, while using dirty talk to both arouse and empower Eric to own his desires – by that point, Eric is in a place where he can let that happen and enjoy it, even if he still talks tough.

-Role reversal: Oliver as the con (jittery, shut off, sticking out like a sore thumb in prison with all his fancy learning, yet no pushover) and Eric as the newbie counselor (kid from the wrong side of the tracks made good? Youthful hoodlum turned around his life, now trying to help others via tough love and lots of swearing and maybe a bit of manipulation when called for?)

Likes:

I love pre-canon, canon, post-canon, canon-divergent, and missing-scene stories. I love character-driven and plot-driven stories equally, and I love fics which mix humor and angst/serious business when appropriate for the canon.

I love stories about characters at work and play, group dynamics, family dynamics (including constructed families), professional partnerships, friendships, alliances, rivalries, intimate couples (new lovers/first times as well as long-term/established couples), UST-ridden couples who are not just UST-ridden but connected in other ways too, etc.

I love irony, snark, humor as well as angst arising from the characters rather than the plot crowbaring it in, linear, non-linear, and 5+1 stories, hopeful endings, happy endings, bittersweet endings, worldbuilding, spiky characters who keep their jagged edges and spikiness in adversity as well as when their lives are going well, square-peg-in-round-hole characters, characters who are their own worst enemies as well as those who can get over themselves when the occasion calls for it, characters with conflicting values which may or may not be reconciled/resolved, characters who treat each other with respect and as equals even if they hate/annoy/can’t stand/love to dislike each other.

I especially love workplace stories (this can mean anything from an actual workplace/casefic/procedural setting to anything that revolves around the canon world in which the characters live) in which the characters are competent and dedicated to the job, and while they may not be exactly friends and they may well irritate one another, they still manage to rub along to get the job done and maybe even grow to care about one another (much to their surprise and sometimes reluctance/discomfort). Or, if they can’t get along, show me why not and what’s preventing them from finding common ground.

In terms of ship dynamics, I love (where it fits the characters) banter, competitiveness or antagonism shading into attraction (this tension need not be resolved), oh-god-why-did-it-have-to-be-you-what-did-I-do-to-deserve-this, bickering yet loving couples, characters who are serious about their romantic interests, characters who think they are much better at flirtation than they actually are, characters forced to work together only to prove much more compatible than they initially assumed, fics which mix an exploration of characters’ professional and everyday lives with shipping. A dynamic I cannot resist is shipping a couple who are incompatible in some important way (they are ideological enemies, cop and criminal, spies from opposite sides, one betrayed the other or they betrayed each other), and while they love and want each other they’re also not willing to change sides or surrender/compromise their identity for the other’s benefit, and how they might (or not) make their relationship work anyway.

I don’t have any very specific likes for smut, other than smut fitting the characters – show me how their canon dynamics spill over into the bedroom (or other place of congress). I also like sexual scenarios that subvert expectations a little and surprise the characters themselves (e.g., the person who’s usually quiet or more passive taking charge, the more aggressive person goes with it possibly snarking or commenting on it as long as they can). And I like sexual scenarios that contain an element of competition, antagonism, oh-god-this-is-a-bad-idea-but-we’re-going-for-it-hammer-and-tongs, not wanting to admit feelings or show vulnerability except oops it happens anyway, whether the characters acknowledge it or not, or just people getting way more into it or being more affected by it than they thought they would. When it fits the characters and their canon dynamic, you also can’t go wrong with we-both-wanted-this-for-forever-and-now-we-both-know-it-so-here-we-go-diving-in-headfirst. For het and/or slash, oral, vaginal, anal incl. pegging, manual (ifyouknowwhatImean) – it’s all good. You can go as veiled or as explicit as you like, but please avoid excessive medical jargon – I don’t find a lot of mention of “penis” or “clit” sexy.

DNWs:

MPREG, A/B/O, knotting, D/s, kinks, incest, underage, genderswap/genderbent characters, xeno, non-/dub-con, torture and abuse (this and non-/dub-con can be mentioned if the story needs it, but please don’t dwell on it in loving detail or subject any of my requested characters to it), dwelling on bodily fluids (mentions of gore/blood and come are fine), toilet humor, character bashing, issuefic, gender/sexuality/race/ethnicity/religion/ability/identity headcanons, unrequested ships, soulmates and soul marks, major character death (the exception is Laura Moon in American Gods dying so she can become undead), serious illness or injury, pregnancy and children, holiday or wedding setting/theme, secondary characters shipping the main pair like it’s their job, reference to RL current events, 1st/2nd person POV, unrequested crossovers or fusions, AUs which have nothing to do with canon

#dear author letter #chocolate box fic exchange #chocolate box 2020

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nemrut · 7 years

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Web-Series Novel: A Practical Guide to Evil by Erraticerrata

Title: A Practical Guide to Evil Author: Erraticerrata Status: Work in Progress

Link: wordpress

Summary: The Empire stands triumphant.

For twenty years the Dread Empress has ruled over the lands that were once the Kingdom of Callow, but behind the scenes of this dawning golden age threats to the crown are rising. The nobles of the Wasteland, denied the power they crave, weave their plots behind pleasant smiles. In the north the Forever King eyes the ever-expanding borders of the Empire and ponders war. The greatest danger lies to the west, where the First Prince of Procer has finally claimed her throne: her people sundered, she wonders if a crusade might not be the way to secure her reign. Yet none of this matters, for in the heart of the conquered lands the most dangerous man alive sat across an orphan girl and offered her a knife.

Her name is Catherine Foundling, and she has a plan.

Words from the author: A Practical Guide to Evil is a YA fantasy novel about a young girl named Catherine Foundling making her way through the world – though, in a departure from the norm, not on the side of the heroes. Is there such a thing as doing bad things for good reasons, or is she just rationalizing her desire for control? Good and Evil are tricky concepts, and the more power you get the blurrier the lines between them become.

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So I burned through this in 4 days or so and yeah, there is a lot to love about it. Guess the initial similarities in its premise to Worm can't be denied, what with being a teenage girl who joins the villains in the hopes to do good and is pretty ruthless in order to reach her goal, while she befriends people on the side of the villains where some aren't that unreasonably while the people on the side of good aren't necessarily all nice or good either. Still, make no mistake, it very much does its own thing. The concept with the Names is just fascinating and really, really cool. The way the rules of storytelling influence the world and characters and the different ways the various characters have found to interact with them is really creative and interesting

I love the setting. It's a an awesome fantasy setting with the familiar faces that I want to see, like Roman legions, orcs, goblins, dwarves, gnomes and so on but also given a creative fresh spin that it doesn't feel like an unimaginative D&D or LotR rip-off. The fact that the dwarves and gnomes seem to be by all accounts the heavy hitters of the setting with whom no one dares to fuck with is a nice change, for example. The geopolitical snippets that we see where the different nations, cultures and coalitions clash and unfold has been one of the stories bigger strengths. The racial and cultural clashes between characters hailing from different nations and social classes has also been explored in a rather good manner. It also has a certain anime feel to it, in a good way, that just makes it even more enjoyable to be me. I also love the fact that gender barely plays a role in this. Whatever role, job, class or function, in all facets in nearly all cultures, everything basically has a roughly equal split in terms of genders, with the goblins being the sole exception with their matriarchal society, which in turn was already alien enough, being goblins and all. No token girl or token boy characters in anything and no "you can't because you're a girl" story line either, it's rare to see it like that. Just enjoyment of the journey the character is on. Same with sexuality, it doesn't matter to anyone in the setting which way you swing or if you swing at all, so various things can be explored without taking over the plot. The lead girl is bisexual, btw, with a leaning towards girls. One of my favorite things have got to be the quotes at the beginning of the chapters. They can be hilarious and many of them have this distinct Magic the gathering flavor text feeling to them. I love them. Quotes like “Always mistrust these three: a battle that seems won, a chancellor who smiles and a ruler calling you friend.” – Extract from the personal journals of Dread Emperor Terribilis II

“I’ll be honest, Chancellor – revenge is the motivation for over half the decrees I’ve made.” – Dread Empress Sanguinia II, best known for outlawing cats and being taller than her”

or “Now kneel, fools, and witness my ascension to GODHOOD!” – Last words of Dread Empress Sinistra IV, the Erroneous

They generally crack me up and I am genuinely impressed that the author managed to come up with so many of them that are honestly lough out loud funny, well, at least to me. The dialog and witty banter has been consistently funny and energetic. I have laughed countless times and a lot of the side characters are lovable because of it. The good lines are not reserved for the main character alone but virtually everyone gets at least a few, it's rather balanced on that account. And it never becomes muddled enough that it makes the characters indistinguishable from each other, even if they share the same type of dark humor. By seeing when and on whose accounts they make the jokes, their characters still shine through. The fight scenes are decent, and the quirks and strengths of the setting and the dialog allow them to punch outside their weight-class. The meta aspects of the story itself are worked very well into the scenes and I believe that that is a very difficult thing to do. Here is a scene relatively early on: “We can get to that later,” I dismissed. “Evidently you’re the gritty type, but how far up the antihero scale are you?”

“As far as I need to be,” he responded gravely. I pushed down my urge to make something out of that. Crossbow Tamika had already finished reloading, and the pair of them seemed to be considering their next target. I really wasn’t liking the way Spear Tamika was beginning to angle towards me. “Are you the kind of gritty that works with enemies?” I probed. “You know, for the greater good and such.” A lesser author would have made me hate this but he pulled it off and made this fun.

More after the break but for anyone who wants to avoid even minor spoilers, give it a read, it’s awesome. Not perfect or anything as it does have its weaknesses but very well worth the read.

The side cast is funny and interesting. The 15th legion has some fun characters who are likable and enjoyable throughout. When talking about the Calamities and some others, things become downright amazing. The way they are introduced and then explored in their interludes on how they've built their legends meshes wonderfully with the more intimate and casual moments they share with each other when they just bicker and enjoy their company. I always hated the "if you lose you are dead to me" kinda villains and even though they are all very much villains, they also love and care for each other and generally having a personality allows for characters to have more depth, to have them care for more than just power. The Calamaties are larger than life, fun and epic. Which kinda flows into one of the not so much strengths of the story. Heiress is, as far as villains go...not exactly top notch. It doesn't help that while I do believe that she is a serious threat and annoyance, and that her plans are appropriately “oh shit” level, I still can't respect her because in her core, she is the stupid kind of villain, the short sighted backstabber who, as a character archetype, just isn’t that interesting, at least to me. The clash of ideologies that very much defined books 1 and 2 between the Lone Swordsman, the Heiress and the Squire suffered under the fact that both the Lone Swordsman and the Heiress upheld positions that, well, sucked. It wasn't a matter of who was right because it was abundantly clear who was and that's the main character. The Lone Swordsman was a partly mindfucked/brainwashed zealot with few redeeming qualities and the Heiress just wants to be properly evil and hates all this efficiency, stability and success that the villain faction had for a while now. What is there to ponder? I guess I would have preferred antagonists who also had good paths/plans rather than just being flat-out wrong/evil. Heiress especially, who at all times has been the bigger danger simply because she cares only about being evil in the right way and is unable to prioritize anything else. Still, she isn’t terrible, she has interesting/fun aspects, it is fun to hate her even if I roll my eyes a lot and her dynamic with her father is fun, even if only for the inevitable scene where Cat will do something horrible to him in order to punish the Heiress. Catherine is a character who has some weaknesses but in general she is fun to follow, entertaining and someone who knows how to end a fight. She has good lines, one gets a good feel for her as the story goes along and it’s interesting if a bit frustrating when her own, culturally biased morals shine through. Like her inherent dislike and condemnation of human sacrifice despite the fact that she has about committed nearly every atrocity but since she is from Callow, that kinda thing is a no-no. It’s the arbitrary if not contradictory moral position of a true person. I enjoy her journey and character and appreciate the way she deconstructs several conventions that are typical to the "want to save a society/nation/people" archetype. The story contained several digs at other stories, like this quote when they learn that the Heiress set her slave soldiers free. Nominally granting the Stygian war-slaves their freedom meant absolutely nothing, when they’d been indoctrinated from birth to obey their orders of their owners without fail.

Which is basically the biggest "take that" I've seen in a while, directed at Dany's freeing of the Unsullied who in turn then moved by her actions chose to follow her nonetheless. And of course, Cat is absolutely correct. That one act of liberation probably didn't really mean that much to those who, in her words, had been indoctrinated from birth to obey and fight. Later on, when the Lone Swordsman comes upon them, he is also aware of this dilemma. His solution was to not ask them to fight, to give them that freedom but that more than anything was what convinced them to fight for him anyway, and thus he unwillingly manipulated them into doing it anyway. I really loved that touch, especially since it was a plot point that was well set up in advance, touched upon over several chapters and then had a rather satisfying resolution. Or the general theme of the shonen protag/hero of the story taking umbrage with the lesser methods of his enemies and saying that's not the right way because it's wrong. It's a conversation that that crops up all the time, and that the hero will find a better way, only never saying what that better way is, mainly because he hasn't one until he pulls unlimited power out of his ass. Cat isn't like that and hates people like that and this inherent struggle against story conventions, especially with regards to the Black Knight is fascinating to me. Having the Calamaties and the Empress scheme and work around these inherent story elements is just cool. The romance in the story was rather lowkey which isn't bad per se, but Killian didn't exactly leave a big impact so far but I'm hoping this will change with the recent developments. Either strike out with someone more interesting or have Killian become more interesting and defined. So far, it was pleasant and cute but not exactly much substance. One more minor point of complaint would be the relatively steady amount of typos, missing words and the like, which happen about once or twice per chapter. Nothing tragic but definitely noticeable. Author also uses adverbs a bit too much, especially the "-ly" modifiers for the verbs instead of showing it through action and dialog how they feel but it works for the most part. Think that’s about it. The writing is overall rather good and I enjoy the story format, what with the interludes and all. So yeah, really loving the story. Story got its hooks in me and I powered through and it was a blast from start to the latest available chapter. Supposed to be five books, and we're in the first third of the third one so, this story will be going on for a while and I'm looking forward to it. 4/5

#a practical guide to evil #apgte #quotes #erraticerrata #webseries #webnovel

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